The immortal host of Prince Igor

Moreover, social and political enthusiasm for the “Tale” inevitably extends the swirl of the above-mentioned “black hole” in historiography because it is hardly possible to solve all the scholarly problems related to the “Tale” under current social and political circumstances, whereas a continuous stream of historians turning to this theme give rise to heated debates about various aspects of the text and extend the subject field of the discussion.

Òable 7. The number of works and citations in RSCI (Russian Science Citation Index) of all the articles whose titles contain references to the works of the Old Russian literature (1900-2017) Estimates are based on: Scientific Electronic Library. URL: https://elibrary.ru/defaultx.asp (accesed: 15.08.2017).

It should be noticed that due to the lack of censorship in the post-Soviet Russia and Ukraine, the number of ideas and constructions which apparently go far beyond the re alities of science has significantly increased See, for example: Bogdanov V. M., Nosov N. V. “Slovo o polku Igoreve” velikaia mistifikatsiia. St. Petersburg, 2005; Kostin A. Slovo o polku Igoreve -- poddelka tysiacheletiia. Moscow, 2014; Akavov R. Z. K voprosu o kul'turno-istoricheskom znachenii i khudozhestvenno-literaturnykh predposylkakh “Slova o polku Igoreve” v srednevekovom evraziiskom polietnicheskom i polikul'turnom prostranstve // Uchenye zapiski Rossiiskogo gosudarstvennogo sotsial'nogo universiteta. 2009. No. 9. P. 244-248. (The same: Litera- turnoe obozrenie: istoriia i sovremennost'. 2012. No. 2. P. 54-64); Nikonov A. A. Seismicheskii kazus 1185 g. v Severnom Priazove: Aktual'nyi razbor sobytiia v aktivnoi seismogennoi zone // Geofizicheskie protsessy i biosfera. 2019. Vol. 18, no. 1. P. 103-110.. Despite the availability of the “Tale” in the internet format, the number of its post-Soviet editions is continually growing (see Table 1 and diagram). It is significant that in the 2000s -- 2010s the representatives of creative professions continued to draw from the “Tale”. It will be enough to mention some con temporary poetic texts (like the “Tale of Strelets Igor's Campaign” (Slovo o polku strelets- kom-Igoreve) by Yu. Osipov-Biver) or musical compositions (for example, an album of popular folk-group Vedan-Kolod or the “Night of the Werewolf” by a rock-group Voz- vrashchenie). It can be stated that the “Tale” as a text entrenched in the cultural space (cultural memory) of Russian society is quite capable of drawing public interest, even being outside the scope of state memory policy. However, it is hardly possible to imagine any state authority (Russian or Ukrainian), sharing, for example, a thesis about the “Tale” being a hoax. References to the images of the main character of the story and other characters, so far overshadowed by the popularity of the text itself, might contribute to the more effective exploitation of the “Tale” by contemporary memory policy. The canonization of the Prince and the practice of regular commemorations, associated with it, might be helpful here.

Summing up all the arguments given above, it can stated that one of the essential features of the “Tale” (irrespective of the time of its creation) is rooted in the fact that by the period when it was “discovered” and “introduced” to the public, the Pre-Mongol Rus' had already been not only a far-away fairyland, but a heroic era, a place of consensus in the national memory. Moreover, the “Tale” appeared in the period marked by an emerging and deepening split between two views on the Russian history, constructed from liberal and conservative positions, with regard to the values of the new time. Under these circum stances the “Tale” became an important cohesive cultural force, having quickly earned recognition in both political camps and having gained a firm foothold in cultural memory and mass consciousness.

Historical nihilism of the early Soviet era affected the “Tale” only with respect to the fact that together with some other pieces of old culture it was briefly stigmatized as “feudal bric-a-brac”, and the number of its editions dropped dramatically. Undoubtedly, the change of social and political demands in the early 1930s again introduced the “Tale” to the circle of the main objects of historical culture and again made it a tool of official propaganda. The latter predetermined the ideological nature of historiographic discussions and the support of a new generation of skeptical scholars on the part of liberal-oppositional intelligentsia However, no discussions could drive the “Tale” out of its place in cultural memory determined by the works of art and literature and the educational tradition rather than by the directives of propaganda and historiography.

The post-Soviet period witnessed the same situation, when in the context of political and historiographic liberalization the number of editions of the “Tale” continued to grow alongside with the attention it received from the general public and historical science. At the same time, the prospects of the “Tale” as a memory policy instrument are quite vague -- being the most popular text of the Old Russian literature, the “Tale” is superseded in the rating of the memory objects by other objects (events and characters) more suitable for the construction of mass consciousness. Probably, it is the characters of the “Tale” -- Igor, Yaroslavna and Boian -- so far overshadowed by the popularity of the text, who might become the instruments of the future historical policy rather than the “Tale” itself. However, irrespective of these projects the “Tale” is already entrenched in the memory of the nation and its inviolable immortality is guaranteed at least until the culture, an integral part of which it has become, declines.

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