The Sumarokov Vector of Russian Iambic Poetry
The poetry of Mikhail Lomonosov and Aleksandr Sumarokov played a decisive
role in the establishment of Russian syllabo-tonic versification. Lomonosov’s early
iambs show a noticeable foreign influence, whereas the prosodic structure of
Sumarokov’s poems was formed in a fundamentally different way from the very
start. The research presented in this article provides a new understanding of the
sources of the rhythm of Sumarokov’s iambic verses, which represent a distinctive
vector in the development of Russian verse. This vector displays significant
differences from the principles of continental, West European syllabo-tonic poetry;
an attempt at mastering whose principles can be observed in the early Lomonosov.
Russian verse studies are characterized by a distinctive tradition of applying quantitative methods to analyze poetic texts. The development of this tradition in the late 20th and early 21st century led to the formation of a cognitive poetics that uses methods of modeling processes of versification. This paper extends these methods to the comparative study of the processes involved in the emergence and development of analogous versification systems in different traditions. In particular, this article presents some results of the comparative analysis of .interaction between meter and language in the formation of iambic verse in different languages, English, Dutch, German and Russian.
This article is about the Rhythm of Mikhail V.Lomonosov's Odes of 1743.
Article is devoted to almost unknown aspects of reception of the European culture in Russia of the mid 18th cenury.
Review on: Usitalo S. The Invention of Mikhail Lomonosov. A Russian National Myth. Boston: Academic Studies Press, 2013
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.