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НАРОДНЕ ПІСЕННЕ ВИКОНАВСТВО В ТЕРМІНОЛОГІЇ ВІТЧИЗНЯНОЇ ЕТНОМУЗИКОЛОГІЇ

Author(s): Yulia Karchova / Language(s): Ukrainian Issue: 2/2014

Folk Song Performance it is an essential component of modern cultural space of Ukraine. Saving old traditions, it demonstrates the ability to get closer to the academic and pop cultures in a variety of solo and ensemble interpretations. This necessitates understanding and relevance of concepts such as "national professionalism", "traditional musical professionalism", "singing style", "style of singing," "singing technique." The relevance of this article due to the fact that for the modern Ukrainian Ethnomusicology the analysis of panorama of these concepts marked by nuances of understanding of individual research is not a priority. The purpose of this article – Analysis panorama of concepts related to the nature and specificity of folk song performance. At the beginning of XX century the founder of the study of national songs and the folk song performance K. Kvitka had appealed to the concepts of "method of vocal technique" and "rural style of singing." Outstanding scientist by these concepts had characterized the larynx structure, a vocal register usage, sound character and his attacks, and also configuring voice resonator specific for the performance of the national song. In today's edition of works of the scientist the editors have used "kind of folk song" (interpreted regionally) and "folk singing style" features that characterize the chest resonance with forced sound delivery. Need for their research the modern scientists associate with needs in mastering the different manners of folk song performance to improve amateur and professional folk groups activity. Modern culture demonstrates the multiplicity of ways of transmission of folk songs, the loss of significance of oral transmission mechanisms of the song heritage which are inherent the authentic culture and professionalization of the national performance. This leads to substantial change in emphasis in understanding its status. In the 1970s L. Christiansen process of mastering a singer of folk songs is associated with life and long traditions. In the 1980s E. Alekseev in the activities of folk choirs, ensembles of folk song and dance sees only the external signs of folk activities separates different functioning of folklore, including the activities of folk-professional musicians. The need for professional training of a folk singer, a division of the theoretical and practical aspects of this process has reflected on the conceptual level in modern ethnomusicology in accentuation of the professional start in the performance of folk songs.So, I. Matsiyevsky uses the term "traditional professional performance", which on the basis of historical perspective and systematic approach characterizes a specific system. Its existence is ensured by both the preservation of ideality of sound (conservative-protective mechanism), and his improvisational update. Center of the system is a carrier of traditions, which is released from the culture medium by the talent, knowledge of repertoire, audience tastes and suggestive abilities. On this basis, the scientist claims the thesis of the psychological distinction of the performer and the audience. Earlier Soviet Folklore accentuated sameness of creative activities and experiences in folklore.S. Gritsa appeals to the concept of "people's professionalism" and emphasizes the need of professional reconstruction of folklore. With the 1970-1980ies the native and in generally Soviet folklore idea has been noted by pluralism in determining the specificity of the vocal aspect in the folk songs performance. In most cases, individual research interprets the concepts used as synonyms: "singing style" and "performing style" (O. Pravdyuk ), "folk singing style", "genre of vocal performance" (N. Drozhzhina ), "national execution style", "closed" and "open style of singing", "manner of performance" ( E. Efremov and V. Ponomarenko ), "singing style" (N. Boyarskaya and L. Gapon), "folk sound formation" (I. Yanik ), "performing manner" and "performance style" (S. Gritsa ), "vocal art form", "manner of vocal art", "vocal technique", " singing technique", " solo singing style" and "the type of sound"(V. Antonyuk ).E. Skoptsova appeals to the concept of "folk performing manner" and characterizes by it complex, which consists of: Ethno regional song and performance traditions, Harmony intonation features of Ukrainian folklore, language dialects, and the specificity of sound production and timbre usage of folk voices. By the concept "folk performing style" researcher covers the improvisation of performance, connection with local variations of collective performance, features of sound production and tone, unity of singing text and movement.A. Lashchenko uses as identical, the concepts of "vocal technique" and "vocal manner," describing by them a way and character of sound production as well as and phonation.The notion of "traditional vocal Performance" in the works of L. Boyar and L. Gapon also used to characterize the complex vocal techniques that have been established in certain regions. Their bases are the cultural and artistic traditions that are transmitted orally from generation to generation.The concept of "singing style" used by A. Ivanickiy also characterizes regional features of repertoire of collective and individual singing activity (subjects, rhythm-melody, forms of performance, sound formation, sounds, use of registers, genre circle), inherent in a particular social environment.Concretization of substantive content of the concepts that characterize the essence, status and specificity of performance of the folk song considering features of it modern functioning, represents itself the future prospects of research.

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Malarstwo w poetyce Du Fu 杜甫

Malarstwo w poetyce Du Fu 杜甫

Author(s): Anna Izabella Król / Language(s): Polish Issue: 9/2017

The various elements of poetry-painting analogy applied to Du Fu’s poetry reflect critical differentiation rather than a community of thought. None of them have reference to the original context in which the notion of “in poetry is painting” has meaning.In his poetry, Du Fu tested boundaries of poetry and widened the horizon of poetry in pursuit of what he termed as the highest meanings of beauty beyond words and images, creating a critical synthesis of poetry.

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Poetyckie inskrypcje na obrazach dynastii Qing

Poetyckie inskrypcje na obrazach dynastii Qing

Author(s): Anna Izabella Król / Language(s): Polish Issue: 9/2017

The name of the poetic inscriptions on the Chinese paintings refers to those poems that describe or criticize images, but are necessarily part of the picture, that is, were written on them. However, along with the practice of inscribing poems, the inscriptions have adopted double meaning, referring to those and other poems that were physically included in the images, even if they did not depict or criticize the image, or if at a distant way they referred to the subject of the original image as The other border art genre proves extremely important in the study of Chinese poetry and painting, and presents various textual patterns of poetry-painting relations.

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Скифское погребение с фракийской фибулой на Нижнем Днестре
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Скифское погребение с фракийской фибулой на Нижнем Днестре

Author(s): Vitalii S. Sinika,Nicolai P. Telnov / Language(s): Russian Issue: 3/2017

The paper deals with description and analysis of artifacts obtained from the Scythian grave sunk into the Bronze Age barrow in “The Sluiceway” (russ. “Vodovod”) group near Glinoe village, Slobodzeia district, on the left bank of the Lower Dniester. A representative inventory set was found in the grave to include wooden cup with burnt pebbles inside, an iron battle knife, a quiver loop, a stone slab, one-sided antler comb, shale whetstone without traces of use, Ikos amphora, and a bronze fibula of the Thracian type. The last two objects mentioned make it possible to date the complex back to the late third — the fourth quarter of the 4th century BC. While the fibulae of this type were reported from the Scythian graves discovered on the left bank of the Lower Danube, this is just the second find of such fibula in the Dniester Region. It testifies that such costume accessories spread amongst the Lower Dniester Scythians by the end of the third quarter of the 4th century BC.

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Гость дионисийских вакханалий в Нижнем Поднестровье
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Гость дионисийских вакханалий в Нижнем Поднестровье

Author(s): Elena P. Sekerskaya,Nikolai Syniak / Language(s): Russian Issue: 3/2017

This is the first article to present a full list of the bone musical instruments found in the ancient colony of Nikonion and the Nadlymanskoe hillfort with Hellenic or Hellenised population. The findings underwent a complex source analysis and an interdisciplinary study. It was established that three out of the four given artefacts are segments of a composite bone auloi. Two fragments, made from metacarpal sheep bones, are the outer ends of the instruments and the third one is a mouthpiece. The instrument from Nadlymanskoe hillfort is confirmed to be an end-blown flute. Specifics of the auloi and end-blown flutes manufacturing are discussed, as well as their part in the religious life of the Hellenic settlers in the Lower Dniester region. The Dionysian rites were a characteristic attribute of the religious ceremonial life existing in the Greek colonies throughout the Northern Black Sea area including the Lower Dniester region. Playing aulos was an essential part of these rites. A comprehensive study of the instruments allowed to find their precise analogues and suggest their local origin. The finds broaden the geographical distribution of the early Hellenic bone auloi.

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Исторические и архитектурные метаморфозы Шейх-Коя
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Исторические и архитектурные метаморфозы Шейх-Коя

Author(s): Sergei Gennadievich Bocharov,Vladimir P. Kirilko / Language(s): Russian Issue: 6/2016

The early settlements of the Golden Horde in the Crimea were founded by migrants from the East, and most of them are still poorly investigated. Almost all of them, from the ones we know, are quite compactly concentrated within two clearly markеd zones — in the south-east (Solkhat, Sudak, Otuz) and south-west (Eski Yurt, Kyrk-Er) of the Crimean Peninsula. The least researched are the Golden Horde architectural and archaeological settlement sites in the Central Crimea. This publication is the first attempt to at least partially address this imbalance. An example of a key object of research — the mosque in Sheikh Koy (now Davydovo village, Simferopol district) — demonstrates the processes associated with the creation and collapse of the Golden Horde, as this mosque belongs to the time of the Crimean Khanate, and its construction was conditioned by the historical heritage of the previous era, partly reflected in the secondary use of architectural details, which originally belonged to a structure of 1358. Most likely, Sheikh Koy and the nearest villages Barak-Eli and Choyundzhi, housed a major religious and Sufi center — one of the four known areas, dating to the first stage of dissemination of Islam in the Crimean Peninsula.

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Усадьба ювелира середины ХІІІ в. в Любече
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Усадьба ювелира середины ХІІІ в. в Любече

Author(s): Olena M. Veremeychyk / Language(s): Russian Issue: 5/2016

The jeweler’s estate on the site Zamkova Gora in Lyubetch, which had been destroyed by fire in the middle of the 13th century, was investigated during 2010—2011. It was located on the northern part of the site, opposite to the driveway. The estate consisted of six different buildings, in which molds for jewelry, crucibles, anvil, silver bullions and cooper alloy bars were found. Remains of a high temperature oven with accumulation of glass bracelets and glassy mass inside were investigated in one building. It is possible that the craftsman, who lived in this estate, used to produce jewelry from non-ferrous materials and glass.

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Украшения из разрозненных древнерусских кладов в собрании Русского музея
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Украшения из разрозненных древнерусских кладов в собрании Русского музея

Author(s): Svetlana M. Novakovskaja-Buchman / Language(s): Russian Issue: 5/2016

Besides the treasure hoards dating to the Pre-Mongol period, the Department of Early Russian Art of the State Russian Museum has in its collection over one hundred artefacts from treasure hoards of unknown provenance. These jewelry articles were parts of collections gathered by M. P. Botkin, V. A. Kvashonkin, A. A. Bobrinsky, V. V. Vereshchagin, F. M. Pliushkin and N. F. Romanchenko. Among them, there is the earlier unknown “Chernigov Treasure Hoard” consisting of the 10th—12th century silver jewelry. It contains 2 Scandinavian chains of the 10th century with tips shaped as dragon and raven heads, and six twisted Russian bracelets of the 11th—12th century. M. P. Botkin’s collection contains a part of the treasure hoard of 1900 found near the Sakhnovka village (Kiev), gold ceremonial cloisonne chains of the 12th century and two pairs of three-bead temple rings. Among other jewelry from the unknown treasure hoards, there is a large collection of 3 bead temple rings of the 12th century, twisted bracelets, kolts and ryasna to hang them to a headdress, a forehead band and several torcs. Among the masterpieces in these treasure hoards, we can mention a Byzantine pectoral cross in gold frame (12th century), 3 seal-rings (end of the 12th — the beginning of the 13th century) and a couple of rare narrow hinged bracelets with lion head on the ends (2nd half of the 12th century).

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Церковь XIV в. на детинце Новогрудка

Церковь XIV в. на детинце Новогрудка

Author(s): Marianna V. Malevskaya-Malevich / Language(s): Russian Issue: 5/2016

The article considers the remains of the church built in the first half of the 14th century in the citadel of Novogrudok, excavated by the author in 1960—1970 s. It is the earliest known church built in the territory of the Grand Duchy of Lithuania in the 14th century. The results of the detailed archaeological study of the architectural monument are published for the first time. The church is considered in the context of the architectural history of the West Russian lands in the period from the mid 13th century to the mid 14th century. The study of the building materials and techniques enables firm dating of the church to the first half of the 14th century. The article is illustrated by field photos and drawings as well as reconstructions.

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Звериный стиль ранних кочевников Приаралья в контексте их исторического развития
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Звериный стиль ранних кочевников Приаралья в контексте их исторического развития

Author(s): Leonid T. Yablonsky / Language(s): Russian Issue: 3/2015

The author examines items ornamented in Scythian-Siberian anymal style, which were found in cemeteries, located in the delta of the Syr-Darya and Amu-Darya, dated by late 8th — 5th centuries BC. Cemeteries Uygarak and North Tagisken were excavated in the Lower Syr Darya littoral. Cemetery Sakar-Chaga were investigated in Trans-Sarykamysh delta of Amu-Darya. They belong to the general culture of the Saka type, but represent local ethnogenesis and chronological specificity that, in particular, is reflected in the subjects of the animal style.

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Искусство раннесакского времени Южного Урала и его восточные параллели
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Искусство раннесакского времени Южного Урала и его восточные параллели

Author(s): Elena V. Perevodchikova,Alexander D. Tairov / Language(s): Russian Issue: 3/2015

The local features in the nomadic art of the Southern Urals have usually been noticed from the end of 6th — 5th BC. The art of the earlier nomads is usually considered as a whole thing for all over the Eurasian steppe. But the latest discoveries allowed us to see specifics of the early South-Ural masterpieces.Analyzing the early pictures of animals, we have divided them into two groups. The first, archaic one (innumerous yet) is characterized by both common markers of the early examples of the Scythian Art and the specific eastern qualities. The second, the later and more representative one, we named “Kichigino” Group. It is characterized by some signs that were never found earlier. They are images of lions, not abstractive feline predators, a wide distribution of the complicated curl, a combination of the complicated curl with three-dimensional images, compositions from gold foil.The art of the South-Ural nomads of the Early Saka period finds a great deal of parallels in the nomadic art of the Eastern part of the steppe Eurasia. This fact can be evidence of the common historic-cultural area form the Southern Urals to the Sayano-Altay. There was an exchange of artistic ideas in the framework of this territory.

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Хронология и распространение золотых нашивных бляшек в раннескифское время (VIII—VII вв. до н. э.)
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Хронология и распространение золотых нашивных бляшек в раннескифское время (VIII—VII вв. до н. э.)

Author(s): Anja Hellmuth Kramberger / Language(s): Russian Issue: 3/2015

As a characteristic of the Scythian cultural-circle the custom can be described to decorate clothes, weapons and horseharness, quivers and vessels of wood and ceramics with small golden appliques. In this paper on the one hand the dating of those Kurgans with golden appliques in the Early Scythian Period (8th—7th century BC) shall be discussed, and on the other hand the distribution of finds in the North Pontic Region and in the neighboring and more distant regions as well. Because it can be established, that identical golden appliques as in kurgans of the Middle Dnieper and the North Caucasus occur also in the Eastern Hallstatt region in grave finds of the late 8th/early 7th century BC, primarily in the Slovenian Doljensko. For some of the findings of gold appliques based on the archaeological findings we can establish that they were placed as ornaments on headdresses, and anthropological studies show that in the majority, these are the burials of women. The golden appliques were apparently reserved for a group of women of a special status. Parallels in the Near East as in the royal tombs at Nimrud/Kalhu can be pointed out. According to inscriptions, they belonged to Assyrian queens and we can interpret the outstanding female burials of the North Pontic region in a similar way as queens or priestesses. Maybe even some of the burials represent the exchange of women to stabilize political alliances.

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Серебряные килики из скифских курганов Солоха и Бабы
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Серебряные килики из скифских курганов Солоха и Бабы

Author(s): Andrei Yu. Alexeev / Language(s): Russian Issue: 3/2015

A silver kylix from the central burial of the Solokha Barrow (excavations by Nikolai Veselovsky 1912) dated by the late 5th century BC is practically the only one of its kind in Northern Black Sea region, except several components (two handles and the ring-shaped base) of a silver kylix from Baby Barrow (excavations by Dmitry Evarnickii 1897, first time published). Solokha’s kylix finds the nearest analogs among silver kylixes of the second half of the 5th century BC widespread mainly in Thrace (by form), and among not numerous red-figured Attic vessels and numismatic findings from the Western Black Sea region (by decoration, i.e. a wheel with four spokes).It is difficult to establish a place of its production (while for the main number of other kylixes, the Attic origin is most often suggested), and time of production can be attributed to 430—425 BC. The vessel possibly belonged to one of the family members of the Scythian king Ariapithes, may be to his younger son Oricus (Herod. IV, 80), whose name could mean ‘wolf’ < Scythian *varka, and the inscription ΛΥΚΟ (< Λύκος ‘wolf’) on the top of kylix is only Greek translation of his Scythian name.

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О понятии «композиция» в искусстве малых форм эпохи верхнего палеолита
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О понятии «композиция» в искусстве малых форм эпохи верхнего палеолита

Author(s): Sophia A. Zintchenko / Language(s): Russian Issue: 1/2015

The paper sets the boundaries of applying the concept of “composition” in the studies of the Palaeolithic art. The question of the appropriateness of this concept has long been discussed by both archaeologists and art historians. The present study is based on the analysis of mobile art objects only, since, first, their format is predetermined by their limited size, and, second, most of them were made by one person in a short time. The author identifies four ways of how separate images can be combined into an integrated “text”, from the scenes characterized by an organic combination of individual images into a single narrative to the scenes which show neither organic interaction between individual images nor between the “text” and the shape of the object. The conducted analysis shows that it is impossible to completely abandon the use of the term “composition” in the description of mobile art objects.

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Циркумтихоокеанское искусство в палеолите
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Циркумтихоокеанское искусство в палеолите

Author(s): Yuri E. Berezkin / Language(s): Russian Issue: 1/2015

Figurative and to a lesser extent geometric professional art is a tool in a struggle for social positions. Its existence suggests the development of social inequality at least on a community level. Societies with the institutionized hierarchy of sexes like those that are known for South America, Melanesia and southern Alaska must have at least a minimum level of social segregation. Considering similarity of rituals and of myths related to them these societies did not emerge independently but inherited their traditions from common source provisionally localized in East Asia where the rich coastal environment ca. 20,000 B. P. could support a dense enough population. Systematic and exclusive iconographic traits shared by ancient and recent cultures of the Indo-Pacific part of Asia, northern Pacifics and Nuclear America help to reconstruct basic features of the East Asian art at the dawn of the peopling of the New World. The dominant icon was a monster face related to cult of ancestors and the underworld. Indian Kīrtimukha, Ancient Chinese Taotie mask, Sisiutl monster of Northwest Coast of North America, many Olmec, Mayan and other Mesoamerican representations as well examples of the Central Andean art of 2500 BC — AD 1000 all reproduce similar model. Nothing like it is found in most of North American styles. This fact correlates with patterns of areal distribution of Eurasian parallels for American Indian folklore. South America is related to East and Southeast Asia and North America to Siberia.

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Капова пещера: новые данные о культурном слое и заново открытых палеолитических изображениях (по результатам полевых исследований 2004—2005 гг.)
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Капова пещера: новые данные о культурном слое и заново открытых палеолитических изображениях (по результатам полевых исследований 2004—2005 гг.)

Author(s): Tatiana I. Shcherbakova / Language(s): Russian Issue: 1/2015

The article presents new data obtained in the course of excavations in the Drawings Hall of the Kapova Cave (upper level) in 2004—2005. Special attention is given to the questions of protection and conservation of ancient images. The author widely cites from unpublished reports of art restorers who worked in Bader’s expedition in the 1970s. These materials show that some of the images that were previously regarded as newly discovered had in fact been recorded by O. N. Bader as early as the beginning of the 1970s. It is stressed that joint efforts of specialists working in different fields (archaeologists, geologists, art restorers, etc.) are needed to secure preservation of the Kapova paintings.

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Первобытное искусство Урала (каменный век)
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Первобытное искусство Урала (каменный век)

Author(s): Yuri B. Serikov / Language(s): Russian Issue: 1/2015

The paper presents an overview of the Stone Age art objects discovered in the Ural Mountains. The oldest evidence of artistic activity in the region is dated to 33—35 kya. During the Stone Age, from the Upper Palaeolithic through Neolithic, the cult practice was associeted with cave and rock painting. The best known site with Upper Palaeolithic parietal art is Kapova Cave. In addition, Palaeolithic paintings were discovered in a number of caves on the Sim river, such as Ignatievskaya, Serpievskaya 2, and, presumably, Kiselevskaya. In addition, the sites of this period have yielded stone, bone, wooden and clay figurines, including small flint and pebble sculptures. Many tools, and first of all weapons, were decorated with engravings.

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Микроскопический анализ Мальтинской антропоморфной скульптуры (технология формообразования, детализации, декорирования)
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Микроскопический анализ Мальтинской антропоморфной скульптуры (технология формообразования, детализации, декорирования)

Author(s): Lyudmila V. Lbova,Pavel V. Volkov / Language(s): Russian Issue: 1/2015

The paper presents some results of the microscopic analysis of anthropomorphic figurines from the famous Upper Palaeolithic site of Malta in East Siberia. The authors analyze the whole technological sequence from the production of ivory half products to the detalization and decoration of finished figurines and their parts (“heads” of the sculptures). Special attention is given to the tools used to make and decorate the sculptures. The tool kit consisted mainly of planing knives and burins, supplemented with some auxillary implements such as cutters and reamers.

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ТЕМА ПАТРІОТИЗМУ І НАЦІОНАЛЬНІ ТРАДИЦІЇ УКРАЇНЦІВ В УКРАЇНСЬКІЙ НАРОДНІЙ ХОРЕОГРАФІЇ

Author(s): Olʹha Bihus / Language(s): Ukrainian Issue: 2/2013

This article is about patriotic feelings and love to the native land and national traditions in Ukrainian folk choreography. Creations by famous Ukrainian choreographers are analized, custums of Ukrainian people in national Ukrainian dancers are described.

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From Eyewitness Narratives to Retellings and Literary Adaptations: The Russian Time of Troubles in Early Modern Europe

From Eyewitness Narratives to Retellings and Literary Adaptations: The Russian Time of Troubles in Early Modern Europe

Author(s): George Prokhorov / Language(s): English Issue: 2/2017

The article focuses on the adaptation strategies used by Lope de Vega in his play El Gran Duque de Moscovia y emperador perseguido (1617). This tragedy, built on material acquired from travelogues, represents the first depiction of the Russian Time of Troubles in fiction. In it, one can follow Lope de Vega’s shift from preserving the factual details collected from different travel sources to creating his own Baroque story placed within a purely Catholic world, as opposed to reality. In doing this, Lope de Vega creates a fictional space filled with mystery and miracles, where Heavens can intervene and punish the guilty party, whereby restoring the original status quo. Key situations turn from illustrations of an alien world into much more general depictions, namely, that of a tyrant versus a legal monarch, and the will of a ruler versus the law. The shift into tyranny provides the story with a new narrative centre and, by following Lope de Vega’s emphasis on the “Muscovian story,” discloses its universal spirit.[1]

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