Article
Картины из письменных знаков: заметки о визуальной поэзии
This article discusses the phenomenon of Visual poetry in its semiotic aspects. The material from Graeco-Latin poets to the Avant-garde experiments (with a special emphasis on Japanese examples) is grooped typologically: visualizatioon of initials; acro- and telestics; carmina figurata etc. The author offers the principal features of the visual poetry, such as simultaneous perception of the whole text and the textual density which potentially leads to the Black Square.
The attention which was shown to Vs.N.Nekrasov’s poetry (not only to his visual texts) by artists of different generations and styles, forced the poet discuss the border between verbal and visual arts, that loosens in the twentieth century, but remains nevertheless permanent and significant. This awareness of the border was inevitable in a situation of unprecedented rapprochement and mutual influence of these arts (for example, the use of a horizontal line in some texts Nekrasov at early 1980s can be compared with the idea of the horizon in Boulatov’s paintings). In a letter to French publisher P.Mréjen about С.Cofone’s book, that played up Nekrasov’s text "Growth" ("A Poem") by its total strikethrough, Nekrasov discusses semantic differences between Russian poetry and their interpretation in the work of book-art. Different cases of strikethrough in the original texts of Nekrasov are further shown, for instance, in early (1970-1980th)) use of strikethrough as a way of marking the "extra", "inconvenient" words (the device has recently become very popular in network imitation of "natural" speech).
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.