ISSN: 2158-7051 ==================== INTERNATIONAL JOURNAL OF RUSSIAN STUDIES ==================== ISSUE NO. 4 ( 2015/1 ) |
MASTORAVA BY A.M.SHARONOV: METAEPOS OF TRAGEDY AND UTHOPY AND PRACTHOPY OF ERZYA ETHNOS
GAGAEV ANDREY ALEXANDROVICH*, GAGAEV PAVEL ALEXANDROVICH**, TIKHONOV ROMAN VALERIEVICH***, BOCHKAREVA OLGA VICTOROVNA****
Summary
“Mastorava” by
A. M. Sharonov is a metaepos, a narrative from the future. It is also a
recursion of the present, describing the extinction of the Erzya and Moksha as
ethnic groups. The analyzed poem is a performative of the life and death of the
Erzyan ethnic group. The current situation with the ethnic groups requires them
to activate and focus on their own models of education and training on
primordial (patriarchal) tradition and to achieve their interoperability,
hatchability, routing to
Key Words: “Mastorava”,
the author’s literary epic book of Erzya heroic epos, metanarrative, recursion,
nominal, real, deconstractive, landmark, Russian and Erzya content of the epos,
Erzya and moksha mythology.
“My age has
come. I became a dragon.
I’ll be feed by
your alive people” [Sharonov 2010: 91].
“...but this is
your hour, when darkness reigns” [Luke
22:53].
1. The Mastorava
epos is mythology and fairytale, folk wisdom, common sense, songs and legends,
aphorisms, The Kalevala, synthesis of many eposes’ motives in the narrative of
fate and life, the future of Erzyan Mastor — the country of alive Erzya. V. N.
Mynov translates “Erzyan Mastor” as “country of alives” [Majnov 2007: 38]. This
country of alive — Moksha and Erzya, Slavs and Tatars in their relationships to
their native lands — place of development! “Mastor” — is the land, country,
“ava” — means woman, mother. The meaning of Mastorava is Motherland with female
substance. Now it is the land of dead ethnos (kulof mastor).
The epos of A.
M. Sharonov is metaepos and a narrative from the future, recursion from the
presence. It is a poem which is the performative of the life and death of
Erzya. The author is possibly the last alive epic poet in whom the ethnos
itself is speaking and we can call him a fabler of modernity! As a creator of
this epos he is the greatest Russian and Erzian poet of the end of the
twentieth and beginning of the twenty-first centuries! Epos Mastorava
represents the form of the literary Erzya language.
“Along the Ra
river the elders plod
Sadly, hanging
their heads, wondering
How the Erzya can
endure in this world,
How the
Mastorava can be saved,
And what the
future holds for their nation.
The Erzya have
seventy-seven gods,
And countless
roadways!
But can God
grant happiness to a nation
That has lost
it’s freedom?
… They know not
the best solution…
… It seems we
are left without a god,
That we can no
longer find our way…
Then, sipping
some water and washing their faces…
They hear in the
sky and in the Mastorava
The sound of the
trumpet.
Suddenly, the
elders realize:
That is the
Tyushtya’s copper trumpet.
“People of
Ineshkipaz — the Erzya —
Children of the
Sun God and of Champas.
Hear what
Tyushtya has to tell you.
You were born as
Ineshkaya people —
Remain his
people for the centuries to come.
Forget not your
language.
Live by the
truth of your own minds,
Make true your
own wishes,
Keep your own
traditions,
Have only your
people as Tsars.
And then I am
telling you, Erzya,
The Mastorava
will endure in this world,
And good times
will follow.
My copper
trumpet, as before,
Will call you to
gather together
And bestow my
blessing on all of you.
Know you, I
speak, Erzya,
Know you, my
relatives, and believe:
You will live in
this world
As long as
inyazor Tyushtya is alive.
Remember my name
always,
Honor my
testament and legacy.
Live as you have
lived, for centuries to come.
Bless you,
Erzya!
Bless you, my
people!
Pazchangot your
life the Mastorava!” [Sharonov 2010: 240-241] (translated by Oksana Ingle).
“Bless me, dawn
the mother, with the red sun, and the light moon and with light stars! When it’s dawning, my daddy gets me out from the court,
the sun is rising, my freedom is getting out, stars are shining, my elders
compel me” [Sharonov 2010 : 101]. “pes tonaftak veshkasa, gaba - kelgamaza”
(“the dog must be taught with the cudgel, but the child with love” (moksh.) [Sharonov
2010 : 159]. “Avai tshatshty, avai kazyndy, tetyai tonafty” (“mother gives
birth, mother raises, farther teaches” [Sharonov 2010 : 160] . “konashka kud
bashka vel’khtafte, tenashka loman’ bashka jorafte tetyan-avan” (as a house cannot exist without
a roof, a man cannot exist without the will of a mother and father) [Sharonov
2010: 166]. In Mastorava not he but Mother the land blesses! God and Mastyrpas
(the god of land and fertility), Kudadei and Tushtya and his copper pipe, Ineshkipas
and Christ bless! Gods and A. M. Sharonov require this to be returned from the
private property of
2.1. Epos
content.
Nominal content
is the heroic fight with the internal and external threat and the survival of
Erzya ethnos; the real content is the reflection about life, Erzya wisdom in
the hero and the prophet, Kudadei — the priest; deconstructive content is
family and the unity, relationships between Moksha and Erzya, relationships
between Erzya and Russian, epochal content is the problem of rootlessness and
predetermination of Erzya extinction, leaving Mastorava and model of ideal
kingdom: Erzya content is its way and formation, school, the tragedy of ethnos
death and Erzya soul cry; moksha content is joint struggle for freedom. Russian
content is the organization of Moksha and Erzya cooperation in the Russian
state in a new life and joint struggle against oppression in
2.2. Forms of
poem and narrative, language.
A. Language of
poem. The poetic measure of the epos is chosen by people, telling one or
another content. There is a harmony of semantics, meaning and correspondent
size, there is no absolutization of either meaning or sizes. But all the sizes
are strengthened in their sounding by the author’s cyclic composition,
reflecting, potraying and imaging soul and spirit of Erzay as the Russian
people. The plot of the poem is the necessities of life realized in 7
cycles of sociocultural dynamics of Erzyan life in
B. Kalevala was
created by E. Lönnrot in one type of poetic size — small poems at eights
syllable verse of a type of four-step trochee. The Kalevala has the only center
— Vyainyameinen and Ilmarinenen but Mastorava has 7 centers which are its 5
cycles plus modernity and a future (ideal Erzya kingdom), i.e. 7 centers in
metanarrative and in presentism from practopy, conducting a self-organizing
forecast of a desirable and non-desirable future. In The Kalevala and The
Mastorava old heroes face the young who destroy the ethnos. In The Mastorava
youth is presented by the boy with iron hills and a stone nape (modern
tushtyans). In The Kalevala it is a boy who expels Vyainyameinen. Both these
eposes model the confrontation of generations. In The Mastorava A. M. Sharonov
retained the verse size which is inherent in Erzyan poetry. In Kudadei and
Copper pipe the free trochee verse is used; there are 10 syllables in every
line. In Copper pipe all the lines are ended by double accented and unaccented
syllables. In Kudadei the lines are ended by accented syllables but there are
10 of them. The main size is free trochee without rhyme. G. E. Gorlanov: “Free
verse, skillfully used by A. M. Sharonov, miraculously creates the illusion of
ancient structure of poetic speech, which can create heroic epos”. The language
of The Mastorava with its alliterations, consonances, metaphors, rhymoids is
perfect and deeply conveys thought, felling, actions of heroes, making the
reader emphasize the deployment of events: sympathize, feel compassion and joy,
believe and sympathize with the epos heroes. The Mastorava can be read just to
feel formal pleasure by the melody of a verse!
The Mastorava
has a divers system of metaphors, synecdoches, metonymies, catachresis in particular and in metaphysical
sence. For example, observations of Ineshkipaz
by Erzya living in the ideal kingdom through the created window is
metonymy (the eye of God):
“In that window,
which Ineshkipaz made
That he might
look at the earth,
To see towns and
villages,
Where Tyushtya
lives with people” [Sharonov 2010: 183].
The substitution
by the part, i.e., the will of the state to unity in the image of the copper
pipe of the whole, and the unity of the Erzya as an ethnos, is a synecdoche!
The analogy between the actions of the elderly, after Tushtyan leaves, drinking
the water of the pure source, i.e., the source of Tradition that generates
energy in the elderly, and remembering the name of Tushtyan and Ineshkipaz is a
catachresis. The trails in The Mastorava (metaphor: there are a lot of ways on
the land, and a lot of paths in sky, powerful oak, the hair which are thicker
than bunches of hop, etc.) generate the logical trails (Moksha Erzya
conclusions, definitions of the truth of the matter, the meaning of the object,
the meaning of the object cooperation, self-development of the sense in the
perspective, identity and difference which create the game of meanings, their
duality, the depiction of things and expressiveness, hero’s and author’s
emotions, teleology of the estimation, the cycle of meaning change, model of
action). Syntactically the trail unites the figures of thoughts and words of
Erzya and Moksha. The trail system of The Mastorava is very bright, sensual,
pagan, but with the effect of Byzantine spirituality and philological science
and harmonizing the meaning and beauty of trails and figures of speech.
3. Painting in
Mastorava. Painter N.S.Makushkin.
Mastorava is
accompanied by the splendid set of paintings modeling the plot development of
epos. These are paintings which model:
-
creating by Ineshkipaz and Idemevse, world tree,
-
council of elderly and Inenarmugne (i.e. the hope for the God),
-
Ineshkipaz thinking about the future of his peculiar people,
-
Idemevse thinking about the evil creating,
- Ineshkipaz thinking about justice and
injustice in the world, listening what is going on in the world,
- Ange-Patay or divine mother, goodness of
beauty,
- Ineshkiava — Ineshkipaz’s wife,
- Vezorgo — Ineshkipaz’s younger daughter and
beauty patroness,
- Vedyava — goodness of water, love and
marriage,
- Mastorpaz
and Vedyava — god of the earth, who is wooing Vedyava,
- Mastorava — Erzya and Moksha goodness, of
their earth,
- Paksyava — goodness of the field,
- Viryava — goodness and custodian of the
forest,
- Varmava — goodness of wind,
- Velegnpaz — god of villages and towns,
Teacher, Tutor,
- Mekshava — goodness of bees and honey,
- Fall pagan in sensual pleasure and
temptations,
- Komlyava — goodness of hop and fetes,
- Azravka — earth woman desiring the sky which
became Purginepas’s wife (cycle of paintings),
- Litova and Purginepaz — Endol’s wife,
- Purginepaz’s wedding,
- Vasalge — girl-sewer at the Moksha
river,
- Suralya — Andyamo and Cecya’s son sacrificed
to Ravava,
- Kudadei — prophet, hero, when he gives
precept and goes to the Sky,
- Ineshkipaz in the moment of the happiness
distribution, what is happiness,
- Tushtyan —inyasor, Erzya principality
founder,
- The fete of Tushtyan and his praise,
- Tushtyan — the snake fighter,
- Tushtyan and his wife Paksine,
- Tushtyan — the plowman (hero-warrior and man
of labour),
- Paksine, Tushtyan’s wife,
- Kulesha as the sacrifice to the town,
- Tushtyan and the White Swan, claiming the
predestination of leaving Mastorava, the tragedy of Erzya people leaving to nowhere,
- Tushtyan miraculous birth,
- Tushtyan and refusal to help him from
- Tushtyan death,
- Tushtyan ascension and his name,
- Narchatka and the century of enemies, Erzya
women-heroes,
- Arsa as the form of subjective belief and
temptation, nonfeasance,
- Kastusha, men-heroes’ disappearance,
women-heroes,
- Saman’ka and Grosny — new life in autocratic
- Woodpecker, sorcerer, friend of Nightingale
the Robber, who predicted the foundation of Nizhniy Novgorod, claimed the unity
of Erzya,
- Kermet the place of the common prayer of
several Erzya villages, Erzya sanctuary, where the saint fire was burning, the
place of Erzya ethnos unity in local-common form,
- at the
Woodpecker mountains — the town foundation,
- Grosny at the Woodpecker mountains — the
selling of the freedom for trough bran by the youth to the alien sovereign, the
ethnic crime.
The content of
this cycle of paintings includes: Creating, Ancient century, Tushtyan century,
Century of enemies, New century, modernity (anthropological neofolklor), Future
Erzya kingdom and relationship of the Sky and The Earth. The last is a
dramatic-tragical component of this Art epos, which is complete and independent
as paintings, having as a reference not this personal epos but Erzya ethnos
epos, as its intuition was caught by the Painter-the Poet! The sky and the
Earth in their comedy: that is the subject symbolism of the Art epos. The
paintings are created in the style of neo-folklore, synthesizing the classic
drawing and modernism, the tradition of Russian fairytale images, changing it
according to the meaning of Erzya epos. The author has the modeling of the
whole, the relationship of the Sky and Earth, and in this relation the image as
the dorsal definition, i.e. acts of epic action, not the heroes, not the Gods. And
these actions are given names (ventral definitions), names of the paintings by
the author. The author describes not the Gods or Heros but their actions and
situations. The author’s style has such peculiarities as submission of the
color and color diversity, lights and shadows to the drawing, conjugation of
color, tone and volume of action image, the meaning of their expression; the
harmony of action image as the aim of Art epos and expression of
conceptualizing plots (for example the freedom selling for the trough bran by
Erzya youth); subordination of
thought to the epic themes to the emotional images to the pictorial metaphors, synecdoches, metonymies and katahrez author
is rational in painting; submission to linear semantic
conception of scenic solutions, continuing a holistic sense of heaven and earth in all the pictures and images that form a single process and initiating dialogue of Heaven and Earth in Erzya people works seeking to Heaven, but sink into the ground and turns into nothing — clay! Color
decisions are dull muted colors,
but clearly expressed by color and tone,
contrasting shadows, light and shadow,
white and black (synthesis of all
colors, Heaven and Earth, lack of
color), gold (spirit), orange (Sunday),
yellow - understanding and the soul of man, purple — ideal thirst, red —
the color of the pagan life instinct and sexuality in erotic sensual pagan
figure, blue - the color of tall, green - the color of birth and life, updates, brown - the color
of their land, the gray color of uncertainty in the future. The author fixes
the emotion of event estimation — the dorsal definition in epos and
corresponding choice of color solution of the particular painting, and the
emotion seeks name or plot solution for the general sense. The approach from the
standpoint of emotional event solution — plot solution — is subduction, but
presence of common event name in the epos as rational construction and
definition in emotion name in it — is eductive Erzya judgment. The geometry of heads
— elongate (dolichocephal (Erzya) and round (brachycephal, moksha). Red, white, green,
yellow, black, grey color of a haze end the cycle of paintings — the future of
the ethnos is great and unknown! The colors model (a) the realism of ethnic
thought presentation, senses, the word
in the unity, (b) the idealism of the fairytale and mythological thinking and
recursion in the fairytale, and (c) romanticism of the faith in life force of
the ethnos and in its resurrection.
The art epos
nominally models the dynamics of Erzya ethnos fight with the external and
internal threat in history subjects and it actions. Really the dialog of ethnos
with Sky and Earth is modeled. Deconstructive content: the special actions of
the creators, wedding etc. Epochal content is distorting of the creation. Erzya
content is the sale of freedom to the Russian tzar, Moksha content:
nonviolence, Russian content is the feeling of freedom and active enemies
extermination, ethnos compatibility.
The epos
contains the symbolic form of a portrait, not of the men or hero, but the Erzya
personality in the sociocultural dynamics, modeling good and evil motivations
(Idemevs, original sin), the birth of the miraculous child (new generation),
modeling the heroes in us as in Narchatka or Kastush, the portrait of family and
child, women, youth, old man, natural man (without boy with iron heels and
stone nape because it is a flaw, there is no artificial man), the portrait of
the destiny or future of Erzya! It could be said that there are some
similarities between epic, this scenic epos and anthropology of Modigliani.
These are two anthropology styles. But I can note that the scenic epos lacks
irony and humor of the Erzya epos. The author rarely inclines to satire and
humor, irony, sarcasm, grotesque. There is a motive of the similarity in sorrow
and sadness with V. A. Popkov. The scenic motive is tragic and dramatic — the
Erzya have no future!
4. Problem of Mastorava as the art work genre.
How can we define the genre of this great work? D. T. Nad’kin ( the
founder together with A. M.Sharonov of Mastorava organization), V. P. Anikin,
N. V. Morokhin, M. V. Dorojkin, E. A. Sharonova (A. M. Sharonov’s daughter,
D.Ph.S, professor), think this work to be a literary form, author form of Erzya
heroic epos, similar in this aspect to The Kalevala of E. Lönnrot, The Kalevipoeg of F. Kreutzvald, The
Lachplesis of A. Pumpur, etc., assuming
the preservation of the authentic folklore text and its Erzya size versification
(a variety of sizes, their diversity adequate to text semantics and heroes
experiences, harmony of size and content) and model of poetics, science truth,
which was created by the author on this basis. But the content of this epos, as
we showed the same as is inherent in the life and struggle of Erzya ethnos in
history and another the problems of the present and the future, the motives of
many ethnoses and ethnological version of history (realism, romanticism,
idealism, miraculous and fantastic), corresponding in it to the level of Kalevala and Odyssey! In this work the motives of Egyptian,
Sumerian, Akkadian, Babylonian, Hittite, Hindu, Buddhist, Greek, Roman, Jewish, Iranian primarily Byzantine, German, Russian, Karelian-Finnish
epos are presented. This is the form of personal folklore and philological universal
culture of the author. The spirit
of the poem, although it has ethnic sense, is centered in the personal
knowledge (Polany M. -
Theory of personal knowledge) and in the concept of personal synthesis of
epic motives. And we do not exaggerate estimating. The tragedy of assessing
such things is that we live in a tiny time around, when the bureaucracy,
including academics - Pseudoscientists and bad people, who do not understand
and do not want to recognize the greatness of works as well as the people who
created them and who are our contemporaries are around! St. John Chrysostom
considered the avowal of talents by the contemporaries as the satanic sin
before Christ!
“A prophet is not without honour, save in his own
country, and in his own house” (Mat. 13:57).
G.E.Gorlanov said according to the voice of Mastorava:
My
recognitions
“From the ages epic and ancient
The toll of Tushtyan didn’t come to us
That is why we don’t have power
And the wound of the Erzya soul itches”
Why do we hate so much everyone who has more
abilities and talents? That is one of the reasons the Russian nation is dying.
5.1.
Summarizing, we can say that The Mastorava is as fine a work as can be defined
as metaepos, metanarrative and a fairytale, the synthesis of idealism, realism,
romanticism and love lyrics, one of the poems, utopia and praktopia, tragedy, drama and comedy of life from
the future, recursion of the presence in the form of a poem — performative,
experience of ethnos death and readiness to act, which generates Erzya ethnic selfconciousness,
exceed energy and information in difference and compatibility, hatchability
with Russian selfconsiousness, world spirit, focusing on the work Ineshkipaz —
Christ, denying “rabotams”(what to do or work for money, profit, creativity
with devil — Idemevs, participating in creating), but asserting a new creation
and work — “tijks”(to create)the work of Erzya in compatibility with other
ethnoses and Russian people in Eurasia [Geltukhina 2003 : 185].
This is, without
doubt, a new literary genre, created by the last storyteller of Erzya and the
Russian people, A. M. Sharonov. The Mastorava is really tragically idealistic
and a utopian narrative, recursion and tragical poem — the tragedy of the
history and death of the Erzyan people.
“Everywhere the
Mastorava is crying bitterly,
Dropping tears
of grief and mourning.
Who saw that the
Mastorava is crying?
Who noticed that
she is grieving?” [Sharonov 2010: 189].
“Like a hope for
the soul and heart…
O, tears, fall
from the eyes as rain!
O, sad hearts,
weep!
Awake the power
of the Mastorava,
Awake Ineshkay
in the sky!.. [Sharonov 2010: 195].
Nobody sees,
hears, doesn’t want to hear this Mastorava weeping, and Erzya people are happy having trough bran and
a prestigious car.
5.2. Why don’t
people reading The Mastorava see either extent of drama, comedy and tragedy of
Erzya ethnos life or great language of the poem and crying soul of Erzya
people? Being Erzya, Russian, Turk is not the nationalism or racism which A. M.
Sharonov is convinced of, but natural evolutionary genetic axiom of homo
sapiens, losing which this kind turns into homo debilis! The conservation of all the ethnic groups in
their compatibility and hatchability with Russian people in the structure of
Turks, Irano-Alans, Ugro-Finn, Moksha and Erzya, Eurasists, Slavonic
6. The problem
of Erzya ethnos salvation. No ethnos in
“If the wind
breaks a single branch,
A bird will
carry it to her nest.
If we bind the
branches together,
No storm can
break them” [Sharonov 2010: 161].
Fate has defined
for us — for all the ethnic groups — to live and to win, until all of us —
Turks, Irano-Alans, ugro-finns, Eurasians, Slavs — Russians are together and
have a common self-consciousness of identification and identity. And now when
we try to save ourselves, it means we are dead.
“The fool sees that he is going to be punished
and says “Hey, cudgel — beat and chop!” The cudgel rushed, beat once, beat
twice and killed the evil king. And the Fool became the King and reigned long
and happy” [The library of Russian folklore. Fairytales V.2. 1988: 98). “Well,
Ivan master our power, and if it would be not enough for you, remember us once
and we’ll rise up from the grave”. “Copper, Silver, Gold Heroes help Ivan — the
peasant son!”, “Then they rose from the grave and came… All were won, nobody
was left. All were trampled and all returned with the victory” [The library of
Russian folklore. Fairytales V.2. 1988: 144-146].
Without this
unity our death will come - the death of
Being Russian, I
thank A. M. Sharonov for the beautiful Erzya, Russian, world of The Mastorava
which awakes a sense of compassion, a sense of freedom and protest in human
beings, a sense of dignity — if you fight peacefully and with the weapon for
your own ethnos. If ethnos and it heroes are able to create such masterpieces, then we can say that they are
still alive and nothing has finished for them! The Mastorava is a fine work,
the greatest form of Erzya and Russian self-consciousness, world changing
self-consciousness, of many ethnic groups interfacing with all world eposes.
Although modern eposes and our works are a tragic requiem for people in
general.
“Doom has come
upon you, upon you who dwell in the land. The time has come! The day is near!
There is a panic, not joy, on the mountains” (Eze.7:7). “I am about to pour out
my wrath on you And spend my anger against you. I will judge you according to
your conduct And repay for all your detestable practices” (Eze.7:8). ”Then you
will know that it is I the Lord who strikes you” (Eze.7:9).
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*Gagaev Andrey Alexandrovich - Doctor of Philosophy sciences, the professor of Mordovia State University, Saransk, Russia
**Gagaev Pavel Alexandrovich - Doctor of Pedagogical sciences, the professor of Penza State University, Penza, Russia
***Tikhonov Roman Valerievich - The senior lecturer of humanity sciences department of Ruzaevka machine building institute, Ruzaevka, Russia
****Bochkareva Olga Viktorovna - The senior lecturer of general disciplines department of Samara Railway University (branch in Ruzaevka), Ruzaevka, Russia
© 2010, IJORS - INTERNATIONAL JOURNAL OF RUSSIAN STUDIES