Poetic System Research Articles

Диалогичность в повествовательной структуре поэзии А. Е. Кулаковского

The research aims to determine the features peculiar to the functioning of dialogic forms in the first Yakut poet A. E. Kulakovsky’s creative work. Scientific novelty of the research lies in the fact that dialogic nature is considered in the aspect of the narrative structure of Kulakovsky’s poetry. The study of the Yakut poet’s creative work from the standpoint of dialogic nature has made it possible to distinguish, firstly, works of the monologic type with dialogic intention; secondly, poetic texts built entirely on an explicit dialogue. As a result of conducting a textual analysis of the composition of poetic texts, the researcher has proved meaning-organising and text-organising role of dialogues in Kulakovsky’s poetic system.

Family and household songs in the Dargin folklore

The subject of this research is the family and household songs as one of the genre varieties of non-ritual lyrics in the Dargin folklore. They are thematically related with family life, household, customs and traditions of the Dargins. Their content reflects the typical aspects of patriarchal family of the prerevolutionary Dagestan, when due to the rigid local customary laws, women were deprived of the right to decide their fate; therefore, multiple songs resemble sadness, sorrow, suffering, and distress of the heroes. This article explores the thematic diversity of family and household songs in the Dargin folklore, their poetics and nature of visual-expressive means; as well as reveals their ideological-aesthetic, artistic, stylistic and compositional functions in poetry. The novelty of this research lies in introduction of Dargin family and household songs into the scientific discourse, as well as description of the uniqueness and poetic means and techniques used therein. Analysis of the songs demonstrated that the poetic system of song lyrics as a whole, and family-household in particular, are characterized by the use of such literary techniques as metaphor, epithet, symbols, contrasts, iteration, etc., which play a significant role in the poetic text, reflecting the emotional state and the depth of feelings of the lyrical heroes.

OPTION OF OVERCOMING SYMBOLISM IN THE EARLY WORKS OF BORIS PASTERNAK

The article presents a comparative analysis of Annensky's poem “Black Spring” and Pasternak's poem “February”; it helps to show how symbolist attitude is overcome by recoding “set of images” of the first text in the second text. First, the topic of “transition” that is important for Pasternak is developed. The “transition” is rebirth of a person into a poet by writing poetry. Watching of the state of the world (especially nature) becomes important, the world is associated with the feelings and sensations of the poet, the process of rebirth is inscribed in the calendar cycle. Then the artistic systems of Pasternak and Annensky are compared. A prerequisite for this is the image of the “black spring” found in Pasternak's text and which is a direct reference to Annensky's text. We find the philosophical polemic of the two authors when we are comparing the two poems. If there is no creation in Annensky's world, all of images are endowed with the semantics of death, then Pasternak's world is formed and charged with poetry that is born in a continuous life cycle. In Pasternak's poetic system, Annensky's images are rebuilt and endowed with the semantics of birth, thereby expressing the author's life-affirming attitude. The poem "February" shows the overcoming of the drama of non-incarnation faced by the second generation Symbolists.

Thinkers of the Past on the Cognitive Essence of the Heroic Epic

The article analyzes the opinions of thinkers of the past about the forms of artistic and historical thinking. This problem is considered in close connection with the definition of the cognitive essence of the heroic epic. Folklore studies of the twentieth century, fascinated by the artistic and poetic structure of the epic, did not deal much with historical and ethnic features. The problem rested on the correlation between the scientific postulates of the former historical school and the methodological guidelines of the comparative typological method in folklore studies. Folklore researchers have addressed this problem before. However, the study of the heroic epic in the framework of literary and poetic analysis did not lead to significant results. Almost half a century of folklore history is characterized by trampling on the same level of scientific knowledge. The article notes that the heroic epic is an empirical source from which you can draw very valuable information of a cognitive nature. It is subjected to an analytical study of the thoughts and judgments of ancient encyclopedic scientists about the primacy of matter and the secondary nature of ideas. A certain place is given to the conclusions of the Russian thinkers of the XIX century, who unanimously repeated the primacy of matter. The research that ignores the historical principle of research in folklore studies is subjected to an analytical review. Based on the above, it is concluded that the main value of the heroic epic is not only in the artistic and poetic system, in historicism, but also in the informative and cognitive essence.

Culture and Poetry: The Synchronic Imperative in Osip Mandelstam’s Work

ABSTRACT This article attempts to understand not so much the poetic and stylistic features of Osip. E. Mandelstam’s poetics, which has been of great interest to philologists and thus sufficiently studied to date, as the philosophical–culturological aspects of his work. To fill this lacuna, it is vital that we compare Mandelstam’s poetic works with his prose, theory, criticism, and polemics. The poet’s statements in these genres largely clarify his attitude toward culture. In particular, this article examines the question of the poet’s interest in philosophy and the natural sciences, which is expressed both in his poems and in his attitude to culture. His publications on theory also shed light on his experiments in poetry. Drawing parallels between his contemporary culture and other cultures that exist or had existed in history, Mandelstam’s whimsical culturological associations avoid any detailed narrative development, highlighting only individual features and producing a number of apparently necessary details. This is precisely what testifies to the specific features of Mandelstam’s own poetry. Such a technique requires a sort of co-authorship and cocreation on the reader’s part, the very kind that a contemporary postmodernist aesthetic calls for. The present article also highlights the issue of theoretical and philosophical understanding of the poet’s Acmeism as an independent poetic system in relation to other artistic trends that existed in the first decades of the twentieth century, above all in relation to Symbolism and Futurism, which influenced Mandelstam’s own work.

System of gender attitudes of the poetic system of anna akhmatova

As you know, the study of the female worldview and the female experience of living life allows you to look deep into the creative laboratory of the poetess, see the system of correlations and ratios of the female and male in her lyrics and trace the extent to which the nature of this interaction has formed the system of Akhmatova's gender attitudes

«Храмовый цикл» в книге стихов поэта-эмигранта Г.В. Голохвастова как текст в тексте

The article examines the artistic system of the book of poems Polusonety [Half- Sonnets] by Georgiy Golohvastov, the ideological leader of a group of poets of the first wave of emigrants (E.V. Khristiani, D.A. Magula, V.S. Ilyashenko) that originated in the 1920s–1930s in New York. The article deals with the specific phenomenon of a “temple cycle” as a text in the text of Polusonety. The cycle can be specified by the author as a structural unit of the book, or it can “stand out” as a united text space based on thematic or figurative unity. The latter is our case. The object of the research is the realization in the half-sonnets of the image-code of the Temple, which is a symbol of Russian culture within the model of the poet’s world, the basis of the traditional world order reverently stored in the memory of the emigrant poet. The “temple cycle” is considered as a single lyrical text. The cross-cutting theme of the cycle is the Holy Rus, represented in the image of the world lucent Temple; this image is in the memory of every emigrant. The signs of the Temple in Golokhvastov’s half-sonnets are “dark lamps at the kiot”, “monk”, “poor temple with a wrecked bell tower”, “skete”. The poet voluntarily emigrated to the United States after the revolution of 1917, but his memory preserved the idyllic image of Cathedral Russia that shaped in his poetic system as the conceptual artistic and aesthetic model of the “Russian world” closely connected with the Orthodox faith. The poet perceived faith as the embodiment of spiritual coordinates of Russian people forced to live in a foreign land, associated it with images of monastery, cross, icons, monk in his poetry. These semiotic codes illustrate Golokhvastov’s “Russian thought”. The code of the Temple in Golokhvastov’s art system has various transformations: it is a lonely monastic skete, an ancient monastery, and a small city parish. The space of the Temple is individualized under the influence of the historical and cultural situation, psycho-mental characteristics, and personal experience of the author. The temple for Golokhvastov’s lyrical hero is a locus of gaining strength and peace of mind, in which he can get rid of loneliness among the hostile alien crowd. The altar, icons, and deacon’s singing remind the lyrical hero of his ancestral estate, where he “trembled in his chlid’s prayers.” The renewing and purifying space of Christian symbols leads him by prayer and uncomplicated contemplation. Staying in the space of the House of God, the lyrical hero regains the forever lost Holy Rus. We come to the following conclusions: the figurative world of Golokhvastov’s “temple cycle” is deeply consistent with the spirit of the Christian doctrine of God, which was represented by the poet in various lyrical forms and images throughout his creative life. Being a text in the text, this cycle extends the boundaries of the understanding of the emigrant poet’s artistic model and the integrity of his poetic system.

METAPHORICAL MODELS WITH THE HUMAN SUBJECTIVE ZONE IN THE POETRY OF A. MARIENGOFF AND S. YESENIN

This article analyzes the metaphorical models with the subject “human” and “part of the body” in the poetry of A. Mariengof and S. Yesenin. The object of the research is comparative paths in which metaphorical models are realized. Based on the consideration of metaphors and comparisons, metaphorical models are isolated and characterized, reflecting the connection between two conceptual areas. The comparison of metaphorical models in the poetry of A. Mariengof and S. Yesenin is carried out, the features of similarity and difference are highlighted. It was revealed that both poets pay considerable attention to a person as a subject of figurative comparisons. The model “human — being” is represented by comparisons with different representatives of the fauna, the semantics of images of which in poetic systems do not coincide. The most important for the authors figurative correspondences of a person, the most significant for each poet, subjects and objects of comparison are determined. The model “human — plant” occupies an important place in the figurative world of S. Yesenin, A. Mariengof mainly uses comparisons with objects of inanimate nature. Models with the subject “part of the body” are characterized by a variety of comparison subjects, especially in the poetry of A. Mariengof. The somatic vocabulary which is used by the authors is considered. Cases of combination in the realizations of metaphorical models of high and low are noted. Figurative correspondences through which poets characterize themselves are identified.

CONTEMPORARY NOVEL IN ASPECT OF FRAME POETICS

The article considers the possibility of synthesizing the system of poetics on the basis of cognitology, in this case - the theory of frames. The frame poetics is able to provide motivation where classical, non-classical or postnonclassical cannot offer convincing motivations. Poetics develops according to the laws of human thinking, in particular fixed in the frame theory. Therefore, we have reason to use frames in literary studies, because the frame is a natural segmentation of thinking in literature as well as in any field of science. The problem of genre definitions and genre transformations in modern novel forms has created a crisis of genre delineation. Frame theory allows to solve this problem of genre definition. Оr look at the genre in a new way, contributing to the conclusion of a new genre gestalt. The formation of different modern novel forms is considered in the aspect of the evolution of different types of poetics, which were concluded by mankind throughout its existence. Poetics is a mental mnemonic system of recoding reality or fiction into the figurative world of a work of art. Postnonclassical poetics, which is represented primarily in the works of postmodernists, has ceased to meet the needs of literary analysis, as it no longer has time to generate theoretical approaches due to the many modifications of the modern novel. Thus, there was a problem of inventing a different approach to the analysis of the current state of novel. Poetics is renewed in order to provide a comprehensive analysis of the structure of thinking of the artistic phenomenon and loses relevance when it does not provide such an opportunity. The nature of thinking is immutable and consistent in the principles of thought construction, and therefore, frame poetics is an evolutionary product of all previous types of poetics. It cannot contradict classical or postnonclassical poetics because it is a question of purely cognitive regularities. The sources of basic ideas for the creation of frame poetics of literature are the theory of frames from M. Minsky to I. Hoffman and W. Wachstein, frame semantics in linguistics from C. Fillmore to S. Shid, the theory of psychological patterns by E. de Bono and dynamic patterns by N. Babutz with a projection on French literature of the modernist era, interdisciplinary methodology of cognitive literary criticism and Gestalt theory from T. Kuhn and I. Prigogine to K. Aidukevich and T. Kotarbinsky, and finally, iconology as a principle of embodied frame unfolding by E. Panufsky, N. Goodman to E. Cassirer, J. Richardson and W. T. Mitchell.

ARTISTIC AND EXPRESSIVE MEANS IN THE LANGUAGE AND POETIC PALETTE OF THE AHATANHEL KRYMSKY: TYPOLOGY AND FUNCTIONS

In the offered article it is noted that one of the most important problems of the Ukrainian linguistic stylistics – revealing of features of realization of language units in works of art, in particular and in poetic. A. Krymskyi’s poetry is full of stylistic figures that express the artist’s opinion embodied in verse. These stylistic devices provided a background sound image that brightened the depicted pictures of nature or images from the life of society, portrait descriptions or inner experiences of the lyrical hero. Stylistic and syntactic expanses of A. Krymskyi’s poetry are distinguished by sophistication and diversity. The author resorts to homeothelium, gradation, polysyndeton, parallelism, anaphora, epistrophe. The article considers the stylistic figures realized in the poetic works of Ahatanhel Krymskyi. The expediency of the analysis confirms that the linguistic and poetic practice of this artist has been overlooked by researchers so far. The author of the article concludes that in the structural-compositional and semantic organization of poetic works of the important role is played by means of sound recording (assonance, alliteration, equiphony, metaphony, onomatopoeia), lexical and grammatical techniques units of linguistic and artistic expression (parallelism, anaphora, homeoteleut, gradation, polysyndeton, inversion, chiasm). The characterized pictorial and expressive means rhythmize the poetic system, shade the hidden meanings, harmonize the content of the work in accordance with the author’s intentions. From the above it is concluded that in the structural-compositional and semantic organization of the poetic works of Ahatanhel Krymskyi play an important role stylistic figures, which are based on different levels of language units. Selected and described pictorial and expressive means rhythmize the poetic system, shade the hidden meanings, harmonize the content of the work in accordance with the author’s intentions.

ОБРАЗИ МУЗИКИ Й МУЗИЧНИХ СТИХІЙ У ЛІРИЦІ ОЛЕКСАНДРА ОЛЕСЯ ТА ПОЛЬСЬКИХ СИМВОЛІСТІВ

The article deals with the symbolism of music and musical elements image in the poetic systems of Ukrainian lyricist and polish symbolists. Music and musical elements images are figurative and symbolic art equivalent of poetic in Olek-sandr Oles’ autoreceptive discourse. In a variety of forms musical element is not only constant attribute of shape series thematic paradigm of Oleksandr Oles’ poems, but a powerful jet of vivid artistic symbolism, which in different variations, with subtle neuenswander of its different semantic and stylistic color shades, is transformed into a permanent symbolic leitmotif that accompanies all the works of the poet. Semantic and poetical features of artistic symbolism individual style of Olex-ander Oles sare performed in the proposed study. Attention is focused on the image of music and musical elements in the Ukrainian lyricist poetic systems.In the poetic work of Olexander Oles his numerous musical allusions, for which analogies are established between semantics and poetics, as well as the range of subjects of the poetic text with the performers and the specifics of the artistic element of the musical work, are constant. Among the musical definitions which are most often used by Alexander Oles, emphasizing the organic kinship of the poetic and musical elements, in his work there are symbolic images of song, singing or strings. Musical resonance in the soul of the poet is extremely often caused by the sounds of the natural environ-ment, especially birds singing.The image of the “winged song”, which is similar to winged birds, becomes a leitmotif image-symbol that defines the semantic dominant of autoreceptive sing-ing reflections of the elements of musical/poetic in the lyrics of Olexander Oles.Walkthrough for the lyrics of Olexander Oles is the image of “broken strings”, which symbolize a wide range of poet’s emotional reactions to the significant events of different periods of his life, associated mainly with the motives of unsuc-cessful love relationships; misunderstanding; disappointment caused by the in-ability or unwillingness of compatriots to stand up for a decisive defense of their political rights and freedoms; creative fatigue of the poet, due to the processes of inevitable aging.

Поэтика визуального образа в стихотворении А. С. Грибоедова «Хищники на Чегеме»

The relevance of the issue is due to the need of clarifying the features of A. S. Griboyedov’s creative method. The subject of research is the poetics of pictorial depiction developed in Caucasian texts of the poet. Poetic system of the poem by A. S. Griboyedov's “Predators on Chegem” (1825), which is characterized by the symbolism of images, appears as the beginning of established tradition of a realistic depiction of the Caucasus. The paper outlines a peculiar way of seeing the poet, which consists in examining pictures around him, which according to his artistic system turns out to be identical to the process of comprehending the world. The novelty of the research is associated with the analysis of little-known sources in terms of poetics, renown for its successful attempts of visualizing an artistic image. The author displays the results of a comparative analysis of the draft and the white paper of the poem “Predators on Chegem”: identified and commented text corrections of the poet help to trace the evolution of the author's thought. Identifying of the features of recreation of space turns out to be the key to understanding the A. S. Griboyedov’s artistic thinking. The study highlights peculiarities of the artistic method in the “Caucasian text” A. S. Griboedov, emphasizes the importance of visualizing tools for creating natural, national, everyday pictures of the Caucasus. Representing Caucasian conflict in visual and symbolic images, A. S. Griboyedov synthesizes the genres of landscape lyrics, elegy, battle ode, and lays down the tradition of a realistic depiction of the Caucasus, further developed in M. Y. Lermontov’s works.

Poeta embriagado de ideias íntimas

O artigo pretende analisar os procedimentos irônicos e descritivos do po­ema “Ideias íntimas” (Álvares de Azevedo), eleitos para forjar um conflito com o sistema poético tradicional e seu tempo artístico. O texto discute a construção do eu lírico como um poeta que se apresenta como um es­tudante do curso de direito que, interrompendo os estudos, contempla, expõe e interpreta algumas imagens de obras de arte de sua autoria e de outros.

The model of the world in the poetry of ‘the new 2010s’: G. Medvedev, A. Trifonova, A. Kinash

The article considers the motif structure of the books by three young poets: G. Medvedev (A Butterfly Knife [Nozh-babochka], 2019), A. Trifonova (a yellow Ikarus bus in the distance [zhelty ikarus vdali], 2019), and A. Kinash (Fragments from a Dream Dictionary [Otryvki iz sonnika], 2019). A comparative analysis of the three books helps the author to identify typical generational traits — in poetics, themes, the motif structure, as well as ways to interpret the laws of the universe and solve semantic problems. The topic of a child’s world features in the works by Medvedev, Trifonova and Kinash alike; their childhood is shaped by playgrounds in provincial towns, active outdoor games and 1990s children’s folklore, although each of them treats these biographical and literary themes in their own way. Trifonova prefers a linear interpretation of time and space, while Kinash chooses to employ a mythological chronotope; in Medvedev’s book, time and space follow the principles of historical organization with their holistic and systematic character. Childhood appears to be the starting point for creation of the poetic system of each of the poets as well as a destination they keep returning to.

The images of gemstones in the lyrics of Âşık Ömer

The subject of this research is the peculiarities of representation of the images of gemstones in lyrics of the prominent poet of the XVII century – Âşık Ömer. The object of this research is his lyrics. The depth and diversity of Âşık Ömer’s poetic system makes his work especially relevant at present. The goal this article consists in the analysis of images pf gemstones, and determination of their role in the lyrics of Âşık Ömer. The images of gemstones and noble metals in his poetry are analyzed in three descriptive aspects: external description of beauty of the beloved; description of suffering of the love mate; description of cruelty of the beloved and pain of the love mate. The research methodology is based on the hermeneutical-interpretational, descriptive method and semiotic analysis of the texts. The relevance is defined by frequency, important semantic charge, and special artistic role of the images of gemstones in the poetry of Âşık Ömer, as well as the need for their consideration and analysis. The scientific novelty consists in the fact that this article is first to carry out the analysis of gemstone images in the lyrics of Âşık Ömer. It was revealed that gemstones and noble metals are more often used for describing the beauty of the beloved, her specialty and sublimity (values). In the image of the love mate, they symbolize pain and suffering. The poet may use the same stone or metal in describing both images, but it conveys a different meaning in each case. Such expressive means are an important component of the poet's lyrics, as they imply multiple meanings.

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.

Қазақ əдебиетіндегі лирикалық проза

Мақалада лирикалық прозаның теориялық тұрғыдан зерттелуіндегі тəжірибелер сараланған. Əлемдік жəне ұлттық əдебиет теориясындағы лирикалық проза жайындағы ғылыми көзқарастар жүйеленген. Қазақ əдебиетіндегі лирикалық проза ізденістері жан-жақты сараланған. Прозадағы эпос пен лирика тектерінің арақатынасы, лиризм мен психологизмнің байланысы, автор мен кейіпкер дүниетанымының байланысы туралы талдаулар жүргізілген. Қазіргі қазақ қаламгерлерініңдүниетанымдық негіздері мен көркем ойлау жүйесіндегі лирикалық тенденциялардың алатын орны айқындалған. Лирикалық прозаның поэтикалық жүйедегі қолданыстарының əдіс-тəсілдері нақтыланған. Лиризмнің реализммен, романтизммен байланыстары жөнінде ғылыми тұжырымдар жасалған. Лирикалық проза үлгісінде жазылған шығармалардағы ішкі монологтың, пейзаждың рөлі көрсетілген. Олардың идеялық-эстетикалық сипаттары, типологиялық қырлары ашылған.

The Moroccan Poetic Journey between History and Significance

This article aims to investigate the impact of authorship on nomads that were not limited to the scattered nomads but rather exceeded them to poetic systems. The different poems have implications, and they differ in artistic value, such as the journey of Al-Abdari and the El-kafife Al-Zerhouni. The issues that the poetic trip has touched are numerous.

Poetic metre as a function of language: linguistic grounds for metrical variation in Estonian runosongs

The article focuses on the relationship of language and metre in case of oral poetry, more exactly, to what extent and through which processes the changes in language have induced the changes in metre in case of Estonian runosong, a branch of common Finnic poetic-musical tradition. The Estonian language has gone through a series of notable phonological changes during approximately last 500 to 700 years that have systematically shortened the word forms; the extent of these changes varies across dialects. At the same time the language of runosongs has partly resisted these changes, and partly adopted; the archaic and new word forms are in concurrent use, and vary geographically. The metre of Estonian runosongs appears to be a transitional form from quantitative runosong metre (Kalevala metre) to the accentual runosong metre (both of them syllabic metres). The current study shows that the transition depends directly on the average syllabic length of the words in runosongs (the longer the words, the more quantitative the metre, and vice versa), which in turn is induced by the shortening of words in dialectal language. The closer look at the points of tensions between the metre and language, i.e. the geographical distribution of the morphological forms that are critical for building the verses in quantitative metre and have been systematically retained in runosongs (but shortened in language) shows that in two metrically innovative areas runosongs have given up preserving the archaic word forms, while in big central area between a linguistically and metrically conservative centre in the North-East of Estonia and two innovation centres in Western and Southeastern Estonia the archaic and newer word forms are used concurrently. The slight difference between the metre of western and southeastern runosongs follows the prosodic patterns of dialectal language.
 The side topic of the article discusses the questions of the evolution of runosong in the light of newer theories of emergence of Finnic languages (in the first millennium BC) and poetic system of runosongs, but apparently the metrical variation of runosong is entirely explicable by the impact of much later language changes (approximately 500 to 700 years ago) and seems not to be able to answer the questions related to the emergence of the poetic tradition.

Reviews of Mikhail Bulgakov’s Novel The Master and Margarita in Spain and Latin America

The article relates to receptive aesthetics, interpenetration and perception process of national literatures. Literature perception studies require different approaches—comparative analysis of traditional poetic systems, hermeneutic analysis, taking into account the cultural and historical aspect. Specific task of this work is to analyse the reviews of the novel The Master and Margarita written by Mikhail Bulgakov in Latin American criticism; to identify and describe dominant ways of reception of the novel, to draw conclusions about the features of its literary-critical interpretation in Latin America. The penetration of Bulgakov’s works through Spain into Latin America and, in particular, into Mexico is analysed. The paper reveals the peculiarities of Bulgakov's novel reception by the Spanish-speaking literary-critical consciousness. The article states that the perception of Bulgakov's novel in Spain and Ibero—American countries was carried out primarily through the convergence of the images of The Master and Margarita with the cult and iconic images of European culture—Don Quixote, Faust, Mephistopheles, through the genre of the picaresque novel and literary mysticism. Bulgakov's name has become the personification of cultural opposition to totalitarianism since the early 1990s. It is important to note that the creative manner of the writer began to be perceived as innovative for his time, Bulgakov became a recognized discoverer of the artistic method of magical realism, widespread in the literatures of Latin America.