Формальный метод. Антология русского модернизма.
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.
Abstract: the article addresses the interrelations between Wyndham Lewis’s notion of the visual in literature and the poetics of his novel, “Tarr” (1918). Commonly accepted definition of visuality in Lewis’s literary texts as analogy between their certain poetic characteristics and the features of modern painting is supplemented by an analysis of the author’s philosophical criticism of the 1920–1930s concerning “philosophy of the eye” and “external method” in literature. Considering surface poetics in “Tarr” and its main artist-character’s representation in the view of visual philosophy allows to define the relationship between the novel as a unity and Lewis’s artistic theory as deeply problematic and one far from being an illustration.
The book is about the mass and modernist poetry in 1913
In the article russian acmeism is considered in he context of the criticism of the 1910s
About readers of Russian modernis and popular magazines, 1900 - 1910
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 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.