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Historical Poetics, while in many ways an ally of Formalism, finds itself in an uneasy relationship with the empiricist mode of formalist enquiry, inasmuch as the latter is seen as generally inimical to historical contextualization. On the other hand, representatives of both Historical Poetics and of the morphological method have at different points been accused of favoring atomizing analysis over aesthetic appreciation. Ironically, this putative inability to grasp the work of art as a totality is a taint that literary theory inherited from nineteenth-century philology whose mission was precisely to combine historicization with minute attention to details of verbal texture. By emphasizing their shared philological patrimony, the article argues for a reconciliation between the morphological method and Historical Poetics. An energetic theory of literary forms, which detects historical vitality in distinct elements revealed by morphological analysis, has important precedents in Alexander Veselovsky’s theory of motif and Mikhail Bakhtin’s concepts of architectonics and the chronotope.
Book of poetry and prose of Nikolai Oleynikov
The chapter of the classbook published within the study program of Ural Federal University in Yekaterinburg tells about the ways of Viktor Shklovsky - a founder of the formalist school in Russian Literary Theory, an extravagant writer and essayist, who was on the forefront of the Soviet literature in the 1920s.
The article examines the myth of the self constructed by Boris Eikhenbaum as a member of Russian Formalist movement. The significant and really 'turning' book 'My Periodical' (1929) is also analyzed here in detail.
The annotated list of abbreviations and acronyms used in Russian and Soviet Avant-garde art and art institutions in the first third of the 20th century.
The article illustrates the explicit and implicit correlations between general notions of Russian formalism and its latest subversions in Lectures on Structuralist Poetics by Yuri Lotman. Declared as a manifesto of new approaches to literary structure (above all, verse), Lotman’s work contains a lot of conceptual revisions of formalism, at the same time presenting itself as its successful overcoming. The strong demand to negate all predecessors was canonized by the formalists themselves and, as it is seen in Lotman’s arguments, remained actual for further philological generations.
The present article contains a brief analysis of the early writings of Viktor Shklovsky - his short stories in futurist magazine "Spring"(Vesna) and especially to his prose poem "Saturnine Fate"(1914). Shklovsky's references to Symbolist aesthetics as well as traces of influence by Maxim Gorky and Leonid Andreyev are also considered.
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.