World Of Poetry Research Articles

Три истока поэтического творения

The article substantiates the existence of three types of poetic creativity: technimatic (gaming), social-confessional and sophian. The personal-subjective aspirations of poet and playing with the language are the sources of technimatic poetry. The social-confessional line in the world poetry originates from the Chinese “Shijin” (“The Book of Songs”). The source of this type of poetry is a deeply personal reaction on the events taking place in the world, and the need to inform other people about personal experiences, contemplations and thoughts. Particular attention in the article is paid to the sophian line in world poetry. Its source is the eidetic super-personal reality. The poet creatively “connects” himself with this reality and introduces the reader to it through artistically revealed word. The feeling of the super-personal status of the created verses is one of the important attributes of sophian poetry. Homer, Dante, Avicenna, Rumi, V. von Eschenbach, Li Bo, Goethe, Tagore, Rilke, D. Andreev and Iqbal can be attributed to it. In Russian poetry of the 19th – 20th centuries Pushkin and Lermontov, Tyutchev and V. Solovyov, Blok and Gumilyov adjoin the sofian poetic line; Leopardi and Hesse –in the eastern and western poetic tradition. Sophian poetry performs important functions in culture. It is able to return to the words their original living meanings, familiarizing themselves with the essence of things and with the super-empirical reality of Cosmos. It also opens up new evolutionary horizons for language and national literature. The position of the sofian poet is twofold, which gives his work intense dynamism, and his life a tragic character. He simultaneously lives in two worlds: earthly and super-mundane, sensual-bodily and eidetic-semantic. From the eidetic layers of world existence, he is forced to convey knowledge to other people in the words, images and metaphors available to them. At the same time the inspirations and insights of the sofian poet are always preceded by intense professional work, the humility of one’s pride and vain passions.

Variety Of Forms And Genres In Modern Poetry

This article gives information on variety of forms and genres in modern poetry. In world literature, poetic genres form a unique artistic system. In particular, genres such as room, sonnet, ballad, rondo, triolet, hokku, elegy have signs of centuries-old development. Therefore, the characteristics of these genres are intertwined, interacting and living. These genres, which are traditional in world poetry, have their own laws and certain definitions. We discuss those issues in our research.

WORKS OF M.ZHUMABAYEV FOR CHILDREN

This article will focus on works of the great Kazakh poet M. Zhumabaev for children. He is one of our poets who left a deep mark in the world of Kazakh poetry, praising the power of the art of words, creating a kind of artistic expression in the theory of poetry, transmitting to descendants a world of deep feelings, lofty dreams and sparkling fantasies. His postures were preceded by stormy adventures and tense situations that took place in the Kazakh steppe at the beginning of the 20th century. The time during which the poet lived was filled with dramatic social changes. Therefore, the poet's work remained in the darkness of the abyss, which for the time being was closed to us. Only after the onset of independence Magzhan, one of the greatest figures of Kazakh culture and literature, returned to his nation.

Багатоелементна лірична система як наративна стратегія у циклі Юрія Клена «Коло життьове»

The article deals with the problems of narratological organization of lyrics. There is some disproportion in the study of narratological features of works in relation to their genre and genus nature. Researchers often draw the attention of narratological strategy of epic works. The peculiarities of the organization of the narrative of lyrical works are among the least studied aspects of narratological discourse The practice of world poetry demonstrates that the sonnet has become an accu-mulative expression of feelings and an intense lyrical beginning. Combining sonnets into cycles leads to an increase in the role of narrative structures, narrative epics.Yurii Klen’s poetic cycle «Kolo zhyttove» as a multi-element lyrical system is characterized by the pulsation of narrative focalization, shifts in the narrator’s point of view and changes in the forms of the lyrical subject. The evolution of the forms of the lyrical subject can be conditionally represented in the following algorithm: from the subject (which is presented as another)  to the removed narrator  again to the subject, but which is not only «another», but also becomes a kind of container of the author’s voice and humanity in general.The lyrical autonomy of each individual sonnet is overcome by the epic cohesion of the cycle in order to create a generalized picture of all-encompassing and individual existence. Such a dual unity of the sonnet cycle in the artistic consciousness of Yurii Klen made it possible to quite naturally combine a multi-element lyrical system with various manifestations of narrative strategy. The result was a dynamic universal pro-jection on a separate and common being.The narrative strategy of the cycle emphasizes the leading motive of the work  a per-son, once in the world, becomes an integral part of it. But he perceives the macrocosm as alien and hostile and does not feel her organic unity with it. A person is doomed to search for himself and his coordinates in the reality that surrounds him all his life. But the reward is a possible and desirable awareness of one's own essence in harmony with the world. That is, a person passes the cherished circle as a symbol of eternal return and perfection

Поетика кольоропозначень у мові пейзажу Олексія Довгого

. The peculiarities of the use of linguistic units for the designation of color as constituents of individual-author 's images of the realities of the surrounding world are analyzed in the article. The purpose of the article is to carry out a linguistic analysis of color notations in the structure of poetic images of nature and to find out the role of such units as visualizers of the natural world in Oleksii Dovhyi's poetry. During the research the author made a number of theoretical generalizations concerning the problems of artistic text as a phenomenon of individual creativity. The special nature of poetic text has been proved as a text capable of performing two functions – informative and communicative-suggestive. The researcher covered the question of the functioning of poetic means and techniques in the text as a guarantee of adequate emotional and expressive perception by its reader. The study emphasized the particular role of visualization in the communication process between author and reader. The exceptional function of the tokens of color in the process of visualization of the poet's impressions and experiences of the lyrical hero and the transmission of such emotions to the reader was noted. Research has shown that in Oleksii Dovhyi's poetic language, visualizers of copyrighted images of nature often appear to be tokens for the designation of blue, yellow, white, gray and black. It has been found that blue color markings are often used by the poet to explicate the celestial space tier and to create a sense of perspective in the text. Nominations of yellow, often correlated with the names of gold, are involved in the poetic expression of the sacred images of the sun and light as elements of the divine principle. Combining in the artistic and poetic context of tokens of yellow and blue, the poet creates in the text a sense of connection of the lyrical hero with the main world images – water and sun. White in the color paradigm of the natural world is a symbol of lightness, purity and light. Opposition is his nominations for the realities associated with black as a symbol of death and negative phenomena. The tokens of gray are used by the poet to depict the melancholy mood of his lyrical hero.

Between Odisha and the ACT: poetry, community, connectedness

During 2019, prompted by the editors of this Special Issue, Bibhu Padhi and I began talking to each other via email, exchanging poems, and also exchanging snippets of our lives, our interests, and our thinking. A question posed by the project organisers was: What did involvement in the project help you understand about similarities and differences between India and Australia?, which led me to reflect on the twentieth-century notions of world poetry, and cross-cultural communication. Despite my anxieties about the widely recognised risks of such communication, the exchanges between us suggest that the shared experience of wrestling with image, concept, and language that is a feature of the writing of poetry provides a fulcrum for poets: a possibly contingent and consistently productive common ground.

8Poetics

Abstract This chapter surveys scholarship in poetics published in 2019 that engages with concepts of ‘world’. I begin from the contention that poetics scholarship is at a crossroads: while questions of race, nation, and politics were often cast aside in poetry criticism of the late twentieth century in favor of considerations of modernist lineages and philosophical approaches to language, new work in poetics increasingly prioritizes the discussion of racial capitalism, colonialism, and dispossession. The review is divided into four sections: 1. Introduction; 2. Poetry and the World, which considers three works that discuss poetry in relationship to world literature; 3. Worlds of Poetry, which examines three works that consider the so-called poetry world; and 4. Conclusion. The works discussed in this review include two scholarly monographs, a collection of experimental essays by a poet-critic and translator, an introduction to poetry by a poet and literary critic, a short polemic by a poet-critic and ethnic studies scholar, and a journal article exemplifying what I take to be the most significant new direction in poetics scholarship, namely the re-evaluation of apparently abstract, depersonalized formal and generic categories through the analytic of race.

History Served: A Critical Study of English and Kurdish Docupoems

Poetry as a literary genre has been the first and the most influential human method for conveying what people wanted to since the birth of humanity. Therefore, it was almost the sole way for entertainment, information, and documentation as well. As a result, it is of little surprise to hear and see such an expression as documentary poetry. Topics about it started to be seen in journals such as Chain in the middle of the 1990s; yet this kind of poetry could be traced back, in the English literature, to the first English poem that survived i.e. Beowulf. The study is an attempt to discuss a number of English and Kurdish poems that can be labeled under this nomenclature in order to reveal whether or not world poetry share this aspect along with its usefulness for humanity at large. It tries as well, to revive focus upon the historical events documented by poets and poems and illustrate the range of the humane responsibilities the poets felt and consequently made them immortalize the human experiences through those poems. The study also analyzes the strategies followed by the poets in writing their poems through the different modes of documentation. It came out with a number of conclusions like: Kurdish poetry did not come short of its likes in the other languages and cultures especially the English language and poetry. And it closes with a list of the sources used.

El valor de la vida y de la muerte en J. R. R. Tolkien desde "Hoja de Niggle"

La cautivante obra de J. R. R. Tolkien nos dejó un increíble mundo de fantasías, mitos y poesías, mediante la cual se puede vislumbrar la fascinante belleza de la realidad. Una de esas realidades es la muerte del hombre que sólo se entiende desde la vida vivida, desde la obra incompleta, desde el mandato de destruir el anillo -“mi tesoro”- con las debilidades de la propia naturaleza humana. El análisis hermenéutico a esta concisa historia se complementa con otros trabajos de Tolkien, de su amigo C.S. Lewis, de referentes como San Juan de la Cruz y Dante Alighieri, entre otros. La exégesis de este texto nos permite develar la existencia de un trasfondo de procesos psicológicos que buscan el sentido más profundo de la muerte a través del mito basado en las creencias religiosas. Creencias que están lejos de la comprensión racional y que solo se pueden entender a través de “parábolas”. Nuevamente la esperanza es un elemento que atraviesa y da sentido a la vida iluminando a la razón en aquellos oscuros y recónditos pasajes, donde el hombre moderno se encuentra sin argumentos. El bien y los valores del hombre frente al bien y a los valores de un mundo que ha perdido el norte, pero que, sin embargo, se cree trascendente frente a la efímera vida y obra de “un pobre hombre llamado Niggle” (Tolkien, 1999, p. 65).

“The game is afoot”: Sherlock Holmes, hermeneutics and collaborative writing

Abstract Sir Arthur Conan Doyle’s Sherlock Holmes stories involve a hermeneutic game in which Holmes attempts to uncover the mystery of unsolved crime. The work of Hans-Georg Gadamer enables Holmes’s methods to be seen as both playful and creative as he seeks to understand what G. K. Chesterton refers to as the poetry of the modern world. Holmes is therefore a creative and scientific detective, one who loses himself in the game of detection in order to find himself in the search for truth in the wider world. Through the agency of Dr Watson, the reader is invited to join the game and attempt to work out the solution to the mystery as the narrative unfolds before them. Peter Hühn’s work on the detective as reader and writer is extended in relation to the work of understanding and creation carried out by authors who add new works to the genre of Holmesian fiction. This process is explored in the context of two playful writing workshops in which participants passed the opening of a piece of Holmesian fiction they had written to another participant to continue, before sharing the results with the group. Hans Robert Jauss’s ideas about genre and other perspectives on reimagining Holmes help contextualize the strategies used by participants, while Gadamer’s conception of the festive enables insights into the communal processes of creation and understanding.

ПАУЛЬ ЦЕЛАН И «ГРУППА 47»

The article deals with the unsuccessful debut of the little-known at that time, but valued in literary circles, Austrian poet Paul Celan at the meeting of the “Group 47”, the famous literary association, in Nindorf in May 1952. Here two worlds of perception of reality collided, these worlds could not basically coexist, for, while maintaining a common view in respect to the events of World War II, the representatives of these two worlds perceived events in a different light. Refined, full of the richness of world poetry, with elements of Hasidic mystery, the poems of Paul Celan, read by him a là the liturgical sermon, clearly contrasted with the poetry of the “Group 47”, marked by commitment to manifestations of life which were far from being poetic. The critical reviews of the meeting participants on Celan’s speech were sharp, which was characteristic of the authors of the “Group 47”, who were mainly participants in the war, and made Celan feel like he was among the Nazis. The misunderstanding between Celan and the participants in the meeting in Nindorf did not prevent the critics from recognizing the significance of his poetry and contributed to the fact that since then Celan’s work has received worldwide recognition. Thanks to the “Group 47”, the poet found his publisher, but subsequently avoided contact with the “Group 47” in every possible way, although he repeatedly received invitations to take part in its meetings.

Fokalizacija v lirskem diskurzu

S fokalizacijo se teorija lirike do nedavnega skorajda ni ukvarjala, kar je mogoče pojasniti z dejstvom, da je bila lirika navadno razumljena kot temeljno monološka vrsta. Čezžanrske naratološke obravnave (Hühn, Kiefer in Schönert, Rodriguez) so v preteklih dveh desetletjih pojavu posvetile več pozornosti. V članku poskušam razširiti dognanja, ki jih jedrnato predlagajo ti raziskovalci. Ugotavljam, da se pri tem mogoče opreti na referenčne definicije klasičnih naratologov, hkrati pa je smiselno upoštevati najnovejša spoznanja postklasične naratologije: Jahnova razširitev pojma v smeri podobe »okna« in »zaslona« in Hermanovo pojmovanje fokalizacije kot izrazitve specifičnih modelov razumevanja sveta in epistemičnih modalitet sta pomembna argumenta za vpeljavo razširjenega pojmovanja fokalizacije v liriko. V osrednjem delu članek poda opredelitev pojma ter razgrne morebitne teoretske, kritiške in bralske zadržke glede uvedbe kategorije v poezijo, ki jih ovrže na podlagi kratkih analiz, s čimer tudi opredeli ravnine, na katerih se fokalizacija potencialno izrazi. V sklepnem delu zasnuje osnovno tipologijo fokalizacije v lirskem diskurzu z navedbo primerov iz svetovne in slovenske poezije ter navrže problemske točke za nadaljnje razmišljanje.

ТИПОЛОГИЯ И СТРАТЕГИИ КРЕАТИВНОЙ РЕЦЕПЦИИ НА ПРИМЕРЕ АНГЛИЙСКОЙ ПОЭЗИИ И ПРОЗЫ ПОСТМОДЕРНА

The paper focuses on complex research and description of creative reception theory and typology. There are provided definitions of such terms as reception, creative reception, creative reception strategies, and others. The author builds the typology of creative reception on the basis of works by E. V. Abramovskikh, S. Ye. Trunin, M. V. Zagidullina, V. I. Tyupa, and M. Naumann. This typology includes two types (or levels) of creative reception, defined as classic and postmodernist. Each of the types is characterized by a number of strategies, i. e. ways of representing an artistically received text in one’s own work. The classic type strategies (formal, authentic, neutral and antithetical) focus primarily on plot transformation. As for the postmodernist level, the author singles out two strategies: congenial and play. The theory and typology of creative reception is substantiated with some examples of reminiscences and allusions to English and world poetry. The examples under analysis are taken from the following prose works by the outstanding English postmodernist writer John Robert Fowles (1926–2005): the novel The French Lieutenant’s Woman (1969), the collection of long short stories The Ebony Tower (1974), the philosophic book The Aristos (1964), and also the lyric collection Selected Poems, published posthumously in 2012. The collection has not been translated into Russian yet. Therefore, the poem under analysis (Islanders) has been translated into Russian by the author of the present paper. The paper also deals with indirect Biblical reception which is found in the allusion to the ivory tower. The allusion gave the title The Ebony Tower both to Fowles’ long short story and collection as a whole. The author of the paper draws a conclusion about the dominant creative reception strategies in the literary works under analysis and also about the possible use of the presented creative reception typology in analyzing works by other writers.

Tear factory and transformation

Contemporary Belarusian poetry is written in two languages. Some poets use Belarusian, which for them is the language of freedom and creative possibilities, while others write in Russian. Both are creating genuine Belarusian poetry - and in some cases also world poetry. International readers are already familiar with Ales Rasanau and Valzhyna Mort. He writes timeless poems in which he connects local themes with existential questions. She produces vehement litanies and angry ballads in which a vent is given to pain, fury and grief. Others, such as Julia Tsimafieyeva, Volha Happeeva and Viktar Zhybul are still waiting to be discovered.

Радость узнавания, чувство различия: о книге стихов поэтов Болгарии для детей в переводах М. Яснова. Рец. На кн.: Шкатулка Со сказками. Спб.: Гриф, 2019

The book “A Box with Fairy Tales” includes poems by contemporary Bulgarian poets for children. It presents poets of different generations, each with their own special creative approach. Translations made by M. Yasnov embodied the idea of both unity and diversity at the same time. They bring the world of Bulgarian poetry closer to the Russian-speaking reader but maintain enough of a distance to allow the child to experience difference in message and style. The composition of the book is constructed in accordance with this idea: the poems are grouped into two parts and they follow the theme rather than a particular author. Information about the Bulgarian poets is given at the end in a form of small biographical vignettes. The themes in the book cover the timeline from early childhood to the threshold of adulthood. The book celebrates the creative legacy of the Bulgarian authors such as Z. Vasileva, V. Samuilov, M. Dalgacheva, P. Kokudeva, and I. Tsanev. Yasnov’s translations reveal a rich variety of poetic forms and language play in the original such as syntax and graphics, phonics, vocabulary that stand out on all levels of the poetic text. A particular tribute is payed to the author of the biographical articles on Bulgarian poets, Dr. G. Petkova, Sofia University of “St. Kliment Ohridsky” as well as to the artist O. Yavich for their contribution to this book.

БІЛЯ ВИТОКІВ ПОЕТИЧНОГО КОСМОСУ ОЛЕКСІЯ ДОВГОГО

The article analyzes the nature of linguistic explication of the ideas of Oleksii Dovhiy’s lyrical hero about the features of the universe and the organization of the universe. The author deals with such issues of general theoretical significance as the concept and linguistic worldview. During the research it was found out that Oleksii Dovhiy’s poetry combines the revelation of a son who prides himself on the glory of generations, paternal and grandfather’s moral principles, confession of a fighter for the Fatherland, a manuscript of the medium, to whom all the secrets of the universe are revealed. The language of his poetry reflects the representation of his lyric hero about the three-component world, which consists of the upper, middle and lower tiers. His lyric hero is aware of the HIGHER WORLD as a world of the divine, a world of eternal truths and laws, a world of angels and pure poetry. The main images that fill this world are the images of sun, sky, bird and wind. One of the central concepts that actualize the locus of the MIDDLE WORLD (or world of the earth) in Oleksii Dovhiy’s poetic universe is the image-concept of the LAND. This image is an expression of such lexical and semantic variants of the land tokens as ‘the native land (Ukraine)ʼ and ‘the upper layer of the earth’s crust; soil that is cultivated and used for growing plantsʼ. THE UNDERGROUND WORLD is updated by entering the words «field» and «shadow» in the text. As research has shown, the image of the road in Oleksii Dovhiy’s poetic space is one of the central ones, since, firstly, the verbalizers of this image often act as components that make up the macro-image of the MIDDLE WORLD, and secondly, the image is combined different time shades in the horizontal spatial plane of the author’s world plane. THE UNDERGROUND WORLD is represented in most cases by tokens that are associated with other spatial tiers. However, by entering into the text, such units as «shadow» and «field» acquire contextually predetermined semantic nuances that associatively associate with the lower tier.

From Tao Te Ching Meditations: Bones Buzzards

from Tao Te Ching Meditations: Bones Buzzards Kerry Shawn Keys (bio) 60Ruling Rome should be like cooking a rockbass or minnow,a sunfish or bluegill fresh from the Danube,in the courtyard or on the grass by a tentunder a frontier of stars, under a blue sky. Upwind there should be angels or horsemen watching on,and downwind animals and the souls of the dead joining in.Ruling Rome should not be a big thing, too overtaxing.Make it slow and easy like singing or breathing. Yet they tell me there is an emperor in the Westwho uses the bones of dissidents for weavinghis family’s garments, that he feeds the offshore fishwith the gore and remnants of freebooting economics. They say that he fancies himself King of the Andes,that even his name carries the sound of wingsand knives, his eagle’s quill quivers with pleasure in taking lives,that the words honor and serenity are banned from his empire. Ruling a country should be like cooking a small fish,not baptizing mankind in the name of Prometheusor maliciously putting the flame of the tree of knowledgeto work as a bullet in a blue-collared throat. Ruling a country should be a way of rejoicing in civic duty,living simply, owning nothing, like the great condor of Chilewhose wings sweep with stoical fire the cold, empty airwhere gods and philosophers mate without hope of hope or despair. [End Page 80] Kerry Shawn Keys Kerry Shawn Keys has published nearly fifty books, including poetry, plays, fiction, and children’s literature. He is the recipient of an NEA fellowship and awards from the Poetry Society of America and Lithuanian Writers’ Union. He is a member of International PEN and is the Republic of Užupis’ World Poetry Ambassador. Copyright © 2019 University of Hawai‘i Press

Azita GhahremanNegative of a Group Photograph by Maura Dooley Elhum Shakerifar

This is a thought-provoking novel. Sometimes it’s like an academic work with explanatory footnotes, and readers can find critical comments in Brother Yingwu’s noisy mind. Li Er carefully knits contemporary Chinese scholars’ collective memory and their personal experiences into this novel, and he tactfully finds an echo in their hearts. Gong Qiangwei (宫蔷薇) China University of Mining and Technology Azita Ghahreman Negative of a Group Photograph Trans. Maura Dooley with Elhum Shakerifar. Eastburn, U K. Bloodaxe Books (Dufour Editions, distr.). 2018. 119 pages. NEGATIVE OF A GROUP PHOTOGRAPH includes thirty Persian poems by Azita Ghahreman with parallel English translations by Maura Dooley in collaboration with Elhum Shakerifar. The collection offers a fine view of Ghahreman’s introspective and sometimes inventive poetry, but its back cover makes a puzzling claim that Ghahreman is “the leading Iranian poet.” It’s unclear what the poet might be imagined to lead, but Ghahreman has not, to the best of this reviewer’s knowledge, led poetry in terms of sales, popular reception, or critical acclaim in Iran or elsewhere. That obvious misnomer sets an unfortunate tone for the book. The poet could well have been commended for publishing five collections previously, for garnering institutional support in Sweden, her country of exile, and for finding a capable English translator in Dooley, all without recourse to hyperbolic marketing. But perhaps more to the point, the exaggerated claim seems to assume that English readers are and will remain ignorant of how Persian poetry is alive and well, with a diverse community of poets who continually produce exciting new work in countries like Iran and Afghanistan and their diasporas. Nonetheless, Ghahreman’s poetry takes a more balanced self-view. Her poetic voice often joins in conversation with her peers, as in the collection’s titular poem, which is dedicated to the “memory of the poets Ghazaleh Alizadeh and Nazanin Nezam Shahi” and recalls how their lives and the speaker’s converged for a time: “I am younger in this photograph, / younger than anything I’ve ever written, / and I am the third missing person.” Ghahreman’s poems can also be commended for lending themselves well to translation. For one, while poets who experiment with classical forms pose an array of aesthetic challenges to the translator —see, for example, Dick Davis’s wonderfully erudite translations of Fatemeh Shams—Ghahreman writes primarily in free verse, allowing a translator like Dooley to more or less replicate the same structure on the opposite side of the page without having to accommodate for rhyme or metrical constraints. Thematically, too, Ghahreman’s world extends beyond national borders, her memories inhabited with “photos of Oppenheimer, Lumumba ” in a poem like “Glaucoma.” In fact, one hears reverberations of world poetry throughout the collection. Neruda’s “Explico algunas cosas” echoes in Ghahreman’s “Negative of a Group Photograph” when the poetic voice addresses the aforementioned Alizadeh and Shahi: “For you must remember Ghazaleh? . . . For you must remember Nazanin?” Likewise, Ghahreman ’s “Red Bicycle,” especially in Dooley’s translation, recalls William Carlos Williams ’s wheelbarrow upon which so much depends: “I still dream / of my red bicycle / on the green shores of summer.” Dooley’s translations, however, do not always seize upon the best opportunities to capture the poems’ universal dimensions. One such missed opportunity appears every time Dooley fails to translate the word “fārsi” from the original language: “lovingly, I wrote the snow in Farsi”; “until Farsi finds the courage to speak with the heart of a whale.” Of course, many of us use the word “Farsi” in everyday speech to refer to the language spoken by contemporary Iranians. But a poetry translation should aspire toward a more literary and historically accurate use of English. In Ghahreman ’s language, fārsi denotes the language of her own poetry and her mother tongue. It denotes the same language in which Omar Khayyam wrote the Rubaiyat made famous in English by Edward Fitzgerald just as it does the language in which Rumi composed his masterpieces beloved by so many world literature enthusiasts today. The English name of Khayyam’s and Rumi’s and therefore Ghahreman’s language is Persian. It is a language that has been named...

Сибирский верлибр 1920–1930-х годов: общее и особенное в новой стиховой форме

Since the beginning of the twentieth century, free verse (vers libre) begins an active penetration into Russian poetry, decisively moving from the category of a marginal poetic phenomenon into the most active forms of national verse. Since the end of the 1910s Russian free verse also appears in the thriving Siberian poetry. First of all, this occurs in the works of authors who work with verse in line with the main currents of the general Russian poetic tradition – relatively speaking, among the Siberian futurists, acmeists, and imagists. The article examines the process of the emergence of free verse (free verse) in the Siberian branch of Russian poetry in the first third of the twentieth century. Examples of early free verse from periodicals and books of the 1920s – 1930s, which were created in line with the all-Russian trends in the development of versification, are given. However, if we talk about the absolutely specific features of the Siberian free verse of the first third of the twentieth century, then this is, without a doubt, its use in translations and arrangements (including quite free ones) of the lyrics and epic of the peoples of Siberia. Publishing interlinear translations was common practice in those years. However, falling into the context of Russian literature, these interlinear translations were already perceived as poems, and precisely as written in free verse. The most productive source of Siberian free poetry can be considered the so-called “self- laying”, author’s variations on the themes of which are published by Anton Sorokin, Vsevolod Ivanov, Leonid Martynov and Pavel Vasiliev. Of particular interest are the Altai and Khakass “songs” of Ivan Eroshin, a significant part of which is also written in free verse. For the most part, these are small stylized lyric poems. His “Songs of Altai” is a rare example in world poetry of the reincarnation of a European poet into foreign characters – hunters, shepherds, even girls – on whose behalf most of the miniatures of the books “Blue Yurt” and “Songs of Altai” are written, performed by different types of verse. In total, from 1923 to the beginning of the 1950s, Eroshin wrote more than 40 vers libre, distinguished by the utmost laconicism combined with a bright “barbaric” imagery. A special place among the stylists of folk poetry (including the folklore of the peoples of Siberia) in Soviet poetry of these years is occupied by the poet and playwright Andrei Globa. His cycle of 1922 “Kyrgyz Songs”, consisting of 17 poems, was written mainly in free verse. His collection “Songs of the Peoples of the USSR”, which has survived three editions, includes translations and stylizations of works of different genres, many of which are also written in free verse. In addition, the paper examines the features of the use of free verse in translations and free transcriptions of the folklore of the peoples of Siberia, performed by V. Zazubrin, O. Cheremshanova, E. Tager.

ПОЭТИКА НАУЧНОГО АРГУМЕНТА: ПЕРЕВОДОВЕДЕНИЕ УМБЕРТО ЭКО КАК ЛИТЕРАТУРА

Umberto Eco’s book Dire quasi la stessa cosa. Esperienze di traduzione (2003) is treated as a work with characteristics of the novel genre: the study of the nature of desire, the study of the limits of theatricalization, the specificity of gesture, and finally, the speech coloring of the hero, in the book creates the impression of a novel narrative. At the same time, Eco partly mystifies the reader: thus, while studying the translators’ difficulties in conveying the visibility of theatrical action, he himself uses reduced visibility as an argument in choosing a translation strategy. Such a system of mystifications allows Eco to combine his own experience as a translator, in which the skills of epideictic eloquence had to be subordinated to the historicism shared by his readers, and his experience of working with translators of his novels into different languages, where the strategies of domestication and forenization were determined not by the situation of the literary process but by each language’s own history. Thereby, Eco built an epideictic view of language, where archaization, modernization, or sustainable development acted as novel protagonists. Such introduction of novel strategies into the scholarly memoir allowed Eco to discern novel moments in the history of world poetry and to construct a semiotically consistent picture of the development of Western literatures.