LOTMAN Yuri Mikhailovich (1922-1993) - Russian culturologist, semiotics, philologist. Since 1939 - student of the Faculty of Philology of the Leningrad University; from 1940 to Soviet army, a participant in the war. In 1950-1954 he worked at the Tartu Teachers' Institute, from 1954 - at the University of Tartu (in

YURI MIKHAILOVICH LOTMAN. (1922-1993) Yu.M. Lotman is a philologist, specialist in the history and theory of literature, philosophical theory of communication, semiotics, cultural studies and aesthetics, the founder of the Tartu structural-semiotic school. Participated in the Great Patriotic War

KUBLANOVSKY YURI MIKHAILOVICH Yuri Mikhailovich Kublanovsky (b. 1947). Russian poet, public figure. Author of poetry collections "Selected", "With the last sun", "Print", "Eclipse"; a cycle of eight poems in the Metropol almanac, individual poems,

POLYAKOV YURI MIKHAILOVICH Yuri Mikhailovich Polyakov (b. 1954). Contemporary Russian writer, poet. The story "One Hundred Days Before the Order" brought him fame. Currently one of the most widely read authors. The author of the stories "Emergency of the regional scale", "Work on mistakes", "Between

1. Introduction

Yuri Mikhailovich Lotman is one of the outstanding Russian scientists, Russian culturologist, semiotics, philologist, prof. University of Tartu, corresponding member British Academy, full member of the Norwegian, Swedish, Estonian academies, vice-president of the World Semiotics Association, laureate of the Pushkin Prize of the Russian Academy of Sciences. Yu.M. Lotman is considered the head of the "Tartu school", and one of the leaders of Soviet semiotics, the author of the theory of the semiosphere. Since the early 1960s. Lotman develops a structural-semiotic approach to the study of works of art, initiates the publication of Works on Sign Systems (Semiotics), develops the concept of "secondary modeling systems", when a text is interpreted as a sign system in relation to the primary sign system of natural languages. We can say that Yu.M. Lotman conferred the status of a scientific discipline on semiotics of culture, which since then could no longer be practiced amateurishly. This approach was new for the beginning of the 60s, the claims of semiotics for scientific explanation phenomena of language, history, art, etc., were perceived as something seditious, since according to history and mathematics, all culture is only a superstructure over the basis - productive forces and relations of production. Thus, the Tartu school brought the almost disappeared back into the field of humanities research. scientific approach... The definition of the semantic dimension of the text proposed by Lotman, despite the large number of formulations, can be reduced to two main approaches. At the same time, it becomes obvious that it is impossible to determine the place of the model of textual meaning in its typology of culture (the main concept of which, in turn, is the concept of text), without considering its analysis of the semantic functioning of the text from the point of view of its evaluative nature; in other words, does Lotman understand the text as a modeling activity (as a product of signifiers) or as a mechanical reproduction of equivalence relations between the plane of expression and the plane of content, functioning within the framework of predetermined codes. Naturally, the decision in favor of one or another model of meaning generation will also determine the approach that will serve as the basis for the concept of a text or culture (or for the future complex science of culture), covering semiotic activity and modeling the integrity of culture as a semiotic and ideological integrity of the text.

Yu.M. Lotman was able to combine in his research recent achievements of its time, such as cybernetics and information theory, the doctrine of functional brain asymmetry and the systems approach. An invaluable contribution to Russian science is the use of such complex theoretical ideas in the analysis of various material of world culture.

1. The teachings of Yu.M. Lotman about the semiosphere

The essence of the teachings of Yu.M. Lotman is that the starting point of any semiotic system is not a single sign (word), but the ratio of at least two signs, which made it possible to look differently at the fundamental foundations of semiosis. The object of analysis is not a single model, but a semiotic space ("semiosphere"), within which communication processes are realized and new information ... Yu.M. Lotman defines the semiosphere as follows: “... clear and functionally unambiguous systems in real functioning do not exist by themselves, in an isolated form. Their isolation is due only to heuristic necessity. None of them, taken separately, is actually not workable. They function only when they are immersed in a kind of semiotic continuum filled with semiotic formations of different types and at different levels of organization. We call this continuum a semiosphere. " The semiosphere is built as a concentric system, in the center of which are the most obvious and consistent structures, representing the world as ordered and endowed with the highest meaning. The nuclear structure ("myth-forming mechanism") represents a semiotic system with realized structures of all levels. Moving to the periphery increases the degree of uncertainty and disintegration inherent in the world external to the semiosphere, and emphasizes the importance of one of the main concepts - borders. The boundary of the semiosphere is understood by Yu.M. Lotman as the sum of bilingual translators-filters that also designate the type of social roles and ensure the semiotization of the incoming from the outside and turning it into a message. The situation in which the space of reality is not covered by any language separately, but only by their totality, is not a disadvantage, but a condition for the existence of language and culture, since dictates the need for another - a person, language, culture. The point is that two coding systems should in principle participate in the formation of meaning, between which there is a relation of untranslability, which gives the transformations of the text an unpredictable character. Such phenomena occur, according to Lotman, for example, when a "Western" civilization tries to retell the texts of "Eastern" civilizations that are unusual for it and thus look like irrational texts. As a result, texts are generated that are new for both civilizations. These ideas were developed by Lotman in the article "Brain-text-culture-artificial intelligence" In the concept of semiotics of culture, developed by Yu. M. Lotman, the main category was text, and this was proclaimed quite persistently. Culture itself was viewed as a mechanism for generating texts, as a space for their functioning. Culture was interpreted as a collective intelligence. In addition to articles, Yu. M. Lotman dedicated this range of ideas to the book Culture as Collective Intelligence and Problems of Artificial Intelligence (1977). However, in contrast to the traditional for mathematized semiotics formulation of the problem of translating texts using artificial intelligence, Yu.M. Lotman emphasizes here the phenomenon of fundamental untranslability of different types of texts, which is characteristic of culture, providing an "avalanche-like self-expansion of meanings" and stimulating creative according to Lotman, creating new texts) consciousness.

Today it is becoming increasingly clear that in Lotman's semiotic approach to literature and culture, the main thing is by no means formal schemes and certainly not the imposition of these schemes on cultural and historical material. The main thing is the identification of specific meanings expressed by symbolic means (texts) of a particular culture. At the same time, texts actively influence their context, creating new patterns of cultural behavior.

At the same time, Lotman, in his interpretation of culture, remains a universalist. Of course, culture is fundamentally local in space and time: each epoch, each locality gives rise to a huge number of original patterns of behavior, cultural strokes, stylistic features. The very phenomenon of culture acquires the status of an autonomous subject of a scientific discipline - the semiotics of culture, without attempts to reduce it to other entities - material or spiritual.

Russian culture as a sign system

During his work at the University of Tartu, Yu.M. Lotman studies culture and art in detail, paying special attention to Russian literature, cinema. His main ideas are formulated in such works as: "Lectures on structural poetics" (1964) "The structure of literary text" (1970); Analysis of the Poetic Text (1972); "Articles on the typology of culture" (Issue 1-2, 1970-1973); Semiotics of Cinema and Problems of Cinema Aesthetics (1973); "The Creation of Karamzin" (1987); "Culture and Explosion" (1992) and others. Many studies by Yu.M. Lotman is devoted to the analysis of the works of Radishchev, Karamzin, Merzlyakov, the Decembrists, Pushkin, Gogol and other writers.

One of the fundamental works on the study of Russian culture is the monograph by M.Yu. Lotman's "Conversations on Russian Culture", prepared by the scientist on the basis of his cycle of lectures, with which he spoke on television. The book is devoted to Russian life and culture of the 18th - early 19th centuries, M.Yu., Lotman explains the choice of this period as follows: “On the one hand, this time is close enough for us (what do 200-300 years mean for history?) And closely related to our life today. This is the time when the features of the new Russian culture were formed, the culture of the new time, to which - like it or not - we also belong. On the other hand, this time is quite distant, already largely forgotten…. XVIII - early XIX century - this is a family album of our today's culture, its "home archive", its "near-far". “Culture is considered by Yu.M. Lotman, as a collective concept, the sum of non-hereditary information or super-individual intelligence that makes up for the shortcomings of individual consciousness. “Culture is something common for any collective - a group of people living simultaneously and connected by a certain social organization” - writes Yu.M. Lotman. The semiotics of culture is not limited to the representation of culture as a sign system - the very attitude to sign and sign is one of the main typological characteristics of culture. Any reality involved in the sphere of culture begins to function as a sign, and if it already had a sign (or quasi-sign) character, it becomes a sign of a sign (a secondary modeling system). The representation of culture as a sign system is interpreted by Yu.M. Lotman as follows: “Any structure serving the sphere social communication, there is a language. This means that it forms a certain system of signs used in accordance with the rules known to the members of this collective. We call signs any material expression (words, pictures, things, etc.) that has a meaning and, thus, can serve as a means of conveying meaning.

Consequently, culture has, firstly, a communication and, secondly, a symbolic nature. " M.Yu. Lotman argues that the area of \u200b\u200bculture is always the area of \u200b\u200bsymbolism. He illustrates the symbolism of culture with the help of seemingly ordinary things like bread, sword, sword, which, according to Lotman, have not meaning, but use, but these things are woven into the system of the symbolic language of the era and become a fact of its culture.

“The sword is nothing more than an object. As a thing, it can be forged or broken, it can be placed in a museum window, and it can kill a person. This is all - using it as an object, but when, being attached to a belt or supported by a sling, placed on the thigh, the sword symbolizes a free person and is a "sign of freedom", it already appears as a symbol and belongs to culture. " "The sword as a weapon, the sword as a part of clothing, the sword as a symbol, the sign of the nobility - all these are different functions of an object in the general context of culture."

M.Yu. Lotman highlights such properties of culture as synchronicity and diachronism. The synchronicity of culture is determined by the fact that culture is “an organizational structure that unites people living at the same time,” Diachronicity is that culture always implies the preservation of previous experience, it is always associated with history, always implies the continuity of moral, intellectual, spiritual life man, society and humanity.

Therefore, culture is always, on the one hand, a certain amount of inherited texts, and on the other, inherited symbols.

The symbols of culture rarely appear in its synchronous section. As a rule, they come from the depths of centuries and, modifying their meaning (but without losing the memory of their previous meanings), are transferred to the future states of culture. Such simple symbols as a circle, a cross, a triangle, a wavy line, more complex ones: a hand, an eye, a house - and even more complex ones (for example, ceremonies) accompany mankind throughout its millennial culture.

For Yu.M. Lotman, everyday life, everyday life is a historical-psychological category, a sign system, that is, a kind of text. ... “Everyday life, in its symbolic vein, is a part of culture,” says Yu.M. Lotman. “All things around us are included in social practice, become, as it were, lumps of relations between people and in this function they are capable of acquiring a symbolic character”.

In "Conversations on Russian Culture" Yu.M. Lotman confines himself to the study of the culture of the nobility, not including the customs of the Russian peasantry, the Don Cossacks, the Orthodox peasant and the Old Believer peasant in the circle of studies; the special way of life of the Russian clergy of merchants and city dwellers, who had their own way of life, their own reading circle, their own life rituals, forms of leisure, clothes. Lotman explains this by the fact that this kind of research is rather a subject of ethnography and quite a lot of work has been done in this direction, in contrast to the study of the culture of the Russian nobility, which, according to Yu.M. Lotman is no man's land in science.

In the first part of the book, Lotman discusses the Peter's reform and its impact on Russian culture. "The Peter's reform, with all the costs imposed on it by the nature of the era and the personality of the tsar, solved national problems, creating a statehood that provided Russia with a two-hundred-year existence among the main European powers and creating one of the brightest cultures in the history of human civilization," the author believes ... The forms of Petersburg (and, in a sense, all Russian urban) life were created by Peter I. Its ideal was, as he himself expressed it, a regular - correct - state, where all life is regulated, subject to rules, built in compliance with geometric proportions, reduced to exact, unilinear relationships. The psychology of the service class was the foundation of the self-consciousness of an 18th century nobleman. It was through service that he recognized himself as part of the estate. Peter I, according to Yu.M. Lotman, stimulated this feeling in every possible way - both by personal example and by a number of legislative acts. Their pinnacle was the Table of Ranks, developed over a number of years with the constant and active participation of Peter I, and published in January 1722. But the Table of Ranks itself was a realization of more general principle new Peter's statehood - the principle of "regularity". This principle gave rise to one of the main evils and at the same time the main characteristic features of Russian life - its deep bureaucratization. Yu.M. Lotman analyzes in detail the concept of rank in this era and the influence of ranks on the self-consciousness of people. “In the culture of the Petersburg (“ imperial ”) period of Russian history, the concept of rank acquired a special, almost mystical character," notes Yu.M. Lotman. "The word" rank ", in fact, diverged in its meaning from the Old Russian" order ", because it meant ordering not real, but paper, conditionally bureaucratic." At the same time, this word, which does not have an exact correspondence in any of the European languages \u200b\u200b(although Peter I was sure that his reforms make Russia look like Europe), became a designation of the most important feature of Russian reality.

According to Yu.M. Lotman woman, attitude towards her, her behavior are important indicators culture of the era. On the one hand, a woman with her intense emotionality, vividly and directly absorbs the peculiarities of her time, to a large extent overtaking it. In this sense, the character of a woman can be called one of the most sensitive barometers of social life. On the other hand, the female character paradoxically realizes the opposite properties. Woman - wife and mother - in most connected with the suprahistorical properties of man, with the fact that is deeper and wider than the imprints of the era. Therefore, the influence of women on the face of the era is in principle contradictory, flexible and dynamic. Flexibility is manifested in the variety of connections between the female character and the era.

The next object of consideration is Yu.M. Lotman's "Conversations on Russian Culture" becomes a card game, which, according to the scientist, has become a kind of model of life. “The function of a card game reveals its dual nature,” says Yu.M. Lotman - on the one hand, a card game is a game, that is, it is an image of a conflict situation. Within the framework of a card game, each individual card gets its meaning according to the place it occupies in the card system. " So, for example, the queen is below the king and above the jack, the jack, in turn, is also located between the queen and ten, and so on. Out of relation to other cards, a separate card torn from the system has no value, since it is not associated with any value outside the game.

On the other hand, cards are also used in fortune telling. Here Yu.M. Lotman distinguishes other functions of maps: predictive and programming. At the same time, when divining, the meanings of individual cards come to the fore. Lotman cites a typical case of the mutual influence of these two plans: “when in Pushkin we meet the epigraph to The Queen of Spades:“ The Queen of Spades means secret ill will, ”and then in the text of the work the Queen of Spades appears as a playing card. The card game turns into a condensed image of all reality, from everyday life to its philosophy.

Noteworthy is such a phenomenon of the era of the nobility as a duel. Yu.M. Lotman gives the following definition of a duel: "A duel (duel) is a duel fight that takes place according to certain rules, with the aim of restoring honor, removing the offended shameful stain caused by an insult." Thus, the role of the duel is socially significant.

A duel is a certain procedure for restoring honor and cannot be understood outside the very specifics of the concept of "honor" in common system ethics of the Russian Europeanized post-Petrine noble society. Naturally, from a position that, in principle, rejected this concept, the duel lost its meaning, turning into a ritualized murder.

Ball, dances were also important elements noble life. On the one hand, the ball turned out to be a sphere opposite to service - an area of \u200b\u200beasy communication, social recreation, a place where the boundaries of the service hierarchy were weakened, on the other hand, the ball was an area of \u200b\u200bpublic representation, a form of social organization, one of the few forms that was allowed in Russia at that time. collective life. In this sense, secular life acquired the value of a social cause.

Further Yu.M. Lotman describes the forms of marriage, family life, and divorce that existed in the life of the nobility. “Novel situations invaded the Russian way of life, which was recognized as“ enlightened ”and“ Western ”. It is curious to note that the "Western" forms of marriage actually constantly existed in Russian society since the most archaic times, but were perceived first as pagan, and then as "immoral", forbidden.

Another example of the perception of culture as a sign system can be seen by referring to the phenomenon of Russian dandyism. As noted by Yu.M. Lotman, “the art of dandyism creates a complex system of its own culture, which outwardly manifests itself in a kind of“ poetry of a sophisticated costume ”. The costume is an external sign of dandyism, but not at all its essence. " The tailcoat cut and similar fashion attributes are only the outward expression of dandyism. So, in Pushkin, for example, it is the impudence, covered by mocking politeness, that forms the basis of the dandy's behavior. Karamzin described the phenomenon of dandyism as a fusion of rebellion and cynicism, the transformation of egoism into a kind of religion and a mocking attitude towards all the principles of "vulgar" morality.

Art and reality are two opposite poles, the boundaries of the space of human activity.

Within this space, the whole variety of human actions unfolds. Although objectively art always reflects the phenomena of life in one way or another, translating them into its own language, the conscious attitude of the author and the audience in this matter can be threefold.

Thus, wherever fine Arts or theater (for example, ballet) operate with obviously conventional signs and the relationship between image and content is determined not by similarity, but by historical convention, the possibility of "confusing" these two plans is excluded, and an insurmountable line arises between the canvas and the viewer, the stage and the audience. The artistic and non-artistic spaces are separated by such a sharp line that they can only relate, but not interpenetrate.

The second approach to the relationship between art and non-artistic reality is to view art as a domain of models and programs. Active influence is directed from the sphere of art to the sphere of non-artistic reality. Life chooses art as a model and hurries to "imitate" it.

Thirdly, life acts as an area of \u200b\u200bmodeling activity - it creates patterns that art imitates

Death takes a person out of the space allotted for life: from the realm of the historical and social, the person passes into the spheres of the eternal and unchanging.

Nevertheless, we associate the experience of death with the originality of a particular culture, because the image of death, thoughts about it accompany a person throughout his life, and at all stages of history. The idea of \u200b\u200bdeath is far ahead of death itself. It becomes, as it were, a mirror of life, with the only amendment that the reflection is not passive here: each culture is reflected in its own way in the concept of death it created, and death casts its ominous or heroic reflection on each culture.

Among the works of Yu.M. Lotman's research can be found on cinematography. For example, in The Semiotics of Cinema and Problems of Cinema Aesthetics and The Nature of Cinematic Narration, Lotman views cinema as a “double transformation,” while emphasizing that this is not about the technical or optical side of the matter, but about the relationship between the nature and capabilities of various types of arts. Yu.M. Lotman closely associates cinematography with photography. “Photography is not only the technical foundation of cinema; cinematography inherited from it the most important feature - a place in the cultural system, ”he says. “The first step is taken by photography: on the one hand, it transforms a three-dimensional, volumetric reality into a two-dimensional illusion of volume. In this case, the reality perceived by all senses turns into visual photoreality, the object into an image of the object. On the other hand, continuous mobility and boundlessness of reality turn into a stopped and limited piece of it.

The fact that the image in cinema is mobile, translates it into the category of "telling" (narrative) arts, makes it capable of storytelling. The very nature of storytelling is that the text is constructed syntagmatically, that is, by connecting separate segments in a temporal (linear) sequence. These elements can have a different nature: they are strings of words, musical or graphic phrases. The sequential unfolding of episodes connected by some structural principle is the fabric of the story.

“It is easy to understand that these representations are the result of transferring to the film the skills developed in the verbal sphere - the skills of listening and reading, that is, perceiving the film as a text, we involuntarily transfer to it the properties of the most familiar text - verbal,” says Yu. M. Lotman

Yu.M. Lotman asks the question: "Does cinema have its own language, every cinema, both" silent "and sound?"
In order to answer this question, you first need to define the concept of language.

"Language is an ordered communicative (used to convey information)
sign system ". From the definition of language as a communicative system follows the characteristic of its social function: language provides the exchange, storage and accumulation of information in the team that uses it. The indication of the sign character of the language defines it as a semiotic system. In order to carry out its communicative function, the language
must have a sign system. A sign is a materially expressed replacement of objects, phenomena, concepts in the process of information exchange in a team. Consequently, the main sign of a sign is the ability to implement the substitution function. The word replaces a thing, object, concept;
money replaces value, socially necessary labor; the map replaces the terrain; military insignia replace their respective ranks. These are all signs. A person lives surrounded by two kinds of objects: some of them are used directly and, without replacing anything, can not be replaced by anything. The air that a person breathes, the bread that he eats, life, love, health cannot be replaced. However, along with them, a person is surrounded by things whose value has a social meaning and does not correspond to their directly material properties. Since signs are always replacements for something, each of them implies a constant relation to the object it replaces. This relationship is called sign semantics. The semantic relation determines the content of the sign. But since each sign has an obligatory material expression, the two-fold relation of expression to content becomes one of the main
indicators for judging both individual signs and sign systems as a whole.
However, language is not a mechanical set of separate signs: both the content and the expression of each language are an organized system of structural relations.

Arguing in this way Yu.M. Lotman rephrases his question like this: "Is cinema a communication system?"
The director, film actors, scriptwriters, all filmmakers want to say something with their work. Their tape is like a letter, a message to the audience. But in order to understand the message, you need to know its language. Only by understanding the language
cinema, we will make sure that it is not a slavish thoughtless copy of life, but an active recreation, in which similarities and differences add up to a single, intense - sometimes dramatic - process of learning about life. Signs are divided into two groups: conventional and pictorial. To conditional
are those in which the connection between expression and content is not internally motivated. A pictorial or iconic sign implies that the only expression naturally inherent in it has meaning. The most common case is drawing

On the question of the significance of culture Yu.M. Lotman returns in a study on dolls (“Dolls in the system of culture”).

The essence of the symbolism of culture, according to Yu.M. Lotman, is that each significant cultural object, as a rule, appears in two guises: in its direct function, serving a certain range of specific social needs, and in "metaphorical", when its features are transferred to a wide range of social facts, the model of which he becomes. On the basis of such a division, one can approach the synthetic concept of “doll as a work of art”.

A doll as a toy, first of all, should be separated from the seemingly similar phenomenon of a figurine, a three-dimensional sculptural image of a person. The difference boils down to the following. Yu.M. Lotman distinguishes between two types of audience: "adult", on the one hand, and "children", "folklore", "archaic", on the other. “The first refers to the literary text as a recipient of information: he looks, listens, reads, sits in a theater chair, stands in front of a statue in a museum, firmly remembers:“ don't touch it with your hands, ”“ don't break the silence, ”and of course“ don't climb on the stage ” and "don't interfere with the play." The second refers to the text as a participant in the game: shouts, touches, interferes, does not look at the picture, but twirls, pokes his fingers at it, speaks for the people drawn, intervenes in the play, pointing to the actors, hits the book or kisses it. "

Thus, in the first case, we are dealing with obtaining information, in the second - developing it in the course of the game. Accordingly, the role and proportion of the three main
elements: author - text - audience. In the first case, all activity is concentrated in the author, the text contains everything essential that the audience needs to perceive, and this latter is assigned the role of the perceiving addressee. In the second, all activity is concentrated in the addressee, the role of the transmitter tends to be reduced to a service one, and the text is just an excuse provoking meaning-generating play. The first case is the statue, the second is the doll. This feature of the doll is associated with the fact that, passing into the world of adults, it carries with it memories of the children's, folklore, mythological and play world. This makes the doll not accidental, but a necessary component of any mature "adult" civilization.

Conclusion.

So, referring to scientific activities the outstanding Russian scientist Yuri Mikhailovich Lotman, the founder of the structural-semiotic approach, we examined the concept of the semiosphere and turned to the question of the significance of any culture, including Russian.

* Selected articles in three volumes (Published with the assistance of the Estonian Open Foundation). VOLUME I: Articles on the semiotics and topology of culture. Tallinn: Alexandra, 1992.

Lectures on Structural Poetics (1964)

The structure of a literary text (1970)

Analysis of the poetic text. The Structure of Verse (1972) (monograph)

Articles on the typology of culture: Materials for the course of the theory of literature. Issue 2 (1973)

Semiotics of Cinema and Problems of Cinema Aesthetics (1973)

Alexander Pushkin's novel "Eugene Onegin": Commentary (1980)

Alexander Sergeevich Pushkin: biography of a writer (1981)

Culture and Explosion (1992)

Lotman Yu. Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX centuries). (1993)

 Dolls in the cultural system

 “The Queen of Spades” and the theme of cards and a card game in Russian literature of the early 19th century

 Lotman Y. M. Semiotics of cinema and problems of cinema aesthetics

 Conversations about Russian culture

Egorov B.F.Life and work of Yu. M. Lotman. M., 1999 .-- 384 p.

Yu, Schrader "Culture as a factor of freedom"

Yu.M. Lotman "On the Semiosphere"

Game as a semiotic problem and its relation to the nature of art // Program and theses of reports at the Summer School on Secondary Modeling Systems, 19-29 Aug. 1964 Tartu 196

People and signs // Soviet Estonia. 1969. No. 27.

Analysis of the poetic text: The structure of the verse. L., 1972.

Notes on the structure of the narrative text // Uchen. app. Tart. goc. un-that. 1973. Issue. 308.

Semiotics of cinema and problems of cinema aesthetics. Tallinn, 1973

dynamic model of a semiotic system. M., 1974.

What does the semiotic approach give? // Questions of literature. 1976. No. 11.

Culture as collective mind and the problem of artificial intelligence. M., 1977

Dolls in the system of culture // Selected articles. In 3 volumes. T. I. Tallinn, 1992, p. 377-380

Analysis of the poetic text // Poetics: Proceedings of Russian and Soviet poetry schools. Budapest, 1982.

Culture and text as generators of meaning // Cybernetic linguistics. M. 1983.

On the semiosphere // Uchen. app. Tart. goc. un-that. 1984. Issue. 641.S. 5-23. (Works on sign systems. [T.] 17: The structure of the dialogue as a principle of the semiotic mechanism.)

Symbol in the system of culture // Uchen. app. Tart. goc. un-that. 1987. Issue. 754.S. 10-21. (Works on sign systems. [T.] 21: Symbol in the system of culture.)

the language of cinema and the problems of cinema semiotics: [Abridged transcript of the lecture at the theoretical seminar on the topic "Language of cinema", Tartu, 1987; with adj. text of the debate] // Film studies notes / All-Russian Research Institute of Cinematography. 1989. Issue. 2.

Russian literature of the post-Petrine era and Christian tradition // Rainbow. 1991. No. 10.

City and time [Conversation with Yu. M. Lotman 28.12.1992] // Metaphysics of Petersburg. SPb., 1993.

Conversations about Russian culture: Life and traditions of the Russian nobility (XVIII - early XIX centuries). SPb., 1994.

Lectures on structural poetics // Yu.M. Lotman and the Tartu-Moscow semiotic school. M., 1994.

On the nature of art // Yu. M. Lotman and the Tartu-Moscow semiotic school. M., 1994

Russian literature of the post-Petrine era and the Christian tradition // From the history of Russian culture. T. V: (XIX century). M., 1996.

www.vivovoco.rsl.ru

Yu.M. Lotman

THE NATURE OF FILM NARRATION

Awards

two Orders of the Patriotic War II degree, the Order of the Red Star (03/22/1945), the medal "For Courage" (05/10/1944), the medal "For Military Merit" (10/02/1944), the medal "For the Defense of Moscow", the medal "For Defense Stalengrad "and other medals.

Rank

Positions

commander of the communications department of the 1st battery of the 68th guards army cannon artillery regiment

commander of the communications department of the 3rd division of the 38th guards army cannon artillery brigade, 61st army, 1st belorussian front

Biography

Yuri Mikhailovich Lotman (February 28, 1922, Petrograd - October 28, 1993, Tartu) - Soviet literary critic, culturologist and semiotics.

Born into a Jewish family. His father - Mikhail Lvovich Lotman (1882-1942), a graduate of St. Petersburg University in the Faculty of Mathematics and Law, later a legal adviser in various publishing houses; mother - Sara Samuilovna (Alexandra Samoilovna) Lotman (nee Nudelman, 1889-1963), dressmaker and seamstress, later a dentist; three sisters - the composer Inna Mikhailovna Obraztsova (1915-1999), the literary critic Lidia Mikhailovna Lotman (1917-2011) and the doctor Victoria Mikhailovna Lotman (1919-2003).

He studied in Petrishula from 1930 to 1939, then entered the philological faculty of Leningrad University. Student Lotman wrote his first term paper at V. Ya. Propp.

In October 1940, from the second year of the university, he was called to military service... Member of the Great Patriotic War. He served as a signalman in the artillery. Guard sergeant, commander of the communications department of the 1st battery of the 68th guards army cannon artillery regiment, commander of the communications department of the 3rd division of the 38th guards army cannon artillery brigade. He was shell-shocked, awarded the Order of the Red Star (03/22/1945), the Order of the Patriotic War II degree (05/17/1945), the Medal "For Courage" (05/10/1944), the Medal "For Military Merit" (02/10/1944). Demobilized in 1946. Member of the CPSU (b) since April 1943.

In 1950 he was appointed senior lecturer at the Pedagogical Institute in Tartu. In 1952 he defended his Ph.D. thesis “A. N. Radishchev in the fight against socio-political views and noble aesthetics of N. M. Karamzin. " Since 1954 at the University of Tartu, in 1960-1977 - Head of the Department of Russian Literature, since 1963 - Professor. He defended his doctoral dissertation "Ways of development of Russian literature in the pre-Decembrist period" in 1961 at Leningrad University.

Lotman is one of the first developers of the structural-semiotic method of studying literature and culture in Soviet science, the founder of the Tartu-Moscow semiotic school.

Corresponding Member of the British Academy of Sciences (1977), Member of the Norwegian Academy of Sciences (1987), Academician of the Royal Swedish Academy of Sciences (1989) and Member of the Estonian Academy of Sciences.

In early January 1970, KGB officers searched Lotman's apartment in the case of Natalia Gorbanevskaya. He was not allowed to travel abroad.

In the late 1980s, he created a series of informative television programs "Conversations on Russian Culture".

During perestroika he took part in the political life of Estonia. In October 1988, he was elected to the Council of Commissioners of the Estonian Popular Front.

In 1993, Yuri Lotman became a laureate of the Academic Prize. AS Pushkin with the wording: for works: “Alexander Sergeevich Pushkin. Biography of the writer ”and“ The novel by A. Pushkin “Eugene Onegin”. Comment". On October 28 of the same year he died in Tartu and was buried in the Raadi cemetery in Tartu.

Family

In March 1951 he married Zara Grigorievna Mints (1927-1990) - a literary critic, a specialist in the study of A. A. Blok and Russian Symbolism, a professor at the University of Tartu.

Sons:

Lotman, Mikhail Yurievich (born 1952), professor of semiotics and literary studies at Tallinn University, member of the Riigikogu (Estonian Parliament) in 2003-2007, chairman of the Tartu city council since 2011;

Lotman, Grigory Yurievich (born 1953), artist;

Lotman, Alexey Yurievich (born 1960), biologist, member of the Riigikogu (Estonian Parliament) in 2007-2011.

Main works

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Lotman, Yuri Mikhailovich

Lectures on Structural Poetics (1964)

Articles on the typology of culture: Materials for the course of the theory of literature. Issue 1 (1970)

The structure of a literary text (1970)

Analysis of the poetic text. Verse Structure (1972)

Articles on the typology of culture: Materials for the course of the theory of literature. Issue 2 (1973)

Semiotics of Cinema and Problems of Cinema Aesthetics (1973)

Alexander Pushkin's novel "Eugene Onegin": commentary (1980, 2nd ed. 1983)

Alexander Sergeevich Pushkin: biography of a writer (1981)

Creation of Karamzin (1987)

At the school of the poetic word: Pushkin, Lermontov, Gogol (1988)

Culture and Explosion (1992)

Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX centuries). (1993)

Dialogue with the Screen (1994; together with Y. Tsivyan)

Articles and Research on Russian Literature

List of articles

Literary Studies Must Be a Science (1967)

On the typological study of literature (1969)

Notes on the Structure of Narrative Text (1973)

Canonical Art as an Information Paradox (1973)

On the function of oral speech in the cultural life of the Pushkin era (1979)

Literary biography in a historical and cultural context (Towards a typological relationship between the text and the author's personality) (1986)

Mass literature as a historical and cultural problem (1991)

Translations

Jurij Lotman. Kultūros semiotika: straipsnių rinktinė / sudarė Arūnas Sverdiolas; iš rusų kalbos vertė Donata Mitaitė. Vilnius: Baltos lankos, (Vilniaus spauda). XV, 366, p. (Atviros Lietuvos knyga: ALK, ISSN 1392-1673). Tir. 2000 egz. ISBN 9955-00-091-0.

Aleksandr Sergejevitš Puškin (monograafia). Tõlkinud Piret Lotman. Eesti Raamat, Tallinn 1986; 2., täiendatud trükk: Varrak, Tallinn 2003, 332 lk; ISBN 9985307569; 3. trükk: Varrak 2006, 332 lk; ISBN 9985312767

"Kultuurisemiootika: tekst - kirjandus - kultuur". Tõlkinud Pärt Lias, Inta Soms, Rein Veidemann. Olion, Tallinn 1991, 422 lk; ISBN 545000480X; 2.trükk: Olion 2006, 360 lk; ISBN 9789985664841

"Semiosfäärist". Koostanud ja tõlkinud Kajar Pruul. Järelsõna "Semiootika piiril": Peeter Torop. Sari Avatud Eesti Raamat, Vagabund, Tallinn 1999, 416 lk; ISBN 9985835379

"Kultuur ja plahvatus". Tõlkinud Piret Lotman. Järelsõna: Mihhail Lotman. Varrak, Tallinn 2001, 232 lk; ISBN 9985304780; 2.trükk: Varrak 2005, 232 lk; ISBN 998531008X

"Vestlusi vene kultuurist: Vene aadli argielu ja traditsioonid 18. sajandil ja 19. sajandi algul" I-II. Tõlkinud Kajar Pruul. 1.köide: Tänapäev, Tallinn 2003, 368 lk; ISBN 9985621239; 2., parandatud trükk 2006, 368 lk; ISBN 9985621239.2 köide: Tänapäev, Tallinn 2006, 288 lk; ISBN 9985621239

"Filmisemiootika". Tõlkinud Elen Lotman. Varrak, Tallinn 2004, 172 lk; ISBN 9985308352

"Kunstilise teksti struktuur". Tõlkinud Pärt Lias, järelsõna: Peeter Torop. Sari Avatud Eesti Raamat, Tänapäev, Tallinn 2006, 574 lk; ISBN 9985623916

Valik kirju. Koostanud ja järelsõna: Marek Tamm. Tõlkinud Jüri Ojamaa ja Maiga Varik. Loomingu Raamatukogu 2007, nr 8/9, 104 lk; ISBN 9789949428076

“Hirm ja segadus. Esseid kultuurisemiootikast ". Koostanud Mihhail Lotman, tõlkinud Kajar Pruul. Varrak, Tallinn 2007, 167 lk; ISBN 9789985314340

"Kultuuritüpoloogiast". Tõlkinud Kaidi Tamm, Tanel Pern, Silvi Salupere; toimetanud Silvi Salupere. Sari Avatud Eesti Raamat, Tartu University Press, Tartu 2011, 184 lk; ISBN 9789949195480

Memory

On October 6, 2007, a monument to Yu. M. Lotman was unveiled in front of the Tartu University library. Sculptor Mati Carmin, architect Andres Lunghe.

2009: In Tartu, a memorial plaque was unveiled on the house where Yu.M. Lotman spent last years life.

Documentaries

2012: For the 90th anniversary of the birth of Yu.M. Lotman filmed documentary "Space of Yuri Lotman" (TV channel "Culture", directed by Henrikh Zdanevich)

2013: “Happy like-minded people. Yuri Lotman and Zara Mints "(documentary film in the cycle" More than love "of the TV channel" Culture ", scene author and director Alena Surzhikova)

see also

Moscow-Tartu semiotic school

Works on sign systems

Literature

Chudakova M.O. According to the strict laws of science // "New World", 1965, No. 10

Finitus duodecim lustris: collection of articles for the 60th anniversary of prof. Yu.M. Lotman. Tallinn, 1982.

Egorov B.F. Lotman Yuri Mikhailovich // Brief literary encyclopedia. T. 4. - M .: Soviet encyclopedia, 1967 .-- S. 431.

Egorov B.F.Life and work of Yu. M. Lotman. Moscow: New Literary Review, 1999 .-- 384 p.

Egorov B.F. Personality and creativity of Yu. M. Lotman // Lotman Yu. M. Pushkin: biography of a writer. Articles and notes (1960-1990). "Eugene Onegin": commentary. - SPb .: Art, 1995 .-- S. 5-20.

Dushechkina E. V. Lotman Yuri Mikhailovich // Encyclopedia "Words about Igor's regiment". T. 3. - SPb .: Dmitry Bulanin, 1995 .-- S. 181-183.

Lotman Yuri Mikhailovich is a huge world of thought that we, the descendants, have to study. And although television has done a lot to make its versatility and complexity accessible to people, so that many can get in touch with the depth of the material and the simplicity of its transmission, Yuri Mikhailovich still remains a mystery.

Information about childhood and adolescence

In the family of Mikhail Lvovich Lotman, a mathematician and lawyer, who already had three daughters, a son never appeared. And in the hungry year of 1922 in Petrograd, the long-awaited heir was finally born - Lotman Yuri. The house where he was born is very difficult. It was from him that Pushkin went to a duel, with which he was brought mortally wounded.

For thousands of years, Jewish families have instilled in children respect for learning and books. Therefore, seven-year-old Lotman Yuri was sent to study at the best school in Leningrad, which now received its original name "Petrishule". People who made a huge contribution to Russian culture studied at this educational institution, for example: K. Rossi, N. Benois, M. Mussorgsky, the Decembrist M. Fonvizin, Admiral P. Chichagov and many others.

Only in this school Lotman Yuri could receive a deep, versatile education and excellent command of foreign languages, especially German, which Yuri Mikhailovich was fluent in. In the meantime, for nine years Lotman Yuri comprehends science and prepares to enter the Leningrad University. He chose the Faculty of Philology and wrote his coursework under the scientific supervision of the outstanding philologist-folklorist V. Ya. Propp, who had world recognition and stood at the origins of the development of text theory. The student's interests included the study of Russian literature of the early 19th century, so he required knowledge of French.

War

In 1939-1940, there was a military conflict with Finland. And from the second year Yuri Lotman was sent to the Red Army. As an absolutely necessary subject, he took with him a dictionary of the French language and carefully studied it throughout the years of the war. Already from the beginning of the Patriotic War, he served as a signalman in the artillery troops, that is, on the front line, without hiding behind anyone's back. First he is a sergeant, then the commander of the liaison office.

In 1944 he was awarded two medals - “For Courage” and “For Military Merit”. After a shell shock in 1945, Yuri Mikhailovich was awarded the Order of the Red Star and II degree. This is how his combat distinctions were noted. Yuri Lotman ended the war in Berlin.

Demobilization and getting started

From 1946 to 1950 he continued his studies, and then got a place in Tartu, at the Pedagogical Institute. Other paths were closed to him as a Jew. He will stay in little Tartu for life. A year later, Yuri marries a girl close to him in spirit, who studies Russian symbolism and the work of A. Blok.

Two years later, in 1952, Lotman Yuri Mikhailovich defended his Ph.D. thesis. The theme was chosen about the struggle of Radishchev with the aesthetics of the nobility at Karamzin. Two years later, work begins at the University of Tartu, which in the 20th century, thanks to Lotman's work there, will not only become famous all over the world, but will also take a central place in world philology. And all this is only because a great scientist read his lectures there and created a school of semiotics. In 1961, Yuri Mikhailovich defended doctoral dissertation on Russian literature before the Decembrist uprising, since 1963 he is a professor, head of the department of Russian literature.

People of the late 18th - early 19th centuries were living interlocutors for him. He talked with Pushkin, compared his assessments of life and culture and his conclusions. In 1981, his biography of Pushkin was published. The book "Conversations on Russian Culture", published in 1993, just at the time when TV began a cycle of its lectures on this topic, is insanely interesting. This book can be opened from any page and read voraciously. Lotman's memory and knowledge are extraordinary. Students at the lectures listened to his lectures, not knowing what to do - listen or record. He was undoubtedly an idol.

Attitude to culture

Memory, as Lotman believed, is the highest achievement of both man and mankind as a whole. It is she who is the keeper of culture as the most positive result of the activity of the human spirit. Culture as memory is a way to understand the activity of a scientist. The last book published during his lifetime is called Culture and Explosion. It examines the cultural processes in the historical aspect that led the country to what we have today. So thought Yuri Lotman, whose biography, despite the vicissitudes of the wars, is the biography of a thinker.

Family life

Yuri Mikhailovich lived with his wife for thirty-nine years, having outlived her for three years. This is how they looked, being already experienced spouses. The spouses are buried nearby. They have three sons. The eldest followed in their footsteps, studying literary criticism and semiotics, the second - an artist, the third - a biologist.

Yuri Mikhailovich Lotman passed away in 1993. His biography continues in lectures, books that are now read by descendants and ponder with him the thoughts that worried and disturbed him.