Two unpublished autobiographies of poet, translator and memoirist Benedikt Livshits (1886/1887-1938), written in 1923 and 1924 (and held in the Manuscript Division of the Institute of Russian Literature), feature, together with an extensive commentary establishing the chronological backdrop to and the details of his life in the 1890s-1910s. Major events in his life are listed as far as possible thanks to a variety of archive sources (the statements of his second wife, E. Livshits, his student file from the Kiev Municipal Archive). These include the poet’s family history and his time as a student at the Richelieu Gymnasium and the universities of Odessa and Kiev, as well as the precise date of his baptism and a number of episodes from his service in the First World War. Information gleaned from the reminiscences of E. Livshits regarding the vicissitudes of her husband’s life is a particular focus, giving greater insight into a life story little told by memoirists. Also included is an unpublished poem by Livshits’s first wife, V. Arngold-Zhukova, which she dedicated to him.
The focus of this article is Nikolai Nekrasov's attempt to revive the legacy of Yevgeny Baratynsky, whose poetry - mainly due to Vissarion Belinsky's criticism - was not as higly esteemed in Nekrasov's lifetime as after Baratynsky's "rediscovery' in the early 20th century. It is also shows that Baratynsky's elegies could influence Nekrasov's poem "Kogda iz mraka zabluzhdeb'ia..." (1845), and ofeer an explanation of the reason why Nekrasov favored Baratynsky's poem "Priznanie" (1823, 1832-33).
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.