COMPARATIVE ANALYSIS OF RUSSIAN AND CHINESE FAIRY TALES: CONTRAST IN CULTURES

Сказки как художественное творение человеческого чувства, духа детства являются кристаллизацией коллективной мудрости, имеют важные языковые и культурные ценности, отражают взгляды людей на человеческую природу. Сказки, как правило, имеют явную иронию и воспитательную природу, используя метафорические методы, чтобы описать предмет, в них глубокая правда проявляется в простой истории. Культурные различия между Китаем и Россией являются важным предметом изучения языка и культуры. Для того чтобы лучше понять китайскую и русскую культуры, углубить взаимопонимание между двумя народами и укрепить обмен между Китаем и Россией, необходимо изучать противоречивые характеристикирусского и китайского характера, что и предпринято в этой статье на материале сказок. На основе анализа русской и китайской сказок в статье сравнивается слабый характер персонажей и раскрываются уникальные национальные стили Китая и России. Путем описания слабого характера проявляются благородные духовные качества. Сказочный жанр русского и китайского фольклора в разной степени изучен, но в последнее время большой интерес проявляется к изучению китайских волшебных сказок. В этой работе мы преследуем следующую цель – провести сравнительно-сопоставительный анализ русской и китайской сказок для выявления общих ценностных ориентаций. Китайский и русский фольклор развивался по-разному, но сегодня сказка является одним из центральных предметов изучения фольклористов обеих стран. Fairy tales as an artistic creation of human feeling, the spirit of childhood are crystallization of collective wisdom, have important linguistic and cultural values, reflect people's views on human nature. Fairy tales tend to have a clear irony and educational nature, using metaphorical methods to describe the subject, in which deep truth manifests itself in a simple story. The cultural differences between China and Russia are an important subject of language and culture study. In order to better understand Chinese and Russian cultures, deepen mutual understanding between the two peoples and strengthen exchanges between China and Russia, it is necessary to study the conflicting characteristics of the Russian and Chinese character, which is what this article has undertaken on the basis of fairy tales. Based on the analysis of Russian and Chinese fairy tales, the article compares the weak character of the protagonists and reveals the unique national styles of China and Russia. By describing a weak character, noble spiritual qualities are manifested. The fairytale genre of Russian and Chinese folklore has been studied to varying degrees, but recently a great interest has been shown in the study of Chinese fairy tales. In this work, we pursue the following goal - to carry out a comparative analysis of Russian and Chinese fairy tales to identify common value orientations. Chinese and Russian folklore developed in different ways, but today the tale is one of the central subjects of study of folklorists of both countries.

Clavier Music of Germany in the 17th Century

17th century German clavier music presents a capacious stratum of culture of the Baroque period, which is of enormous interest. Frequently it is perceived as an enormous transition to J.S. Bach’s musical legacy, but upon more assiduous examination it turns out that this stratum has its own value, although, obviously, it could not do otherwise than create the footing for the musical culture of the following 18th century. The present article has an overview character and is meant to summate the most important phenomena which could give an overall perception of the chronological order of the formation of clavier genres and forms of the pre-Bach era, about the outstanding composers of clavier music, and of the intersection between various national styles in their heritages.

The Strategic Revolution: Scottish Ideals and Transnational Exchange in Golf Course Architecture, c. 1860s–1930s

Professional golf architects emerged in the early twentieth century across the English-speaking world. These new professionals coalesced around ideas that promoted a Scottish national conception of proper golf. When golf first migrated from the Scottish coasts inland, south into England, and across the oceans to the United States and the British Dominions in the latter half of the nineteenth century, no standardized form or set of ideals on Golf course architecture existed. Through their collective writings, professional golf architects from Britain, the United States, and Canada codified the values, design principles, and the romance of the ancient Scottish linksland courses as the standard way to design and construct golf courses. We therefore position golf courses as important sites of historical inquiry into the transmission of national styles. These Golden Age (1910–37) golf architects thus encouraged the transnational exchange of sport through the construction of golf courses in a peculiarly Scottish sense.

Maurice Bourgue

Maurice Bourgue is a French oboist, chamber musician, composer, and orchestra conductor who won international competitions in Geneva, Birmingham, Munich, Prague, and Budapest. In this chapter he discusses his career and its evolution, gives advice for those entering competitions, discusses national styles, and relates his most memorable performances.

THE STRUCTURE OF ETHNIC SELF-CONSCIOUSNESS IN MODERN PSYCHOLOGICAL STUDIES

The article examines ethnic identity on two levels. Ethnic self-awareness at the level of an ethnos acts as a system unifying common ideas shared by the majority of ethnos members about their ethnic group, the main features of their culture and their ethnic psyche. This is a system of views, ideas and perceptions of an ethnic group that appears because of interactions with other groups and reflects the group’s knowledge of them, attitude towards them. A group’s ethnic identity is reflected in its language, in the system of its customs and traditions, in myths and national styles. Ethnic self-awareness at the level of an individual acts as an integral system of ideas about oneself, is closely connected with the individual’s image on their own ethnic group. It provides a group member with a sense of belonging to the corresponding ethnic community, which is necessary for an individual’s psychological health and social comfort, a full-fledged life. Such self-awareness is formed throughout the entire period of human development, from childhood to maturity. The authors prove the thesis that the structure of ethnic self-awareness is crystallized due to emotional connections formed during socialization. Ethnic self-awareness is a coded emotional-cognitive component that has both objective and subjective forms of expression. The formation of a person as a representative of a certain ethnic group take place through the interiorization of those cultural and social values ​​and relations that form the basis of their ethnic group’s social life. The emotional component of ethnic self-awareness includes a sense of national dignity. Ethnic identity is an essential component in the structure of an ethnos, along with such components as a common origin, culture, language. This is not only an awareness of one’s identity with their ethnic community, but also includes assessment of one’s own ethnic group, feeling of significance to be its members, common ethnic feelings, which are the most important criteria for interethnic comparison. So, the structure of ethnic identity is multifaceted, all structural elements are closely interconnected and interact with each other at different levels and at different stages of ethnos development, acquiring a leading value.

BEYOND VERNACULAR ARCHITECTURE

When John Ruskin “discovered” vernacular architecture, it was a rich heritage still in the making. Contrary to most of the other kinds of valuable built remains of cultures gone, vernacular architecture has been well alive, vigorously creative and yet ancient. Besides being continuously inhabited, it has been conserved in open-air museums and reinterpreted through national styles seeking inspiration from it. The former usually resulted in houses turned into museum exhibits; the latter inevitably resulted in compositions designed by trained architects. Alongside this process, there occurred progressive disappearance of vernacular crafts and ways of life. There is, however, a lesson that built vernacular heritage can still teach us: better integration of human settlements to the environment. What lies beyond vernacular architecture or the theory and practice of its preservation, is the reinvention of the boundaries of localness.

When National Styles Were Stylish

This essay is part of a special issue entitled “Looking Backward, Looking Forward: HSNS at 50,” edited by Erika Lorraine Milam.