Новая планка исследователям (Рецензия на книгу: Андрей Белый. Автобиографические своды: Материал к биографии. Ракурс к дневнику. Регистрационные записи. Дневники 1930-х годов. Составление: А. Лавров, Дж. Малмстад. — М.: Наука (Литературное наследство. Том 105), 2016.)
Lyrics of Russian Symbolism initially has a reflexive nature, which consists not only in the prevalence of philosophical lyricism and in the choice of predecessors, but also in understanding poetic feeling as a kind of cognitive experience, as well as in the process of specific sorting and cyclization, and then combining cycles into the whole of reflexive lyric autobiography. Exploring the lyrics as a form of thinking, Andrei Bely comes to his concept of “rhythmic gesture” and to the practice of calculating the “rhythmic curve”, which he builds not only for individual works, but also for whole lyric biographies, including his own. Nevertheless, the rhythmic curves of his own poems, made by Bely, were not previously published. Perhaps it was during the analysis of his own poems that Bely in the mid-1920s stumbled upon its future analytical method — the “middle line” method.
The article investigates N. Gumilev's attitude to A. Belyj.
Iakov Golosovker developed the theme of the mythologization of autobiography in a manner that was close to the Russian Symbolists (see his My Life Myth). The proof of this is in his unpublished letter to Andrei Bely, which can be dated to 1921, the time when they were both members of the Moscow ‘Vol'fila’. It is possible that their meetings and creative ties in the late 1920s resulted in the image of Christ visiting a modern town in Bely’s Petersburg and Golosovker’s Burned novel.
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.