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Arustamova, Anna A., Gao Chunyu et Boris V. Kondakov. « “Lunar New Year” by A. Parkau : cultural memory ». Tyumen State University Herald. Humanities Research. Humanitates 10, no 1 (26 avril 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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Barinova, Ekaterina V. « Specifity of Translation of Sylvia Plath’s Poem “Tulips” into Russian ». World Literature in the Context of Culture, no 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, no 2 (27 avril 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, no 4 (juillet 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, no 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, no 1 (1 octobre 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, et Mariza Magomedova. « On the adequacy of translation of the lyrics by Fazu Aliyeva into the Russian language ». Филология : научные исследования, no 12 (décembre 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, no 2 (décembre 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, no 3 (7 juin 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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Botvinova, E. D. « Nayman, A. (2023). Russian Long Poem. Moscow : Alpina non-fiction. (In Russ.) ». Voprosy literatury, no 3 (7 juin 2024) : 194–97. http://dx.doi.org/10.31425/0042-8795-2024-3-194-19.
Texte intégralRésumé :
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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Dokuchaev, I. I. « “Cantos” by Ezra Pound in Russian ». Voprosy kul'turologii (Issues of Cultural Studies), no 12 (7 novembre 2021) : 69 (96)—73 (100). http://dx.doi.org/10.33920/nik-01-2012-07.
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The paper provides a review of the complete translation of one of the key works in the history of world literature, the poem “Cantos” by Ezra Pound, published for the first time in Russian. The translation was done by Andrey Bronnikov, who also prepared a commentary on it and wrote an introductory article. The review shows that Pound's epic is a synthesis of all possible forms of epic — archaic, heroic and lyrical, it is a poem that tells about the eternal confrontation between the beautiful and the high, personified by historical and mythological heroes of different eras in the history of world culture, and the vulgar and ugly, personified a faceless symbol called Uzura (Consumer) by the poet. The key characteristic, thanks to which the poem can be attributed to the genre of the epic, is, in addition to the plot associated with the problem of the eternal originality of this opposition, also the language, filled with facts, quotes and clichés, edited by the epic poet in the same style. English version of the article is available on pp. 96-100 at URL: https://panor.ru/articles/the-cantos-by-ezra-pound-in-russian/66431.html
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Loshchilov, Igor E. « Poetry and didactics : about Victor Sosnora’s poem “Longing for the Motherland” ». Sibirskiy filologicheskiy zhurnal, no 1 (2022) : 101–12. http://dx.doi.org/10.17223/18137083/78/8.
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The paper analyzes the poem by the poet Viktor Sosnora “Longing for the Motherland,” part of the book “The Ides of March” (1983). The title and one line directly refer to the poem of the same name by Marina Tsvetaeva. It is shown that Tsvetaeva’s name is a key for interpreting the poem. The poem metonymically refers to her versioning laboratory in the interpretation of Andrei Bely, who singled out and analyzed the specifics of the choriamb as the metrical dominant of the book in his review of the collection “Separation.” This analysis focuses on the manifestation of the choriambic sound and the system of deviations from the four-syllable meter, unusual in Russian poetry, making the poem sound like a song. The first couplet only potentially contains the choriamb, and the reader has to return to the beginning of the poem after reaching the end for the end-to-end choriambic sound to occur, compared by Bely with Beethoven’s Fifth Symphony. This study describes deep and non-obvious phonetic consonances and rolls and indicates thematic echoes with individual poems and motifs of Tsvetaeva’s poetry. It is noted how the poet shows the reader the main principle of the text’s metrical division by using two hyphens that seem pretentious at first sight. It is shown that the poem is an independent and self-sufficient poetic work, a score for its performance, and a tutorial with which to teach the reader to hear the sound of choriamb, uncommon for Russian poetry.
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Donetskikh, L. I., et S. P. Chekmareva. « KEY WORDS “BELL”, “SMALL BELLS” IN ALEXANDER BASHLACHEV’S POEM “THE TIME OF BELLS” ». Bulletin of Udmurt University. Series History and Philology 30, no 3 (15 juillet 2020) : 395–402. http://dx.doi.org/10.35634/2412-9534-2020-30-3-395-402.
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A. Bashlachev’s poetry reflects the historical background of Russia in 1970-1990s, the world perception of rock generation, the thirst for spiritual growth. Artistic identity of the poet who grew up on Russian mythological and folklore traditions, reliance on legacy of Russian literature shaped his individuality within a short period of time. With all its transparency his discourse becomes figurative and symbolic, requires deep plunge into the background of the era and philosophical evaluation. A. Bashlachev transforms his poems into the myth-like texts-codes. He makes his way from rational to irrational. These are magic meanings assigned to the poetics of the key words “bell” and “small bell” as reflected in the poem “The time of bells”. From verse to verse A. Bashlachev brings together discovered keys relying on historical and domestic truth contributing to their existential meanings - Life, People, Russia - with everyday and natural issues - poets who are able to meet the challenges of Time. It is this very understanding of the idioimages - Bell and Poets - that leads the rock-poet to the final of his search for the Name of Names.
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Wanner, Adrian. « From Subversion to Affirmation : The Prose Poem as a Russian Genre ». Slavic Review 56, no 3 (1997) : 519–41. http://dx.doi.org/10.2307/2500928.
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The Russian prose poem was officially born in December 1882, when the journal Vestnik Evropy published Ivan Turgenev’s last work, a collection of fifty “poems in prose” (stikhotvoreniia v proze). Although the generic title of Turgenev’s prose miniatures seems to echo Charles Baudelaire’s Petits Poemès en prose (1869), the fate of the prose poem in Russia turned out very differently from that in its country of origin. Whereas the French poème en prose has become a mainstay of modernist poetry, the Russian stikhotvorenie v proze looks at first sight like a rather anemic plant struggling to survive in an inhospitable environment. In many respects, it constitutes a marginal genre par excellence: located in the no-man’s-land between poetry and prose, it was practiced mainly by minor writers, or by major writers only in early youth or old age (note the title Turgenev originally proposed for his prose poems: Senilia).
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Philippovsky, German Y. « N. A. Nekrasov and the English pre-Romanticists (to the origins of the poetic motif of Night) ». Verhnevolzhski Philological Bulletin 2, no 25 (2021) : 8–18. http://dx.doi.org/10.20323/2499-9679-2021-2-25-8-18.
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The paper investigates the literary roots of «night-motifs» in N. Nekrasov`s epic «Who is Happy in Russia?» and his «night» poems «Knight for an Hour» and «Railroad» down to English poetry of XVII–XVIII cc.: metaphysical poetry by H. Vaughan (XVII c.) and greater didactic poem by E. Young (XVIII c.). Both mythological and lyrical «night» motifs of H. Vaughan`s poetry owed to ancient folk traditions of the poet`s Motherland – Wales, with its archaic Celtic language, rituals and sacred festivals (such as Samhein). E. Young`s poem «Complaint or night thoughts on life, death and immortality» (1743–1745) is closely related to later baroque culture, stressing the night-motif in the context of the poet`s contemplation of life, death and christian immortality of human soul. H. Vaughan`s and E. Young`s «night» poetry influenced greatly the sentimentalist and preromantic trends in European poetic traditions of XVIII–XIX cc. N. Nekrasov`s main epic poem with its profound night motifs, though continuing pre-romantic European traditions of H. Vaughan and E. Young, remains greatly indigenous and rooted deeply in both folk and poetic Russian orthodox culture.
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Ustinov, Andrei. « Piotr Potiomkin’s “Green Hat” and Russian Émigré children’s literature ». Children's Readings : Studies in Children's Literature 18, no 2 (2020) : 180–229. http://dx.doi.org/10.31860/2304-5817-2020-2-18-180-229.
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The essay reconstructs history of the 1924 publication of Piotr Potiomkin’s (1886—1926) poem for children Green Hat in a wider context of the Russian émigré literary culture. A well-known writer before the revolution, the author of two books of poetry Funny Love and Geranium, Potiomkin found himself after emigrating to Chishinau and further to Prague, on the periphery of the Russian Diaspora. In 1922 he slowly started to publish his works in the periodicals of “Russian Berlin.” Sasha Chiornyi, his friend from the era of the Satyricon magazine, included two of Potiomkin’s poems in the Rainbow, the first children’s anthology which Chiornyi edited for the Slovo publishing house. By that time Chiornyi occupied a leading position in the émigré children’s literature. He began to invite Potiomkin’s partici- pation in the publishing enterprises of “Russian Berlin,” and recommended the poet to the Volga publishing house as a potentially valuable author. Potiomkin was one of the creators of the genre of “a poem for children” in pre-revolutionary children’s literature—-in 1912 the magazine Galchionok published his “story in verse” Boba Skvozniakov in the Country. Therefore, Potiomkin offered the Volga to publish another “poem for children” Green Hat. As a book designer he invited Hans Fronius (1903—1988) who at the time was a student at the Kunstakademie in Vienna. Later Fronius became the first illustrator of the literary works of Franz Kafka.
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Kurasova, Anna. « “Burning Burning Burning Burning” : The Fire of The Waste Land in Anna Akhmatova’s Poem Without a Hero ». Revista Canaria de Estudios Ingleses, no 85 (2022) : 185–97. http://dx.doi.org/10.25145/j.recaesin.2022.85.12.
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"In 1940, when the flames of WWII were already devastating Europe and approaching the USSR, the Russian poet Anna Akhmatova (1889-1966) started what was to become her last major work, Poem Without a Hero (1940-1960). Thanks to the poet and writer Boris Pasternak, Akhmatova was able to read T.S. Eliot’s work. Although she and Eliot never met nor communicated directly, Akhmatova considered him her soulmate. Having witnessed WWI, the Russian Revolution and Civil War, the communist purges, Stalinism, and foreseeing the upcoming Nazi invasion, Akhmatova turns to Eliot as one of her main inspirations. The present paper explores one of the leitmotivs of The Waste Land, the multifaceted fire, seeing it as, first, a symbol of the horrors depicted in Poem Without a Hero, and second, a hope of a purifying power. Akhmatova’s Poem Without a Hero originated in The Waste Land´s despair and longing for salvation, and the fire in her poem is as merciless as it is redeeming, “like a pure flame in a dish of clay” (Poem Without a Hero)."
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Shapiro, Nadezhda A. « On the Poem by Boris Slutsky “They shot Van’ka, the platoon commander…”. Problems of Understanding ». Russkaia rech, no 2 (2023) : 120–27. http://dx.doi.org/10.31857/s013161170025489-6.
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The article is devoted to analysis of a poem written by Boris Slutsky. Boris Abramovich Slutsky (1919–1986), Russian poet and a veteran of the Great Patriotic War, is an important figure in the Russian poetry of the second half of the 20th century. The article examines the poem “They shot Van’ka, the platoon commander…” that was not published until the late 80s. While very simple in form, the poem leaves a great deal of room for interpretation of its content. The author intentionally chooses a restrained tone and avoids judgmental vocabulary that could reveal his attitude towards the depicted events. The article attempts to expose the author’s standpoint by means of stylistic analysis (the poem incudes words and phrases from a wide range of stylistic registers: from obsolete words and bureaucratic formulas to colloquial and vernacular expressions, sometimes even deliberately violating grammatical rules) and by examining the text’s important syntactic features. It is argued that Slutsky’s military background is very important for analysis of his poems. During the war he was a secretary at a division prosecution office, later an investigator. Reflection of this experience that the author himself calls “painful and sordid” can be found in his verses.
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Gvozdetskaya, Natal'ya Yu. « BEOWULF IN RUSSIA. THE LANGUAGE OF THE OLD ENGLISH HEROIC EPIC IN RUSSIAN LITERARY TRANSLATION ». RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no 9 (2020) : 226–39. http://dx.doi.org/10.28995/2686-7249-2020-9-226-239.
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The paper is an attempt to analyze the methods of representing specific features of the language of the Old English poem Beowulf in the Russian literary translation of Vladimir Tikhomirov: alliterative collocations, synonymic groups, compounds and epic variations. These specific features of Old English poetic language are rendered in the translation through the diction of different stylistic coloring – both the high-style, even archaic words as well as the everyday words close to colloquialisms. Following the Old English poet, the translator uses the oral-epic manner of narration, neither reducing it to a limited stylization, nor turning it into an innovative experiment. The translator manages to convey the ability of the Old English poetic language to coin new compounds through creating ‘potential’ words that reveal the ‘open’ character of the Old English synonymic systems. The Russian translation of Beowulf is considered in the context of the history of English translations of the poem as well as studies of Old English and Old Scandinavian literature in Russia.
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Kuchina, Tatiana G. « MODERN RUSSIAN POETRY IN OLYMPIAD ASSIGNMENTS IN LITERATURE ». Philological Class 26, no 2 (2021) : 212–20. http://dx.doi.org/10.51762/1fk-2021-26-02-18.
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The article discusses approaches to a holistic analysis of poetic texts of the 21st century at Literature Olympiads. The main aim of this academic activity of senior schoolchildren is to teach them to demonstrate their own understanding of a poem through considering it as an integral unity of elements and analyzing the most essential features of its artistic structure. The author answers the following questions: what knowledge, skills, competences are tested by assignments on contemporary poetry? What poetics features of modern literature require special attention and how to teach senior schoolchildren to carry out analysis correctly? How can “Olympiad” poetry be of interest to a modern secondary schooler? On the material of the poems by Polina Barskova, Alexei Tsvetkov and Vladimir Gandelsman the article shows possible ways of text analysis that have formed in practical work – primarily in the Sirius educational center (Sochi). The author uses P. Barskova’s poem “Happiness” (2001), included in the tasks of the final stage of the 2019 Literature Olympiad, to show the methods of work with subtext / intertext and subject structure. The relationship between the object-based and symbolic plans, of the empirically “true-to-life” plot and the biblical subtext are in the focus of attention during the analysis of A. Tsvetkov’s poem “The experience of the end of the world” (2019). V. Gandelsman’s poem “In the morning, right after dawn, I am at the foot…” (2018) was offered to students at a trial competition in “Sirius”. The article contains excerpts from the works of secondary school students, showing how they interpreted the poem.
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Kovaleva, Tatyana I., et Igor E. Loshchilov. « “The ancient duel of Mstislav…” : the story of “The Russian Primary Chronicle” in a V. Sosnora’s poem “The battle of Mstislav with Rededya” (1959) ». Sibirskiy filologicheskiy zhurnal, no 2 (2023) : 166–79. http://dx.doi.org/10.17223/18137083/83/13.
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This paper deals with the poem by V. Sosnora, “The Battle of Mstislav with Rededya” (1959). The poem is based on the story of “The Russian Primary Chronicl” under 6530 (1022) devoted to the event mentioned in the title. According to the poet, when writing his “historical” poems, he “re-imagines” the material of ancient Russian monuments and brings it closer to the modern reader. The poet’s creative method was often misunderstood by critics and satirists who referred to his “irreverent” treatment of history. In terms of literary criticism, “re-imagining” implies using a rich palette of poetic means of allusions and associations, a deliberate mixture of ancient and modern, and others. Addressing the named story of “The Russian Primary Chronicl,” as well as to other chronicle stories and “The Song of Igor’s Campaign,” Sosnora creates a poetical plot. This plot emphasizes the dynamics of the duel of chronicle characters, marks individual features of their appearance, hides by default an important detail for the chronicle narrative (knife), and introduces a dialogue (an expressive squabble before the battle of the title characters), reworking the chronicle event to give the battle scene “visual”, “cinematic” effect. This could not be the case in Old Russian narration subordinated to literary etiquette. By arranging the semantic and rhythmic accents under his idea, the poet seems to offer a fantastic reconstruction of one of the Boyan’s songs.
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Domansky, Valery. « «Nekrasov girl» in the literary context of the era ». World of the Russian Word, no 1 (2023) : 38–46. http://dx.doi.org/10.21638/spbu30.2023.105.
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Along with the peasant type of girl (“Troika”), Nekrasov tried to create the image of a provincial young lady from a noble family. His poem “Sasha” and Turgenev’s novel “Rudin” were created in the friendly communication of writers, and both works were published simultaneously in the journal “Sovremennik” in 1856 (No. 1). In the article they are considered in the context of literary disputes about women’s emancipation and works of art of the mid1850s. The literary context of the Nekrasov poem, in addition to Turgenev’s “Rudin”, is the poem by V. A. Fet “Two sticky trees” and the story of I. I. Panaev “Relatives”. The latter reveals the theme of the intellectual development of a young girl under the influence of an educated man. The concept of “hot head” and “cold heart” appears for the first time in it, which Panaev introduced even before Turgenev. But his Natasha is clearly inferior in its development to Turgenev’s Natalia Lasunskaya, although the finals of both works are in many ways similar. The greatest similarity of the storyline of Nekrasov’s poem can be traced with Turgenev’s novel “Rudin”. The main characters of both works have common features: love for nature, the integrity of nature, the desire for knowledge, spiritual development. The Russian poet created a charming image of a girl who, through education, developed her mind and joined the advanced ideas of the time. The author is convinced that such girls will eventually determine the future of Russia. But if the “Turgenev girl” entered Russian literature as a cultural code, the “Nekrasov girl” did not become such a code. The poet devoted his main artistic searches to the image of a Russian woman, “a majestic Slav”
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Loshchilov, I. E., et I. S. Poltoratsky. « “The First Regional Siberian Poem...” : Alexey Achair, “Cossacks” (1927) ». Studies in Theory of Literary Plot and Narratology 17, no 1 (2021) : 281–337. http://dx.doi.org/10.25205/2410-7883-2021-1-281-337.
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The article precedes the republishing of the poem of the Harbin poet Alexei Achair (Gryzov; 1896–1960) “Cossacks”, completed by the author at the end of 1927. It was published twice in 1929 in hard-to-reach publications for the modern reader: in two issues of the collection “Free Siberia” (Prague) and in the newspaper “Russian Word” (Harbin). The forgotten poem deserves attention as a case of early imitation of Marina Tsvetaeva’s poems, primarily the Pied Piper, and also as a detailed essay reflecting the regional mentality of the “storm and onslaught” period of the “Young Churaevka” circle. In addition, this is the largest in volume and the most significant in scale work of Air, the only poem published during his lifetime. Achair reproduced the characteristic techniques of Tsvetaeva’s “big form” poetics and tried to put them at the service of the propaganda of Siberian regionalism. Along with Tsvetaeva, who determined the artistic structure of the poem, echoes of Soviet poetry (Khlebnikov, Mayakovsky, Selvinsky) are also heard, which makes the overall impression of the poem mosaic.
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KHRIPTULOVA, TATIANA N. « THE POEM-CYCLE OF YU. P. KUZNETSOV “THE PATH OF CHRIST” : THE IDEOLOGICAL AND SUBSTANTIVE ASPECT AND ORGANIZATIONAL FEATURES OF THE GENRE ». Cherepovets State University Bulletin 3, no 108 (2022) : 223–32. http://dx.doi.org/10.23859/1994-0637-2022-3-108-16.
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The article considers the poem by Yu. P. Kuznetsov “The Path of Christ” as a lyrical poem-cycle. The poet, whose work is characterized by a national-patriotic orientation, by incorporation of the ideas of the state, creativity understanding as a manifestation of the universal creative principle, turned to the origins of Russian folk spirituality, mentality, historical Orthodoxy. The poem focuses on the vitality of national ideals, the purity and beauty of folk morality and aesthetics. The poet came to a sense of God's providence and the obvious presence of Christ in the world.
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Kotanchan, R. V. « The Theme of Faith and Faithlessness in Works of A.S. Norov of the 1820s ». Язык и текст 9, no 2 (2022) : 49–56. http://dx.doi.org/10.17759/langt.2022090206.
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The article is devoted to actual questions of religious literary criticism. The object of research is the literary process of the nineteenth century. The subject is A.S. Norov’s work. He is a Russian poet of the second circle of the literary process of the nineteenth century. The article contains descriptions of religious problematics and themes of the poem «The Temple», which is the translated version of the poem of A. de Lamartin. This research provides characteristics to religious and philosophical questions of the poem «The Temple». The target of the research is the characteristic of A.S. Norov’s work. Particular attention is paid to the theme of faith and disbelief. The scientific novelty consists of providing new facts about religious problematics of Russian classical literature.
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Piters-Hofmann, Ludmila. « Sleeping Beauty ». Experiment 23, no 1 (11 octobre 2017) : 45–54. http://dx.doi.org/10.1163/2211730x-12341299.
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Abstract At the beginning of the twentieth century, Viktor Vasnetsov (1848-1926) started his work on the cycle Poema semi skazok [The Poem of Seven Fairy Tales] (1900-26). This self-imposed task included seven monumental paintings depicting popular Russian folktales. Yet, among the representations of famous Russian fairy tale characters, there is a canvas that centers on the Spiashchaia tsarevna [Sleeping Tsarevna] (1900-26), a character originally from Western Europe. This article will focus on the depths of the impact of Western traditions on this seemingly Russian painting by first elaborating on the development of Sleeping Beauty as a character in fairy tales and the spread of her popularity as far as Russia and second by analyzing the painting itself for Russian and European elements in composition and style.
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Uryupin, I. S. « The Nadsonian motif in the “fi rst poem” by I. A. Bunin and M. Gorky ». Science and School, no 6 (30 décembre 2023) : 22–29. http://dx.doi.org/10.31862/1819-463x-2023-6-22-29.
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The article examines the phenomenon of the “first poem” in the works of I. A. Bunin and M. Gorky in the theoretical, historical and literary aspects and reveals the correlation of the concepts of the “literary debut” and “first poem,” between which there is no semantic identity. Literary debut refers to a work created in accordance with certain ideological and aesthetic ideas and orientations of the author, which the he deliberately updates during his entry into the history of literature. I. A. Bunin considered the poem “The Village Beggar” his literary debut, which continued the classic traditions of Russian democratic lyrics, while in fact the first published poem “Over the Grave of S. Ya. Nadson,” which is a proto-symbolist text, the poet himself, who declared distrust of modernist art, left on the periphery of his work. The article analyzes the figurative genesis of the “first” poems of I. A. Bunin, in which, with all their stylistic and problematic-thematic differences, the influence of S. Ya. Nadson was reflected. Nadsonian pathos was also perceived by M. Gorky, whose first poem – “Goodbye!” – contains a Nadsonian complex of motifs and plot devices. The neorealistic attitudes of I. A. Bunin and the neoromantic strategies of M. Gorky, with all their differences from each other, had a common historical, cultural and literary source, rooted in the “presymbolic” work of S. Ya. Nadson, the reflection on which determined the artistic search of the two most prominent “realists” of the twentieth century Russian literature.
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Vinogradov, Igor’ A. « LITTLE RUSSIA AND GREAT RUSSIA IN SATIRE BY NIKOLAI GOGOL ». Vestnik of Kostroma State University, no 3 (2020) : 128–33. http://dx.doi.org/10.34216/1998-0817-2020-26-3-128-133.
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The article first discusses the problem of the correlation in the work of Nikolai Gogol as satirist or critic of the “Little Russian” and “Great Russian” types of Russian nobility. The influence of Nikolai Gogol’s Ukraine impressions on the creation of a number of his works of an all-Russia nature is emphasised: short story “The Nose”, the comedy “The Inspector General”, and the poem “Dead Souls”. Based on a comprehensive analysis, numerous facts and various testimonies of contemporaries, a conclusion is drawn about the deep imperial consciousness of the writer, who did not distinguish representatives of the Ukraine and Great Russia in his religious, pastoral criticism. The writer always thought of the Ukraine as part of Rus’ – Russia – the Russian Empire. In contrast to the ideologists of a narrow “small-town” “patriotism”, Nikolai Gogol, being a state thinker, considered the inhabitants of Northern and Southern Russia as subjects of a single Russian power and in his convictions of unworthy employees, “malignant” people of miscellaneous ranks and of the nobility was equally strict and demanding to his countrymen as well as to the Great Russians.
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Николаева, Светлана Юрьевна. « «THE RUSSIAN IDEA» IN YURI KUZNETSOV’S POEM «FEDORA» ». Вестник Тверского государственного университета. Серия : Филология, no 3(66) (6 novembre 2020) : 79–90. http://dx.doi.org/10.26456/vtfilol/2020.3.079.
Texte intégralRésumé :
В статье рассматривается историософский смысл стихотворения Ю.П. Кузнецова «Федора». Делается вывод о том, что поэт определяет сущность текущего исторического момента в судьбе России в 1993 г., намечает исторические параллели с предшествующими эпохами, вступает в полемику с Чаадаевым и Вяземским, развивает идеи Достоевского и Блока. В центре внимания Ю. П. Кузнецова находится путь России в мировой истории, «русская идея», которая представляет собой не движение по кругу или по кривой, без цели, как считал Чаадаев, не топтание на месте, а осознанное и завещанное предками стояние на своем, поступательное движение вперед через катастрофы и возрождение. Идиостиль поэта подчинен решению этой художественной задачи. The article deals with the historiosophical meaning of J. P. Kuznetsov’s poem «Fedora». It is concluded that the poet defines the essence of the current moment in the history 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. Yu.P. Kuznetsov focuses his attention on way of Russia in the world history, the «Russian idea», which is not a movement in a circle or along a curve, without a goal, as Chaadaev believed, not trampling on the spot, but a conscious and bequeathed by the ancestors insistent movement forward, through disasters and rebirth. The poet’s idiostyle is subordinate to the solution of this creative problem.
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Brzykcy, Jolanta. « Soviet savage, stinking cod and Muse – Vladislav Khodasevich’s vision of Saint Petersburg ». Studia Rossica Posnaniensia 49, no 1 (11 juin 2024) : 177–90. http://dx.doi.org/10.14746/strp.2024.49.1.11.
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The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views).
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Millionshchikova, Tatiana. « POETRY AND PROSE BY BORIS PASTERNAK AS INTERPRETED BY AMERICAN SLAVISTS ». RZ-Literaturovedenie, no 4 (2021) : 94–108. http://dx.doi.org/10.31249/lit/2021.04.07.
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The review considers the American and Russian Slavic studies on diverse aspects of the poetry and the prose by Boris Pasternak. L.S. Flaishman focuses on the early period of the Boris Pasternak creative work, on the autobiographical motifs in the poem «August» and on the first publication of poems from the novel «Doctor Zhivago» - «Stichi is Rossii» ( Poems from Russia ) in the journal «Grani» ( Facets ). K.V. Polivanov and K.M.F. Platt discuss the revolution theme in the poems by Pasternak included into his poetical cycle «Bolezn’» ( Disease ). A.K. Zholkovsky draws parallels between Pasternak’s pre-war poems and the novel «Doctor Zhivago».
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Dobritsyn, Andrej. « ANTONIO MEZZANOTTE’S POEM ABOUT THE ST. PETERSBURG FLOOD AND “THE BRONZE HORSEMAN” ». Vremennik Pushkinskoi Komissii 34 (2020) : 10–31. http://dx.doi.org/10.31860/0236-2481-2020-34-10-31.
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This article offers a comparison of Pushkin’s “The Bronze Horseman” and Western European poems about the St. Petersburg flood, with the focus on An tonio Mezzanotte’s poem “La inondazione di Pietroburgo avvenuta nel dì 19. Novembre 1824” (1825). Pushkin often used the same techniques as Mezzanotte, an aesthetically conservative Italian classicist poet. In the article, possible newspaper and journal sources of some episodes in both poems are identified, as well as close motifs and similar rhetorical and poetic devices. The compositional features of the two poems are compared. The Italian poem has a traditional construction in which the natural elements are opposed to the beneficial State power embodied in the Savior Sovereign. For this reason, Mezzanotte begins with the horrors of the flood and ends with a eulogy for the Emperor. In Pushkin’s “Petersburg Tale,” in which two impersonal forces (that of Nature and that of the State) oppose the fate of an individual, Peter the Great appears as an ally of the destructive elements. The Russian poem begins with a panegyric to Peter and ends with the tragic death of the main character and his loved ones.
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Dudareva, M. A. « APOPHATICS OF CULTURE IN THE POEM BY N. A. NEKRASOV “WHO CAN BE HAPPY AND FREE IN RUSSIA?” : NATIONAL EXISTENCE AND OTHERNESS ». Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no 80 (2021) : 68–74. http://dx.doi.org/10.37313/2413-9645-2021-23-80-68-74.
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The object of the article is apophatics as a cultural phenomenon. The subject is the national topic in the works by N. A. Nekrasov, this year they celebrate the 200th anniversary of his birth. The material for the article is the poem “Who Can Be Happy and Free in Russia?”. The ethoses of life and death are hermeneutically reconstructed in the work. Much attention is paid to the Russian folklore tradition in the poem, which was expressed both explicitly and implicitly. The research methodology is reduced to a holistic onto-hermeneutic analysis aimed at highlighting the folklore, ethnographic paradigm of this literary text. Much attention is paid to a path-road mythologeme. Parallels are drawn with the Russian fairy tale, which is characterized by an otherworldly paradigm, the search for “another kingdom”. The research results are to identify the cultural potential of the poem for the further study of the national topic, national existence and otherness,apophatics as a phenomenon of Russian culture associated with the phenomenon of death. The results of the work can also be used in teaching courses in Russian literature, cultural studies, philosophy.
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BASHIRLI, ULVIYA. « EDUCATIONAL SUBJECTS IN THE POEM “PHOENIX” BY THE AZERBAIJANI FOLK POET NARIMAN HASANZADEH ». Sharqshunoslik. Востоковедение. Oriental Studies 02, no 02 (1 octobre 2022) : 26–29. http://dx.doi.org/10.37547/ot/vol-01issue-02-04.
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The works of the People's Poet of Azerbaijan Neriman Hasanzadeh are of great importance in the upbringing of the young generation in the spirit of patriotism. In this regard, the poem “Phoenix”, dedicated to our historical past, deserves to be remembered as a special. Although the events in the work cover the 1820s, they are still echoed today. The Russian Empire attacked Azerbaijan with a large army in order to conquer the Caucasus and enslave its inhabitants. He overthrew the existing Azerbaijani khanates and annexed their lands. Later he won the war with Iran and usurped the lands inhabited by Azerbaijanis. However, the Azerbaijani people were not defeated and the struggle for freedom continues, albeit locally. Along with men, girls and women also participate in these wars. In the background of all these heated massacres, the image of a mother traditionally called the “Phoenix” stands out. With the image of a simple artist, carpet weaver, N. Hasanzadeh created a generalized image of Azerbaijani mothers who put national pride and homeland honor above all else. While reading the poem “Phoenix”, the reader is as if experiencing the events of a difficult period, his heart is filled with love for the country, he is ready to sacrifice his life for the country. Of course, the effect of such work is sufficient in our victory in the Second Karabakh War.
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Rubinchik, Olga E. « «They’re not My Kind…» Anna Akhmatova and Natalia Krandievskaya ». Studies in Theory of Literary Plot and Narratology 14, no 2 (2019) : 41–55. http://dx.doi.org/10.25205/2410-7883-2019-2-41-55.
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N. V. Krandievskaya (1888–1963; her last name became Tolstaya after her second marriage with a writer А. N. Tolstoy) was a Russian poet, the author of three books of verse published during her life (1913, 1919, 1922), an outstanding collection of poems dedicated to the Siege of Leningrad (now St Petersburg) and a memoir. The article is dedicated to one of the longstanding poetical conversations between Natalia Krandievskaya and Anna Akhmatova. In July 1922 Akhmatova wrote a poem “They’re not my kind who left the land / To enemies and plundering...”. The poem can be called a “late reply” or “delayed response” to Krandievskaya, and an “urgent answer” to other addressees, among whom there was Aleksey Tolstoy first of all. A 1913 collection of poems by Krandievskaya includes the following one: “They’re not my kind who meet the life, / As like a dream...”. In this poem, the author speaks about her creative independence from two mainstreams in literature of that time: an emerging acmeism and a seasoned symbolism. Being an acmeist, Akhmatova treated the poem with a strong sense of offence. Besides, criticism of 1910 contributed to the origin of the rivalry between these two young poets. From summer 1918 until summer 1923, Krandievskaya stayed out of Soviet Russia with Tolstoy and their children, from October 1921 they were in Germany. When the publishing of the “Nakanune” newspaper, which actively advocated for coming back to Soviet Russia, started in March 1922 in Berlin, Tolstoy headed its literature department, and then he became an editor of its Sunday supplement. Two poems by Akhmatova were published on the first page of the first newspaper’s supplement on April 30. In response, an open letter by Akhmatova was published on August 1, 1922 in the “Notes on Literary Life” in Petrograd magazine, in which she spoke out against the publication of her poems without her knowledge and consent. The reason was an improper political role of the “Nakanune” newspaper and some Tolstoy’s misdeeds. Thus, the verse “I will not give them my poems” in the poem published in July 1922 and the answer of Akhmatova to the “Nakanune” newspaper in the “Notes on Literary Life” are directly interrelated. The similarity of the verse by Akhmatova with the poem by Krandievskaya suggests that the head of the arrow was aimed at the Tolstoy – Krandievskaya partnership first of all. However, the text by Akhmatova has many more addressees, and its meaning spreads far beyond the boundaries of a simple war of words. It’s “a poetic declaration on behalf of those who decided to stay, not evading a single blow” (R. Timenchick).
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Abelskaya, Raisa Sh. « Russian Poetry as an Ethical and Aesthetic Dominant in the Work of the Poets of the “Thaw” (on the Example of D. Samoilov’s Poems) ». Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 28, no 3 (2022) : 107–14. http://dx.doi.org/10.15826/izv1.2022.28.3.050.
Texte intégralRésumé :
Using the poem “Pestel, the Poet and Anna” as an example, it is shown how admiration for the “golden” and “silver age” of Russian poetry, which act as a single ethical and aesthetic tuning fork, is combined in D. Samoilov’s poems. So, Pestel’s speech is sustained in the spirit of the Decembrist poetics, which was read by Samoilov through the prism of O. Mandelstam’s poem “The Decembrist”. In addition, the image of the Moldavian woman Anna, singing outside the window during the conversation between Pushkin and Pestel, appears as a poetic ideal that unites three significant eras for D. Samoilov: Pushkin’s, Akhmatova’s and his own. The purpose of the article is to trace, using the example of D. Samoilov’s poems, how such an appeal to the poetry of the “Golden” and “Silver Ages” (as to a single indisputable model) is fulfilled in the work of poets of the 1960s.
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Yukhnova, Irina S., et Sergey N. Pyatkin. « Lermontov`s Poem “The Sail” in the Russian Culture ». Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022) : 158–68. http://dx.doi.org/10.37816/2073-9567-2022-65-158-168.
Texte intégralRésumé :
Lermontov’s poem “The sail” refers to the emblematic texts of Russian culture and is highly recognizable. The image created by Lermontov was always perceived as a capacious symbol, and his interpretations were determined by the “spirit” of the historical era. This characteristic of Lermontov's “The sail” determine the relevance of the proposed research. The scientific novelty of the work pertains to systematization, analysis and conceptualization of the social and cultural receptions of the poet's poem in the national tradition. The paper presents the history of creation of the poem, draws attention to its biographical context and suggests versions of the poet’s refusal to include “The sail” in the only lifetime collection of his works. The study also considers the first critical receptions of the “The sail”, especially the position of V. G. Belinsky, who perceived Lermontov’s poem as a typical youthful, student composition of the poet. Despite the fact “The sail” entered the curriculum of high schools, chrestomathies and got the status of a lyrical masterpiece in Lermontov’s poetry and the canonical text of Russian culture. The authors believe that the consolidation of such status of “The sail” in a national cultural consciousness is due to the complex internal structure of the central image-symbol, in which the image plan and the meditative plan reveal the antinomy of the spiritual world of the personality. As the study shows while in the research practice “The sail” is most often interpreted as an expression of revolutionary, including Decembrist moods, in the scientific works of recent years, the poet’s poem is included in the context of the Christian tradition. The paper summarizes and analyzes creative experience of the artistic representation of the Lermontov image-symbol in national poetry drawing on the works of K. Fofanov, S. Yesenin and V. Vysotsky. The authors argue that, with all the differences in readings and interpretations, Lermontov’s “The sail” in the Russian cultural consciousness has become a symbol of impetuous and unstoppable movement, the desire of a self-worthy person for great changes in his own fate and the world around him. This semantic plan, which confirms the statement of the Chairman of the People's Republic of China, XI Jinping, characterizes the perception of Lermontov’s poem by foreign readers, and the sail, as a symbolic image of Russian culture, is also relevant for another national tradition.
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Scherr, Barry P. « Metrical Ambiguity ». Studia Metrica et Poetica 10, no 2 (31 décembre 2023) : 7–31. http://dx.doi.org/10.12697/smp.2023.10.2.01.
Texte intégralRésumé :
In most instances the meter of a Russian poem becomes clear virtually from the start, after a single line or perhaps just a few lines. However, there are also poems for which a simple metrical classification remains problematic even upon consideration of the entire work. In some cases, an abundance of internal rhyme leads to the appearance of a “shadow meter” that creates an alternative way to describe the meter over at least a portion of the poem. In others, it turns out to be possible to interpret an entire poem as belonging to any of two or more meters, often because the work does not precisely match the norms for any one type while bearing reasonably close resemblances to more than one metrical category. In this paper I examine several instances of metrical ambiguity in Russian verse and conclude that for such poems it is best not to employ a single metrical label but to offer a more detailed characterization that does justice to the work’s complexity.
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Suzanskaya, T. N. « SYMBOLISTS ANDREY BELY AND GEORGE BACOVIA : COMPARISON OF LOVE POEMS ». Russian Journal of Multilingualism and Education 12 (25 décembre 2020) : 109–17. http://dx.doi.org/10.35634/2500-0748-2020-12-109-117.
Texte intégralRésumé :
The article discusses artistic features of the lyrical poems by A. Bely and G. Bacovia. The author also traces the features of symbolist poetics characteristic of both lyricists – the outstanding representatives of Russian and Romanian symbolism. The author compares the poems “The flying forest sings...” by A. Bely and “Pastel” by G. Bacovia, dedicated to the parting of lyrical characters, to love that is going away. These works reveal the main levels of artistic unity: image system, space-time continuum, lyrical situation, features of poetics and melody. An attempt has been made to translate the poem “Pastel” by G. Bacovia into the Russian language. The relevance of the research is determined by the lack of works devoted to the comparative analysis of Russian and Romanian symbolism, in particular, the lyrics of Andrei Bely and George Bacovia. The creativity of these poets finds its origins in French symbolism and at the same time has a bright individual character. The purpose of the article is to reveal the artistic originality of the worldview of two outstanding representatives of European symbolism, to trace the specific features of covering the theme of love in their works, taking the comparative analysis of A. Bely’s poem “The flying forest sings” and G. Bacovia’s poem “Pastel” as an example. The comparative analysis is the main method of research, it allowed to make a conclusion about the dramatic but bright nature of love in A. Bely’s poem and its pessimistic embodiment in G. Bacovia’s poem. Some conclusions are drawn about the similarities and differences in the image of the lyrical situation, the system of images, the space-time plan, colour values, composition, the ideological content, as well as the melody, rhythmic structure and meter.
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Suzanskaya, T. N. « SYMBOLISTS ANDREY BELY AND GEORGE BACOVIA : COMPARISON OF LOVE POEMS ». Russian Journal of Multilingualism and Education 12 (25 décembre 2020) : 109–17. http://dx.doi.org/10.35634/2500-0748-2020-12-109-117.
Texte intégralRésumé :
The article discusses artistic features of the lyrical poems by A. Bely and G. Bacovia. The author also traces the features of symbolist poetics characteristic of both lyricists – the outstanding representatives of Russian and Romanian symbolism. The author compares the poems “The flying forest sings...” by A. Bely and “Pastel” by G. Bacovia, dedicated to the parting of lyrical characters, to love that is going away. These works reveal the main levels of artistic unity: image system, space-time continuum, lyrical situation, features of poetics and melody. An attempt has been made to translate the poem “Pastel” by G. Bacovia into the Russian language. The relevance of the research is determined by the lack of works devoted to the comparative analysis of Russian and Romanian symbolism, in particular, the lyrics of Andrei Bely and George Bacovia. The creativity of these poets finds its origins in French symbolism and at the same time has a bright individual character. The purpose of the article is to reveal the artistic originality of the worldview of two outstanding representatives of European symbolism, to trace the specific features of covering the theme of love in their works, taking the comparative analysis of A. Bely’s poem “The flying forest sings” and G. Bacovia’s poem “Pastel” as an example. The comparative analysis is the main method of research, it allowed to make a conclusion about the dramatic but bright nature of love in A. Bely’s poem and its pessimistic embodiment in G. Bacovia’s poem. Some conclusions are drawn about the similarities and differences in the image of the lyrical situation, the system of images, the space-time plan, colour values, composition, the ideological content, as well as the melody, rhythmic structure and meter.
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Klein, Joachim. « Derzhavin’s Poem : “To Evgenii. Life at Zvanka” ». Slovene 11, no 1 (2022) : 192–203. http://dx.doi.org/10.31168/2305-6754.2021.11.1.8.
Texte intégralRésumé :
This paper approaches Derzhavin’s poem To Evgenii. Life at Zvanka from three angles: 1. Its relation to Horace’s II epode Beatus ille…. 2. The contrasting backdrop which is established in the first stanzas of the poem: the imperial court of Saint-Petersburg. 3. A further backdrop of this kind, which is implicit in the poem: a contemporary disdain for gentry landowners. In the light of Peter I’s reforms, their lifestyle was perceived as a backward relic of medieval Russia. From this point of view, Derzhavin’s idealized picture of country life is not only a criticism of court life, but also a didactic attempt to bring the country gentry’s way of life into accord with contemporary Russian culture: Zvanka was supposed to serve as a model to emulate.
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GORELIK, B. M. « RUSSIAN FOLK SONG ABOUT THE SOUTH AFRICAN WAR AS AN EXPRESSION OF PUBLIC DISCONTENT OF THE EARLY 20TH CENTURY ». LOMONOSOV HISTORY JOURNAL 64, no 2023, №4 (16 mai 2024) : 63–81. http://dx.doi.org/10.55959/msu0130-0083-8-2023-64-4-63-81.
Texte intégralRésumé :
The folk song “Transvaal, Transvaal, My Country” emerged in the Russian Empire about 120 years ago. It happened in the wake of the extraordinary public interest in the first major armed conflict of the 20th century, the Anglo-Boer War of 1899-1902. The lyrics are based on a poem by a Saint-Petersburg poet, G. Galina. The song about the freedom struggle, which was waged by the people of a distant, but, like Russia, predominantly agrarian country, resonated with the early 20th-century Russian society. Its growing politicisation manifested itself in the keen interest that Russians took in the confrontation between two “peasant republics”, as Russian publicists termed them, and an empire, which had a strong army and a desire for expansion in the interests of its capital. The Russian song about a foreign war in Southern Africa became entrenched in Russian folklore and in Russian popular culture in general. A reason for the popularity of “Transvaal” in the Russian Empire was that the song enabled expressions of hope for social and political change in a form that was safe for the singer and his listeners under a repressive regime. The emergence and growing popularity of “Transvaal” coincided with the prevalence of protest sentiments in Russian society, among urban and rural residents, in the 1900s- 1910s. The song changed its meaning over the years. Sympathy for the Boers who fought against the British Empire was gradually replaced by sympathy for one’s compatriots. The Russian folk song, inspired by the events in South Africa, prompted people in the Russian Empire to reflect on their own living conditions and the future of their homeland.
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Gasselblat, Olga A. « In the shade of lovely birds, or About the “Farewell Ode” by Joseph Brodsky ». Philological Sciences. Scientific Essays of Higher Education, no 5 (septembre 2023) : 85–96. http://dx.doi.org/10.20339/phs.5-23.085.
Texte intégralRésumé :
This article is another effort to analyze the “Farewell Ode” by Joseph Brodsky. The internal and external contexts of the creation of the poem are described. Some text levels are analyzed to recognize the author’s intention. The stanza of the poem refers to Russian and Polish syllabic poetry of the 18th century. The lexico-semantic composition of the poem allows us to see the influence of poet’s many great precursors, primarily Dante and Tsvetaeva. The ode is also a stylization of the genre of prayer, as indicated by many lexical means. Brodsky’s first great poem can rightly be called the most complex “symphonic work”, in which the poet reaches the heights of Christian forgiveness.
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Savchenko, Tatiana K. « Sergei Yesenin`s Poetic Intonation (By the Example of the Poem Cycle ‘Persian Motifs’ and the Poem ‘My Way’ ». Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023) : 189–202. http://dx.doi.org/10.37816/2073-9567-2023-69-189-202.
Texte intégralRésumé :
The paper looks into the specificities of poetic intonation in Sergey Yesenin’s poems. Yesenin’s making as a poet took place in the Silver Age of Russian literature, which explains a syncretism of arts in his work. This concerns primarily a synthesis of poetry and music. The study focuses on poems from the “Persian motifs” cycle and a “short poem” “My Way” (“Moy put”). In songlike poems an intonational component, being the dominant one, finds its realization in the poem’s syntax. The analysis of the poems’ melody allows us to detect numerous chorus variations, which order the verses and underline their melodic cohesion. Melodic harmony is visible on the semantic as well as on the intonation and syntactic levels, including the composition, while alliterations and assonances account for the harmony of sound instrumentation of the poems. The paper also studies facture, an important concept which closely concerns the intonational component. The facture character of Yesenin’s poems is made up of the specificities of the metrics and rhythm, compositional-stylistic and rhythmic-intonational devices, pauses, stresses, author’s punctuation, etc.
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Bystrov, Vyacheslav N. « “It Was All So Recent…”. The Poem “To Russia” by Vladimir Gippius ». Texts and History : Journal of Philological, Historical and Cultural Texts and History Studies 3 (2020) : 180–91. http://dx.doi.org/10.31860/2712-7591-2020-3-180-191.
Texte intégralRésumé :
The author presents an analysis of Vladimir Gippius’s poem “To Russia” (in the manuscript of the first redaction of the unpublished collection “Eclipses of Stars”, the poem has the title The Lay of Igor’s Campaign). The poem was written at the beginning of World War I, presumably in the autumn of 1914. The text is reproduced from the publication in the collection War in Russian Poetry (1915). The analysis involves materials of a lecture on The Lay of Igor’s Campaign that Vladimir Gippius gave to his students at the Tenishev School. The poem is an artistic interpretation of the ancient text with free paraphrasing of some fragments. The poem contains a considerable number of references to its source and echoes of it. Gippius’s poem is compared with translations of other poets (V. A. Zhukovsky, L. A. Mei, A. N. Maykov). Special attention is paid to the original images and metaphors of Gippius’s text. For example, in other renderings there is no such expression as “the clear Don” (in the original: “the blue Don”). In Gippius’s poem, an eclipse of the sun is a good sign that opens rather than block Igor’s path, and foxes do not “bark” but “sing”. Gippius’s text also echoes poems from the cycle “On the Field of Kulikovo” by Alexander Blok. A short discussion of Gippius’s unpubliched poem “What is the noise of military weapons to me?” completes the analysis. In the first redaction of the collection “Eclipses of Stars”, this poem immediately follows The Lay of Igor’s Campaign and is latently associated with it. This poem was also written in the autumn of 1914.
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Dudareva, M. A., et N. Z. Koltsova. « APOPHATIC OF A FATHERLAND IN VALERY DUDAREV’S POEM “PETUSHKI – KOKHMA, FURTHER NOWHERE” ». Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23 (2021) : 92–97. http://dx.doi.org/10.37313/2413-9645-2021-23-76-92-97.
Texte intégralRésumé :
Subject of the article: apophatic of a literary work. The article examines how the apophatic of culture, the problem of hierotopy is implemented through a literary work. Object of the article: a poem of the contemporary poet V. Dudarev “Petushki – Kokhma, Further Nowhere”, consisting of thirteen short stories. Many writers openly refer to well-known literary plots, which make their works easily recognizable. However, in modern poetry there are examples of latent organic assimilation of eternal images and plots. Undoubtedly, Dudarev refers to V. Erofeev’s poem “Moscow – Petushki”, but enters into a creative dialogue-dispute with the classic, which manifests itself at the super-textual level and is associated with the search for a fatherland, home. Research methodology: a holistic analysis of literary texts in an ontohermeneutic key with the use of a semantic research method. Results:Valery Dudarev’s poem is based on the plot of a metaphysical journey and the main character finding a small homeland, a fatherland, which is apophatic in nature, and this requires additional culturological commentary. Drawing parallels with the Russian fairy tale, turning to its otherworldly paradigm seems productive, since Russian folklore is an inexhaustible apophatic source in Russian culture.
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Surat, Irina Z. « Calvary ». Literary Fact, no 3 (25) (2022) : 163–94. http://dx.doi.org/10.22455/2541-8297-2022-25-163-194.
Texte intégralRésumé :
The article is dedicated to the subject of the crucifixion in Russian lyric poetry of 19th–21st centuries. It studies five poems that present different images of Calvary. Analyzing A.S. Pushkin’s “Worldly power” we discover a lexical connection of the poem to prayers and liturgical texts. The poem “When rowan leaves are dank and rusting…” by A.A. Blok requires consideration from two angles: among his other Christological poems and in the light of a general among symbologists tendency of eroticizing Christian images. We demonstrate that the subject of co-crucifixion is natural for Blok, that it was slowly emerging in his lyric poetry of the 1900s. The article analyzes O.E. Mandelstam’s poem “The implacable words…” in the context of his lyric poetry of the 1910s, as well as in comparison to the later variation of the image (“Like chiaroscuro’s martyr Rembrandt…”). The research reveals “maternal projection” of the subject of Calvary on the example of the poem “Mother” by V.V. Nabokov, passages from A.A. Akhmatova’s poem "Requiem” and I.A. Brodsky's poem “Still-life.” El.A Shvarts’s poem “Rembrandt’s etching — Christ and the thieves” represents ekphrastic versions of the biblical story.
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Xiao-bing, Zhao. « Analysis of the Russian Translation of the “Shijing” Song “Longing for the Husband” ». Russian and Chinese Studies 5, no 1 (11 avril 2021) : 56–61. http://dx.doi.org/10.17150/2587-7445.2021.5(1).56-61.
Texte intégralRésumé :
Translating into Russian and studying “Shijing” (“The Book of Poetry”) is a significant milestone in Russian-Chinese literature exchange which was initiated in the 19th century when Wang Xili school was founded. In the USSR, V. Alexeev school was established, in which one of the most famous translators was A. Shtukin. His Russian translation of “Shijing” is considered the first and the most complete one. The object of research in this article is Russian translation of the song in “Wang kingdom's songs” “Longing for the Husband”| by A. Shtukin. “Longing for the Husband” is the brightest folk song in “Gofen” (“Characters of Kingdoms”) in Shijing. In this article, the analysis of the graceful and most poetic translation of “Longing for the Husband” by A. Shchukin is carried out by commenting the poem, analyzing the translation of the original into modern Chinese by Cheng Junying and Jiang Jianyuan and comparing Russian and English translation. The author attempted to make a secondary improved translation of the original poem on the basis of A. Shtukin’s translation preserving the original rhythm and rhyme wherever possible. The secondary translation is closer to the original poem, it preserves and delivers the genuine resplendence of the poem. It also preserves A. Shtukin’s amphibrach and his individual style which has a lot of tune and distinguished style of classical Russian poetry. The author only introduces some lexical adjustments due to which it will be easier for a Russian reader to understand the poem.
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Bowers, Katherine. « Unpacking Viazemskii's Khalat : The Technologies of Dilettantism in Early Nineteenth-Century Russian Literary Culture ». Slavic Review 74, no 3 (2015) : 529–52. http://dx.doi.org/10.5612/slavicreview.74.3.529.
Texte intégralRésumé :
This article explores the image of the khalat, or dressing gown, in and around Petr Viazemskii's 1817 poem “Proshchanie s khalatom” (Farewell to My Dressing Gown). As the poem circulated during the period between its creation and printing, its central image—the khalat—became enshrined as a symbol for early nineteenth-century literary culture around and within the Arzamas circle, emphasizing a creative inner life and an informal approach to writing. The poem mediates between friendship, honor, authenticity, and authorship and the formalities, duties, and expectations of society life. The khalat image appears in later poems, correspondence, and occasional writings by Anton Del'vig, Aleksandr Pushkin, and Vasilii Zhukovskii, among others. Tracing the image through its intertextual influences, extratextual impact, and memetic evolution, I examine the way it contributed to the development of an intellectual network through information transfer during the early nineteenth century and beyond.