Russian Poet Research Articles

ŞUŞA ƏDƏBİ MÜHİTİ

The article provides information on the study of the literary environment of Shusha. The literary environment of Shusha originates from this rich source. As elsewhere in Azerbaijan, the first literary samples were created in Karabakh by Russian poets, which is reflected in the works of poets and writers. Shusha is not only the cultural center of Azerbaijan, but also the birthplace of outstanding and talented personalities, artists, writers, composers, singers.

Роль китайских пушкинистов в популяризации русской литературы в культурном континууме КНР

The aim of the study is to assess the scale of research and educational activities of Chinese scientists, whose focus is Russian literature, namely the work of Alexander Sergeevich Pushkin. To do this, the authors of the article identify and systematize the scientific works of Chinese scientists using the information capabilities of the scientific platform CNKI (China National Knowledge Infrastructure, “Zhongguo Zhiwan” – hereinafter Zhiwan). Various scientific materials are posted here, including those that provide an opportunity to get acquainted with the most popular works of Chinese Pushkin scholars. An analysis of the entire volume of publications on this site made it possible to highlight the names of outstanding Chinese scientists who devoted their lives to the study and popularization of Russian culture and literature among their com-patriots. The characteristic features of the activities of Chinese Russian scholars are highlighted and described. The authors identified and systematized, according to the degree of publication activity, Chinese printed publications that posted materials on the Zhiwan website that, to one degree or another, related to the study of the works of the great Russian poet and prose writer. Particular attention is paid to the systematization of monographs and articles not only by philologists, but also by representatives of other scientific fields. The authors presented a brief description of public events (conferences, competitions, etc.) held in China by scientific and educational institutions to popularize Russian spiritual culture. The research results reflected in the reports of Chinese Pushkin scholars can be found on the Zhiwan website. The methodological basis is the dialectical method of scientific knowledge, which made it possible to trace the continuity of the scientific research of Chinese Pushkinists. The systematic method revealed the wide capabilities of the CNKI scientific platform. The statistical method for identifying and processing textual information provided a quantitative description of the scale and depth of the study of Russian literature abroad. Thanks to the analytical-synthetic method, not only was a database of scientific works created by Chinese researchers of the life and work of A.S. Pushkin, but also their role in the popularization of Russian culture in China was revealed. The conducted research is interdisciplinary in nature and may be in demand by domestic and Chinese Pushkin scholars (philologists, historians, cultural experts, specialists in the field of art history).

«ВИДЯ В ВАШЕМ ЛИЦЕ ГОРЯЧЕЕ, ЧЕСТНОЕ СЕРДЦЕ, СМЕЛУЮ МЫСЛЬ, СИЛЬНУЮ, КРАСИВУЮ РУКУ…» М. ГОРЬКИЙ – ЛИТЕРАТУРНЫЙ НАСТАВНИК А. С. ЧЕРЕМНОВА

Alexander Sergeyevich Cheremnov (1881–1919) was a Russian poet and translator. His lot as a writer was closely connected with M. Gorky and – at the beginning of his career – with the publishing house » Knowledge». The participants of the «Knowledge» were named the «constellation of the Big Maxim», and one of the stars discovered by Gorky soon was A.S. Cheremnov. A younger contemporary of Gorky, he was undoubtedly influenced by the personality and creativity of his literary mentor. Cheremnov corresponded with Gorky from July 1905 to April-May 1913, that is, for about eight years, and had good friendly relations with him. The correspondence was interrupted around 1913, remaining another vivid record of Gorky, a teacher, a literary mentor to many talented young writers, an artist who took thought for the future of Russian literature – his deal of a lifetime and one of the key elements of the spiritual being of our country.

Сонет «Дар поэмы» С. Малларме в русских переводах

The article is devoted to the analysis of two translations of S. Mallarmé's sonnet «Gift of the Poem», made by Russian poets. The article is the first to examine the translation perception and creative reinterpretation of S. Mallarmé's metaphors of the creative process and the poetic work by I.F. Annenskii and M.V. Talov, and to perform a comparative analysis of translations. The revealed peculiarity of the perception of S. Mallarmé's poetic images by Russian poets demonstrates a variety of approaches reflecting the individual characteristics of the poetic philosophy and the creative method of translators, which leads to the transformation of not only the form, but also the intonation, meaning and expressive features of the original.

О смысле памяти

The review presents to the reader the first published manuscripts of Olga Alexandrovna Shor, known as a biographer and publisher of the works of the Russian poet Vyacheslav Ivanov. The review examines in detail published Shor’ manuscripts stored in the Roman Archive of Vyach. Ivanov, in particular the treatise “Mnemology”, as well as individual notes included in the book. Olga Shor’s philosophizing is proposed to be understood as a kind of mystical ontologism based on the concept of being as a starting point for describing the ontological memory and reality of an event. The connections and interactions of Shor’s reflections in the treatise with the cultural context – the philosophy of Plato and Aristotle, the heritage of Vyach. Ivanov, neo-Kantianism, Russian and European religious and philosophical thought – are considered in outline. The author of the review expresses the hope that the first and very detailed publication of “Mnemology” will draw research attention to the author’s philosophical work of Olga Shor. The return of such forgotten names and works to our intellectual space is also important because it opens access to the creative laboratory of the Silver Age, which was busy searching for a way out of the crisis of European culture and creating an original version of cultural philosophy. Considering the fact that Olga Shor left her work unfinished without preparing it for publication, which makes a serious critical analysis of this work incorrect, the review mainly clarifies the key points of the author’s thoughts and offers an understanding of the author’s intention

Root Repetition as a Means of Expression in the Works of Marina Tsvetaeva

Marina Tsvetaeva, one of the prominent Russian poets of the 20th century, utilized root repetition as a means of expression in her lyrics. Root repetition plays a significant role in creating emotional richness, enhancing the philosophical depth and melody of her poems. In her poetry, root repetition performs world-creating, meaning-creating, and style-creating functions, forming complex images and conveying the poet's inner experiences. Tsvetaeva actively employed metaphors, comparisons, alliterations, and personifications to emphasize her emotional states and create vivid poetic pictures. The combination of root repetition with various linguistic techniques enhances the expressiveness and originality of her poetic style.

Reception of Work of Afanasy Fet in China

The article examines the issue of the appeal of Chinese translators and researchers to the works of Afanasy Fet. The theme of the reception of the works of Russian classics does not lose its relevance in the context of intercultural communication. The material for the study consisted of Fet’s poems translated into Chinese, which were included in collections of Russian poetry or published in China as separate books, as well as studies by literary scholars and translators. The history of the reception of Fet’s works in China is presented. Two periods have been identified during which the study of the Russian poet’s work was carried out differently. It is noted that in the first half of the 20th century, Fet’s lyrics were translated and studied to a lesser extent because, from the perspective of the Chinese reader and specialist, they were considered to lack social significance, which was particularly important during that period of China’s development. However, from the late 1970s, the reception of Fet’s works began to develop. It is shown that during this period, the focus of translators and literary scholars shifted towards studying the artistic features of Fet’s poetry. Chinese researchers highlight the musicality, impressionism, and aesthetic qualities of the poetry of this Russian classic.

ЕСЕНИНСКАЯ ТЕМА В ТВОРЧЕСТВЕ РАСУЛА ГАМЗАТОВА

The article deals with the reflection of the personality of Sergey Yesenin and the motives of his work in the poetry of Rasul Gamzatov. Back in the 1940s, Yesenin's lyrics attracted the attention of the Avar poet, who worshipped his talent, translated into his native language the pinnacle work of “the most Russian poet” – the poem “Anna Snegina”. Even though both of the poets represent different epochs, peoples, and poetic schools, they have a lot in common. Both of them glorified the motherland, its history, people, their spiritual world, moral values, a woman, her beauty and love in their works.

PUSHKIN AND FENELON: TO THE STATEMENT OF THE PROBLEM

The article characterizes Pushkin’s attitude to Fenelon, including his reviews of the French author, facts testifying to his interest in the editions of Fenelon’s works available to him, Pushkin’s poetic impromptu “The Boring role of Telemachus...” (1824), which allows us to discuss not only some biographical facts reflecting Pushkin’s stay in the south of Russia, but also his worldview, correlated with the “spirit of the era” and reflected in a number of works. The problem of identifying hidden quotations from Fenelon’s works in the works of the Russian poet is considered to be of secondary importance, and the most significant is the complexly organized sphere of reflected influences on the literary and ideological space of the Pushkin era, in which poets and thinkers of the past were irrevocably present as those who set the religious, philosophical and ideological “agenda”. An important element of this space was the spiritual heritage of Quietism, interest in which persisted throughout the 18th century, especially in the Masonic environment, and intensified in the 1810s. In parallel to the Quietist doctrine of the possible descent of grace into a soul that has renounced the world and itself, its own inescapable sinfulness without favor from above, Pushkin created the contours of his concept of poetic creativity, which was based on the theme of the “divine word”, which “touched” someone who “dragged” in spiritual devastation “the gloomy Desert” (“The Prophet”, 1826), combined with the theme of silence (“Conversation of a Bookseller with a Poet”, 1824) and a number of other motifs, including those related to the poetry of V.A. Zhukovsky, who relied, in particular, on Fenelon and the Quietism.

“Sacred horror” of the poet Gavriil Romanovich Derzhavin

RELEVANCE. The outstanding Russian poet Gavriil Romanovich Derzhavin is one of the few authors who, in his artistic work, theologically comprehended human existence, man’s place in the world and his relationship to the Creator and Creator of the world. The object of study in the article is the spiritual poetry of G.R. Derzhavin; The subject of the study is the poet’s religious ideas about man and his relationship with God and the world around him, reflected in the genre of spiritual ode. The purpose of the study is to identify the features of the expression of the Orthodox worldview of G.R. Derzhavin in episodes of his biography and poetic creativity using the example of a spiritual ode.MATERIALS AND METHODS. In accordance with the interdisciplinary nature of the research, the author used a combination of philological, historical and theological scientific methods, the most important of which were historical-biographical, intertextual and hermeneutic.RESULT AND DISCUSSION. The analysis of G.R. Derzhavin’s biographical facts and the memoirs of his contemporaries made it possible to characterize the poet as a person deeply rooted in the Orthodox faith striving to get aware of Divine truths, as well as to convey the highest moral law to a wide circle of his readers through verbal creativity. A review of works written in the genre of spiritual odes and based on a number of psalms, as well as a theological and philological analysis of the ode “God” made it possible to identify semantic and ideological connections of the author’s worldview with the dogmatic and anthropological teaching of the Orthodox Church. By revealing the theological content of the lexemes “slave” – “king”, “worm” – “God”, the author of the article resolves the apparent antinomy and gives an interpretation of these words from the point of view of Orthodox anthropology.CONCLUSION. As a result of the research, the author comes to the conclusion that the pinnacle of G.R. Derzhavin’s poetic creativity is the ode “God”, which fully reveals the features of the poet’s Orthodox worldview, in particular, its anthropological and soteriological aspects. The main theme of the ode is the greatness of God, in whom man is called to believe, who he must constantly thank, humbly and lovingly magnify and glorify, treading in the steps of King David, the Old Testament psalmist.

Corpus explication of semantics of the dichotomous concept “Life - Death” in the Russian linguistic picture of the world

The conceptual dyad “Life - Death” in the Russian linguistic picture of the world is analyzed. The relevance of the research is conditioned by the existential significance of the studied phenomenon in the axiological field of the Russian linguistic picture of the world. The aim of the study is to conduct corpus analysis of the conceptual dyad “Life” and “Death”. The research material includes 70 poetic units containing the nuclear lexemes “Life” and “Death” in the Russian National Corpus. The poetic units are semantically complete contexts of poems by Russian poets (M. Tsvetaeva, M. Voloshin, S. Esenin, Z. Gippius, etc.). Descriptive method, conceptual analysis, method of linguistic-cultural commentary, contextual analysis, corpus method were applied. It was concluded that the concepts “Life - Death” reconstruct the dominant features of the Russian linguistic picture of the world, which is characterized not only by qualitative heterogeneity, but also by a certain bipolarity in the subject's behavior (agenticity vs passivity, providentiality vs activity, etc.). Such semantic parameters of the concepts “Life” and “Death” were established as transience and uncontrollability of life; life as an element, where a person is not an active subject, but an object for external forces; transience of life and its unpredictability; belief in life after death; death as a transition to otherness. The explanatory context for adequate commenting of conceptual meanings is formed.

The Russian poet Marina Tsvetaeva (26 September 1892 to 31 August 1941): attachment, politics and suicide - Psychiatry in literature.

The Russian poet Marina Tsvetaeva (26 September 1892 to 31 August 1941): attachment, politics and suicide - Psychiatry in literature.

Старообрядческие мотивы в творчестве поэта Николая Клюева и вехи его биографии

The paper considers the Old Believer roots of the work of the famous Russian poet of the XX century Nikolai Klyuev. The author pays special attention to archaic and folklore elements in Klyuev’s poetic speech. Of great interest are the author’s conclusions about the humanistic basis of this poet’s last verses and poems associated with his rejection of collectivization and the ruin of the Russian peasantry.

Armenian Cochineal and the Red Color of Armenia in Russian Literature

The article examines the genesis of the red color, which acts as a pattern of the «Armenian text of Russian literature» on the basis of Russian poetic texts (B. Pasternak, F. Sologub, O. Mandelstam, N. Konchalovskaya, P. Antokolsky, I. Snegova, P. Pyanykh, L. Shahverdyan) and prose (B. Kuzin, O. Mandelstam,
 Yu. Karabchievsky, M. Saryan, V. Grossman). The subject of the article is the connection of the insect code presented in the discourse with the color red. Analytics is based on biographical, quantitative methods, linguistic analysis of the text and is carried out on the basis of a historical and cultural approach. The
 recent works that reveal the patterns of the «Armenian text» do not mention the connection between cochineal and red color metaphors found in this article. The conclusions obtained enrich the cultural and philological concept contained in the framework of the «Armenian text» and expand the poetic context of the biological organism mentioned in the poems of Russian poets. The article presents an additional (to the already existing) perspective in the analysis of O. Mandelstam's poem «Inside the mountain, an idol is inactive...»: the image of the idol is
 embedded in an ekphrastic sculptural row with the mythological Golem.

Magomed Akhmedov's Artistic Reflections on Russian Poetry (on the Development of Dagestan-Russian Literary Relations)

The subject of this research is M. Akhmedov's literary reflections and his poetic works dedicated to Russian writers and Russian poetry. The purpose of this article is to present a picture of the development of artistic reflections on Russian poetry in the works of M. Akhmedov. The concept of the article is based on the material of works related to Russian literature and Dagestan-Russian literary relations. Introducing into the study a part of artistic reflections related to Russian poetry, we set ourselves the task of defining and identifying the principles and techniques of artistic expressiveness and figurativeness of M. Akhmedov, serving to embody the national and international character of his artistic thinking. The methodological basis of this research is based on the analysis of artistic works and is designed to determine the following research methods: comparative-historical, through which the nature of M. Akhmedov's literary connections is interpreted as an artistic phenomenon that has passed certain historical stages and is developing to the modern stage; comparative, which allowed to compare the ideological and artistic significance of Russian writers in the person of his predecessors and like-minded people; a method of holistic analysis of a literary work, which made it possible to determine the specifics of the evolution of M. Akhmedov's artistic thinking and its connection with the history of national and Russian literature. The results of the study can serve as a promising support for further study of Dagestan-Russian literary relations, as well as M. Akhmedov's artistic creativity in the context of the national and international literary process. Russian poetry and poets The scientific novelty of the study is due to the fact that the analysis of the works of M. Akhmedov devoted to Russian poetry and Russian poets was undertaken for the first time. The obtained results have shown that M. Akhmedov's artistic reflections on Russian poetry make it possible to highlight the role and significance of Dagestan-Russian literary ties.

Occasional words with colorative semantics in the poetry of Igor Severyanin

INTRODUCTION. One of the famous poets of the 20th century is the founder of egofuturism, Igor Severyanin, whose work is distinguished by its outrageousness and tendency to novelty. Igor Severyanin’s colorful vocabulary immerses you in an atmosphere of enigma and mystery. The purpose of the study is to describe and interpret the semantic field of color vocabulary as a special component that forms the specifics of the author’s color vision reflected in the poetic picture of the world by Igor Severyanin. It seems advisable to comprehend corporate occasionalisms in the poet’s lyrics, which is insufficiently represented in the scientific literature.MATERIALS AND METHODS. The method of linguistic description, continuous sampling, the method of the author’s card file is used, methods of classification and systematization of colorative lexemes are used.RESULTS AND DISCUSSION. It is established that the vocabulary with the meaning of color in the work of Igor Severyanin is not episodic, but is one of the characteristic features of his poetics and reflects the author’s worldview, the concept of being and emotional connotations using occasional adjectives.CONCLUSION. The dominant colors (purple and lilac) and the specificity of the meanings of the author’s own characteristics of the color vocabulary, representing the poetic color vision and handwriting of the Russian poet, are revealed; partial color meanings (adjective, noun, verb, adverb), among which complex adjectives occupy a special place. The occasional color lexemes of Igor Severyanin form special semantic fields objectifying the idiosyncrasy of the Russian poet.

«Размером подлинника»: «этнографические» поиски и находки русского переводного стиха Серебряного века и их осмысление на страницах периодической печати

The article presents a wide range of phenomena of national rhythmic culture that appeared on the pages of periodicals (newspapers, magazines, almanacs) of the early twentieth century, primarily in the translation of foreign language poetic texts, for most of which there are still no adequate analogues in Russian versification. However, thanks to the persistent desire of the authors of that time, such analogues are either found among related phenomena or are reinvented. Moreover, this happens in publications of a wide variety of types: from the elite St. Petersburg “Vesi” to the mass “Samara Mustard Man”. Quite in keeping with the spirit of the times, the emerging free verse turns out to be an analogue of the complex ancient Greek logaedas, ancient Egyptian and Akkadian cult poetry, and European and American free verse itself. And to convey traditional Japanese poetry, Balmont uses syllabic-tonic metric, to depict the Persian stanza Vyach. Ivanov turns to its imitation, and S. Sviridenko develops his own version of alliterative verse, designed to convey the general structure of the ancient Germanic versification. It is especially important that Russian poets and theorists place on the pages of periodicals not only works created according to models from different cultures, but also theoretical discussions and explanations designed to help the mass reader understand the original rhythmic innovations, which ultimately contributed to expanding the capabilities of Russian verse.

Aleksandra Čaka lektora darbība Rūdolfa Egles Literatūras studijā

In the history of Latvian literature, Aleksandrs Čaks (1901–1950) is better known as a poet-urbanist. There is much less information about his work as a lecturer. In 1924, after entering the Faculty of Medicine of the University of Latvia, Čaks could not pass the necessary exams of the first semester and abandoned his studies. Encouraged by his family, in 1925, he entered the Compulsory School Teacher’s Course in Riga and graduated from it, obtaining practical teaching experience at the Drabeši six-grade boarding school and in the Literary Studio of Rūdolfs Egle (1889–1947). The purpose of the research is to describe and find out what was the importance of Čaks as a lecturer in Egle’s Literary Studio from 1935 to 1939, where Čaks gave lectures on the theory of poetry and the history of Russian poetry, paying special attention to the modernists. The study was carried out using the biographical method, which helps to reveal the relationship between the personality and the environment, using documents and memories of colleagues. This allows us to see Čaks’s personality in specific historical circumstances – his interest in the work of a lecturer, which, in the first decades of the 20th century, taking into account the political and social changes in society after the First World War, forced to re-evaluate the subjects and learning methods so that students acquired new skills through practical training. Teaching by doing was also the main idea of John Dewey (1859–1952), and it formed the basis for Čaks’s interest in the lecturer/student collaboration process. Čaks’s interest in Russian poetry began in the 1930s when he published descriptions of contemporary Russian poets in the press. Čaks’s public introductory articles about Latvian writers and their works were also important. It is difficult to evaluate the period of activity of Egle’s Literary Studio in the biography of Čaks because there are no preserved plans and notes of Čaks’s lectures, which could provide a deeper insight into his opinion as a literary theorist. Čaks’s activity in the Studio is evaluated through his publications, the books on the field in his personal library, and notes on memories of colleagues and the Studio’s students, which confirm the importance of Čaks’s personality in the overall context of the activities of the Egle’s Literary Studio.

Деконструкция сатирической пьесы В. Маяковского «Клоп» в романтическо-утопическом и постмодернистском вариантах в китайской рецепции

The study aims to identify the influence of V. Mayakovsky’s satire on Chinese drama. The paper examines the works of Chinese authors created under the influence of V. Mayakovsky’s satirical play “The Bedbug”. In Tian Han’s play “The Ballad of the Ming Tombs Reservoir” and in Jin Shan’s eponymous film, the idea of moving into the future determines the plot and the compositional structure. Meng Jinghui’s drama “The Bedbug” (the 2000, 2013 and 2017 productions) repeats the main plot of V. Mayakovsky’s play and retains many lines from the original work. This is the first staging of Mayakovsky’s play in China. The scientific novelty of the study lies in the fact that Mayakovsky’s influence on Chinese drama is for the first time being considered from the cultural and historical perspective and reflects the dynamics of perception of Mayakovsky’s satire in China starting with a romantic-utopian view, associated with the concept of the “Great Leap Forward” (Tian Han), to a postmodern view (Meng Jinghui). The study of the Chinese-language material on the reception of Mayakovsky’s satire, which remains unexplored in Russia, will make it possible to expand the understanding of the attitude to the creative work of the Russian futurist poet and playwright abroad not only among literary scholars, but also the reading public. The study found that the satirical comedy by the Russian poet of the turn of the 19th-20th centuries in the deconstructed versions reflects the problems of the formation of Chinese society in the 20th-21st centuries.

On Systemic Characteristics of Interactivity in the Verbal Literary Text.

The article deals with systematically and holistically determined signs of feedback from the reader-addressee, which naturally and organically penetrate the very structure of a verbal literary text. The aim of the research of the systemic features of a literary text interactivity is determined, among other things, by the practice of familiarizing a novice reader with the secrets of a deeper understanding of fiction. The signs showing that the text is looking for its reader are defined through the psychologically significant and text inherent interactive conceptual triad of consideration - participation – discovery. The natural transition from consideration to participation and then to discovery is the reader's progress from the external to the internal, to the deep penetration into the text. In a perfect text, all the three levels exist in an indivisible integrity and occupy a predominant position according to the form-content unity rules, which implies a multifaceted and multi-layered literary and figurative perception. In the article, the psychological-philological triad under consideration is analyzed on the material of the works by Russian poets.