Lexis Meets Meter: Attraction of Lexical Units in Russian Verse
The book deals with the history of Japanese waka poetry (Japanese songs). The study is built around official anthologies "by imperial decree", which were collected from the beginning of the 10th century until the middle of the 15th century. There are 21 such anthologies in the history of poetry. The main issues considered in the study are: the variety of forms of Japanese poems, united by the concept of waka; composition of imperial anthologies; conducting poetry events - meetings and tournaments; composition of poems "on the topic"; rules for recording poems by poets at poetry meetings; "copyright" in Japanese medieval poetry, a list of "words that have a master". Japanese poets themselves, authors of the karon texts (“about poetry”) speak about poetry: Ki no Tsurayuki, Fujiwara no Kinto, Minamoto no Toshiyori, Fujiwara no Kiyosuke, Fujiwara no Shunzei, Kamo no Chomei, Fujiwara no Teika, Fujiwara no Tameie, Shotetsu. The book contains translations of several poetry collections and cycles that have not previously been translated into Russian.
The book is the first critical edition of the definitive poems codex of Russian conceptualist Vsevolod Nikolayevich Nekrasov.
The article researches the issue of the relevance of poetry in the USSR, using as an example the year 1926, when several literary periodicals simultaneously decided to investigate the attitude of their readers and of poets towards this issue. The analysis of the surveys conducted among readers and in libraries confirms the statement made by Boris Pasternak that lyric poetry was then undergoing a crisis, caused by the loss of its past audience and by not yet having any new audience who would need the subjectivity of an author to be presented to them in a lyrical form.
The article discusses the changes undergone by historical themes and heroes of ancient Chinese history in the poetic texts of the Ming period (fourteenth to seventeenth centuries) collected by the noted anthologist Shen De-qian (1637–1769) in his Ming shi be cai. In later verse, poets increasingly tend to abandon the simple historical analogy – which was typical of the earlier poetic tradition – in favor of the symbolic game based on the age-old typification of historical figures: the “hero,” the “villain,” the “avenger.” In doing so, they diverge from the typical historical narrative with its attention to subtle detail and gradation of moral assessments. The hypothesis advanced in the article is that, for lack of a consistent mythology and a fullfledged epic tradition in China, historical figures eventually begin to perform the function of the heroes of myths and epic narratives, eventually supplanting them, whereas the historical narrative – e.g., the Historical Records (Shi ji) by Ssu-ma Qian (ca. 145–85 B.C.) – becomes, in a manner of speaking, a source of quasi-mythological or pseudo-epic subject matter.
This article presents a theoretical framework for the author’s experimental work in contemporary poetry, which has received a term cognitive poetry. In contrast to cognitive poetics, which applies the principles of cognitive psychology to interpret poetic texts, cognitive poetry applies these principles to produce poetic texts. The theoretical considerations of cognitive poetry are based on the assumption that one of the major purposes of creative work is to elicit aesthetical reaction in the beholder. The aesthetical reaction to the poetic texts could be achieved via their satiation with multiple meanings presented through multiple sensory modalities. Cognitive poetry employs techniques developed in cognitive psychology to explicitly address cognitive processes underlying construction of multiple conceptual planes. The following techniques are discussed: priming, Stroop effect, multimodal and multilingual presentations. The applications of these techniques are illustrated with examples of poetic texts produced by the author.