Вестник Российского государственного гуманитарного университета. Серия: Журналистика, Литературна... more Вестник Российского государственного гуманитарного университета. Серия: Журналистика, Литературная критика. (в печати)
Традиционно историков картографии больше интересовали карты, чем их декоративное оформление. Исто... more Традиционно историков картографии больше интересовали карты, чем их декоративное оформление. Историков же искусств занимали либо вопросы, связанные с принципами передачи ландшафта на картах и в пейзажной живописи (Alpers 1983; Rees 1976; Rees 1980), либо проблематика так называемых «картографических залов» в итальянских палаццо (Соколов 1999: 249; Fiorani 2005). Тем самым и историки географии, и искусствоведы вопросы задавали, главным образом, именно карте: обращалось внимание на то, насколько точно представлен на ней соответствующий участок земной поверхности, как передан характер ландшафта и т. д. (Cosgrove 1985). После 1980-х гг. ситуация несколько изменилась-усилиями Дж. Б. Харли (Harley 1989a, Harley 1989b) и Д. Вудворта (Woodward 2007), испытавших на себе импульс постмодернистской философии, «карты перестали восприниматься в первую очередь как нейтрально-инертная фиксация морфологии того или иного ландшафта, или же как пассивное отражение мира объектов, но в них стали видеть преломленные образы, вносящие свой вклад в диалог, который ведут насельники социально сконструированных миров» (Harley 1988: 278). Характерным для постмодернистских подходов образом внимание к социальному обернулось вниманием к репрезентации властных отношений per se (Harley 1989; Crampton 2001; Herva 2010). В итоге оформилась школа, исходящая из того, что «картография везде и всегда имеет дело с внешне заданными и общераспространенными символическими формами и условностями, пусть это не осознается создателями и потребителями карт. Воздействие этих техник и эффектов становится предельно ясным, когда мы
Вестник МГЛУ. Гуманитарные науки. Вып. 6 (835), 2020
The paper considers an algorithm of translating poems taking into account
their inner structure, ... more The paper considers an algorithm of translating poems taking into account their inner structure, on the example of several poems by Norwegian authors (Rune Christiansen and Stein Mehren). Some poems are organized in such a way that this or that poetic image could arrange the others around and dictate the system of images in the text. A translator should pay special attention to such images and verify their role in texts as much as allusions to be interacted with. Key words: poetic speech; allusion; image; association; context.
Вестник РГГУ. Серия "Филологические науки. Журналистика. Литературная критика., 2012
“OUR ACTIVITY IS OF ANTHROPOLOGICAL PERSPECTIVE IN SOME KIND…”
POLITICAL PUBLICISTIC OF JOSEPH B... more “OUR ACTIVITY IS OF ANTHROPOLOGICAL PERSPECTIVE IN SOME KIND…”
POLITICAL PUBLICISTIC OF JOSEPH BRODSKY AND W.H. AUDEN.
The article deals with the late poetry by Joseph Brodsky. A great deal of his late poetic production is of publicist kind and inspired by disgusting to the mass world and mentality of the crowd. Looking for some support in it, Brodsky turns to the heritage of W.H. Auden and makes a lot of allusions to the poems of the British poet. These allusions are rather systematic in Brodsky’s poetry, from his point of view W.H. Auden has demonstrated us a possibility of social responsibility without social engagement.
Joseph Brodsky’s Literary Reputation and the audience of poetry readings in Russia in the 1960s
T... more Joseph Brodsky’s Literary Reputation and the audience of poetry readings in Russia in the 1960s The author analysis some strategies of fighting for reader in Russian poertry of the 1960s that made possible the domination of “poetry to be read in the Polythechnical Museum”. In the 60s J.Brodsky’s poetry had to exist in the shadow of poems by such authors as E. Evtushchenko, A.Voznesensky, R. Roghdestvensky and B. Achmadulina. These four were associated with “poetry reading in the Politechnical museum” that was organized as a special event to be filmed for Marlen Khutsiev movie “I’m twenty”(1965).The movie with its 20 minutes long “footage”of poetry reading was a great promotion for the young poets. As the result, they utilized the reputation of the leading voices for the generation. Their audience was orientated for compensation of the lack of emotions and demanded a very special kind of poetry to be associated with: the poem should be not very long to be easy memorized and based on some aphoristic formulas to absorb some typical social experience so it could create some group identity to the listeners. On this spot the poetics of Brodsky seemed to be of absolutely another kind.
THE FIGHTING AGAINST FORMALISM IN SOVIET FINE ARTS AND THE SOVIET PERIODICALS OF THE SECOND HALF ... more THE FIGHTING AGAINST FORMALISM IN SOVIET FINE ARTS AND THE SOVIET PERIODICALS OF THE SECOND HALF OF 1940s
The analysis of publications in the soviet periodicals of the second half of the 1940-s demonstrates that the fight against formalism in fine arts was organized not so much by the top party functionaries, as by the group of the artists and critics associated with the former Association of Artists of Revolutionary Russia and was used to get the key positions in the Academy of Fine Arts of the USSR established in 1947.
Key words: the fight against formalism, cosmopolitism, the Peredvizhniki (members of the Society of Travelling Art Exhibitions), impressionism, socialist realist painting, Nikolai Punin, Abram Efros, Osip Beskin.
“Settlers of Eden” and “passengers of the Ark”: “Paradise Landscape with Noah's Ark” by Jan Brue... more “Settlers of Eden” and “passengers of the Ark”: “Paradise Landscape with Noah's Ark” by Jan Brueghel the Elder, illuminated miniatures and the Flood story at the late XVI – XVII centuries in the context of Counter-Reformation.
The iconography of “The Entry of the Animals into Noah’s Ark” and “Leaving the Ark” could be traced back to the earliest Christian illuminated manuscripts as Vienna Genesis and others. Later “the traditional set” of animals (consisted of some domestic ungulates and lions or wolves) was added with such exotic creatures as unicorns, peacocks, lynxes, etc., as the result of the mix with the iconography of “Adam naming animals in Paradise” and the earlier prototype of this one – the pagan “Orpheus playing for animals”.
The Soviet Engineer, Jude’s Kiss and Socialist Realism Painting
The iconological approach to the... more The Soviet Engineer, Jude’s Kiss and Socialist Realism Painting
The iconological approach to the Soviet fine arts demonstrates that soviet painters used to redress old masters’ compositions for the new epoch. Some works on such subject as “Stakhanovite movement” painted in the late 1940s could be traced back to the classical composition of Jude’s kiss, as it is obvious with Anatoly Leviton’s painting “Exchange of ideas on Stakhanovism” (1948) and some other works on this subject. Such practices were rather genuine for the generation of the painters graduated from the Academy of Arts of the USSR in the late 1940s – early 1950s as the result of special emphasis on compositional principles that started to be demonstrated on the works of the old masters in the frame of the curriculum of the Academy that was reformed in 1947. So in many cases “the innovative Soviet art” was nothing more but replicas of the old classical compositions adjusted to articulate the new social realities.
Доминирование и контроль. Интерпретация культурных кодов 2017. Саратов: ИЦ "Наука", 2017. С. 101 - 173., 2017
The allegorical representation of the Five Senses was formed as a kind of iconography in the Midd... more The allegorical representation of the Five Senses was formed as a kind of iconography in the Middle Ages, however this subject got the peak of its popularity at the Late Renaissance / Early Baroque epoch. The senses were represented as sitting female figures with attributes. Some of the painters, mostly belonging to Antwerp school, combined the allegory with other subjects like Biblical scenes, the Greek gods or architectural orders. In the first half of XVII century the allegory was infiltrated as a motive into still life paintings and the scenes with “Merry companies”. The same time the iconology of the senses was spited into two types to represent the proper and improper use of abilities for perception. The earliest illustration to the parable of wise and foolish virgins is from Rossano Gospels of VI century. The iconographic canon for this subject was finally shaped to X–XI centuries: the virgins were represented as two standing groups, with their lamps up or down. Such compositions were typical for the portals of Gothic cathedrals and miniatures. The new trend appeared in XVI century when the virgins started to be represented as sitting ones, with some of attributes for the Senses. Such combination of the virgins with the Senses was especially typical for the painters and engravers who got their training or work in Antwerp, so the taste for combining two different subjects in a piece of work is one of the features of this local school.
The paper is focused on some contexts of Paul Celan's poems "Psalm" and "Hiittenfensteг" to be t... more The paper is focused on some contexts of Paul Celan's poems "Psalm" and "Hiittenfensteг" to be traced to the Jewish mystical tradition.
Emblemata and Memory Images in Ars Memorativa, or one more time about love between text and pictu... more Emblemata and Memory Images in Ars Memorativa, or one more time about love between text and picture
The paper is focused on some emblem collections of XVI – XVII centuries, treating them as a kind of didactical representation for the whole human experience organised in some analytical way. From this point of view the picturae of emblems functioned as a kind of memory images to provide the mnemonic representation of this or that subject.
Anton Nesterov
The Five Senses in European arts of XIII – XVII centuries: the evolution from the ... more Anton Nesterov The Five Senses in European arts of XIII – XVII centuries: the evolution from the subject to a motive
The allegory of the five senses could be traced in European five arts from the middle ages. This epoch Aristotle mostly used the allegory for the initials in manuscripts such as “De anima”. This text played a significant role in the context of argues between nominalists and realists. This allegory became extremely popular at the edge of Renaissance and Barcoo to be represented by such monumental works as “Allegories” Peter Paul Rubens and Jan Breughel as much as numeric engraving cycles by Georg Pence (c. 1544), Crispin de Passé (1590s and 1620s), Hendrik Goltzius (1596), Hendrik Hondius and others. In the wake of this popularity the allegories were incorporated into other genres: still life paintings and so called “Merry companies”. At this stage the motive subdivided into two, focused on the proper and improper use of our abilities of perception.
Антон Нестеров Аллегория Пяти чувств в изобразительном искусстве XIII – XVII вв.: эволюция от сюжета к мотиву/ Бестиарий и чувства. Res et verba – 5. М.: Intrada, 2017.
Аллегорические изображения Пятерицы чувств появляются еще в Средние века – чаще всего это украшенные инициалы в манускриптах с аристотелевым трактатом «О душе», текст которого был весьма востребован в контексте спора номиналистов и реалистов. Но настоящую популярность этот аллегорический сюжет обретает на переходе от Возрождения к Барокко – именно в это время вокруг него создаются как монументальные полотна, вроде «Аллегории Вкуса и Обоняния» (175.0 x 263.0 см) Питера Рубеса и Яна Брейгеля, выполненной в 1618 г. по заказу эрцгерцога Австрийского, так многочисленные гравюрные циклы – Георга Пенца (ок. 1544), Криспина де Пассе (1590-ые, 1620-ые), Хендрика Гольциуса (1596), Пьетра де Йоди (нач. XVII в.), Хендрика Гондиуса (1607), Пьера Ландри (1650-ые), и др. На волне этой моды данный сюжет проникает и в другие живописные жанры в качестве мотива – в натюрморт (работы Питера Класа, Любена Богена, Себастьяна Штоскопфа, Жака Ленарда), многочисленные сценки пиров – так называемые «Веселые компании» (Симон де Вос, Давид Винкбонс, Дирк Хальс)… Постепенно этот поток разделяется на два русла: репрезентацию должного и недолжного использования чувств. Появляются гравюрные серии вроде «Аллегории чувств» Корнелия Дюсарта, где Обоняние представлено блюющим пьяницей, Осязание – солдатом, тискающим трактирную служанку, Слух – подвыпившим волынщиком, терзающим окружающих игрой на своем визгливом инструменте…
“THE QUEEN IS MOST FIEREELY INCENSED”
OR CLANDESTINE MARRIAGES
IN ELIZABETHAN ENGLAND
This paper ... more “THE QUEEN IS MOST FIEREELY INCENSED” OR CLANDESTINE MARRIAGES IN ELIZABETHAN ENGLAND This paper is focused on some marriage scandals at the court of Elizabeth I: the clandestine marriage of lady Katherine Grey and sir Edward Seymour, love aff air of lady Anne Vavasour with Edward de Vere and, later with sir Henry Lee, marriage of sir Walter Ralegh and lady Elizabeth Throckmorton, the story of Mary Fitt on and William Herbert. These scandals harmed the reputations of the men involved in and destroyed their carriers: these men were push out from the public space. As for the women, the most of them could stabilize the situation and found some other partnership after these scandals. Such recovering of women reputations demonstrates: there was some serious distinction between behavior to be acceptable for private relationships and for public sphere as much the last one was supposed to be the domain of men.
Использование сюжетов живописи Возрождения
в советском соцреализме и работы Александра Самохвалов... more Использование сюжетов живописи Возрождения в советском соцреализме и работы Александра Самохвалова первой половины 1930-х годов
The paper analyses the approaches of Russian translators of the last two centuries to Shakespeare... more The paper analyses the approaches of Russian translators of the last two centuries to Shakespeare’s 27 sonnet. To some extent, the popularity of this sonnet among Russian readers is based on the fact, that Joseph Brodsky used a verse from it (in Samuil Marshak’ translation) for the poem “Pilgrims”. Moreover Brodsky in his poem followed the logical structure of Shakespeare’s text.
A review of "А.Е. Махов. Эмблематика: Макрокосм. М.: Intrada, MMXIV". The review is to examine a ... more A review of "А.Е. Махов. Эмблематика: Макрокосм. М.: Intrada, MMXIV". The review is to examine a monograph by Alexander Makhov devoted to Renaissance ands Baroque emblems in the context of modern approaches to the phenomena.
Вестник Российского государственного гуманитарного университета. Серия: Журналистика, Литературна... more Вестник Российского государственного гуманитарного университета. Серия: Журналистика, Литературная критика. (в печати)
Традиционно историков картографии больше интересовали карты, чем их декоративное оформление. Исто... more Традиционно историков картографии больше интересовали карты, чем их декоративное оформление. Историков же искусств занимали либо вопросы, связанные с принципами передачи ландшафта на картах и в пейзажной живописи (Alpers 1983; Rees 1976; Rees 1980), либо проблематика так называемых «картографических залов» в итальянских палаццо (Соколов 1999: 249; Fiorani 2005). Тем самым и историки географии, и искусствоведы вопросы задавали, главным образом, именно карте: обращалось внимание на то, насколько точно представлен на ней соответствующий участок земной поверхности, как передан характер ландшафта и т. д. (Cosgrove 1985). После 1980-х гг. ситуация несколько изменилась-усилиями Дж. Б. Харли (Harley 1989a, Harley 1989b) и Д. Вудворта (Woodward 2007), испытавших на себе импульс постмодернистской философии, «карты перестали восприниматься в первую очередь как нейтрально-инертная фиксация морфологии того или иного ландшафта, или же как пассивное отражение мира объектов, но в них стали видеть преломленные образы, вносящие свой вклад в диалог, который ведут насельники социально сконструированных миров» (Harley 1988: 278). Характерным для постмодернистских подходов образом внимание к социальному обернулось вниманием к репрезентации властных отношений per se (Harley 1989; Crampton 2001; Herva 2010). В итоге оформилась школа, исходящая из того, что «картография везде и всегда имеет дело с внешне заданными и общераспространенными символическими формами и условностями, пусть это не осознается создателями и потребителями карт. Воздействие этих техник и эффектов становится предельно ясным, когда мы
Вестник МГЛУ. Гуманитарные науки. Вып. 6 (835), 2020
The paper considers an algorithm of translating poems taking into account
their inner structure, ... more The paper considers an algorithm of translating poems taking into account their inner structure, on the example of several poems by Norwegian authors (Rune Christiansen and Stein Mehren). Some poems are organized in such a way that this or that poetic image could arrange the others around and dictate the system of images in the text. A translator should pay special attention to such images and verify their role in texts as much as allusions to be interacted with. Key words: poetic speech; allusion; image; association; context.
Вестник РГГУ. Серия "Филологические науки. Журналистика. Литературная критика., 2012
“OUR ACTIVITY IS OF ANTHROPOLOGICAL PERSPECTIVE IN SOME KIND…”
POLITICAL PUBLICISTIC OF JOSEPH B... more “OUR ACTIVITY IS OF ANTHROPOLOGICAL PERSPECTIVE IN SOME KIND…”
POLITICAL PUBLICISTIC OF JOSEPH BRODSKY AND W.H. AUDEN.
The article deals with the late poetry by Joseph Brodsky. A great deal of his late poetic production is of publicist kind and inspired by disgusting to the mass world and mentality of the crowd. Looking for some support in it, Brodsky turns to the heritage of W.H. Auden and makes a lot of allusions to the poems of the British poet. These allusions are rather systematic in Brodsky’s poetry, from his point of view W.H. Auden has demonstrated us a possibility of social responsibility without social engagement.
Joseph Brodsky’s Literary Reputation and the audience of poetry readings in Russia in the 1960s
T... more Joseph Brodsky’s Literary Reputation and the audience of poetry readings in Russia in the 1960s The author analysis some strategies of fighting for reader in Russian poertry of the 1960s that made possible the domination of “poetry to be read in the Polythechnical Museum”. In the 60s J.Brodsky’s poetry had to exist in the shadow of poems by such authors as E. Evtushchenko, A.Voznesensky, R. Roghdestvensky and B. Achmadulina. These four were associated with “poetry reading in the Politechnical museum” that was organized as a special event to be filmed for Marlen Khutsiev movie “I’m twenty”(1965).The movie with its 20 minutes long “footage”of poetry reading was a great promotion for the young poets. As the result, they utilized the reputation of the leading voices for the generation. Their audience was orientated for compensation of the lack of emotions and demanded a very special kind of poetry to be associated with: the poem should be not very long to be easy memorized and based on some aphoristic formulas to absorb some typical social experience so it could create some group identity to the listeners. On this spot the poetics of Brodsky seemed to be of absolutely another kind.
THE FIGHTING AGAINST FORMALISM IN SOVIET FINE ARTS AND THE SOVIET PERIODICALS OF THE SECOND HALF ... more THE FIGHTING AGAINST FORMALISM IN SOVIET FINE ARTS AND THE SOVIET PERIODICALS OF THE SECOND HALF OF 1940s
The analysis of publications in the soviet periodicals of the second half of the 1940-s demonstrates that the fight against formalism in fine arts was organized not so much by the top party functionaries, as by the group of the artists and critics associated with the former Association of Artists of Revolutionary Russia and was used to get the key positions in the Academy of Fine Arts of the USSR established in 1947.
Key words: the fight against formalism, cosmopolitism, the Peredvizhniki (members of the Society of Travelling Art Exhibitions), impressionism, socialist realist painting, Nikolai Punin, Abram Efros, Osip Beskin.
“Settlers of Eden” and “passengers of the Ark”: “Paradise Landscape with Noah's Ark” by Jan Brue... more “Settlers of Eden” and “passengers of the Ark”: “Paradise Landscape with Noah's Ark” by Jan Brueghel the Elder, illuminated miniatures and the Flood story at the late XVI – XVII centuries in the context of Counter-Reformation.
The iconography of “The Entry of the Animals into Noah’s Ark” and “Leaving the Ark” could be traced back to the earliest Christian illuminated manuscripts as Vienna Genesis and others. Later “the traditional set” of animals (consisted of some domestic ungulates and lions or wolves) was added with such exotic creatures as unicorns, peacocks, lynxes, etc., as the result of the mix with the iconography of “Adam naming animals in Paradise” and the earlier prototype of this one – the pagan “Orpheus playing for animals”.
The Soviet Engineer, Jude’s Kiss and Socialist Realism Painting
The iconological approach to the... more The Soviet Engineer, Jude’s Kiss and Socialist Realism Painting
The iconological approach to the Soviet fine arts demonstrates that soviet painters used to redress old masters’ compositions for the new epoch. Some works on such subject as “Stakhanovite movement” painted in the late 1940s could be traced back to the classical composition of Jude’s kiss, as it is obvious with Anatoly Leviton’s painting “Exchange of ideas on Stakhanovism” (1948) and some other works on this subject. Such practices were rather genuine for the generation of the painters graduated from the Academy of Arts of the USSR in the late 1940s – early 1950s as the result of special emphasis on compositional principles that started to be demonstrated on the works of the old masters in the frame of the curriculum of the Academy that was reformed in 1947. So in many cases “the innovative Soviet art” was nothing more but replicas of the old classical compositions adjusted to articulate the new social realities.
Доминирование и контроль. Интерпретация культурных кодов 2017. Саратов: ИЦ "Наука", 2017. С. 101 - 173., 2017
The allegorical representation of the Five Senses was formed as a kind of iconography in the Midd... more The allegorical representation of the Five Senses was formed as a kind of iconography in the Middle Ages, however this subject got the peak of its popularity at the Late Renaissance / Early Baroque epoch. The senses were represented as sitting female figures with attributes. Some of the painters, mostly belonging to Antwerp school, combined the allegory with other subjects like Biblical scenes, the Greek gods or architectural orders. In the first half of XVII century the allegory was infiltrated as a motive into still life paintings and the scenes with “Merry companies”. The same time the iconology of the senses was spited into two types to represent the proper and improper use of abilities for perception. The earliest illustration to the parable of wise and foolish virgins is from Rossano Gospels of VI century. The iconographic canon for this subject was finally shaped to X–XI centuries: the virgins were represented as two standing groups, with their lamps up or down. Such compositions were typical for the portals of Gothic cathedrals and miniatures. The new trend appeared in XVI century when the virgins started to be represented as sitting ones, with some of attributes for the Senses. Such combination of the virgins with the Senses was especially typical for the painters and engravers who got their training or work in Antwerp, so the taste for combining two different subjects in a piece of work is one of the features of this local school.
The paper is focused on some contexts of Paul Celan's poems "Psalm" and "Hiittenfensteг" to be t... more The paper is focused on some contexts of Paul Celan's poems "Psalm" and "Hiittenfensteг" to be traced to the Jewish mystical tradition.
Emblemata and Memory Images in Ars Memorativa, or one more time about love between text and pictu... more Emblemata and Memory Images in Ars Memorativa, or one more time about love between text and picture
The paper is focused on some emblem collections of XVI – XVII centuries, treating them as a kind of didactical representation for the whole human experience organised in some analytical way. From this point of view the picturae of emblems functioned as a kind of memory images to provide the mnemonic representation of this or that subject.
Anton Nesterov
The Five Senses in European arts of XIII – XVII centuries: the evolution from the ... more Anton Nesterov The Five Senses in European arts of XIII – XVII centuries: the evolution from the subject to a motive
The allegory of the five senses could be traced in European five arts from the middle ages. This epoch Aristotle mostly used the allegory for the initials in manuscripts such as “De anima”. This text played a significant role in the context of argues between nominalists and realists. This allegory became extremely popular at the edge of Renaissance and Barcoo to be represented by such monumental works as “Allegories” Peter Paul Rubens and Jan Breughel as much as numeric engraving cycles by Georg Pence (c. 1544), Crispin de Passé (1590s and 1620s), Hendrik Goltzius (1596), Hendrik Hondius and others. In the wake of this popularity the allegories were incorporated into other genres: still life paintings and so called “Merry companies”. At this stage the motive subdivided into two, focused on the proper and improper use of our abilities of perception.
Антон Нестеров Аллегория Пяти чувств в изобразительном искусстве XIII – XVII вв.: эволюция от сюжета к мотиву/ Бестиарий и чувства. Res et verba – 5. М.: Intrada, 2017.
Аллегорические изображения Пятерицы чувств появляются еще в Средние века – чаще всего это украшенные инициалы в манускриптах с аристотелевым трактатом «О душе», текст которого был весьма востребован в контексте спора номиналистов и реалистов. Но настоящую популярность этот аллегорический сюжет обретает на переходе от Возрождения к Барокко – именно в это время вокруг него создаются как монументальные полотна, вроде «Аллегории Вкуса и Обоняния» (175.0 x 263.0 см) Питера Рубеса и Яна Брейгеля, выполненной в 1618 г. по заказу эрцгерцога Австрийского, так многочисленные гравюрные циклы – Георга Пенца (ок. 1544), Криспина де Пассе (1590-ые, 1620-ые), Хендрика Гольциуса (1596), Пьетра де Йоди (нач. XVII в.), Хендрика Гондиуса (1607), Пьера Ландри (1650-ые), и др. На волне этой моды данный сюжет проникает и в другие живописные жанры в качестве мотива – в натюрморт (работы Питера Класа, Любена Богена, Себастьяна Штоскопфа, Жака Ленарда), многочисленные сценки пиров – так называемые «Веселые компании» (Симон де Вос, Давид Винкбонс, Дирк Хальс)… Постепенно этот поток разделяется на два русла: репрезентацию должного и недолжного использования чувств. Появляются гравюрные серии вроде «Аллегории чувств» Корнелия Дюсарта, где Обоняние представлено блюющим пьяницей, Осязание – солдатом, тискающим трактирную служанку, Слух – подвыпившим волынщиком, терзающим окружающих игрой на своем визгливом инструменте…
“THE QUEEN IS MOST FIEREELY INCENSED”
OR CLANDESTINE MARRIAGES
IN ELIZABETHAN ENGLAND
This paper ... more “THE QUEEN IS MOST FIEREELY INCENSED” OR CLANDESTINE MARRIAGES IN ELIZABETHAN ENGLAND This paper is focused on some marriage scandals at the court of Elizabeth I: the clandestine marriage of lady Katherine Grey and sir Edward Seymour, love aff air of lady Anne Vavasour with Edward de Vere and, later with sir Henry Lee, marriage of sir Walter Ralegh and lady Elizabeth Throckmorton, the story of Mary Fitt on and William Herbert. These scandals harmed the reputations of the men involved in and destroyed their carriers: these men were push out from the public space. As for the women, the most of them could stabilize the situation and found some other partnership after these scandals. Such recovering of women reputations demonstrates: there was some serious distinction between behavior to be acceptable for private relationships and for public sphere as much the last one was supposed to be the domain of men.
Использование сюжетов живописи Возрождения
в советском соцреализме и работы Александра Самохвалов... more Использование сюжетов живописи Возрождения в советском соцреализме и работы Александра Самохвалова первой половины 1930-х годов
The paper analyses the approaches of Russian translators of the last two centuries to Shakespeare... more The paper analyses the approaches of Russian translators of the last two centuries to Shakespeare’s 27 sonnet. To some extent, the popularity of this sonnet among Russian readers is based on the fact, that Joseph Brodsky used a verse from it (in Samuil Marshak’ translation) for the poem “Pilgrims”. Moreover Brodsky in his poem followed the logical structure of Shakespeare’s text.
A review of "А.Е. Махов. Эмблематика: Макрокосм. М.: Intrada, MMXIV". The review is to examine a ... more A review of "А.Е. Махов. Эмблематика: Макрокосм. М.: Intrada, MMXIV". The review is to examine a monograph by Alexander Makhov devoted to Renaissance ands Baroque emblems in the context of modern approaches to the phenomena.
Программа конференции "Маски приватности, маски публичности. Интерпретация культурных кодов 2018"... more Программа конференции "Маски приватности, маски публичности. Интерпретация культурных кодов 2018" Саратов, СГУ-СГХМ, 28-30 июня 2018 года
With a Rough Tongue: Anthropology of Soviet Political Poster
File too big, so there are two addi... more With a Rough Tongue: Anthropology of Soviet Political Poster
File too big, so there are two additional ones - for a title and for the last chapter written by Anton Nesterov
Книга посвящена исследованимю отношений английской живописи второй половины XVI – начала XVII в. ... more Книга посвящена исследованимю отношений английской живописи второй половины XVI – начала XVII в. и английской культуры как сложного целого. Восприятие культуры времен королевы Елизаветы I и короля Иакова IV требует внимания к самому духу времени, к идеям, что в ту пору «носились в воздухе» и составляли фон драм Шекспира и стихов Джона Донна, полотен Николаса Хилльярда и Джона Гувера. Чтобы понять искусство той эпохи, необходимо погрузиться в ее теологические искания, политические диспуты, придворные интриги, литературные предпочтения, алхимические эксперименты и астрологические практики. Автор использует большой массив теологической, социальной информации, создающий контекст, в котором только и можно «увидеть эпоху», обнаружить глубинные смыслы в портретах, мозаиках, гравюрах и эмблемах..
A translated fragment from: Antony Scaduto. The Real Bob Dylan. N.Y., 1971. Interview with Joan B... more A translated fragment from: Antony Scaduto. The Real Bob Dylan. N.Y., 1971. Interview with Joan Baes on Bob Dylan.
Translation of an extract from C.S. Lewis' "Verse in the "Golden" Period" (English Literature in... more Translation of an extract from C.S. Lewis' "Verse in the "Golden" Period" (English Literature in the Sixteenth Century, excluding Drama
A translation of some letters by Lawrence Durrell addressed to Henry Miller and focused on Shakes... more A translation of some letters by Lawrence Durrell addressed to Henry Miller and focused on Shakespeare's "Hamlet". Несколько писем Лоуренса Даррелла Генри Миллеру, в которых обсуждается "Гамлет" Шекспира.
Густав Майринк. Волшебный рог бюргера: рассказы. Зеленый лик: роман, 2000
Gustav Meyrink: the topography of the other world
The paper is focused on the alchemical context... more Gustav Meyrink: the topography of the other world
The paper is focused on the alchemical contexts of Gustav Meyrink's novel "The Green Face" (Das grüne Gesicht).
Работа посвящена алхимическим контекстам романа Густава Майринка "Зеленый лик".
Канада: малый поэтический атлас/ "Canada - a portable atlas of Canadian poetry" is a preface to a... more Канада: малый поэтический атлас/ "Canada - a portable atlas of Canadian poetry" is a preface to a small anthology of Canadian English poetry, focused on 1980s - 1990s and included such authors as Earle Birney, Leonard Cohen, Patric Lane, Joe Rosenvlatt, bpNichol, Michael Ondaatje and Cristian Bok, and ranslated into Russhian by Marina Borodicky, Irina Mashinsky, Anton Nesterov and Grigory Staricovsky.
"Homer's mystery" is a preface to Homer's Iliade translated into Russian and this time published... more "Homer's mystery" is a preface to Homer's Iliade translated into Russian and this time published as a book intended for school reading.
Гомер. Одиссея. М: Издательский дом "Синергия", ОАО "Московские учебники", 2009
"Regaring Odisseus" is a preface to Homer's Odissey translated into Russian by Ghukovsky and thi... more "Regaring Odisseus" is a preface to Homer's Odissey translated into Russian by Ghukovsky and this time published as a book intended for school reading.
The new generation of Russian poets apeared in the 1960s consisted of those who oriented towards ... more The new generation of Russian poets apeared in the 1960s consisted of those who oriented towards public recognition – even, at times, at the price of a certain degree of confrontation with the regime. The mass publics’ recognition of the poets giving evening performances in Moscow’s Polytechnical Museum testifies to the fact that it had fallen to them to express that complex of ideas and emotions that were on the brink of penetrating the consciousness of an audience that was hungry for such poetry. These feelings and ideas existed already, but they needed an outlet – it was simply necessary to give them a well defined form. The ‘stadium poetry’ of the 1960s was not the poetry of private revelations and personal quests. It was the articulation of a certain popular stereotypes that already existed in the minds of readers and listeners. In essence, this was a social poetry. Social poetry, which addressed the problems of Soviet society, had by definition no need of any ‘donations’ from foreign cultures. Moreover, such donations might have raised the risk of a loss of contact between the poet and his readership: a blood transfusion from a blood group other than the patient’s is likely to end badly. A poetry so powerfully shaped this sort of local context could even seek legitimation of its experience by aligning itself with the experience of foreign poetries, but that legitimation would come about not on the level of a dialogue of poetics, but rather on the level of ‘group photographs’ with the foreign poets.
The second culture chose to exist outside printed publications and did not attempt to accommodate itself to the requirements of Soviet literature. This ‘unofficial’ poetry, as distinct from ‘liberal Soviet poetry’, was extremely open to foreign influences.
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Papers by Anton Nesterov
their inner structure, on the example of several poems by Norwegian authors (Rune
Christiansen and Stein Mehren). Some poems are organized in such a way that this or
that poetic image could arrange the others around and dictate the system of images
in the text. A translator should pay special attention to such images and verify their
role in texts as much as allusions to be interacted with.
Key words: poetic speech; allusion; image; association; context.
POLITICAL PUBLICISTIC OF JOSEPH BRODSKY AND W.H. AUDEN.
The article deals with the late poetry by Joseph Brodsky. A great deal of his late poetic production is of publicist kind and inspired by disgusting to the mass world and mentality of the crowd. Looking for some support in it, Brodsky turns to the heritage of W.H. Auden and makes a lot of allusions to the poems of the British poet. These allusions are rather systematic in Brodsky’s poetry, from his point of view W.H. Auden has demonstrated us a possibility of social responsibility without social engagement.
The author analysis some strategies of fighting for reader in Russian poertry of the 1960s that made possible the domination of “poetry to be read in the Polythechnical Museum”.
In the 60s J.Brodsky’s poetry had to exist in the shadow of poems by such authors as E. Evtushchenko, A.Voznesensky, R. Roghdestvensky and B. Achmadulina. These four were associated with “poetry reading in the Politechnical museum” that was organized as a special event to be filmed for Marlen Khutsiev movie “I’m twenty”(1965).The movie with its 20 minutes long “footage”of poetry reading was a great promotion for the young poets. As the result, they utilized the reputation of the leading voices for the generation. Their audience was orientated for compensation of the lack of emotions and demanded a very special kind of poetry to be associated with: the poem should be not very long to be easy memorized and based on some aphoristic formulas to absorb some typical social experience so it could create some group identity to the listeners. On this spot the poetics of Brodsky seemed to be of absolutely another kind.
The analysis of publications in the soviet periodicals of the second half of the 1940-s demonstrates that the fight against formalism in fine arts was organized not so much by the top party functionaries, as by the group of the artists and critics associated with the former Association of Artists of Revolutionary Russia and was used to get the key positions in the Academy of Fine Arts of the USSR established in 1947.
Key words: the fight against formalism, cosmopolitism, the Peredvizhniki (members of the Society of Travelling Art Exhibitions), impressionism, socialist realist painting, Nikolai Punin, Abram Efros, Osip Beskin.
The iconography of “The Entry of the Animals into Noah’s Ark” and “Leaving the Ark” could be traced back to the earliest Christian illuminated manuscripts as Vienna Genesis and others. Later “the traditional set” of animals (consisted of some domestic ungulates and lions or wolves) was added with such exotic creatures as unicorns, peacocks, lynxes, etc., as the result of the mix with the iconography of “Adam naming animals in Paradise” and the earlier prototype of this one – the pagan “Orpheus playing for animals”.
The iconological approach to the Soviet fine arts demonstrates that soviet painters used to redress old masters’ compositions for the new epoch. Some works on such subject as “Stakhanovite movement” painted in the late 1940s could be traced back to the classical composition of Jude’s kiss, as it is obvious with Anatoly Leviton’s painting “Exchange of ideas on Stakhanovism” (1948) and some other works on this subject. Such practices were rather genuine for the generation of the painters graduated from the Academy of Arts of the USSR in the late 1940s – early 1950s as the result of special emphasis on compositional principles that started to be demonstrated on the works of the old masters in the frame of the curriculum of the Academy that was reformed in 1947. So in many cases “the innovative Soviet art” was nothing more but replicas of the old classical compositions adjusted to articulate the new social realities.
The earliest illustration to the parable of wise and foolish virgins is from Rossano Gospels of VI century. The iconographic canon for this subject was finally shaped to X–XI centuries: the virgins were represented as two standing groups, with their lamps up or down. Such compositions were typical for the portals of Gothic cathedrals and miniatures. The new trend appeared in XVI century when the virgins started to be represented as sitting ones, with some of attributes for the Senses. Such combination of the virgins with the Senses was especially typical for the painters and engravers who got their training or work in Antwerp, so the taste for combining two different subjects in a piece of work is one of the features of this local school.
The paper is focused on some emblem collections of XVI – XVII centuries, treating them as a kind of didactical representation for the whole human experience organised in some analytical way. From this point of view the picturae of emblems functioned as a kind of memory images to provide the mnemonic representation of this or that subject.
The Five Senses in European arts of XIII – XVII centuries: the evolution from the subject to a motive
The allegory of the five senses could be traced in European five arts from the middle ages. This epoch Aristotle mostly used the allegory for the initials in manuscripts such as “De anima”. This text played a significant role in the context of argues between nominalists and realists. This allegory became extremely popular at the edge of Renaissance and Barcoo to be represented by such monumental works as “Allegories” Peter Paul Rubens and Jan Breughel as much as numeric engraving cycles by Georg Pence (c. 1544), Crispin de Passé (1590s and 1620s), Hendrik Goltzius (1596), Hendrik Hondius and others. In the wake of this popularity the allegories were incorporated into other genres: still life paintings and so called “Merry companies”. At this stage the motive subdivided into two, focused on the proper and improper use of our abilities of perception.
Антон Нестеров
Аллегория Пяти чувств в изобразительном искусстве XIII – XVII вв.: эволюция от сюжета к мотиву/ Бестиарий и чувства. Res et verba – 5. М.: Intrada, 2017.
Аллегорические изображения Пятерицы чувств появляются еще в Средние века – чаще всего это украшенные инициалы в манускриптах с аристотелевым трактатом «О душе», текст которого был весьма востребован в контексте спора номиналистов и реалистов. Но настоящую популярность этот аллегорический сюжет обретает на переходе от Возрождения к Барокко – именно в это время вокруг него создаются как монументальные полотна, вроде «Аллегории Вкуса и Обоняния» (175.0 x 263.0 см) Питера Рубеса и Яна Брейгеля, выполненной в 1618 г. по заказу эрцгерцога Австрийского, так многочисленные гравюрные циклы – Георга Пенца (ок. 1544), Криспина де Пассе (1590-ые, 1620-ые), Хендрика Гольциуса (1596), Пьетра де Йоди (нач. XVII в.), Хендрика Гондиуса (1607), Пьера Ландри (1650-ые), и др. На волне этой моды данный сюжет проникает и в другие живописные жанры в качестве мотива – в натюрморт (работы Питера Класа, Любена Богена, Себастьяна Штоскопфа, Жака Ленарда), многочисленные сценки пиров – так называемые «Веселые компании» (Симон де Вос, Давид Винкбонс, Дирк Хальс)… Постепенно этот поток разделяется на два русла: репрезентацию должного и недолжного использования чувств. Появляются гравюрные серии вроде «Аллегории чувств» Корнелия Дюсарта, где Обоняние представлено блюющим пьяницей, Осязание – солдатом, тискающим трактирную служанку, Слух – подвыпившим волынщиком, терзающим окружающих игрой на своем визгливом инструменте…
OR CLANDESTINE MARRIAGES
IN ELIZABETHAN ENGLAND
This paper is focused on some marriage scandals at the court of Elizabeth
I: the clandestine marriage of lady Katherine Grey and sir Edward Seymour,
love aff air of lady Anne Vavasour with Edward de Vere and, later with
sir Henry Lee, marriage of sir Walter Ralegh and lady Elizabeth Throckmorton, the story of Mary Fitt on and William Herbert. These scandals harmed the reputations of the men involved in and destroyed their carriers: these men were push out from the public space. As for the women, the most of them could stabilize the situation and found some other partnership after these scandals. Such recovering of women reputations demonstrates: there was some serious distinction between behavior to be acceptable for private relationships and for public sphere as much the last one was supposed to be the domain of men.
в советском соцреализме и работы Александра Самохвалова
первой половины 1930-х годов
their inner structure, on the example of several poems by Norwegian authors (Rune
Christiansen and Stein Mehren). Some poems are organized in such a way that this or
that poetic image could arrange the others around and dictate the system of images
in the text. A translator should pay special attention to such images and verify their
role in texts as much as allusions to be interacted with.
Key words: poetic speech; allusion; image; association; context.
POLITICAL PUBLICISTIC OF JOSEPH BRODSKY AND W.H. AUDEN.
The article deals with the late poetry by Joseph Brodsky. A great deal of his late poetic production is of publicist kind and inspired by disgusting to the mass world and mentality of the crowd. Looking for some support in it, Brodsky turns to the heritage of W.H. Auden and makes a lot of allusions to the poems of the British poet. These allusions are rather systematic in Brodsky’s poetry, from his point of view W.H. Auden has demonstrated us a possibility of social responsibility without social engagement.
The author analysis some strategies of fighting for reader in Russian poertry of the 1960s that made possible the domination of “poetry to be read in the Polythechnical Museum”.
In the 60s J.Brodsky’s poetry had to exist in the shadow of poems by such authors as E. Evtushchenko, A.Voznesensky, R. Roghdestvensky and B. Achmadulina. These four were associated with “poetry reading in the Politechnical museum” that was organized as a special event to be filmed for Marlen Khutsiev movie “I’m twenty”(1965).The movie with its 20 minutes long “footage”of poetry reading was a great promotion for the young poets. As the result, they utilized the reputation of the leading voices for the generation. Their audience was orientated for compensation of the lack of emotions and demanded a very special kind of poetry to be associated with: the poem should be not very long to be easy memorized and based on some aphoristic formulas to absorb some typical social experience so it could create some group identity to the listeners. On this spot the poetics of Brodsky seemed to be of absolutely another kind.
The analysis of publications in the soviet periodicals of the second half of the 1940-s demonstrates that the fight against formalism in fine arts was organized not so much by the top party functionaries, as by the group of the artists and critics associated with the former Association of Artists of Revolutionary Russia and was used to get the key positions in the Academy of Fine Arts of the USSR established in 1947.
Key words: the fight against formalism, cosmopolitism, the Peredvizhniki (members of the Society of Travelling Art Exhibitions), impressionism, socialist realist painting, Nikolai Punin, Abram Efros, Osip Beskin.
The iconography of “The Entry of the Animals into Noah’s Ark” and “Leaving the Ark” could be traced back to the earliest Christian illuminated manuscripts as Vienna Genesis and others. Later “the traditional set” of animals (consisted of some domestic ungulates and lions or wolves) was added with such exotic creatures as unicorns, peacocks, lynxes, etc., as the result of the mix with the iconography of “Adam naming animals in Paradise” and the earlier prototype of this one – the pagan “Orpheus playing for animals”.
The iconological approach to the Soviet fine arts demonstrates that soviet painters used to redress old masters’ compositions for the new epoch. Some works on such subject as “Stakhanovite movement” painted in the late 1940s could be traced back to the classical composition of Jude’s kiss, as it is obvious with Anatoly Leviton’s painting “Exchange of ideas on Stakhanovism” (1948) and some other works on this subject. Such practices were rather genuine for the generation of the painters graduated from the Academy of Arts of the USSR in the late 1940s – early 1950s as the result of special emphasis on compositional principles that started to be demonstrated on the works of the old masters in the frame of the curriculum of the Academy that was reformed in 1947. So in many cases “the innovative Soviet art” was nothing more but replicas of the old classical compositions adjusted to articulate the new social realities.
The earliest illustration to the parable of wise and foolish virgins is from Rossano Gospels of VI century. The iconographic canon for this subject was finally shaped to X–XI centuries: the virgins were represented as two standing groups, with their lamps up or down. Such compositions were typical for the portals of Gothic cathedrals and miniatures. The new trend appeared in XVI century when the virgins started to be represented as sitting ones, with some of attributes for the Senses. Such combination of the virgins with the Senses was especially typical for the painters and engravers who got their training or work in Antwerp, so the taste for combining two different subjects in a piece of work is one of the features of this local school.
The paper is focused on some emblem collections of XVI – XVII centuries, treating them as a kind of didactical representation for the whole human experience organised in some analytical way. From this point of view the picturae of emblems functioned as a kind of memory images to provide the mnemonic representation of this or that subject.
The Five Senses in European arts of XIII – XVII centuries: the evolution from the subject to a motive
The allegory of the five senses could be traced in European five arts from the middle ages. This epoch Aristotle mostly used the allegory for the initials in manuscripts such as “De anima”. This text played a significant role in the context of argues between nominalists and realists. This allegory became extremely popular at the edge of Renaissance and Barcoo to be represented by such monumental works as “Allegories” Peter Paul Rubens and Jan Breughel as much as numeric engraving cycles by Georg Pence (c. 1544), Crispin de Passé (1590s and 1620s), Hendrik Goltzius (1596), Hendrik Hondius and others. In the wake of this popularity the allegories were incorporated into other genres: still life paintings and so called “Merry companies”. At this stage the motive subdivided into two, focused on the proper and improper use of our abilities of perception.
Антон Нестеров
Аллегория Пяти чувств в изобразительном искусстве XIII – XVII вв.: эволюция от сюжета к мотиву/ Бестиарий и чувства. Res et verba – 5. М.: Intrada, 2017.
Аллегорические изображения Пятерицы чувств появляются еще в Средние века – чаще всего это украшенные инициалы в манускриптах с аристотелевым трактатом «О душе», текст которого был весьма востребован в контексте спора номиналистов и реалистов. Но настоящую популярность этот аллегорический сюжет обретает на переходе от Возрождения к Барокко – именно в это время вокруг него создаются как монументальные полотна, вроде «Аллегории Вкуса и Обоняния» (175.0 x 263.0 см) Питера Рубеса и Яна Брейгеля, выполненной в 1618 г. по заказу эрцгерцога Австрийского, так многочисленные гравюрные циклы – Георга Пенца (ок. 1544), Криспина де Пассе (1590-ые, 1620-ые), Хендрика Гольциуса (1596), Пьетра де Йоди (нач. XVII в.), Хендрика Гондиуса (1607), Пьера Ландри (1650-ые), и др. На волне этой моды данный сюжет проникает и в другие живописные жанры в качестве мотива – в натюрморт (работы Питера Класа, Любена Богена, Себастьяна Штоскопфа, Жака Ленарда), многочисленные сценки пиров – так называемые «Веселые компании» (Симон де Вос, Давид Винкбонс, Дирк Хальс)… Постепенно этот поток разделяется на два русла: репрезентацию должного и недолжного использования чувств. Появляются гравюрные серии вроде «Аллегории чувств» Корнелия Дюсарта, где Обоняние представлено блюющим пьяницей, Осязание – солдатом, тискающим трактирную служанку, Слух – подвыпившим волынщиком, терзающим окружающих игрой на своем визгливом инструменте…
OR CLANDESTINE MARRIAGES
IN ELIZABETHAN ENGLAND
This paper is focused on some marriage scandals at the court of Elizabeth
I: the clandestine marriage of lady Katherine Grey and sir Edward Seymour,
love aff air of lady Anne Vavasour with Edward de Vere and, later with
sir Henry Lee, marriage of sir Walter Ralegh and lady Elizabeth Throckmorton, the story of Mary Fitt on and William Herbert. These scandals harmed the reputations of the men involved in and destroyed their carriers: these men were push out from the public space. As for the women, the most of them could stabilize the situation and found some other partnership after these scandals. Such recovering of women reputations demonstrates: there was some serious distinction between behavior to be acceptable for private relationships and for public sphere as much the last one was supposed to be the domain of men.
в советском соцреализме и работы Александра Самохвалова
первой половины 1930-х годов
File too big, so there are two additional ones - for a title and for the last chapter written by Anton Nesterov
Автор использует большой массив теологической, социальной информации, создающий контекст, в котором только и можно «увидеть эпоху», обнаружить глубинные смыслы в портретах, мозаиках, гравюрах и эмблемах..
Несколько писем Лоуренса Даррелла Генри Миллеру, в которых обсуждается "Гамлет" Шекспира.
The paper is focused on the alchemical contexts of Gustav Meyrink's novel "The Green Face" (Das grüne Gesicht).
Работа посвящена алхимическим контекстам романа Густава Майринка "Зеленый лик".
The second culture chose to exist outside printed publications and did not attempt to accommodate itself to the requirements of Soviet literature. This ‘unofficial’ poetry, as distinct from ‘liberal Soviet poetry’, was extremely open to foreign influences.