Словообразовательные особенности словоформ на концах стихотворных строк с гипердактилическим окончанием в русской поэзии серебряного века
This paper examines verb forms at the end of lines in poetry of Osip Mandelstam and Boris Pasternak. It is thoroughly explored how the position at the end of a line determines the choice of a verb form and, more importantly, how morphological characteristics of a verb form depend on the position of the last stressed syllable in a verse.
The article focuses on Marina Tsvetaeva’s poem Perekop (1929), which somehow has not received sufficient attention from scholars. As Tsvetaeva herself pointed out, the Perekop “derives” from her husband’s Notes of a volunteer (where S. Efron described his experience as a White Guard). Therefore, the Perekop tends to be interpreted in way which is apologetic towards the White Guard movement in the revolutionary Russia. From this vantage, the Perekop features the thinking apparent also in Tsvetaeva’s early poems (1917–1920) from the Swan camp cycle. Such reductionist interpretation should be replaced by a close, line-by-line reading of the poem. My analysis places the Perekop into an intertextual field and approaches it through the prose vs poetry, dialogue vs monologue, narrative vs lyrics oppositions. The concept of a particular “poetic narratology” is elaborated in order to understand the purpose of the poem on a historical topic. The polyphonic (Bakhtin) structure of the Perekop is a realization of the metaphor of “the voice of conscience”: a philosophical category which is apparently at the center of Tsvetaeva’s later oeuvre.
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.