Article
Почему Андрей Белый стал «варваром»: К вопросу о рецензии Н. С. Гумилева на книгу стихов «Урна»
The article investigates N. Gumilev's attitude to A. Belyj.
This paper is devoted to the influence of Chodasevič’s poetic technique on Mandel´štam’s poetry. In this work we make an attempt to analyze Mandel´štam’s late Novye stichi (“Ne govori nikomu…”, “Kuda kak strašno nam s toboj…” and “My s toboj na kuchne posidim…”), which are connected to each other through the theme of fear. From the point of view of the poetic technique, these texts are also connected to each other through the literary device of the unexpected twist of meaning, which was associated with Chodasevič’s lyrics in Mandel´štam’s consciousness.
The article investigates the literary contecst of the simbolists polemics in 1910 year.
The book is about the mass and modernist poetry in 1913
Article about the book of verses as a great form
The paper offers a detailed analysis of Andrey Bely’s (melo)declamatory style in the context of his poetic and theoretical experimentations. Bely’s contemporaries described his recitals as adhering to the typically ‘decadent’ manner of declamation: with the poem’s meter emphasized by monotonous melodization. On examining the written mentions of his recitals, one is moved to agree with Bernstein’s statement that the poet had undergone a change in his declamatory manner, confirmed by Bely himself. And indeed, a first-ever digital analysis of the audio recordings made by Bernstein in chronological order sheds light on the inner causes of Bely’s poetic experimentation (‘melodism’) in his later years, and, together with the printed version of the poetry, points to the connection between the poet’s declamatory style and the general direction in which he went with his work as a poet and a theorist. Bely’s later poetry called for two distinctive manners of recital: one, relatively stable in terms of pauses and melodization, for traditional meters, and the other, more elaborate, for his ‘melodic’ verses. The latter is more in affinity with the poet’s manner of reciting his rhythmical prose. The two declamatory styles originate in the voiceless recital during composition, as described by Bely to Bernstein.
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.