Основы стилеметрии - The Foundations of Stylometics

Культура и искусство , 2017

The style and the issues related to the concept of origin and development as well as the shaping of major stylistic trends constitute the key notions in the art criticism and art history. Nadezhda Savelievna Woitinskaya (1886–1965) often addressed that theme in her research works. This article aims to conduct a detailed analysis of the main propositions presented in Woitinskaya's manuscripts. Some of her texts are based on the theory of style and a number of theses by its authors and followers. Woitinskaya focuses on the principles of style formation in the arts. The ways to arrange the space in the arts are regarded as the most important characteristic of style. Woitinskaya also introduces a new term — “aesthetic space” — for that special category. The author of this article studies key elements of Woitinskaya’s conception of style and analyzes them on the basis of her interpretation of European art theory, which was described in her papers “Wölfflin”, “Semper and Riegl”, and “Franz Wickhoff”. Studies of these manuscripts are rather important as they may result in the discoveries of new aspects of many-sided biography of Woitinskaya; furthermore, her ideas allow to demonstrate the range of issues and problems which Russian Art theory of the 1920s tried to solve. Keywords: Alois Riegl , Gottfried Semper, Heinrich Wölfflin, theory of art, European painting, form, space, style, Nadezhda Woitinskaya, Franz Wickhoff

2024

The bureaucratic system of the Great Saljuqs (431–552/1040–1157) reached the apogee of its development in connection with extensive conquests and the need to effectively manage the conquered territories. This system was later preserved by their Anatolian successors (c. 483–707/1081–1308) with the methods of climbing the administrative career ladder. Along with the hereditary succession in governmental appointments, the making of literary forgeries, fakes, hidden plagiarism and the deliberate editing of texts written by other authors occupied not the last place among these methods in order to obtain a high position at the Saljuqid сourt. These methods clearly characterize both the category of administrative literature and the compilers who worked in it. The structure and content of their compilations in this category directly depended on the vacancies they applied for. This article briefly examines the evolution of three texts - Job contract (muwaza'a) of Nizam al-mulk, the Siyar al-muluk/Siyasat-nama ascribed to him, and the Fustat al-'adala fi qawa'id al-saltana - which belong to this category, and presents the results of their computational stylometry with the use of R-stylo software.

[Paper briefly presents some of key researches/conclusions from my PhD work, in a journal of faculty where those studies took place. Work is titled Icon – Between the Imprint, the Picture and the Word and defended at the Faculty of Fine arts, University of Arts in Belgrade, on 10.28.2015; for few more details visit: http://www.vbs.rs/scripts/cobiss?ukaz=DISP&id=1220400231964860&rec=28&sid=1] Summary: The relations between the icon and its archetype – on the one hand, or between the icon and its beholder – on the other – have been constantly changing throughout the millennial historical development of Byzantine art. Approaching these changes from a semiotic perspective, this research is trying to detect their influence on some important aspects of the stylistic development of post-iconoclastic painting. If different kinds of textual entities on the icon are interpreted as a specific symbolic semiotic instance, engaged in control and redefining the experience of archetypal presence in the icon, then some of the most obscure and most intriguing aesthetic changes in Byzantine art can be theoretically approached. Unlike the other phases in the historical development of this art, the specificity of the Komnenian painting was the radical saturation of pictorial space with inscriptions of different kinds. Moreover, the aesthetics formed in such a grammatological context influenced the way of rendering forms of human bodies and faces. The most peculiar and most expressive result of this aesthetic trend can be found in altar painting of this period, as well as on the vestments of holy bishops. Ornamented with a specific graphic network of crosses and letters – the so called 'polystavria' – those garments are presented as a kind of symbolic, highly conventional inscription on the body of the saints. By means of ‘grammatologisation’ on all accessible levels, Byzantine painting succeeded in redefining the experience of archetypal presence in the icon – paradoxically, at first glance – by using devices proscribed by iconoclasts as a cognitive alternative for the iconic medium. After almost two centuries of stylistic (re)search, the pictorial form itself was finally and ultimately able to satisfy the demands of the image theory formulated during the iconoclastic controversy. Thus, the visual medium was brought under theological control, which was becoming all the more important as the unstoppable dissemination of images on all the available surfaces of the church space was already taking place in the Komnenian period. Due to the process designated here as the 'Komnenian grammatological synthesis', icons/frescoes became a kind of visual text that could freely penetrate the liturgical space and liturgical ritual, without a fear of ancient iconoclastic dilemmas being attached to them. In such a manner, the real explosion of the need for images in the latest (Palaeologan) phase of the development of Byzantine art was accorded its initial semiotic frame.

2014

Данная работа является первой частью более крупной двухчастной статьи под заявленным названием. В предлагаемой части рассматривается эпоха первичного становления стилеметрии. Рассматривается широкий междисциплинарный контекст, сформированный другими измеряющими общественных дисциплинами: антропометрией, биометрией, психометрикой, искусствометрией и др.

In the paper, I have analyzed English post-postmodern novels (mainly David Mitchell's "Cloud Atlas") using the theoretical apparoach of Prof. Felix Shteynbook. I have demonstated the links in body discourse between postmodern and post-postmodern literatures.

Слово.ру: Балтийский акцент. Т. 15. № 4, 2024

One of the first Russian-language works aimed at creating a general theory of verse was Mikhail Malishevskii’s short book “Metrotonics” (1925), which offered a common theoretical frame for the whole structure of metrics. Later, some of Malishevskii’s ideas were developed by Aleksei Kviatkovskii, who proposed a unified treatment of classical and non-classical verse. Theoretics of the ‘Russian method’ in the theory of verse considered these theories unverifia­ble, although a closer analysis of them allows us to show that they were precursors of modern metric typology. The present article explores Malishevskii’s theoretical views both in the con­text of theory of verse of the Russian 1920s and in the broader context of ‘tactometric’ theory, which before Malishevskii was represented primarily by the works of Aleksei Kubarev. It shows the development of ‘tactometric’ theory from Kubarev to Malishevskii and how it fits into metric typology, a subdiscipline that developed later and whose program was first pro­posed in the works of Roman Jakobson and John Lotz. The article concludes with a formal analysis of the poetic legacy of Malishevskii, who was active not only as a theorist but also as a poet. His oeuvres in poetry are examined against the background of his views on metrics, which, in fact, are hardly applicable to the structures of his own poems, which are much more traditional than his theoretical frame.

Вопросы литературы. 2020. № 4. С. 154 - 178., 2020

Аннотация. В статье рассматривается вопрос о перспективах использования в академических изданиях русской классической литературы, с целью максимального соответствия публикуемого текста авторской воле писателя, элементов архаической орфографии и пунктуации, относящихся ко времени создания литературного произведения. В связи с этим анализируется прагматическая оправданность такого рода экспериментов, их совместимость с нормами современной русской грамматики на примере тома 8 Полного собрания сочинений Ф. М. Достоевского в 35 томах (роман «Идиот»). Ключевые слова: Ф. Достоевский, «Идиот», русская классическая литература, академическое издание, аутентичная текстология, перевод, русский язык, грамматические нормы. Статья поступила 11.10.2019. Исследование проведено при финансовой поддержке Российского фонда фундаментальных исследований, проект № 18-012-90010.

СТАНОВЛЕНИЕ АНТИЧНЫХ РАЗМЕРОВ В РУССКОМ СТИХЕ Aспекты когнитивной метрики 1 Памяти Михаила Леоновича Гаспарова 0. ПРОБЛЕМА Основу метрического репертуара русской литературной поэзии составляют силлаботонические размеры античного происхождения, введенные в результате так наз. «реформы Тредиаковского-Ломоносова». Все остальные формы (славянские, германские, восточные, равно как и «международный верлибр» 2 ) находятся на периферии поэтической культуры и, как правило, воспринимаются сквозь призму силлаботоники. Показательным случаем является 4-стопный хорей, известный как русской народной поэзии, так и самым различным поэтическим традициям. В литературной поэзии этот размер конституируется общими правилами русской силлаботоники, в то время как связи с народной, или испанской, или финской и т. п. традициями осуществляются либо за счет дополнительных характеристик в области ритмики, рифмы или каталектики, либо стилистическими средствами, не связанными со структурой стиха.