Thematische Bibliographien / Poem in Russian

Auswahl der wissenschaftlichen Literatur zum Thema „Poem in Russian“

Autor: Grafiati
Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Poem in Russian"

1

Arustamova, Anna A., Gao Chunyu und Boris V. Kondakov. „“Lunar New Year” by A. Parkau: cultural memory“. Tyumen State University Herald. Humanities Research. Humanitates 10, Nr. 1 (26.04.2024): 62–83. http://dx.doi.org/10.21684/2411-197x-2024-10-1-62-83.

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This article considers the Russian émigré literature in China in the aspect of implementing the principles of intercultural communication and interaction between the cultures of Russia and China. Scholars began to study it in the 1990s, and currently the work of many Russian writers from Harbin and Shanghai remains unexplored. Features of the interaction of national traditions are analyzed in the poem “Lunar New Year” (Chinese New Year) by the poet of the Russian diaspora — A. Parkau, published in the poetic book Unquenchable Fire. Her artistic world still is not in the focus of the scholars. The poem “Lunar New Year,” included in the Bitter Paths cycle, is the artistic description of the Chinese holiday. Its content is determined by Chinese culture, and its artistic form is determined by the Russian poetic tradition. The article traces the connections of the poem with Chinese culture and philosophy, on the one hand, and with the contexts of the Russian poetry of the 19th century, expressed in poetic meters, on the other. The authors of the article examine the compositional and semantic principles of organizing a book of poems and come to the conclusion that the analyzed poem is included simultaneously in several cycles — calendar, reflecting the life of nature, and social, expressing the existential ideas of emigrants, expressed with the motives of loneliness, and fear of death, among others.
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2

Barinova, Ekaterina V. „Specifity of Translation of Sylvia Plath’s Poem “Tulips” into Russian“. World Literature in the Context of Culture, Nr. 16 (2023): 63–69. http://dx.doi.org/10.17072/2304-909x-2023-16-63-69.

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Sylvia Plath’s oeuvre, with the exception of the novel The Bell Jar, is not so well known to the Russian reader, and in this regard, the republication of the collection of her poems in Russian translations is an extremely important event. The article compares the original text of the poem "Tulips" and its translation by Vasily Betaki, published in the Russian edition of Plath’s Collected Poems. This translation is an example of fruitful "cooperation" between the poet and the translator, which has both its own merits and inevitable losses. Losing the precision and conciseness of the original, the translation partly brings the poem closer to the Russian poetic tradition, making it clearer to the Russian-speaking reader.
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Lin, Tony H. „The poet of the piano in poetry: Chopin and Russian writers Miatlev, Fet, Severianin, Pasternak and Akhmatova“. Chopin Review, Nr. 2 (27.04.2023): 26–45. http://dx.doi.org/10.56693/cr.110.

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The popular designation ‘poet of the piano’ becomes more meaningful when we understand that poets consistently turn to Chopin’s life and music for literary inspiration. Chopin’s short life – filled with nostalgia, melancholy and pain – exemplifies the Romantic notion of the suffering artist and provides fertile ground for poetry. The power of Chopin’s music – and especially the emotion it evokes – is a constant theme in the large, cross-cultural literary output on Chopin. This article samples several poetic texts by both famous and lesser-known Russian writers: Ivan Miatlev (1796–1844), Afanasii Fet (1820–92), Igor’ Severianin (1887–1941), Boris Pasternak (1890–1960) and Anna Akhmatova (1889–1966). In the poems by Miatlev, Fet and Severianin, Chopin’s music becomes emblematic of passionate love, the most frequently encountered trope. In the poems by Pasternak and Akhmatova, that music takes on a tragic dimension. Pasternak’s poem features a musical genre that Chopin pioneered, and the allusions in the poem reflect the fate of the Polish nation in the nineteenth century. The epigraph and diction in Akhmatova’s poem convey trauma and personal suffering – with which Chopin was only too familiar. Although Russia imposed oppressive policies, it was also an admirer of Polish culture, with Russians publishing complete Chopin editions and producing paintings and poems featuring Chopin and his music. When analysing these poems, it becomes clear that the tendency to characterise the relationship between Poland and Russia as one of animosity does not explain the whole picture.
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Khaliullin, Karim R. „“Hymn lyric-epic on driving out the French from the Fatherland” by G.R. Derzhavin as a prediction of the ideological turn of 1813–1815“. Philological Sciences. Scientific Essays of Higher Education, Nr. 4 (Juli 2021): 57–61. http://dx.doi.org/10.20339/phs.4-21.057.

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Based on the analysis of the poem by G.R. Derzhavin “Hymn lyric-epic on driving out the French from the Fatherland”, the article demonstrates how this text predicted the changes in the state rhetoric and ideology of the Russian Empire in 1813–1815. Creating this text as an ideological poem and developing the motive of the Russian people there, Derzhavin left the civil understanding of it widespread in poetry during the Patriotic War in which people are recognized as an autonomous figure in history, independent of either the tsar or God and gave the motive a biblical dimension: opposition of Russia and France are compared to the ontological battle of divine and demonic forces. In “Hymn lyric-epic …” the idea of messianism of the Russian people sounds louder than in other modern poems. Moreover, Derzhavin's poem was one of the first, in which the plot of the Patriotic War of 1812 is clearly, voluminously and consistently set out: from the awakening of Napoleon (“Dragon or the serpentine demon”) to the final triumph of the Russians chosen by God and led by the archangel-like Mikhail Kutuzov, and the flight of the French emperor from the borders of the Russian Empire.
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Koroleva, Svetlana B. „“On the European Events of 1854”: Dostoevsky in a Dialogue with Contemporary Poets on “Holy Russia”“. Imagologiya i komparativistika, Nr. 16 (2021): 187–206. http://dx.doi.org/10.17223/24099554/16/12.

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The major focus of the research is the content of the “Holy Russia” concept in Fyodor Dostoevsky’s poem “On the European Events of 1854”, analyzed in the context of the writer’s creative biography, as well as in the “big” context of historic, military, and political events of 1854, and the wave of poems evolved in Russian literature in response to these events. The author argues that, by the beginning of the Crimean war in 1854, Dostoevsky acquired a new understanding of himself, the Russian people, and Russia. This new understanding had, at its core, the notion of Christ’s absolute holiness, of inner connection between a person and a person through compassionate Christian love as an undoubted value, of vibrant pulse of this love in the Russian heart. No wonder, then, that the poem “On the European Events of 1854” - written by Dostoevsky in March 1854 and devoted to the political, historic, and religious situation connected with the Crimean War - comprises significant motifs characteristic of the writer’s mature works (primarily, the motif of holiness of Russian people’s ideals) and, thus, cannot be considered simply an expression of the author’s loyalty to the tsar and those in power. Two literary contexts - of military-patriotic poetry and of Slavophile poems devoted to the Crimean War - allow distinguishing between the common topics and the author’s voice in the poem. The text has three distinct parts: the first is profoundly innovative, both in the form and content, while the second and third ones basically follow the samples of Slavophile and military-patriotic poetry, correspondingly. The peculiarity of the “Holy Russia” concept, actualized in the first part of the poem, is determined by its involvement with the image of a “little man”, on the one hand, and by the significance of the motifs of self-sacrifice, sufferings, Christian love and faith, on the other. The name “Holy Russia” corresponds here to the Russian people’s historic way of shaping the state and defending it as a truly national value; it expresses the basis of the “Russian spirit”: self-sacrifice; Orthodox notions; respect for such holy things as family and motherland, the tsar and the state; the Russian people’s belief in a sort of special connection with the Lord. The analysis of the way the name “Rus’ ” functions in Dostoevsky’s other “Crimean” poem - “On the First of July 1855” - verifies the hypothesis that the writer’s concept of “Holy Russia” was formed in his poems devoted to the Crimean War.
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Caradonna, Chiara. „Mandel’štam. Rom. Pasolini“. Volume 62 · 2021 62, Nr. 1 (01.10.2021): 291–320. http://dx.doi.org/10.3790/ljb.62.1.291.

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Mandel’štam. Rome. Pasolini In 1972 a small volume presented for the first time a varied choice of poems by the Russian poet Osip Mandel’štam to the Italian public, translated by Serena Vitale. One of the book’s first and most enthusiastic readers was the poet, film director and intellectual Pier Paolo Pasolini, who immediately reviewed it for the Italian newspaper Il Tempo. This review shows the great significance that Mandel’štam’s poetry acquired for Pasolini in the very last years of his life. So much so, that the first verse of Mandel’štam’s late poem, With the world of the powerful …, became the motto of Pasolini’s last, unfinished novel Petrolio. While offering a reading of this poem by Mandel’štam, the present article investigates the reasons for Pasolini’s passionate interest in the Russian poet, and sheds light on the political dimension of both Mandel’štam’s and Pasolini’s œuvre.
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Suleimanova, Maryam Saidovna, und Mariza Magomedova. „On the adequacy of translation of the lyrics by Fazu Aliyeva into the Russian language“. Филология: научные исследования, Nr. 12 (Dezember 2021): 21–29. http://dx.doi.org/10.7256/2454-0749.2021.12.37085.

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The subject of this research is the adequacy of translation of Avar poetry into the Russian language on the example of the poem “If They Will Draw My Portrait” by the National Poet of Dagestan Fazu Gamzatovna Aliyeva. The object of this research is the lyrical works of Fazu Aliyeva and other Dagestan poets. Using the method of comparative analysis, the authors draw parallel between the Avar and Russian versions of F. Aliyeva’s poem, which has been translated by the Russian poet-translator Vladimir Turkin. The goal of this article lies in the comparative study of the lyrical poem by the Avar poet and its literary translation into the Russian language. The question of the literary translations of poetic texts from the native languages into the Russian language remains relevant at all times. The degree of accuracy and adequacy of the translation of modern or classic Dagestan poetic texts into the Russian language is yet to be fully researched. The novelty of this work consists in comprehensive analysis of the adequacy of translation of the lyrical texts of the Avar poet Fazu Aliyeva into the Russian language. The adequate professional translation into the Russian language is invaluable for the development of literature of the Caucasian peoples (and all national literatures of the peoples that are part of the Russian Federation). This helps them reach a wider readership. Juxtaposition of the original poetic text and its translation into the Russian language proves that Vladimir Turkin has achieved full adequacy of conveying the Avar text, despite the discrepancy in translating spatial details, which not in the slightest distorts the stylistic and emotional-expressive peculiarities inherent to the poem by the Dagestan poet Fazu Aliyeva.
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Maisak, Timur. „A linguistic analysis of several Avar poems by Rasul Gamzatov“. Rodnoy Yazyk. Linguistic journal, Nr. 2 (Dezember 2023): 78–101. http://dx.doi.org/10.37892/2313-5816-2023-2-78-101.

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The article presents a linguistic analysis of two poems written by well-known Avar poet Rasul Gamzatov, namely “The Cranes” (/q’unq’rabi/, ca. 1965) and “The White Cranes” (/qaħal q’unq’rabi/, 1971). Both were originally written in Avar, but the earlier poem also became widely known in the Russian translation by Naum Grebnev (1968). Additionally, a third poem by Gamzatov, written on a similar topic and with one stanza fully identical to the corresponding stanza of “The Cranes”, is also taken into consideration. All three poems are presented in a unified format, as glossed texts comprising three lines: the linguistic transcription of the Avar text, interlinear morphemeby-morpheme glossing, and a close-to-literal Russian translation. The Avar texts are also given in the original Cyrillic orthography. As the comparison of these poems shows, “The Cranes” and “The White Cra‑ nes” are in fact two versions, one earlier, one later, of the same poem. The later version is also closer to the Russian translation by Grebnev. From the standpoint of structure and content, both poems resemble the song version of “The Cranes”, which appeared in 1969 as a shorte‑ ned and slightly edited version of Grebnev’s translation. Interestingly, the full original version of “The Cranes” in Avar (including the two stanzas which were left out of the song version) appears to have never been published.
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Sewell, Frank. „“Going Home to Russia”? Irish Writers and Russian Literature“. Studia Celto-Slavica 1 (2006): 239–51. http://dx.doi.org/10.54586/vrzx4817.

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The poet Josef Brodski once wrote: ‘I’m talking to you but it isn’t my fault if you can’t hear me.’ However, Brodski and other Russian writers, thinkers and artists, continue to be heard across gulfs of language, space and time. Indeed, the above line from Brodski forms the epigraph of ‘Travel Poem’, originally written in Polish by Anna Czeckanowicz. And just as Czeckanowicz picks up on Brodski’s ‘high talk’ (as Yeats might call it), so too do Irish writers (past and present) listen in, and dialogue with, Russian counterparts and exemplars. Some Irish writers go further and actually claim to identify with Russian writers, and/or to identify conditions of life in Ireland with their perception of life in Russia. Paul Durcan, for example, entitled a whole collection of poems Going Home to Russia. Russia feels like ‘home’ to Durcan partly because he is one example of the many Irish writers who have listened in very closely to Russian writing, and who have identified with aspects of what they find in Russian culture. Another example is the poet Medbh McGuckian who has looked to earlier Russian literature for examples of women artists who ‘dedicated their lives to their craft’, who ‘never disgraced the art’, who created timeless works in the face of conflict and suffering: she refers particularly to Anna Akhmatova and, especially, Marina Tsvetaeva. Contemplating and dialoguing with her international sisters in art, McGuckian finds a means of communicating matters and feelings that are ‘closer to home’, culturally and politically (including the politics of gender). Ireland’s most famous poet Seamus Heaney has repeatedly engaged with Russian writings: especially those of Anton Chekhov and Osip Mandelstam. The former is recalled in the poem ‘Chekhov on Sakhalin’, a work taut with tension between an artist’s ‘right to the luxury of practising his art’, and the residual ‘guilt’ which an artist may feel and only possibly discharge by giving ‘witness’, at least, to the chains and flogging of the downtrodden. On the other hand, Mandelstam, for Heaney, is a model of artistic integrity, freedom and courage, a bearer of the sacred, singing word, compared by the Irish poet to an on-the-run priest in Penal days. In this conference paper, I will outline some of the impact and influence that Russian writers have had on Irish writers (who write either in English or in Irish). I will point to some of the lessons and tactics that Irish writers have learnt and adopted from their Russian counterparts: including Cathal Ó Searcaigh’s debt to Yevgenii Yevtushenko, Máirtín Ó Cadhain’s to Maxim Gorki, Máirtín Ó Direáin’s to Aleksandr Blok, and Padraic Ó Conaire’s to Lev Tolstoi, etc.
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Botvinova, E. D. „Nayman, A. (2023). Russian Long Poem. Moscow: Alpina non-fiction. (In Russ.)“. Voprosy literatury, Nr. 3 (07.06.2024): 194–97. http://dx.doi.org/10.31425/0042-8795-2024-3-194-197.

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Anatoly Nayman’s Russian Long Poem is devoted to six landmark works of Russian literature: opening with a discussion of I. Bogdanovich’s Dushenka, A. Pushkin’s The Bronze Horseman [Medniy vsadnik], and N. Nekrasov’s Red-Nosed Frost [Moroz, Krasniy nos], the book goes on to analyze 20th-c. experimental long poems, including V. Mayakovsky’s A Cloud in Trousers [Oblako v shtanakh], A. Blok’s Dvenadtsat [The Twelve], and A. Akhmatova’s Poem without a Hero [Poema bez geroya]. The author proposes a new angle for viewing the poems, shifting the reader’s focus from preconceived interpretations to the poetics of the texts, which function primarily as a cultural rather than historical fact. Nayman’s book shows accurate appreciation of the uninterrupted tradition passed down among the poems and points out their ties with a common European context, such as C. Baudelaire’s poetry or Dante’s Divine Comedy. The author details the development of poetic writing, its form and meaning determined by cultural and historical circumstances.
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Dissertationen zum Thema "Poem in Russian"

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Lane, Tora. „Rendering the Sublime : A Reading of Marina Tsvetaeva's Fairy-Tale Poem The Swain“. Doctoral thesis, Stockholm : Visby : Acta Universitatis Stockholmiensis ; Eddy.se [distributör], 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-31163.

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Дуброва, О. В. „The Peculiarities of Ukrainian and Russian Translations of Walt Whitman's Poems“. Thesis, Cумський державний університет, 2016. http://essuir.sumdu.edu.ua/handle/123456789/46466.

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The literary translation is the kind of the creation during which a literary work in one language is translated into other one. The specific character of the literary translation is on the one hand in its place among other kinds of translation and on the other hand in its correlation with the original literary creation. The literary translation deals not only with the language in its communicative function. Here a word is the first and the most important element of the literature that is in its aesthetic function. There is a difficult process between the initial stage and the result of the translation. So translation is the kind of activity where necessary linguistic knowledge and the translator’s initiative are united in one whole part.
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Cliffe, Alan. „Of Earth And Sky: Lev Tolstoy As Poet And Prophet“. Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232032249.

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Thesis (M.A.)--Cleveland State University, 2008.
Abstract. Title from PDF t.p. (viewed on Apr. 16, 2009). Includes bibliographical references (p. 48-50). Available online via the OhioLINK ETD Center. Also available in print.
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KRASNIKOVA, ANNA. „Redazioni e varianti del poema Uljalaevščina di Il’ja Sel’vinskij“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58415.

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La tesi ricostruisce la complessa vicenda della scrittura e pubblicazione del celebre poema Uljalaevščina di Il’ja Sel’vinskij. La stesura dell’opera, le sue riscritture e pubblicazioni non sono mai state oggetto di indagine, perciò il lavoro della dott.ssa Krasnikova, basato su fonti sia d’archivio sia a stampa, costituisce il primo studio sistematico della storia del poema che analizza tutte le fonti pubblicate e d’archivio conosciute attualmente (la maggior parte delle quali non è mai stata studiata prima) e utilizza sia i metodi tradizionali della critica del testo sia gli strumenti digitali. Con il suo lavoro di ricerca la dott.ssa Krasnikova ha individuato e stabilito tutte le versioni del testo del poema, e anche gli altri materiali che possono far luce sulla storia del poema; successivamente, ha descritto e analizzato le versioni, definito il tipo e il grado delle differenze tra le varianti, cercando di capire i motivi dei mutamenti. Tra i risultati della ricerca spiccano la creazione dell’elenco di tutte le versioni del poema e dei suoi frammenti (38 testi in totale) e la costruzione di un corpus digitale delle versioni di Uljalaevščina.
The thesis reconstructs the complex story of the creation and publication of the famous Uljalaevščina, a poem by Ilya Selvinsky. The issue has never been studied, so the work of Anna Krasnikova, based on archival and published sources, constitutes the first systematic study of the history of the poem. The author analyzes all the published and archival sources currently known (most of which have never been studied before) and uses traditional methods of text criticism and digital tools. The author has identified and established all the versions of the text of the poem, as well as other materials that can be useful for the reconstruction of the history of the poem; she has described and analyzed all he versions, defined the type and degree of differences between the variants, trying to understand the reasons for the changes. Among the research results are the creation of a list of all the versions of the poem and its fragments (38 texts in total) and the construction of a digital corpus of the versions of Uljalaevščina.
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KRASNIKOVA, ANNA. „Redazioni e varianti del poema Uljalaevščina di Il’ja Sel’vinskij“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58415.

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La tesi ricostruisce la complessa vicenda della scrittura e pubblicazione del celebre poema Uljalaevščina di Il’ja Sel’vinskij. La stesura dell’opera, le sue riscritture e pubblicazioni non sono mai state oggetto di indagine, perciò il lavoro della dott.ssa Krasnikova, basato su fonti sia d’archivio sia a stampa, costituisce il primo studio sistematico della storia del poema che analizza tutte le fonti pubblicate e d’archivio conosciute attualmente (la maggior parte delle quali non è mai stata studiata prima) e utilizza sia i metodi tradizionali della critica del testo sia gli strumenti digitali. Con il suo lavoro di ricerca la dott.ssa Krasnikova ha individuato e stabilito tutte le versioni del testo del poema, e anche gli altri materiali che possono far luce sulla storia del poema; successivamente, ha descritto e analizzato le versioni, definito il tipo e il grado delle differenze tra le varianti, cercando di capire i motivi dei mutamenti. Tra i risultati della ricerca spiccano la creazione dell’elenco di tutte le versioni del poema e dei suoi frammenti (38 testi in totale) e la costruzione di un corpus digitale delle versioni di Uljalaevščina.
The thesis reconstructs the complex story of the creation and publication of the famous Uljalaevščina, a poem by Ilya Selvinsky. The issue has never been studied, so the work of Anna Krasnikova, based on archival and published sources, constitutes the first systematic study of the history of the poem. The author analyzes all the published and archival sources currently known (most of which have never been studied before) and uses traditional methods of text criticism and digital tools. The author has identified and established all the versions of the text of the poem, as well as other materials that can be useful for the reconstruction of the history of the poem; she has described and analyzed all he versions, defined the type and degree of differences between the variants, trying to understand the reasons for the changes. Among the research results are the creation of a list of all the versions of the poem and its fragments (38 texts in total) and the construction of a digital corpus of the versions of Uljalaevščina.
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SARRACCO, ROBERTO. „POGOREL'ŠČINA (TERRA BRUCIATA) DI N.A. KLJUEV: TRADUZIONE E COMMENTO DEL POEMA“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3679.

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Il lavoro propone la traduzione annotata del poema “Pogorel'ščina“ (Terra bruciata, 1928), una delle ultime opere di Nikolaj Alekseevič Kljuev (1884-1937), inedita fino al 1954, e mai apparsa in lingua italiana. La traduzione si mantiene il più possibile aderente al testo originale, che accosta il registro basso del canto popolare e quello alto letterario, liturgico ed epico. Le note al testo illustrano gli arcaismi e i localismi, tipici del linguaggio kljueviano, e approfondiscono alcuni motivi legati al folklore e alla tradizione ortodossa così come a quella vecchio-credente e settaria. Completano il lavoro i dati relativi alla storia redazionale del poema, la cronologia della vita e delle opere dell'autore, fra i protagonisti della cosiddetta “Età d’argento” della poesia russa novecentesca, e un’appendice iconografica.
Our work offers a commented translation of the poem “Pogorel'shchina“ (The Burned Ruins, 1928), one of Nikolai Alekseevich Klyuev’s (1884-1937) last works. It was composed in 1928, remained unpublished until 1954 and was never translated into Italian. In our translation, we have endeavoured to adhere to the original lexicon and syntax of the original text, which combines the low register of the folk songs with the upper, liturgical and epic register. In our notes to the text we illustrate the archaisms and localisms that are typical of Klyuev’s language and explore motifs related to the folklore, to the Orthodox tradition as well as to the Old Believers’ and sectarian tradition. Finally, our work includes the redactional history of the poem, the chronology of the life and works of the author, one of the protagonists of the so called “Silver Age“ of XXth century Russian poetry, and an iconographic appendix.
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SARRACCO, ROBERTO. „POGOREL'ŠČINA (TERRA BRUCIATA) DI N.A. KLJUEV: TRADUZIONE E COMMENTO DEL POEMA“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3679.

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Annotation:
Il lavoro propone la traduzione annotata del poema “Pogorel'ščina“ (Terra bruciata, 1928), una delle ultime opere di Nikolaj Alekseevič Kljuev (1884-1937), inedita fino al 1954, e mai apparsa in lingua italiana. La traduzione si mantiene il più possibile aderente al testo originale, che accosta il registro basso del canto popolare e quello alto letterario, liturgico ed epico. Le note al testo illustrano gli arcaismi e i localismi, tipici del linguaggio kljueviano, e approfondiscono alcuni motivi legati al folklore e alla tradizione ortodossa così come a quella vecchio-credente e settaria. Completano il lavoro i dati relativi alla storia redazionale del poema, la cronologia della vita e delle opere dell'autore, fra i protagonisti della cosiddetta “Età d’argento” della poesia russa novecentesca, e un’appendice iconografica.
Our work offers a commented translation of the poem “Pogorel'shchina“ (The Burned Ruins, 1928), one of Nikolai Alekseevich Klyuev’s (1884-1937) last works. It was composed in 1928, remained unpublished until 1954 and was never translated into Italian. In our translation, we have endeavoured to adhere to the original lexicon and syntax of the original text, which combines the low register of the folk songs with the upper, liturgical and epic register. In our notes to the text we illustrate the archaisms and localisms that are typical of Klyuev’s language and explore motifs related to the folklore, to the Orthodox tradition as well as to the Old Believers’ and sectarian tradition. Finally, our work includes the redactional history of the poem, the chronology of the life and works of the author, one of the protagonists of the so called “Silver Age“ of XXth century Russian poetry, and an iconographic appendix.
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Metlica, Alessandro. „Giovan Battista Casti, "Il poema tartaro". Edizione critica e commento“. Doctoral thesis, Università degli studi di Padova, 2013. http://hdl.handle.net/11577/3423629.

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My thesis is a critical edition of the Poema tartaro by the libertine abbot Giovan Battista Casti (1724-1803). This work is a long octave poem, which satirizes, in accordance with the rules of the mock-heroic genre, Catherine II’s Russian court, where the author lived for years (1776-1779) as a member of the Hapsburg diplomacy. Although Casti was the Austrian court’s official poet, his work never received the authorization to be printed: the emperor Joseph II, after his 1781 alliance with Russia, forbade in fact the publication of a poem whose theme was explicitly against his new ally. Still, Casti’s text circulated widely in form of both manuscript copies and unauthorised (as well as defective) printed ones. A thorough analysis of these materials led to main findings: the version of the poem that Casti realized for the emperor in 1786, including 84 new stanzas, missing in the nineteenth-century pirate printed editions of the poem. Along with the critical edition of the text, my thesis provides a broad commentary on the poem. The commentary is essential in order to illustrate the different perspectives from which the text can be approached. Sure enough, one of the components peculiar to the Poema Tartaro is the continuous overlap of elements that draw on different historical moments: even if the main scenery of the plot is the thirteenth-century Mongolian Empire, ruled by Genghis Khan, there are in fact several references to the nineteenth-century Russia of Catherine II. This strategy aims to present Russia allegorically as a country of perennial savagery. Depicting Petersburg as if it were the lost city of Karakorum and the czarina Catherine as a despotic and “oriental” sovereign, Casti contrasts the French Illuminists’ vision (in particular Voltaire’s) of nineteenth-century Russia as a model for the European Enlightenment. The thesis is completed by an index of the different historical transvestisms used by Casti to assign to every character in Catherine’s court a counterpart in the Mongolian scenery. Furthermore, the index is conceived as a tool to analyse the correlated controversies that inform the whole poem.
Il presente lavoro consiste nell’edizione critica del Poema tartaro dell’abate libertino Giovan Battista Casti (1724-1803). Si tratta di una lunga narrazione in ottave che, secondo i dettami del genere eroicomico, offre una satira della corte di Caterina II di Russia, che l’autore aveva visitato tra il 1776 e il 1779 al seguito del corpo diplomatico absburgico. Il testo non approdò mai a una stampa autorizzata da Casti: l’alleanza firmata da Austria e Russia nel 1781 convinse l’imperatore Giuseppe II, presso cui l’abate si era collocato come poeta di corte, a proibire la pubblicazione del poema, che circolò a lungo manoscritto oppure in stampe incomplete e difettose. Un esame puntuale di questa tradizione ha condotto all’isolamento del codice che Casti fece redigere per la lettura imperiale del 1786 e all’acquisizione di 84 ottave assenti dalle stampe ottocentesche. All’edizione criticamente condotta di questi materiali segue un ampio commento, teso a illustrare i molteplici livelli di lettura del testo. Peculiarità del Tartaro, infatti, è la permeabilità tra XVIII e XIII secolo, tra Russia cateriniana e Impero mongolo: la vicenda, pur essendo ricca di allusioni alla politica e alla vita di corte sotto Caterina, è trasportata allegoricamente ai tempi di Gengis Khan, al fine di mostrare lo stato di perenne barbarie della società russa. Ritraendo Pietroburgo come la perduta Karakorum, e Caterina come una sovrana dispotica e “orientale”, Casti si poneva in contradditorio con Voltaire e con gli illuministi francesi, che nella Russia cateriniana avevano visto, al contrario, un punto di riferimento per l’Europa dei Lumi. Il nostro lavoro riporta, in appendice, l’indice dei travestimenti storici predisposto dall’autore, e utilizza questi materiali per un esame rigoroso degli obiettivi polemici del poema.
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Ewington, Amanda. „A Voltaire for Russia? : Alexander Petrovich Sumarokov's journey from poet-critic to Russian philosophe /“. 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3006491.

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Urbaszewski, Laura Shear. „Creating the first classic poet of socialist realism : Mayakovsky as a subject of 'celebration culture' 1935-1940 /“. 2002. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3048429.

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Bücher zum Thema "Poem in Russian"

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Akhmatova, Anna Andreevna. Poem without a Hero and Selected Poems. Oberlin, USA: Oberlin College Press, 1989.

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Erofeev, Venedikt. Moscow stations: A poem. London: Faber and Faber in association with Brian Brolly, 1997.

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Wanner, Adrian. Russian minimalism: From the prose poem to the anti-story. Evanston, IL: Northwestern University Press, 2003.

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Gogolʹ, Nikolaĭ Vasilʹevich. Dead souls: An epic poem. London: Garnett Press, 2008.

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Panofsky, Ruth. Laike and Nahum: A poem in two voices. Toronto: Inanna Publications and Education, 2007.

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John, Milton. Paradise lost: A poem in twelve books. Indianapolis, IN: Hackett Pub. Co., 2003.

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Rössel, Carol-Lynn. Russian journeys: Poems. Georgetown, Ky: Finishing Line Press, 2012.

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John, Milton. Paradise lost: A poem written in ten books. Pittsburgh, Pa: Duquesne University Press, 2007.

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Ewington, Amanda. A Voltaire for Russia: A. P. Sumarokov's journey from poet-critic to Russian philosophe. Evanston, Ill: Northwestern University Press, 2010.

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Orlit︠s︡kiĭ, I︠U︡ B. Stikh i proza: Print︠s︡ipy analiza literaturnogo proizvedenii︠a︡ : uchebnoe posobie. Samara: SPGU, 2003.

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Buchteile zum Thema "Poem in Russian"

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Di Leo, Donata. „Преломление образа Фауста у Вячеслава Иванова“. In Biblioteca di Studi Slavistici, 137–46. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-910-2.16.

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In 1993 Michael Wachtel published Ivanov’s Russian Faust, comprising two scenes that appear to continue Goethe’s Faust and most likely represent the beginnings of a Faust drama. Ivanov was the first Russian poet to reevaluate the second part of Goethe’s poem for its extremely symbolic content. As a result, he was considerably influenced by Goethe’s creative experience. This article examines these two Faustian scenes and, more generally, the influence of Goethe’s Faust in Ivanov’s work; adopting a comparative approach, we explore the assimilation into Russian literature of a Central European myth.
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Tolstaya, Elena. „«Этот хозяин все государство держить»: украинские мотивы в Педагогической поэме А.С. Макаренко“. In Biblioteca di Studi Slavistici, 185–201. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.17.

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Ukrainian motifs in A. S. Makarenko’s Pedagogical Poem. Makarenko’s Pedagogical Poem in the Stalin era was perceived as a eulogy to the collective, while in late Soviet times the dominance of the collective and the tendency to violent solutions already irritated the Russian reader. The German historian Goetz Hillig saw Makarenko as a world pedagogical genius, created his scientific biography, and published a scholarly edition of his writings in German. Elena Tolstaya looks at The Poem, set in post-revolutionary Ukraine, in the aspect of Russian-Ukrainian bilingualism, and looks for possible responses to the actualities of the late 20s – early 30s.
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Poutsileva, Larisa. „Рецепция ренессансной поэмы Песня о зубре Николая Гусовского в Беларуси и проблемы её перевода“. In Biblioteca di Studi Slavistici, 301–13. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-723-8.25.

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In the modern multi-linguistic concept of Belarus culture, neo-latin poetry represents an important component. The inclusion in the 1960s of the Latinist poet Nikolai Gusovskij, alongside other Renaissance poets, in Belarusian literature contributed to the growth of the national consciousness of the Russified and Sovietized Belarusians. However, the first translations of The Poem of the Bison in Belarusian and Russian, which showed clear signs of a tendentiousness aimed at adapting the text to the socio-political situation of Soviet times, remain canonical, despite the presence of new translations.
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Altshuller, Mark. „Pushkin’s ‘Ruslan and Liudmila’ and the Traditions of the Mock-Epic Poem“. In The Golden Age of Russian Literature and Thought, 7–24. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22310-7_2.

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Jaworska, Krystyna. „L’Europa di Kazimiera Iłłakowiczówna“. In Biblioteca di Studi Slavistici, 169–77. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-910-2.19.

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This article explores Kazimiera Iłłakowiczówna’s poem Wyznanie (Admission) in light of the author’s multilingual education and constant movement across national borders. Iłłakowiczówna, who was opposed to nationalism approaches and considered Polish tradition to be of a piece with European culture, translated into Polish several masterpieces from French, English, German, Russian, Romanian, and Hungarian literary traditions. In order to demonstrate the role that different literary traditions and the visual arts played in writings such as Wyznanie, we also investigate Iłłakowiczówna’s paratexts – her memoirs, talks, and letters.
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Gregoratti, Leonardo. „Chapter 25. “Parthian” women in Vīs and Rāmīn“. In The Reality of Women in the Universe of the Ancient Novel, 396–406. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ivitra.40.25gre.

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A few decades ago in a series of articles, the Russian orientalist Vladimir Minorsky argued that the Persian romance novel Vīs u Rāmīn by As’ad Gurgānī re-elaborated materials derived from the court minstrel tradition of the Parthian period noble houses. His assumption was mainly based on the political system described in the poem. Enlarging the scope of the investigation this paper aims at connecting what is known about the role of women at the Arsacid court with the prominent role of women as decision makers in the novel.
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Hetényi, Zsuzsa. „‘Russia has so far given humanity nothing but samovars’“. In Translating Russian Literature in the Global Context, 147–70. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.09.

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This essay aims to describe the main trends in the Hungarian reception of translated Russian literature from the beginning of the nineteenth century to the twentieth, when I will discuss the problems relevant to the Socialist era. I will trace the translation journey through four periods, starting in the 1820s with indirect translations from German or French, and ending with direct versions from Russian. I list translations of both major and obscure nineteenth- and twentieth-century authors, paying special attention to the early Socialist movement and later, after the Second World War, to state ideology, when the “Muscovites”, Hungarians returning from Soviet emigration, played a leading role. The historical cataclysms of both wars and of the 1956 Hungarian uprising were followed by renewed totalitarian sanctions until a cultural thaw under János Kádár (in power 1956-88). This essay concludes with three brief case studies on the translation of censored Russian authors and samizdat, from my own direct experience as a translator. The first case study concerns Evtushenko’s poem ‘Babii Iar’; the second studies how various novels by Nabokov were accepted or rejected for Hungarian translation, drawing upon internal reports (now kept in closed archives of the Literary Museum) commissioned by Hungary’s only foreign-language publisher, Európa. The last case study describes my involvement in the Hungarian translation of Bulgakov’s The Heart of a Dog in 1986.
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Sinichkina, Daria. „Entre mythe et histoire, syncrétisme et fracture, universalité et russité: le recueil Mednyj Kit (Baleine de bronze) au coeur de l’esthétique révolutionnaire de Nikolaj Kljuev“. In Biblioteca di Studi Slavistici, 235–57. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-507-4.18.

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Soon after greeting the February revolution, Klyuev turns to an aesthetic of violence and disruption. In the poetic cycle Medny Kit (1918), the utopia of “peasant paradise” stems from the apocalyptic destruction of old Russia. While the poet contemplates the cyclicity of Russian history, the lyrical subject comes transfigured out of the “red” baptism, identifying himself simultaneously to Rasputin and Avvakum. As the cycle captures the brutal melody of the times, the lyric genre is pushed to its limit – polyphony, which announces the transition to narrative and epic poetry.
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Andrew, Joe. „Pushkin’s Southern Poems“. In Narrative and Desire in Russian Literature, 1822–49, 11–49. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22679-5_2.

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Rubins, Maria. „“A ‘Third-Rate Rhymer’ … but a Poet of Genius”: Lermontov and Russian Montparnasse“. In Russian Montparnasse, 165–77. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137508010_11.

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Konferenzberichte zum Thema "Poem in Russian"

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Kashina, Alena. „The poem “Sat” by Jovan Ducic in Russian translations“. In The Slavic world: Commonality and Diversity. Institute of Slavic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.31168/2619-0869.2023.3.12.

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Nikolaeva, S. „THE NATIONAL HISTORICAL CONCEPT OF RUSSIA IN Y.P. KUZNETSOV'S POEM “FEDORA”“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3741.rus_lit_20-21/261-265.

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The article deals with historiosophical meaning of the verses by J.P. Kuznetsov “Fedora”. It is concluded that the poet defines the essence of the current historical moment in the fate of Russia in 1993, outlines historical Parallels with previous eras, enters into a polemic with Chaadaev and Vyazemsky, develops the ideas of Dostoevsky and Blok. In the center of attention Yu.P. has the way of Russia in world history, the “Russian idea”, which is not a movement in a circle or on a curve, without a goal, as Chaadaev believed, not trampling on the spot, but a conscious and bequeathed by the ancestors of standing on their own, forward movement through disasters and rebirth. The poet's idiostyle is subordinate to the solution of this artistic problem.
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Trofimov, Artem. „Multilingualism in the heroic poem by Feofan Prokopovich “Epinicion”“. In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.32.

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The paper focuses on three versions of Feofan Prokopo-vich’s heroic poem “Epinikion” (in Slavonic, Polish and Latin). These different versions are analyzed in their correlation with Russian and European linguistic and cultural context. Differences in the functioning of ancient and chistian cultural elements of the three texts have been revealed in the research.
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Nazarova, I. „THE IMAGE OF BAM IN RUSSIAN LITERATURE OF 1970-1980’S“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3716.rus_lit_20-21/162-166.

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The construction of Baikal-Amur Mainline gave birth to such unique esthetic phenomenon as BAM literature, that became an indispensable part of the literary process of the second part of the twentieth century (this phenomenon has not been a popular subject of scholarly attention and still awaits for its researcher). BAM literature enriched and diversified the thematic repertoire of famous writers’ oeuvre. During the years of mainline construction BAM was visited by L. Oshanin, Y. Evtushenko, R. Rozhdestvensky, bard-poets N. Dobronravov, M. Plyatskovsky, N. Reznik and many others. Their poems and narrative poems comprised such book collections as Signature of the Century (1976), Mainline (1977), Railroad Joining ( Stykovka) (1984), the Flowers of Labrador Tea (2004). «The construction of the century» was also depicted by children’s writers: N. Hodza («BAM Is a Ringing Word», 1978), Z. Aleksandrova («Letters from BAM», 1980), Y. Marysaev («Blue Railroads», 1983) and others. The object of the current article is Y. Evtushenko’s narrative poem the Glade (Proseka) , that was ambiguously treated by leading Russian literary scholars as well as by the BAM authors. The poem is analyzed in the context of the industrial theme, that took its origin in the oeuvre of V. Mayakovsky and BAM literature with its unique set of images, motives and intonations.
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Shuang, Xu. „“I SING MY FAVORITE WORDS ON MY OWN”": A POEM BY VLADIMIR KUCHERYAVKIN AMONG RUSSIAN POETIC “MONUMENTS”“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3721.rus_lit_20-21/178-181.

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The article analyses the poem “A Monument. Here he stands shaking his head...” as a vivid example of intertextual poetics; works connected with the tradition of Horatian “monuments” - poems by Yesenin and Mayakovsky addressed to Pushkin, as well as “Give Tyutchev a dragonfly...” by Mandelstam are considered as pre-texts.
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Tikhomirova, A. „PARNASSIAN SIGN IN THE LYRICS OF THE FIRST WAVE OF EMIGRATION. THREE POEMS (V. KHODASEVICH, G. IVANOV, YU. TERAPIANO)“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3756.rus_lit_20-21/333-336.

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The article is devoted to the problem of continuity of Parnassianism in the oeuvre of poets of the first wave of emigration and it is based on material of an analysis of three poems by V. Khodasevich, G. Ivanov and Yu. Terapiano. The poetic controversy between Khodasevich and G. Ivanov in the early 1920s revolved around different views on the role of the poet in difficult historical times, as well as around the dispute about where art comes from, from above or from the soul of the poet. Ideas close to the views of G. Ivanov stemmed from the views of his teacher N. Gumilev, expressed in his article about Theophile Gautier. Already in the 1930s, the same ideas resonated in the work of Yu. Terapiano. He creates a cycle of poems “French Poets”. The Parnassian poet Leconte de Lisle in his poem subordinates the feelings and the world around him in difficult times when “there is no support”.
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Popova, T. A. „IMAGES-SYMBOLS OF MEN’S AND WOMEN’S WORLDS IN RUSSIAN TRANSLATIONS OF SILVIA PLATH’S POEM «DADDY»“. In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-133.

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Ivanova, S. V., und I. I. Kuz'mina. „The first Yakut female pilot to whom a poem was dedicated“. In XXI All-Russian Scientific and Practical Conference young scientists, graduate students and students in Neryungri, with international participation. Tekhnicheskogo instituta (f) SVFU, 2020. http://dx.doi.org/10.18411/tifsvfu-2020-c2-157-74.

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Redkin, V. „THE ROMANTIC BASIS IN THE POEM “SONG ABOUT THE DEATH OF THE COSSACK ARMY” BY P. VASILIEV“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3706.rus_lit_20-21/118-122.

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The author examines one of the most striking works of P. Vasiliev - the poem “The Song about the death of the Cossack army” (1928-1932), which widely demonstrates the possibilities of a romantic poem. P. Vasiliev is undoubtedly a representative of the recreating type of creativity. At the same time, the romantic nature of the work is manifested not only in the characteristic poetics: bright unusual images, saturation of the text with metaphors and symbols, fragmentary composition, rhythmic diversity, shifts of stressed syllables and stylization of folk verse, but also in the vivid personal characteristics of the characters, their confrontation with cruel reality. They are passionate natures capable of deep love and hatred, nobility and cruelty. The poet develops the Blok tradition by referring to the symbol, making extensive use of complex chains of associations. Vasiliev also uses the artistic experience of the revolutionary romantic poem of the 20s.
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Demkina, Y. R. „THE POETRY OF EDWARD ESTLIN CUMMINGS IN RUSSIAN TRANSLATIONS: THE POEM «PITY THIS BUSY MONSTER, MANUNKIND»“. In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-134.

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