Поэтика заглавий логогрифа "Я" и "Поэмии о соловье" Василия Каменского
This article is consecrated to interpretation of Vasily Kamensky's logogriph “I” and his other works as art projection of personal poet's myth about “poet's space”. As we can see in the article, this space occupies not only the Vasily Kanensky's famous permsky property, but also spreads to other locuses. Thus we can observe how Vasily Kamensky's conception of his transgression of personality for his “I” reality manifests.
Two unpublished autobiographies of poet, translator and memoirist Benedikt Livshits (1886/1887-1938), written in 1923 and 1924 (and held in the Manuscript Division of the Institute of Russian Literature), feature, together with an extensive commentary establishing the chronological backdrop to and the details of his life in the 1890s-1910s. Major events in his life are listed as far as possible thanks to a variety of archive sources (the statements of his second wife, E. Livshits, his student file from the Kiev Municipal Archive). These include the poet’s family history and his time as a student at the Richelieu Gymnasium and the universities of Odessa and Kiev, as well as the precise date of his baptism and a number of episodes from his service in the First World War. Information gleaned from the reminiscences of E. Livshits regarding the vicissitudes of her husband’s life is a particular focus, giving greater insight into a life story little told by memoirists. Also included is an unpublished poem by Livshits’s first wife, V. Arngold-Zhukova, which she dedicated to him.
The book presents the proceedings of the conference "the Situation of postfollow: urban texts and practice", held in Moscow on April 3-4, 2014. The collection includes articles on contemporary folklore (PostalCode) and the history of its collection, ritualized practices in the modern city, about subcultures and the city "local text".
The article discusses the narrative strategies in Benedikt Livshits’s One and a Half- Eyed Archer, in which one can distinguish, conditionally speaking, a “Gogolian” and a “Tolstoyan” principle. This determines the portraiture, in a more or less positive or negative light, of various major Futurists, such as David Burliuk, Aleksei Kruchenykh, Velimir Khlebnikov, Vladimir Maiakovskii, and other figures, such as Elena Guro, Igor’ Severianin and Nikolai Kul’bin.
The aticles analizes some ways of the poet's work both with the heritage of the Russian futurism as a whole, and with individual texts by "budetlyan" authors
The Life of St. Herodion Iloezersky (LH) is an unstudied monument of regional hagiography, which reflects the characteristics of this type of hagiographical texts. Life events of the Reverend seem quite trivial, if not to know their legal, economic and home background. The LH provides diverse material for the study of Russian hagiography in general and of the 17th century in particular, and of the local history of the White Lake region. Hagiographical text, which seems to have little information in terms of big history, is extremely important to local history and the history of daily life. The documentary legal materials complete the LH. In the spring of 1653, Archimandrite of the Cyril-Belozersky Monastery Mitrofan held an investigation, as a result of which a document was drawn up, recording the evidence of local residents about the events that were somehow connected with the Rev. Herodion. Accurate and legally significant record of evidence was the main task of the church investigation. The discovery of documentary materials for the preparation of the canonization of Saint Herodion, a variety of versions of hagiographical text, numerous documentary evidence about life of Ozatskaya rural municipality, where the saint was active, allows us to put the question of originality of the hagiographic text and of the definition of the rules, by which series of events reflected in the text of a legal document were converted to hagiographical text. Comparative analysis of the document and of the hagiographic text allows seeing some patterns of transformation of the legal document into hagiographical text. It shows that the story of an event being translated from the language of everyday life into the language of Kingdom of Heaven looses details, names of minor characters, dates, circumstances of the incident. Important is the fact that in the text of the life the central character of each story stands as far as possible, solo as a person interacting with a higher power, either directly or by means of only one saint, but never with the participation of other people who also fall into the category of circumstances without direct relation to the event. In the initial period of its existence hagiographical text was or could be addressed to the people who themselves were participants or eyewitnesses of the events described. In the stories about miracles in the LH between man and God there is the only mediator Rev. Herodion. Everything else, however important it may seem to modern readers and listeners, did not matter in the distant past (in their ordinary daily life). That is, the apparent causal relationship between events in one row, from the perspective of the compiler of the hagiographic monument and certainly in terms of audience LH was imaginary. Thus, the hagiographic text is subordinated primarily to one purpose: it must demonstrate the true (spiritual) nature of the event, and that makes all particular details totally unnecessary, including causal relationships that can only obscure the timeless meaning.
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.