Poetic Word Research Articles

The first ghazal of the Divan of Ghalib

The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the Indian classic poet Mirza Ghalib (1797–1869). Ghalib wrote in two languages – Urdu and Persian, but it was the completion of the Urdu Divan that made him a great poet. The article presents the history of the creation and publication of the Divan, as well as discusses its sources. The authors focus on the complexity of the style and the richness of poetic themes, images and writing techniques. They also discuss the Sufi component of the first ghazal of the Divan, thus highlighting the poetics of the ghazal. The “opening” ghazal, which is placed at the beginning of a divan usually takes over the function of the hamd, i.e. the eulogy to the Creator, which is typical for a traditional introduction to a large poetic form. However, in Ghalib’s ghazal, this praise comes in a paradoxical form, which is caused by Ghalib`s high criteria of humanism and dignity. The analysis of the first ghazal helps in many ways to understand the creative credo typical for all of Ghalib's poetry, as well as the difficult path the poet had taken, while continuously improving his art of “hunting” for a poetic word. The ghazal is discussed in the context of Ghalib’s other Urdu and Persian poetry, as well as of Sufism that prevailed in India of Ghalib’s time.

The Attraction of Literary Local Lore Material and Information from the Native Literature of Students in the Study of A.M. Gorky

The problem of perceiving fiction has aesthetic, sociological, historical and psychological aspects. In this regard, in the methodology of teaching Russian literature to the national audience, special attention is paid to the deep, faithful and subtle reproduction of the literary works of writers, the development of the reader’s talent. Fiction as a form of art is a special area of the aesthetic. In a truly fictional work, all its elements are subordinate to the expression of a certain content, expressive, figurative, therefore, the reader’s understanding of a literary work is not only aesthetic, but also evaluative in nature. There are three stages of students’ perception of the writer’s creation: 1) recreation and experience of images of the work, with the leading process of imagination; 2) understanding of the ideological content; V.G. Belinsky called this stage “true pleasure”; 3) the influence of fiction on the personality of the reader as a result of the perception of the work. Fiction affects the worldview, speech, moral behavior in society, aesthetic and artistic development, in general, the formation of a person’s personality. The teacher tries to ensure that students have the necessary knowledge, developed, recreational imagination, emotional sensitivity, a sense of the poetic word, observation, the ability to make comparisons, comparisons, generalizations, conclusions. Their perception of a work of art is a difficult process that directly depends on previous knowledge of literature, facts of the history of culture, history of society. The complexity of the spiritual world of a modern young person is due to the development of personality in the context of the rapid progress of society. All this poses a difficult task for methodological science - to diversify the means of analysis, its types and techniques, effective ways of influencing art on students. In the national audience, the main problem of studying Russian literature - the teacher needs to reveal Russian-national literary ties with specific examples, based on certain historical conditions, national specifics, use translations of the works of the Russian writer into the native language of students, literary local history material, highlight the attitude of cultural figures of the native people to the work of the Russian writer, to his personality.

M. Rylsky's article "A word about Lesya Ukrainka" as a source of studying the poet's biography

The article considers the role of literary and artistic criticism in studying the life and career of Lesya Ukrainka; a review of a critical article by M. Rylsky about the writer. The purpose of the article is to prove the effectiveness of attracting literary and critical works in the process of studying the life and creative path of Lesya Ukrainka. Biographical, comparative and receptive methods were used in the study. It is shown that in the article "A word about Lesya Ukrainka" the critic pays great attention to the biography and worldview of the poet, emphasizing the love of freedom of her family, trying to find out the origins of freedom and captivity, protection of the oppressed and disadvantaged, whom she sought to protect with his poetic words. The critic draws attention to the versatility of poetry, the use of folk poetic elements, pointing to kinship with Taras Shevchenko, symbolism, Prometheanism, musicality, flexibility and diversity of the poetic word, emphasizing the thoughts with abundant quotations. M. Rylsky presents the creative history of the drama extravaganza "Forest Song", in which the poet showed an insatiable daughter's love for Ukrainian nature and native Volhynia, and this idea will go through all stages of studying the life and career of Lesya Ukrainka. The article offers methodical recommendations on the use of M. Rylsky's article in the process of studying the biography of Lesya Ukrainka. Given the important methodological, ideological and artistic significance, it can be used at any stage of studying the work of Lesya Ukrainka: acquaintance with the biography, clarification of issues and ideological and artistic features of software works.

#EVAлюцыя беларускай пратэстнай паэзіі

This article is dedicated to Belarusian poetry which was created in 2020 on the wave of public resistance. The analysis of the public and political sounding poems is presented against the background of a wide panorama of the cultural life of Belarus with its special feature as the creation of the such projects as: cultprotest and #evalution. Both Belarusian-language and Russian-language poems written by Belarusian authors served as material for this study. Among the writers who responded with poetic words to current events, there are representatives of the older generation (Uladzimir Nyaklyaeu, Antanina Khatenka), the middle generation (Dzmitry Strotsau, Syargei Prylutsky, Aksana Sprynchan, Tatsiana Svetashova, Volga Gronskaya), as well as very young new names in Belarusian literature (Katsyaryna Glukhouskaya (Ioffe), Artur Komorouski). The texts of the poems considered in the article come first of all from Internet resources, as well as from a few publications in the independent Belarusian press. The article focuses primarily on the motives and images that are most often used by poets in their works. Among other things, a prominent place is occupied by national colours and symbols. A feature of the protest lyrics of 2020 is also the high frequency of various “dialogues” with the classics of Belarusian literature. The white-red-white flag, the chase, anthems, quotes from Yanka Kupala’s works create a common figurative and artistic world of Belarusian protest poetry which is characteristic not only of Belarusian but also Russian-language works. Interesting stylistic poetic findings such as the reporting form or the creation of the author’s neologisms are singled out.

Beauty and the wonder of poetry. Voices of a poetic education to revive our times

Poetry is an epiphany of the gaze, an arousing vision. It opens a passage unexpectedly, where a glimmer of truth is found. The poetic word is a metaphor for this extraordinary time, revealing not only a fear of the other and the threat of death – which has become a tangible presence – but also the beauty of fragility when it is cultivated as a gesture of care for oneself and for the world. A word capable of restoring a look of wonder accords the verses of some poets, bearing witness to a different way of thinking. The text seeks to explore their voices, linked by a word that cultivates the expansion of detail and the beauty hidden between the folds of a troubling time. In a moment of estranging separation, their inspiration promotes an education consisting of listening and receptivity, reviving silence, inviting gestures of devotion and intimacy towards oneself and to others and cultivating an imperishable art of life.

Charles Bernstein: Avant-Garde Is a Constant Renewal

Abstract The essay explores the work of Charles Bernstein in light of constant renewal. John Ashbery, as one of the brightest representatives of the New York School, and Charles Bernstein, as a representative of the language (L = A = N = G = U = A = G = E), have similar attitudes toward language. They have much in common in terms of poetics: in the rejection of loud phrases, prophetic statements, emotions, confessionalism, and certain self-centeredness. Poetry is a private matter for both. Both have poetics built on the “oddness that stays odd,” as Bernstein himself put it, paraphrasing Pound's “news that stays news.” Both are aimed at renovating the language, and the verses of both are built on fragmentation, collage, moving from one statement to another without preparation. However, in Ashbery, whose poems are surreal, these transitions are smoother, based on an apparent connection, what Bernstein calls “hypotaxis” or “associative parataxis.” In contrast, Bernstein's poetry is built on parataxis; it is “bumpy,” in the poet's own words.

The Halberd at Red Cliff: Jian'an and the Three Kingdoms

The Halberd at Red Cliff: Jian'an and the Three Kingdoms

CONCEPT FAITH AS A VALUE POSTULATE OF IDIOSTYLE V.S. BOYKO

The article is devoted to the study of the concept of FAITH in the idiostyle of V.S. Boyko, as a famous master of the poetic word. The structure of the concept is analyzed. The nuclear, near-nuclear and peripheral zones are highlighted. The artistic and semantic content of micro- concepts is described. The author's position on the existence of a person in the world, as well as individual author's interpretations of the concept of FAITH in the idiostyle of the artist of the poetic word are determined. Whatever paths humanity has taken, this path has always been accompanied by faith. No matter what historical epoch we are talking about, no matter what country we talk about, it is difficult to disagree with the fact that faith has greatly influenced and is influencing the lives of millions of people. And it is not only about faith in higher powers, but also faith in a happy future, faith in yourself, in your people, in the triumph of moral values and the victory of good over evil. Faith is an important spiritual existential value that encourages a person to move on. Accordingly, the study of the linguistic expression of the concept of FAITH will allow to penetrate deeper into the peculiarities of individual language thinking, to determine the author's priority guidelines. Linguistic expression of the concept of FAITH in the poetic linguistics of V.S. Boyko finds in the words faith, to believe, prayer, icon, angel, orthodox, catholic, pagan, saint, temple, church, resurrection, apostle, paradise, cross, mantis, as well as in names of Оrthodox holidays and biblical names, because for the poet is close to the Christian, Orthodox worldview. The poetic picture of the artist's world is broader than dictionary interpretations, so the concept of FAITH acquires a broader artistic and semantic content.

Earthquakes as a force that rebuilds. Three South American proposals (two from the past, one a contemporary utopia) and reflections on their meaning

Questo è un testo scritto da un architetto sudamericano che ha fatto del rapporto architettura-poesia[i] un modo di vita fondante del suo lavoro. Per questo, nel testo che segue, la parola poetica appare assieme al testo scritto e anticipa le riflessioni sul territorio, sui terremoti, sui progetti eseguiti e sui progetti utopici dei quali si parlerà. Quattro sono i temi: 1) Il continente sudamericano di fronte all’Oceano Pacifico; 2) le Chiese del sud del Cile e la possibilità di una ricostruzione architettonica con la presenza di un nuovo atto liturgico (1960); 3) il porto di Valparaíso attraverso un nuovo tracciato dopo il terremoto (1906); 4) Santiago-Valparaíso, verso una città-regione “felicemente abitabile”, oppure come possiamo abitare questa terra che costantemente trema (2020). Come epilogo, una riflessione sul “Segno” dell’arte contemporanea a proposito dei terremoti (Athenea a Santiago del Cile, il Cretto di Gibellina in Sicilia e la raccolta TerraeMotus a Napoli). [i] Cfr. Heidegger M. (1994) – Conferencias y artículos (Construir, Pensar, Habitar). Ed. Serbal, Barcelona; Heidegger M. (2005) – Interpretaciones sobre la poesia de Hölderlin. Ed Aliansa, Madrid; Heidegger M. (1958) – Arte y poesía (El origen de la obra de arte y Holderlin y la esencia de la poesía). Ed. Fondo de cultura económica; Zweig S. (1959) – Hölderlin. Ed.GP, Barcelona; Si veda anche Cruz A. le lavagne alla mostra “20 anni” al Museo delle Belle Arti a Santiago del Cile: «Architettura co-generata con la poesia... perché la parola è inaugurale...», «L’uomo è impensabile senza parola e senza posizione... Posizione e Parola-Architettura e Poesia… ci sembra che la condizione umana sia poetica, per essa l’uomo vive liberamente e senza fermarsi nella vigilia ed il coraggio di costruire il mondo... ». Si veda anche l’opera del poeta mapuche Elicura Chihuailaf che ha ottenuto il Premio nazionale di letteratura 2020 con un contributo sulla epistemologia indigena; Aa.Vv. (1967) – Amereida. Volumen primero. Editorial Cooperativa Lambda, Santiago de Chile; Iommi G. (1982) - Eneida-Amereida. Instituto de Arte U.C.V., Valparaíso; Cruz A., Barla B. (2004) - Amereida-Palladio. Carta a los arquitectos europeos. Ediciones Universitarias de Valparaíso.

Musical Shevchenkiana of Yevhen Stankovych: Interpretation of the Poetical Word in the Oratory “Taras Passions”

The relevance of the article is to consider a new perspective of genre transformation in the Ukrainian oratorio of the 21st century, studied in the aspect of the relationship between poetic text and music. The work of Yevhen Stankovуch seems to be the pinnacle of the evolution of passions, during which textual interpolations changed and creatively renewed the genre canon. Despite the significant cultural and social resonance of the oratorio Taras Passion, its creative discoveries have not found coverage in scientific discourse yet. Main objectives of the study are to investigate the methods of conceptualizing the poetic word of Taras Shevchenko in the musical language of Y. Stankovуch’s oratorio and to reveal the genre innovations of the work. Such perspectives of analysis outline the boundaries of the novelty of this article. The research methodology is based on the methods of historical, cultural, phenomenological analysis. Their involvement is justified by the complex nature of the scientific problems of the article. Historical method reveals the general content and artistic specificity of the selected segment of Ukrainian musical history; culturological method focuses research on the different types of genres literary, artistic and musical culture; phenomenological method provides the study of certain conceptual contours and promotes the semantic differentiation involved in the analysis of multilevel cultural and artistic phenomena. Results and conclusions. The features of the uniqueness of modern oratorio opuses with the title “Passion” are determined. The ways of conceptualizing the poetic word in the choral music by Yevhen Stankovych are revealed: they are determined by the process that is able to combine various elements of Ukrainian ethnic culture as well as spiritual and religious traditions. The figurative and ideological concepts of word and music are subordinated to the main principles of the Ukrainian mentality (cordocentrism (philosophy of the heart), sacrifice and chivalry). The multidimensionality of the semantic field of Taras Shevchenko’s poetry is noted, as a result of which the real characters of the national liberation history are endowed with an aura of holiness like biblical persons. The gallery of various images of Y. Stankovych’s oratorio synthesizes the peculiarities of the national worldview and the evangelical virtues. In the pantheon of images of holy martyrs, sung in music, the composer places the image of T. Shevchenko. It is indicated that the story of the last days of the earthly life of the St. Virgin, the Prophet, Jan Hus is of particular importance. The principles of selecting fragments of T. Shevchenko’s poems for the libretto of the oratorio directly correspond to the genre canons of passions. The author defines the peculiarities of the composer’s interpretation of the personality of T. Shevchenko the poet as a prophet, patriot, bearer of the sacred Word, an ardent preacher of the ideas of spirituality, a bright exponent of the ethical position and spiritual tradition of the ethnos. At the same time, he acts as the narrator of the oratorio. The prerequisites for the transformation of the genre structure of the work of Y. Stankovych in the context of inheritance of the methods of text interpolation, up to their radical rethinking, are considered. The correspondence of the compositional and structural norms of sacred utterance in the poetry of T. Shevchenko and in the music of Y. Stankovych has been proved. It is indicated that the text genres of prayer, biblical epigraphs, retellings of passionate subjects, Church Slavonic archaic vocabulary of verses are revealed by the composer in the corresponding musical genres (znamenny chant, chorale, hymn, bellringing) and in the parameters of the expressive style. It is indicated that the drama of T. Shevchenko’s poetic style directly corresponds to the immanent qualities of a composer-symphonist and is realized by the orchestral parameter.

“Imagination Is Now the World”: W.B. Yeats and the Staging of Visionary Experience

Throughout his literary career, the poet and dramatist W.B. Yeats displayed a keen interest in the phenomenology of the mental image as well as a deep curiosity about the possible mystical functions of the imagination. This article examines the impact of Yeats’s evolving set of beliefs about the power of imaginative vision, including those derived from readings in occult philosophy and personal experiences at séances, upon his dramaturgical decisions as a playwright, particularly in his Noh-inspired “plays for dancers.” Yeats’s convictions about the most effective kinds of acting, staging, and scenography for these dramatic works served an overarching aesthetic and spiritual project: to transform the theatre into a visionary medium that, through the power of the poetic word, could restore a sense of connection to the “world-soul” or anima mundi for audiences of his industrialized, scientific, objectifying age.

LINGUISTIC ASPECT OF A. PYSIN’S LYRICS

The article is devoted to one of the important problems in Philology. Research was carried out to identify linguistic means of creating poetic images in the works of A. Pysin, one of the most famous Belarusian poets of the second half of the twentieth century.
 Partial linguistic analysis gave rich material for determining the role of Pysin’s epithets, metaphors, various figurative meanings of the word in poetic context. Also attention is drawn to the apt descriptive expressions, conciseness and richness of content, capacity and soaring poetic expressions of A. Pysin.
 The content of the considered poems by A. Pysin and the nature of their linguistic interpretation are extremely important in terms of educating pupils (students) such feelings as citizenship, patriotism and other positive qualities of the individual.
 The purpose of this study is to identify the place of a poetic word in the context, its meaning in the content of the expression, the nature of this meaning, semantic compatibility with other words, etc.; trace the author’s search for the right word for the greatest semantic accuracy and imagery of expression.
 The following research methods were used: descriptive, contextual analysis. The material of the research was the linguistic means of the poetic image of the lyricist A. Pysin.
 A textual analysis of A. Pysin’s lyrics helps to better understand the meaning of individual figurative images of works, reveals the possibilities of the vocabulary of the language to improve the harmony of the ideal and material in the field of poetry.
 An analysis of the texts of poems shows the poet’s careful concern for the accuracy of the word in his poetry. Many laconic figurative statements of A. Pysin are easy to remember, emotionally impressive and can be perceived as winged sayings.
 The linguistic analysis of only a small part of the poems involves the wide use and variety of linguistic means to create highly poetic images that are impressive and memorable. These are, first of all, epithets, metaphors, paraphrases, phrases and other fixed expressions.

POETRY, PHILOSOPHY, TECHNOLOGY IN THE LIGHT OF CULTUROLOGY: DIALOGUE STRATEGY

In the article, on the interdisciplinary methodological basis of the classical semiotics of culture and cultural comparative studies, supplemented by the developments of Lacanism and post-Lacanian psychoanalysis of the Ljubljana school, information aesthetics and tranzaesthetics, critical theory, French structuralism and poststructuralism, a strategy of dialogue between poetry and philosophy as the phenomena of traditional Logos in postmoderism is developed. ... The main problem of the modern poetic word is the loss of ontological adequations and spiritual implications by the text as a result of the inclusion of artistic creativity in the cyberspace of global digital multicultural capitalism. A comparative analysis of the projects of globalism and anti-globalism has demonstrated the priority of commercial culture as a prestigious social model for the formation of the poet's symbolic capital and network promotion. The orientation of the free market towards the sponsor's occupation of poetic creativity increasingly deprives poetry of the semantic invariants of authentic civilizational memory, which is eroded by trends in branding, advertising, and image, and is transformed into a souvenir, simulacrum, ersatz, and trademark. The only guarantor of the actualization of the basic cultural meanings of poetry is traditionalism, but its often grotesque, ultra-conservative and nostalgic character is not able to maintain the competitiveness of the tradition, its attractiveness for the younger generation and vivid personal subjectivity. A harmonious balance between traditionalism and postmodernism in poetry is possible if new technologies are used as forms of presentation and means of promoting the classical poetic tradition in the modern world, while maintaining the primacy of the goal for poetry, in relation to which the “creativity” of managerial entrepreneurship is a secondary means. We regard poetry as a point of semiotic intersection of a static sign in space (syntagma) and dynamic meaning in time (paradigm). Inside this point, in the zero phoneme, the author resides, regaining integrity, continuity, essence and selfhood instead of gaping, alienation and lack due to the correct correlation of the ontological goals of poetry and its ontic cases. Poetry in this context is a kind of a formula for the harmony of the metonymy of the real-symbolic language of culture and the metaphor of its ideal imaginary meanings. To find harmony between tradition and innovation, metaphysics and dialectics, synchronicity and diachrony, the gene code of culture and a historically labile cultural image is capable of culturology as a science based on philosophy (ontology and axiology), philology (hermeneutics and journalism), social sciences.

김소월 시어의 문맥적 의미에 관한 연구―‘거츨다, 흘늣기다, ᄯᅥ지다, 그물안개’에 국한하여―

본고에서는 김소월이 사용한 시어 중에서 고어로 추정되는 어휘에 대해 고구한다. 소월이 시어로 고어를 많이 사용하였지만, 고어에 대한 어학적인 연구는 이기문(1983)이 유일하다고 할 수 있을 정도로, 학계에서는 그에 걸맞은 연구를 하지 않은 것으로 생각된다. 문학적인 연구는 주로 시어의 의미 해석에 중점을 두고 진행되었다. 그런데 시어를 해석하면서 추상적이고 관념적으로 접근한 경우가 많아 시어의 의미를 정확하게 제시하지 못했다. 문맥적 의미가 통하지 않는 시어의 뜻풀이는 시적 상상력의 경계를 넘어서는 것이다. 시인이 선택한 시어는 그 시에서 가장 정확한 단어이다. 시어는 서로 긴밀하게 씨줄과 날줄의 긴장 관계를 유지한다. 이렇게 치밀한 과정을 거친 시어의 뜻풀이가 어색하다면, 즉 문맥적 의미가 통하지 않는다면, 시를 제대로 이해하지 못한 것이다. 우리는 시어의 의미 해석을 더 이상 선입견과 상상에 의존해서는 안 된다. 예를 들어, 「不運에우는그대여」에 나오는 ‘거츠른바위’를 선행 연구에서는 대부분 ‘거친 바위’라는 의미로 받아들이고 있는데, 그 뜻으로는 문맥상 의미가 자연스럽지 않다. 시적 화자는 그대가 불운에 우는 이유를 안다고 하였다. 그 이유는 시에서 ‘그대의 가슴속’에 있다고 하였다. ‘거츠른’은 심리적인 상태를 묘사하고 있기에 ‘거친 바위’라는 의미로 봐서는 문맥상 어울리지 않는다. 본고에서는 고어 ‘거츨다’에서 해석의 실마리를 찾았다. 고어에서는 ‘허망하다, 허황되다, 망령되다’ 등의 의미로 쓰였다. ‘바위’는 실제 돌덩어리 암석을 말하는 것이 아니라 단단함, 확고함을 상징한다. 그대의 ‘고정 관념 또는 고집’ 정도로 해석할 수 있다. ‘허망한 바위’, ‘허황된 바위’로 보면, 그대가 불운에 우는 까닭은 그대가 스스로 허황된 생각을 하고, 시간이 지나도 바위처럼 굳은 망령된 믿음이 다시 생기기 때문이라는 해석이 가능하다. 본고에서는 소월이 사용한 시어 중에서 고어로 추정되는 어휘에 대해 살펴 보았다. 본고에서는 ‘거츨다, 흘늣기다, □지다, 그물안개’에 국한하여 고어의 용례와 의미를 제시한 후, 해당 시의 전체적인 문맥과 호응 여부를 판단하였다. 본고에서는 이러한 과정에서 소월이 추상적이기보다는 구체적인 시어를 사용하였다는 사실을 밝혔다.

On Dramaturgy of Russian Romances of S.V. Rachmaninov

The relevance of the study is determined by the fact that the main field of Rachmaninov’s vocal creativity was lyrics, the world of personal feelings and moods. In its origins, it is associated mainly with Tchaikovsky’s legacy, which is also manifested in the general emotional “openness”, sincerity and immediacy of expression, and in some more specific stylistic characters. The novelty of the study determines that, like Tchaikovsky, Rachmaninov sought above all to capture the basic mood of a poetic text in a bright melodic image, showing it in growth, dynamics and development. Therefore, there are those long lines of rise, growth and pathetic climax, which Rachmaninov’s romances abound with. The authors show that he did not miss the experience of the senior masters of the “St. Petersburg school” with their careful, attentive attitude to the poetic word. Rachmaninov, with some rare exceptions, does not allow arbitrary permutations of words or repetitions that violate the form of the verse, his vocal declamation, as a rule, is accurate and distinct. In this regard, he was quite at the level of his time – the era of the highest, most refined poetic culture. The practical significance of the research is determined by the fact that the study of the heritage of the art of Rachmaninov will be important for the general study of the flow of musical culture of the period under study.

Pathology of Multi-Layered Significance Transfer in the Interpretation of Hafez Poems Based on Catford's Theory of Formal Changes (Case Study of Al-Shawarbi and Abbas Zulaikha Translations(

Translation, as one of the leading means of transmitting cultures among nations, is a challenging field in the field of comparative literature. The existence of multiple layers of meaning between the main and virtual meanings of poetic words and the unfamiliarity of translators with the semantic rotation between words and meanings in verses prevent the correct transmission of poets’ thoughts to the audience in literary texts. Among the famous Iranian poets, the translation of Hafez's poems, due to the interpretability of existing concepts and lexical localization, requires the translator to be more careful in his intellectual layers, cultural requirements, and religious beliefs. This research is based on the descriptive-analytical method and investigates the pathology of translating multi-layered concepts of words and poetic idioms of Hafez in the Arabic translations of Ibrahim Amin Al-Shawarbi and Ali Abbas Zuleikha according to Catford's theory of formal changes in the lexical, grammatical, omission, and addition sections. The results of this research show the complete failure of the above-mentioned translators in translating the multi-layered meanings of Hafez's poetic terms, and the neglect of paying attention to the semantic rotations of the terms has been identified as the main cause of this issue.

Music by Claude Debussy and Maurice Ravel: a Modern View of the Problem of Style Identification

Music by Claude Debussy and Maurice Ravel: a Modern View of the Problem of Style Identification

Mikis Theodorakis : la rencontre éternelle de la Poésie et de la Musique

Poetry and Music. Music and Poetry. Two expressions of one unique sensitivity, that of the great contemporary Greek composer, politician and philosopher, Mikis Theodorakis (born 1925). The union of Poetry and Music came about when Mikis Theodorakis put to music the poem of an unknown poet, “The little boat” (To καραβάκι), in 1937. Throughout his life, Theodorakis has constantly set to music the works of the greatest Greek and foreign poets, such as Odysseus Elytis, Yannis Ritsos and Pablo Neruda. Through their poetry, Theodorakis has been able to sing a mother’s tender love as well as the sadness of a solitary man, the darkness of a concentration camp or the serenity of a Cycladic landscape. Yet, there are times when the poetic words of other poets do not suffice and so he, himself becomes the poet. When? Why? What are his motifs and his intentions? The aim of this article is on the one hand to highlight the poetic creation of Mikis Theodorakis – an expression of eternal humanism – through an anthology of poems written in Greek during periods of extreme violence. On the other hand, to reveal the new musical forms which were born of the union of Poetry and Music and to stress the role of the performers-interpreters in the transmission of theodorakian music throughout the world.

윤동주 시의 어휘 사용 빈도에 따른 시어 네트워크 연구

윤동주 시의 어휘 사용 빈도에 따른 시어 네트워크 연구

“Above Me is the Heavens Diversity”： Intertext in the Lyrics by Ivan Elagin

The relevance of the study is dictated by the need to identify intertextual connections in the lyrics by I. Elagin as evidence of the dialogic nature of his poems, their close connection with the Russian and world literary tradition. The article reveals the problem of detecting intertextual sources in the poetry of the second wave of emigration due to its poor study at the level of poetics, a partial solution of which is proposed in this publication. The novelty of the research lies in the detection of allusions and quotations that have not previously attracted the attention of researchers studying the work by I. Elagin. The aim of the study is to determine the allusive background of the Elagin's lyrics, which is necessary for the poet to organize a cultural dialogue with the metropolis of the literature. Based on the goal, the research methods were determined: the analysis of intertextual relations based on a comparative and historical-literary approach. In the course of the study, conclusions were drawn about the presence of a number of new, previously unnoticed allusive sources of Elagin's lyrics, consonant with his outlook of the emigrant poet, and also revealed the dialogical nature of his work, which is distinguished by the tragic outlook of a man of the new “neon age” - a time that does not accept poetry. In addition, it was determined that his intertextual dialogue with classics and contemporaries reveals the polemic and ambiguousness of his attitude to the new industrial age and, at the same time, faith in the unlimited possibilities of the poetic word, due to the fact that for Elagin, as a poet who formed abroad, it was important to define his own poetic genealogy and his place among Russian poets. As a research perspective, it should be noted the possibility of further consideration of the complex of intertextual connections of the poet, demonstrating his desire to be included in the circle of the “big” literature of the metropolis, to declare the uninterrupted tradition of Russian poetry, but at the same time showing a new look at them from the position of a “non-Soviet” person aesthetic space. Keywords; Ivan Elagin, poetry of the second wave of Russian emigration, intertextual connections, poetry of Russian emigration, literary allusion, traditions of Russian literature