Language Work Research Articles

"Wieczny mnie rodzi ogień i wyznaję słońce". Żywioł ognia w liryce Wincentego Korab-Brzozowskiego

The article is an attempt to analyze and interpret selected works of Wincenty Korab-Brzozowski, related to each other due to the presence of the element of fire in them. Referring to the recognition of ancient philosophers, attempts were made to point out the similarities and differences in the treatment of the phenomenon of fire in the author’s lyrical work Amongst the stars.

Figuring choral lyric: Sappho, Stesichorus and the spectacular chorus in archaic Greek texts and images

This article explores relations between a series of archaic Greek vase images and select poems by Sappho and Stesichorus. It argues that reading the lyric works alongside both earlier and contemporary visual accounts can elucidate outstanding questions concerning the poems’ structure, contents, sensibility, and coherence, and help resolve the puzzles surrounding the performance context and audiences for whom the composers designed their songs. After supplying close readings of Sappho’s fr. 16 and Stesichorus’s Geryoneis in conjunction with seventh- and sixth-century vases and demonstrating the overlaps between the pots’ and poems’ designs, concerns, and milieux, the article turns, in its third and final section, to a choral song in Sophocles’s Trachiniae, where the chorus-members identify themselves as spectators to an agôn between Heracles and Achelous. By treating the passage together with vase images that similarly position choruses as viewers of an ongoing struggle between a hero and monster, I argue for a further alignment between the painted and textual repertoires: in a practice that I style ‘choral spectatorship’, a heightened, quasi-visionary form of seeing that permits the viewing of what lies beyond the immediately perceptible, I propose that in both the visual and textual accounts, choral song-and-dance presents itself as the medium through which audiences might gain access to individuals and events remote in space, time, and/or ontological order, with the chorus serving as a conduit between those present at the performance and the realms to which the episodes evoked in their songs belong.

The Strange and Familiar Eternity. The Experience of God in Contemporary Hungarian Lyrical Works

The Strange and Familiar Eternity. The Experience of God in Contemporary Hungarian Lyrical Works

Contra un poder tan tirano], two translations for Miguel Hernández

Este trabalho apresenta duas propostas de traduções a três décimas espinelas do poeta e dramaturgo espanhol Miguel Hernández Gilabert (Orihuela, 1910 – Alicante, 1942) a que nos referimos pelo primeiro verso [Contra un poder tan tirano]. Ainda que originalmente inclusa na peça El labrador de más aire, de 1937, a poesia é tratada como obra lírica autônoma e traduzida com dois diferentes horizontes, seguindo nomenclatura de García de la Banda: (a) uma tradução da poesia, assim entendida a ocupada de preservar a semântica; (b) uma tradução poética, a qual, apesar de se assumir como tradução, visa a se integrar no sistema poético-alvo, no caso, o sul-rio-grandense, dialogando com a tradição pajadoresca e a (pós-)gauchesca. Ambas propostas, assim como a redação deste artigo, comprometem-se com uma linguagem a que designo “de paz”, evitando expressões ofensivas, discriminatórias ou prejudiciais a grupos de pessoas ou animais.

Lyrics of Chalchik Chunizhekov as a Reflection of the Socialist Realist Vision of the World in the Altai Literature

The article analyzes the work of the famous Altai writer Ch. A. Chunizhekov, whose work was a turning point in the history of Altai literature. He began his career in the years 20-30. The twentieth century, however, the period of his creative maturity fell on 1950-1960 - the time of creative take-off, at the beginning of the “golden period” in Altai literature. The object of the study was the lyric works of the writer, the main attention is paid to the influence of the socialist-realistic method on his choice of thematic material. In the lyric works of the writer, the image of Gorny Altai in the mid-20th century becomes central, and his main character is a man, the builder of a new happy future. In the prism of the author’s attention, the lyrical hero, who is understood as part of a single collective, distinguished by his dedicated work for the good of his homeland. Often the central character of the writer’s lyrics is a symbolically generalized image that reflects a social group (mother, agitator) or profession (shepherd, plowman, hunter, tractor driver ...). If the thematic directions of the lyrics were determined by the method of socialist-realistic depiction of reality, then folklore traditions, as well as the experience of both the previous generation of Altai writers, and Russian and other literatures became the means of artistic expression for the writer. He was a brilliant connoisseur of Altai folklore, a collector, literary processed Altai tales. This is evidenced by the song beginning of the writer’s lyrics, and characteristic metaphorical turns, and traditional motifs, and symbolism present in the works of the author. Relying on a rich folklore language, Ch. Chunizhekov created works on new themes and images that meet the requirements of the time. A special place in his lyrics is occupied by the poem “Tuudi”, dedicated to the famous Altai narrator Nikolai Ulagashev. The style and language of this work are similar to the heroic epic, which allows us to talk about the author s stylization. The past in this work, which is characteristic of the socialist realism in literature, is divided into the past and the present, the time that was before the advent of the Soviet Union (perceived as bleak for the common people), and - the arrival of Soviet power, when the era of sunrise and symbolically begins awakening the people from centuries of sleep. His second poem, written two decades after the publication of the first, was built in a similar manner. As a result of the analysis of the writer’s lyrics, it is proved that the ideals of socialist realism are the cornerstone of his worldview, the methods and techniques of which became fundamental in the author’s art world, building both the form and content of his works. The material for study was the lyric works of the writer, in which the worldview of the writer is most strikingly presented, in the center of which is the image of a person, a representative of modern times.

‘Poems unspelled’: on Georgy Obolduev’s early poetry

The paper is concerned with G. Obolduev, one of Russia’s most prominent poets of the first half of the 20th c., whose works are only now returning to readers. The poet’s first collected poems were published in 1991 thanks to L. Ozerov, who compiled the collection. Since then, Obolduev has inspired numerous works, but the research would normally focus on his mature and later lyrical works. By contrast, this article looks at the poet’s earlier work, typified by examples of language play, metaphorical convergence of opposing concepts, omission of links in chains of free associations, and so on. Especially interesting are quotes from the reminiscences of the children’s writer E. Blaginina, the poet’s wife, which offer an insight into Obolduev’s creative process and characteristic way of thinking, as quite a few of his earlier poems plainly require a detailed, almost line-by-line, commentary, such as the one provided by the authors of this article.

Homer’s the Odyssey and Taskin-e-Shirazi’s Falaknaz Nameh: A Comparative Study of the Role of Women

The book Falak Naz Nameh is among the love-epic couplets and one of the lyrical works of the Persian Literature in the thirteenth century AH which shares some similar epical features with European romance and was said by a poet of Arab descent named Yaqub ibn Masud with the pen name of Taskin-e-Shirazi. The present inquiry has a comparative look at the aforementioned book and the epic written by Homer (the blind Greek poet) and compares and contrasts women in both epic books. Through a profound view, the similarities and differences of the two foregoing poets with regard to women were investigated and scrutinized. In both stories, the presence and participation of women are among the main focuses and some or all part of the epics are based on their roles and activities; moreover, the logical and reasonable procedure of the story are taken by them. Therefore, the topic of woman and the part she plays are among significant features in both epopees, for women are the causes of the establishment and continuation of what happens in the two stories.

ANIMISM AND MYTHOPOETICS OF ZHANAT ASKERBEKKYZY'S LYRICS

The article deals with the problems of mythopoetics based on the lyrical works of the famous poetess Zhanat Askerbekkyzy, included in the collection of her poems “AI-tamgyˮ. The authors make a historical review of the formation of mythopoetics as an independent section of literary criticism. The role of the moon cult in the worldview and life, customs and folklore of the Kazakh people is analyzed. Their points of contact with traces of the chemical worldview in the folklore and traditions of the peoples of the world are revealed. The poetic function of the moon cult in Kazakh literature is compared with fragments of poetic works of famous romantics of European literature. The author reveals the mythological origin of the image of the moon and the specifics of the interpretation of the image of the moon and lunar motifs in the poet's lyrics. An attempt is made to determine the stylistic originality and individuality of the poetic perception of this author. a literary analysis of the mythopoetic tradition in national poetry and artistic and aesthetic searches in modern Kazakh poetry is Carried out.

PRECEDENT BIBLICAL UNITS IN LINA KOSTENKO'S POETRY: PRAGMATIC-COMMUNICATIVE ASPECT

The article is devoted to the study of biblical words and phrases viewed as precedent units. The research is based on poetry by Lina Kostenko. Different types of biblical words and phrases which are used in literary works are described. It was found out that such units can reflect expression and emotions, express information which is important for the author in a poetic text, appeal to the cultural memory of the addressee, become bonds of semantic-compositional structure of the literary work. Biblical units as elements of poetic works are connected with the overlapping of senses of two texts – the precedent text and the author's one. The former refers to ancient events, and words from the Bible perform a nominative function. The latter reveals connotative meanings and some new senses. Precedent biblical units become a way of organizing a lyrical narrative. Partially, in the result of semantic compression biblical words and phrases become the initial units of a lyrical work, on which the rethinking of Gospel situation is based. Through them, the author builds new senses relevant to a modern reader. The use of biblical words and phrases enhances the perlocutionary effect aimed at changing the addressee’s views and values. In such a way, new meanings which are important for the author's conceptosphere are actualized, and the causes of precedent events are understood. Having generalized the specificity of the use of precedent biblical units in the communicative space of Lina Kostenko's works, we can single out a number of functions performed by them in the author's poetry, namely: - stylistic function of using biblical units as expressive means, allusions; - compositional function of using biblical words and phrases as bonds of semanticcompositional structure of the work; - compositional function of using biblical nominations in order to express the lyrical hero’s feelings related to the eternal plot; - pragmatic function of contrasting lyrical and biblical plots, accompanied by the interpretation of the latter in accordance with the author's intention to encourage the addressee to think critically about the gospel plot. The intensity of informational influence connected with the use of biblical words and phrases in the poetic works by L. Kostenko forms a pragmatic effect of encouraging the reader to think, debate and form certain beliefs or assessments.

Лексико-синтаксические вариации кольцевых композиций в поэтических контекстах В. Шаламова и А. Тарковского

The article analyses lexico-syntactic variations of circular structures in poetical contexts of V. Shalamov and A. Tarkovsky. The paper aims to show how formal and compositional peculiarities, inner content of their poems determine a text figurative structure. Scientific originality of the study lies in identifying peculiarities of the variational circular structures functioning in their poetry. The research task involves systematization and contextual differentiation of circular structures in the poets’ lyrical works. The research findings are as follows: the authors’ original artistic techniques to create a poetical context are identified.

Трансформация богоборческих мотивов в поэзии символизма (К. Д. Бальмонт, Ф. К. Сологуб, А. И. Токаев)

The article examines specificity of the theomachist motive representation in creative work of the Russian “elder” symbolists K. D. Balmont, F. K. Sologub and the Ossetian poet of the early XX century A. I. Tokaev. The research objectives are as follows: to trace transformation of the theomachist motive in the poets’ lyrical works, to describe their approaches to overcoming confrontation of the mankind and the Creator. The research findings are as follows: the researcher reveals specificity of the lyrical heroes’ images that most clearly represent rebellious pathos, specifies the poets’ approaches to solving the theomachism problem: Balmont - convergence of everything, convergence of contradictory notions; Sologub - a hero-demiurge creates imaginary worlds; Tokaev - self-sacrifice for the sake of the native people - replacing the God, a lyrical hero seeks to save the humanity. Scientific originality of the study is conditioned by the fact that the researcher for the first time analyses representation of theomachist motives in the Russian and Ossetian symbolist poetry, and also by the fact that A. I. Tokaev’s Russian-language poetry has not been previously investigated.

Художественный образ мира в лирике немецкоязычной поэтессы Зельмы Меербаум-Айзингер

The research objective includes identifying the moral and aesthetic value of lyrical works of the German-speaking poetess Selma Meerbaum-Eisinger in the context of literary process of the XX century. Special attention is paid to analysing the poetess’s artistic world model. The researcher points out that the changes in human consciousness that occurred at the turn of the XX-XXI centuries resulted in reinterpretation of the author’s role in the poetical statement. Scientific originality of the paper lies in the fact that the poetess’s lyrics is considered from the viewpoint of the author’s artistic activity theory developed by the domestic literary critic N. T. Rymar to study the novel genre. This theory allows deeper understanding of moral and aesthetic aspects of Selma Meerbaum-Eisinger’s poetry. The researcher concludes about humanistic value of the poetess’s lyrics, which is still to be examined thoroughly.

Tracce di SMOG: un «ritratto di gruppo» affrescato da Saša Sokolov. A proposito di “Obščaja tetrad’” (1989)

In 1989 Russian author Sasha Sokolov published “Obshchaia tetrad, ili zhe Gruppovoi portret SMOGa” (The Shared Notebook, or a Group Portrait of the SMOG), a lyrical essay whose form lies between prose and poetry. In this text the writer commemorates his poetic experience as a young member of the SMOG underground group in Moscow in the early 1960s. However, unlike other memories published on the matter by former smogists, this is a highly lyrical work that recreates the atmosphere and the emotional drive felt by the young poets back then. In analyzing the short text, it is possible to enucleate the structure, the motifs, the images, as well as the collage through which the author puts together the «shared notebook» of the group. The text is the result of the harmonic and organic interweaving of verses and images taken from other smogists, as well as from the smogists’ literary models.

SCHUBERT'S «THE TROUT» IN RUSSIAN POETRY

Franz Schubert is one of the well-known western composers in Russian poetry due to the fact that poets have been attracted by his laconic plots, relation to legends, melodramaticism and deep symbolism going beyond historical symbolism. In Russian poetry the small play «The Trout» acquired a meaning different from the composer’s intensions. It began to be understood not as a
 moral tale of caution and temptation and not as a hymn to youth and young feelings, but as a call for freedom of improvisation. The article, based on material from Russian poetry of the XXth century, immigrant and modern poetry, examines the reasons for the bias in the understanding of the play. The article thoroughly analyzes rhetoric of the text «The Trout» and features of its perception in modern and contemporary lyrics. The
 author indicates factors of meaning bias such as a biographical subtext of «The Trout» creation, Schubert’s general image mainly as a romantic composer, an implicit competition between poets lived at the same time for the correct understanding
 of musical rhetoric. The research methods include reconstruction of the composer's reputation in Russian culture, a comparative historical analysis and hermeneutics of a poetic text, and specification of musical allusions. Thanks to the individualization and analysis of the stages found in the transformation of the «The Trout» perception in Russian poetry, it is proved that the musical work perception is associated with a special understanding of media nature like the play brevity, its distribution, the first publication in the newspaper its use in parodies and mass culture has made the author understand «The Trout» as a democratic work with its own media principles. In addition, the
 richness of Schubert’s legendary and ballad plots and the need to artificially build Schubert’s world within a short lyrical work have turned «The Trout» into an exemplary key of the plot. The ballad starts to be interpreted through poetic form as the opposite to the work with morality; musical intonation is understood
 as a gesture of gaining freedom contrary to the literal content of the ballad.

Ludwig Jahne (1856-1937)

Prispevek želi predstaviti življenje in delovanje Ludwiga Jahnea, ki ga Avstrijski biografski leksikon sicer označuje kot kemika, rezultati raziskave pa kažejo, da je njegovo delovanje močno preseglo okvire kemijske znanosti. Poleg vodilnih funkcij v Pliberški rudarski zvezi (BBU) je Ludwig Jahne zapustil precejšnji opus proznega in pesniškega ustvarjanja. Zelo aktiven je bil v planinskih sekcijah Avstrijskega turističnega kluba, gorohodcem njegovega časa pa so ga gotovo poznali tudi kot avtorja številnih planinskih vodnikov po Karavankah in po Koroški nasploh. Skupna nit vsem področjem njegovega delovanja je bila ljubezen do narave, zgodovine in nemškega naroda.

Образы природы в творчестве Джаминат Керимовой

The article aims to identify specificity of nature images in D. Kerimova’s lyrical works. Artistic originality of the poetical texts is emphasized, their comparative-contrastive analysis is conducted. The paper focuses on analysing the poems’ figurative system and poetics. Scientific originality of the study lies in the fact that the researcher for the first time examines the poetess’s landscape lyrics. The conclusion is made that the analysis of the poetical works allows identifying the author’s attitude towards nature and human life. D. Kerimova’s landscape descriptions are characterized by laconism, diversity of motives and introduction of philosophical problematics.

Ahmad Tabibiy ijodi va uning “Munisu-l-ushshoq” devoni nusxalari

Ahmad Tabibiy is one of the most active representatives of Uzbek literature in the late XIX and early XX centuries. He is known as a natu-ral translator, dosonavis, tazkiranavis. He continued the classical literary tradition with dignity and composed five poetic Devonian works. At the moment, the sources of the poet’s works are stored in various libraries and funds of the republic.The poet’s contribution to the literary activities of his time, to the popularization of the literature of peoples and the literary works of fraternal peoples is especially important. Ahmad Tabibiy continued the traditions of classical artists and worked in almost all genres. Even in his works there are some of his own genres that other poets do not have. It is obvious that there has not been investigation in the literature history on Turkic devons of Ahmad Tabibiy who is bilingual poet of literal epoch of Khiva.This article deals with Ahmadjon Tabiby’s creativity his lyric works proceedings “Munis ul-ushshoq” and scientific descriptions litographic manuscripts of devon. It gives information about distnictions between lito-graphic and mannual manuscripts. Moreover, the paper presents founda-tions of creativity heritage of Tabiby, genres of lyrics of poet.

Peculiarities of artistic thinking of Mehmet Nuzhet

The goal of this work is determine the peculiarities and origins of artistic thinking of the Crimean Tatar writer of the XX century Mehmet Nuzhet. The methodological and theoretical framework of this research is comprised of the works of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, I. Kerimov, Y. Kandymov and others. The aforementioned authors made an indisputable contribution to the development of Crimean Tatar literature and literary criticism. The artistic heritage of M. Nuzhet is diverse and unique. His poetic, prosaic and translation works are fused with national spirit. The actions and feelings of the protagonists of the artist’s lyrical works are a direct reflection of his psychological state. This article pays special attention to the psychological type of the lyricist. Using comparative, textual analysis, the author examines the published and original handwritten texts by M. Nuzhet. The conclusion is made that the writer systematically worked on the study of the depth feelings, emotions and ways their expression. The application of traditional folk poetic forms, genres, images allows creating the new patterns of influence upon the audience. Conveying the eternal anthropological topics, he transforms into a wise folk storyteller and preacher. For depicting the life realities, he disguises an old poor man or a street drunkard. Poetic alliterations and assonances enliven these images. In the process of declamation of such poems, the audience is captivated by the text and uses various mimic emotions intended by the context.

ХУДОЖЕСТВЕННЫЕ ПРОИЗВЕДЕНИЯ В АЗЕРБАЙДЖАНСКОЙ ЛИТЕРАТУРЕ, ПОСВЯЩЕННЫЕ ИМАДЕДДИНУ НАСИМИ


 
 
 As a result of attention and interest to the heritage of Imadaddin Nasimi, the great thinker of the 14th century, numerous works of various genres have been written about the life and creativity of Nasimi. Each of the lyrical, epic and dramatic works dedicated to Imadaddin Nasimi are referred to his creativity and destiny. Reflecting the artistic and philosophical world of Nasimi, it becomes clear from each of these works that Nasimi is one of the greatest literary figures not only of his time, but of Azerbaijani literature as a whole. Other authors such as Islam Safarli, Rasul Rza, Aliagha Kurchayli, Nabi Khazri, Bakhtiyar Vahabzade, Isa Huseynov, Mahmud Ismayil, Ali Tuda, Sohrab Tahir, Jabir Novruz, Qabil, Khalil Rza Uluturk, Fikret Sadig, Kalantar Kalantarli, Isa Ismayilzadeh, Mammad Ismayil, Musa Yagub, Alakbar Salahzadeh who covered the poet's difficult life path, wrote about Nasimi and his time, they turned to the artist's creativity as a primary source, as a result, presented literary works that fully cover the poet's creativity and biography.In each of these works based on the historical principles and dedicated to Nasimi, Nasimi's poetry was analyzed and approached in the context of the period in which it was written. Each of these works is a literary example that gives a full idea of the poet's life and art.
 
 

„Mały” romantyzm w sprawie ludu. Przykład Lucjana Siemieńskiego

Romantic literature, dominated by the great artistic personalities (of Mickiewicz, Słowacki, and Krasiński), was founded on the category of “folksiness” and “folk culture”, understood as a mythical and spiritual foundation of the Polish identity. However, the dominating trend of “high” Romantic literature was accompanied by the lyrical work of the inland poets, who created another social project, based on the desire to be “the voice of the common people”.“Narzeczony”, “Napierski” and “Czerniawa” are three original poems by Lucjan Siemieński, stylized after rustic dumkas and focused on peasant revolts. The perspective of Siemieński’s poetry enables us to see the “Mickiewicz’s era” as a heterogeneous structure, leaving space for the inland poetry that lets the “folk histories” resound and that treats the issues of peasants as vital societal problems even if they were marginalized within the dominating discourse. The case of Siemieński opens up a perspective of reading the Romantic inland poetry as a space within which there could be produced a revolutionary language of a new social order.