Творчество В.В. Маяковского в XXI веке
The article discusses the narrative strategies in Benedikt Livshits’s One and a Half- Eyed Archer, in which one can distinguish, conditionally speaking, a “Gogolian” and a “Tolstoyan” principle. This determines the portraiture, in a more or less positive or negative light, of various major Futurists, such as David Burliuk, Aleksei Kruchenykh, Velimir Khlebnikov, Vladimir Maiakovskii, and other figures, such as Elena Guro, Igor’ Severianin and Nikolai Kul’bin.
The paper is dedicated to the major texts written by Majakovskij in 1929, the year preceding his death: “Razgovor s tovariščem Leninym” (“A talk with Comrade Lenin”), “Rasskaz Chrenova o Kuzneckostroe i o ljudjach Kuznecka” (“The Story of Khrenov about Kuznetskstroj and about people of Kuznetsk”), and “Stichi o sovetskom pasporte” (“Verses on the Soviet Passport”). The official literary criticism of the Soviet era regarded them as pieces of well-behaved, exemplary Soviet poetry. Subsequently, they were perceived as tendentious, which continues to be the received view in contemporary criticism.
The aim of this paper is to show the continuity of Majakovskij’s grotesque technique from his early works up to his latest ideologically driven texts. The shocking imagery of grandiosity sets him off the mainstream imagery of contemporary official Soviet poetry, labeled by Tynjanov as “golaja oda” (lit. “bare ode”). It is shown how Majakovskij’s style progressively comes into collision with the emerging mainstream Soviet discourse, which corresponds with the poet’s crisis of self-consciousness and the emergence of insoluble internal contradictions the year of the “Great Turn”.
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.