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Лебедев В. В. Лексемы со значением «Бог» в богослужебных книгах арабов-христиан // Вестник ПСТГУ. Серия III: Филология. 2013. Вып. 5 (35). С. 46-58.
The lexemes allahu, 'ilahun, 'allahumma in all word forms encountering in the service texts of the Christian Arabs is a test subject in the given article, the objective of the study is a clarification of their grammatical identification and semantics. Certain aspects relating to a functioning of the Arabic language as a sign system, certain peculiarities of the Arabic linguistic tradition and certain aspects of the Arabic cases, the Arabic article, appositive word combination and possessiveness relating to the test subject are considered in the article as well.
God, Christian Arabs, sign systems, lexeme, word-form, context.
1. Ahmad Sulajman Jakut. Zjahirat al-i ^ b fi-n-nahv al-'arabijj, Algeria, 1983.
2. Gabuchan G. M. Teorija artiklja i problemy arabskogo sintaksisa (Theory of Article and Problems of Arabic Syntax), Moscow, 1972.
3. Gabuchan G. M. Arabskoe slovoizmenenie: Dis... d-ra filol. nauk (Arabic Inflection: Dissertation), Moscow, 2000.
4. Zhurinskaja M. A. 1990 “Posessivnost'” (Possessivity), in Lingvisticheskij jenciklopedicheskij slovar', Moscow, 1990, p. 389.
5. al-Klmus al-dzhadid li-t-tullab, Tunis, Algeria, 1985.
6. Lebedev V. V. Uchis' chitat' Koran po-arabski (Learn how to Read Quran in Arabic), Moscow, 2002.
7. as-Sa ^ as-saharijja... Hidmat al-Kudads al-Ilahijj li-l-kiddis Juhan t az-Zahabijj al-fam, Amman, 2003.
8. Tammam Hassan. Al-Luga al-'arabijja: Ma'naha va-mabnaha, Kasablanka, [s.a.].
9. al-Fjruzabadj. Al-^mu s al-Muhit, Bejrut, 1993.
Лебедева-Емелина А. В. Крепостной композитор Лев Гурилев и его духовная музыка // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2014. Вып. 4 (16). С. 85-112. DOI: 10.15382/sturV201416.85-112
Leo Gurilev (1770–1844) is a well-known composer, who lived during Catherine II regency. He was Vladimir Orlov’s bondman. Vladimir Orlov is a brother of Grigory Orlov, favorite Catherine II. The life in homestead Semenovskoe-Otrada is being described in article, also destiny of musician and his duty of service. The supplement of article is music sheets for choral concert “During divine guard” for two chorus.
Leo Gurilev, Russian choral music of the XVIIIth century, the sacred concert, the publication of a music, V. G. Orlov’s bondman-composer, homestead Semenovskoe-Otrada

1. Alekseev A. D. Russkaja fortepiannaja muzyka (Russian Piano Music), Moscow, 1963.
2. Drozdov A., Trofimova T. Russkaja starinnaja fortepiannaja muzyka (Russian Old Piano Music), Moscow, Leningrad, 1946.
3. Lebedeva-Emelina A. V. Russkaja duhovnaja muzyka jepohi klassicizma (1765–1825) (Russian Spiritual Music of Classicism Epoch (1765–1825)), Moscow, 2004.
4. Lebedeva-Emelina A. V. Horovaja kul'tura ekaterininskoj jepohi (Choir Culture of Ekaterina Epoch), Moscow, 2009.
5. Natanson V. I. Proshloe russkogo pianizma (Past of Russian Pianism), Moscow, 1960.
6. Findejzen N. F. Ocherki po istorii muzyki v Rossii s drevnejshih vremen do konca XVIII veka (Essays for Musical History in Russia from Oldest Times till End of XVIII Century), Moscow, Leningrad, 1929, vol. 2.
Lebedeva-Emelina Antonina
Лебедева-Емелина А. В., Наумов А. А., Виноградова А. С. Загадки духовного творчества Мусоргского (об авторстве песнопения «Ангел вопияше») // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2015. Вып. 1 (17). С. 157-169. DOI: 10.15382/sturV201517.157-169
Creative work of Modest Mussorgsky contains motet «Angel vopiyashe» for mixed choir. This motet has been arrogated to Mussorgsky by russian precentors. After publication of the article, which was written by E. M. Levashev, doubts about authorship of the motet were disappeared. Notes, which were containing the autograph of real author, appeared in internet in 1990s. It was Nikolaj Uvarov, the composer from Orenburg. His notes were kept in private library of bishop Methodius (Orenburg, Harbin, Sydney). This article treats of Uvarov and contains music of two choirs.
Easter Hymn, Mussorgsky, Uvarov, Marshal of the Nobility L. I. Schott, Bishop Methodius (Gerasimov), orthodox churches in Harbin and Sydney

1. Levashev E. M. 1981 “Neizvestnoe sochinenie” (Unknown Work), in Sovetskaja muzyka, 1981, vol. 3, pp. 111–112.
2. Rahmanova M. P. «…Ja ne sluzhitel' religioznogo kul'ta, a chlen Profsojuza…» (Delo Dramsojuza) (“…I am not Attendant of Religious Cult, but Member of Trade Union…” (Case of Dramsojuz)), in Iskusstvo muzyki: teorija, istorija, 2013, vol. 7, pp. 23–46.
Lebedeva-Emelina Antonina
Naumov Aleksei
Vinogradova Anna
Лебедева-Емелина А. В., Малинина Г. М. Загадки рукописи из Berliner Sing-Akademie (к вопросу о духовном творчестве М. С. Березовского) // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2016. Вып. 3 (23). С. 100-125. DOI: 10.15382/sturV201623.100-125
Most of the works of the spiritual church composer Maxim Sozontovich Berezovsky has long been considered lost. In restorative Fund in Kiev, previously owned by the Berlin Choral Academy (Sing-Akademie), the manuscripts were found containing known works Galuppi and Berezovsky. All the sacred songs were written in the manuscripts without attribution. The article investigates the fate of the musical manuscripts, put forward a new hypothesis of the dating and accessories. The authors offer their own version of the origin of the sources from Berlin. They also propose brief overview of the musical manuscripts with orthodox chants of Russian composers of the 18–19th centuries from different libraries and archives of Europe. Some of the sources are the choir parts, some have old church Slavonic texts written by Latin letters, other manuscripts include sacred texts in German, Italien and Latin languages. These cases confirm the idea that Russian church music of that period was interesting for European musicians and it was performed in monasteries, the Prince’s courts etc.
Berezovsky, Galuppi, manuscripts, hypothesis, Sing-Akademie

1. Antonenko E. Ju. 2012 “Bal'dassare Galuppi i russkaja duhovnaja muzyka” (Baldassare Galuppi and Russian Spiritual Music), in Nauchnyj vestnik Moskovskoj konservatorii, 2012, vol. 2, pp. 34–67.
2. Antonenko E. Ju. 2016 “«Nemeckaja obednja» D. S. Bortnjanskogo: istorija sozdanija sochinenija v svete novejshih issledovanij” (“German Liturgy” of D. S. Bortnjanskij: History of Making of the Work in Light of Newest Studies), in Vestnik PSTGU. Ser. V: Voprosy istorii i teorii hristianskogo iskusstva, 2016, vol. 3/23, pp. 126–150.
3. Antonenko E. Ju. Cerkovnaja muzyka Bal'dassare Galuppi: problemy izuchenija i ispolnenija: Dis. … kand. Iskusstvovedenija (Church Music of Baldassare Galuppi: Problems of Study and Performance: Dissertation), Moscow, 2013.
4. Barsova I. A. Ocherki po istorii partiturnoj notacii (Essays on History of Score Notation), Moscow, 1996.
5. Belikov P. E. 1836 “Berezovskij Maksim Sozontovich”, in Gennadi G. (ed.) Jenciklopedicheskij leksikon, Saint-Petersburg, 1836, vol. 5, p. 359.
6. Blazhkov I. 2011 “Novaja muzyka — jeto prodolzhenie dorogi, prolozhennoj klassikoj. Interv'ju Julii Benti” (New Music Is Continuation of the Way, Maked by the Classic. Interview for Julia Benti), in Den', Kiev, 2011, vol. 175.
7. Vasil'chikov A. A. Semejstvo Razumovskih (Razumovskije Family), Saint-Petersburg, 1880–1894, vol. 1–5.
8. Grjaznov A. F. Jaroslavskaja Bol'shaja manufaktura za vremja s 1722 po 1856 g. (Big Manufacture in Jaroslavl in Time from 1722 till 1856), Moscow, 1910.
9. Zin'kevich E S. 2016 “Kievskaja sud'ba notnoj kollekcii Berliner Sing-Akademie: mify i real'nost'” (Kiev Destiny of Berliner Sing-Akademie Collection: Myths and Reality), in Liber amicorum Ljudmile Kovnackoj, Saint-Petersburg, 2016, pp. 81–88.
10. Ivchenko L. V. 2001 “Delo № 907”, in Muzika, Kiev, 2001, vol. 4/5, pp. 28–30; vol. 6, pp. 25–26.
11. Karabic' І. 2002 “Do pitannja vivchennja notnoї kolekcії z fondіv Central'nogo derzhavnogo arhіvu-muzeju lіteraturi і mistectv Ukraїni” (To Question of Study of Note Collection from Funds of Central State Archive-Museum of Literature and Art of Ukraine), in Kiїvs'ke muzikoznavstvo, Kiev, 2002, vol. 8, pp. 71–75.
12. Kirillina L. 2014 “Velikij Bah — syn velikogo Baha” (The Great Bach — Son of the Great Bach), in Muzykal'naja zhizn', 2014, vol. 3, pp. 47–49.
13. Klepikov S. A. Filigrani i shtempeli na bumage russkogo i inostrannogo proizvodstva XVII–XX vv. (Water-Marks and Stamps on Paper of Russian and Foreign Origin of XVII–XX Cent.), Moscow, 1959; 2nd ed.: Filigrani na bumage russkogo proizvodstva XVIII — nachala XX veka (Water-Marks on Russian Paper of XVIII — Begin of XX Century), Moscow, 1978.
14. Lebedeva-Emelina A. V. 2009 “K publikacii neizvestnyh horovyh koncertov D. S. Bortnjanskogo [stat'ja]. Kommentarii” (To Publication of Unknown Choir Concerts of D. S. Bortnjanskij. Commentaries), in Bortnjanskij. Neizvestnye duhovnye koncerty, Moscow, 2009, pp. 5–17.
15. Lebedeva-Emelina A. V. 2009 “«Nemeckaja obednja» Bortnjanskogo: pervaja publikacija proizvedenija” (“German Liturgy” of Bortnjanskij: First Publication of the Work), in Mnozhestvennost' nauchnyh koncepcij v muzykoznanii. Sbornik statej, notnye publikacii k 60-letiju E. M. Levasheva. Mat-ly mezhdunar. konferencii «Keldyshevskie chtenija — 2005», Moscow, 2009, pp. 135–144 (text), 406–440 (notes).
16. Lebedeva-Emelina A. V. Russkaja duhovnaja muzyka jepohi klassicizma (1765–1825) (Russian Spiritual Music of Classicism Epoch (1765–1825)), Moscow, 2004.
17. Levashev E. M., Polehin A. V. 1985 “M. S. Berezovskij”, in Istorija russkoj muzyki, Moscow, 1985, vol. 3, pp. 132–160.
18. Malinina G. M. 2008 “Venskaja nahodka: k voprosu o muzykal'noj rossike XVIII veka v Nacional'noj biblioteke Avstrii” (Vienna Found: to Question about Musical Rossica of XVIII Century in National Library of Austria), in Muzykovedenie, 2008, vol. 7, pp. 21–27.
19. Malinina G. M. 2009 “Muzykal'naja rossika XVIII veka v Nacional'noj biblioteke Avstrii” (Musical Rossica of XVIII Century in National Library of Austria), in Nasledie, Moscow, 2009, vol. 1, pp. 37–46.
20. Malinina G. M. 2009 “Rukopis' iz Herrnhuta, ili Napisal li Bortnjanskij Prezhdeosvjashhennuju Liturgiju?” (Manuscript from Herrnhut, or Did Bortnjanskij Write the Liturgy of Presanctified Gifts?), in Muzykal'naja akademija, 2009, vol. 1, pp. 163–166.
21. Rycareva M. G. Maksim Berezovskij. Zhizn' i tvorchestvo kompozitora (Maksim Berezovskij. Life and Work of the Composer), Saint-Petersburg, 2013.
22. Shumilina O. A. Stil'ova dinamіka ukraїns'koї duhovnoї muziki XVII — XVIII st. Za materіalami rukopisnih kolekcіj (Style Dynamics of Ukranian Spiritual Music of XVII — XVIII Cent. Beyond Materials of Manuscript Collections), Donetsk, 2012.
24. Jurchenko M. S. 1989 “Maksim Berezovs'kij v Italii” (Maksim Berezovs'kij in Italy), in Ukraїns'ka muzichna spadshhina. Statti. Materiali. Dokumenti, Kiev, 1989, vol. 1, pp. 67–69.
25. Jurchenko M. S. 1985 “Nevidomij koncert Maksima Berezovs'kogo” (Unknown Concert of Maksim Berezovs'kij), in Muzika, Kiev, 1985, vol. 6, pp. 18–21.
Lebedeva-Emelina Antonina
Malinina Galina
Лебедева-Емелина А. В. Духовные концерты C. А. Дегтярева в свете музыкальной риторики XVIII в. (к 250-летию со дня рождения композитора) // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2017. Вып. 25. С. 49-64. DOI: 10.15382/sturV201725.49-64
The celebration of the 250th anniversary of S.A. Degtiarev took place in Kiev and Belgorod in 2016. The composer was a serf musician of Count N. P. Sheremetev. Degtiarev achieved fame with the oratorio Minin and Pozharskii. He composed more than 135 choral concertos and only a little more than half of them have been published. His concertos are a fi ne example of musical classicism. The paper examines two choir concertos in the light of musical rhetoric employed by the composer.
Degtiarev, spiritual concerts, musical rhetoric

Degtjarev Stepan., Khorovye kontzerty. K 225-letij u so dnja rozhdenija. Мoscow, 2006.
Gorjainov Yu. S., Rossii slavu pel Voronezh. Voronezh, 1987. Izd. 2-е.
Gorjainov Yu. S., Stepan Anikievich Degtjarev. Belgorod, 1993.
Lebedeva-Emelina A. V. Russkaja dukhovnaja musyka epokhi klassitsizma (1765—1825). Moscow, 2004.
Shestnadtzat’ dukhovnykh kontzertov anonimnykh avtorov iz rukopisnogo sbornika kontza XVIII — nachala XIX vekov. Moscow, 2015, 1.
Shestnadtzat’ dukhovnykh kontzertov iz rukopisnykh sbornikov kontza XVIII — nachala XIX vekov. Moscow, 2016, 2.
Zakharova O. I., «Oratoria S. A. Degtjareva “Minin i Pozharsky ili Osvobozhdenie Moskvy”», in: Degtjarev S. Minin i Pozharsky ili Osvobozhdenie Moskvy. Oratoria v 3-kh deistvijakh: Partitura. Moscow, 2006.
Zakharova O. I., Ritorika i zapadnoevropeiskaja musyka XVII — pervoi poloviny XVIII veka: printzipy, priemy. Moscow, 1983.
Lebedeva-Emelina Antonina
Сидорова М. П., Лебедева-Емелина А. В. Песнопения Дегтярева в дореволюционных изданиях: проблема доверия к нотным источникам // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2018. Вып. 32. С. 81-111. DOI: 10.15382/sturV201832.81-111
This article studies choir concertos by Stepan Anikievich Degtyarev, analyses pre-revolution editions of his music, the degree of their proximity or distance with regard to the manuscript sources. It also discusses the liturgical context of the concerto Гряди, гряди от Ливана, невесто (Church Slavonic ‘Come, Come from Lebanon, O Bride’) and the editing of its poetic text. The article also assesses the historical significance of spiritual concertos by Degtyarev, discovered in church collections of Kursk.
Degtyarev; choral concerto; library of the Bishop’s Choir in Kursk; editions of Seliverstov, Kireev, Goltinson; choirmaster’s copies, editing of church chants
  1. Artemova E. G. (2015) Dukhovno-muzykal'naia kul'tura Peterburga rubezha XIX–XX vekov [Spiritual and Musical Culture of Petersburg of the Late 19th — Early 20th Centuries]. Moscow (in Russian).
  2. Chernysheva T. A. (2015) “Deiatel'nost' arkhiereiskogo (mitropolich'ego) khora v kontse XIX — nachale XX vv.” [“Activities of the Archpriest (Metropolitan) Choir in the Late 19th — Early 20th Centuries]. Khristianskoe chtenie, 2015, vol. 2, pp. 251–295 (in Russian).
  3. Gardner I. A. (1982) Bogosluzhebnoe penie Russkoi pravoslavnoi tserkvi [Liturgical Singing of the Russian Orthodox Church. History]. Vol. 2. New York.
  4. Kutasevich A. V. (2014) “Muzykal'no-tematicheskie paralleli v tvorchestve Stepana Degtiareva i Artema Vedelia. Fenomen zaimstvovaniia i voprosy avtorstva sochinenii” [“Musical and Thematic Parallels in Creative Works by Stepan Degtyarev and Artem Vedel’. Phenomenon of Borrowing and Problems of Authorship”]. Vestnik PSTGU. Seriia 5, 2014, vol. 1 (13), pp. 104–119 (in Russian).
  5. Kutasevich A. V. (2016) “Dukhovno-muzichnі tvori Stepana Degtiar'ova u kiїvs'kikh rukopisnikh notnikh zіbranniakh. Do 250-rіchchia vіd dnia narodzhennia Stepana Degtiar'ova” [“Spiritual and Musical Works by Stepan Degtyarev in Kiev Manuscript Note Collections. For the 250 Anniversary of Stepan Degtyarev”]. Chasopis Natsіonal'noї Muzichnoї Akademії Ukraїni іmenі P. І. Chaikovs'kogo. 2016, vol. 4 (33), pp. 4–24 (in Russian).
  6. Lebedeva-Emelina A. V. (2004) Russkaia dukhovnaia muzyka epokhi klassitsizma (1765–1825): Katalog proizvedenii [Russian Spiritual Music of the Period of Classicism (1765‒1825): Catalogue of Works]. Moscow, pp. 353–457 (in Russian).
  7. Levashev E. M. (1986) S. A. Degtiarev, in Istoriia russkoi muzyki [History of Russian Music]. Vol. 4. Moscow (in Russian).
  8. Lopukhin A. P. Tolkovaia Bibliia Vetkhogo i Novogo Zaveta [Bible with Commentary. Old and New Testaments], available at: https://azbyka.ru/otechnik/Lopuhin/tolkovaja_biblia/ (09.11.2018) (in Russian).
  9. Pletneva A. A., Kravetskii A. G. (2005) Tserkovnoslavianskii iazyk: Uchebnoe izdanie dlia obshcheobrazovatel'nykh uchebnykh zavedenii, dukhovnykh uchilishch, gimnazii, voskresnykh shkol i samoobrazovaniia [The Church Slavonic Language. Handbook for Secondary Schools, Theological Colleges, Gymnasiums, Sunday Schools and Self-Study]. Moscow, 2005 (in Russian).
  10. Pomestnyi sobor Russkoi pravoslavnoi tserkvi 1917–1918 godov [Local Council of the Russian Orthodox Church of 1917‒1918], in M. P. Rakhmanova, S. G. Zvereva (eds.) Russkaia dukhovnaia muzyka v dokumentakh i materialakh [Russian Spiritual Music in Documents and Materials]. Vol. 3. Moscow, 2002 (in Russian).
  11. Rytsareva M. G. (2006) Dukhovnyi kontsert v Rossii vtoroi poloviny XVIII veka [Spiritual Concerto in Russia of the Second Half of the 18th Century]. St Petersburg (in Russian).
  12. Semenov D. S. (2015) “Slovar' pravoslavnogo russkogo tserkovnogo peniia. 2-ia red.”, in M. P. Rakhmanova (ed.) Russkaia dukhovnaia muzyka v dokumentakh i materialakh, vol. 9. Moscow, pp. 944–947.
  13. Shestnadtsat' dukhovnykh kontsertov anonimnykh avtorov iz rukopisnogo sbornika kontsa XVIII — nachala XIX v. Rekonstruktsiia i redaktsiia Antona Viskova [Sixteen Spiritual Concertos of Anonyme Authors from a Manuscript Collection of the Late 18th — Early 19th Century. Reconstruction and Edition by Anton Viskov]. Vol. 1. Moscow, 2015 (in Russian).
  14. Trushin Anatolii, priest. S. A. Degtiarev. K 250-letiiu so dnia rozhdeniia kompozitora [S. A. Degtyarev. For the 250th Anniversary of the Composer], available at: http://www.mepar.ru/library/vedomosti/91/2177 (09.11.2018) (in Russian).
  15. Zheltov M. S., priest. Pravdoliubov Sergii, archpriest. Bogosluzhenie Russkoi Tserkvi. X–XX vv. [Church Service in the Russian Church. 10th — 20th Centuries], available at: http://kievorthodox.org/site/worship/1132 (09.11.2018) (in Russian).
Sidorova Marina
Place of work: Kursk Theological Seminary; 71A Progulochnaia Str., Kursk 305021, Russian Federation;
Post: Head of Cantorial Department;
ORCID: 0000-0001-8517-527X;
Email: marina.sidorova.00@list.ru.
Lebedeva-Emelina Antonina
Academic Degree: Doctor of Sciences* in Art Criticism;
Academic Rank: Senior Research Fellow;
Place of work: State Institute for Art Studies; 5 Kozitskii Pereulok, Moscow, 125009, Russian Federation;
Post: Senior Researcher;
ORCID: 0000-0003-0803-6879;
Email: lebedeva-emelina@list.ru. *According to ISCED 2011, a post-doctoral degree called Doctor of Sciences (D.Sc.) is given to reflect second advanced research qualifications or higher doctorates.
Thanks to the keyholder of the Bishops ’Monastery of the Kursk city, the regent of the bishop’s choir, Archpriest Alexander Lobanov, and the regent of the Ascension Church of Kursk, the head of the Ascension children's and youth choir, Svetlana Kostina for providing music materialsThanks to Alexey Alexandrovich Naumov.
Лебедева-Емелина А. В., Комаров А. В. Издание духовной музыки М. С. Березовского в конце XIX века: П. И. Юргенсон, К. К. Альбрехт и П. И. Чайковский // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2019. Вып. 35. С. 130-162. DOI: 10.15382/sturV201935.130-162
This article studies an important episode in the wide-ranging activity of the prominent Russian music publisher P. I. Jurgenson in the fi eld of publication of Russian legacy of spiritual music of the 2nd half of the 18th — early 19th centuries. The largescale project of publication of the spiritual music by M. S. Berezovsky, as well as by B. Galuppi, S. I. Davydov, J. Sarti and other composers, devised in the 2nd half of the 1880s, was not fully accomplished because the manuscripts proposed for publication became an object of fi erce criticism of infl uential professional musicians. This article analyses for the fi rst time two manuscript scores of the Liturgy with Communion verses by M. S. Berezovsky which contain the reviewers’ comments. These manuscripts were read by P. I. Tchaikovsky and K. K. Albrecht, who expressed their negative assessment due to many mistakes in copying of choral parts. It is found that the works of Berezovsky, published by Jurgenson, were fi nally edited by Albrecht; the dating of these publications is made more precise; the interest of the scholars of the 1920s for these manuscripts is mentioned as well. The article is concluded with a brief description of the present-day historiography and publication of spiritual music by Berezovsky, which is directly linked to the predecessors’ work. The article also mentions the non-critical replication of erroneous scores together with the correct reading of the sources. The appendix contains the score of the Communion verse Praise the Lord from the Heavens (Хвалите Господа с небес, in G-dur) reconstructed by Antonina Lebedeva-Emelina.
Maxim Berezovsky, Pyotr Jurgenson, Pyotr Tchaikovsky, Karl Albrecht, sacred music, attribution, editing of sacred music, reconstruction of sacred music, source criticism
  1. Iurchenko M. (1988) “Ital'ianskie pis'ma o Maksime Berezovskom” [Italian Letters about Maxim Berezovsky], in D. Likhachev et al. (eds.) Pamiatniki kul'tury. Novye otkrytiia. Pis'mennost'. Iskusstvo. Arkheologiia: Ezhegodnik 1987. Moscow, pp. 150‒160 (in Russian).
  2. Lebedeva-Emelina A., Malinina G. (2016) “Zagadki rukopisi iz Berliner Sing-Akademie (k voprosu o dukhovnom tvorchestve M. S. Berezovskogo)” [Enigmas of the Manuscript from Berliner Sing-Akademie (on spritual creative work of M. S. Berezovsky]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 3 (23), pp. 100–125 (in Russian).
  3. Levashev E., Polekhin A. (1985) “M. S. Berezovskii”, in V. Keldysh, O. E. Levasheva, A. I. Kandinskii (eds.) Istoriia russkoi muzyki [History of Russian Music], in 10 vols. Vol., pt. 2. Moscow, pp. 132—159 (in Russian).
  4. Malinina G. (2009) Kollektsiia dukhovnykh proizvedenii russkikh kompozitorov XVIII—XX vekov [Collection of Spiritual Works of Russian Composers of the 18th — 20th Centuries], issue 1. Moscow (in Russian).
  5. Malinina G. (2011) Kollektsiia dukhovnykh proizvedenii russkikh kompozitorov XVIII—XX vekov [Collection of Spiritual Works of Russian Composers of the 18th — 20th Centuries], issue 2. Moscow. (in Russian)
  6. Rytsareva M. (2013) Maksim Berezovskii. Zhizn' i tvorchestvo kompozitora [Maxim Berezovsky. The Life and Work of the Composer]. 2nd ed. St. Petersburg (in Russian).
  7. Shumilina O. (2012) Stil'ova dinamіka ukraїns'koї dukhovnoї muziki XVII—XVIII stolit' (za materіalami rukopisnikh kolektsіi) [Dynamics of Style of the Ukrainian Spiritual Music of the 17th — 18th Centuries (based on materials of manuscript collections). Donetsk (in Ukrainian).
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Lebedeva-Emelina Antonina
Academic Degree: Doctor of Sciences* in Art Criticism;
Academic Rank: Senior Research Fellow;
Place of work: State Institute for Art Studies; 5 Kozitskii Pereulok, Moscow, 125009, Russian Federation;
Post: Senior Researcher;
ORCID: 0000-0003-0803-6879;
Email: lebedeva-emelina@list.ru. *According to ISCED 2011, a post-doctoral degree called Doctor of Sciences (D.Sc.) is given to reflect second advanced research qualifications or higher doctorates.
Komarov Alexander
Academic Degree: Candidate of Sciences* in Art Criticism;
Place of work: Russian National Museum of Music; 4 Fadeeva Str., Moscow, 125047, Russian Federation;
Post: Leading Researcher;
ORCID: 0000-0002-9613-2213;
Email: komluvi@mail.ru. *According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.
Прилуцкий А. М., Лебедев В. Ю. Современное движение непоминающих священников: опыт семиотическо-религиоведческого анализа // Вестник ПСТГУ. Серия I: Богословие. Философия. Религиоведение. 2020. Вып. 88. С. 103-120. DOI: 10.15382/sturI202088.103-120
This article analyses from the perspective of semiotics and religious studies the milieu of the movement of “non-mentioning priests”, a fundamentalist movement in the present-day Orthodoxy, the adherents of which regard the hierarchy of the Russian Orthodox Church of Moscow Patriarchate and other canonic Orthodox local churches as “graceless”. The grounds for this are accusations of “Sergianism”, ecumenism, adoption of documents that contain biometrics, church modernism. The movement includes laity and clergy of the fi rst two ranks of priesthood. A semiotic marker of this movement is not pronouncing the patriarch’s and local bishop’s names during church service. The article is a fi rst attempt of studying the discourse of the non-mentioning; it draws on the content- and intention-analysis. The sources of the study are original texts and materials published by representatives of this movement in the Internet. The article shows that this movement should be regarded as the presentday Orthodox fundamentalism because its programme contains many elements of a typically fundamentalist agenda. Using a semiotic inventory, the followers of this movement generate complex semiotic fi ctions designed to prove the canonic character of the movement and the lawfulness of the relevant theological claims. In particular, the ideologists of this movement make use of references to historical precedents which are semioticised as symbols or metaphors. Consequently, there appear signs whose sphere of denotation is purposefully made extremely indefi nite. The article also analyses the semiotic drift in the relevant discourse, the extreme points of which are symbol and metaphor. Particular attention is paid to the analysis of exchatological myths, popular in the movement, and of their semiotic design. On semiotic level, the formation of an eschatological mythology is corresponded by the semiotic drift, the poles of which are the symbol and metaphor. Besides, the semiotic drift is an instrument of apologetics. Semiotic chains are also used; they allow one to place in the eschatological context those concepts and phenomena which are initially neutral in terms of eschatology. In its conclusion, the article discusses prospects of further development of the movement in question.
fundamentalism, modern Orthodoxy, semiotics of religion, semiotic fi ction, semiotic drift, anti-ecumenism, anti-globalism, religious persecution
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Prilutskii Alexander
Academic Degree: Doctor of Sciences* in Philosophy;
Student status: Graduate student;
Academic Rank: Professor;
Place of study: Russian State Pedagogical University; 48 Naberezhnaya reki Moiki, 191186, St. Petersburg, Russian Federation;
ORCID: 0000-0002-7013-9935;
Email: alpril@mail.ru. *According to ISCED 2011, a post-doctoral degree called Doctor of Sciences (D.Sc.) is given to reflect second advanced research qualifications or higher doctorates.
Lebedev Vladimir
Academic Degree: Doctor of Sciences* in Philosophy;
Academic Rank: Associate Professor;
Place of work: Tver’ State University; 33 Zhelyabova Str., Tver’ 170100, Russian Federation;
ORCID: 0000-0003-4840-3135;
Email: Semion.religare@yandex.ru. *According to ISCED 2011, a post-doctoral degree called Doctor of Sciences (D.Sc.) is given to reflect second advanced research qualifications or higher doctorates.