«В память Русской Германской войны»: песенник артиллериста Талашова

Время Великой войны: от глобального переустройства до трансформации повседневности: Сб. научных статей / Отв. ред. И.О. Дементьев. Калининград: Изд-во БФУ им Канта, 2016

Russian Army's songs in the World War I and in the post-war culture. The article is devoted to the Russian Army's song tradition and to their transformation during the World War I, the Russian Civil War and the early Soviet time. Song traditions are analyzed through song practices, that is to say through song-related actions and situations. The World War I was the last war of the Russian tsarist army. Against the background of this war, the Russian Civil war began and new armies were created including the Red Army. The Soviet propaganda emphasized the groundbreaking difference between the Red Army and the tsarist army, but song practices of both armies were similar.

Человеческий капитал, 2022

The article deals with the history of the military music of Ancient Russia in the pre- Mongolian period. Based on the material of ancient Russian chronicles and literary monuments, considered in comparison with the news of foreign chronicles, the main stages in the development of musical culture in the military sphere are revealed.

Традиционная культура, 2016

Song practices of the Russian Civil War. The research concerning Russian Civil War songs is concentrated on texts of songs, which were composed or performed orally immediately during hostilities. Participants of both sides also used songs, that had been known before the war. Songs existed in different situations and forms, orally as well as written. The song is not only restricted to a text with certain tune, but its performance includes actions of some people in given situation. Singing exists as a practice. Thus, analysis from performance perspective should be based on samples of using songs, such as singing, composing by authors, often unknown, publishing etc. It enables to define factors of appearance and transition of song traditions and to characterize repertoire of different groups. War participants were singing, first of all, when marching, during leisure, during military rites, when leaving into combat, after a good fight, before the execution and being drunk. Some of these situations are typical of all military units, as well as of other wars, but some others, as singing before the execution by the enemy and leaving into combat, are specific for the Russian Civil War. Songs known before the war formed the basis of the oral repertoire. In 1918–1919 such songs prevailed in printed songsters too. New songs appeared either as published in newspapers and leaflets or handwritten in songsters. New songs were devoted to particular fights, operations, to the fighting way in general, to the everyday life, to the glorification of leaders and humiliation of enemies. They called to battle for the best future and mourned the fallen. Usually, a new song became a hymn of a military unit and was sung during parades or at crucial moments of the battle. Key words: Russian civil war, songs, practices, performance, folklore.

2016

А Review of Martin Pegler, Soldiers’ Songs and Slang of the Great War. Oxford: Osprey Publishing, 2014, 408 pp.; Pervaya mirovaya voyna v ustnom i pismennom tvortshestve russkikh krestyan: Po materialam Pushkinskogo Doma [The First World War in Oral and Written Works of Russian Peasants: Materials of the Pushkin House]. St Petersburg: Pushkinskiy Dom Press, 2014, 584 pp. Both books pioneer in representing the folklore of the First World War in the context of British and Russian popular culture. They include not only works that soldiers composed during the war, but also works they used, such as songs by professional songwriters and posters by professional artists. Authors hadn’t ignored obscene folk texts. Both books do not have a bibliography. The first book is criticized for publishing folk texts without comments, which eliminates their scientific value and reduces the field of application. The second book lacks a general introduction to logically connect thematically scattered chapters and to elucidate the background of the topic. Some authors of this book use questionable terminology and cultural stamps. Their articles are more descriptive than they are analytical. Keywords: First World War, folklore, popular culture, songs, slang. В рецензии сравниваются два сборника, любительский британский и научный российский, которые неожиданно оказались близкими по авторским подходам. Отмечаются их достоинства по сравнению с предшествующими изданиями военного фольклора, а именно отказ от его идеологической и эстетической цензуры и попытка показать более полную картину бытовавших на фронте визуальных, вербальных и музыкальных произведений, а не только тех, что были созданы во фронтовой среде в ходе самой войны. При этом оба сборника критикуются за недостаток академичности, что особенно досадно в случае второго из них, авторы которого не избежали научно не доказуемых культурных штампов и предпочли описание материала его анализу. Ключевые слова: Первая мировая война, фольклор, массовая культура, песни, сленг.

Биографический очерк о Герое Советского Союза Мехти Гусейнзаде (1918-1944), воевавшем в рядах Сопротивления в зоне Триеста.

Рукописна та книжкова спадщина України, 2024

The purpose of the article is to compare the thematic content of five wartime sermons by the prominent Ukrainian Baroque author Antonii Radyvylovskyi with the distinctive features of the battle exhortation, which is a common genre in the early Modern Polish literature.

Современная русская патриотическая песня как отражение посттравматического национального синдрома, 2022

Contemporary Russian patriotic song as a phenomenon of a post-traumatic society’s condition The author has addressed both Soviet and post-Soviet song discourse a number of times already, as it is in the song discourse that one can discern the reflection of the ideological attitudes on the one hand and a certain indicator of how the spirit of the times changes on the other hand. The 2000s increased the impact channels of the song genre by adding the visual channel to the ones already existing; that is, a truly popular song is disseminated in clips, the number of clips and views correlates with the popularity of a song. There appeared a new kind of a ‘civil’ song in the Russian song space. It explicitly coincides with the propagandist trends, either the ones being created or the ones that have already been set. This song discourse is full of ressentiment motives that have rallied the present-day Russian authorities and a certain part of the population. Their aggressively advancing potential is related to the traumatic condition of the society experiencing a particular shock caused by the feeling of the loss of the erstwhile grandeur of the country. The author deals with the functions of such a propagandistic song that can be characterized as an additional propagandistic narrative on the examples of Gazmanov’s and Bichevskaya’s songs. The narrative ‘informs’ about the history of Russia and depicts its future in the form of a song lyrics. It is noteworthy that some authors observe the already existing political trend, while the others express and reveal covert mental attitudes of the collective consciousness before they are verbalized by the authorities, thus making the appearance and formation of these trends possible.

Диссертация на соискание степени магистра / Науч. рук. М.Л. Лурье. СПб.: Европейский университет в Санкт-Петербурге, Факультет антропологии, 2014

Songs on the fronts of the Russian Civil War: features of functioning. The analysis of principal song practices and situations among different belligerent camps of the Russian Civil War 1917-1922. This work is focused not on the songs texts but on the context of performing songs. The study is preceded by a history of research of songs of the Russian Civil War. В работе проанализированы основные песенные практики и ситуации функционирования песен в разных воюющих лагерях Гражданской войны в России 1917-1922 гг. (пение, сочинение, слушание, публикация и т.д.). Работа сфокусирована на контексте бытования песен, а не на текстах. Исследование предваряется экскурсом в историю изучения песен Гражданской войны.

Научный диалог, 2020

Впервые предпринята попытка источниковедческого анализа материалов музыкальной тематики журнала «Славяне» - печатного органа транснационального антифашистского Всеславянского комитета в условиях Великой Отечественной войны 1941-1945 годов. Показана актуальность славянской музыкальной проблематики в социально-политическом и исследовательском плане. Выявлен круг официально одобренных персоналий выдающихся музыкантов, в том числе лидеров мнения - современников войны, чьи имена обнаружены на страницах журнала. Установлено, что атрибуция большинства информационных единиц по вопросам музыкального искусства, опубликованных в журнале, затруднена. Выделены социально-значимые музыкальные события в стране и за рубежом, освещенные в журнале, имевшие локальный и международный резонанс: премьера Седьмой симфонии Д. Д. Шостаковича, спектакли, концерты, сопровождение разного рода политических и научных мероприятий и т. д. Показано разнообразное использование общеславянского культурного потенциала в музыкальной сфере. Определены основные национальные информационные музыкально-культурные векторы, отраженные в публикациях (русское, украинское, белорусское, чешское, польское). Отмечены ключевые контексты публикаций журнала - борьба с общим врагом - фашистской Германией, освобождение и восстановление культуры славянских стран. For the first time, an attempt has been made to source-based analysis of materials on musical subjects of the “Slavs” magazine, the press organ of the transnational anti-fascist All-Slavic Committee in the conditions of the Great Patriotic War of 1941-1945. The relevance of Slavic musical problems in the socio-political and research terms is shown. Officially approved personalities of outstanding musicians, including opinion leaders - contemporaries of the war, whose names are found on the pages of the magazine, are revealed. It has been established that the attribution of most information units on musical art issues published in the magazine is difficult. Socially significant musical events in the country and abroad highlighted in the magazine, having local and international resonance: the premiere of the Seventh Symphony of D. D. Shostakovich, performances, concerts, accompaniment of various political and scientific events, etc. are singled out. The diverse use of the Slavic cultural potential in the musical sphere is shown. The main national informational musical and cultural vectors reflected in the publications (Russian, Ukrainian, Belarusian, Czech, Polish) are determined. The key contexts of the magazine's publications are noted - the struggle against the common enemy - fascist Germany, the liberation and restoration of the culture of the Slavic countries.