Западно-восточный диван» Гете: опыт интерпретации
This article is based on the analysis of the commentaries to Goethe’s “West-Oestlicher Divan” for a new bilingual edition; the purpose of these commen- taries was to explore the inner wholeness of a book created at the boundary of Eastern and Western cultures, and also its metapoetical plot. The problem of the commenting is that the whole plot is “beaded” on the frame of Eastern poets’ quotes and images – precise, minimally changed, retold, versified, often given without quote marks, as if “dissolved” in Goethe’s works. These quotes are fit into various contexts and create a special “evasive” book form, where the meaning of a word “blinks” from between sep- arate words, voids, cycles, finding its way into Goethe’s paraphenomenal symbolic re- ality that is one for the poetic word-symbol, nature, East and West.
The author refl ects upon the book The Sources of cultural-historical psychology: philosophical-humanitarian context by V. Zinchenko, B. Pruzhinin, T. Schedrina. Moscow, 2010.
The point of the article is the idea that an activity, an image and a word are the means to spiritualize a body and to externalize spirit. Each o them is a heterogeneous entity: a kind of metaform where both internal and external forms appear. E.g. an activity being considered as an external form includes an image and a word. The same structure is peculiar to a word and an image. Because of such a structure an activity, an image and a word are as much corporeal as they are spiritual. A play of their external and internal forms is extended to interrelationship of the body, the soul and the spirit. It is argued that such a model of reasoning may be of use for psychotherapeutic practices.
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.