Два канта Полтавского цикла в выголексинском рукописном сборнике из собрания академика М.Н. Тихомирова ГПНТБ СО РАН

Even in the midst of their dubious claim that “philosophers did not go to the opera very often,” Slavoj Žižek and Mladen Dolar cannot escape acknowledging the combination of “the splendor of court spectacles, the pomp of national myths, and the sentimental melodramas” that have traditionally driven opera in its social contexts (1).1 Discussions of the Restoration dramatic stage follow the same tripartite preoccupations—they also typically focus on the return of theater to London after the Interregnum, the appearance of women on stage in drama, and the increasing importance of music to theater life before the full arrival of opera seria in the eighteenth century with Georg Friedrich Handel’s appearance in London. However, the specifically interactive relationship between English nationalism, literature, theater, and music is often overlooked. In particular, the role of musical form in these displays of nationalism, especially in conjunction with patriotic libretti, is largely ignored, despite its ability to bridge the divisions between each disciplinary field. Textual studies of libretti rapidly recognize the pro-Imperial feeling that followed the restoration of the monarchy with Charles II in 1660, the Exclusion Crisis’s attempts to prevent the Catholic James II from ascending to the throne in 1685, and the Glorious Revolution of 1688 when James (the last Catholic monarch of England) was displaced by the Hanoverian Protestant William III and Mary II (formalized in 1689). This is readily seen in the histories of John Dryden, Nahum Tate, John Crowne, and many others. Moreover, anti-Papist sentiments frequently appear in an only vaguely coded form as resistance to tensions based on the French and Italian influences via Catholicism on James II and Charles II.

The article deals with the problems of teaching Polish as a Slavic language with the primary objective being to develop the competency of analyzing grammatical forms in a text and analyzing phonetic phenomena in comparison with the facts of the Old Church Slavonic and Russian languages. The study presents various aspects of using a poetic text in the study of Polish as a foreign language. The authors propose an example of a complex assignment on “Linguistic Analysis of a Poetic Text” based on a poem by the modern Polish poet Jakub Eker.

The present study departs from the debates caused by the idea of performers’ faithfulness to composers’ intentions in the context of Western-European type academic music. In the musicological research of the past three decades there appeared significant changes in approaching the relationship between performers and musical texts, which I set out to comment from a performer’s perspective. I wish to outline a few answers to questions posed by the desideratum of faithful interpretation in the performing act of composers’ intentions: ▪ are musical texts faithful mirrors of the works conceived by composers? To what extent can performers know composers’ intentions from reading musical texts? ▪ what is the degree of freedom that performers can assume in interpreting musical texts noted by composers? To what extent are the two requirements of the performing act – respecting composers’ intentions and being creative – compatible? ▪ what does performers’ creativity consist of and how is it manifested? Departing from the premise that the analysis of the relation between composition and research in performing a musical work can supply us with some answers to these questions, I set out to prove that: ▪ performers can be creative without encroaching on composers’ copyright; ▪ the analysis of musical texts opens a wide field for performers, in which their creativity can be manifested by knowing and observing the laws governing the makeup of the performed work.

The liturgical texts of the Church Slavonic sacramentaries (Kiev Leaflets, Vienna Leaflets, Sinai missal Sin. Slav. 5N and others) from the early stages of the Slavic liturgy (9th to 14th century) with its textological and euchological content mostly belong to the Roman rite. These texts are euchological texts with proper liturgical function: texts are written and arranged for the celebration of the Mass and they are preserved in the liturgical book called sacramentary. The medieval Latin liturgical textological tradition is divided into two branches: Gelasian and Gregorian, which formed a unique textological tradition in parts of Northern Italy and Transalpine countries (from Aquileia to Salzburg) establishing a new textological tradition known as the »Gelasianized-Gregorian Sacramentary«, which was used in the mentioned parts of Central Europe. Based on the research of the history of Old Church Slavonic liturgy and historical and comparative analysis of Latin and Church Slavonic texts, mostly conducted for the doctoral thesis entitled Historical and liturgical peculiarities of the early stages of the Slavonic liturgy, this study presents influences of Latin liturgical textological tradition from Central Europe on the oldest Church Slavonic translations of sacramentaries from 9th to 14th century and other liturgical texts, mainly euchological, which continued to exist in the Croatian Glagolitic tradition even after the liturgical reform at the end of the 13th century.

The article is concerned with investigating the problem of synesthesia that manifests itself in the fact that stimulation in one sensory-based system or cognitive system that leads to automatic reaction in another one. This article is the continuation of the research published in the previous one (Еливанова, Семушина, 2017) in which we described statistically significant sound / alphabet letters-color and words-color correlations typical for synesthets. Тhe aim of the next stage was to research synesthets’ capability of sound-color and phono-semantic analysis of a poetic text. Phonosemantics is a Russian branch of linguistic, its subject matter is sounds that create images. 12 synesthets took part in the research at the first stage. We offered them to analyze a piece of poetry “Grasshopper” by V. Hlebnikov (В. Хлебников). We revealed that synesthets have different capabilities of sound-color analysis of a literary poetic text that manifest individual and typological specifics of sound-color capability. 2 (16.7%) of examined respondents who have artistic type of higher nervous function with its high potential color-sound language system are good at intuitive phono-semantic analysis of a poetic text. Then we offered 3 curated synesthets extracts of poetry by А. Блок, А. Белый and Edgar Allan Poe (in original and in the translation by 3 different Russian poets). Analysis showed that individual method of synesthets partly coincides with the method of automatical analysis that is based on letter occurrence frequency in a text. Synesthets do not necessarily feel colors of frequent letters / sounds that have not equal meaning for the color perception of words and the text as a whole. Synesthesia specifics combined with emotional image reflection of color-sound of analyzed texts let synesthets intuitively decode motivation coded with the help of phonetic means of language in the text by the authors of poems. In spite of individual variability of synesthetic perception of a text there is phono-semantic general invariability that is caused by imaginative comprehension of sound-color of poetic texts.

In the Orthodox Church at Easter, the Prologue of the Gospel of John is read in different languages. In the Russian Orthodox Church ten languages are used, including Old Greek, German, English, Church Slavonic and Russian. The observed variations in readings are thematically associated with the grammatical principles of language structure. The present work analyzes the difference in the use of personal and possessive pronouns, substitutes for personal and possessive pronouns. As well as masculine and neuter adjective and verb endings in the Russian translation. The results contribute to a better understanding of the theological meaning of the texts. The studies of Bible translations are important because the language of the Holy Scriptures is something special, often it sounds like a hymn. The Prologue of John's Gospel is regarded as a hymn of the apostolic church characterized by inner harmony on multiple levels. There are three types of translations: those based on the original language, those where the target language is in the foreground, or those for specific readers and target groups. There are particular difficulties in translating the Greek word "κατέλαβεν", which has multiple meanings - “to understand” and “to master”. The translation of the Easter Gospel into German and English reflects the complex semantics of this word, while the translation of this word into Russian and Church Slavonic cannot give the full meaning of the original text. Various translation possibilities are being discussed in order to better match the sound and meaning of the original text. The article further proposes that these issues be presented before the Synodal Biblical and Theological Commission for further consideration.

The presented research is devoted to highlighting the stylistic features of the processing genre in the piano work of Zhang Zhao. Zhang Zhao’s work is aimed at preserving the traditional musical art of China and popularizing it in the world music arena. From this point of view, the genre of processing in the work of Zhang Zhao occupies a special place. The composer chose folk songs of various ethnic groups inhabiting the territory of the PRC as material for processing. However, the methods of processing these songs, regardless of their national identity, are very close. The analysis of piano pieces in the genre of processing demonstrated the composer’s penchant for certain kinds of means.The purpose of the research is to determine the palette of means used by the composer Zhang Zhao in his piano pieces, written in the genre of processing.The research methodology is a comprehensive approach, in line with which the methods of culturological, historical, comparative and music-theoretical analysis such as holistic, stylistic and genre are used. In addition, the method of active illustration (E. Vyazkova’s term) aimed at confirming the considered provisions through the involvement of significant visual material in the form of musical examples, poetic texts and illustrations is used. The works of a general nature which cover the issues of style theory including national one were the theoretical and methodological basis of the concept.The scientific novelty of the research lies in the fact that for the first time the characteristic of stylistic features of piano pieces in the processing genre by the composer Zhang Zhao were revealed.Conclusions. Zhang Zhao’s analysis of piano pieces showed that most of these pieces have a structure based on a two-time theme and a small concluding section. The author most often chooses texture and register changes as the main means of development, that is, those means that contribute to the preservation of the original thematic material unchanged. The ostinato of the accompaniment part plays an important role in many of Zhang Zhao’s piano arrangements. At the same time, the predominance of certain developmental methods in the plays analyzed does not exclude the presence of other transformation means. The choice is determined by the desire, firstly, to preserve in the processing as close as possible to the original sound of the thematic material, and secondly, to reveal the full range of expressive potential of the theme in each piece.

The paper is dedicated to the issues of how translation quality assessment can deal with the musical aspects of liturgical praxis. It is not limited to the matters of melody and isosyllabism (which partially overlap with the theory of verse translation), but it has also to cover the issues of functionality, perception and reception (which are integrated in translation sociology and criticism). The study consists of three foci: singability and melody (isosyllabism and local chants, collective and individual creativity), historicism (hidden interpretations, functional censorship) and phonetic and semantic prosody (problems of subjectivist perception, churchly interventions, modulations of poetic texts for liturgical use). The problem of relay translation looks very unusual: although all liturgical texts came from the same language (Patristic Greek), vernacular believers receive their national texts which were translated via the mediating language (Latin or Church Slavonic, or even more languages). The main text of the analysis is the Paschal Troparion (in the Greek, Church Slavonic, Ukrainian, Polish, and English versions), but observations over other various liturgical texts are included. The juxtaposition of the Roman and Byzantine Rites shows how great the role of vocal music is in both rites and how attentively the ecclesiastical authorities cherished the sacred music for the propaganda of ecumenical moral dogmas.

The Structure of the Song: Poetical and Musical Texts

The relevance and scientific novelty consist in considering a new concept of derivation in the context of musicological researches. They concern the issues of the procedural formation of the composition of a musical work, as well as the comparison of M. Aranovsky's term with the idea of “metamorphosis”. It is this notion that has become widespread in the composing practice of the 20th–21st centuries.Research methods: systemic — consideration of general positions in works of musicologists about the problem of procedural formation of the composition, their classification, which allows to determine the basic mechanisms how to form the musical text, and gives the opportunity to determine the place of “derivation” in this area. Functional — analytical study of the revelation of this principle with the help of deterministic means of expression on the example of “symphonic metamorphosis” by T. Conroy. Comparative — a comparison of the compositional entire of the original play by K. M. Weber and the orchestral suite of the American composer, it permits to identify the characteristics of the principle of derivation, for its further correlation with the concept of metamorphosis presented in the title of the work.Conclusions of the study demonstrate that the essence of the derivation principle best reflects the mobile nature of the deployment of musical text. It is natural that this term is in line with the procedural concepts of theoretical musical research, which are focused on the study of the fundamental principles of the formation of the composition of a musical work. According to the content of M. Aranovsky's term, we consider this phenomenon from the standpoint of the universal category of change, proposed by N. Goryukhina. In the presented context, this concept can be correlated, as a kind of generalizing principle, with a number of terms for the development of musical material, in particular the composer's concept of “metamorphosis”, since in this phenomenon the principle of derivation, in our opinion, gets the clearest expression. This is evidenced by the results of a holistic analysis of “Symphonic Metamorphoses on the Theme of K. M. Weber” (2006) by the American composer T. Conroy. The musical text of the orchestral work embodies its main idea — the idea of change, through thematic and structural changes that lead to the transformation of the borrowed piano duet, as the initial seed, into a symphonic suite consisting of six parts (change of genre, structure of composition), modification of its original sounds (thematic, modal changes). This expresses, on the one hand, the idea of the composer, indicated in the title of the work — “Metamorphoses”, and on the other hand, the fundamental principle of M. Aranovsky's derivation is manifested. The universal nature of its functioning makes it possible to use this concept to designate multilevel changes of the borrowed original source of K. M. Weber in the musical text of T. Conroy's symphonic suite, which reveals the fundamental meaning of this term when considering the phenomenon of “metamorphosis” as the embodiment of the idea of modification corresponding to the variable, the procedural nature of the musical art. This indicates the prospect of further research.The scientific novelty of the article lies in the consideration of new, actual phenomena of musical art (metamorphosis, derivation), comparison of the characteristic features of their functioning in the composition of a musical work

Introduction. The relevance of the research lies in the fact that historical commenting on linguistic phenomena is an important means of solving the problems of training language teachers, since it allows explaining modern linguistic facts, concepts, patterns by establishing their diachronic properties. The purpose of the study is to test a model of the formation of historical commenting competence in students – future teachers of the Russian language and literature. Materials and methods. The study was conducted from January to December 2020 at the Immanuel Kant Baltic Federal University. The sample included 90 people. Methods applied: comparative historical analysis of monuments of ancient Russian writing; expert assessments; methodology for determining the formation of linguistic competence of students (E.N. Piskunova); mathematical statistics (χ2-Pearson test). Research results. The program of the courses "Old Church Slavonic" and "History of the Russian literary language" included the study and comparative historical analysis of the monuments of ancient Russian writing. The results of testing the model showed statistically significant changes in the experimental group according to the following criteria: information-cognitive (χ2 = 20.3; p <0.01), activity-semantic (χ2 = 45; p <0.01), professional-communicative (χ2 = 8.5; p <0.05) and practice-oriented (χ2 = 21.1; p <0.01). Discussion and conclusion. A comparative analysis of the research results showed that teaching the historical syntax of the Russian language affects the formation of the competence of historical commenting in students – future language teachers and the level of their training. The developed methodological toolkit provides an analysis of the syntactic field of subject sentences of the Old Russian language and their historical commenting on the basis of the subject of the dictum and the subject of modus.

The subject of the study is techniques and methods used in translation of poetical texts. The object of the research is a poetical text. The author considers in detail stylistic and structural aspects of the topic. The translatability of poetry is achieved by using some strategies which tend (come) to submitting or adapting the rules of the source language to those of the target language with use of such methods as analysis and comparison of a poem in different languages, interpretation which implies, unlike passive perception of the original text, an active, analytical approach to the poem. Special attention is paid to consideration of translation techniques such as generalization, specification, compensation, meaning extension, holistic transformation. The main conclusion of the study is that while a translation of poetry, the meaning of a poem, its structure and original stylistics must be preserved. A special contribution of the authors to the study of the topic is the analysis of the poetic texts in German, translated by the author herself, which allows for more precise semantic and stylistic analysis. The novelty of the research lies in comparing the ways of translating poetry using the example of the same literary work in Russian, German and English versions. The relevance of the study lies in the changes occurring in the structure of the poetic work when translated, resulting from the different grammatical structures of the languages.

The article is devoted to a problem that is relevant for Orthodox theology, but poorly studied at the scientific level - the reasons for the misunderstanding of the Bible and liturgical texts by modern native speakers of Russian. In this work, various cases of misunderstanding of sacred texts in Church Slavonic are systematized and, on their basis, a typology of hermeneutical failures (situations of misunderstanding) is created. The first group includes situations of misunderstanding associated with difficulties in perceiving unfamiliar speech by ear, the cause of which is non-compliance with the rules of church singing and reading. The second group includes reasons for misunderstanding caused by ignorance of the grammar and vocabulary of the language of the original text of the Bible and liturgical books, which can lead to incorrect translations of the latter into the target language. The main reason for the misunderstanding of the Holy Scripture and liturgical texts, according to the authors, is the lack of awareness of many laypeople in the sphere of Orthodox doctrine, as well as the lack of personal spiritual experience of people who begin to read the Holy Scripture and liturgical texts in Church Slavonic. The authors have come to the conclusion that the disclosure of the main reasons for the misunderstanding of liturgical and sacred texts will allow some additions to be made to theological education, in particular, to make the process of studying the Holy Scripture and the perception of worship by laypeople more conscious.

The Qur’ān was never translated into Church Slavic in its entirety; still, in the writings of some mediaeval Christian authors (Byzantine and Latin) quite extensive quotations and borrowings from it can be found. Many of these texts were transmitted in the Slavia Orthodoxa area. The aim of this article is to present the Church Slavic literary sources which contain quotations from the Qur’ān. The analysis covers Slavic transla­tions of Byzantine and Latin authors as well as original texts of Slavic provenance. The main conclusion of the research is that only ca. 2% of the text of the Qur’ān has been preserved in the Church Slavic material.

До рецепції поглядів П. Й. Шафарика про давність глаголиці на сучасному етапі розвитку палеославістики