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- Gus'kov, Andrej G., et al.
(författare)
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Языки и переводчики : О жизни и деятельности крупнейшего полиглота Посольского приказа Ивана Тяжкогорского
- 2019
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Ingår i: Drevnjaja Rus' - Voprosy medievistiki. - Moskva. - 2071-9574 .- 2071-9590. ; 78:4, s. 62-81
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Tidskriftsartikel (refereegranskat)abstract
- This study is devoted to the life and career of Ivan Mikhailovich Tiazhkogorskii, a translator at the Ambassadorial Chancery in Moscow. We trace the main events of his life, the circumstances of his appointment to a position at the Ambassadorial Chancery (which was connected with A. L. Ordin-Nashchokin, head of the Chancery at the time), the important landmarks of his career, including details about the fluctuations in his salary and wages, and we examine the most important diplomatic and other duties he carried out. Particular attention has been paid to his knowledge of the foreign languages that are mentioned in the archival documents: German (“tsesarskii”, literally ‘imperial’), French, Polish, Latin, Hungarian, and Ruthenian (“belorusskii”). Moreover, we have compared some of Tiazhkogorskii’s draft translations from German, French, and Latin – as far as they survive in the archives – with the foreign originals. This analysis allows us to trace elements of Tiazhkogorskii’s “foreign accent” in his Russian translations. Our paper corrects some inaccuracies that have appeared in previous studies.
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- Jansson, Olena, Doktorand, 1978-, et al.
(författare)
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Historical Narrative in East Slavic Writing
- 2018
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Ingår i: Slovo. - Uppsala : Uppsala universitet. - 2001-7359. ; :59, s. 95-98
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Tidskriftsartikel (populärvet., debatt m.m.)
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- Jansson, Olena, Doktorand, 1978-, et al.
(författare)
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”Ruriks stamträd” – : en av de ryska skatterna på Carolina Rediviva
- 2018
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Ingår i: Slovo. - Uppsala : Uppsala universitet. - 2001-7359. ; 59, s. 7-39
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Tidskriftsartikel (refereegranskat)abstract
- Among the treasures in the university library in Uppsala (Sweden) is an extraordinary genealogical tree of Russia’s Rurikid rulers, beginning with the legendary Rurik and ending with Tsar Fedor Ivanovič, who died in 1598. Up to now it has not been known where it was produced, when it came into being, and who could have been the scribe of the Russian names. In this paper we argue that the genealogical tree was produced in Sweden and that the scribe for the Russian names was Aleksej Mankiev, who helped the Swedish scholar Johan Gabriel Sparwenfeld by producing fair copies of the latter’s manuscripts. Mankiev’s sojourn in Sweden from 1700 to 1718 gives us a first approximation for the date of the drawing. We think that this can be narrowed down to “around 1715”, given the close relationship between the “Uppsala tree” and the Rurikid genealogy presented in Jadro rossijskoj istorii, a manuscript which was finished in Sweden in 1715, most probably also by “our scribe”, Mankiev.
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- Jansson, Olena, Doktorand, 1978-, et al.
(författare)
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Upsal'skoe genealogičeskoe drevo dinastii Rjurikovičej: opisanie i istorija sozdanija
- 2018
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Ingår i: Rodoslovnye dreva russkich carej XVII–XVIII vekov. - Moskva : Jubilejnaja kniga. - 9785604163108 ; , s. 80-91
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Bokkapitel (refereegranskat)abstract
- A genealogical tree for the Russian Riurikid dynasty, kept at Uppsala: description and genesis Among the treasures in the university library in Uppsala (Sweden) is an extraordinary genealogical tree of Russia’s Riurikid rulers, beginning with the legendary Riurik and ending with Tsar Fedor Ivanovich, who died in 1598. The carefully drawn tree itself is quite realistic, with roots, a trunk and branches. The names of the 21 rulers considered to belong to the dynasty are placed in the trunk, whereas their brothers – irrespective of whether they had ever ruled (for instance, in Kiev) – are inscribed in medallions on the branches. The drawing is very large (ca. 82 x 65 cm), the tree executed in India ink and the rulers’ names in a different ink. Even though the drawing has been exhibited in Moscow, in the State Historical Museum (2001) and in the Kremlin Museums (2007–2008), to date there has been no determination of where it was produced (in Russia or in Sweden), when it came into being, and who could have been the scribe of the Russian names (or the artist who made the drawing of the tree). Of course, it cannot be excluded that the artist was also responsible for the names. In this paper we argue that the genealogical tree was produced in Sweden. Moreover, there are strong arguments that the scribe for the Russian names was Aleksei Mankiev (Mankeev, Mankiewicz), who helped the Swedish scholar Johan Gabriel Sparwenfeld by producing fair copies of his manuscripts (for instance, of the famous Lexicon Slavonicum) and may have assisted him with translations. Mankiev’s sojourn in Sweden from 1700 to 1718 gives us a first approximation for the date of the drawing. We think that this can be narrowed down to “around 1715”, given the close relationship between the “Uppsala tree” and the Riurikid genealogy presented in Iadro rossiiskoi istorii, a manuscript which was finished in Sweden in 1715, either by “our scribe”, Mankiev, or by Andrej Khilkov, appointed Russia’s ambassador to Sweden in 1700, who was imprisoned there together with his suite (Mankiev, among others). Although the arguments are less convincing, possibly the artist was Johan Peringskiöld, a scholar of antiquities and genealogies.
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- Jensen, Claudia, et al.
(författare)
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Orpheus and Pickleherring in the Kremlin : The "Ballet" for the Tsar of February 1672
- 2013
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Ingår i: Scando-Slavica. - : Routledge. - 0080-6765 .- 1600-082X. ; 59:2, s. 145-184
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Tidskriftsartikel (refereegranskat)abstract
- This article identifies and describes a pivotal event in the formation of the Russian court theatre: a performance in February 1672 for the Russian royal family given by a small group of foreign residents in Moscow. This performance (and another that followed in May) was the direct catalyst for the formation of Tsar Aleksej Michajlovič’s court theatre in October 1672. By examining a series of contemporary published accounts (printed newspapers and the 1680 work by Jacob Rautenfels) and unpublished diplomatic dispatches, we have not only been able to pinpoint the date for this event (16 Febr. 1672), but also establish the important connections between Western theatrical practice and the beginnings of staged theatre in Russia. Because some of the characters (or their actions) featured in this first Western-style performance appeared later in Tsar Aleksej’s regular court theatre (especially the stock comic figure Pickleherring), our work not only re-writes the pre-history of Russian theatre, but also contextualises the performances that followed. More broadly, the documents we use (some of which are newly discovered) show the importance to cultural historians of the communications revolution in Early Modern Europe, with its emphasis on the regular transmission of current news and information through newspapers and diplomatic dispatches, sources that have rarely been used for studies of early Russian culture.
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- Jensen, Claudia R., et al.
(författare)
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Pickleherring Returns to the Kremlin : More New Sources on the Pre-History of the Russian Court Theatre
- 2015
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Ingår i: Scando-Slavica. - : Routledge. - 0080-6765 .- 1600-082X. ; 61:1, s. 7-56
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Tidskriftsartikel (refereegranskat)abstract
- This article, a continuation of “Orpheus and Pickleherring in the Kremlin: The ‘Ballet’ for the Tsar of February 1672” (Scando-Slavica 59:2), focuses on the second performance given for Tsar Aleksej Michajlovič by foreign residents of Moscow. This encore production, in May 1672, expanded upon the programme of the February event: it was longer, featured more characters on stage, and even included some female characters (certainly portrayed by male performers). In addition to revealing this May entertainment, we discuss the identities of the performers (largely drawn from the merchant population of Moscow’s Foreign Quarter), and we suggest that the author of the eye-witness account describing the February performance was Christoff Koch (ennobled von Kochen), a Swedish correspondent and commercial representative in Moscow. Almost simultaneously with the May performance, the Russian court began to make plans for a more permanent theatre; we trace the court’s attempts to contact the important German acting troupe headed by the Paulsen and Velten families. Finally, we discuss the impacts these two performances may have had on the plays offered by the tsar’s court theatre beginning in October 1672, with special focus on the character Pickleherring.
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