The Sixth World Professional Forum “The Book. Culture. Education. Innovations” – “Crimea–2021”. The review

The work of the Sixth World Professional Forum “The Book. Culture. Education. Innovations” (June 5–13, 2021, Sudak, Republic of Crimea, Russian Federation) is reviewed; its themes and topics are discussed: library mission in the digitization era; pandemic impact on libraries; prospects for library and information community; national information systems; libraries collaboration with research and educational organizations; modern competences of library specialists; partnerships of national libraries, etc. The focus is made on the following events: The Twenty Seventh International Conference «Libraries and information resources in the modern world of science, culture, education and business», The Third Scientific and Educational Symposium “Building and developing the modern digital environment for education and science”; The Fifth Industry Conference “Book publishing and libraries: Vectors of cooperation”. The authors also give overview of discussions and presentations at the open press conference, the work and conclusions of the central discussion site, Day of Crimean Libraries, Day of Rospatent, The Third Scientific Conference “Scientometrics, bibliometrics, open data and publications in science”, The Third International Conference on the global ecological problems, the research and practice events held within the framework of the Forum, as well as the opening and closing ceremonies, and Forum plenary session.

LITERARY AND PICTORIAL SOURCES OF THE SHEETS PAINTED BY THE YENISEI OLD BELIEVERS OF CHAPEL CONCORD

The article is devoted to the monuments of modern Old Believers’ culture – hand-drawn wall sheets with large text fragments created by the Old Believers of the Chapel Concord living on the Yenisei. These sheets are both a continuation of the Old Russian and Old Believer traditions and a form of modern propaganda art. In this article, the works of the Old Believers of the 20th century are considered in the context of their historical origins. Statement of the problem. Since the Old Believers’ culture as a whole is characterized by deep knowledge of the previous book culture and traditionalism of thinking, for comprehensive assessment of the painted sheets as a cultural phenomenon, it seems necessary to establish to what extent the creators of these monuments, which have an ultramodern form, were guided by tradition. The purpose of the article is to identify the literary and pictorial sources of the painted sheets of the Yenisei chapels and to characterize the features of their use. Review of scientific literature. The monuments were recently put into scientific circulation by a group of scientists who conducted archaeografical expeditions in Yenisei Siberia. The published works by A.A. Prigarin, E.V. Bykova, A.V. Kostrov, and A.A. Storozhenko are mainly devoted to the problem of visualization of images and characteristics of the environment for these sheets. Methodology. Classical historical, philological and comparative methods are used in the work. The results of the study. Specific sources of such sheets as “Two Roads – Two Ways”, “Ship of Faith” (“Ship of the Cross”), “World Wide Web. The World Wide Net” revealed the exact textual and pictorial quotations used by their creators from various editions of the facial Apocalypse, and the Life of Basil the New. In addition, the tradition is shown, within the framework of which the sheet “The inner state of the human heart during a righteous and sinful life” was created. Conclusion. A detailed analysis of the hand-drawn pictures that exist among modern Yenisei Old Believers of the Chapel Concord, shows that with all their modern content and form, they continue and creatively develop the age-old Old Believers’ tradition, which is based on a high book culture and religious thinking. Deep knowledge of this tradition is precisely confirmed by a variety of not only textual, but also pictorial quotations from the Apocalypse and other authoritative eschatological writings.

Libraries’ fond library memories

Review of the book: Yakov L. Shrayberg. My friend Katya Genieva : in 3 vol. / NLA “Libraries of the Future”, Russian State Library, RNPLS&T. – Moscow : Pashkov dom, 2021.The reviewer examines the content of Ekaterina Yu. Genieva memorial project as depicted by Yakov L. Shrayberg, in three aspects, i. e. literary, cultural and historical, and strategic. He concludes on the project unique value for the book culture.

Marginalia Transcription and Scholarly Culture in the Qing Dynasty

In the Qing, transcription of marginalia became common scholarly practice, involving a number of different people who created a new reading culture. This article follows the marginalia trail of scholar and calligrapher He Zhuo 何焯 through various transcribers and others involved in the process: He's disciples, later generations of scholars, bibliophiles, calligraphers, and booksellers. Connected through He's and others' marginalia across time and space, these transcribers established a network for the efficient transmission of information, knowledge, and thought. Transcription of such marginalia created a unique book culture that shaped scholarship, thought, and society in the Qing and produced critical texts that are still read today.

Bibliophilia in Ottoman Aleppo: Muḥammad al-Taqawī and his Medical Library

Recent research has shown that book collecting by private individuals and institutions was a widespread phenomenon in Bilād al-Shām. At least from the Ayyubid period onwards, countless volumes were produced, changed hands in the book market, and lay around in libraries. To this day, Damascus occupies a central position in our knowledge about libraries and book culture in general, while other cities and regions lag behind. In this article, the inventory of an Aleppine book collector is used to take a glimpse at the book culture of Aleppo in the first decades of the seventeenth century. Although most probably not reflecting the sum total of his library, the inventory still allows to ascertain the specific taste of its compiler, an otherwise unknown Aleppine bibliophile. The inventory also provides evidence for the early distribution of Arabic print and pushes the door open for investigating the role of local agents in the early days of attempts by Orientalists to acquire Arabic manuscripts for European libraries.

Cultural Discourse of the Cinematic Language Evolution

The relevance. The problems of addressing the issue of crisis phenomena in the development of cinematic language is due to the need to identify and study the contradiction between the need to update the cinematic language and established audience stereotypes in the rigidly established semiotic code of cinema. The development of clip­thinking against the background of the transition from book culture to media culture facilitated the emergence of a new cinematic language, which gave impetus to shift the emphasis of semiotic code from frame­sign, frame­symbol to defragmentation of time pause between structural elements of multi­series audiovisual work: episodes and seasons. The purpose of the article is to describe the transition from “sign language” to “time language” as a logical revolutionary transformation of the classical language of cinema. The methodology is based on culturological, historical and semiotic approaches. The results. The development of modern technologies has led to a significant shift of emphasis from cinema towards the series. This was due to the possibility of expanding the story into projects, where the plot, characters and conflicts can be covered more deeply. A multi­series film can now better reveal the plot narrative, where there are more than twenty story lines and about two hundred important plot twists. Thus, the revolutionary changes in the semiotic code of the cinematic language have shifted towards serial creativity, which cannot be considered second­rate or low­quality — this is a fundamentally different set of logic. If you watch any good series according to the rules of watching a movie, where the frame is a hieroglyph, the result will be really bad. But if you apply clip­thinking­based principle of viewing, where the basic unit of information is time, the result will be completely different. A new cinematic language emerged due to the development of clip­thinking against the background of the transition from book culture to media culture, which gave impetus to shift the emphasis of semiotic code from frame­sign, frame­symbol to defragmentation of time pause between structural elements of multi­series audiovisual work: episodes and seasons. The topicality. Different approaches to the problem of understanding cinematic text as a complex semiotic device are determined by cultural codes. The article develops a conceptual approach which is based on the fact that the transition from the memory culture and text culture to media culture is accompanied by a rethinking of the semiotic code syntax of the audiovisual work, that is its language that changes rethinking traditional discourse of the semiotics of audiovisual work. The practical value. In the perspective of art history, the primary basis of cinema is a specific language developed throughout the history of cinema, which must develop, because the language that does not develop becomes a dead language. It is the understanding of cinematic language, the ability to freely express one’s ideas and be understandable to the viewer, allows the author to express his/her idea in cinema. Conclusions. The formation of clip­thinking in the era of media culture significantly encourages the search for new ways to develop the semiotic code of cinematic language. These processes should be in the field of close attention not only of art critics, but also of culturologists, sociologists, philologists and philosophers. Today, the emphasis of traditional cinema is gradually shifting from local history to expanding of its boundaries to infinity, that is the lack of a rigid structured entry point — transmedia storytelling. Time is a new constant of media text as opposed to cinematic text. The evolutionary development path of the language of traditional cinema did not stop, and the revolution did take place in the serial space, which led to the emergence of a new media syntax.

All-Russian Scientific-Practical Conference “Ex-libris as an Information Resource for Studying Book Culture”

Announcement