Academic literature on the topic 'Mandelstam principle'

The article considers “The Octaves” by O.E. Mandelstam as the unique complex of genre and theme connected not only with the literary but also with the philosophical influence of J.W. Goethe on the Mandelstam’s poetry. It is proved that Mandelstam enters the consensual dialogue with Goethe because at the time of creating the studied cycle of poems, at the beginning of 1930s, Mandelstam’s interest in scientific theories, especially in biology and history reached its pinnacle. Mandelstam’s “The Octaves”, “Lamarck” are compared with scientific works of J.W. Goethe as well as with his sciencerelated poetry, in particular with “Metamorphosis of Plants”. Imaginative homology of both poets, convergence of their plots and trope functions are demonstrated. All this undoubtedly proves that Mandelshtam was affected by Goethe’s beliefs reflected in his ideology and ideopoetic. It is shown how the feeling of spiritual connection with Goethe which Mandelstam had, especially after his journey to Armenia (and acquaintance with biologist B. Kuzin) is converted into aesthetic world view and poetic principles. It brightly manifests itself in lyrical ontology of such “The Octaves” like: “Both Schubert on the waters and Mozart in birds’ chirping...”, “When having destroyed a draft...”, “Oh, Moslem-butterfly...”, “And the jagged bough of a maple-tree...”.

This article is dedicated to the 100th anniversary of the publication of Osip Mandelstam’ “Tristia”. The relevance of this research lies in the anthropological vector of contemporary linguistics, which focuses its attention on the studies of authorial linguistic personality within their world-image. The anthropocentricity of Mandelstam’s poetry can be seen in his active use of lexemes with the semantics of visual, auditory, olfactory, gustatory, and tactile sensations. This article aims to study the structural and semantic content of sensory images in Mandelstam’s poetry. The objectives include estimating the influence of the text’s genre on author’s representation of sensations and experiences. The theoretical part discusses the methodological foundations of the study and highlights the factors influencing the interpretation of creative works. In the practical part, the author describes the methods of lexicalization of the complex of sensory images, connected by an ideological and semantic commonality with the category of emotivism. The sphere of artistic perception is illustrated by quotations from poems. The conclusion presents the results of a contextual analysis of different types of sensations embodied in verbal data. The study of the composition and structure of text units is based on such parameters as the way of perception (sight, hearing, touch, smell, taste), the principle of describing the lyrical situation (direct — figurative), and the principle of relating to different spheres of life (physi­cal, mental, social). The conclusions are the following: 1) in the analyzed material, semantic relations in the field of perception are closely connected with the idea of gravity; 2) lexical means of expressing sensory impressions have a metaphorical and metonymic motivation; 3) sensory complexes are formed at the intersection of visual, acoustic, tactile, olfactory, gustatory images (the listing corresponds to the descending order of word usage); 4) synthetic combination of individual aspects of sensory perception is carried out in various forms (agglutination, amplification, word typing); 5) repeating the Ovid’s genre experiment, Mandelstam created an ori­ginal literary and historical metaphor, through which he told, with his characteristic creative courage, about his time and about himself, using the impressive possibilities of the language as a means of poetic thought.

<p>The article approaches the problem of the correlation between the lyrical persons &ldquo;I&rdquo;, &ldquo;You&rdquo;, &ldquo;She&rdquo; in the poem <em>Silentium</em> by Mandelstam. Special attention is paid to the difference between the lyrical &ldquo;She/It&rdquo; (the original muteness, the first principle of life) and the lyrical &ldquo;You&rdquo; (the word, the heart, Aphrodite). The composition of the poem is remarkable for its mirror symmetry, both in terms of sound organization and semantics. The main idea of the poem is a return to the &ldquo;first principle of life&rdquo; through the acquisition of &ldquo;initial muteness&rdquo; by the lyrical &ldquo;I&rdquo;. In this situation, poetry turns out to be both paradoxical and transparadoxical reality, since the demand for &ldquo;silence!&rdquo; is implemented by means of the language (word).</p>

Abstract A formulation of gravitation theory originally proposed by Mandelstam is re-examined. The idea is to avoid the use of coordinates while staying in the continuum. This is accomplished by regarding a point as the end of a path. The theory is then formulated in the space of all paths. The analysis relies on the properties of path deformations. These deformations play the role of gauge transformations in path space. Their algebra is established. It closes if and only if the defining conditions of a riemannian geometry hold (Bianchi identity and vanishing of the antisymmetric part of the Riemann tensor in three of its indices). Two problems faced by Mandelstam are solved: (i) An explicit formula is given which establishes when two neighboring paths end at the same point, (ii) An action principle is given, in terms of a functional integral over path space. It is also indicated how to reconstruct the metric from the curvature through gauge fixing in path space. Brief comments are offered on the possibility of developing an invariant description of loops regarded as boundaries of two-dimensional surfaces.

The object of the study is Mandelstam’s article Conversation about Dante, considered in a psycholinguistic perspective. The article puts forward a hypothesis that the problem of the genesis of a poetic text in Mandelstam’s metapoetics has its ontological justification in the idea of inner word. Such a connection can be explained by the fact that the literary text is considered by Mandelstam in its genetic dimension — from the standpoint of the generation of literary speech. Mandelstam’s focus on the genetic aspect of the birth of a word leads to regular intersections of the poet’s searches with the psychological concepts of inner speech. So, firstly, the inner image of the verse, which, according to Mandelstam, stands at the beginning of the poetic text, is typologically related to the inner word. Both phenomena are correlated with pre-text / pre-speech stage, have a double representation as image and the word, and are primarily manifested in the articulatorysyntactic code. Secondly, the principles of unfolding turn out to be common to the inner word and the artistic word, taken in its genetic aspect. Just as the “clot of personal meanings” (Vygotsky) in its deployment moves from the primary ‘synsemantic’ stage to verbal differentiation, so the “compositional clot” (Mandelstam), initially arising as a single semantic impulse, unfolds in the level space of the language. Thirdly, both the inner word and the artistic integrity postulated by Mandelstam exist in a special spatial modus, which is characterized by semantic simultaneity and the absolute dominance of semantics over syntax. Fourthly, the finished speech product is understood by Mandelstam both as a result and as a process, which, on the one hand, leads to the aesthetics of a draft, and on the other hand, matches Mandelstam’s ideas with the concepts of inner speech, where the remnants of the primary semantic syntax are found.

In the essay “Conversation about Dante,” Mandelstam described logic, which he defined as the “realm of unexpectedness,” which is unlike any everyday logical construction. Based on the analysis of Mandelstam’s text, it is assumed that we are talking about a tropology that arose in the Middle Ages, the principles of which can be derived from studies of St. Augustine’s treatise De Dialectica and Petrus Сomestor’s Historia Scholastica. It is this triple commonwealth (Augustine – Comestor – Dante, read by Mandelstam) that creates the multilayered logical framework of the work. Augustine created a completely different dialectic than in classical antiquity. Augustine considers dialectics as an art of discussion and describes the real steps that contribute to the emergence of speech, which corresponds to Mandelstam’s concept of conversation. According to Augustine, at the basis of any speech, is a trope-turn. In the article, attention is drawn to the sound nature of creation process. This logic, used in explaining the creation of the world according to the logos/word (tropology), assumes that, at the basis of the speech act, there is no the word as a unit of speech, but the sound itself – the sound, which was considered initially equivocal (ambiguous). In the process of pronounciation, the sound could turn into its opposite and could change the meaning of speech if the context has been changed. Dante expressed the meaning of tropology in practice. Mandelstam wrote that he had chosen Dante for the conversation (between poet and poet) “because he is the greatest and indisputable master of reversible and reversing poetic substance.” Mandelstam saw Dante as the Descartes of metaphor.

The article proposes a philosophical interpretation of the poetic heritage of O.E. Mandelstam. The approach to characterizing the artistic experience of the Russian poet, through the prism of the philosophy of creativity and the philosophy of culture, seems to be significant and productive. This position is substantiated by the fact that in modern scientific literature there are still few works in which Mandelstam’s poetry would be elucidated within the framework of the philosophy of Russian culture and the ontology of creativity. In the article, Mandelstam’s creative phenomenon is shown in connection with the aesthetic program of artistic modernism. The philosophical foundations of Russian modernism are rooted in theissue of the spiritual self-awareness of Russian culture. Since Russian modernism reflects the transformation of artistic and spiritual culture that took place in Russia in the late 19th and early 20th centuries, the author tries to highlight and analyze the leading philosophical and aesthetic principles of Symbolism and Acmeism, discussed by poets of the Russian Silver Age. Special attention is given to Mandelstam’s theoretical works. The cultural-philosophical analysis makes it possible to trace the internal relationships between aesthetic attitudes and the artistic imagination of Russian Symbolists and Acmeists, to determine the specifics of the aesthetic self-awareness of Russian culture, its practices in selecting ideas, symbols, images of national and world artistic culture in the early 20th century. The author describes the logic of the continuity of the artistic ideas of Russian and world literature in the aesthetic concept of Mandelstam. In order to demonstrate the close connection of the philosophical and aesthetic ideas of classical culture with postclassics, the research brings together literary, philosophical and memoir sources in the context of the heritage of Mandelstam and the poets of his circle.

The article is devoted to the comprehension and analysis of O. Mandelstam’s creativity in the works of S.S. Averintsev. From the earliest years of Averintsev’s life, Mandelstam’s poetry played a special role in the formation of his literary taste and the formation of his scientific interests. Already in his very first publications about the poet, Averintsev formulates the basic principles of Mandelstam’s poetics, to which he remained faithful to the end: Mandelstam was always looking for contradictions, a deliberate collision of “yes” and “no”, because it is in this semantic space that genuine art is born. It was very important for Averintsev to compare Mandelstam’s poetry with the poetry of B. Pasternak, who was both closest to him and opposite to him, defining Mandelstam’s poetics as “closed”, and Pasternak’s poetics as “open”. However, reflecting on the attempt of both poets to become “consonant with the epoch”, Averintsev, not without satisfaction, notes that this attempt failed for both of them. The article shows that S. Averintsev’s research of O. Mandelstam’s creativity goes far beyond philological science and rises to the level of cultural and philosophical generalizations about the fate of culture, the world and man in it.

The paper examines the influence of acmeistic patterns on V. Shalamov-poet’s artistic consciousness. The study involves Shalamov’s epistolary and memoirs heritage (letters to N. Mandelstam, N. Stolyarova, essay “Akhmatova,” etc.), where the author reflected on the significance of acmeistic literary tradition, as well as put forward his own understanding of acmeism — not only as an artistic direction, but also as a kind of “life teaching,” a worldview system. One may trace the inheritance of acmeistic principles in Shalamov’s work at different levels. The paper seeks to identify and systematize acmeistic influences in poet’s consciousness. First of all, we are talking about the installation on the “fight for this world” (according to S. Gorodetsky): the multifaceted representation of the phenomena of environmental reality in its colors, forms and subject details. Shalamov inherits this principle, so that the objects of reality play a paramount role in his poetry system and receive no less distinct and large embodiment than in the work of acmeists. Such an arrangement is carried out by Shalamov in contrasting aspects: on the one hand, the imprinting of terrible world in which man barely survives and to which he seeks to resist; оn the other hand, even in the most adverse circumstances of imprisonment, the poet saw and felt the harmony and greatness of nature. The connection with the acmeistic thinking in Shalamov’s works is also expressed in the fact that his images are almost always substantive and tangible (this feature manifested itself as early as in the first poem of “Kolyma notebooks”). As in the lyrics of acmeists, he often refracted the inner world through external, spiritual experiences — through the prism of the subject plan (the principle that was realized brightly in the lyrics of A. Akhmatova). It is not often that the reader finds “pure” lyrical monologues, much more typical for Shalamov`s creative tactics — to characterize the internal state through a chain of real images. Acmeistic logic could be traced in the interpretation of a number of important topics, among which the theme of creativity (characteristic features of its interpretation are shown in the article on the example of poems “Ode to Loaf,” “May it be clumsily uneven…,” “By ungainly prisoner step...”). The paper addresses such a significant aspect (also linking the poet to the acmeistic tradition) as a bodily nature of the figurative world. Finally, important feature of acmeistic thinking, which is inherited by Shalamov, is the obvious appeal of his creativity to the interlocutor, the focus on the reader (this feature is immanent, certainly, not only in the consciousness of akmeists, but it has fundamental significance in their creativity). The study concludes that among the traditions influenced Shalamov-poet, the acmeist becomes one of the most important, most significant artistic and worldview guidelines.

Le sujet principal de cette thèse est l’étude de la propagation des ondes électromagnétiques, en régime harmonique, dans un milieu hétérogène composé d’un diélectrique et d’un matériau négatif (c’est-à-dire avec une permittivité diélectrique négative ε et/ou une perméabilité magnétique négative μ) qui sont séparés par une interface avec une pointe conique. En raison du changement de signe de ε et/ou μ, les équations de Maxwell peuvent être mal posées dans les cadres classiques (basés sur l’espace L2). D’autre part, nous savons que lorsque les deux problèmes scalaires associés, impliquant respectivement ε et μ, sont bien posés dans H1, les équations de Maxwell sont bien posées. En combinant la méthode de la T-coercivité avec l’analyse de Mellin dans les espaces de Sobolev à poids, nous présentons, dans la première partie de ce travail, une étude détaillée de ces problèmes scalaires. Nous prouvons que pour chacun d’entre eux, le caractère bien posé dans H1 est perdu si et seulement si le contraste associé appartient à un ensemble critique appelé intervalle critique. Ces intervalles correspondent aux ensembles de contrastes négatifs pour lesquels des singularités propagatives, aussi appelées ondes de trou noir, apparaissent à l’extrémité de la pointe. Contrairement au cas d’un coin 2D, pour une pointe 3D, plusieurs ondes de trou noir peuvent exister. Des expressions explicites de ces intervalles critiques sont obtenues pour le cas particulier des pointes coniques circulaires. Pour les contrastes critiques, en utilisant le principe de radiation de Mandelstam, nous construisons des cadres fonctionnels dans lesquels le caractère bien posé des problèmes scalaires est restauré. Le cadre physiquement pertinent est sélectionné par un principe d’absorption limite. En outre, nous présentons, dans la deuxième partie de ce travail, une nouvelle méthode numérique pour les problèmes scalaires dans le cas des contrastes non-critiques. Cette approche, contrairement aux techniques existantes, ne nécessite pas d’hypothèses supplémentaires sur le maillage au voisinage de l’interface. La troisième partie de la thèse concerne l’étude des équations de Maxwell avec un ou deux coefficients critiques. En utilisant de nouveaux résultats de potentiels vecteurs dans des espaces de Sobolev à poids, nous expliquons comment construire de nouveaux cadres fonctionnels pour les problèmes électrique et magnétique, qui sont directement liés à ceux obtenus pour les deux problèmes scalaires associés. Si l’on utilise le cadre qui respecte le principe d’absorption limite pour les problèmes scalaires, alors les cadres fournis pour les problèmes électrique et magnétique sont également cohérents avec le principe d’absorption limite. Enfin, la dernière partie porte sur des résultats d’homogénéisation des équations de Maxwell harmoniques et des problèmes scalaires associés dans un domaine 3D qui contient une distribution périodique d’inclusions faites de matériau négatif. En utilisant l’approche de la T-coercivité, nous obtenons des conditions sur les contrastes telles que le processus d’homogénéisation est possible pour les problèmes scalaires et vectoriels. De façon peu intuitive, nous montrons que les matrices homogénéisées associées auxproblèmes limites sont soit définies positives, soit définies négatives
The main subject of this thesis is the study of time-harmonic electromagnetic waves in a heterogeneous medium composed of a dielectric and a negative material (i.e. with a negative dielectric permittivity ε and/or a negative magnetic permeability μ) which are separated by an interface with a conical tip. Because of the sign-change in ε and/or μ, the Maxwell’s equations can be ill-posed in the classical L2 −frameworks. On the other hand, we know that when the two associated scalar problems, involving respectively ε and μ, are well-posed in H1, the Maxwell’s equations are well-posed. By combining the T-coercivity approach with the Mellin analysis in weighted Sobolev spaces, we present, in the first part of this work, a detailed study of these scalar problems. We prove that for each of them, the well-posedeness in H1 is lost iff the associated contrast belong to some critical set called the critical interval. These intervals correspond to the sets of negative contrasts for which propagating singularities, also known as black hole waves, appear at the tip. Contrary to the case of a 2D corner, for a 3D tip, several black hole waves can exist. Explicit expressions of these critical intervals are obtained for the particular case of circular conical tips. For critical contrasts, using the Mandelstam radiation principle, we construct functional frameworks in which well-posedness of the scalar problems is restored. The physically relevant framework is selected by a limiting absorption principle. In the process, we present a new numerical strategy for 2D/3D scalar problems in the non-critical case. This approach, presented in the second part of this work, contrary to existing ones, does not require additional assumptions on the mesh near the interface. The third part of the thesis concerns Maxwell’s equations with one or two critical coefficients. By using new results of vector potentials in weighted Sobolev spaces, we explain how to construct new functional frameworks for the electric and magnetic problems, directly related to the ones obtained for the two associated scalar problems. If one uses the setting that respects the limiting absorption principle for the scalar problems, then the settings provided for the electric and magnetic problems are also coherent with the limiting absorption principle. Finally, the last part is devoted to the homogenization process for time-harmonic Maxwell’s equations and associated scalar problems in a 3D domain that contains a periodic distribution of inclusions made of negative material. Using the T-coercivity approach, we obtain conditions on the contrasts such that the homogenization results is possible for both the scalar and the vector problems. Interestingly, we show that the homogenized matrices associated with the limit problems are either positive definite or negative definite