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1
Kornienko, Sergey A. "The influence on Mandelstam by Goethe: “The Octaves” as “The Poems on the Cognition”". RUDN Journal of Studies in Literature and Journalism 24, n. 2 (15 dicembre 2019): 188–95. http://dx.doi.org/10.22363/2312-9220-2019-24-2-188-195.
Abstract (sommario):
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...”.
2
Gray, John E., e Andrew Vogt. "Mathematical analysis of the Mandelstam–Tamm time-energy uncertainty principle". Journal of Mathematical Physics 46, n. 5 (maggio 2005): 052108. http://dx.doi.org/10.1063/1.1897164.
3
Razumkova, Nadezhda V. "Lexical representations of sensory images in Osip Mandelstam’s lyrics". Tyumen State University Herald. Humanities Research. Humanitates 8, n. 3 (2022): 23–44. http://dx.doi.org/10.21684/2411-197x-2022-8-3-23-44.
Abstract (sommario):
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.
4
Užarević, Josip. "Remain as Foam, Aphrodite (The lyrical “She/It” in Osip Mandelstam". Проблемы исторической поэтики 18, n. 3 (luglio 2020): 190–204. http://dx.doi.org/10.15393/j9.art.2020.8263.
Abstract (sommario):
<p>The article approaches the problem of the correlation between the lyrical persons “I”, “You”, “She” in the poem <em>Silentium</em> by Mandelstam. Special attention is paid to the difference between the lyrical “She/It” (the original muteness, the first principle of life) and the lyrical “You” (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 “first principle of life” through the acquisition of “initial muteness” by the lyrical “I”. In this situation, poetry turns out to be both paradoxical and transparadoxical reality, since the demand for “silence!” is implemented by means of the language (word).</p>
5
Teitelboim, Claudio. "Gravitation Theory in Path Space". Zeitschrift für Naturforschung A 52, n. 1-2 (1 febbraio 1997): 86–96. http://dx.doi.org/10.1515/zna-1997-1-222.
Abstract (sommario):
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.
6
Kikhney, L. G., e O. R. Temirshina. "“THE INTERNAL FORM OF THE VERSE” AND THE INNER WORD: OSIP MANDELSTAM’S CONVERSATION ABOUT DANTE IN THE PSYCHOLINGUISTIC PERSPECTIVE". Lomonosov Journal of Philology, n. 5, 2023 (23 ottobre 2023): 86–102. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-05-7.
Abstract (sommario):
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.
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Neretina, Svetlana S. "Mandelstam: The Realm of Unexpectedness". Russian Journal of Philosophical Sciences 64, n. 2 (23 maggio 2021): 62–83. http://dx.doi.org/10.30727/0235-1188-2021-64-2-62-83.
Abstract (sommario):
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.
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Zhukova, Olga A. "O.E. Mandelstam’s Works in the Context of Russian Modernist Philosophy and Artistic Practice". Russian Journal of Philosophical Sciences 64, n. 2 (23 maggio 2021): 7–20. http://dx.doi.org/10.30727/0235-1188-2021-64-2-7-20.
Abstract (sommario):
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.
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Brusilovskaya, Liliya B. "“IT IS TEMPTING TO UNDERSTAND AND DIFFICULT TO INTERPRET”. S.S. AVERINTSEV - RESEARCHER OF O. MANDELSTAM’S CREATIVITY". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n. 7 (2023): 179–87. http://dx.doi.org/10.28995/2686-7249-2023-7-179-187.
Abstract (sommario):
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.
10
Krotova, Daria V. "Interpretation of acmeistic traditions in V. Shalamov’s poetry". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 177–88. http://dx.doi.org/10.37816/2073-9567-2021-61-177-188.
Abstract (sommario):
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.
11
Gryaznova, A. T. "The sense-making mechanisms in O. Mandelstam’s poem "Palace Square"". Russian language at school 83, n. 1 (21 gennaio 2022): 36–43. http://dx.doi.org/10.30515/0131-6141-2022-83-1-36-43.
Abstract (sommario):
The article which is written within the framework of linguopoetics analyses the sense-making mechanism from a cognitive perspective. The basic tool used to create this mechanism in O. Mandelstam’s poem "Palace Square" is vertical context. The vertical context of the poem under study is a complex structure consisting of not only separate linguistic units (historisms, archaisms, proper nouns, lexemes characteristic of religious discourse, quotations, and allusions) which have national and cultural specific features and require a commentary, but also a number of linguistic paradigms based on various principles of grouping. These principles are: taxonomic (passive vocabulary, including obsolete lexemes and religious discourse words), thematic (the lexico-semantic fields "The Roman Empire", "The Russian Empire", "Pushkinian Petersburg" and the semantic field "Faith"), figurative (metaphtonymies, aposiopesis, metaphors, metonymies, similes) as well as the relations between the elements of these paradigms. The units representing metaphtonymies which facilitate the formation of a "bunch of meanings" according to Mandelstam and the markers of aposiopesis (a trope requiring a deep ethnocultural analysis, which implies a "visualization" of the depicted urban landscape) pose the greatest difficulty in the process of analysis. The principles of repetition, antithesis, assimilation constitute the basis of the language composition of the poem. These principles interact with one another structuring the vertical context with respect to the artistic merit and making its semantic perspective broader.
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O.O., Kryzhanovska. "ARTISTIC PRINCIPLES OF ACMEISM IN THE POETIC PRACTICE OF E. PLUZHNYK AND D. FALKIVSKYI". South archive (philological sciences), n. 84 (23 dicembre 2020): 98–102. http://dx.doi.org/10.32999/ksu2663-2691/2020-84-15.
Abstract (sommario):
The purpose of the article is to explore the artistic realization of acmeistic principles in the poetic practice of E. Pluzhnik and D. Falkivsky.Research methods. The comparative-historical method is used in the work, which is realized through the study of the functioning of artistic principles of Russian acmeism in the works of Ukrainian poets E. Pluzhnyk and D. Falkivskkyi. Turning to the cultural-historical method helps to ensure the objectivity of the study, taking into account the facts of the worldview and cultural situation. The study combines receptive and hermeneutic methods, as well as general scientific methods of analysis, synthesis and systematization of the studied materials.Results. Based on the study of T. Pakhareva, which identifies the main categories of acmeistic aesthetics which consist in the synthesis of historicism, cultural centrism and ethicocentrism, the author argues that the works of E. Pluzhnik and D. Falkivskkyi demonstrate typological closeness to an acmeism. The article clarifies that the creative realization of the principle of cultural centrism is realized in the works of E. Pluzhnik and D. Falkivskkyi through the understanding of cultural space as a means of forming ethical values of life. Ethicocentrism is connected with this category of acmeism, which is embodied in a special model of poetic behavior of E. Pluzhnik and D. Falkivskkyi, which fills life acts with aesthetic activity. The connection of history with personal destiny, with moral choice, complex dramatic nature of perception of the events of the revolution and civil war, a sense of responsibility to the future for the cruelty of the modern era and the catastrophic worldview in the works of E. Pluzhnik and D. Falkivskkyi is one of the main markers of acmeist poetry.Conclusions. The article concludes that the poetic practice of E. Pluzhnyk and D. Falkivskkyi demonstrates the appeal to the artistic principles of acmeism, which is realized through the categories of cultural centrism, ethicocentrism, historicism, and testifies to the typological closeness to the work of N. Gumilev, O. Mandelstam and A. Akhmatova.Key words: acmeistic poetics, historicism, culturocentrism, ethicocentrism, lyrical hero, artistic principles, artistic world. Мета. Метою статті полягає у прагненні дослідити художню реалізацію акмеїстичних принципів в поетичній практиці Є. Плужника та Д. Фальківського.Методи дослідження. У роботі використано порівняльно-історичний метод, якій реалізовано через вивчення функціону-вання художніх принципів російського акмеїзму в творах українських поетів Є. Плужника та Д. Фальківського. Звернення до культурно-історичного методу сприяє забезпеченню об’єктивності дослідження, врахування фактів світобачення та культурної ситуації. У дослідженні здійснюється поєднання рецептивного й герменевтичного методів, а також загальнонаукових методів аналізу, синтезу та систематизації досліджуваних матеріалів.Результати. На основі дослідження Т. Пахарєвої, в якому визначені головні категорії акмеїстичної естетики, що полягають в синтезі історизму, культуроцентризму, етікоцентрізму, автор статті доводить, що поезії Є. Плужника та Д. Фальківського демонструють типологічну близькість до російського акмеїзму. У статті з’ясовано, що творча реалізація принципу культуро-центризму реалізовано в творах Є. Плужника та Д. Фальківського через усвідомлення культурного простору як засобу формування етичних цінностей життя. Із цією категорією акмеїзму пов’язаний етікоцентрізм, що втілюється в особливу модель поетичної поведінки Є. Плужника та Д. Фальківського, яка наповнює життєві акти естетичною діяльністю. Зв’язок історії з особистісною долею, з моральним вибором, складний драматичний характер сприйняття подій революції та громадянської війни, відчуття власної відповідальності перед майбутнім за жорстокість сучасної епохи, катастрофізм світосприйняття у творах Є. Плужника та Д. Фальківського – виступають маркерами акмеїстичної поетики.Висновки. У статті зроблено висновок про те, що поетична практика Є. Плужника та Д. Фальківського демонструє звернення до художніх принципи акмеїзму, що реалізовано через категорії культуроцентризму, етікоцентрізму, історизму, та свідчить про типологічну близькість до творчості М. Гумільова, О. Мандельштама та А. Ахматової.Ключові слова: акмеїстична поетика, історизм, культуроцентризм, етікоцентрізм, ліричний герой, художній світ.
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Kihney, Liubov. "Onomastic code in Mandelstam’s poetry". Literatūra 61, n. 2 (15 dicembre 2019): 49–69. http://dx.doi.org/10.15388/litera.2019.2.4.
Abstract (sommario):
The article explores the principles of anagraming and intertextual cryptography in the work of Osip Mandelstam related to his own name and surname. It is proved that onomastic ciphers dissolved in poetic fabric (embodied in the images of Hagia Sophia, Joseph, the staff, axis, wasp, Hosian, etc.) add up to the author’s myth about the World Tree / World Axis, which, through a system of complex intertextual references, draws into themselves a number of mythological paradigms of world culture. At the same time, the uniqueness of the myth created by Mandelstam lies in the fact that within the author’s system of onomastic correspondences, all images are likened to each other, and their semantic fields become interpenetrable and mobile, which is explained by their ascent to the single sound-semantic code of the poet’s name and surname.
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Mikhailova, Galina. "On Some Features of Osip Mandelstam’s Representation in the Memories by Anna Akhmatova". Literatūra 62, n. 2 (2 novembre 2020): 138–53. http://dx.doi.org/10.15388/litera.2020.2.8.
Abstract (sommario):
The article presents some considerations on the motives for the creation and text strategies of Akhmatova’s memories of Mandelstam. The Pages from a Diary are viewed from two points of view: first, as a fragment of Akhmatova‘s memoir prose of a certain historical time, as an actualization of personal memory in order to correct collective cultural memory; secondly, as a supertext formed by numerous drafts, lists and variations.Within the framework of this genre, it is possible to single out a number of principles that Akhmatova is guided by when creating a memoir text: for example, a dialogical mode of a “conversation” with existing memories, documents, oral evidence; intention of myth-fighting, etc. A look at the Pages from a Diary as a work of narrative prose (based on Akhmatova’s definition of memories as a “short story”), called “The Death’s Way,” allows us to add the hero of her memoir to a number of “damned poets” that are not alien to Mandelstam.
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BASSETTO, A., G. NARDELLI e R. SOLDATI. "LOCAL AND NON LOCAL COUNTERTERMS IN ALGEBRAIC NON COVARIANT GAUGES". Modern Physics Letters A 03, n. 17 (dicembre 1988): 1663–68. http://dx.doi.org/10.1142/s0217732388001999.
Abstract (sommario):
A simple general argument is given to show that the counterterms in the space-like planar gauge with the Cauchy principal value prescription for the spurious singularities are local. This result is used to obtain limitations on the number and on the kind of nonlocal counterterms occurring in the light-cone case with the Mandelstam-Leibbrandt prescription.
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Babenko, L. G., e V. A. Glazyrin. "“No, not the Moon, but a Bright Dial...” (O. E. Mandelstam): Experience of Poetic-Ideographic Analysis". Nauchnyi dialog 11, n. 10 (5 gennaio 2023): 9–31. http://dx.doi.org/10.24224/2227-1295-2022-11-10-9-31.
Abstract (sommario):
The principles of the formation of the author’s poetic ideography are highlighted — a new direction in the study of poetic texts, which is currently developing at the intersection of theoretical and practical ideography and author’s lexicography. The main goal of this approach is to identify and describe the individual author’s poetic pictures of the world and their representations in lexicographic parameters. Both the general model of the proposed poetic-ideographic analysis and the main theoretical concepts associated with the new cognitive-discursive approach to the interpretation of a poetic text are presented in the article. They are: a global individual-author’s worldview, a local picture of a fragment of the world, which in the dictionary have features their representation within the framework of various structures: integral global-event, local-fragmentary, macro- and micro-situational. They are used in the process of poetic-ideographic analysis of the poem “No, not the moon, but a bright dial...” (O. E. Mandelstam), carried out in the proposed article on the basis of the developed analysis model, its main stages, and tasks. The prospect of the research is the study of the integral individual-author’s worldview of O. E. Mandelstam, presented in the first edition of the book “Stone”, as well as the compilation of the author’s ideographic dictionary of the poet’s language.
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Bogachkov, Igor V. "Principles of Automated Data Processing of Mandelstam – Brillouin Backscatter Characteristics for Evaluating the State of Optical Fibers". T-Comm 14, n. 8 (2020): 47–52. http://dx.doi.org/10.36724/2072-8735-2020-14-8-47-52.
Abstract (sommario):
For early diagnostics of the state of optical fibers (OFs) located in the laid optical cables (OCs), it is necessary to identify potentially unreliable sections of the S in advance, which over time can lead to the destruction of fibers and disrupt the normal operation of fiber-optic communication lines (FOCLs). For diagnosis and forecasting of the state of the OFs that are in the laid OCs, Brillouin optical pulse reflectometers (BOTDR) are used, in which the back-reflected signal of the spontaneous Mandelstam – Brillouin scattering (MBS) is analyzed. In the process of obtaining a trace of the distribution of the Mandelshtam – Brillouin backscatter spectrum (MBBS) along the OF, the Brillouin frequency shift (BFS) is determined. After this, a graphs of the distribution of strain along the light-guide is constructed. A classification of varieties of single-mode optical fibers based on analysis of the MBS characteristics is discussed in this paper. It is shown how by the characteristics of the frequency profiles of the MBBS, one can determine the type of fiber and also evaluate the change in the strain and BFS. The MBBS profile come under influence by the functional dependence of the distribution of acoustic modes in the OF, their longitudinal direction. Both of them depend on the structure of the OF layers, as well as on the types and concentration of various alloying additives of the core OF. For single-mode OFs, when describing the MBS process, it is necessary to take into account the spatial distribution and interaction of the main optical and several acoustic modes. After uploading the data file from the BOTDR, it is necessary to process the information in order to determine the BFS and the strain along the light-guide. This process can be automatized, if a database has been formed. When a new Brillouin reflectogram appears, the MBBS profile from it must be compared with templates from the generated database. To classify the fiber types, it is necessary to evaluate the degree of matching of the explored MBBS profile with all the database templates. To assess the degree of coincidence of the considered MBBS profiles, needs to be defined the overall part of the frequency band for analysis. The programs for the automated processing of the Brillouin reflectograms data are presented. Based on the analysis of Brillouin reflectograms, it is possible to identify a factor that had a predominant influence on the characteristics of the MBS signal in the explored sections of single-mode optical fibers. As a result of the program's work, a template is output that, according to the program's estimates according to the algorithm described above, has the best match with the downloaded image. To increase the accuracy of assessing the similarity of the explored profiles, it is also recommended to carry out calculations according to the above-described algorithm when aligning not only the maximum levels, but also combine the graphs along the frequency axis. It is clear that during the overlay the frequencies of the "peaks" (BFS), there will be a very strong coincidence of the patterns, and the type of the OFs will be determined correctly, while at some temperatures a good degree of similarity with another pattern could be obtained. The obtained estimate of the BFS allows one to determine the degree of the OF strain. The identification of the MBBS profile and other characteristics of the MBS allows you to create a database various types of the OFs and different manufacturers, which can be used to classify the type of the OFs. The results presented in this exploratory development show how based on the analysis of BOTDR reflectograms, it is possible to automatically determine the type of the OF in OC, to identify a factor that has a predominant effect on the frequency response and strain in the explored sections of the OFs in FOCL, which can improve the efficiency of predicting the operational parameters of the physical channels of optical telecommunication systems.
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Luciano, Giuseppe Gaetano, e Luca Smaldone. "Time–Energy Uncertainty Relation for Neutrino Oscillations: Historical Development, Applications, and Future Prospects". Symmetry 15, n. 11 (8 novembre 2023): 2032. http://dx.doi.org/10.3390/sym15112032.
Abstract (sommario):
The time–energy uncertainty relation (TEUR) plays a fundamental role in quantum mechanics, as it allows the grasping of peculiar aspects of a variety of phenomena based on very general principles and symmetries of the theory. Using the Mandelstam–Tamm method, TEUR has recently been derived for neutrino oscillations by connecting the uncertainty in neutrino energy with the characteristic timescale of oscillations. Interestingly, the suggested interpretation of neutrinos as unstable-like particles has proved to naturally emerge in this context. Further aspects were later discussed in semiclassical gravity theory, by computing corrections to the neutrino energy uncertainty in a generic stationary curved spacetime, and in quantum field theory, where the clock observable turns out to be identified with the non-conserved flavor charge operator. In the present work, we give an overview on the above achievements. In particular, we analyze the implications of TEUR and explore the impact of gravitational and non-relativistic effects on the standard condition for neutrino oscillations.
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Yuanyuan, Zhang. "Study of the Works by Valery Pereleshin in China". Вестник Пермского университета. Российская и зарубежная филология 14, n. 1 (2022): 142–52. http://dx.doi.org/10.17072/2073-6681-2022-1-142-152.
Abstract (sommario):
The article describes the history of research on the works by poet Valery Pereleshin in Chinese literary studies in the 2000s-2010s. Chinese literary critics Li Meng, Wang Yamin, Li Rennian, Li Yanling, Gu Yu, Wang Jianzhao, Rong Jie, Su Xiaotang, Zhao Ting, etc. studied his work in the context of Russian diaspora literature in interaction with the traditions of the Russian Silver Age and classical Chinese literature, paying special attention to the images and motifs associated with China. It is concluded that in the first two decades of the 21st century, Chinese scientists studied the works by Pereleshin in four directions: 1) collecting and publishing the poet's works and archives; 2) studying the poetics of his works (in particular, the principles of creating the image of China); 3) describing his work in the context of Chinese culture, Russian literature traditions of the ‘golden’ and ‘silver’ ages; 4) analyzing the principles of poetic translation implemented by him. As Chinese researchers show, Pereleshin's works combined the traditions of acmeism and symbolism associated with the names of Alexander Blok, Nikolay Gumilyov, and Osip Mandelstam, which organically combined with techniques characteristic of Chinese classical poetry. Of great importance for the understanding of the specific features of Harbin literary life were the concepts ‘Harbin critical realism’ and ‘Harbin silver age’, introduced by Professor Li Yanling, which contributed to the development of the ideas about the ‘island’ (‘enclave’) type of Russian culture’s development in China. The article indicates the limited range of problems raised in modern literary research and suggests areas for further research: analysis of religious and philosophical motifs in Pereleshin's works, description of contradictions and paradoxes in his worldview, study of the impact that Chinese and Russian poetic traditions had on his works, which would make it possible to understand the innovative nature of the artistic forms used by him, as well as to draw conclusions about the general principles of intercultural interaction.
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Stepanian-Rumyantseva, Elena V. "Didymous and Their Function in the Text of The Adolescent". Dostoevsky and world culture. Philological journal, n. 2 (2021): 116–27. http://dx.doi.org/10.22455/2541-7894-2021-2-116-127.
Abstract (sommario):
The article focuses on repeating details, situations, and characters in Fyodor Dostoevsky’s novel The Adolescent. To define such repetitions, the author of the present article uses the term dvoichatka (didymous), which is not a strictly academic definition, having been introduced in literary usage by Osip Mandelstam. This term encompasses all duplications that form the odd “density” of the text of The Adolescent. It is of note, that sometimes such repetitions align unequal elements, figures, and situations of very different scopes. Hence, these duplications create the rhythm of the novel, bonding the text as a whole and rendering it an uneven, shifting nature. The explicit “overcrowding” of the novel, the array of duplicating characters, and the density of the style, inherent to this particular text, all reflect Dostoyevsky’s intention to present a picture of “disorder” – the moral and social disarray that prevailed in post-reform Russia. However, precisely through the disorder of the main character, Arkady Dolgoruky, the reader is directed by the principal idea of the writer: Russia, seized by a rush into renewal, shall re-establish itself on a new and solid foundation. It shall attain prudence (the keyword of the novel) and the foremost role in this process will be played by adolescences, who are open to the future and from whom, according to Dostoyevsky, “generations are formed”.
21
Cherneyko, L. O. "The Concept of “Projection” and “Projective Meaning” in the Term System of Cognitive Linguistics". Critique and Semiotics 37, n. 2 (2019): 158–70. http://dx.doi.org/10.25205/2307-1737-2019-2-158-170.
Abstract (sommario):
The paper proposes a nontrivial approach to the study of the mechanism of associating meanings and words in speech, which allows us to consider not their equal connection, but the projection of the unknown and/or incomprehensible to the elements of experience – a collective, molded in usual compatibility of language units, or an individual that creates occasional compatibility. The purpose of the study is to provide a detailed theoretical justification for the use of the term “projection” in cognitive linguistics and in cognitive poetics as an emerging paradigm of knowledge about the artistic text, as well as the term “projective meaning”, which allows us to approach such traditionally distinguished paths as metaphor, comparison and metamorphosis from a single point of view. The theoretical basis of the research is the concept of grammaticality of abstract substantives with secondary predicates developed by the author, the method of modeling culturally developed and artistic ideas on the abstract phenomenon calculated in projective meanings, and the principles of linguistic modeling of the semantic structure of artistic text. The argument of the relevance of the term “projection” in linguistics is based on the scientific achievements of domestic and foreign linguists, but the historical perspective requires recognition of the priority in developing a method that later received the name “conceptual analysis of the word” for such domestic linguists as A. Bely and V. A. Uspensky. In the mathematical term “projection”, which is adopted by linguistics relevant for cognitive science, the idea of dependence of the unknown on the known in the process of its mental development, as well as the idea of the “picture plane”, which can be interpreted as applied to linguistic tasks as an object plane filled with the results of everyday experience. Projective meanings (projectives) are proposed to be considered as sensual and logical images of an abstract phenomenon, in which its meaningful cultural profiles (sides, aspects) are conceptualized and which guide the compatibility of its name, and the set of projectives is a verifiable model of the content of an abstract name. The article proposes the establishment of similarity (by projectivity) of cognitive metaphors and comparisons and their cognitive and structural differences: logical redundancy of comparison and the logical need for a cognitive metaphor for the discursive existence of abstract names. In comparison, as a kind of widely understood metaphor, there is a “form-building instinct” (O. Mandelstam), in which knowledge prevails over vision, metaphysics over physics, individual over universal.
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Sinel’nikova, Olga V. "A Word and Music in the Vocal Cycle of Rodion Shchedrin Based on the Osip Mandelstam’s Poem «My Age, My Beast»". Journal of Siberian Federal University. Humanities & Social Sciences, giugno 2021, 842–61. http://dx.doi.org/10.17516/1997-1370-0765.
Abstract (sommario):
The article is devoted to the issue of the synthesis of words and music in the vocal cycle of Rodion Shchedrin «My Age, My Beast» with lyrics by Osip Mandelstam, created by the order of V. Ashkenazi. The author studies the composer’s original approach to combining words and music and concludes that a number of innovations introduced by Shchedrin and transforming the traditional genre of the vocal cycle led to this result. Firstly, the composer uses fragments of Anna Akhmatova’s diaries where she recalls the dramatic moments of O. Mandelstam’s life – his arrest, exile, and death of the poet as the literary basis of the cycle. Fragmentary diary entries by A. Akhmatova in linear and counterpoint combination with the poetic texts by O. Mandelstam give rise to a diversified semantic polyphony of the composition. Secondly, the individual editing principle of R. Shchedrin’s artistic thinking contributes to an increase in the associative perception of O. Mandelstam’s poetry in its synthesis with music. Stages of the drama of R. Shchedrin’s composition, fixing the milestones in life and creative path of the poet are traced in the article. The author of the article analyzes the features of the composer’s musical language, consonant with the complex-associative poetry of O. Mandelstam. The analysis of the vocal cycle of R. Shchedrin became the starting point of the author’s reflections on the tragedy of the greatest poet of the 20th century in the unity of his poems and destiny, on the cruel lessons of Russian history and the victims of the totalitarian system
23
Lu, Pengfei, Teng Liu, Yang Liu, Xinxin Rao, Qifeng Lao, Hao Wu, Feng Zhu e Le Luo. "Realizing quantum speed limit in open system with a PT -symmetric trapped-ion qubit". New Journal of Physics, 3 gennaio 2024. http://dx.doi.org/10.1088/1367-2630/ad1a28.
Abstract (sommario):
Abstract Quantum speed limit (QSL), the lower bound of the time for transferring an initial state to a target one, is of fundamental interest in quantum information processing. Despite that the speed limit of a unitary evolution could be well analyzed by either the Mandelstam-Tamm or the Margolus-Levitin bound, there are still many unknowns for the QSL in open systems. A particularly exciting result is about that the evolution time can be made arbitrarily small without violating the time-energy uncertainty principle, whenever the dynamics is governed by a paritytime (PT ) symmetric Hamiltonian. Here we study the QSLs with both PT and anti-PT Hamiltonians, and pose the QSL as a brachistochrone problem on a non-Hermitian Bloch sphere. We then use dissipative trapped-ion qubits to construct the Hamiltonians, where the state evolutions reach the QSL governed by a generalized Margolus-Levitin bound of the non-Hermitian system. We find that the evolution time monotonously decreases with the increase of the dissipation strength and exhibits chiral dependence on the Bloch sphere. These results enable a well-controlled knob for speeding up the state manipulation in open quantum systems, which could be used for quantum control and simulation with non-unitary dynamics.
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Stepanian-Rumyantseva, Elena V. "Didymous and Their Function in the Text of The Adolescent". Dostoevsky and world culture. Philological journal, n. 2 (2021). http://dx.doi.org/10.22455/2619-0311-2021-2-116-127.
Abstract (sommario):
The article focuses on repeating details, situations, and characters in Fyodor Dostoevsky’s novel The Adolescent. To define such repetitions, the author of the present article uses the term dvoichatka (didymous), which is not a strictly academic definition, having been introduced in literary usage by Osip Mandelstam. This term encompasses all duplications that form the odd “density” of the text of The Adolescent. It is of note, that sometimes such repetitions align unequal elements, figures, and situations of very different scopes. Hence, these duplications create the rhythm of the novel, bonding the text as a whole and rendering it an uneven, shifting nature. The explicit “overcrowding” of the novel, the array of duplicating characters, and the density of the style, inherent to this particular text, all reflect Dostoyevsky’s intention to present a picture of “disorder” – the moral and social disarray that prevailed in post-reform Russia. However, precisely through the disorder of the main character, Arkady Dolgoruky, the reader is directed by the principal idea of the writer: Russia, seized by a rush into renewal, shall re-establish itself on a new and solid foundation. It shall attain prudence (the keyword of the novel) and the foremost role in this process will be played by adolescences, who are open to the future and from whom, according to Dostoyevsky, “generations are formed”.
25
Hayryan, Zaruhi, e Luiza Gasparyan. "Ghevond Alishan's Literary Activity Through the Light of Russian". “Katchar” Collection of Scientific Articles. International Scientific-Educational Center NAS RA, 13 ottobre 2021, 66–78. http://dx.doi.org/10.52853/25792903-2021.2-zhlg.
Abstract (sommario):
The history of Russian-Armenian literary relationships is one of the brightest and most significant events of the time. It undoubtedly enhanced the mutual cultural heritage and left a profound mark on the worldview, moral and aesthetic values of Armenian and Russian writers, translators, and literary critics. Since the beginning of the 20th-century Armenian culture, mainly Armenian literature, aroused great interest among such outstanding classics, as M. Gorky, V. Bryusov, A. Blok, O. Mandelstam, A. Bely, A. Akhmatova and others who not only appreciated its aesthetic and stylistic texture but also embarked on the laborious work of translating its best achievements into Russian. In this sense, the anthology "The Poetry of Armenia from Ancient Times to the Present" in 1916 can be considered a significant cultural event. It was edited by Valery Bryusov, who also wrote the introductory part of the work. The publication was carried out with M. Gorky's direct assistance and support. It should be noted that many Russian translations done by V. Bryusov and A. Blok are still brilliant samples of the artistic heritage of translation. The present work focuses on the evaluations and interpretations of Russian critics (V. Bryusov, Y. Veselovsky) of the creative heritage of Gh. Alishan, his poetic individuality and the influence on the development of the literary process of that time. It also reveals the role of Russian poets, translators and literary critics in promoting the publication and popularization of Bryusov's anthology as a significant cultural event of the time. The section of the anthology "Poetry of Western Armenians" includes the most famous poems of Gh. Alishan, M. Peshiktashlyan, P. Duryan, Sipil, L. Shant, and others are parallelly illustrated by the excellent translations of V. Bryusov, S. Shervinsky, V. Khodasevich, K. Balmont, S. Bobrov and others. The scientific research has shown that among Russian poets and translators, Bryusov was one of the first interested in Gh. Alishan's literary works and his bright poetic individuality. It can be explained by the fact that Alishan was a well-known representative of Western Armenian poetry and a comprehensive creator of his time, a man with encyclopedic knowledge. In addition, he was a historian, philosopher, translator, philosopher, geographer who devoted his whole life to science and enlightenment. Bryusov was also a gifted man. He had a poetic talent; he contributed to improving the Russian dialect, elevating it to a new, higher level. Consequently, there are many common features between Bryusov and Alishan. These are the breadth of the intellectual range, brilliant knowledge of languages and world literature, devotion to scientific activities, profound love for their Motherland, its cultural values and the highest level of humanism. Undoubtedly, they were outstanding figures of their era who made a significant contribution to the development of culture, science and literature. This article is an attempt at a comprehensive study of the principles of the Russian translation theory used in the translation of Armenian literature, with particular reference to the poem "Hrazdan", an extract from Gh. Alishan's patriotic lyrics. The proficiency of Russian translators and the revelation of Armenian linguistic and national characteristics helped them interpret the linguo-stylistic peculiarities of the original and recreate their equivalent counterparts.