Lotman talks about Russian culture, series of programs. Yuri Lotman Conversations about Russian culture

St. Petersburg: Art, 1994. - 484 p. — ISBN 5-210-01524-6. The author is an outstanding theorist and cultural historian, founder of the Tartu-Moscow semiotic school. Its readership is huge - from specialists to whom works on the typology of culture are addressed, to schoolchildren who have picked up the “Commentary” to “Eugene Onegin”. The book was created on the basis of a series of television lectures telling about the culture of the Russian nobility. The past era is presented through the realities of everyday life, brilliantly recreated in the chapters “Duel”, “Card Game”, “Ball”, etc. The book is populated by heroes of Russian literature and historical figures - among them Peter I, Suvorov, Alexander I, the Decembrists. The actual novelty and wide range of literary associations, the fundamentality and liveliness of the presentation make it a most valuable publication in which any reader will find something interesting and useful for themselves. “Conversations about Russian Culture” is written by the brilliant researcher of Russian culture Yu. M. Lotman. At one time, the author responded with interest to the proposal of “Art-SPB” to prepare a publication based on a series of lectures that he gave on television. He carried out the work with great responsibility—the composition was specified, the chapters were expanded, and new versions appeared. The author signed the book for inclusion, but did not see it published - on October 28, 1993, Yu. M. Lotman died. His living word, addressed to an audience of millions, was preserved in this book. It immerses the reader in the world of everyday life of the Russian nobility of the 18th - early 19th centuries. We see people of a distant era in the nursery and in the ballroom, on the battlefield and at the card table, we can examine in detail the hairstyle, the cut of the dress, the gesture, the demeanor. At the same time, everyday life for the author is a historical-psychological category, a sign system, that is, a kind of text. He teaches to read and understand this text, where the everyday and the existential are inseparable.
“A collection of motley chapters”, the heroes of which were outstanding historical figures, reigning persons, ordinary people of the era, poets, literary characters, is connected together by the thought of the continuity of the cultural and historical process, the intellectual and spiritual connection of generations.
In a special issue of the Tartu “Russian Newspaper” dedicated to the death of Yu. M. Lotman, among his statements recorded and saved by colleagues and students, we find words that contain the quintessence of his last book: “History passes through a person’s House, through his private life. It is not titles, orders or royal favor, but the “independence of a person” that turns him into a historical personality.” Introduction: Life and culture.
People and ranks.
Women's World.
Women's education in the 18th - early 19th centuries.
Ball.
Matchmaking. Marriage. Divorce.
Russian dandyism.
Card game.
Duel.
The art of living.
The summary of the journey.
"Chicks of Petrov's Nest."
Age of heroes.
Two women.
People of 1812.
Decembrist in everyday life.
Notes
Instead of the conclusion: “Between the double abyss...”.


CH PFDEMSHOSCHI RPYGYSI, CHUEZDB SCHMSAEYIUS YULMAYUEOYEN YJ RTBCHYMB, NPTsOP ZPCHPTYFSH P LHMSHFHTE PDOPZP YuEMPCHELB. OP FPZDB UMEDHEF KHFYUOIFSH, YUFP NSCH YNEEN DEMP U LPMMELFYCHPN, UPUFPSEIN JPDOPC MYUOPUFY. хЦЭ ФП, УФП ьФБ MYУОПУФШ OEYЪVETSOP VХDEF RPMSHЪПЧБФШУС СЪШЛПН, ЦШЧУФХРБС ПДОПЧТНИООП ЛБЛ ЗПЧПТЦЭИК И UMKHYBAEIK, UFBCHYF EE CH RPYGYA LPMMELFYCHB. fBL, OBRTYNET, TPNBOFILY YUBUFP ZPCHPTYMY P RTEDEMSHOPK YODYCHYDHBMSHOPUFY UCHPEK LHMSHFHTSCH, P FPN, YuFP CH UPDBCHBENSHI YNY FELUFBI UBN BCHFPT SCHMSEFUS, CH YDEBME, EDYOU FCHOOOSCHN UCHPYN UMHYBFEMEN (YUYFBFEMEN). pDOBLP Y CH LFK UYFKHBGYY TPMY ZPCHPTSEEZP Y UMKHYBAEEZP, UCHSCHCHBAEIK YI SSCHL OE HOYUFPTSBAFUS, B LBL VSH RETEOPUSFUS CHOKHTSH PFDEMSHOPK MYUOPUFY: “h HNE UCHPEN S UP ЪДБМ НИТ ЪПК // й ПВТБПЧ YOSHI UХHEУФЧПЧБОСHE» (mETNPOFPCH na.a.upyu.ch 6- FY F. N.; M., 1954, F. 1, U. 34).

gYFBFSCH RTYCHPDSFUS RP YJDBOYSN, YNEAEINUS CH VYVMYPFELE BCHFPTB, U UPITBOOYEN PTZHPZTBZHYY RHOLFKHBGYY YUFPYUOILB.

pTYZIOBMSHOSCHK FELUF YNEEF RTYNEYUBOYS, UPDETSBEYEUS CH LPOGE LOYZY Y RTPOKHNETPCHBOOSCH RP ZMBCHBN, B FBLCE RPDUFTPUOSCH UOPUL PVPOBYOOSCH ЪCHEDPYULBNY. dMS KHDPVUFCHB CHPURTYSFYS CH OBYEN UMKHYUBE RPUFTBOYUOSHE UPULY RPMKHYUYMY ULCHPYOKHA, OP PFDEMSHOKHA OHNETBGYA. rPUFTBOYUOSCH UPULY, PVPOBYOOOSCH LOYZE PRTEDEMEOOSCHN LPMYUEUFCHPN ЪCHEDPYUEL, ЪDEUSH YNEAF RPTSDLPCHSHCHK OPNET UP ЪCHEDPYULPK (OBRTYNET, 1*, 2* Y F.D.). – TEDBLGYS ry "pFLTSCHFSHCHK FELUF"

RHYLYO b. u. rPMO. UPVT. UPYU. Ch 16-FY F. [n.; m. ], 1937-1949, F. 11, U. 40. dBMEE CHUE UUSCHMLY ABOUT LFP YJDBOYE DBAFUS CH FELUFE UPLTBEEOOOP: RHYLYO, FPN, LOIZB, UFTBOYGB. UUSCHMLY ABOUT "ECHZEOYS POEZYOB" DBAFUS CH FELUFE, U KHLBBOYEN ZMBCHSHCH (BTBVULPK GYZhTPK) Y UFTPZHSC (TYNULPK).

OEUNPFTS ABOUT CHTBTSDEVOPE PFOPYEOYE L RPRSCHFLBN GETLPCHOSHI DESFEMEK CHMYSFSH ABOUT ZPUKHDBTUFCHEOKHA CHMBUFSH, ABOUT YJCHEUFOSCH UMHYUBY LPEHOUFCHB, REFT FEBFEMSHOP UPVMADBM RTBCHPUMBCHOSCHOSHE PV TSDSCH. dBTSE OETBURPMPTSEOOSCHK L OENKH DYRMPNBF AUF AMSH CHSHCHOKHTSDEO VSCHM RTYOBFSH, SFP "GBTSH VMBZPYUEUFYCH", B DTHZPK UCHYDEFEMSH, ZHTBOGKH m-zhPTF Ch 1721 ZPDH PFNEYUBM, SFP "GBT" SH ZPCHEM VPMEE FEBFEMSHOP, YUEN PVSHYUOP, U NEB culpa (RPLBSOYEN. - a.m. .),LPMEOPRTELMPOOYEN Y NOPZPLTBFOSCHN GEMPCHBOYEN YENMY".

CH OBTPDOYUEULYI LTHZBI Y CH PLTHTSEOYY b. y. zETGEOB UKHEEUFCHPCHBMB FEODEOGYS CHYDEFSH CH UFBTPPVTSDGBI CHSTBYFEMEK NOEOYK CHUEZP OBTPDB Y ABOUT LFPN PUOPCHBOY LPOUFTKHYTPCHBFSH PFOPYEOYE LTEUFSHSOUFCHB L REFTKH. h DBMSHOEKYEN bfkh FPYULH ЪTEOYS KHUCHPYMY TKHUULYE UYNCHPMYUFSH - d.u. NETETSLPCHULIK Y DT., PFPTSDEUFCHMSCHYE UELFBOFPCH Y RTEDUFBCHYFEMEK TBULPMB UP CHUEN OBTPDPN. chPRTPU LFPF OHTSDBEFUS CH DBMSHOEKYEN VEURTYUFTBUFOPN YUUMEDPCHBOYY. pFNEFYN MYYSH, YuFP FBLYE, UDEMBCHYEUS HCE RTYCHSHCHYUOSCHNY KHFCHETTSDEOOYS, LBL NOOOYE YJCHEUFOPZP YUUMEDPCHBFEMS MHVLB d. » Y TSD MYUFPCH ABOUT FENH "UFBTYL Y CHEDSHNB" SCHMSAFUS UBFYTBNY ABOUT REFTB, ABOUT RPCHETLH PLBSCCHBAFUS OH ABOUT YUEN OE PUOPCHBOOSCHNY.

CHRPUMEDUFCHYY, PUPVEOOOP RTY OYLPMBE I, RPMPTSEOYE NEOSMPUSH CH UFPTPOH CHUE VPMSHYEZP RTECHTBEEOOYS DCHPTSOUFCHB CH ЪBNLOKHFHA LBUFKH. hTPCHEOSH YUYOB, RTY LPFPTPN OEDCHPTSOYO RPMKHYUBM DCHPTSOUFChP, CHUE CHTENS RPCHSHCHYBMUS.

RTEDRPYUFEOYE, DBCHBENPE CHYOULPK UMKHTSVE, PFTBYMPUSH CH RPMOPN ЪБЗМБЧй ЪБЛПОБ: “fBVEMSH P TBOSBI CHUEI YUYOPCH, CHPYOULYI, UFBFULYI Y RTDCHPTOSHI, LPFPTSHCHE CH LPF PTPN LMBUUE YYOSCH; Y LPFPTSCHE CH PDOPN LMBUUE, FE YNEAF RP UFBTYOUFCHCH CHTENEY CHUFKHRMEOYS CH YUYO NETSDH UPVPA, PDOBLPTs CHYOULYE CHCHIE RTPFUYI, IPFS V Y UFBTEE LFP CH FPN LMBUUE RPTsBMPCHBO VSHCHM " iBTBLFETOP Y DTHZPE: OBYUYCH CHYOULYE YYOSCH I LMBUUB (ZEOETBM-ZHEMSHDNBTYBM CH UKHIPRKHFOSHY ZEOETBM-BDNYTBM CH NPTULYI CHPKULBI), REFT PUFBCHYM RKHUFSHNY NEUFB I L MBUUB CH UFBFULPK Y RTDCHPTOPK UMHTSVE. mYYSH KHLBBOYE UEOBFB, YuFP LFP RPUFBCHYF TKHUULYI DYRMPNBFPCH RTY UOPYEOYSI U YOPUFTBOOSCHNY DCHPTBNY CH OETBCHOPE RPMPTSEOYE, KHVEDIMP EZP CH OEPVIPDYNPUFY I LMBUUB Y DMS UFB FULPC UMKHTSVSHCH (YN UFBM LBOGMET). rTYDCHPTOBS CE UMHTSVB FBL Y PUFBMBUSH VEJ CHUYEZP HSE.

YOFETEUOP, YuFP DChPTSOUFChP, VSHUFTP TBPTSCHIYEUS Ch 1830-1840-e ZPDSH, FPTSE CHOUMP BLFYCHOSCHK CHLMBD CH ZHPTNYTPCHBOIE TKHUULPK YOFEMMYZEOGYY. rTPZHEUYPOBMSHOPE DPTEZHTNEOOPE YUYOPCHOYUEUFCHP PLBBBMPUSH Y ЪDEUSH OBYUYFEMSHOP NEOO BLFYCHOSCHN.

TENPOF MPYBDEK - FEIOYUUEULYK FETNYO CH LBCHBMETYY, POBYUBAEIK RPRPMOOYE Y PVOPCHMEOYE LPOULZP UPUFBCHB. DMS ЪБЛХРЛІ МПYБДЭК ПжІГОП У ЛБЪООШНИ УХНННБНY ПНННБНИ ЛПНБОПІПЧБМУС О ПДОКХ Ъ ВПМШИИ ЭЦЭЗДОШХНY ЛПУЛИИ СТНБТПЛ. rPULPMSHLH MPYBDY RPLHRBMYUSH X RPNEEYLPCH - MYG YUBUFOSHCHI, RTPCHETLY UKHNNSH TEBMSHOP YUFTBYOOOSCHI DEOEZ ZHBLFYUEULY OE VSHMP. zBTBOFYSNY TEBMSHOPUFY UKHNNSH DEOETSOSHI FTBF VSHMMY, U PDOPK UFPTPOSCH, DPCHETYE L LPNBODYTPCHBOOPNH PZHYGETH, B U DTHZPK - PRSCHFOPUFSH RPMLPCHPZP OBYUBMSHUFCHB, TBYTBCHYEZ PUS CH UFPYNPUFY MPYBDEC.

OBDP ULBBFSH, YuFP UMKhTSVB VEJ TsBMPCHBOSHS VShchMB DPChPMSHOP YBUFSHCHN SCHMEOYEN, B b. neoyylpch ch 1726 ZPDH CHPPVEE PFNEOIM TsBMPCHBOSHE NEMLYN YUYOPCHOILBN, ZPCHPTS, YuFP POY Y FBL VETHF NOPZP CHUSFPL.

CH VSHFPRYUBOYSI XVIII UFPMEFYS YJCHEUFEO UMKHYUBK, LPZDB OELYK ZPUFSH UPTPL MEF TEZKHMSTOP RPSCHMSMUS ABOUT PVEDBI X PDOPZP CHEMSHNPTSY. pDOBLP, LPZDB LFPF YUEMPCHEL HNET, PLBBBMPUSH, YuFP OILFP, CHLMAYUBS IPЪSYOB, OE OBBM, LFP ON FBLPK Y LBLPCHP EZP YNS.

10* CHUE ЪBLPOSH GYFYTHAFUS RP YЪDBOYA: rPMOPE UPVTBOYE ЪBLPOPCH tPUUYKULPK YNRETYY, RPCHEMEOYEN ZPUKHDBTS OYLPMBS rBCHMPCHYUB UPUFBCHMEOOPE. (1649 -1825). f. 1 -45. urV., 1830.

12* uFBTSHCHK RTYOGYR, PDOBLP, OE VShchM DP LPOGB KHOYUFPTSEO. bFP PFTTBTSBMPUSH CH FPN, YuFP RETYPDYUEULY CH UYUFENKH PTDEOPCH CHTSCHCHBMYUSH OE HUMPCHOSCH, B NBFETYBMSHOSCH GEOOPUFY. fBL, PTDEOULBS ЪCHEDB U VTYMMYBOFBNY YNEMB OBYUEOYE PUVPK UFEREOY PFMYYUYS

14* pZHYGYBMSHOPE OBCHBOYE - PTDEO UCH. yPBOOB yETHUBMYNULPZP. lBL YJCHEUFOP, rBCHEM I CHSM RPD RPLTPCHYFEMSHUFCHP PUFTPC nBMSHFH Y CH DELBVTE 1798 Z. PVIASCHYM UEWS CHEMILINE NBZYUFTPN nBMSHFYKULPZP PTDEOB. lPOYUOP, LFP VSHMP UPCHETYOOOP OECHPNPTSOSCHN: LBCHMETSH nBMSHFYKULPZP PTDEOB DBCHBMY PVEF VEJVTBUYS, B rBCHEM VSHM HCE CHFPTYYUOP TSEOBF; LTPNE FPZP, nBMSHFYKULYK PTDEO - LBFPMYUEULYK, B TKHUULYK GBTSH, TBHNEEFUS, VSHM RTBCHPUMBCHOSCHN. OP rBCHEM I UYYFBM, UFP BY CHUE NPTsEF (DBCE MYFKHTZYA PFUMKHTSYM PDOBTDSCH!); CHUE, YuFP NPTsEF vPZ, RPD UYMKH Y TKHULPNKH YNRETBFPTH.

17* ut. RPЪDOOEKYE YTPOYUUEULPE YUFPMLPCHBOYE UENBOFYLY UMPCHB "UMKHTSYFSH" CH TEYU DCHPTSOYOB Y TBOPYUYOGB-RPRPCHYUB: "BI, RPJCHPMSHFE, CHBYB ZHBNYMYS NOE OBLPNB - TSB HRE. dB, FERTSH WITH RPNOA. NSHCH U CHBYN VBFAYLPK CHNEUFE UMKHTSYMY".. uFP TSE CHSHCHU OIN, CHUEOPEOKHA YMY PVEDOA UMKHTSYMY?" - URTPUYM tSBOPCH.. fP EUFSH LBL?" - "s OE OBA, LBL. dPMTSOP VSHFSH, UPVPTOE. b FP LBL TSE EEE?" rPUTEDOIL U OEDPHNEOYEN UNPFTEM ABOUT TSBOPCHB:. dB TBCHE CHBY VBFAYLB OE UMKHTSYM CH ZTPDOEOULYI ZHUBTBI?" - oEF; PO VPMSHYE CH UEMBY RTEUCHYFETPN UMKHTSYM"" (umERGPCH ch. b. uPYu. Ch 2-I F. n., 1957, F. 2, U. 58).

18. pOP OBYUBMP PVPOBYUBFSH FTBLFYTOHA RTYUMKHZKH, OE RPMKHYUBAEKHA PF IPЪSYOB TsBMPCHBOSHS Y UMKHTSBEKHA ЪB YUBECHSHCHE. uT. CHSTBTTSEOYE CH “prBUOPN UPUEDE” ch. m. rHYLYOB, RTYOBDMETSBEE LHIBTLE CH RHVMYUOPN DPNE: “YUEUFY MYYSH PDOPK S CH DPNE ЪDEUSH UMKHTSKH” (rPFSH 1790-1810-I ZPDCH. m., 1971, U. 670).

FBN TSE, F. 5, U. 16, UP UUSCHMLPK ABOUT: tBVYOPCHYU n. d. - h LO.: tPUUYS CH RETYPD TEZHPTN rEFTB I. n., 1973, U 171; vKhZBOPCH h.y., rTEPVTBTSEOULYK b. b., fYIPOPCH a. b. ьChPMAGYS ZHEPDBMYNB CH tPUUYY. UPGYBMSHOP-LPOPNYUEULYE RTPVMENSHCH. n., 1980, U. 241.

19* fPMSHLP CH RTYDCHPTOPK UMHTSVE TSEOOEYOSCH UBNY YNEMY YYOSCH. h fBVEMY P TBOZBI OBIPDN: “dBNSH Y DECHYGSH RTY DCHPTE, DEKUFCHYFEMSHOP CH YUYOBI PVTEFBAEYEUS, YNEAF UMEDHAEYE TBOZY...” (rBNSFOLY TKHUULPZP RTBCHB. chShchR. 8, U. 186) - DB MEE UMEDPCHBMP YI RETEYUMEOYE.

UN.: UENEOPCHB m.o. PYUETLY YUFPTYY VSHFB Y LHMSHFKHTOPK TSYYOY tPUUYY: RETCHBS RPMPCHYOB XVIII CHELB m., 1982, U. 114-115; rETERYULB LOSZJOY e.r. xTHUPCHPK UP UCHPYNY DEFSHNY. - h LO.: uFBTYOB Y OPCHYOB. lO. 20. n., 1916; yuBUFOBS RETERYULB LOSS REFTB yCHBOPCHYUB iPCBOULPZP, EZP UENSHYY TPDUFCHEOILCH. - h LO. FBN CE, LO. 10; zTBNPFLY XVII - OBYUBMB XVIII CHELB. n., 1969.

20* USTEDOECHELPCHBS LOYZB VSHMB THLPRYUOPK. LOYZB XIX CHELB - LBL RTBCHYMP, REYUBFOPK (EUMY OE ZPCHPTYFSH P ЪBRTEEEOOOPK MYFETBFKHTE, P LHMSHFKHTE GETLPCHOPK Y OE KHYYFSHCHBFSH OELPFPTSCHI DTHZYI UREGYBMSHOSHI UMKHYUBECH). XVIII CHEL ЪBOYNBEF PUPVPE RPMPTSEOYE: THLPRYUOSCHE REYUBFOSCH LOYZY UKHEEUFCHHAF PDOPCHTEENOOOP, YOPZDB - LBL UPAYOILY, RPTPC - LBL UPRETOILY.

21* uN. CH “rHFEYUFCHYYY REFETVHTZB CH nPULCHH” b. O. tBDYEECHB, CH ZMBCHE “oPChZPTPD”, RPTFTEF TSEOSCH LHRGB: “rTBULPCHS DEOYUPCHOB, EZP OPCHPVTBUOBS UHRTKHZB, VEMB Y THNSOB. ъХВШЧ ЛБЛ ХЗПМШ. vTPCHY CH OYFLH, YUETOEE UBTSY.”

tPNBO LMBUUYUEULYK, UFBTYOOSHCHK,

pFNEOOOP DMYOOSHCHK, DMYOOSHCHK, DMYOOSHCHK,

OTBCHPHYUFEMSHOSHCHK Y YYOOOSCHK,

VE TPNBOFYUEULYI ЪBFEK.

ZETPYOS RPNSH - oBFBMYS rBCHMPCHOB YUYFBMB FBLYE TPNBOSH EEE CH OBYUBME XIX CHELB: CH RTPCHYOGYY POY OBDETSBMYUSH, OP CH UFPMYGBI YI CHSHCHFEUOYM TPNBOFYYN, RETENEOYCHYK YUIFBFEMSH HIVE OF FUCKING. uT. CH "ECHZEOYY POEZYOE":

b OSHHOYUE CHUE KHNSCH CH FKHNBOE,

nPTBMSH ABOUT OBU OBCHPDYF UPO,

rPTPL MAVEYEO - Y CH TPNBOE,

th FBN HC FPTCEUFCHHEF PA. (3, XII))

23* rPCHEUFSH H. M. lBTBNYOB “tShCHGBTSH OBUYEZP CHTENEY”, ABOUT LPFPTPK NSCH CH DBOOPN UMHYUBE PUOPCHCHCHBENUS, - IHDPTSEUFCHOOPE RTPY'CHEDEOYE, B OE DPLHNEOF. pDOBLP NPTsOP RPMBZBFSH, YuFP YNEOOP CH FYI CHPRTPUBI lBTBNYO VMYPL L VYPZTBZHYUEULPK TEBMSHOPUFY.

24* zhTBOGKHULPE RYUSHNP ZPUKHDBTA YMY CHCHUYN UBOPCHOILBN, OBRYUBOPE NHTSYUYOPK, VSHMP VSC CHPURTYOSFP LBL DET PUFSH: RPDDBOOSCHK PVSBO VSHM RYUBFSH RP-TKHUULY Y FPYUOP UMEDHS KHUFBOPCHMEOOOPK ZHPTNE. dBNB VSHMB YЪVBCHMEOB PF LFPZP TYFKHBMB. ZhTBOGKHULYK SJSHL UPJDBCHBM NETSDH OEA Y ZPUKHDBTEN PFOPYEOYS, RPDPVOSHCHN TYFKHBMSHOSCHN UCHSSN TSCHGBTS Y DBNSHCH. ZhTBOGKHULYK LPTPMSH MADPCHYL XIV, RPchedeoye LPFPTPZP CHUE EEE VSHMP YDEBMPN DMS CHUEI LPTPMEK echTPRSCH, DENPOUFTBFYCHOP RP-TSCHGBTULY PVTBBEBMUS U TsEOYOBNY MAVPZP ChP TBUFB Y UPGYBMSHOPZP RPMPTSEOYS.

YOFETEUOP PFNEFYFSH, YuFP ATYYUUEULY UFEREOSH UPGYBMSHOPK ЪBEEEOOOPUFY, LPFPTPK TBURPMBZBMB TKHUULBS TSEOOYOB-DCHPTSOLB CH OILPMBECHULHA URPIKH, NPTsEF VSHFSH UPR PUFBCHMEOB U ЪBEEEOOOPUFSH RPUEFYCHYEZP tPUUYA YOPUFTBOGB. UPCHRBDEOYE LFP OE UFPMSH HC UMKHYUBKOP: CH YUYOPCHOP-VATPLTBFYUEULPN NYTE TBOZB Y NHODYTB CHUSLYK, LFP FBL YMY YOBYUE CHSCHIPDYF ЪB EZP RTEDEMSHCH, - “YOPUFTBOEG”.

25* rTBCHDB, CH PFMYUYE PF UEO-rTE YЪ “ОПЧПК ьМПИШЧ”, tsKHLPCHULIK - DCHPTSOYO. pDOBLP DChPTSOUFChP EZP UPNOYFEMSHOP: CHUE PLTHTSBAEYE JOBAF, UFP PO OEBLPOOSCHK USCHO U ZHYLFYCHOP DPVSHCHFSHCHN DCHPTSOUFCHPN (UN.: rPTFOPCHB y.y., zhPNYO o.l. deMP P DCHPTSOU FCHE tsKHLPCHULPZP. - h LO.: tsKHLPCHULIK Y TKHUULBS LHMSHFHTB. m., 1987, U. 346-350).

26* fBL OBSCHCHBMY PVSHYUOP LOYZKH “rMHFBTIB IETPOEKULPZP p DEFPCHPDUFCHE, YMY CHPURYFBOY DEFEC OBUFBCHMEOYE. RETECHEDEOOPE U EMMYOP-ZTEYUULPZP SJSCHLB u[FERBOPN] r[YUBTECHCHN].” urV., 1771.

28* chPNPTSOP, YuFP CHOINBOYE tBDYEECHB L LFPNH RYЪPDH CHSHCHBOP UPVCHFYEN, RTSNP RTEDYUFCHPCHBCHYYN OBRYUBOYA FELUFB. rPUMEDOYE SLPVYOGSH - TsYMSHVET tPNN Y EZP EDYOPNSCHYMEOOYL, PVPDTSS DTKhZ DTHZB, YJVETSBMY LBJOY, FBL LBL ЪBLPMMYUSH PDOYN LYOTSBMPN, LPFPTSCHK POY RETEDBCHBMY DTKHZ D THZH YЪ THL CH THLY (DBFYTPCHLH RPNSH 1795—1796 ZZ. UN.: tBDYEECH b.o. uFYIPFCHPTEOYS. m ., 1975, U. 244-245).

29* YuFPVSH PGEOIFSH LFPF YBZ DPCHPMSHOP PUFPPTPTsOPZP rMEFOECHB, UMEDHEF HYUEUFSH, YuFP OBUYOBS U 1830-ZP ZPDB ChPLTHZ PGEOLY FCHPTYUEFCHB rKHYLYOB YMB PUFTBS RPMENYL BY BCHFPTYFEF EZP VSHHM RPLPMEVMEO DBCE CH UPBOBOY OBYVPMEE VMYLYYI L OENKH RPFPCH (OBRTYNET, e. vBTBFSCHOULPZP). h PZHYGYPOSCHI TSE LTHZBI DYULTEDYFYTPCHBFSH RPYYA RHYLYOB UDEMBMPUSH H FY ZPDSH UCHPEZP TPDB PVSHCHUBEN.

30* uHNBTPLPCH b. R. yЪVT. RTPY'CHEDEOYS. m., 1957, U. 307. pVTBEEOYE RPNFB L CHPURYFBOOYGBN uNPMSHOPZP YOUFYFKHFB OBRPNYOBEF, Y CHYDYNP OE UMKHYUBKOP, YYCHEUFOSHCHE UFTPLY n. mPNPOPUPCHB: “p CHSCH, LPFPTSCHI PTSIDBEF // pFEYUEUFCHP YЪ OEDT UCHPYI...” pDOBLP mPNPOPUPCH PVTBEBEFUS L TKHUULPNH AOPYEUFCHH VEЪ LBLPZP-MYVP KHLBBOYS ABOUT UPUMPCHYE, CHEUSH TSE UNSHUM RPUMBOYS UHNBTPLPCHB UPUFPYF CH UPDBOY RTPZTBNNNSCH DMS CHPURYFBOYS TKHUULPK DCHPTSOULPK DECHKHYLY.

33* RETCHPE CHPURYFBFEMSHOPE ЪBCHEDEOYE DMS DECHKHYEL ChPЪOILMP Ch DETRFE, ЪBDPMZP DP uNPMSHOPZP YOUFYFKhFB, Ch 50th ZPDSH XVIII CHELB. rTERPDBCHBOIE FBN CHEMPUSH ABOUT OENEGLPN SJSCHL.

34* RTYNEYU. rHYLYOB: “oEFPYOOPUFSH. — about VBMBI LBCHBMETZBTD<УЛЙЕ>PZHYGETSCH SCHMSAFUS FBL CE, LBL Y RTPYUYE ZPUFY, CH CHYG NHODITE, CH VBYNBLBI. ъBNEYUBOYE PUOPCHBFEMSHOPE, OP CH YRPTBI EUFSH OYuFP RPFFYUEULPE. uUSCHMBAUSH ABOUT NOOOYE b. y. V. "(VI, 528).

[rEFTPCHULIK m.] rTBCHYMB DMS VMBZPTPDODOSHI PVEEUFCHEOOSCHI FBOGECH, YIDBOOSCHE KHYFEMEN FBOGECHBOSHS RTY uMPVPDULP-HLTBYOULPK ZYNOBYY MADPCHYLPN reftpchulyn. iBTSHLPCH, 1825, U. 13-14.

35* n. b. OBTSCHYLYOB - MAVPCHOYGB, BOE TSEOB YNRETBFPTB, RPFPNH OE NPTsEF PFLTSCHBFSH VBM CH RETCHPK RBTE, KH RKHYLYOB TSE "mBMMB-tHL" YDEF CH RETCHPK RBTE U bMELUBODTPN I.

ЪBRYULY village. n. oECHETPCHB. - tHUULBS UFBTYOB, 1883, F. XI (GYF. RP: rPNEEYUSHS tPUUYS, U. 148). rBTBDPLUBMSHOPE UPCHRBDEOYE OBIPDN CH UFYIPFCHPTEOYY CHUECHPMPDB tPTsDEUFCHEOULZP, UPJDBAEEZP PVTB veUFHTSECHB-nBTMYOULPZP, VETSBCHYEZP CH ZPTSH Y DELMBNYTHAEEZP UMEDHAEIK PHELUF:

mYYSH ABOUT UETDGE FPMSHLP OBMSCEF FPULB

th OEVP RPLBCEPHUS KHLYN,

CHUA OPYUSH EK CH ZBTENE YUYFBA “GSHCHZBO”,

CHUE RMBUKH, RPA RP-ZHTBOGKHULY.

chPPVTBTTSEOYE RPNFB UFTBOOP RPCHFPTSMP ZHBOFBIYY RPNEAILB DBCHOYI RPT.

39* pFPTSDEUFCHMEOYE UMPC "IBN" Y "TBV" RPMKHYYMP PDOP MAVPRSCHFOPE RTDDPMTSEOYE. DELBVTYUF OYLPMBK fHTZEOECH, LPFPTSCHK, RP UMPCHBN RKHYLYOB, "GERY TBVUFCHB OEOOBCHYDEM", YURPMSHЪPCHBM UMPChP "IBN" CH UREGYZHYYUEULPN OBYUEOYY. BY UYUFBM, UFP IKHDIYNYY TBVBNY SCHMSAFUS ЪBEYFOILY TBVUFCHB - RTPRPCHEDOYLY LTERPUFOPZP RTBCHB. DMS OYI PO YURPMSHЪPCHBM CH UCHPYI DOECHOILBI Y RYUSHNBI UMPPE "IBN", RTECHTBFYCH EZP CH RPMYFYUEULYK FETNYO.

UN. PV LFPN CH LO.: lBTRPCHYU e.r. ъBNEYUBFEMSHOSH VPZBFUFCHB YUBUFOSCHI MYG CH TPUUYY. urV., 1874, U. 259-263; B FBLCE: mPFNBO a. n. tPNBO b. u. RKHYLYOB "ECHZEOYK poEZYO". lPNNEOFBTYK. M., 1980, U. 36-42.

40* ut. CH FPN TSE YUFPYUOYLE PRYUBOIE PVTSDB UCHBFPCHUFCHB: “uFPM VSHM OBLTSCHF YUEMPCHEL ABOUT UPTPL. ABOUT UFPME UFPSMYUEFSHCHTE PLPTPPLB Y VEMSHK VPMSHYPK, LTHZMSCHK, UMBDLYK RYTPZ U TBOSCHNY KHLTBYEOYSNY Y ZHYZKHTBNY.”

41* rPDЪBZPMPCHPL "pFTSHCHPL YЪ RYUSHNB ATsOPZP TsYFEMS" - OE FPMSHLP OBNEL ABOUT VYPZTBZHYUEULYE PVUFPSFEMSHUFCHB BCHFPTB, OP Y DENPOUFTBFYCHOPE RTPPHYCHPRPUFBCHMEOYE EUVS "REFETVHTZULPK" FPYULE ЪTEOYS.

19 56-1961, F. 2, U. 309). lBL MAVYNPE OBTPDOPE TBCHMEYUEOYE, LFY LBYUEMY PRYUBOSCH VSHHMY RKHFEYUFCHEOILPN pMEBTYEN (UN.: pMEBTYK bDBN. pRYUBOYE RKHFEYUFCHYS CH nPULPCHYA... level., 1806, U. 218-2 19), LPFPTSCHK RTYCHEM Y YI TYUHOPL.

44* ъBTS YMY ЪPTS - CHYD FTBCHSHCH, UYYFBCHYEKUS CH OBTDOPK NEDYGYOE GEMEVOPK "chP CHTENS FTPYGLPZP NMEVOBO DECHKHYLY, UFPSEYE UMECHB PF BMFBTS, DPMTSOSCH KHTPOYFSH OEULPMSHLP UME" YOPL ABOUT RHUPL NEMLYI VETEIPCHSHCHI CHEFPL (CH DTHZYI TBKPOBI tPUUYY RMBLBMMY ABOUT RHUPL UBTY YMY ABOUT DTHZYI GCHEFSHCH. — a.m.). ьФПФ RХУПЛ FEBFEMSHOP UVETEZBEFUS RPUME Y UYUYFBEFUS ЪBMPZPN FPZP, YuFP CH LFP MEFP OE VHDEF ЪBUKHIY" (ETOPCHB b.v. nBFETYBMSH RP UEMSHULPIPSKUFCHOOOPK NBZYY CH DNY FTPCHULPN LTBE. - uPCHEFULBS LFOPZTBZHYS, 1932, 3, U. 30).

45* p EDYOPN UCHBDEVOPN PVTSDE CH HUMPCHYSI LTERPUFOPZP VSHFB ZPCHPTYFSH OEMSH. lTERPUFOPE RTYOKHTSDEOOYE Y OEEEFB URPUPVUFCHPCHBMY TBTHYEOYA PVTSDPPCHPK UFTHLFHTSCH. fBL, CH "YUFPTYY UEMB zPTAIOB" OEBDBYUMYCHSHCHK BCHFPT zPTAIYO RPMBZBEF, YuFP PRYUSCHCHBEF RPIPPTPOOSCHK PVTSD, LPZDB UCHYDEFEMSHUFCHHEF, YuFP CH EZP CHILDREN'S RPLPKOILPC ЪB TSHCHBMY CH ЪENMA (YOPZDB PYYVPYUOP) UTBH RPUME LPOYUSHCH, "DBVSH NETFCHSHCHK CH YYVE MYYOESP NEUFB OE ЪBOINBM." nsch VETEN RTYNET YY TSYY PUEOSH VPZBFSCHI LTERPUFOSCHI LTEUFSHSO - RTBUPMPCH Y FPTZPCHGECH, FBL LBL ЪDEUSH PVTSD UPITBOYMUS CH OETTBTHYEOOPN CHYDE.

46* yЪ RTYNEYUBOYK L SRPOULPNKH FELUFKH CHYDOP, YuFP TKHUULPE UMPChP "CHEOGSCH" OE PYUEOSH FPYUOP RETEDBEF UPDETSBOYE. UMPChP CH PTYZYOBME POBYUBEF “DYBDENKH ABOUT UFBFKHE VKhDDSHCH” (U. 360). iBTBLFETOP, YuFP YOZHPTNBFPT PFPTSDEUFCHMSEF OPChPVTBUOSCHY OE U ENOCHNY CHMBUFFEMSNY, B U VPZBNY.

49* OBRPNOYN HCE PFNEYUBCHYHAUS OBNY MAVPRSHFOKHA DEFBMSH. TEYUSH YDEF PV LRPIE EMYBCHEFSH REFTPCHOSCH. OP LPZDB eETVBFPCH ZPCHPTYF P OEK LBL P YUEMPCHELE, BY KHRPFTEVMSEF TSEOULHA ZHPTNKH: “ZPUKHDBTSHCHOS”, LPZDB TSE P EE ZPUKHDBTUFCHEOOPK DESFEMSHOPUFY - NHTSULKHA: “ZPUKHDBTSH”.

51* ъDEUSH TEYUSH YDEF PV BOZMYKULPK NHTSULPK NPDE: ZHTBOGKHULYE TSEOULYE Y NHTSULYE NPDSCH UFTPIMYUSH LBL CHBYNOP UPPFCHEFUFCHEOOSCH - CH BOZMYY LBCDBS YЪ OYI TBCHYCHB MBUSH RP UPVUFCHEOOSCHN ЪBLPOBN.

65* “PUFTYTSEO RP RPUMEDOEK NPDE” Y “LBL DEODY MPODPOULYK PDEF” FBLCE poezyo. ьФПНХ RTPFPYCHPRPUFBCHMEOSCH "LKhDTY YUETOSHCH DP RMEYU" meOULPZP. “lTYLHO, NSFETSoil Y RPPF”, LBL IBTBLFETYYHEFUS mEOULYK CH YUETOPCHPN CHBTYBOFE, PO, LBL Y DTHZIE OENEGLYE UFKhDEOFSHCH, OPUM DMYOOSHCH CHPMPUSH CH OBBL MYVETBMYNB, YЪ RPDTBTSBOYS LBTVPOBTYSN.

CHRETCHSCHE UPRPUFBCHMEOYE UATSEFPCH LFYI RTPY'CHEDEOYK UN.: yFEKO u. RHYLYO Y ZPZHNBO. uTBCHOYFEMSHOPE YUFPTYLP-MYFETBFHTOPE YUUMEDPCHBOYE. dETRF, 1927, U. 275.

66* oEUNPFTS ABOUT FP, YuFP TBCHPD Y OPCHSHCHK VTBL VSCHMY ЪBLPOPDBFEMSHOP PZHTTNMEOSCH, PVEEUFChP PFLBSCHBMPUSH RTYOBFSH ULBODBMSHOSCHK RTPYZTSCHY TSEOSCH, Y VEDOBS ZTBZHYOS TB ЪХНПЧУЛБС ВШХМБ RПДЧЦОКХФБ ПУФТБЛЪНХ. CHSHCHPD YJ RPMPTSEOYS U RTYUKHEIN ENKH DTSEOFMSHNEOUFCHPN OBUYEM bMELUBODT I, RTYZMBUYCH VSHCHYKHA LOSZYOA ABOUT FBOEG Y OBCHBCH ITS RTY LFPN “ZTBZJOEK”. pVEEUFCHEOOSCHK UFBFKHU, FBLYN PVTBBPN, VShchM CHPUUFBOPCHMEO.

UN.: melPNGECHB n. y., KHUREOULIK v. b. PRYUBOIE PDOPK UYUFENSCH U RTPUFSHCHN UYOFBLUYUPN; ePHR c. and. rTPUFEKYE UENIPFYUEULYE UYUFENSCH Y FYRPMPZYS UATSEFPCH. - fTHDSCH RP OBLPCHSHCHN UYUFENBN. hShchR. R. fBTFKh, 1965.

RPCHEUFY, YЪDBOOSH bMELUBODTPN rHYLYOSCHN. urV., 1834, U. 187. h BLBDENYUUEULPN YЪDBOY rKHYLYOB, OUNPFTS ABOUT KHLBBOYE, YUFP FELUF REYUBFBEFUS RP YЪDBOYA “rPCHEUFEK” 1834 ZPDB, h YUBUFY FYTBTSB RYZT BZ PRHEEO, IPFS LFP PVUFPSFEMSHUFCHP OYZDE CH YDBOY OE PZPCHPTEOP.

67* fBL, r. b. chSENULYK RYYEF P «NYTOPK, FBL OBSCCHBENPK LPNNETYUEULPK YZTE, P LBTFPYuOPN CHTENSRTTPCHPTSDEOOY, UCHPKUFCHEOOPN H OBU CHUEN CHPTBUFBN, CHUEN ЪChBOYSN Y PVPYN RPMBN. pDOB TKHULBS VBTSHCHOS ZPCHPTYMB CH CHEOEGYY: „lPOYUOP, LMYNBF ЪDEUSH IPTPY; OP TsBMSH, YuFP OE ULEN UTBYFSHUS CH RTEZHETBOYL." dTKHZPK OBU UPPFEYUEUFCHEOIL, LPFPTSCHK RTPCHEM YINKH CH RBTYCE, PFCHEYUBM ABOUT CHPRTPU, LBL DPChPMEO ON RBTYTSEN: „pYUEOSH DPChPME O, ​​X OBU LBTSDSCHK CHEWET VSHMB UCHPS RBTFYS" (chSENULYK r. uFBTBS ЪBRYUOBS LOYTSLB. m., 1929, U. 85-86).

UFTBIHR o. RETERYULB NPDSH, UPDETSBEBS RYUSHNB VETKHLYI NPD, TBNSCHIMEOYS OEPDHYECHMEOOOSCHI OBTSDPCH, TBZPCHPTSH VEUUMPCHEUOSHI YUERGPCH, YUKHCHUFChPCHBOYS NEVEMEK, LBTEF, ЪBRYUOSCHI LOITZEL, RH ZPCHYG Y UFBTPUBCHEFOSHI NBOEL, LHOFBIEK, YMBZHPTPCH, FEMPZTEK Y RT. OTBCHUFCHOOPE Y LTYFYUUEULPE UPYUYOOYE, CH LPEN U YUFYOOOPK UFPTPPOSH PFLTSCHFSCH OTBCHSHCH, PVTB CYYOY TBOSCHS UNEYOSCHS Y CHBTSOSHCHS UGEOSCH NPDOPZP CHELB. n., 1791, U. 31-32.

69* uN. X OPCHYLPCHB: “rPDTSD MAVPCHOYLPCH L RTEUFBTEMPK LPLEFLE... NOPZYN OBYN ZPURPDYUILBN CHULTHTSYM ZPMPCHSHCH... IPFSF ULBLBFSH ABOUT RPYUFPCHSHHI MPYBDSI CH REFETVHTZ, YuFPVSH FBLPZP RPMEЪOPZ P DMS OYI OE RTPRKHUFYFSH UMKHYUBS" (ubFYTYYUEULYE TSHTOBMSH o. y. oPCHYLPCHB. n.; m ., 1951, U. 105. r. zOPN yPT CH "rPUFE DHIPCH" lTSCHMPCHB RYYEF nBMYLHMSHNHMSHLH: "with RTYOSM CHYD NMPPDZP Y RTYZPTSEZP YuEMPCHELB, RPFPNH YuFP GCHEFHEBS NMPPDPUFSH, RTYSFOPUFY Y LTBUPFB CH O SCHOEYOEEE CHTENS FBLCE CH CHEUSHNB OENBMPN KHCHBTSEOYY RTY OELPFPTSCHI UMHYUBSI, LBL ULBSCCHBAF, RTPYCHPDSF CHEMILYE YUKHDEUB" (lTSCHMPCH y.b. rPMO. UPVT. UPYu., F. I, U. 43), UT.:

dB, YUEN TSE FSH, TsHTSKH, CH UMHYUBK RPRBM,

VEUUYMEO VSHCHYY FBL Y NBM... (FBN CE, F. 3, U. 170).

75* h DBOOPN UMKHYUBE DMS OBU OECHBTTSOP FP PVUFPSFEMSHUFChP, YuFP CH RSHUE ZPZPMS “NPMPPDP YUEMPCHEL” PLBYSCHCHBEFUS UPCHUEN OE “MEZLPCHETOSCHN”, B FBLCE SCHMSEFUS KHYUBUFOILPN YKHMETUL PC YBKLY.

EHH ZPFPCHYFSH YuEUFOSHCHK ZTPV,

th FYIP GEMYFSH CH VMEDOSHCHK MPV

about VMBZPTPDOPN TBUUFPSOSHY.

"vMBZPTPDOPE TBUUFPSOYE" ЪDEUSH - HFCHETTSDEOOPE RTBCHYMBNY DKHMY. h TBCHOPK UFEREOY KHYKUFCHP ABOUT DKHMY IBTBLFETYYHEFUS LBL "YUEUFOPE".

77. lBTFSCH OBLMEYCHBAFUS PDOB ABOUT DTKHZHA, OBRTYNET, EYUFETLB ABOUT UENETLH, ZHYZHTB NBUFY CHSTEBEFUS, OBUSHRBOOSHCHK VEMSCHK RPTPYPL DEMBEF LFP OEBNEFOSCHN. ykhmet ch ipde yztsch chshchftsiychbef RPTPYPL, RTECHTBEBBS YEUFETLKH CH UENETLKH Y F. D.

79* h IPDE BIBTFOSCHI YZT FTEVPCHBMPUSH RPTPC VPMSHYPE LPMYUEUFChP LPMPD. rTY YZTE CH ZHBTBPO VBOLPNEF Y LBTSDSCHK YЪ RPOFETPCH (B YI NPZMP VSHFSH VPMEE DEUSFLB) DPMTSEO VSHM YNEFSH PFDEMSHOHA LPMPDH. lTPNE FPZP, OEKHDBYUMYCHSHCHE YZTPLY TCHBMY Y TBVTBUSHCHBMY LPMPDSH, LBL LFP PRYUBOP, OBRTYNET, CH TPNBOE d.o. VEZYUECHB "UENEKUFChP iPMNULYI". yURPMSHЪPCHBOOBS (“RTPRPOFYTPCHBOOBS”) LPMPDB FHF CE VTPUBMBUSH RPD ufpm. fY TBVTPUBOOSCHE, YBUFP CH PZTPNOPN LPMYUEUFCHE, RPD UFPMBNY LBTFSH RPJCE, LBL RTBCHYMP, UPVYTBMYUSH UMHZBNY Y RTPDBCHBMYUSH NEEBOBN DMS YZTSHCH DKHTBLB Y RPDPVOSH TBCHMELBFEMSHOSH YZTSCH. yuBUFP CH LFK LHUE LBTF ABOUT RPMKH CHBMSMYUSH Y KHRBCHYE DEOSHZY, LBL LFP, OBRTYNET, YNEMP NEUFP PE CHTENS LTHROSHYYZT, LPFPTSHCHE BBTFOP THAN o. oELTBUPCH. rPDSHNBFSH YFY DEOSHZY YUYFBMPUSH OERTYMYYUOSCHN, Y SING DPUFBCHBMYUSH RPFPN MBLESN CHNEUFE U LBTFBNY. h YHFMYCHSHCHI MEZEODBY, PLTHTSBCHYI DTHTSVKH fPMUFPZP Y ZHEFB, RPCHFPTSMUS BOELDPF P FPN, LBL ZHEF PE CHTENS LBTFPYuOPK YZTSH OBZOKHMUS, YuFPVSH RPDOSFSH U RPMB KHRBCHYKHA OEVPMSH YKHA BUUYZOBGYA, B fPMUFPK, ЪBRBMYCH H UCHEYUY UPFEOOKHA, RPUCHEFYM ENKH, YUFPVSH PVMEZUYFSH RPYULY.

82* yUFPLY LFPPZP RPCHEDEOYS ЪBNEFOSCH HCE CH REFETVHTZE CH 1818—1820 ZPDSH. pDOBLP UETSHESHI RPEDYOLPCH X RHYLYOB CH LFPF RETYPD EEE OE PFNEUEOP. DKHMSH U LAIEMSHVELETPN OE CHPURTYOINBMBUSH RKHYLYOSCHN CHUETSHE. pVYDECHYYUSH ABOUT RKHYLYOB ЪБ ъРИЗТБННХ “ъБ ХЦЪПН ПВЯЭМУС...” (1819), LAIEMSHVELET CHSHCHBM EZP ABOUT DKHMSH. RHYLYO RTYOSM CHSHCHPCH, OP CHSHCHUFTEMYM CH CHPDHI, RPUME YUESP DTHYSHS RTYNYTYMYUSH. rTEDRPMPTSEOYE CE CHM. oBVPLPCHB P DHMY U TSHMEECHSHCHN CHUE EEE PUFBEFUS RPFYUEULPK ZYRPFEЪPK.

FBMMENBO DE TEP TSEDEPO. ъBOINBFEMSHOSH YUFPTYY. M., 1974, F. 1, U. 159. uN. PV LFPN: mPFNBO a. fTY ЪBNEFLY L RTPVMENE: “rKHYLYO Y ZHTBOGKHULBS LHMSHFKHTB.” — rTPVMENSH RHYLYOPCHEDEOYS. TYZB, 1983.

83* h RTEDYUFCHHAEYI TBVPFBI P “echZEOYY POZYOE” NO RTYIPDYMPUSH RPMENYUEULY CHSHCHULBSHCHBFSHUS P LOYSE vPTYUB yCHBOPCHB (CHPNPTSOP, RUECHDPOIN; RPDMYOOBS ZHBNYMYS BC FPTB, LBL Y LBLYE VSH FP OU VSHMP UCHEDEOYS P OEN, NOE OEYCHEUFOSCH). UN: mPFNBO a. "dBMSH UChPVPDOPZP TPNBOB." n, 1959. uPITBOSS UKHEOPUFSH UCHPYI LTYFYUEULYI OBNEYUBOIK P OBNSCHUME FPK LOYZY, S UYYFBA UCHPEK PVSBOOPUFSH RTYOBFSH YI PDOPUFPTPOOPUFSH. noe UMEDPCBMP PFNEFYFSH, YuFP BCHFPT RTPSCHIM IPTPPEEE OBOIE VSHFB RHYLYOULPK BPPIY UPEDYOYM PVEYK UFTBOOSCHK UBNSCHUEM U TSDPN YOFETEUOSHI OBVMADEOIK, UCHYDEFEMSHUFCHHAEY AND PV PVYYTOPK PUCHEDPNMEOOPUFY. TELPUFSH NPYI CHSHCHULBSHCHBOYK, P LPFPTPK CH OBUFPSEE CHTENS S UPTSBMEA, VSHMB RTDPDYLPCHBOB MPZYLPK RPMENYLY.

84* rP DTHZYN RTBCHYMBN, RPUME FPZP, LBL PDYO YY KHYUBUFOYLPCH DKHMY CHSHCHUFTEMYM, CHFPTPK NPZ RTDPDPMTSBFSH DCHYTSEOYE, B FBLCE RPFTEVPCHBFSH RTPPHYCHOILB L VBTSHETH. eFYN RPMSHЪPCHBMYUSH VTEFETSH.

86* ut. CH “ZETPE OBEZP CHTENEY”: “nShch DBChOP Khts ChBU PTSIDBEN”, - ULBJBM DTBZHOULIK LBRYFBO U YTPOYUEULPK KHMSHVLPK. YUBUSH HIPDSF".

UNSCHUM ьRYЪPDB - CH UMEDHAEEN: DTBZHOULYK LBRYFBO, KHVETSDEOOOSCHK, YFP reYUPTIO "RETCHSHCHK FTKHU", LPUCHEOOP PVCHYOSEF EZP CH TSEMBOYY, PRPЪDBCH, UPTCHBFSH DKHMSH.

87* xYUBUFYE CH DHMY, DBTSE CH LBYUEUFCHE UELKHODBOFB, CHMELMP ЪB UPVPK OEYVETSOSCHE OERTYSFOSCH RPUMEDUFCHYS: DMS PZHYGETB LFP, LBL RTBCHYMP, VSHMP TBTSBMPCHBOYE Y UUSCHMLB ABOUT LB CHLB (RTBCHDB, TBTSBMPCHBOOSCHN ЪB DKHMSH OBYUBMSHUFChP PVSHHLOPCHOOOP RPLTPCHYFEMSHUFCHPCHBMP). ьФП UPЪDBCHBMP YЪCHEUFOSH FTHDOPUFY RTY CHSHCHVPTE UELKHODBOFPCH: LBL MYGP, CH THLY LPFPTPZP RETEDBAFUS TSYOSH YUEUFSH, UELKHODBOF, PRFYNBMSHOP, DPMTSEO VSHM VSHCHFSH VMYY LINE DTHZPN. oP LFPNH RTPFPYCHPTEYUYMP OETSEMBOYE CHCHMELBFSH DTHZB CH OERTYSFOKHA YUFPTYA, MPNBS ENKH LBTSHETKH. UP UCHPEK UFPTPOSCH, UELKHODBOF FBLCE PLBYSHCHBMUS CH FTHDOPN RPMPTSEOYY. YOFETEUSCH DTHTSVSHY YUEUFY FTEVVPCHBMY RTYOSFSH RTYZMBYEOYE HYUBUFCHPCHBFSH CH DKHMY LBL MEUFOSHCHK OBBL DPCHETYS, B UMHTSVSHCH Y LBTSHETSH — CHYDEFSH CH LFPN PRBUOKHA KHZTPЪХ YURPTFYFSH RTDPDCHYTSEOYE YMY DBTSE CHSHCHBFSH MYYUOKHA OERTYSOSH JMPRBNSFOPZP ZPUKHDBTS.

88* OBRPNOYN RTBCHYMP DKHMY: “uFTEMSFSH CH CHPDHI YNEEF RTBChP FPMSHLP RTPFYCHOIL, UFTEMSAEYK CHFPTSCHN. rTPFYCHOIL, CHSHCHUFTEMYCHYK RETCHSHCHN CH CHPDHI, EUMY EZP RTPPHYCHOIL OE PFCHEFYM ABOUT CHSHCHUFTEM YMY FBLCE CHSHCHUFTEMYM CH CHPDKHI, UYUYFBEFUS KHLMPOYCHYYNUS PF DKHMY... "(dHTBUP Ch. dKHMSHOSCHK LPDELU, 1908, U. 104). rTBCHYMP LFP UCHSBOP U FEN, YuFP CHSHCHUFTEM CH CHP'DKHI RETCHPZP YЪ RTPFYCHOYLPCH NPTBMSHOP PVSCHCHBEF CHFPTPZP L CHEMILPDKHYA, KHKHTRYTHS EZP RTBChP UBNPNH PRTEDEMSFSH UCHP E RPCHEDEOYE YUEUFY.

VEUFHTSECH (nBTMYOULYK) b. b. OPYUSH ABOUT LPTBWME. RPCHEUFYY TBUULBSHCH. n., 1988, U. 20. rPMSHKHENUS DBOOSCHN YDBOYEN LBL FELUFPMPZYUEULY OBYVPMEE DPUFPCHETOSCHN.

RTPVMENB BCHFPNBFYNB CHEUSHNB CHPMOPCHBMB rKHYLYOB; UN.: sLPVUPO t. - h LO.: sLPVUPO t. tBVPFSH RP RPFYLE. n., 1987, U. 145-180.

UN: mPFNBO a. n. fENB LBTF Y LBTFPUOPK YZTSHCH THUULPK MYFETBFKHTE OBYUBMB XIX CHELB. — xYUEO. ЪBR. fBTFHULPZP ZPU. HO-FB, 1975. hShchR. 365. fTHDSCH RP OBLPCHSHCHN UYUFENBN, F. VII.

90* vSHCHBMY Y VPMEE TSEUFLYE HUMPCHYS. fBL, yuETOPCH (UN. U. 167), NUFS ЪB YUEUFSH UEUFTSH, FTEVPCHBM RPEDYOLB ABOUT TBUUFPSOY CH FTY (!) YBZB. h RTEDUNETFOPK ЪBRYULE (DPYMB Ch LPRYY THLPK b. VEUFKhTSECHB) BY RYUBM: “uFTEMSAUSH ABOUT FTY YBZB, LBL ЪB DEM UENEKUFCHEOOPE; YVP, ЪOBS VTBFSHECH NPYI, IPYUH LPOYUYFSH UPVPA ABOUT OEN, ABOUT LFPN PULPTVIFEME NPEZP UENEKUFCHB, LPFPTSCHK DMS RKHUFSHI FPMLPCH EEE RKHUFEKYI MADEK RTEUFKHRIM CHUE ЪBLPOSH YUEUF Y, PVEEUFCHB Y YuEMPCHYUEUFCHB" (DECHSFOBDGBFSHCHK CHEL. LO. 1. n., 1872, U. 334 ). rP OBUFPSOYA UELKHODBOFPCH DKHMSH RTPYUIPDYMB ABOUT TBUUFPSOY CH CHPUENSH YBZPCH, Y CHUE TBCHOP PVB KHUBUFOILB ITS RPZYVMY.

92* pVSHYUOSCHK NEIBOYN DHMSHOPZP RYUFPMEFB FTEVHEF DCHPKOPZP OBTSYNB ABOUT URHULPCHPK LTAYUPL, YuFP RTEDPITBOSEF PF UMHYUBKOPZP CHSHCHUFTEMB. yOOEMMETPN OBSCHBMPUSH KHUFTPKUFChP, PFNEOSAEE RTEDCHBTYFEMSHOSHCHK OBTSYN. h TEЪKHMSHFBFE KHYMYCHBMBUSH ULPTPUFTEMSHOPUFSH, OP ЪBFP TEILLP RPCHSHCHYBMBUSH CHPNPTSOPUFSH UMHYUBKOSCHI CHSHCHUFTEMPCH.

94* rPDPVOSHK LPOFTBUF YURPMSHЪPCHBO n. VKHMZBLPCHSHCHN "nBUFFET Y nBTZBTYFE". ABOUT VBMKH, UTEDY RSCHYOP OBTTSEOOSCHI ZPUFEK, RPDYUETLOKHFBS OEVTETSOPUFSH PDETSDSCH CHPMBODB CHSHCHDEMSEF EZP TPMSH iPSYOB. rTPUFPFB NHODYTB OBRPMEPOB UTEDY RSCHYOPZP DCHPTB YNEMB FPF TSE UNSHUM. RSHCHYOPUFSH PDETSDSCH UCHYDEFEMSHUFCHHEF PV PTYEOFBGYY ABOUT FPYULH ЪTEOYS CHOEYOEZP OBVMADBFEMS. DMS chPMBODB OEF FBLPZP "CHOEYOEZP" OBVMADBFEMS. OBRPMEPO LHMSHFYCHYTHEF FH CE RPYGYA, PDOBLP CH VPMEE UMPTSOPN CHBTYBOFE: chPMBODH CH UBNPN DEME VETBMYUOP, LBL ON CHSHZMSDYF, obRPMEPO YЪPVTBTSBEF FPZP, LPNH VETB ЪMYUOP, LBL ON CHSHZMSDYF.

ZHEPBZHBOB rTPLPRPCHYUB, BTIYERYULPRB CHEMYLPZP OPCZPTPDB Y CHEMILYI MHL, UCHSFEKYEZP RTBCHYFEMSHUFCHHAEEZP UYOPDB CHYGE-RTEYDEOFB... UMChB Y TEYUY, Yu. 1, 1760, U. 158.

96* fBL, DPUKHZY CHEMILYI LOSJEK, VTBFSHECH bMELUBODTTB Y OILPMBS RBCMPCHYUEK - lPOUFBOFYOB Y NYIBYMB TEILLP LPOFTBUFYTPCHBMY U NHODYTOPK UFSOKHFPUFSHA YI PZHYGYBMSHOPZP RPCHEDEOYS. lPOUFBOFYO CH LPNRBOY RSHSOSCHI UPVKhFSHMSHOYLPCH DPYEM DP FPZP, YuFP YOBUYMPCHBM CH LPNRBOY (TSETFCHB ULPOYUBMBUSH) DBNH, UMKHYUBKOP ЪBVTEDYKHA CH EZP YUBUFSH DCHPTGB Y RP MPCHYOSCH nBTYY ZHEDPTPCHOSCH. yNRETBFPT bMELUBODT CHSCHOKHTSDEO VSHM PVYASCHYFSH, YFP RTEUFKHROL, EUMY EZP OBKDHF, VHDEF OBLBBBO RP CHUEK UFTPZPUFY ЪBLPOB. TBKHNEEFUS, RTEUFKhROIL OBKDEO OE VShchM.

p FSCH, YuFP CH ZPTEUFY OBRTBUOP

about VPZB TPREEYSH, YUEMPCHEL,

ChoyNBK, LPMSH CH TECHOPUFY KhTsBUOP

po L yPCHH YY FHYUY TEL!

ULCHPЪSH DPTSDSH, ULCHPЪSH CHYITSH, ULCHPЪSH ZTBD VMYUFBS

th ZMBUPN ZTPNSCH RTETSCHBS,

UMPCHBNY OEVP LPMEVBM

th FBL EZP ABOUT TBURTA JCHBM. yFYVMEFSH LBL ZHTNB CHPEOOOPK PDETSDSCH VSHCHMY CHCHEDEOSH rBCHMPN RP RTHUULPNH PVTBIGH. ьURBOFPO - LPTPFLBS RYLB, CHCHEDOOBS RTY rBCHME CH PZHYGETULHA ZHTNKH.

99* CHUE OIFY ЪБЗПЧПТБ ВШХМИ ОБУФПМШЛП UPUTEDPFPYUEOSCH CH THLBI YNRETBFPTB, YUFP DBTSE OBYVPMEE BLFYCHOSCHE KHUBUFOILY ЪБЗПЧПТБ RTPФИЧ URETBOULPZP: OBCHBOOSCHK CH SHCHYE s. DE UBOZMEO Y ZEOETBM-BDYAAFBOF b. d. vBMBYPCH, RTYOBDMETSBCHYYK L OBYVPMEE VMYOLYN L YNRETBFPTH MYGBN, — RPUMBOOSCH DPNPK L URETBOULPNH U FEN, YUFPVSH ЪBVTBFSH EZP, LPZDB ON CHETOEFUS YЪ DCHPTGB RPUME BKhDY EOGYY KH GBTS, U ZTKHUFOSCHN OEDPHNEOYEN RTYOBMYUSH DTKHZ DTHZKH CH FPN, YuFP OE KHCHETEOSHCH, RTYDEFUS MY YN BTEUFPCHCHBFSH URETBOULZP YMY BY RPMKHUIF X YNRETBFPTB TBURPTTSEOYE BTEUFPCHBFSH YI. h FYI KHUMPCHYSI PYUECHYDOP, YuFP bMELUBODT OE KHUFKHRBM OYUSHENH DBCHMEOYA, B DEMBM CHYD, YuFP KHUFKHRBEF, ABOUT UBNPN DEM FCHETDP RTPCHPDS YJVTBOOSCHK YN LHTU, OP, LBL CHUEZDB, MH LBCHS, NEOSS NBULY Y RPDZPFBCHMYCHBS PYUETEDOSCHI LPMCH PFRHEEOYS.

GYF. RP: iTEUFPNBFYS RP YUFPTYY ЪBRBDOPPECHTPREKULPZP FEBFTB. n., 1955, F. 2, U. 1029. h NENKHBTBI BLFETB ZOBUFB-NMBDYEZP UPDETSYFUS KHRPNNYOBOIE P FPN, YuFP, LPZDB ABOUT TEREFYGYY NBYOYUF CHSHCHUFBCHYM ZPMPCHH YЪ-ЪB LKHMYU, “FP FYUBU TSE zЈFE RTPZTENEM: „zPURPDYO z"OBUF, KHVETYFE БФХ ОЭРПДИПДСЭХА ЗПМПЧХ Ъ-ЪБ RETCHPK LKHMYUSCH URTBCHB: POB CHFPTZBEFUS CH TBNLKH NPEK LBTFYOSCH"" (FBN CE, U. 1037).

BTBRPCH r. MEFPRYUSH TKHUULPZP FEBFTB. urV., 1861, U. 310. yBIPCHULPK YURPMSHЪPCHBM FEBFTBMSHOSCHK YZHZHELF YCHEUFOPZP CH FH RPTH BOELDPFB, UT. CH UFYIPFCHPTEOYY h. m. rKHYLYOB “l LOSYA r. b. hSENULLPNKH" (1815):

ABOUT FTHD IKHDPTSOILB UCHPY VTPUBAF CHPTSHCH,

“rPTFTEF, — THEYMYMY CHUE, — OE UFPYF OYUEZP:

rTSNPK HTPD, bpr, OPU DMYOOSHCHK, MPV U TPZBNY!

th DPMZ IPSYOB RTEDBFSH PZOA EZP!” —

"NPK DPMZ OE KhChBTsBFSH FBLYNY OBFPPLBNY

(p YUKhDP! ZPCHPTYF LBTFYOB YN CH PFCHEF):

rTED CHBNY, ZPURPDB, S UBN, B OE RPTFTEF!”

(rPFSH 1790-1810-I ZPDHR, U. 680.)

101* ABOUT LZHZHELFE OEPTSIDBOOPZP UFPMLOPCHEOYS OERPDCHYTSOPUFY DCHYTSEOYS RPUFTPEOSCH UATSEFSHCH U PTSYCHBAEINY UFBFHSNY, PF TSDB CHBTYBGYK ABOUT FENKH P ZBMBFEY - UFBFHE, PTSYCHME OOPC CHDPIOPCHEOYEN IHDPTSOILB (UACEF LFPF, LPFPTPNH RPUCHSEEO "ulHMSHRFPT" vBTBFSCHOULPZP, VSHM YYTPLP RTEDUFBCHMEO PE ZHTBOGKHULPN VBMEFE XVIII CHELB), DP “LBNEOOPZP ZPUFS” rKHYLYOB Y TBTBVBFSHCHBCHYI bFH TSE FENKH RTPY'CHEDEOYK nPMSHETB Y nPGBTFB.

ITEUFPNBFYS RP YUFPTYY ЪBRBDOPECHTPRECULPZP FEBFTB, F. 2, U. 1026. tBURPMPTSEOYE RTBCHPZP Y MECHPZP FBLCE TPDOIF UGEOH U LBTFYOPK: RTBCHCHN UYFBEFUS RTBCHPE RP PFOPEYOYA L BLFETH, RPCHETOHFPNH MYGPN L RHVMYLE, Y OBPVPTPF.

102* uN. CH “rHFEYUFCHYYY REFETVHTZB CH nPULCHH” ZMBCHH “edTPChP”: “s UYA RPYUFEOOHA NBFSH U BUKHYUEOOOSCHNY THLBCHBNY UB LCHBYOOEA YMY U RPDPKOILPN RPDME LPTPCHSH UTBCHOYCHBM U ZPTPDULINY NBFETSNY."

104* “chSHKDEN... DBDYN DSDE KHNETEFSH YUFPTYUEULY” (ZHTBOG.). nPULCHIFSOYO, 1854, 6, PFD. IV, U. II. R. vBTFEOECH UPPVEBEF DTHZHA CHETUYA: “about BN RETEDBCHBMY UPCHTENEOOILY, UFP, KHUMSHCHYBCH LFY UMPCHB PF KHNYTBAEEZP chBUYMYS mSHCHPCHYUB, rHYLYO OBRTBCHYMUS ABOUT GSHRPYULBI L DCHETY Y YYEROKHM UPVTTBCHYYNUS TPDOSCHN Y DTHYSHSN EZP: “zPURPDB, CHCHKDENFE, RHFSH LFP VKHDHF EZP RPUMEDOYE UMPCHB” (tHUULYK BTIICH , 1870, U. 1369).

107* ut. H "bMShVPNE" poezYOB: "h lPTBOE NOPZP NSCHUMEK ЪDTTBCHSHCHI, // chPF OBRTYNET: RTED LBIJDSCHN UOPN // nPMYUSH - VEZY RHFEK MHLBCHSHCHI // YuFY vPZB Y OE URPTSH U ZMKHRGPN." h "rBNSFoil": "iCHBMH Y LMECHEFH RTYENMY TBCHOPDKHYOP // th OE PURPTYCHBK ZMHRGB." DETTSBCHYO, OBRPNYOBS YUFBFEMA UCHPA PDH "vPZ", UNSZYUM CHSHCHUPLPPE Y OE UPCHUEN VEKHRTEYUOPE, U FPYULY ЪTEOYS GETLPCHOPK PTFPDPLUBMSHOPUFY, UPDETSBOYE LFPPZP UFYIPFCHPTEOYS ZHP TNHMPK: “... RETCHSHCHK WITH DETIOKHM... // h UETDEYUOPK RTPUFPFE VUEEDPCHBFSH P vPZE.” h LFPN LPOFELUFE PVTBEEOYE L NHJE (IPFS UMPChP Y OBRYUBOP U RTPRYUOPK VHLCHSHCH) NPZMP CHPURTYOINBFSHUS LBL RPFYUEULBS HUMPCHOPUFSH. ъOBYUYFEMSHOP VPMEE DETLINE VSHMP TEYEOYE RKHYLYOB: “CHEMEOSHA vPTsYA, P nHЪB, VHDSH RPUMKHYOB.” vPZ Y nHЪB DENPOUFTBFYCHOP UPUEDUFCHHAF, RTYUEN PVB UMPCHB OBRYUBOSCH U VPMSHYPK VHLCHSHCH. lFP UFBCHYMP YI CH EDYOSCHK UNSHUMPCHPK Y UINCHPMYUEULYK TSD TBCHOP CHSHUPLYI, OP OUEUPCHNEUFYNSHI GEOOPUFEK. fBLPE EDYOUFCHP UPJDBCHBMP PUPVHA RPYGYA BCHFPTB, DPUFKHROPZP CHUEN CHETYOBN YuEMPCHYUEULZP DHib.

108* RETED rPMFBCHULPK VYFCHPK rEFT I, RP RTEDBOYA, ULBJBM: “chPYOSCH! chPF RTYYEM YUBU, LPFPTSCHK TEYBEF UHDSHVH pFEYUEUFCHB. yFBL, OE DPMTSOP ChBN RPNSCHYMSFSH, YuFP UTBTSBEFEUSH ЪB rEFTB, OP ЪB ЗПУХДБТУФЧП, еФТХ РПТХУЕООПЭ, ЪБ ТПД УЧПК, ЪБ pFEYUEUFChP.” th DBMEE: “b P REFTE CHEDBKFE, YuFP ENKH TSYOSH OE DPTZB, FPMSHLP VSC TSIMB tPUUYS.” ьFPF FELUF PVTBEEOYS REFTB L UPMDBFBN OEMSHЪS UYYFBFSH BHFEOFYUOSCHN. FELUF VSCHM CH RETCHPN EZP CHBTYBOFE UPUFBCHMEO ZHEPZHBOPN rTPLPRPCHYUEN (CHPNPTSOP, ABOUT PUOPCH LBLYI-FP KHUFOSHHI MEZEOD) Y RPFPN RPDCHETZBMUS PVTBVPFLBN (UN.: fTHDSCH YNR. TKHUU L. CHPEOOP-YUFPTYUEULPZP PVEEUFCHB, F. III, U. 274—276; rYUSHNB Y VKHNBZY REFTB CHEMYLPZP, F. IX, ChShchR. 1, 3251, RTYNEYU. 1, U. 217-219; ChShchR. 2, U. 980-983). FP, YuFP CH TEKHMSHFBFE TSDB RETEDEMPL YUFPTYYUEULBS DPUFPCHETOPUFSH FELUFB UFBMB VPMEE YuEN UPNOYFEMSHOPK, U OBEK FPYULY UTEOYS RBTBDPLUBMSHOP RPCHSHCHYBEF EZP YOFETEU, FBL LB L RTEDEMSHOP PVOBTSBEF RTEDUFBCHMEOYE P FPN, YuFP DPMTSEO VSHM ULBUBFSH REFT I CH FBLPK UIFKHBGYY, B BFP DMS YUFPTYLB OE NEOEE YOFETEUOP, YUEN EZP RPDMYOOSHE UMPCHB. fBLPK YDEBMSHOSCHK PVTB ZPUKHDBTS-RBFTYPFB ZHEPZHBO CH TBOSHI CHBTYBOFBI UPJDBCHBM Y CH DTHZYI FELUFBI.

110* z. b. zKHLPCHULYK, B ЪB OIN Y DTHZIE LPNNEOFBFPTSCH RPMBZBAF, YuFP "UMPChP KHNYTBAEEZP lBFPOB" - PFUSCHMLB L rMHFBTIKH (UN.: tBDYEECH b.o. rPMY. UPVT. UPYU., F. 1, U. 295, 485). vPMEE CHETPSFOP RTEDRPMPTSEOYE, YuFP tBDYEECH YNEEF CH CHYDH NPOPMPZ lBFPOB YJ PDOPNOOOPK FTBZEDYY dDDYUPOB, RTPPGYFYTPCHBOOPK YN CH FPN TSE RTPY'CHEDEOYY, CH ZMBCHE "vTPOYGSHCH" ( FBN CE, U. 269).

111* fY UMPCHB UCHYDEFEMSHUFCHHAF, YuFP IPFS prPYUYOYO YNEM VTBFSHECH, TsIM PO KHEDYOOOP Y VSHM EDYOUFCHEOOSCHN, EUMY OE UYYFBFSH LTERPUFOSCHI UMHZ, PVYFBFEMEN UCHPEZP PDYOPPLP ZP DETECHEOULPZP TSYMYEB, ЪBRPMOOOPZP LOYZBNY.

116* h DBOOPN UMKHYUBE NSCH YNEEN RTBChP ZPCHPTYFSH YNEOOP P FChPTYUEFCHE: BOBMY RPLBYUSHCHBEF, YuFP lBTBNYO REYUBFBM FPMSHLP FKH RETECHPDOHA MYFETBFKHTH, LPFPTBS UPPF CHEFUFChPCHBMB EZP UPVUFCHOOOPK RTPZTBNNE, Y OE UFEUOSMUS RETEDEMSHCHBFSH Y DBCE KHUFTBOSFSH FP, YuFP OE UPCHRBDBMP U EZP CHZMSDBNY.

118* yNEEFUS CH CHYDH YJCHEUFOSCHK CH 1812 Z. BRPLTYZHYUEULYK TBUULB P LTEUFSHSOYOE, LPFPTSCHK PFTKHVYM UEVE THLKH, YUFPVSHCH OE YDFY CH OBRPMEPOPCHULKHA BTNYA (UT. ST. KHMSHRFHTH rYNEOPCHB "tHUULYK UGECHPMB").

119* yUFPTYS LPOGERGYK UNETFY CH TKHUULPK LHMSHFHTE OE YNEEF GEMPUFOPZP PUCHEEEOYS. DMS UTBCHOOYS U ЪBRBDOP-ECHTPREKULPK LPOGERGYEK NPTsOP RPTELPNEODPCHBFSH YUYFBFEMA LOYZKH: Vovel Michel. La mort et l"Occident de 1300 à nos jours.< Paris >, Gallimard, 1983

120* according to RTYIPDIMUS TPDUFCHEOOILPN FPNKH NPULPCHULPNKH ZMBCHOPLPNBODHAEENKH, LOSYA b. b. rТПЪПТПЧУЛПНХ, ЛПФПТШЧК РПЪЦе ​​У ЦEUФПЛПУФША RTEUMEDПЧБМ о. OPCYLPCHB Y NPULPCHULYI NBTFYOUFPCH Y P LPFPTPN rPFENLYO ULBJBM ELBFETYOE, YuFP POB CHSCCHYOKHMB YUCHPEZP BTUEOBMB "UBNHA UFBTHA RHYLKH", LPFPTBS OERTENEOOOP VKhDEF UFTEMSFSH CH GEMSH YNRETBFTYGSHCH, RPFPNH YuFP UCHPEK OE YNEEF. pDOBLP BY CHSHCHULBBM PRBUEOYE, YUFPVSH rTPIPTPCHULIK OE EBRSFOBM CH ZMBBI RPFPNUFCHB YNS ELBFETYOSCH LTPCHSHA. rPFENLYO PLBBBMUS RTPCHYDGEN.

121* zBMETB - CHPEOOSHCHK LPTBVMSH ABOUT CHUMBI. lPNBODB ZBMETSH UPUFPYF YYYFBFB NPTULYI PZHYGETPCH, HOFET-PZHYGETPCH Y UPMDBF-BTFYMMETYUFPCH, NPTSLPC Y RTYLPCHBOOSCHI GERSNY LBFPTTSOILPC ABOUT CHUMBI. zBMETSH KHRPFTEVMSMYUSH CH NPTULYI UTBTSEOYSI LBL OE ЪBCHYUSEEE PF OBRTBCHMEOYS CHEFTB Y PVMBDBAEE VPMSHYP RPDCHYTSOPUFSHA UTEDUFCHP. rEFT I RTYDBChBM VPMSHYPE OBYUEOYE TBCHYFYA ZBMETOPZP ZHMPFB. UMHTSVB ABOUT ZBMETBI UYFBMBUSH PUPVEOOOP FSCEMPK.

124* h LFPN NEUFE CH RHVMYLBGYY zPMYLPCHB TEYUSH REFTB DBOB CH VPMEE RTPUFTBOOPN CHYDE; UOYUIPDYFEMSHOPUFSH rEFTB EEE VPMEE RPDYUETLOKHFB: “fsch CHUETB VSHM CH ZPUFSI; B NEOS UEZPDOS ЪCHBMY ABOUT TPDYOSCH; RPEDEN UP NOPA.”

126* h NENKHBTBI oERMAECH TYUHEF LTBUPYUOSCH LBTFYOSCH LFPC DTBNBFYUEULPK UYFKHBGYY: “... TsBMES TSEOH NPA Y DEFEC, FBLCE Y UMKHTSYFEMEK, CH RTEDNEUFYK KH gBTSHZTBDB, YNEOH ENPN vKHALDETE, ЪBRETUS CH PUPVHA LPNOBFKH Y RPMKHYUBM RTPRYFBOYE CH PLOP, OYLPZP L UEVE OE DPRHULBS; TSEOB NPS ETSEYUBUOP KH DCHETEK P FPN UP UMEBNY RTPUYMB NEOS” (U. 124). MEYUMUS ON "RTJOINBOYEN IYOSCH U CHPDK" (FBN CE).

128* UMPChP "IHDPCEUFChP" PYOBYUBMP CH FH RPTH RPOSFYE, RETEDBCHBENPE OBNY FERETSH UMPCHPP "TENEUMP". n. bChTBNPCH, LBL YUEMPCHEL UCHPEK LRPIY, CH TSYCHPRYUY RPDYUETLYCHBEF TENEUMP - UPUEFBOYE FTHDB Y KHNEOS. DMS MADEK REFTPCHULPK URPIY UMPCHB "TENEUMP", "HNEOYE" ЪCHHYUBMY FPTCEUFCHOOEE Y DBCE RPYUOOEE, YUEN UMPChP "FBMBOF". lFPF RBZhPU RPTSE PFTBTTSEO Ch UMPCHBI b. and. netЪMSLPCHB "UCSFBS TBVPFB" P RPYYY; CH UMPCHBI (RPCHFPTSAEYI l rBCHMPCHH) n. GCHEFBECHPK "TENEUMEOIL, S OBA TENEUMP" Y BOOSCH BINBFPCHPK "UCHSFPE TENEUMP".

UN.: PRYUBOYE YDBOYK ZTBTSDBOULPK REYUBFY. 1708 - SOCHBTSH 1725. n.; M., 1955, U. 125-126; UN. FBLCE: PRYUBOYE YIDBOYK, OBREYUBFBOOSCHI RTY REFTE I. UCHPDOSCHK LBFBMPZ. m., 1972.

130* uNSCHUM LFYI UMPC PVASUOSEFUS RTPPHYCHPRPUFBCHMEOYEN YYTPLZP RKhFY, CHEDHEEZP CH BD, Y KHLPZP, “FEUOPZP”, CHEDHEEEZP CH TBK. uT. UMPChB RTPFPRPRB bChChBLKHNB P "FEUOPN" RHFY CH TBK. TEBMYYHS NEFBZHPTKH, bChChBLKHN ZPCHPTYM, YuFP FPMUFSHCHE, "VTAIBFSHCHE" OILPOIBOYE CH TBK OE RPRBDHF.

131* rP LBRTYЪOPNH RETERMEFEOYA UATSEFPCH Y UKHDEV, YNEOOOP PE CHTENS UMEDUFCHYS RP DEMKH GBTECHYUB bMELUES ​​DPUFYZMB BRPZES LBTSHETB z. h. ULPTOSLPCHB-rYUBTECHB, UHDSHVB LPFPTPZP RPTSE OEPTSYDBOOP RETEUEUEEFUS U UHDSHVPK bChTBNPCHB.

133* nPTsOP UPNOECHBFSHUS Y CH FPN, YuFP TPNBOFYUEULYK VTBL oEYECHPMPDPCB U YUETLEYEOLPK RPMKHYUM GETLPCHOPE VMBZPUMPCHEOYE. RETECHPD UACEFB "LBCHLBULPZP RMEOOILB" ABOUT SJSHL VShchFPChPK TEBMSHOPUFY UCHSBO VSHM U OELPFPTSCHNY FTKHDOPUFSNY.

134* fBL, OBRTYNET, CH Y'DBOY EZP ATYDYUEULYI UPYUYOEOYK y. dKHYYYULYOPK VSHMY PVOBTHTSEOSH UPFOY FELUFPMPZYUEULYI PYYVPL ABOUT OEULPMSHLYI DEUSFLBI UFTBOIG; RPULPMSHLH OELPFPTSHCHE UFTBOYGSCH YJDBOYS DBAF ZHPFPFYYUEULPE CHPURTPYCHEDEOYE THLPRYUEK, MAVPRSCHFOSCHK YUFBFEMSH, UPRPUFBCHMSS YI U FHF CE RTYCHEDEOOSCHNY REYUBFOSCHNY UFTBOY GBNY, NPTsEF PVOBTHTSYFSH RTPRKHULY GEMSHHI UFTPL Y DTHZIE RMPDSCH VE'PFCHEFUFCHOOPUFY Y OECHETSEUFCHB.

UN. ZMBCHH "tPMSH tBDYEECHB CH URMPUEOYY RTPZTEUYCHOSHI UYM." - h LO.: vBVLYO d.u. b. O. TBDYEECH. mYFETBFHTOP-PVEEUFCHEOOBS DESFEMSHOPUFSH. n.; m., 1966.

135* dMS RTPUCHEFYFEMS OBTPD - RPOSFYE VPMEE YTPLPE, YUEN FB YMY JOBS UPGYBMSHOBS ZTHRRRB. TBDYEECH, LPOYUOP, Y CH HNE OE NPZ RTEDUFBCHYFSH OERPUTEDUFCHOOOPK TEBLGYY LTEUFSHSOYOB ABOUT EZP LOYZKH. h OBTPD CHIPDIMB DMS OEZP CHUS NBUUB MADEK, LTPNE TBVPCH ABOUT PDOPN RPMAUE Y TBVPCHMBDEMSHGECH - ABOUT DTHZPN.

FBN TSE, F. 2, U. 292-293, 295. yNEEFUS CH CHYDH NPOPMPZ lBFPOB CH PDOPPYNEOOOPK FTBZEDYY bDDYUPOB, ZDE lBFPO IBTBLFETYYKHEF UBNPKHVYKUFCHP LBL LTBKOAA UYMKH FPTCEUFCHB UCHPVPDSH OBD TBVUFCHPN.

136* lBTBNYO, LBL NPTsOP UKhDYFSH, VSHM CHCHPMOPCHBO UBNPHVYKUFCHPN tBDYEECHB Y PRBUBMUS ChPDEKUFCHYS LFPZP RPUFHRLB ABOUT UCHTENEOOILPC. ьFYN, CHYDYNP, PVYASUOSEFUS FP, YuFP BCHFPT, DP LFPZP U UPYUKHCHUFCHYEN PRYUBCHYIK GEMHA GERSH UBNPKHVYKUFCH PF OEYUBUFMYCHPK MAVCHY YMY RTEUMEDPCHBOYK RTEDTBUUKHDLPCH, CH LF P CHTENS CH TSDE UFBFEK Y RPCHEUFEK CHSHCHUFKHRIM U PUKhTSDEOYEN RTBCHB YUEMPCHELB UBNPCHPMSHOP LPOYUBFSH UCHPA TSY'OSH.

138* oEYCHEUFOP, U RPNPESHA LBLYI UTEDUFCH, - NPTSEF VShchFSH, RPFPNH, YUFP CH DBMELPK uyvyty DEOSHZY CHSHZMSDEMY KHVEJFEMSHOEE, YUEN UFPMYUOSCH OBRTEFSHCH, - Y PO, CHIDYNP, PZHTNYM LFPF VTBL Y GETLPCHOSCHN TYFKHBMPN. rP LTBKOEK NETE, TPDYCHYKUS CH UYVYTY USCHO rBCHEM UYFBMUS ЪBLPOOSCHN, Y OILBLYI FTHDOPUFEK, UCHSBOOSCHI U LFYN, CH DBMSHOEKYEN OE CHP'OILBMP.

139* YoFETEUHAEE OBU UEKYUBU RYUSHNP CH PTYZYOBME OBRYUBOP RP-ZHTBOGKHULY. h DBOOPN NEUFE CH RETECHPDE DPRKHEEOB YULMAYUYFEMSHOP CHBTSOBS OEFPUOPUFSH. zhTBOGH'ULPE "une irréligion" (FBN CE, U. 118) RETECHEDEOP LBL "VECHETYE". ABOUT UBNPN DEME TEYUSH IDEF OE P VECHETYY, HRTELBFSH CH LPFPTPN tHUUP VSHMP VSC BMENEOFBTOPK PYYVLPK, B P DEYUFYUEULPN UFTENMEOYY RPUFBCHYFSH CHETCH CHCHYE PFDEMSHOSCHI TEMYZYK

140* rPUMEDOYE UMPCHB PE ZHTBOGKHULPN RYUSHNE UKHChPTPCB RTEDUFBCHMSAF UPVPK "TKHUULYK" FELUF, OBRYUBOOSHCHK MBFYOYGEK, RTETYFEMSHOSHCHK CHPMSRAL, RETEDTBOOCHBAEIK ZHTBOGKHUL HA TEYUSH TKHUULYI DCHPTSO.

141* uHChPTPCH HRPFTEVMSEF CHSTBTSEOYE “loi naturelle”. h GYFYTHENPN YJDBOY POP RETECHEDEOP LBL “ЪBLPO RTYTPDSCH”, YuFP RPMOPUFSHA YULBTSBEF EZP UNSHUM. UHChPTPCH YURPMSH'HEF MELUYLH YY FETNYOPMPZYY ULPFPCHPDUFCHB, ZDE "OBFKHTB" POBYUBEF LBYUEUFChP RPTPDSH. RETECHPD UMPCHPN "EUFEUFCHEOOSCHK" CH DBOOPN YIDBOY PYYVPYUEO.

UN.: rBOYUEOLP b. n. uNEI LBL ЪTEMYEE. - h LO.: uNEI CH DTECHOEK TKHUI. M., 1984, U. 72-153. ZHLU e. urV., 1900, U. 20-21.

142* yZTB UHDSHVSH RTYCHEMB CH DBMSHOEKYEN e. yFPF OEBNEFOSCHK YUEMPCHEL RPOAIBM CH UCPEK TSYJOY RPTPIB, Y EUMY PO OE VSHM LTYFYUEULYN YUFPTYLPN, FP ЪBFP RYUBM P FPN, YUFP UBN CHYDEM Y RETETSYM.

CHPEOOOPZP LTBUOPTEYUYS YBUFSH RETCHBS, UPDETSBEBS PVEYE OBYUBMB UMPCHEUOPUFY. uPYYOOYE PTDYOBTOPZP RTPZHEUUPTB uBOLFREFETVKhTZULPZP hoychetuyfefb sLPCHB fPMNBYECHB. urV., 1825, U. 47. pTYZYOBMSHOBS UFYMYUFYLB LFPPZP RYUSHNB, CHYDYNP, YPLYTPCHBMB CHPEOOSCHI YUFPTYLPCH PF e. PLKHNEOFPCH" 1950-1952 ZZ. Y h.u. mPRBFYOB (1987). OY CH PDOP YY FYI YDBOYK RYUSHNP OE VSHMP CHLMAYUEOP. NETSDH FEN POP RTEDUFBCHMSEF UPVPK YULMAYUYFEMSHOP STLYK DPLKHNEOF MYUOPUFY Y UFYMS RPMLPCHPDGB.

144* x ukhchptpchb YNEMUS FBLCE USCHO bTLBDYK, OP ZHEMSHDNBTYBM VSHM ZPTBJDP VPMEE RTYCHSBO L DPUETY. bTLBDYK DPTSYM MYYSH DP DCHBDGBFY UENY MEF Y RPZYV, HFPOKHCH CH FPN UBNPN TSCHNOYLE, ЪB RPVEDH ABOUT LPFPTPN PFEG EZP RPMHYUM FYFHM TSCHNOYULLPZP.

147* nHODYT Y PTDEO CH LFPN LHMSHFKHTOPN LPOFELUFE CHSHCHUFHRBAF LBL UYOPOUNSCH: OBZTBDB NPZMB CHSTBTSBFSHUS LBL CH ZHTNE PTDEOB, FBL Y CH CHYDE OPCHPZP YYOB, YuFP PFTBTsBMPUSH CH NH COME ON.

149* rP ьFPНХ TSE DEMH VSHM BTEUFPCHBO Y ЪBLMAYUEO CH REFTPRBCHMPCHULHA LTERPUFSH etTNPMPCH. rPUME KHVYKUFCHB YNRETBFPTB ON VSHHM PUCHPVPTSDEOO Y U OEPRTBCHDBCHYYNUS PRFYNYYNPN OBRYUBM ABOUT DCHETSI UCHPEK LBNETSH: “OBCHUEZDB UCHPVPDOB PF RPUFPS.” rTPYMP 25 MEF, Y TBCHEMYO, LBL Y CHUS LTERPUFSH, VShchM ЪBRPMEO BTEUFPCHBOOSCHNY DELBVTYUFBNY

152* xVPTOBS - LPNOBFB DMS RETEPDECHBOYS YJ KHFTEOOYI FHBMEFPCH CH DOECHOPE RMBFSHE, B FBLCE DMS RTYUUEUSCHBOYS Y UPCHETYEOYS NBLYSTSB. FYRPCHBS NEVEMSH KHVPTOPK UPUFPSMB YETLBMB, FHBMEFOPZP UFPMYLB Y LTEUEM DMS IPSKLY Y ZPUFEK.

ЪBRYULY DALB MYTYKULPZP... RPUMB LPTPMS yURBOULPZP, 1727—1730 ZPDHR. rV., 1847, U. 192-193. h RTYMPTSEOY L LFPC LOYSE PRHVMYLPCHBOSH UPYYOOYS ZHEPZHBOB rTPLPRPCHYUB, GYFYTHENSHCHE OBNY.

154* RHYLYO U PVSHYUOPK DMS OEZP ZMHVYOPK RPDUETLYCHBEF, YuFP ZYVEMSH EB DEMP, LPFPTPPE YuEMPCHEL UYYFBM URTBCHEDMYCHSHCHN, PRTBCHDSHCHBEFUS LFYLPK YUEUFY, DBTSE EUMY CH ZMB ЪBI RPFPNUFCHB POP CHSHCHZMSDYF, OBRTYNET, LBL RTEDTBUUKHDPL.

YOFETEUOSCHK PUETL MYFETBFHTOPPZP PVTBBB VPSTSHCHOY nPTPCPCHPK UN.: rBOYUEOLP b. n. vPSTSCHOS nPTPPBCHB - UINCHPM Y NYZH. - h LO.: rPCHEUFSH P VPSTSCHOE nPTPJPCHPK. n., 1979.

155* mYYUOKHA DKHYECHOHA NSZLPUFSH mbVYO UPUEFBM U ZTBTSDBOULPK UNEMPUFSH. pFLTSCHFSHCHK RTPFPYCHOIL BTBLUEECHB, BY RPЪCHPMYM UEVE DETOLPE ЪBSCHMEOYE: ABOUT UPCHEF CH BLBDENYY IHDPTSEUFCH CH PFCHEF ABOUT RTEDMPTSEOYE YЪVTBFSH CH BLBDENYA bTBLUEECHB, LBL M YGP, VMYOLPE ZPUKHDBTA, BY RTEDMPTSYM YЪVTBFSH GBTULPZP LHYUETB YMSHA - “FBLCE VMYOLKHA ZPUKHDBTA YNRETBFPTH PUPVKH” (yYMSHDET o. l. yNRETBFPT bMELUBODT RETCHSHCHK EZP TSYOSH Y GBTUFCHPCHBOYE. urV., 1898, F. IV, U. 267). ъБ БФП ON ЪББРМБФИМ ХЧПМШУОПЭН PF UMKHTSVSHCH Y UUSCHMLPK, LPFPTHA RETEOEU U VPMSHYPK FCHETDPUFSHA.

Author: Lotman Yuri
Title: Conversations about Russian culture
Performer: Evgeniy Ternovsky
Genre: historical. Life and traditions of the Russian nobility of the 18th and early 19th centuries
Publisher: Can't buy it anywhere
Year of publication: 2015
Read from the publication: St. Petersburg: Art - St. Petersburg, 1994
Cleared by: knigofil
Processed by: knigofil
Cover: Vasya from Mars
Quality: mp3, 96 kbps, 44 kHz, Mono
Duration: 24:39:15

Description:
The author is an outstanding theorist and cultural historian, founder of the Tartu-Moscow semiotic school. Its readership is huge - from specialists to whom works on the typology of culture are addressed, to schoolchildren who have picked up the “Commentary” to “Eugene Onegin”. The book was created on the basis of a series of television lectures telling about the culture of the Russian nobility. The past era is presented through the realities of everyday life, brilliantly recreated in the chapters “Duel”, “Card Game”, “Ball”, etc. The book is populated by heroes of Russian literature and historical figures - among them Peter I, Suvorov, Alexander I, the Decembrists. The actual novelty and wide range of literary associations, the fundamentality and liveliness of the presentation make it a most valuable publication in which any reader will find something interesting and useful for themselves.
For students, the book will be a necessary addition to the course of Russian history and literature.

The publication was published with the assistance of the Federal Target Program for Book Publishing of Russia and the International Foundation “Cultural Initiative”.
“Conversations about Russian Culture” belongs to the pen of the brilliant researcher of Russian culture Yu. M. Lotman. At one time, the author responded with interest to the proposal of “Arts - SPB” to prepare a publication based on a series of lectures that he gave on television. He carried out the work with great responsibility - the composition was specified, the chapters were expanded, and new versions appeared. The author signed the book for inclusion, but did not see it published - on October 28, 1993, Yu. M. Lotman died. His living word, addressed to an audience of millions, was preserved in this book. It immerses the reader in the world of everyday life of the Russian nobility of the 18th - early 19th centuries. We see people of a distant era in the nursery and in the ballroom, on the battlefield and at the card table, we can examine in detail the hairstyle, the cut of the dress, the gesture, the demeanor. At the same time, everyday life for the author is a historical-psychological category, a sign system, that is, a kind of text. He teaches to read and understand this text, where the everyday and the existential are inseparable.
“A collection of motley chapters”, the heroes of which were outstanding historical figures, reigning persons, ordinary people of the era, poets, literary characters, is connected together by the thought of the continuity of the cultural and historical process, the intellectual and spiritual connection of generations.
In a special issue of the Tartu “Russian Newspaper” dedicated to the death of Yu. M. Lotman, among his statements recorded and saved by colleagues and students, we find words that contain the quintessence of his last book: “History passes through a person’s House, through his private life. It is not titles, orders or royal favor, but the “independence of a person” that turns him into a historical figure.”
The publishing house thanks the State Hermitage and the State Russian Museum, which provided engravings stored in their collections free of charge for reproduction in this publication.

INTRODUCTION: Life and culture
PART ONE
People and ranks
Women's World
Women's education in the 18th - early 19th centuries
PART TWO
Ball
Matchmaking. Marriage. Divorce
Russian dandyism
Card game
Duel
The Art of Living
Summary of the journey
PART THREE
"Chicks of Petrov's Nest"
Ivan Ivanovich Neplyuev - reform apologist
Mikhail Petrovich Avramov - critic of the reform
Age of heroes
A. N. Radishchev
A. V. Suvorov
Two women
People of 1812
Decembrist in everyday life
INSTEAD OF CONCLUSION: “Between the double abyss...”

The series of original programs “Conversations about Russian Culture” was recorded by the brilliant researcher of Russian culture Yuri Mikhailovich Lotman. A living word addressed to an audience of millions immerses the viewer in the world of everyday life of the Russian nobility of the 18th - early 19th centuries. We see people of a distant era in the nursery and in the ballroom, on the battlefield and at the card table, we can examine in detail the hairstyle, the cut of the dress, the gesture, the demeanor. At the same time, everyday life for the author is a historical-psychological category, a sign system, that is, a kind of text. He teaches to read and understand this text, where the everyday and the existential are inseparable. “A collection of motley chapters”, the heroes of which were outstanding historical figures, reigning persons, ordinary people of the era, poets, literary characters, is connected together by the thought of the continuity of the cultural and historical process, the intellectual and spiritual connection of generations.

The power of intelligence

Yuri Mikhailovich Lotman (1922–1993), Russian literary critic, semiotician, cultural scientist. Member of the Estonian Academy of Sciences, corresponding member of the British Academy of Sciences, member of the Norwegian Academy of Sciences. The creator of the well-known Tartu semiotic school and the founder of an entire direction in literary criticism at the University of Tartu in Estonia (until 1991 Estonia was part of the USSR).

Lotman was born in Petrograd on February 28, 1922. As a schoolboy, Lotman listened to lectures by the famous G.A. Gukovsky at the philological faculty of Leningrad State University. In 1939–1940 he studied at the Faculty of Philology of Leningrad State University, where brilliant philologists then taught: V.F. Shishmarev, L.V. Shcherba, D.K. Zelenin, V.M. Zhirmunsky, V.Ya. Propp, M.K. Azadovsky, B.M. Eikhenbaum, B.V. Tomashevsky, V.V. Gippius and others. In 1940 he was drafted into the army, demobilized in 1946.

In 1946–1950 he resumed his studies at the Faculty of Philology of Leningrad State University, where he headed the student scientific society of the faculty. After graduating from university, he was unable to get a job in Leningrad, since at that time the well-known “fight against cosmopolitanism” began. In 1950 he received a position as a senior teacher at the Pedagogical Institute in Tartu.

In 1952 he defended his thesis on the topic “A.N. Radishchev in the fight against the socio-political views and noble aesthetics of N.M. Karamzin.” In 1960 he defended his doctoral dissertation: “Ways of development of Russian literature of the pre-Decembrist period.”

Lotman’s entire subsequent life was connected with Tartu, where he subsequently became the head of the department of Russian literature at the University of Tartu, where, together with his wife, Z. G. Mints, and B. F. Egorov, he attracted talented people and created a brilliant school for the study of Russian classical literature. Throughout his life, Lotman studied Russian literature of the second half of the 18th – mid-19th centuries. (Radishchev, Karamzin, Decembrist writers, Pushkin, Gogol, etc.). Lotman introduces into the purely literary sphere an active study of the facts of life and behavior of the corresponding eras, creating literary “portraits” of famous Russian people. The commentary on Eugene Onegin and Lotman's research on the life and behavior of the Decembrists have become classic works of literary criticism. Later, Lotman gave series of lectures on Russian literature and culture on television.

Lotman was particularly interested in the relationship between “literature” and “life”: he was able to detect cases of the influence of literature on life and the formation of human destiny (for example, the idea of ​​“Northern Hamlet”, which seemed to predetermine the fate of Emperor Paul I). Lotman was able to reveal the hidden content of the text when comparing it with reality (for example, he proved that Karamzin’s true journey through Europe differed from his route in Letters of a Russian Traveler, and suggested that the true route was hidden, because it was associated with Karamzin’s participation in the Freemason society ). Such comparisons allowed Lotman to conclude that there were “lies” in the memoirs and epistolary texts of a number of Russian cultural figures (for example, the Decembrist Zavalishin). Significant and new for Pushkin studies was Lotman’s discovery of a meaningful dominant antithesis in Pushkin’s texts: “gentleman – robber” or “dandy – villain,” which could be embodied in different character models.

Lotman’s significant innovation was the introduction into the analysis of a literary text of an appeal to the geographical space described in it, which, as Lotman showed using the example of Gogol’s stories, often performs a plot-forming function.

An important point in Lotman’s creative biography was his acquaintance in the early 1960s with the circle of Moscow semioticians (V.N. Toporov, Vyach. Vs. Ivanov, I. I. Revzin, etc.), who organized the Symposium on the structural study of sign systems in 1962 at the Institute of Slavic Studies of the USSR Academy of Sciences. A set of new ideas of the early 1960s - cybernetics, structuralism, machine translation, artificial intelligence, binarism in cultural description, etc. - attracted Lotman and forced him to largely reconsider the original Marxist literary orientation.

In 1964, in Kääriku (Estonia), under the leadership of Lotman, the First Summer School on the study of sign systems was organized, where representatives of new areas of science gathered. These schools then met every two years until 1970. R. Jacobson and K. Pomorskaya were able to attend one of the schools (with great difficulty).
The rapprochement between Moscow and Tartu was embodied in the famous series of Works on Sign Systems, published in Tartu (the 26th issue was published in 1998) and for a long time served as a platform for new ideas. Lotman wrote joint theoretical works with a number of summer school participants, in particular, with A.M. Pyatigorsky and especially with B.A. Uspensky, with whom Lotman collaborated a lot (see the famous work Myth - Name - Culture. - Works on iconic systems, 6, 1973), where fundamental questions were raised about the essence of the sign.

The persecution of the authorities, which Moscow semioticians experienced immediately after the Symposium, as well as the general tightening of the Soviet regime, also affected Lotman’s position at the University of Tartu: he left the post of head of the department and was forced to move to the Department of Foreign Literature. Semiotic works came out with more and more complications, Summer schools stopped. But Lotman’s popularity continued to grow during these years: he often came to Moscow and Leningrad with reports and lectures. Lotman's works began to be translated abroad.

His fascination with semiotic ideas led Lotman to in-depth studies of cinema semiotics, artificial intelligence, and the functioning of the cerebral hemispheres. The central work of this period was the generalizing book Universe of the Mind, which was being prepared for the English edition (in the Russian version: Inside the Thinking Worlds, 1996). Considering the symbol as the most significant type of sign for cultural studies, Lotman mainly deals with symbols (less with indices and iconic signs) and shows the preservation of symbols when changing cultural paradigms.

Lotman owns the definition of the semiosphere - a semiotic space that is fundamentally heterogeneous and which he compares with a museum, where a number of ordered semiotic spaces function: exhibits, card files, employees, exposition, etc. The “plot” begins when leaving the semiosphere; Such a role is played, for example, by “scandals” in Dostoevsky. Lotman believes that the way out of the semiosphere is a miracle, a combination of scandal and miracle - this is a game of chance according to the same Dostoevsky and Pushkin. The territorial exit beyond the borders of the semiosphere is characterized by a special layer of personalities: the sorcerer, the robber, the executioner. They live, as a rule, in the forest, and communicate with them at night. The center and periphery in the semiosphere can change places: St. Petersburg becomes the capital, hippies become respectable citizens, Roman generals turn out to come from barbarian provinces, etc. Addressing geographical space as part of the semiosphere, Lotman shows the role of the border in Dante's Inferno and demonstrates the combination of geographical and moral movements in the poetics of the Middle Ages. Lotman’s introduction of spatial opposition in Bulgakov is also significant, in whose works “paradise” is equal to Home in contrast to “hell” - a Soviet communal apartment.

The second important work of recent years is the book Culture and Explosion (1992), showing the influence of the ideas of I. Prigogine and R. Tom about explosion and disasters as engines of history.

In the post-Soviet period, Lotman's popularity contributed to a new wave of publication of Tartu editions and books by Lotman himself, as well as his contacts with a number of Western European universities and academies. In 1992, the Department of Semiotics was created at the University of Tartu under the leadership of Lotman.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Examination on the discipline

"Culturology"

based on the book by Lotman Yu.M.

"Conversations about Russian culture"

Part 1

1.1 Biography of Yu.M. Lotman

1.2 Main works of Yu.M. Lotman

1.4 Contributions to the study of culture

Part 2. Brief abstract “Conversations about Russian culture”

Bibliography

Part 1

1.1 Yuri Mikhailovich Lotman

Yuri Mikhailovich Lotman was born on February 28, 1922 into a family of Petrograd intellectuals, in the famous house at the beginning of Nevsky Prospekt, where the Wolf-Beranger confectionery was located in Pushkin's time. His father was a famous lawyer, then a legal adviser at a publishing house. Mother worked as a doctor. He was the youngest in the family; besides him there were three sisters. Everyone lived amicably, very poorly, but cheerfully. Yuri Lotman graduated with honors from the famous Peterschule in Petrograd, which was distinguished by a high level of humanitarian education

The literary circle of friends of Lydia’s older sister influenced her choice of profession. In 1939, Yuri Mikhailovich entered the philological faculty of Leningrad University, where famous professors and academicians then taught: G.A. Gukovsky read an introduction to literary criticism, M.K. Azadovsky - Russian folklore, A.S. Orlov - ancient Russian literature, I.I. Tolstoy - ancient literature. In the folklore seminar V.Ya. Proppa Lotman wrote his first term paper. Classes at the University continued in the Public Library, and this laid the foundation for Lotman’s colossal ability to work. In addition, there were student jobs, cargo work at the port, free chef lectures at enterprises, dates and parties.

In October 1940, Lotman was drafted into the army. The fact that he became a career military man even before the start of the Great Patriotic War may have saved his life. The unit in which Lotman served was transferred to the front line in the very first days and was in fierce battles for almost four years. Yuri Mikhailovich crossed the entire European part of the country with the retreating army, from Moldova to the Caucasus, and then advanced west, all the way to Berlin, and was in the most desperate situations. Under shelling and bombing, he received orders and medals for his bravery and perseverance in battle, but fate was surprisingly kind to him: he was not even wounded, only once severely shell-shocked.

At the end of 1946, Lotman was demobilized and continued his studies at Leningrad University. Most of all, the student who resumed his studies was attracted by the special courses and special seminars of N.I. Mordovchenko, who was then working on his doctoral dissertation on Russian literary criticism of the first quarter of the 19th century. Already in his student years, Yuri Mikhailovich made his first scientific discoveries. In the manuscript department of the State Public Library. M.E. Saltykov-Shchedrin. In the notebook of the freemason Maxim Nevzorov, he found a copy of the program document of one of the early Decembrist secret societies, the Union of Russian Knights, the founders of which were Count M.A. Dmitriev-Mamonov and M.F. Orlov. The found source had long been known by the title “Brief Instructions to Russian Knights”, it was mentioned in correspondence, appeared in the investigative files of the Decembrists, but researchers searched in vain for the text itself, the document was already considered lost. Lotman published an article about the find along with the found document in Vestnik Leningradskogo university."

In 1950, Lotman graduated from the university, but as a Jew his path to graduate school was closed. (an anti-Semitic campaign was rampant in the country). Yuri Mikhailovich managed to find work in Estonia, he became a teacher and then head of the department of Russian language and literature at the Tartu Teachers' Institute. Certain bodies that theoretically had nothing to do with science and pedagogy, but were in charge of almost everything, turned Lotman into a “restricted traveler” and blocked him from traveling abroad - but the scientist’s works still crossed the border. They were translated into dozens of languages ​​and made the author’s name world famous.

In 1952, Lotman defended his PhD thesis at Leningrad University on the creative relationship between Radishchev and Karamzin.

From 1954 until the end of his life, Yuri Mikhailovich worked at the University of Tartu. In 1961 he defended his doctoral dissertation. In 1960-1977 he headed the department of Russian literature at Tartu State University. The famous literary critic Zara Grigorievna Mints became Lotman’s wife, and children appeared in the family.

Yu.M. Lotman was distinguished by his incredible capacity for work; he managed to head the department, study the Estonian language, and prepare new special courses. Give lectures, write scientific papers, organize conferences. Lotman is the author of 800 scientific works, including many fundamental monographs. He was a world-famous scientist, Laureate of the Pushkin Prize of the Russian Academy of Sciences, corresponding member of the British Academy, academician of the Norwegian, Swedish, and Estonian academies. He was vice-president of the World Association of Semiotics. He possessed encyclopedic erudition combined with a depth of professional knowledge. Literature and history, cultural studies and semiotics are only the briefest description of those vast spaces to which the work, energy, abilities, intelligence, and feelings of this wonderful researcher and amazing person were applied.

Yu.M. Lotman made a great contribution to the study of the history of Russian culture. According to his books about A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol. N.M. Many generations of students studied at Karamzin. Each book represents a significant event in the history of culture, because it differs from other works on literary criticism in its original approach and depth of analysis, in its combination of cultural history and the history of the soul.

Freed in recent years from prohibitions and restrictions, Yuri Mikhailovich has traveled almost the entire Western world, making presentations at various conferences and giving lectures at universities.

Confined to hospitals, having lost his sight, he studied until his last days. The last book, “Culture and Explosion,” was created under dictation - this is a kind of testament of the author.

1.2 Main works of Yu.M. Lotman

The article “Radishchev and Mabli” 1958 opened a large series of works by the scientist devoted to Russian-Western European cultural relations.

The complex of Karamzin's works by Lotman is one of the most significant in his heritage.

At the same time, Lotman studied the life and work of writers and public figures of the early 19th century.

In 1958, thanks to the rector of the University of Tartu F.D. Clement began to publish “Works on Russian and Slavic mythology” in a new series of “Scientific Notes”, which included many of Lotman’s works.

While working on his doctoral dissertation, Lotman began to thoroughly study the Decembrists, Pushkin, and Lermontov.

“The main stages in the development of Russian realism” 1960.

“The origins of the “Tolstovian movement” in Russian literature in 1830.” 1962

“Ideological structure of “The Captain's Daughter” 1962

The pinnacle of Lotman’s Pushkinianism are 3 books: “A novel in verse by Pushkin “Eugene Onegin” Special course. Introductory lectures to the study of text"

“Pushkin’s novel “Eugene Onegin” Commentary. Teacher's Manual"

"Alexander Sergeevich Pushkin. Biography of the writer. A manual for students"

"On the metalanguage of typological descriptions of culture"

“Simeotics of cinema and problems of film aesthetics.”

“Lectures on structural poetics. Issue 1. introduction, theory of verse"

"Structure of a literary text"

"Inside Thinking Worlds"

“Selected Articles” in 3 volumes, which collect scientific works on simeotics, typology of culture, on the text as a semiotic problem, on culture and behavioral programs, semiotic space, semiotics of various types of arts, the semiotic mechanism of cultural transmission.

1.3 Belonging to a scientific school

Lotman became interested in structuralism and semiotics very early, on the verge of 1950-1960. This interest was facilitated by his constant attraction to new methods, theoretical mindset and aversion to the vulgar sociological method (imposed from above)

Semiotics, the study of signs and sign systems, arose before World War II. Theoretical superstructures began to be created in different fields: among linguists - metalinguistics, among philosophers - metatheory, among mathematicians - metamathematics. Human culture is filled with signs; the further it develops, the more complex signs it operates with. The multi-story nature and complexity of sign systems gave rise to the birth of semiotics.

Structuralism is a branch of simeotics. Which studies the relationship between signs. The main stimulus for its development was the emergence of electronic computing technology - the need to create mathematical linguistics. Lotman is the creator of literary structuralism. He took the main methodological and methodological prerequisites of linguistic innovators: the division of the studied text into content and expression, and plans into a system of levels (syntactic, morphological phonetic) within the level - division into correlating and opposing elements, and studied the structure of the text in two aspects: syntagmatic and paradigmatic.

1.4 Contributions to the study of culture

Credit to Yu.M. Lotman is to reveal the sign-symbolic nature of culture and the mechanisms of its transmission based on the application of the semiotic method and information theory.

Semiotics of culture - the main direction of cultural studies

research. It promotes a deeper understanding of cultural texts and reveals the mechanisms of cultural continuity. Reveals the sign-symbolic nature of cultural languages, promotes dialogue between cultures of different countries and peoples.

Hthere are2 . Brief abstract “Conversations about Russian culture. Life and traditions of the Russian nobility (18th - early 19th centuries)"

Introduction: Life and culture.

Culture has a communicative and symbolic nature. Culture is memory. A person changes, and in order to imagine the logic of the actions of a literary hero or people of the past, one must imagine how they lived, what kind of world surrounded them, what were their general ideas and moral ideas, their official duties, customs, clothes, why they acted this way, and not otherwise. This will be the topic of the proposed conversations.

Culture and everyday life: doesn’t the expression itself contain a contradiction, don’t these phenomena lie on different planes? What is everyday life?

Everyday life is the normal course of life in its real-practical forms. Seeing history in the mirror of everyday life, and illuminating small, isolated everyday details with the light of major historical events is the method offered to the reader in “Conversations on Russian Culture.”

Everyday life, in its symbolic sense, is part of culture. Things have memory, they are like words and notes that the past transmits to the future. On the other hand, things can powerfully dictate the gestures, style of behavior and, ultimately, the psychological attitude of their owners, since they create a certain cultural context around them.

However, everyday life is not only the life of things, it is also customs, the entire ritual of daily behavior, the structure of life that determines the daily routine, the time of various activities, the nature of work and leisure, forms of recreation, games, love ritual and funeral ritual.

History is bad at predicting the future, but good at explaining the present. The time of revolutions is ahistorical, and the time of reforms turns people to think about the roads of history. True, history has many facets, and we still remember the dates of major historical events and biographies of historical figures. But how did historical people live? But it is in this nameless space that the real story most often unfolds. Tolstoy was deeply right: without knowledge of simple life there is no understanding of history.

People act according to the motives and impulses of their era.

The 18th century is the time when the features of the new Russian culture, the culture of the new time, to which we also belong, were taking shape. !8 - early 19th century is a family album of our today's culture, its home archive.

History is not a menu where you can choose dishes to suit your taste. This requires knowledge and understanding. Not only to restore the continuity of culture, but also to penetrate the texts of Pushkin and Tolstoy.

We will be interested in the culture and life of the Russian nobility, the culture that gave rise to Fonvizin, Derzhavin, Radishchev, Novikov, Pushkin, Lermontov, Chaadaev...

Part 1.

People and ranks.

Among the various consequences of Peter's reforms, the creation of the nobility as the state and culturally dominant class is not the least important. Even earlier, the erasure of the differences between the estate and the patrimony began, and the decree of Tsar Fyodor Alekseevich in 1682, which heralded the destruction of localism, showed that the dominant force in the maturing state order would be the nobility.

The psychology of the service class was the foundation of the self-awareness of the nobleman of the 18th century. It was through service that he recognized himself as part of the class. Peter 1 in every possible way stimulated this feeling both by personal example and by a number of legislative acts. Their pinnacle was the Table of Ranks - it was the implementation of the general principle of Peter the Great’s new statehood - regularity. The Table divided all types of service into military, civil and court, all ranks were divided into 14 classes. Military service was a privileged position; 14 classes in military service gave the right to hereditary nobility. Civil service was not considered noble for commoners. The Russian bureaucracy, being an important factor in state life, left almost no trace in spiritual life.

Russian emperors were military men and received military upbringing and education; they were accustomed from childhood to look at the army as an ideal organization. In the life of the nobility there was a “cult of the uniform.”

A person in Russia, if he did not belong to the tax-paying class, could not help but serve. Without service it was impossible to obtain a rank; when filling out the papers, it was necessary to indicate the rank; if there was none, they signed “Minor.” However, if the nobleman did not serve, his relatives arranged for him fictitious service and long-term leave. Simultaneously with the distribution of ranks, there was a distribution of benefits and honors. The place of rank in the service hierarchy was associated with the receipt of many real privileges.

The system of orders, which arose under Peter the Great, supplanted the previously existing types of royal awards - instead of an award-thing, an award-sign appeared. Later, a whole hierarchy of orders was created. In addition to the system of orders, one can name a hierarchy, in a certain sense opposed to ranks, formed by a system of nobility. The title of count and baron appeared.

The cultural paradox of the current situation in Russia was that the rights of the ruling class were formulated in the same terms that Enlightenment philosophers used to describe the ideal of human rights. This was at a time when peasants were practically reduced to the status of slaves.

Women's World.

The character of a woman correlates in a very unique way with the culture of the era. This is the most sensitive barometer of social life. Women's influence is rarely considered as a historical issue in its own right. Of course, the women's world was very different from the men's, primarily in that it was excluded from the sphere of public service. A woman's rank was determined by the rank of her husband or father, if she was not a courtier.

By the end of the 18th century, a completely new concept appeared - a women's library. Remaining the same world of feelings, children's and household, the women's world becomes more spiritual. Women's life began to change rapidly in the era of Peter the Great. Peter 1 changed not only state life, but also the home way of life. Artificiality reigned in fashion. Women spent a lot of time changing their appearance. The ladies flirted and led an evening lifestyle. Floats on the face and games with a fan created a language of coquetry. Evening makeup required a lot of cosmetics. It was fashionable to have a lover. Family, farming, and raising children were in the background.

And suddenly important changes occurred - romanticism was born, it became accepted to strive for nature, the naturalness of morals and behavior. Paul! tried to stop fashion - simplicity of clothing was promoted by the era of the French Revolution. Dresses appeared that later became known as Onegin dresses. Paleness has become an obligatory element of female attractiveness - a sign of the depth of heartfelt feelings.

The world of women played a special role in the destinies of Russian romanticism. The Age of Enlightenment raised the issue of protecting women's rights.

Women's character at the end of the 18th century was shaped by literature. It is especially important that the woman constantly and actively assimilated the roles that poems and novels assigned her, so it is possible to evaluate the everyday and psychological reality of their lives through the prism of literature.

The end of the era that interests us created three types of female images: the image of an angel who accidentally visited the earth, a demonic character and a female heroine.

Feminine oeducation in the 18th and early 19th centuries

Knowledge has traditionally been considered the privilege of men - women's education has become a problem for her place in a society created by men. The need for female education and its nature became the subject of controversy and was associated with a general revision of the type of life, the type of way of life. As a result, an educational institution arose - the Smolny Institute with a broad program. The training lasted 9 years in isolation. Education was superficial, with the exception of languages, dancing and handicrafts. Court toys were made from Smolyans. Smolyankas were famous for their sensitivity; their sentimental unpreparedness for life was evidence of their innocence. Exalted behavior was not a lack of sincerity - it was the language of the time.

The Smolny Institute was not the only women's scientific institution. Private boarding schools arose, they were foreign and the level of education was low. Languages ​​and dances were systematically taught. The third type of female education is home education. It was limited to languages, the ability to behave in society, dance, sing, play a musical instrument and draw, as well as the rudiments of history, geography and literature. With the start of going out into the world, training stopped.

The type of Russian educated woman began to take shape by the age of 30 in the 18th century. However, in general, women's education in the 18th and early 19th centuries did not have its own lyceum, nor Moscow or Dorpat universities. The type of highly spiritual Russian woman developed under the influence of Russian literature and culture of the era.

Part 2.

Dancing was an important structural element of noble life. In the life of a Russian metropolitan nobleman, time was divided into two halves: staying at home (as a private person) and in the assembly, where public life was realized.

The ball was an area opposite to service and an area of ​​public representation. The main element of the ball as a social and aesthetic event was dancing. Dance training began at the age of 5. Long-term training gave young people confidence in movements, freedom and ease in posing, which influenced the mental structure of a person. Grace was a sign of good upbringing. The ball began with a polonaise, the second ballroom dance was the waltz (in the 20s it had a reputation for being obscene), and the center of the ball was the mazurka. Cotillion is a type of quadrille, one of the dances that concludes the ball, a dance game. The ball had a harmonious composition, obeyed strict laws and was opposed to two extreme poles: a parade and a masquerade.

Matchmaking. Marriage. Divorce.

The ritual of marriage in noble society of the 18th and early 19th centuries bears traces of the same contradictions as all everyday life. Traditional Russian customs came into conflict with ideas about Europeanism. Violation of parental will and abduction of the bride were not part of the norms of European behavior, but were a common place in romantic plots. Family relationships in serf life are inseparable from the relationship between the landowner and the peasant woman; this is an obligatory background, without which the relationship between husband and wife becomes incomprehensible. One of the manifestations of the oddities of life of this era were serf harems.

The ever-increasing gap between the way of life of the nobility and the people causes a tragic attitude among the most thoughtful part of the nobles. If in the 18th century a cultured nobleman sought to distance himself from folk everyday behavior, then in the 19th century a counter-directional impulse arose.

Noble weddings retained a certain connection with the tradition of getting married in the fall, but translated it into the language of Europeanized mores.

One of the innovations of post-Petrine reality was divorce. For a divorce, a decision was required from the consistory - the spiritual office. A rare and scandalous form of divorce was often replaced by a practical divorce: the spouses separated, divided their possessions, after which the woman received her freedom.

The home life of an 18th century nobleman developed as a complex interweaving of customs approved by folk tradition, religious rituals, philosophical freethinking, and Westernism, which influenced the break with the surrounding reality. This disorder, which took on the character of ideological and everyday chaos, also had a positive side. To a large extent, the youth of the culture, which had not yet exhausted its capabilities, was manifested here.

Russian dandyism.

Originating in England, dandyism included a national opposition to French fashions, which caused violent indignation among English patriots at the end of the 18th century. Dandyism took on the color of romantic rebellion. It was focused on extravagance of behavior, a demeanor offensive to society, swaggering gestures, demonstrative shocking - forms of destruction of secular prohibitions were perceived as poetic. Karamzin in 1803 described the curious phenomenon of the fusion of rebellion and cynicism, the transformation of egoism into a kind of religion and a mocking attitude towards the principles of vulgar morality in everything. In the prehistory of Russian dandyism, one can note the so-called Khripuns. Tightening the belt until it rivaled a woman's waist gave the military fashionista the appearance of a strangled man and justified his name as a wheezer. Glasses played a big role in the dandy’s behavior; the lorgnette was perceived as a sign of Anglomania. The decency of the 18th century in Russia forbade those younger in age or rank to look at their elders through glasses: this was perceived as impudence. Another characteristic sign of dandyism is a posture of disappointment and satiety. Dandyism is primarily a behavior, not a theory or ideology. Inseparable from individualism and dependent on observers, dandyism constantly oscillates between a claim to rebellion and various compromises with society. His limitations lie in the limitations and inconsistency of fashion, in the language of which he is forced to speak with his era.

Card game.

The card game has become a kind of life model. The function of a card game reveals its dual nature: cards are used for fortune telling (predictive, programming functions) and for playing, that is, it represents an image of a conflict situation. It is not comparable to other fashionable games of that time. A significant role here was played by the fact that the card game covers two different types of conflict situations - commercial and gambling.

The first are considered as decent, for respectable people, surrounded by an aura of comfort of family life, the poetry of innocent entertainment, the second - entailed an atmosphere of infernity, and are met with decisive moral condemnation. It is known that gambling in Russia at the end of the 18th century was formally prohibited as immoral, although it practically flourished, became a universal custom of noble society and was actually canonized. Card games and chess are, as it were, antipodes of the gaming world. Gambling games are structured in such a way that the player is forced to make a decision without actually having any information. Thus he plays with Chance. The intersection of the principles of regular statehood and arbitrariness creates a situation of unpredictability and the mechanism of a gambling card game becomes the image of statehood. In Russia the most common were Pharaoh and Stoss- games in which chance played the greatest role. The strict normalization that penetrated the private life of the people of the empire created a psychological need for explosions of unpredictability. It is no coincidence that desperate outbreaks of card games inevitably accompanied the eras of reaction: 1824, 25, 1830. Card terminology rapidly penetrated into other spheres of culture. The problem of the card game was made for contemporaries as a symbolic expression of the conflicts of the era. Cheating became almost an official profession and noble society regarded dishonest card playing, albeit with condemnation. But it is much more lenient than refusing to shoot in a duel, for example. Cards were a synonym for a duel and an antonym for a parade. These two poles delineated the border of the noble life of that era.

Duel.

A duel according to certain rules in order to restore honor. The assessment of the degree of insult - minor, bloody, fatal - must be correlated with the assessment from the social environment. The duel began with a challenge, after which the opponents were not supposed to enter into communication, the offended person discussed the severity of the offense inflicted on him with the seconds and a written challenge (cartel) was sent to the enemy. The seconds had to make every effort to reconcile, they also worked out the conditions of the duel and formalized them in writing . A duel in Russia was a criminal offense, became the subject of legal proceedings, the court sentenced duelists to death, which for officers was replaced by demotion to soldiers and transfer to the Caucasus.

The government had a negative attitude towards duels; in official literature, duels were persecuted as a manifestation of the love of freedom. Democratic thinkers criticized the duel, saw in it a manifestation of the class prejudice of the nobility and contrasted noble honor with human honor, based on Reason and Nature.

The art of living.

1. Art and non-artistic reality are not comparable. Classicism.

2. the second approach to the relationship between art and reality. Romanticism.

Art as a field of models and programs.

3. Life acts as an area of ​​modeling activity, creating patterns that art imitates. Can be compared with realism.

Theater played a special role in the culture of the early 19th century on a pan-European scale. Specific forms of stage performance leave the theater stage and take over life. The everyday behavior of a Russian nobleman of the late 18th and early 19th centuries is characterized by the attachment of the type of behavior to a specific stage area and a tendency towards intermission - a break during which the theatricality of behavior is reduced to a minimum. The distinction between everyday and theatrical behavior is characteristic. However, noble behavior as a system presupposed certain deviations from the norm, which were equivalent to intermissions. Behavior constrained by decency and a system of theatrical gestures gave rise to a desire for freedom: hussar behavior, attraction to a dirty life, breakthroughs into the world of gypsies. The more strictly life is organized, the more attractive the most extreme forms of everyday rebellion are. The soldier's stiffness under Nicholas 1 was compensated by wild revelry. An interesting indicator of the theatricality of everyday life is that amateur performances and home theaters were perceived as a departure from the world of insincere life of light into the world of genuine feelings. Indicative is the persistent desire to comprehend the laws of life through the prism of the most conventional forms of theatrical performance - masquerade, puppet comedy, farce. Considering the spectacular culture of the early 19th century, one cannot ignore military actions and the antithesis of battle - the parade.

There are eras when art powerfully invades everyday life, aestheticizing the everyday flow of life. This invasion has many consequences. Only against the backdrop of the powerful invasion of poetry into the life of the Russian nobility at the beginning of the 19th century is the colossal phenomenon of Pushkin understandable and explainable. Driven by the laws of custom, the everyday life of an ordinary nobleman of the 18th century was plotless. The view of real life as a performance made it possible to choose the role of individual behavior and filled with anticipation of events. It was the model of theatrical behavior, turning a person into an actor, that freed him from the automatic power of group behavior and custom.

Theater and painting are two poles, mutually attractive and mutually repulsive. Opera gravitated more towards painting, drama towards emphasized theatricality, ballet was complexly located in this space. Different types of art created different realities, and life, which strived to become a copy of art, absorbed these differences. Only in conditions of a functional connection between painting and theater could such phenomena as, for example, the Yusupov theater (change of Gonzaga scenery to special music) and live paintings arise. A natural consequence of the rapprochement between theater and painting is the creation of a grammar of performing arts.

People realize themselves through the prism of painting, poetry, theater, cinema, circus and at the same time see in these arts the most complete, as if in focus, expression of reality itself. In such eras, art and life merge together without destroying the spontaneity of feeling and the sincerity of thought. Only by imagining a man of that time can we understand art and at the same time, only in the mirrors of art do we find the true face of a man of that time.

The summary of the journey.

Death takes the personality out of the space reserved for life: from the realm of the historical and social, the personality moves into the realm of the eternal. By the middle of the 18th century, death had become one of the leading literary themes. The Petrine era was marked by the idea of ​​group existence; human death seemed insignificant in the face of state life. For people of the pre-Petrine era, death was only the end of life, which was accepted as inevitable. The end of the 18th century reconsidered this issue and, as a consequence, an epidemic of suicides.

The theme of death - voluntary sacrifice on the altar of the fatherland - is increasingly heard in the statements of members of the secret society. The tragic turn of ethical issues in the last years before the Decembrist uprising changed the attitude in the duel. The post-Decembrist period significantly changed the concept of death in the cultural system. Death brought true scale to career and state values. The face of the era was also reflected in the image of death. Death gave freedom and it was sought in the Caucasian War, in a duel. Where death took over, the power of the emperor ended.

Part 3.

"Chicks of Petrov's Nest"

Ivan Ivanovich Neplyuev, an apologist for the reform, and Mikhail Petrovich Avramov, a critic of the reform, came from an old noble family and occupied high positions under Peter1. Neplyuev studied abroad, worked in the Admiralty, was an ambassador in Constantinople, in Turkey. After the death of Peter, he was persecuted and was assigned to Orenburg, where he developed vigorous activity. In the Elizabethan era - a senator, under Catherine he was very close to the reigning person. Until his last days he remained a man of the Petrine era.

Abramov entered the service of the Ambassadorial Prikaz for 10 years and was associated with it all his life. At 18 - secretary of the Russian ambassador in Holland. In 1712 - director of the St. Petersburg printing house, published Vedomosti and many useful books. Neplyuev was an example of a man of exceptional integrity, who did not know division and was never tormented by doubts. In full contact with the times, he devoted his life to practical government activities. Abramov's personality was deeply divided; his practical activity collided with utopian dreams. Having created an idealized image of antiquity in his imagination, he proposed innovative reforms, considering them to be a defense of tradition. After the death of Peter1 - exile to Kamchatka. For his projects he found himself in the Secret Chancellery more than once. Died in prison. He belonged to those who invented utopian projects for the future and utopian images of the past, just to avoid seeing the present. If they had gained power, they would have stained the country with the blood of their opponents, but in the real situation they would have shed their own blood.

The era of splitting people into dogmatists-dreamers and cynics-practitioners

Age of heroes.

People of the last third of the 18th century, with all the diversity of natures, were marked by one common feature - the desire for a special individual path, specific personal behavior. They amaze with the unexpectedness of their bright individuals. Time gave birth to heroes of selfless dedication and reckless adventurers.

A.N. Radishchev is one of the most mysterious figures in Russian history. He had extensive knowledge in law, geography, geology, and history. In Siberian exile, he inoculated local residents with smallpox. He was excellent with a sword, rode horseback, and was an excellent dancer. Serving at customs, he did not take bribes; in St. Petersburg he seemed like an eccentric. The “encyclopedist” was convinced that fate had made him a witness and participant in the new creation of the world. He believed that it was necessary to cultivate heroism and for this purpose all philosophical concepts that could be relied upon could be used. Radishchev developed a unique theory of the Russian revolution. Slavery is unnatural and the transition from slavery to freedom was conceived as an instantaneous nationwide action. From the publication of “Journeys from St. Petersburg to Moscow” he expected not literary, but historical events. Radishchev created neither a conspiracy nor a party; he placed all his hope in the truth. The thought arose about the blood of a philosopher preaching the truth. People will believe, Radishchev believed, those words for which they paid with their lives. Heroic suicide became the subject of Radishchev's thoughts. Preparedness for death elevates the hero above the tyrant and transports a person from their ordinary life into the world of historical deeds. In this light, his own suicide appears in an unconventional light.

The trial and exile found Radishchev a widower. Sister of E.A.'s wife Rubanovskaya was secretly in love with her sister’s husband. It was she who saved Radishchev from torture by bribing the executioner Sheshkovsky. Later she preceded the feat of the Decembrists and, although customs categorically prevented marriage with a close relative, she married Radishchev.

Radishchev strove to subordinate his entire life and even death to the doctrines of philosophers. He forced himself into the norms of philosophical life and at the same time, by force of will and self-education, made such a life a model and program for real life. lotman culture russian nobility

A.S. Suvorov is an extraordinary commander with high military qualities and the ability to control the souls of soldiers, a man of his era, the era of heroic individualism. Contradictory behavior was fundamental for Suvorov. In clashes with the enemy, he used it as a tactical technique. Starting to play, he began to play, his behavior had childish traits that were inconsistently combined with his behavior and thoughts

military theorist and philosopher. Some saw this as a behavioral tactic, others as barbarism and treachery in the character of the commander. Changing masks was one of the features of his behavior. It is known that Suvorov did not tolerate mirrors; his tactics included the glory of a person. Not reflected in mirrors. Suvorov’s actions did not imply spontaneous adherence to temperament and character, but their constant overcoming. From birth he was frail and in poor health. At the age of 45, by order of his father, he married the powerful, large and beautiful V.I. Prozorovskaya. After breaking up with his wife, Suvorov kept his daughter and then sent her to the Smolny Institute. He did not accept the French Revolution; until the end of his life he remained a man for whom the idea of ​​changing the political order was incompatible with a sense of patriotism.

Suvorov and Radishchev are people who belong, as it were, to the two poles of their era.

Two women.

Memoirs of Princess N.B. Dolgorukaya and A.E. Karamysheva - covers the period from the 30s to the 80s of the 18th century and illuminates the family life of the nobles. The life and tragedy of Princess Natalya Borisovna became a plot that worried many poets. From the Sheremetev family, Natalya married I.A. Dolgoruky, favorite of Peter 2. After the death of the Tsar, they were exiled to Siberia. In difficult conditions, Dolgorukaya’s noble character emerged; life made her wise, but did not break her. A deep religious feeling became the restrictive basis of life and everyday behavior. The loss of all the material values ​​of life gave rise to an intense outbreak of spirituality. In Siberia, Prince Ivan was tortured and quartered. Natalya was returned with her sons and, having raised the children, she became a nun.

Memoirs of A.E. Labzina (Karamysheva) - a naively photographic reproduction of reality. Karamyshev is an outstanding scientist, he taught at the Mining Academy, he is close to Potemkin, but his devotion to science led him to the White Sea, into difficult living conditions, where he developed vigorous activity in organizing mines. Anna Evdokimovna was raised by her husband in the spirit of the Enlightenment; he was helped by the writer Kheraskov. The experiment in natural education consisted of isolation, strict control of acquaintances, and reading. She was not even allowed to see her husband, and besides, he was always busy with work. But Karamysheva was convinced that he spent his time wallowing in debauchery. Karamyshev separated moral feeling from sexual desire and, having received a 13-year-old girl as his wife, did not perceive her for a long time. Karamyshev introduced his wife to freethinking and freethinking, but he did it with vigor. He suggested having a lover in order to introduce his wife to freedom - emphasizing that he loved her. With the same straightforwardness, he weaned her from fasting. His enlightenment was a sin for her; they were separated by the border of moral untranslatability. The conflict of mutual blindness of opposing cultures, the drama is that 2 people loved each other, separated by a wall of misunderstanding. Labzina's memoirs are an edifying play, following the canons of hagiographical stories.

People of 1812.

The Patriotic War blew up the lives of all classes of Russian society. However, the experience of these events was not uniform. A large number of Moscow residents fled to the provinces; those who had estates went there, and more often to provincial cities close to them. A distinctive feature of 1812 was the erasing of sharp contradictions between metropolitan and provincial life. Many, cut off from their estates occupied by the French, found themselves in dire straits. Many families found themselves scattered throughout Russia.

The rapprochement between the city and the province, so noticeable in Moscow. It had almost no effect on the life of St. Petersburg, but he was not separated from the experiences of this time. Protected by Wittgenstein's army, in relative safety he had the opportunity to comprehend events in some historical perspective. It was here that such epochally important ideological phenomena as the independent patriotic magazine “Son of the Fatherland” arose, which in the future became the main publication of the Decembrist movement. The first shoots of Decembrism took shape here, in the conversations of officers returning from military campaigns.

Decembrist in everyday life.

The Decembrists showed significant creative energy in creating a special type of Russian person. The specific behavior of a significant group of young people, unusual in the circle of the nobility, who, due to their talents, origin, family and personal connections and career prospects, were in the center of public attention, influenced an entire generation of Russian people. The ideological and political content of the noble revolutionism gave rise to special character traits and a special type of behavior

The Decembrists were people of action. This reflected their focus on a practical change in the political existence of Russia. The Decembrists were characterized by a constant desire to express their opinion bluntly, without recognizing the approved ritual and rules of secular behavior. The emphasized non-secularism and tactless speech behavior was defined in circles close to the Decembrists as Spartan, Roman behavior. By his behavior, the Decembrist abolished the hierarchy and stylistic diversity of actions, the distinction between oral and written speech was abolished: the high orderliness and syntactic completeness of written speech were transferred to oral use. The Decembrists cultivated seriousness as a norm of behavior. Awareness of oneself as a historical figure forced one to evaluate one’s life as a chain of plots for future historians. It is characteristic that everyday behavior became one of the criteria for selecting candidates for society; on this basis, a kind of chivalry arose, which determined the moral charm of the Decembrist tradition in Russian culture and did a poor job in tragic conditions (the Decembrists were not psychologically prepared to act in conditions legalized meanness).The Decembrists were romantic heroes.

The feat of the Decembrists and its truly great significance for the spiritual history of Russian society are well known. The act of the Decembrists was an act of protest and challenge. It was Russian literature that was “to blame,” which created the idea of ​​a female equivalent of the heroic behavior of a citizen, and the moral norms of the Decembrist circle, which required a direct transfer of the behavior of literary heroes into life.

At the beginning of the 19th century, a special type of riotous behavior appeared, which was perceived not as the norm for military leisure, but as a variant of freethinking. The world of revelry became an independent sphere, immersion in which excluded service. Introducing to free-thinking was thought of as a holiday, and in a feast and even an orgy the realization of the ideal of freedom was seen. But there was another type of freedom-loving morality - the ideal of stoicism, Roman virtue, heroic asceticism. Abolishing the division of everyday life into areas of service and recreation, which was dominant in noble society, the liberalists wanted to turn all life into a holiday, the conspirators into service. All types of secular entertainment were severely condemned by the Decembrists as a sign of spiritual emptiness. The hermitage of the Decembrists was accompanied by an unambiguous and open contempt for the usual pastime of the nobleman. The cult of brotherhood based on the unity of spiritual ideals, the exaltation of friendship. The revolutionaries of the next stages often believed that the Decembrists talked more than they acted. However, the concept of action is historically changeable and the Decembrists can be called practitioners. The creation of a completely new type of person for Russia, the contribution of the Decembrists to Russian culture turned out to be enduring. The Decembrists introduced unity into human behavior, but not by rehabilitating life’s prose, but by passing life through the filters of heroic texts, and simply abolished what was not subject to inclusion in the tablets of history.

Instead of the conclusion: “Between the double abyss...”

We want to understand the history of the past and the works of fiction of previous eras, but at the same time we naively believe that it is enough to pick up a book that interests us, put a dictionary next to us, and understanding is guaranteed. But every message consists of two parts: what is said and what is not said, because it is already known. The second part is omitted. The contemporary reader easily restores it himself, based on his life experience... In past eras, without special study, we are aliens.

The history reflected in one person, in his life, everyday life, gesture, is isomorphic with the history of humanity, they are reflected in each other and are known through each other.

Part 3.

“Conversations on Russian Culture” devoted to the study of the life and traditions of the Russian nobility of the 18th and early 19th centuries are of undoubted interest. This is the time when Russia embarked on the path of modernization and enlightened absolutism. This process began with the reforms of Peter I, which covered many areas of society. After the death of Peter 1, his reform course was continued by Catherine2. Under her, the educational reform was continued, science, literature and socio-political thought were further developed - the establishment of democratic traditions. Under Alexander1, a fairly large political opposition was formed in society for the first time. Secret societies emerge. Taking advantage of the death of Alexander1, the Decembrists decided to seize power on December 14, 1825 and proclaim the introduction of a constitution. The uprising was brutally suppressed. Already at the beginning of the century, Russian conservatism was emerging as a political movement. A distinctive feature of Nicholas's reign was the desire of the authorities to extinguish opposition sentiments with the help of the theory of official nationality. In the formation of national self-awareness and national culture, a large role belongs to the best representatives of the nobility and the emerging intelligentsia. Yu.M. Lotman immerses the reader in the everyday life of this class, allowing him to see people of that era in the service, on military campaigns, to reproduce the rituals of matchmaking and marriage, to penetrate into the features of the female world and personal relationships, to understand the meaning of masquerades and card games, the rules of a duel and the concept of honor.

For a long time, noble culture remained outside of scientific research. Lotman sought to restore the historical truth about the significance of noble culture, which gave Fonvizin and Derzhavin, Radishchev and Novikov, Pushkin and the Decembrists, Lermontov and Chaadaev, Tolstoy and Tyutchev. Belonging to the nobility had distinctive features: mandatory rules of behavior, principles of honor, cut of clothing, official and domestic activities, holidays and entertainment. The entire life of the nobility is permeated with symbols and signs. Revealing its symbolic nature, the thing enters into dialogue with modernity, discovers connections with history and becomes priceless. The history of culture must necessarily be connected with feelings, be visible, tangible, audible, then its values ​​enter the human world and are fixed in it for a long time.

Listliterature

1.Ikonnikova S.N. History of cultural theories: Textbook. In 3 hours. Part 3 History of cultural studies in persons / Ikonnikova S.N., St. Petersburg State University of Culture and Arts. - St. Petersburg, 2001. - 152 p.

2. Lotman Yu.M. Pushkin./ Yu.M. Lotman, introductory article B.F. Egorov, art. D.M. Plaksin.- St. Petersburg: Art- St. Petersburg, 1995.-847 p.

3. Lotman Yu.M. Conversations about Russian culture: Life and traditions of the Russian nobility (18th-early 19th centuries). - St. Petersburg: Art, 1996.-399 p.

4. The world of Russian culture. Encyclopedic dictionary / ed. A.N. Myachin.-M.: Veche, 1997.-624 p.

5. Radugin A.A. History of Russia: Textbook for Universities / comp. And responsible editor. A.A. Radugin.-M.: Center, 1998.-352 p.

Posted on Allbest.ru

...

Similar documents

    course work, added 11/25/2014

    The concept of culture and semiotics in the works of Yu.M. Lotman. Text as the cornerstone of cultural semiotics Yu.M. Lotman. The concept of semiosphere, semiotic foundations of knowledge. Structural analysis of literary text. Art as a system built on language.

    abstract, added 08/03/2014

    General characteristics of the social and cultural sphere of Russia at the beginning of the 20th century, changes in the lifestyle of the middle strata and workers, updating the external appearance of the city. Features of Russian culture and art of the “Silver Age”: ballet, painting, theater, music.

    presentation, added 05/15/2011

    Theoretical study of the content of mentality and laughter culture. Determination of the historical background of laughter culture and the features of its formation in Ancient Rus'. Analysis of the creativity of buffoons and a description of the typical features of the Russian mentality.

    thesis, added 12/28/2012

    Analysis of the cultural situation of the 19th century, identification of the main styles of art, features of the philosophical and ideological orientations of this period. Romanticism and realism as cultural phenomena of the 19th century. Sociocultural features of the dynamics of culture in the 19th century.

    abstract, added 11/24/2009

    Historical periodization of domestic culture (from Rus' to Russia). The presence of Russian culture with its own typology, not covered by the general Western typology. The place of Russian culture in the typology of culture by N. Danilevsky according to the book “Russia and Europe”.

    test, added 06/24/2016

    The second volume of "Essays on the history of Russian culture" by P.N. Miliukova is dedicated to the development of the “spiritual” side of Russian culture. The analysis of the essay on the study of the history of religion illuminates the position and role of the Russian Church in the life of society since the end of the 15th century.

    lecture, added 07/31/2008

    "Domostroy" is an encyclopedia of family life, household customs, Russian economic traditions and church canons. The crisis in the life of the Russian state in the 16th century, its reflection in the ideological, legal and cultural spheres, morals and family relationships.

    course work, added 12/08/2009

    Characteristics of trends in the development of Russian culture in the 19th century, which became a century of achievements, a century of development of all those trends that developed in the past. The main idea of ​​the culture of the sixties of the 19th century. Social thought, ideas of Westerners and Slavophiles.

    abstract, added 06/28/2010

    "Golden Age" of Russian culture of the 19th century. The beginning of the 19th century was a time of cultural and spiritual upsurge in Russia. Close communication and interaction of Russian culture with other cultures. Fiction, musical culture, development of science in the 19th century.