1 June 08, 2023
Articles
1. Ol'ga Yu. Larionova
Sarapul Merchants and Burghers Onchukovs-Anchukovs
European Researcher. Series A. 2023. 14(1): 4-13.
Number of views: 109 Download in PDF
2. Aleksandr A. CherkasovEuropean Researcher. Series A. 2023. 14(1): 4-13.
Abstract:
The study is devoted to the reconstruction of the business and private life of the Sloboda burghers and Sarapul merchants Onchukov-Anchukov, subsequently assigned to the petty-bourgeois estate of the Sarapul city, who lived in the Votkinsky factory of the Sarapulsky district of the Vyatka province in the XIX – early XX centuries. The last known representative of this family in the Soviet years, Mikhail Nikolaevich Onchukov (1883–1952), worked as a chemistry teacher at school No. 3 and the Votkinsk Engineering College. The study was carried out on the basis of archival documents that were first put into circulation, as well as tombstones of members of this family found at the Nagorny cemetery of Votkinsk. It turned out that the surnames Onchukov, Anchukov and Anchugov belonged to the same family, and the “floating” letters in the spelling of the surname appeared as a result of its perception by the ear of scribes. It was also possible to identify houses in Votkinsk that belonged to this large family. There is a two-storey stone house on Lenin Street in Votkinsk, lavishly decorated with brickwork and recognized as an architectural monument of regional significance as the “Onchukov house”, which was built in the last quarter of the XIX century. The article provides data on the first owners of the house – officials of the Votkinsk plant and documents allowing to increase the age of the house to the middle of the XIX century. The family of the owner of the largest leather enterprise in the Votkinsk factory, Nikolai Ivanovich Anchukov, purchased the house no earlier than 1897.
The study is devoted to the reconstruction of the business and private life of the Sloboda burghers and Sarapul merchants Onchukov-Anchukov, subsequently assigned to the petty-bourgeois estate of the Sarapul city, who lived in the Votkinsky factory of the Sarapulsky district of the Vyatka province in the XIX – early XX centuries. The last known representative of this family in the Soviet years, Mikhail Nikolaevich Onchukov (1883–1952), worked as a chemistry teacher at school No. 3 and the Votkinsk Engineering College. The study was carried out on the basis of archival documents that were first put into circulation, as well as tombstones of members of this family found at the Nagorny cemetery of Votkinsk. It turned out that the surnames Onchukov, Anchukov and Anchugov belonged to the same family, and the “floating” letters in the spelling of the surname appeared as a result of its perception by the ear of scribes. It was also possible to identify houses in Votkinsk that belonged to this large family. There is a two-storey stone house on Lenin Street in Votkinsk, lavishly decorated with brickwork and recognized as an architectural monument of regional significance as the “Onchukov house”, which was built in the last quarter of the XIX century. The article provides data on the first owners of the house – officials of the Votkinsk plant and documents allowing to increase the age of the house to the middle of the XIX century. The family of the owner of the largest leather enterprise in the Votkinsk factory, Nikolai Ivanovich Anchukov, purchased the house no earlier than 1897.
Number of views: 109 Download in PDF
Lyudmila Alekseevna Cherkasova (born in 1941): Touches to a Lifetime Portrait
European Researcher. Series A. 2023. 14(1): 14-24.
Number of views: 114 Download in PDF
3. Alexander Fedorov, Elena KornienkoEuropean Researcher. Series A. 2023. 14(1): 14-24.
Abstract:
The paper attempts to create a lifetime biography of a representative of the Cherkasov family from Kereti – Lyudmila Alekseevna Cherkasova (born in 1941). There were involved as materials two groups of historical sources: archival materials presented by the documents of the regional archive – the National Archive of the Republic of Karelia (Petrozavodsk, Russian Federation), as well as materials of personal origin (memoirs and personal documents) deposited in the personal archive of the author. Methodologically, the manuscript relies on the biographical method as one of the methods of qualitative sociology in the study of a person, the purpose of which is to study the individual life path. The author also used chronological and descriptive methods in his work. Thanks to this, the collection of primary materials was carried out, which were structured in their chronological sequence. In conclusion, the author states that Lyudmila Alekseevna Cherkasova was a classic example of a purposeful person born in the initial period of the war, who underwent evacuation and famine. The formation of her character was significantly influenced by the duties she performed as the eldest daughter in the family. In process of her formation, Lyudmila completed studies at a medical school and devoted her life to medical work, including in the navy.
The paper attempts to create a lifetime biography of a representative of the Cherkasov family from Kereti – Lyudmila Alekseevna Cherkasova (born in 1941). There were involved as materials two groups of historical sources: archival materials presented by the documents of the regional archive – the National Archive of the Republic of Karelia (Petrozavodsk, Russian Federation), as well as materials of personal origin (memoirs and personal documents) deposited in the personal archive of the author. Methodologically, the manuscript relies on the biographical method as one of the methods of qualitative sociology in the study of a person, the purpose of which is to study the individual life path. The author also used chronological and descriptive methods in his work. Thanks to this, the collection of primary materials was carried out, which were structured in their chronological sequence. In conclusion, the author states that Lyudmila Alekseevna Cherkasova was a classic example of a purposeful person born in the initial period of the war, who underwent evacuation and famine. The formation of her character was significantly influenced by the duties she performed as the eldest daughter in the family. In process of her formation, Lyudmila completed studies at a medical school and devoted her life to medical work, including in the navy.
Number of views: 114 Download in PDF
The Ideological Topic in the Magazine Soviet Screen: 1957–1968 (Western Cinema Aspect)
European Researcher. Series A. 2023. 14(1): 25-30.
Number of views: 97 Download in PDF
4. Anastasia LevitskayaEuropean Researcher. Series A. 2023. 14(1): 25-30.
Abstract:
Based on a content analysis (in the context of historical, sociocultural and political situation, etc.) of texts published during the Thaw in the Soviet Screen magazine (1957–1968), the authors concluded that an important role in this publication was played by ideologized articles that emphasized criticism of bourgeois cinema and its detrimental influence on the audience, Not all of the magazine's authors directly sought to publish ideologically oriented articles, but it is possible to identify a small but consistently engaged group of film scholars and critics who consistently opposed the negative effects of bourgeois (and in particular Western) cinema on their audiences and defended Marxist-Leninist approaches to the analysis of the film process. After the Prague Spring events, however, the authorities decided that the journal's ideological position was not sufficiently counter-propagandistic, and a harsh campaign was unleashed against Soviet Screen in Ogonyok, which always maintained a political mainstream position at the time. In the end, the editorial board of Soviet Screen managed to persuade the "higher authorities" that the ideological course of the journal would be changed in the direction desired by the power, and (unlike the editorial board of Cinema Art, which was similarly criticized in 1968), editor-in-chief D. Pisarevsky managed to keep his position. Thus, the level of ideologization of Soviet Screen materials was elevated and in a number of articles was no different from Soviet Communist Party publications.
Based on a content analysis (in the context of historical, sociocultural and political situation, etc.) of texts published during the Thaw in the Soviet Screen magazine (1957–1968), the authors concluded that an important role in this publication was played by ideologized articles that emphasized criticism of bourgeois cinema and its detrimental influence on the audience, Not all of the magazine's authors directly sought to publish ideologically oriented articles, but it is possible to identify a small but consistently engaged group of film scholars and critics who consistently opposed the negative effects of bourgeois (and in particular Western) cinema on their audiences and defended Marxist-Leninist approaches to the analysis of the film process. After the Prague Spring events, however, the authorities decided that the journal's ideological position was not sufficiently counter-propagandistic, and a harsh campaign was unleashed against Soviet Screen in Ogonyok, which always maintained a political mainstream position at the time. In the end, the editorial board of Soviet Screen managed to persuade the "higher authorities" that the ideological course of the journal would be changed in the direction desired by the power, and (unlike the editorial board of Cinema Art, which was similarly criticized in 1968), editor-in-chief D. Pisarevsky managed to keep his position. Thus, the level of ideologization of Soviet Screen materials was elevated and in a number of articles was no different from Soviet Communist Party publications.
Number of views: 97 Download in PDF
Film Studies Discussions in Cinema Art Journal: 1969–1985
European Researcher. Series A. 2023. 14(1): 31-46.
Number of views: 97 Download in PDF
5. European Researcher. Series A. 2023. 14(1): 31-46.
Abstract:
Throughout the period 1969–1985, the editors of the Cinema Art journal paid a great deal of attention to theoretical discussions, including discussions about specific problems of film studies. As a rule, leading Soviet film critics and film historians took part in these discussions. The discussion on Georgian cinema, organized by E. Surkov (1915–1988), the editor-in-chief of Cinema Art journal, in the second half of the 1970s, had the strongest public response. The starting point of this discussion was an article about the state of Georgian cinema, written by the well-known film critic and film expert Y. Bogomolov (1937–2023). One of the main theses of this article was the claim that Georgian cinematographers, having developed their own exquisite, parable-like style, not only lose contact with the mass audience, but also, repeating the successful artistic techniques they found, move toward a kind of creative "dead end". This position, of course, aroused strong objections from the majority of Georgian cinematographers and film critics, who began to defend their national cinema, reproaching Bogomolov in engagement. The discussion about genres and styles, about the phenomenon of popularity of cinematography turned out to be acute on the pages of the Cinema Art journal.
Throughout the period 1969–1985, the editors of the Cinema Art journal paid a great deal of attention to theoretical discussions, including discussions about specific problems of film studies. As a rule, leading Soviet film critics and film historians took part in these discussions. The discussion on Georgian cinema, organized by E. Surkov (1915–1988), the editor-in-chief of Cinema Art journal, in the second half of the 1970s, had the strongest public response. The starting point of this discussion was an article about the state of Georgian cinema, written by the well-known film critic and film expert Y. Bogomolov (1937–2023). One of the main theses of this article was the claim that Georgian cinematographers, having developed their own exquisite, parable-like style, not only lose contact with the mass audience, but also, repeating the successful artistic techniques they found, move toward a kind of creative "dead end". This position, of course, aroused strong objections from the majority of Georgian cinematographers and film critics, who began to defend their national cinema, reproaching Bogomolov in engagement. The discussion about genres and styles, about the phenomenon of popularity of cinematography turned out to be acute on the pages of the Cinema Art journal.
Number of views: 97 Download in PDF