Russian Poet Research Articles

Семантика цветообозначения в лирике С.А. Есенина и Э. Верхарна

We consider the color designation features in the poetic texts of Russian and French poets. An appeal to the lyric poetry of great writers from a chosen perspective expands and concretizes the existing ideas about the individual features of the authors’ style. Analysis object is the language units of poetry by S.A. Esenin and E. Verhaeren, containing color semantics. A comparative analysis of several works representative within the framework of the declared theme reveals the similarities and differences in the color palette of Esenin and Verhaeren’s lyrics. We consider the semantics of blue, white, yellow, red colors and their shades in poems of poets. Special attention is paid to the golden color poetics, the use of which is also focused on religious symbolism. We designate the vectors of changes in the set of colors in different periods of Esenin and Verhaeren’s creative activity, the dependence of the changes in the color scale on the general pathos of the poets and the events of their personal biography is determined. We clarify the reasons for the differences in color solutions in the landscape and philosophical poetry, explained by the authors’ belonging to different literary trends and national traditions. We provide examples of discrepan-cies in existing Russian translations of E. Verhaeren’s works with the provision of our own trans-lations.

Абсолютные обособленные обороты в русской поэтической речи от Кантемира до Лермонтова

The paper presents the analysis of the constructions with absolute (independent) isolated phrases extracted from the poetic texts of Russian poets of the Baroque, Classicism, Sentimentalism, and Romanticism. The use of an independent dangling participle was supported by the old Slavic tradition of the independent dative case and, already in the old Russian era, an independent dangling participle was often replaced by the construction with a frozen active participial inseparable nominative (adverbial participle), leading to more active absolute functioning of independent dangling participles. On the one hand, the history of independent isolations in Russian poetic speech from Kantemir to Lermontov demonstrates the scope of the language experiment on the “introduction” of syntactic Gallicisms of various types into the Russian speech – participial, adjective, substantive (in the form of applications and segments), pronominal ones. On the other hand, it shows a narrow timeframe of this entry of “agrammatic” (i.e., breaking the linear chain of traditional subordinating synthetic connections) elements into the language, as well as strong resistance to using non-Russian constructions. Experiments with absolute isolation are vivid evidence of the increasing tendency towards analytism in the evolution of the Russian literary language of the New Time and, at the same time, strong and victorious resistance to these tendencies on the part of a grammatical system protecting its traditional synthetic bases from the alien influence.

ИНТЕРПРЕТАЦИЯ В ИНОЯЗЫЧНОМ ОБРАЗОВАНИИ: ПСИХОЛОГИЧЕСКИЙ АСПЕКТ

The article is devoted to one of the problems of foreign language education – the definition of the role of interpretation in preparing students of special (language) directions to participate in the dialogue of cultures. Interpretation is considered as a phenomenon and as a way of comprehending reality, which allows the subjects of the dialogue of cultures to reach mutual understanding. The main characteristic of interpretation, which is necessary for the purposes of foreign language education, is its psychological character. It is determined by the psychology of the author, the psychology of the work, as well as the psychology of the reader-interpreter. It is proved that the interpretation of a work of art, which has universal, historical and personal plans, has huge epistemological and axiological possibilities. They activate the entire educational potential of interperetation (educational, developmental, cognitive, and educational). Russian Russian poet A. A. Fet (1820–1892) uses the poem “Wir saßen am Fischerhaus” by the famous German poet and publicist Heinrich Hein (1797–1856) and the translation of this poem into Russian to illustrate the interpretation technology. The poem is considered as a space of personal meanings of the author. They are the ones that are subject to interpretation and bring the reader-interpreter back from the poet's world to the modern real world. And the real world is full of unexpected cultural facts, closely related to the content of the work of G. Heine, with distant Lapland and the life of modern lapps. Thus, interpretation is presented as an educational strategy. Together with the strategies of contextualization, philologization and argumentation, it ensures the achievement of the main goal of foreign language education – the creation of an individual who can act as a genuine subject of the dialogue of cultures. The article also emphasizes the importance of the teacher as the organizer of the educational process and the subject of the dialogue of cultures.

АКТУАЛИЗАЦИЯ В РУССКОЙ ПОЭЗИИ ВОСПОМИНАНИЙ ОБ ОТЕЧЕСТВЕННОЙ ВОЙНЕ 1812 ГОДА В КОНТЕКСТЕ КРЫМСКОЙ ВОЙНЫ 1853–1856 ГОДОВ

. In the minds of contemporaries, the Crimean War of 1853–1856 and the Patriotic War of 1812 that preceded it were closely linked. The author of the article examines the image of the French and France as an enemy familiar to the Russians from the 1812 Patriotic War. The article analyzes the system of images, motives, memories associated with the events of 1812–1814 and reflected in the poetic works of the Crimean campaign contemporaries. The author of the article points out the reasons for the actualization of memories, shows how and in what way the perception of the French as military adversaries has changed in comparison with the previous war. Particular attention is paid to the depiction of Napoleon I and his nephew Napoleon III in Russian poetry. If Napoleon I is described by Russian poets of the 1850s. in a respectful manner as a mature politician, the image of Napoleon III is firmly associated with the motives of betrayal, ingratitude for the mercy of Russians towards France in 1814 war. No less attention is paid to the images of the 1812 Patriotic War veterans who appear in the poems of the Crimean War period both alive, eager to rise again to defend the homeland, and dead, tacitly calling on their descendants to repeat the victory over the French. Apart from the images and motifs reflecting Russian-French relations in the historical context, the author finds motifs of feasting and entertainment unrelated to the theme of war in the poetry contemporary to the events of the Crimean War.

РУССКАЯ НАРОДНАЯ ПЕСНЯ «НАД СЕРЕБРЯНОЙ РЕКОЙ» И ЕЕ БЫТОВАНИЕ В КИТАЕ

The article deals with the history of the Russian poet F. N. Glinka's poem "Veiled Traces", which was the basis for the famous folk song "Over the Silver River". The article reveals the content of the text and shows different variants of its "plot". This refers to several Russian collections containing the song "Over the Silver River", including "Ural Folk Songs" by L. Christiansen and "Folk Songs of Krasnoyarsk Region" by K. Skobtsov. Folklore collectors considered this song as an example of Russian lyrical song genre. The author analyzes the arrangement of this song included in A. Chernyavsky's piano book and notes the expressive features of the performance of the song by the famous singer I. M. Skobtsov. The original and adapted versions are compared in terms of style and expressive techniques in the context of Chinese traditions, in order to identify specific and common properties within two different cultures. The roles of the folklore collector Wang Lobin, who recorded the song "Over the Silver River" using elements of Chinese music, and the composer Li Yinghar, who arranged Russian melody adopted in Chinese culture, are highlighted. Musical samples are also presented. Russian music in China is a special "cross-border" phenomenon, and the interest in Russian culture and Russian musical folklore in China is very high. Russian folk songs are loved in China and are very popular.

Russian Self-Taught Poets of the 1820s: Pastoral, Patronage and the British Example

This article studies the emergence of the “self-taught poet” position in Russian literature of the 1820s and its dependence on the system of literary patronage. Literati had notable control over the careers of poets from unprivileged social classes and shaped their choices of literary form to fit these peasant poets to particular aesthetic expectations. It is shown how literary patrons (Pavel Svin’in and Boris Fedorov) tried to implement the successful English model of Robert Bloomfield and keep their protégés within the confines of pastoral poetry and the setting of rural labour. The case of the serf Fedor Slepushkin – the most prominent self-taught poet of 1820s – demonstrates a clear connection to the English pastoral tradition and the role of the Romantic “rural idyll” in his success among political elites. The article also shows that the aesthetic window for the pastoral model of the peasant poet was not open for long. The organic aesthetics that spread in the 1830s established folkloric foundations for national literature, and “peasant song” replaced “peasant pastoral”. This shift underlay the success of Aleksei Koltsov in the 1830–1840s, who was the first Russian poet to both occupy the position of self-taught poet and use folksong language in his poetry.

The ethical conception of Leo Tolstoy in the interpretation of Maximilian Voloshin

The article examines the interpretation of Leo Tolstoy’s ethical conception provided by a Russian poet Maximilian Voloshin. A brief exposition of Tolstoy’s ethical conception position of a person’s concern for their soul is provided. In this regard, the requirements of love and nonviolence are not of value in and of themselves but are subordinate to the main cause of salvation, the improvement of a person’s soul. This is the point on which Voloshin focuses his criticism reproaching Tolstoy for selfishness. Non-resistance to evil by violence is paradoxically interpreted by Voloshin as evasion from evil. Voloshin emphasizes that Tolstoy’s understanding of evil is simplified due to his failure to understand the sinful nature of mankind. Voloshin opposes Tolstoy’s ethics interpreted by him in this manner with his own ethical conception suggesting that it is necessary to not move away from evil in the world but, on the contrary, take it into oneself and strive to transform it with the internal forces of good. In conclusion, it is examined that despite their differences both thinkers agreed that responding with evil to evil is unacceptable from the point of ethics. Both Tolstoy and Voloshin were also characterized by the implementation of their ethical provisions in their personal lives.

«Сelebrate the Last Anniversary»: Akhmatova’s Anniversaries in the Reception of the Following Generations

In this article, the author attempts to trace the transformation of Anna Akhmatova’s image and status in the context of the changing social and cultural situation as well as the change of the generation of readers during the period between the poet’s centenary in 1989 and her anniversaries in the 21st century. Establishing correlation between the selection of material that is related to the posthumous fate of the image of “a great Russian poet” with the author’s individual framework allows to make conclusions about the main changes in Akhmatova’s reception within the last 30 years using bibliography, websites and her portrayal in films.

Диалог двух идеостилей: Г. В. Иванов и Л. Н. Толстой

G. V. Ivanov’s works are evaluated in different ways, but no matter what place analysts give him in the poetic hierarchy, two characteristics remain unchangeable. He is one of the most significant Russian poets. His poetic language is often focused on reconsidering the experience of his predecessors, which produces a large number of intertextual connections, which represent a constant of poetic language, one of the codes that allow people to see its true depth and pragmatic overtones. The essay introduces a large body of analytical works on G. V. Ivanov focusing on his similarities and differences with various writers, which often reveal controversies with their worldview and interpretations of creativity. For all the variety of works of this type, so far no one has paid attention to the interaction of G. V. Ivanov and L. N. Tolstoy. The second part of the essay proves that the poem “Kak vy kogda-to razborchivy byli…” (How picky once you were...) contains at least six direct textual and structural links with the story by L. N. Tolstoy “After the Ball” and his model of world outlook. These connections capture the complex nature of ambivalent assessment of Tolstoy’s position, associated with common stereotyping behavior of the nobility. As the semantic analysis reveals, the lyrical hero of G. V. Ivanov is not only in conceptual relationship with the character of L. N. Tolstoy, but he declares similar stereotypes, characterized by axiological similarity and a single archaic coordinate system.

PUSHKIN-DOSTOEVSKY MYTH ABOUT “DEVILRY” IN THE WORKS OF T. YU. KIBIROV

The article is devoted to the analysis and interpretation of the myth of “devilry” in the works of the modern Russian poet T. Yu. Kibirov. The myth of “devilry”, which goes back to the poem “Demons” by Alexander Pushkin (1830), has a special place in the history of Russian literature of the 19th and 21st centuries. V. A. Grekhnev identified its main components, and D. M. Magomedova traced the path of myth in post-Pushkin literature, from M. Yu. Lermontov to M. A. Bulgakov. At the same time, the life of the Pushkin-Dostoyevsky myth of “demo­nic” in post-symbolist literature, in independent Russian literature of the 20th century and modern literature remains unexplored. The author of the article, referring to the material of T. Yu. Kibirov’s “Message to Lev Rubinstein” (1989), “Give me a deconstruction! Gave…”, “Good for Chesterton — he lived in England”, “Historiosophical centon”, “We did not sell Christ”, “Happy New Year” etc., the poem “Kara-Baras”, dramatic experiments “The night before and after Christmas”, “Victory over Phoebus”, the chronicles “Lada, or Joy”, reveals elements of similarity with the traditions of A. S. Pushkin and F. M. Dostoevsky: images of empty darkness and chaos, loss of the path, value orientations, an appeal to the symbolism of the ballad genre, presented in a serious, playful, ironic tone. The classical tradition contains important keys and values for understanding new reality and becomes an integral part of the artistic language of its description. At the same time, fidelity to the classics is devoid of a sense of exclusivity, loud pathos, moralism, often includes idyllic, sentimental, humorous tones. The poet’s return to the classical literary tradition occurs after oblivion or denial of its values in Soviet times, which gave rise to the cultural problems of the post-Soviet period. In the course of the work, the methods of comparative literary criticism, intertextual analysis, mythopoetic and historical and cultural studies were used.

Generation change in Russian poetry of the 19th and 20th centuries: a case study in comparative textual analyses

The paper attempts to provide an analyses of poetically-encoded discourse about generation change in selected verses written by outstanding Russian poets of the 19th and 20th century – Pushkin, Zhukovsky, Baratynsky, Esenin and Mayakovsky, under a partial comparison with similar motives appearing by the German poet Goethe. The central problem is the axiological assessment of continuity vs. conflict of generations as well as the general confrontation with the “challenge of time”, both from existential and socially determined perspectives. The concepts of positive vs. negative connoted changes and the problem of their acceptability in the analysed verses are presented by means of a formal-semantic description with a special stress on language entities denoting the conceptual sphere of time and generation change.

Character features of uttered free indirect speech by the example of Marina Tsvetaeva’s prose and letters

The purpose of this work is to identify the character features of the uttered free indirect speech in the prose works of Marina Tsvetaeva (stories, novels and letters) and to analyze its functioning in the author’s text field. The object of the study requires: 1) to review the scientific literature on the problem of free indirect speech, 2) to select and analyze factual material from the stories, novels and letters of M. I. Tsvetaeva, illustrating the theoretical positions put forward in the work. Based on the structural and semantic classification proposed by the Belorussian linguist E.Ya. Kus’ko, the authors of the article describe the distinctive features of various types of uttered free indirect speech: thematic speech, hidden speech, speech in the speech, collective speech, and quotation speech. It is concluded that the latter type of uttered free indirect speech finds the greatest application in the prose texts of the outstanding Russian poet of the twentieth century, whereas M. I. Tsvetaeva resorts to uttered free indirect speech very rarely, which is due to the specifics of the poet's idiostyle.

Character features of uttered free indirect speech by the example of Marina Tsvetaeva’s prose and letters

The purpose of this work is to identify the character features of the uttered free indirect speech in the prose works of Marina Tsvetaeva (stories, novels and letters) and to analyze its functioning in the author’s text field. The object of the study requires: 1) to review the scientific literature on the problem of free indirect speech, 2) to select and analyze factual material from the stories, novels and letters of M. I. Tsvetaeva, illustrating the theoretical positions put forward in the work. Based on the structural and semantic classification proposed by the Belorussian linguist E.Ya. Kus’ko, the authors of the article describe the distinctive features of various types of uttered free indirect speech: thematic speech, hidden speech, speech in the speech, collective speech, and quotation speech. It is concluded that the latter type of uttered free indirect speech finds the greatest application in the prose texts of the outstanding Russian poet of the twentieth century, whereas M. I. Tsvetaeva resorts to uttered free indirect speech very rarely, which is due to the specifics of the poet's idiostyle.

Entre a ideia e o som

O artigo apresenta e introduz uma articulação entre as principais traduções do longo poema lírico “Nuvem de Calças” (1915) do poeta russo Vladímir V. Maiakóvski para o francês, publicadas entre 1947 e 2011. Pretende-se mostrar como as potentes imagens da poesia maiakovskiana tendem a obliterar os aspectos sonoros fundamentais de sua poética, o que tem resultado em traduções prosaicas, pobres em ritmo e sonoridade. Entretanto, tal fenômeno não teve impacto negativo em sua recepção ao longo do tempo, já que ele é um dos poetas russos mais populares na França, provavelmente em função do gigantismo de sua personalidade histórica junto ao público francês.

Vyacheslav Ivanov’s Tragedy «Prometheus» and Heraclitus

The tragedy «Prometheus» (1919) is one of the most complex literary works by Vyacheslav Ivanov (1866–1949), a Russian symbolic poet. It contains numerous references to mythology, ritual practices, ancient and modern European literature
 and philosophy. In the article the author analyzes a Heraclitian layer of Ivanov’s tragedy and relies primarily on the sources contained in the poet’s personal library. Heraclitus is one of the most beloved and highly sought philosophers by
 Ivanov. The poet repeatedly quotes or mentions individual fragments or ideas of the pre-Socratic philosopher in his lyrics, philosophical and aesthetic articles, and scientific
 works. Heraclitus’ philosophy is essential for revealing the Prometheus-Dionysian mythologeme that is the basis of Ivanov’s tragedy. The symbolism of the material elements (fire, water and earth) is reflected in the composition scheme of
 the work preceded by the text of the tragedy. Like Heraclitus’ fire, Ivanov’s one takes on a cosmogonic and anthropogenic significance. Heraclitus’ fire is identified by Ivanov with Dionysus-Zagreus and primordial Zeus (the transcendent-divine
 principle) which is opposed to Zeus-Kronid (the immanent-divine principle). Ivanov follows Heraclitus in understanding the human spirit as fire seeds, combining Christian, Eleusinian, stoic, and Heraclitian semantics in a complex way. One of the leitmotivs of the tragedy, based on Heraclitus, is understanding of
 war as the essence of the cosmogonic, metaphysical and historical-cultural process. This leitmotiv permeates the key scenes of the tragedy: creation of Pandora, the first crime, the first sacrifice. Special attention is paid to the demonstration of deep
 mythological connections between Prometheus, fire and war and the Christianization of Heraclitian philosophical mythologemes.

“Singing mountains” in the late Khlebnikov’s poetic manner: geognostic code in the autocommunicative model

This article analyzes the peculiarities of realization of the motif of singing mountains (and its variations) in the later period of artistic and philosophical searches of Russian poet and thinker, one of the originators of futuristic movement - Velimir Khlebnikov. Representations of the geognostic code are given in the paradigm of autocommunicative model peculiar to philosophical and aesthetic thinking of the poet. The actuality of the work is determined by the insufficient previous study of the problem of functioning of geognostic elements in the Khlebnikovs universe, as well as the importance of studying the autocommunicative strategies implemented in poetic texts with a complex structure and a high degree of encryption of the material. Structural semiotic and mythopoetic approaches together with elements of textological and componential analysis methods allowed to reveal mythopoetic motifs that are structurally and typologically close to the phenomenon of singing mountains. Based on the consideration of the post-revolutionary works of rechetvorets (wordwright) an assumption is made that their geognostic motifs can be configured both at the level of mythopoetic units and additional codes, and of natural objects that become independent communicators (addressant and addressee) in the system I - I. The contours of intertextual field analysis in the space of implementation of the considered motif are outlined.

Elegy and Elegy Mode of Artistry in the Poetry of Rob. Akhmetzyanov and I.A. Kushner

The article is devoted to the examination of elegy features and elegy mode of artistry in Russian and Tatar poetry of 70-80s XX century. The actual basis of the research is formed by A. Kushners poems, modern Russian poet and Robert Akhmetzyanov, known Tatar lyric of the XX century. It is stated that elegy was not included in the circle of traditional Tatar poetry genres (wider - oriental), its genetic roots are bound with other forms like marsiya. The author comes to the conclusion, that poetic cycle Kozge elegiyalar (Autumn elegies) by Rob. Akhmetzyanov fully depicts the identity of Tatar artistic consciousness, its literary identity, reflecting in its ability to correlate its deep experiences with poem form and with its architectonic principles. The comparative analysis has shown that subjective and objective in Rob. Akhmetzyanovs elegies exist in a different, less expressive form of contradiction than in the Russian elegy tradition, which is marked by the connection of the Tatar poets artistic way of thinking with folk poetry. Particularly, in the lyrical cycle the author resorts to paired images, like ike alma (two apples), which also appear in the Tatar song. The research proved that Rob.Akhmetzyanovs creativity can be considered as catalyst of elegy in the national literature of the XX century: elegy form and its techniques contributed to the genre recognizability, more than that, elegy became the field of representation of the avant-garde spirit of the Tatar authors creativity. In the A.Kushners poetry elegy and idyllic interact in the same lyrical plot, thus transforming the stable features of the genres mentioned and their modality (Ukhodit leto (The summers leaving), Mne kazhetsya (It seems to me) etc.

The art of ceramics in the works of E.Ya. Danko: “Vase of Chinese Khan”, “Ceramic Cup” and “Chinese Secret”

This article is the first try to research the connection between the art of ceramics and word in the work of children's writer and artist E.Ya. Danko. The relevance of the study is due to the need to expand the idea of the image of China in Soviet children's literature of the 1920s. Compared to the history of Russian poetry, the poems “Ceramic Cup”, “Chinese Secret” and the novel “Vase of Chinese Khan” are considered diachronically, and synchronously - in the context of the indestructible myth of Ancient China and the Chinese proletarian revolution. Special attention is paid to the genesis of the ideal image of China in the work of E.Ya. Danko, which traces back to the ideas of F.M.A. Voltaire, M.V. Lomonosov and Russian poets of the XIX - early XX centuries. Works by E.Ya. Danko meets the idea of A.M. Gorky - to create literature on factories, crafts, and technology. In her works about China, upholding the classical understanding of Chinese culture and admiring the talent and hard work of the Chinese people, E.Ya. Danko found a way out of the chaos of the 1920s.

Смоленская ономастика поэм А.Т. Твардовского

This article is dedicated to the 110th birthday anniversary of a great Russian poet, native of Smolensk, one of the founders of the Smolensk Poetic School Aleksandr Tvardovsky (1910–1971). It examines how Smolensk motifs and Tvardovsky’s love for his home town are reflected in his works at the onomastic level. Smolensk-onyms reflected in long poems are analysed here, the focus being on anthroponyms and toponyms naming the characters and indicating the locations associated with Smolensk region. A close connection between the choice of proper names and Tvardovsky’s biography is established. An attempt is made to demonstrate how, using onomastic units introduced by the author into the storyline of his artistic text, the general principles of autobiography and chronotopy are realized, which have been noted earlier in critiques of Tvardovsky’s literary works. The onomastic component of the poems is analysed thoroughly and comprehensively, which helps us to decode the conceptual chain writer – name – text – reader and identify the author’s attitude to the characters and the ideological and thematic content of the works, as well as some of the author’s personal characteristics, tastes and passions. At the onomastic level, the thesis about the role of Smolensk motifs in Tvardovsky’s literary works is once more substantiated. A review is presented of onomastic studies analysing proper names of different categories in Tvardovsky’s poems (mainly conducted by the representatives of the Voronezh Onomastic School and the author of this article). It should be noted that Smolensk proper names in the entire body of Tvardovsky’s poetry are analysed for the first time.

The Creativity Phenomenon in the Media Strategies of XXI Century Poets

This research examines how modern poets use various creative media strategies as a means of promotion of their poetry as well as personal brands in the Internet and beyond. Promotional actions in their various forms used by XXI century Russian poets allow one to achieve new results both in offline and online events, so a cross-platform effect is at work here. The discourse analysis method, the content analysis method and the participant observation method were used to obtain analytical data. Such actions of art PR as gamification, hype, charity event, closed fan club and many others can increase the public capital of a modern poet through the interactive involvement of a potential reader.. The work is of practical importance for poets of the 21st century who want to increase the level of recognition of their personal brand and achieve higher quantitative and qualitative indicators of their target audience.