New biographical data about the Russian scientist-geologist, specialist in the field of petrography B. V. Zalessky are identified and specified. The links in the history of the Zalessky (Zalesky) family, which belonged to the hereditary nobility of the Kazan province, who had estates in the Vyatka, Kazan and Kostroma provinces, are being restored. Verified information about the closest relatives of B. V. Zalessky is provided: his great-grandfather — the honorary caretaker of the Yaransky district school P.A. Zalessky; grandfather — a member of the city council of Kazan, comrade of the mayor and acting mayor N. P. Zalessky; father — the prosecutor of the Vyatka, then the Kazan district court, later the assistant to the chief prosecutor of the Criminal Cassation Department of the Government Senate V. N. Zalessky (erroneously presented in the works of a number of researchers as “Zalsky”), etc. The characteristic of the personality, scientific activity and social circle of B. V. Zalessky is given. His relations with famous figures of Russian science and culture — M. M. Bakhtin, the Florensky family are considered. Scattered information contained in various sources — unpublished (archival) and published (scientific articles and monographs, memoirs and epistolary sources, documentary prose, reference and encyclopedic literature and Internet publications) is collected and generalized.
Цель статьи – культурологический и искусствоведческий анализ трех портретных изображений выдающейся балерины Серебряного века русской культуры Софьи Федоровой 2-й (1879–1963), созданных С.Д. Эрьзей, М.Д. Рындзюнской и Н.Я. Данько. Материалом исследования являются архивные документы, отечественная периодика 1910-х гг., отзывы критиков и воспоминания современников о балерине. На основе использования сравнительно-исторического, биографического и семиотического методов представлена характеристика личности и творчества Федоровой 2-й, реконструирована ее биография; прослежена история создания трех скульптур, выявлены их художественные особенности и смыслоSвоенаполнение. Автор заключает, что Н. Я. Данько и М.Д. Рындзюнская изображают «дневную» Федорову, главным в их работах является демонстрация красоты и выразительности движений балерины. С.Д. Эрьзя запечатлел «ночную» Федорову: сосредоточив внимание на лице артистки, он сумел в своей скульптуре отразить ее сложный внутренний мир. The main aim of the article is to present an art historical and cultural analysis of three portrait images of Sofia Fedorova II(1879–1963), the outstanding ballerina of the Silver Age of Russian culture, created by masters of Russian sculpture Stepan Erzia (portrait bust, 1915, marble), MarinaRyndzyunskaya (statue, 1916, marble) and Natalya Danko (figurine, 1921, porcelain). The research materials are previously unpublished documents from the archives of Moscow, Saint Petersburg, Saransk, as well as articles from Russian periodicals of the 1910s; reviews of professional critics and memories about the ballerina. Based on the use of comparative historical, biographical, and semiotic methods, the article reconstructs Fedorova’s biography, considers various aspects of the reception of her personality and work by contemporaries: figures of literature (Vyacheslav Ivanov), theater (S. Giatsintova, E. Gogoleva, K. Stanislavsky, V. Telyakovsky), ballet (S. Grigoriev, B. Nizhinskaya), art critics and historians of ballet (Yu. Belyaev, P. Liven, S. Mamontov), other representatives of the humanitarian intelligentsia (S. Grigorov). Sofia Fedorova is known as an unsurpassed performer of characteristic dances in ballet and opera performances, as well as a ballerina who embodied the images of the innovative choreography of A.A. Gorsky and M.M. Fokin. Vyacheslav Ivanov claimed that the ballerina had “two faces”: the “daytime”, “galloping” Fedorova and the “nighttime” Fedorova, whose sphere was the “dark mysticism of the soul”. The author of the article traced the history of the creation of the three sculptures and revealed their artistic features and semantic content. The three sculptors created completely different sculptural images of Fedorova: a monumental marble figure (Ryndzyunskaya), an easel marble bust (Erzia), and a decorative porcelain figurine (Danko). According to the findings of the author of the study, Danko portrays Fedorova as “daytime” and “galloping” (nevertheless, she manages to create an ethereal image). Ryndzyunskaya also shows Fedorova as“daytime”, the sculptor is attracted by the ballerina’s grace, the beauty and expressiveness of her movement: portraying it, she focuses on purely plastic problems. Erzia is the only sculptor of the three who managed to see and capture the “nighttime” Fedorova. He is not interested in the ballerina’s dance, but in her complex deep inner world: he reflects the “dark mysticism” of her soul, conveys the state of tensity and anxiety that engulfed the woman, revealing not only signs of her incipient mental illness, but also her keen sense of the catastrophic state of the world (during World War I and the impending revolution).
Researchers repeatedly noted that M.M. Bakhtin’s works are characterized by integration of musical culture into theoretical discourse, which is expressed in his appeal to the conceptual sphere of musical art and use of musical terminology as an instrument of literary, aesthetic, and cultural analysis. However, when examining Bakhtin’s connection with music, researchers, as a rule, discuss “music in general”, without specifying which music Bakhtin used to listen. The paper discusses the phenomenon of “the musical world of Bakhtin”, including his music experience, personal and creative contacts with musicians. The authors find out musical sources of Bakhtin’s creative intuitions. Based on the study of Bakhtin’s collection of gramophone records (now located in the M. M. Bakhtin Center of the Mordovia State University), published and oral memories of people personally communicating with Bakhtin, and other sources, his individual musical preferences are identified, and the circle of his favorite composers and performers is determined. It is emphasized that the phenomenon of the “Bakhtin’s musical world” is a “marker” of his commitment to the tendency of interaction and synthesis of arts, intermediality, and the objectification of the idea of cultural synthesis, which was one of the prevailing philosophical and cultural intuitions of Russian symbolism.
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