Once Again on the Existence of Bylinas (Russian Heroic Epics) in the Perm Kama Region

2020 ◽  
pp. 29-40
Author(s):  
Александр Васильевич Черных
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Early 20Th Century ◽  
Early 21St Century ◽  
Field Recordings ◽  
History Of Collecting ◽  
History Of ◽  
Textual Material ◽  
Number Of Publications

В статье анализируется история собирания, изучения и публикации в Пермском Прикамье былинных текстов в ХIХ - начале ХХ в., выявления и собирания фольклорных текстов с былинными сюжетами во второй половине ХХ - начале ХХI в. История былиноведения в регионе насчитывает более двух веков от первого упоминания о былинных сюжетах В. Берха (1821) до записей начала ХХI в. Поиск былин и собирательская деятельность в регионе связана с именами видных российских фольклористов Н. Е. Ончукова и А. В. Маркова. Несмотря на многочисленные публикации и свидетельства о бытовании былин, собственно былинных текстов записано и опубликовано крайне мало. Большинство записей принадлежит пермским исследователям; отчасти это обусловлено тем, что при характерном для Прикамья точечном и единичном бытовании былин такие записи были возможны только при многолетнем целенаправленном изучении фольклора. Значительно число публикаций, в которых приводится информация о былинах, но она не подкреплена текстовыми материалами. Анализируются записи и упоминания о былинных сюжетах в коми-пермяцком фольклоре. Рассматриваются особенности выявления новых текстов былин и былинных сюжетов в государственных архивных собраниях и фольклорных архивах. Рассмотрена работа пермских фольклористов в последние десятилетия и записи былинных сюжетов. В приложении к статье опубликовано несколько текстов из архивных собраний и полевых записей. This article analyzes the history of collecting, studying and publishing bylina texts in the Perm Kama Region in the 19th - early 20th century, and the identification and collection of folklore texts with bylina subjects in the second half of the 20th - early 21st century. The history of bylina studies from the region dates back almost two centuries, from the first mention of bylina stories by V. Berkh (1821) to recordings of the beginning of the 21st century. The search for bylinas and collecting activity in the region are associated with the names of the prominent Russian folklorists N. E. Onchukov and A. V. Markov. Despite numerous publications and evidence of the existence of bylinas, very few actual bylinas have been recorded and published. Most of the recording was done by Perm researchers; this is partly due to the fact that because of the characteristically spotty and sporadic presence of bylinas in the Kama Region, their documentation was only possible by long-term purposeful study. There is a significant number of publications that provide information about bylinas, but it is not supported by textual material. In this article, the existing records and references to bylina stories in Komi-Permian folklore are analyzed. It examines the particularities of identifying new bylina texts and subjects in state archival collections and folklore archives. It also considers the work of Permian folklorists in recent decades and their recording of bylina stories. Several texts from archival collections and field recordings are published in the appendix to the article.

scholarly journals Profesor Kazimierz Nitsch i jego językoznawcze środowisko we wspomnieniach studentki z lat 50. XX w.

LingVaria ◽  
2019 ◽  
Vol 14 (27) ◽  
pp. 331-338
Author(s):  
Jadwiga Zieniukowa
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Scientific School ◽  
Early 21St Century ◽  
Slavic Linguistics ◽  
Team Research ◽  
History Of ◽  
Academy Of Sciences ◽  
Academic Teacher

Professor Kazimierz Nitsch and His Linguistic Milieu in the Memories of a Student from 1950sThe paper discusses the history of Polish and Slavic linguistics in Poland in the 20th century, with a special regard to dialectology. In the centre of its attention lies the Cracow (Cracow-Lviv) linguistic school of Professor Kazimierz Nitsch. The author describes it primarily on the basis of personal scientific contact (in the middle of the 20th century) with the father of Polish dialectology, Professor K. Nitsch, and a team of researchers from his Department of Atlas and Dictionary of Polish Dialects of the Polish Academy of Sciences (Cracow, Mikołajska street). She looks back at the seminar Nitsch held for researchers, which she attended as a Master’s student at the Jagiellonian University. She presents Professor as a researcher, organizer of team research, academic teacher, as well as a scientific guide, a scholar, and author of linguistic publications in various periods of the 20th century. She draws particular attention to Nitsch’s pioneering works on Kashubian and other Pomeranian dialects. The paper also talks about the long-term radiation of Professor Nitsch’s scientific school, and how his students from various generations – such as Zdzisław Stieber, Nitsch’s student from 1920s, his colleague, and later a creator of a linguistic school himself – as well as students of his students greatly contributed to the advancement of Polish linguistics in the 20th and early 21st century.

Norwidowska etyka twórcy i jej odbicie w dyskusji nad paradygmatem romantyzmu. Dwie interpretacje / Cyprian Kamil Norwid’s Idea of the Moral Character of the Artist and its Impact on Debates About the Romantic Paradigm: Two Interpretations

2013 ◽  
Vol 54 (2) ◽  
pp. 161-177
Author(s):  
Barbara Stelmaszczyk
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Literary Theory ◽  
The Other ◽  
Current Debate ◽  
Early 20Th Century ◽  
Early 21St Century ◽  
History Of ◽  
Two Phases

Summary This article joins the current debate about the challenges faced by contemporary literary theory by drawing attention to aporias that open up for historians of literature. A case in point is Cyprian Kamil Norwid’s idea of the role of the artist and the function of art and the misrepresented, distorted account of his views that dominate the history of the reception of his work. The article distinguishes two interpretations of the Romantic tradition which coincide with two phases in the reception of Romanticism. The first of them was given shape by the Young Poland movement in the late 19th and early 20th century (most notably by Stanisław Brzozowski), while the other (represented by Agata Bielik-Robson) is a product of our own time, ie. the early 21st century. They are discussed in turn. A critical reappraisal of Young Poland’s understanding of Romanticism is complemented by an examination of Brzozowski’s approach, which is distinctly his own. A hundred years later, Brzozowski is given a key role in Agata Bielik-Robson’s review of the Polish Romantic tradition, and yet her take on it is markedly different from his.

Strategic Digital Informing and Its Challenges in the 21st Century

2022 ◽  
pp. 23-36
Keyword(s):  
Software Engineering ◽  
Cognitive Science ◽  
20Th Century ◽  
21St Century ◽  
Information Technologies ◽  
Digital Economy ◽  
Early 20Th Century ◽  
Strategic Information ◽  
Analysis And Evaluation ◽  
History Of

This chapter examines the challenges faced by digital informing technologies and civilization in the 21st century. The chapter begins by analyzing (1) the stages of development of strategic information technologies from the early 20th century up to the present as well as (2) the strategies adopted by informing science specializations (such as cognitive science, software engineering, etc.). Next, the chapter surveys major innovations in the history of strategic information technologies. This is followed by an analysis and evaluation of the concept of a laborless economy. The chapter concludes by positing a set of rules for workers in the digital economy that will ensure the wise development of civilization.

scholarly journals Drama in Ho Chi Minh City literature and art life

2015 ◽  
Vol 18 (4) ◽  
pp. 47-60
Author(s):  
Thuy Trung Luu
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Performance Art ◽  
Early Time ◽  
High Time ◽  
Ho Chi Minh City ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
The Future ◽  
History Of

In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.

CONVERGENCE OF LITERARY CONTINENTS

2020 ◽  
Vol 2020 (31) ◽  
pp. 182-204
Author(s):  
Mykola Zymomrya ◽  
Nataliia Naumenko
Keyword(s):  
High Schools ◽  
20Th Century ◽  
21St Century ◽  
Academic Language ◽  
Powerful Factor ◽  
Literary Process ◽  
History Of ◽  
Textual Material

This article represents an analysis of the specifications of elucidating Ukrainian literary process in the first and second thirds of the 20th century, as shown by Professor Yuriy Kovaliv in his “History of Ukrainian Literature. The end of the 19th — the beginning of the 21st century” (sixth and seventh volumes out of 10 volumes planned). The significant textual material in Yu. Kovaliv’s interpretation may become not only a subject to diversely study at philological high schools, but also a powerful factor of scientific enquiries. Since being examined under nontrivial angle and thereinafter described by precise academic language without any overusing of terms, it can serve a base to further researches of Ukrainian literature in the trend of fulfillment of so-called “whitespots” that were so peculiar for the period chosen.

scholarly journals Characteristics of development of Tajik jewelry art at the turn of the 21st century

2018 ◽  
Vol 50 ◽  
pp. 01226
Author(s):  
Zarrina Umarova
Keyword(s):  
Natural Resources ◽  
20Th Century ◽  
21St Century ◽  
Transitional Period ◽  
Early 20Th Century ◽  
Long Period ◽  
Folk Traditions ◽  
History Of ◽  
The Republic ◽  
Characteristic Features

The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.

scholarly journals Historical Trends in Expressive Timing Strategies: Chopin's Etude, Op. 25 no. 1

2021 ◽  
Vol 15 (3-4) ◽  
pp. 176-201
Author(s):  
Michael Rector
Keyword(s):  
21St Century ◽  
Performance Practice ◽  
Early 20Th Century ◽  
Historical Trends ◽  
Performance Style ◽  
Early 21St Century ◽  
Expressive Performance ◽  
History Of ◽  
Timing Strategies ◽  
Over Time

Studies of early 20th-century performance practice tend to focus on features that are alien to late 20th- and early 21st-century ears. Empirical analysis of timing in recordings of Chopin's Etude, Op. 25 no. 1—a piece for which performance style has remained relatively static—suggests how some foundational rules of phrasing and expressive nuance have changed over the history of recorded music. Melody note onsets were marked manually in 127 commercial recordings dating from 1909 to 2016. Overall, the data do not show an increase or decrease over time in the amount of tempo fluctuation. Independently of a tendency to use slower tempi, pianists changed the way they employ rubato. Several factors contribute to a trend whereby the fourth beat is lengthened at the expense of the second and third beats: an increase in phrase-final lengthening, an increase in the use of tempo arching for shorter groups of measures, and a tendency to delay the arrival of an accented dissonance or change of harmony instead of lengthening the melody inter-onset interval that contains it. The data illustrate nearly imperceptible shifts in interpretation and suggest that some practices thought to be the bedrock of expressive performance may be historically conditioned.

scholarly journals The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”

ICONI ◽  
2019 ◽  
pp. 159-171
Author(s):  
Anton А. Rovner ◽  
Keyword(s):  
20Th Century ◽  
Arnold Schoenberg ◽  
Early 20Th Century ◽  
Music Festival ◽  
Early 21St Century ◽  
Avant Garde ◽  
The World ◽  
History Of ◽  
Italian Music ◽  
The 19Th Century

The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.

scholarly journals Verbal Projection of Comparable Translations of a Detective Story

2020 ◽  
pp. 1-27
Author(s):  
Yan Wang
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Language Use ◽  
The Other ◽  
Early 20Th Century ◽  
Source Text ◽  
Detective Story ◽  
Early 21St Century ◽  
Classical Chinese ◽  
The Early 21St Century

Abstract Based on the systemic functional framework, this paper attempts to compare verbal projection in two comparable translated texts of a detective story entitled A Scandal in Bohemia, one from the early 20th century (henceforth TT1) and the other from the early 21st century (henceforth TT2). Approximately one hundred years apart, these two translations are strikingly different in their language use, with classical Chinese being used in TT1 and plain (colloquial) Chinese being used in TT2. By analysing and comparing the lexicogrammatical features of the verbal clauses in the two translated texts, this paper summarises the choices made by the translators in these two different historical moments: when translating the source text, TT1 translators show more flexibility by incorporating more addition and omission into their translation than TT2 translators.

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