Academic literature on the topic 'Poema bez geroya'

The main goal of the collection is to define the specific character of Acmeism as a separate trend inside Russian Modernism. This specification is derived through a series of basic categories like space and time continuum, the philosophy of the written word, and poetic semantics, etc. The collection is divided into several sections. The first, a summary of the general theory about the subject, discusses the significance of Acmeism in the Silver Age semantic paradigm. The second section is devoted to O. Mandelstam’s poetry, and in particular his logos concept. The third centres on A. Akhmatova’s poetics, with particular attention to her world view. It also includes several papers on A Poem Without a Hero [Poema bez geroya]. The fourth section covers various aspects of works by acmeists N. Gumilyov, V. Narbut, and M. Zenkevich.

The specificity of the heading-final complex of Anna Akhmatovas Poem without a Hero (Poema bez geroya) is based on the fact that the semantics of the components included in it refers to several sources at once, and allusions to the works of English romantics, authors of poems, play the most important role among the components included in the poem's frame, and above all to J.G. Byron. The relevance of the undertaken research is due to the application of an integrated approach to the analysis of the elements of the frame text Poem without a Hero: not only primary, but also secondary and tertiary allusions, playing with the readers perception and his knowledge of predecessor texts are considered. The purpose of the study is to identify the English trace in Poem without a Hero and the ways of its manifestation through the heading-final complex. The authors trace the genealogy of Poem without a Hero from Byron to Pushkin and to the nominally absent, but implicitly animated, hero of Akhmatovas poem. Research objectives are defined as the study of the framework text as an essential element of the poem, identification of the features of the frame text and its intertextual links, comparison of epigraphs in the poem with notes, comments and critical articles of the author. The authors show that the poet often hides Byronic allusions in the reception from Pushkins poems (mainly Eugene Onegin), placing them in the heading-final complex. The article proves that this technique is used by Akhmatova to build the genre genealogy of her own poem, which goes back to the tradition of English romantic poems, mediated by the tradition of A. Pushkin. The reason for turning to this tradition, according to the authors, lies in the tragic personal and epoch-making collisions, the genre interpretation of which could become the transformed Akhmatova canon of the romantic poem, the founder of which was Lord Byron.

AbstractArthur Vincent Lourié (1891–1966), futurist, communist commissar of music, and close friend of Stravinsky in Paris in the 1920s, was an important member of avant-garde Russian artistic circles in the first three decades of the twentieth century. Yet by the 1950s he seems to have faded into obscurity. This article attempts to fill the gap left by the lack of discussion of the strange permutations of Lourié’s career after his emigration in 1922 by way of an analysis of his miniature 1961 song cycle Zaklinaniya (‘Incantations’). The cycle consists of five settings of lines from Anna Ahkmatova’s Poema bez geroya (‘Poem Without a Hero’), whose first part recalls Lourié and Akhmatova’s shared past in Russia’s Silver Age. Akhmatova (1889–1966), an intimate friend of the dandyish Lourié and at the centre of avant-garde artistic circles in pre-Revolutionary St Petersburg, describes the early 1910s as a Meyerholdian nightmarish masquerade in which the protagonists were constantly in danger of losing their identity through nihilistic role playing. Lourié’s elusive figure can be seen as the embodiment in the Poema of the frightening, superfluous shadow with ‘neither face nor name’. Rather than any unfortunate turn of political or personal history, it was Lourié’s affection for masks – for taking up exaggerated poses and concealing his real face – that provides the most compelling reason for his gradual disappearance from view in the chaos of the first half of the twentieth century.

Pokoinyi Alig'eri sozdal by desiatyi krug ada.Anna AkhmatovaHostias et preces tibi,Domine, laudis offerimus:tu suscipe pro animabus illis,quarum hodie memoriam facimus:fac eas, Domine, de mortetransire ad vitam.the requiem massAnna Akhmatova's Rekviem is a deceptively simple piece. Compared to the opacity and self-conscious literariness of Poema bez geroia, Rekviem seems transparent, much like Akhmatova's early lyrics, and appears to demand little in the way of commentary or elucidation.1 Its very form and scope, however, as well as the dates of its composition (1935-1961), identify it as a product of the "later Akhmatova"–the Akhmatova who resumed writing in the mid-1930s after a decade of relative poetic inactivity, the Akhmatova who created Poema bez geroia.

This chapter describes Life by Timothy Salter. This piece demonstrates Salter’s talents in choral music and solo voice as well as his unfailing versatility, musicality, and empathy with the voice. He could perhaps be described as an accessible mainstream modernist, with an uncluttered, highly individual language characterized by attractive, chromatic harmonies and a strong sense of vocal colour. An accomplished pianist, Salter creates lucid, fluent textures that never drown the singer in Life. Such intuitive, highly concentrated music carries a strong element of spirituality, especially fitted to Geroge Herbert’s tenderly introspective, but affirmative poem. A resonant church acoustic moreover can enhance the feeling of spaciousness in this piece.

This chapter discusses how autobiography is represented schematically in Dante's poem by the synthesis of Platonic allegory with traditional biblical motifs. Dante's descent into Malebolge—and particularly the figure of Geryon, which epitomizes it—is an allegorical motif claiming no existence outside the text. They structure elements of Dante's experience in such a way that an account of his life has at the same time a moral significance for “nostra vita.” The protagonist of the story is at once Dante Alighieri and “whichever man,” meaning not the abstract “everyman” of morality plays, but rather a historical individual, elected by grace. If we were to ask about the “truth” of such an account, in the everyday, biographical sense, the answer would certainly not be found in these allegorical motifs—rope, dragon, abyss—but rather in the existential realities underlying them.