DOI: 10.25136/2409-8698.2017.2.23156

Abstract: Within the framework of the present research article the authors view a poetic discourse of a contemporary blog poet Ali Kudryasheva. The researchers keep to the opinion that each text is already a dialogue as it is based on all preceding and proceeding texts. Meanwhile, just as the language, culture is a sign-oriented (semiotic) system that can transfer information but cannot self-organize as the language can because culture is a memory in the first place. Kudryasheva's 'dialogue of cultures' represents a specific feature of her individual language system. Her creative writing is charactersized with the consistence of her linguoculturemes appealing to various cultural traditions. Literary precedents of Ali Kudryusheva as a poet can be classified into the following three groups: those that follow Russian, West Eruopean and ancient traditions. The combination of geographical, literary, musical, and philosophical precedent elements in her poetic discourse allows to define several trends of such reception: 1) national distinctness of the literary text; 2) perception of an alien culture and including the other culture in the poet's picture of the world; 3) different kinds of interaction between native and alien cultures. 

DOI: 10.7256/2409-8698.2014.2.12287

Abstract: The poem "From Pindemonte" ("I cheap appreciate the loud rights..."), entering the Kamennoostrovsky cycle under figure VI, is considered in the present article as the poetic statement of Pushkin in the context of the cycle answering to Mickiewicz his poetic cycle "Fragment" (UstCp). The research objective consists in detection of "mitskevichsky implication" and in the literary analysis of the poem from the point of view of Pushkin's dialogue dispute with Mickiewicz on a way from slavery to Freedom in Christ. Therefore an object of research is "mitskevichsky implication" as the main key to reading of the poem. In article an attempt of interpretation of conceptual sense of the title "From the [VI] Pindemonte" in the Passionate plot of a "evangelical" cycle is made. The used method of "fixed reading" and the analysis of intertekstualny dialogue of two national poets relies on close semantic connections between the Kamennoostrovsky cycle and "Fragment". The Kamennoostrovsky cycle is the second and finishing part of "a spiritual cycle" of Pushkin in which Christ's Passions and mercy are opposed to apocalyptic Christianity with a social orientation. The title "From the [VI] Pindemonte" has character of the cryptogram. Through figure VI the poem is correlated with Passionate Saturday, in the afternoon "Christ's descents in a hell", and marks a spirit victory over the death predicted to the tsar's singers by the Polish poet prophet. To poems of "Fragment" the use of such words by Pushkin as "joker" and "taxes" is explained by Intertekstualny sendings.

DOI: 10.7256/2409-8698.2016.4.21064

Abstract: In article traditions of acmeism and neoacmeism, transformation and art "refraction" of a romantic esthetics of neoacmeism in works of the poet of "front generation" come to light (Yu. Levitansky), and also representatives of "variety poetry" (R. Rozhdestvensky, E. Yevtushenko). Also the problem of space and time are considered, Yu. Levitansky, R. Rozhdestvensky, E. Yevtushenko's poetry is compared with an existential continuum of "The divine comedy" of Dante, "a synchronous and reminiscential chronotope" thanks to which the genre polyphony projecting each concrete work in an infinite context of interpretations and prototexts, and "a monologue on a polyphonic basis" is created. Detailed classification and a typology of genre forms of the specified authors is carried out. The romantic esthetics of neoacmeism which has arisen during art searches of "men of the sixties", building poetic ìèðîìîäåëü, the prospect of new opening causing subsequently on the ways of cultural science, philosophy, the domestic and world literature is for the first time analyzed. In article importance for the analysis of temporary category in poetry of "the Renaissance acmeism" of the hermeneutic concept of V. Diltey according to which time is considered as special type of category of inner world having objective value for comprehension of reality in experience is noted. The undertaken analysis convincingly shows that one of the major ontologic constants participating in forming of a picture of the poetic world, and also the art direction of neoacmeism is the specific concept of art time and space. Are established, in addition to subjective time and space, internal space of time and external space of time (V. Vernadsky's terms), and also cyclic, probabilistic causality and conditional meanings, "operators" of time and space. The independent status of methodology implies that it includes the ontology modeling the world. This factor is especially important for the analysis of the poetic text in an akspekta of its mythology, art time and space as creativity of acmeists a priori ontologichno and by means of the specific mythology containing in itself a set of archetypes of different eras and centuries creates authoring miromodeliruyushchy reality. At center of comparative approach – similarity of means of expression and authoring stylistics - from literary receptions, general phrases, quotes, hints up to a community of the authoring concept of a lyrical plot, art space and time - a synchronous and reminiscential chronotope – a similar image provided in A. Akhmadullina, E. Yevtushenko, R. Rozhdestvensky's poems, "The divine comedy" of Dante, lyrical cycles of A. Akhmatova, poetry of Ars. Tarkovsky and R. Rozhdestvensky. The comparative and typological method is added by elements of both structural, and receptive and hermeneutical approaches. The comparative analysis and a method of semiotics reconstruction of the poetic text serve as a key to understanding of semantics and inner patterns of a paradigm of neoacmeism. Novelty of operation is that works of low-probed poets of front generation are exposed to all-round interpretation, is considered in the light of operation of the mechanism of cultural memory as synthesis of form and content. The ciphered reminiscences in poetic texts are connected to authoring reception of polysemanticism, the "politsitatnost" having implicit character. Images archetypes it is associated along with several quotation sources – bible, folklore, different images of domestic and foreign literature thanks to what acquire the status of several potential "prototexts" and interpretations. From the formal point of view it promotes origin of genres on a joint of two and more genre "valences". The conclusion that the neoacmeism (Russian "Renaissance") contains in the structure which center is constituted by "semantic poetics", a certain uniting mental code of the Russian culture which unites external and formally absolutely various poets within a single literary trend is drawn. In this sense it is possible to speak not about akmeistichesky tradition in modern poetry, and about continuous development of "semantic poetics" of acmeism and the neoacmeism inheriting it in creativity of a number of modern poets, that is about formation of poetic practice of acmeism for all XX century, and without basic change not only esthetic, about and semiotics prerequisites which mainly and marks change of poetic systems. Thus, in modern literary criticism constructive dialogue of two art systems – acmeism and neoacmeism – is considered in several aspects: comparative (the analysis of typological communications, reminiscences, hints), gnoseological (similarity of outlooks of poetic systems), intertextual (so, A. Akhmatova's poetry serves as "prototext" of lyrics of Yu. Levitansky, Ars. Tarkovsky, E. Yevtushenko), ontologic (the unity of the mythology creating, in turn, determined ìèðîìîäåëü - so "the Akhmatova myth" creates immanent to itself structure of individual author's mythology of neoacmeists), and, at last, at the level of "minitext" of poetics of titles, epigraphs, dedications. Philological and philosophical hermeneutics now in total created the field of an interpretative discourse of modern poetry.

DOI: 10.25136/2409-8698.2021.12.37214

Abstract: The subject of this research is the principles of correlation of onomastic code of the “Poem Without A Hero” with the text frame of its various editions, viewed from the communicative-pragmatic perspective. The object of this research is nine editions of the “Poem Without a Hero” and intertextual references marked within the text frame. The author dwells on such aspects as the interrelation between the literary onomastics and hidden meanings of the poem, transformations of the text frame, methods of “instilling” the authorial meanings to intertextual sources (the works of Byron, Pushkin, and Gumilyov). Special attention is given to projection of the personal myth of Anna Akhmatova, which is traced through the poem, on Western European and Russian literature and the evolution of the text frame. It is demonstrated that the ensemble of epigraphs, which represents an implicit dedication to the poet fallen in disfavor, dissolves leaving imprints in the form of mentioning of Byron and Don Juan in the text of the poem. The main conclusion lies in the establishment of a number of semantic correspondences between the text frame and the historical-cultural halo of names, which on the one hand are associated with the imagery-motif level of a particular poem, while on the other – with personal mythology of the poet. The author’s special contribution to this research lies in outlining the strategies aimed at preservation of special intertextual memory in the names. The novelty consists in determination of the semantic halo of the name, which specifies a range of implicit meanings of the poem. It is revealed that these meanings are “supported” by the corresponding references. Such reminiscences, interweaving into a complex ornamental pattern, on the one side are conceptually programmed by the very structure of the “Poem Without A Hero”, and on the other side, determined biographically.

DOI: 10.7256/2409-8698.2014.4.14833

Abstract: The article deals with the works of a Russian poet Afanasy Fet. The author attempts at exploring the essence of his poetry, and also employs a critical approach to the poet. With special attention B.V. Nikolskiy retraces A. Fet’s philosophical themes, calling him a poet of philosophers and pointing to A.Schopenhauer’s influence on poetry. The author characterizes A. Fet as a pantheist. He notes that in present-day reality philosophy is much closer associated with science than with art, though it has probably more affinity with the latter than with the former. According to B.V. Nikolskiy, of all lyrical poets A. Fet best succeeded in acquiring a purely philosophical spirit, but at the same time he remained faithful to poetry as a special kind of art. A. Fet penetrates into the essence of things by means of artistic creativity.The author bases the article on the philosophy of life that had a tremendous effect on art. He also uses achievements of aesthetic thought, pointing to A. Fet’s contribution to the science of art. Specificities of Fet’s poetic techniques are also analyzed.The article presents a comprehensive analysis of the Russian poet’s works. The author shows that there are no actions in A. Fet’s poetry, since he exists in enthusiastic bursts of spirit, in concentrated contemplations. All delights of suddenly flaring thoughts, all joys of hints that help an intensely thinking spirit to unexpectedly open up the boundless horizons of the desired truth, all happiness of discovery, insight – this supreme happiness of a thinker – can we find embodied in Fet’s wonderful lyrical miniatures. Therefore, poetry is evaluated as an applied field of philosophy. The novelty of the article is also in showing that A. Fet’s artistic feeling is not alien to nature as the human autocratic mind is alien to it.

DOI: 10.25136/2409-8698.2020.8.33616

Abstract: The subject of this research is the corpus of auto-reflexive texts of the contemporary poet Vyktor Ivaniv – his research, essayistic, literary-critical writings. The goal consists in reconstruction of V. Ivaniv’s poetology, which implies the system of representations on ultimate characteristics of poetry, poeticity, and poetic. It is established that poetological system of V. Ivaniv can be described as an example of radicalization of “magic” intentions of historical avant-garde. The novelty of V. Ivaniv consists in reassessment of the ideas of transformation of the world using such term as “utopic”. Having determined the genetic affinity of the constructs of Russian avant-gardists with the ideas of Nicholas of Cusa, Rene Descartes and Gottfried Wilhelm Leibniz, Ivaniv highlights their rootedness in the traditions of European rationalism. The novelty of the research lies in the comprehensive analysis, which allows restoring a universal system of representations on poetry based on the comparison of texts belonging to different types of discourse. Formulation of aesthetic principles in Ivaniv’s works is inseparable from philological reflection over the nature of symbol and its typology. Analyzing the principles of the construction of image at different stages of the establishment of avant-garde mentality, V. Ivaniv creates the concept of iconic symbol as a substitute of the event and a semantic operator, which replaces false meanings with true ones. According to Ivaniv, transgressive introduction to the truth of being – ecstatic and dangerous – comprises the essence of the poetic.

DOI: 10.25136/2409-8698.2018.2.26492

Abstract: The object of the research is the culturological universal concept. The subject of the research is the ethnocultural concept “Godekan” in the poetic texts of the Tabasaran poet Shamil Kaziyev. A comparative analysis of the semantics of the concept “Godekan”, which is an important attribute of the life of rural societies of the peoples of Dagestan, is carried out. Kazieva and Tabasaran Pararems: the difference between the basic values of the concept is established and the reasons for their discrepancy are identified. In addition, the main semes of which the concept of "godekan" in the poetic work of the Tabasaran author is composed are described in detail. The methodological basis of the research was the works of Russian linguists, in particular, academician D. S. Likhachev. Comparative, descriptive and textual methods of analysis were used in the work. The article first explores the semantic specificity of concepts in the poetry of Shamil Kaziyev. The results of the research contribute to the identification of the specificity of the motive-figurative system of poetics of S. Kaziev. Godekan in the poetry of S. Kaziev is presented as a complex ethnocultural concept consisting of various semantic layers. The artistic image of the godekan created by him is fundamentally different from the image that emerges when analyzing the paremias with the lexical component “gim” (godekan): if the folklore focuses on the negative characteristics of the godekan, which contribute to the formation of undesirable qualities in men who dispel the high image of the mountaineer - idle talk, deceitfulness of words and transmitted news, etc., then in S.Kaziev’s poetry, on the contrary, the opposite attributes of this public institution are actualized, his role in the NRA is emphasized legal, labor education of the person, regulative functions in a life of a society are marked.

DOI: 10.25136/2409-8698.2022.7.35192

EDN: KGMYRM

Abstract: The subject of this article is the artistic features of the system of images and the image of the poet in the poems of M. Akhmedov. The system of images in the poems of M. Akhmedov is an integral mechanism that reveals the results of the poet's tireless artistic search, interprets many answers to the questions of the person and the poet. Modeling the poet's image in the system of images is not a new phenomenon in Avar poetry, nevertheless, it is an attempt by the poet to draw the reader's attention to universal problems again, to reveal the poet's vocation and the significance of his image in a new way, both in the system of images of the poetic text and in the consciousness of the poet himself, man and society. The object of the study is the image of the poet and the system of images in the poems of M. Akhmedov. The purpose of the work is to identify characteristic artistic techniques in creating the image of the poet, which occupies a significant place in the system of images of M. Akhmedov's poems, in understanding the essence of the artistic image, its dynamics and connections with the integral figurative system of the poet's poems. The scientific novelty of the research is due to the fact that the artistic analysis of the system of images and the image of the poet in the poems of M. Akhmedov in this aspect was undertaken for the first time. The obtained results showed that the artistic structure of the poet's image and the figurative system in the poems of M. Akhmedov allows to reconstruct, expand the poetic concept of the world order, to allocate a well-deserved place in it to the poet-man. The study of details related to the author's artistic intention showed the deep ideological content of M. Akhmedov's poems, as well as important features of the author's worldview. The theme of the poet and poetry, which is revealed through the image of the poet and the figurative system of M. Akhmedov's poems, evolves in the ways of cognition of life and the image of man and society.

DOI: 10.25136/2409-8698.2019.4.30331

Abstract:   The matter under research is the phenomenon of love between immortal spirit and human in Lermontov's poetry. The situation when these two meet and interact is a sense-making motive for Lermontov's concept of love. Speaking of it, the researcher focuses on three poems and gives these poems different conceptual reflextions: Demon (I-IV versions), Azrail and Angel of Death. The central image is the figure of Demon and literary variants of Demon (Azrail and Angel of Death). In this research the author of the article uses historico-literary and hermeneutical methods that give a system view of Lermontov's early poems. The researcher concludes that Lermontov speaks of the phenomenon of love between an immortal creature and human by involvement of human in an infernal world, attempt of a mortal human to accept immortality and attempt of an immortal creature to understand human existence. This is the first research to analyze Lermontov's poems from this point of view.   

DOI: 10.25136/2409-8698.2021.4.32719

Abstract: The object of this research is the references to the German composer of the XVIII century – Johann Sebastian Bach in poetry of the classic of modern American literature Charles Bukowski. Special attention is given to the poetic-semiotic and ontological aspects of Bach’s motif in the poetic works of C. Bukowski. The author meticulously examines the nature of mentioned references, categorizing them as the three narrative-ontological types or hypostases, in which the German composer appears in the poetry of C. Bukowski, namely: Bach-ideal, Bach-background, and Bach-father figure. The article employs the method of continuous sampling, interpretation and semantic analysis, motivic analysis, as well as biographical and psychological approaches. The author's special contribution into the research of this topic lies in the conclusion on the Bach’s motif in the poetry of C. Bukowski as a variety of ekphrasis, which suggests a verbal representation not of a single artwork, but of the demiurge (in this case it is Bach) as the creator of entirety of his brilliant compositions.

DOI: 10.7256/2306-1596.2013.1.63

Abstract: This article analyzes the interaction between philosophy and poetry, how they exist together in the world of science and human life and whether philosophy and poetry may have common features or these two forms of human culture and thought are absolutely incomparable. The research conducted by the author of the present article shows that philosophy and poetry have common historical roots and poetry, according to many researchers, serves as an ancient genre of pre-philosophy. 

DOI: 10.25136/2409-8698.2020.1.32255

Abstract: The subject of this research is the theme of historical past of the nation and its transformation in artistic consciousness of the Kabardian poet Aflik Orazaev, The object of this research is the diversity of variations of notional imagery in Orzaev’s poetic texts. The goal of this article consists in determination of the ideological-thematic evolutionary changes in Adyghe literature on the example of A. Orzaev’s poetry. The authors meticulously examine the peculiarities of lyrics of the poet. Special attention is given to the poetic theme and problematic of poems, as well as their composition and artistic mastery of the poet. He has a special style, without moralizing escapades, tedious oversight, and patronizing pathos, and patronizing tone. One of the main tasks of the modern literary studies lies in determining interrelation between the national and panhuman within the general cultural tradition. This leads to the need for examination of the main trends in works of the leading national writers. Therefore, studying the poetic work of one of the talented Kabardian poets is relevant. It would increase the level of literary and critical research of North Caucasian literatures, and their correspondence with the quality criteria of leading trends in the modern Russian and foreign literary studies. The main conclusion consists in identification of peculiarities in the worldview of modern artist, as well as diversity of variation of notional imagery of his lyrics.

DOI: 10.25136/2409-8698.2018.3.26584

Abstract: The subject of research is the ways of imaginative representation of the category of the sublime in the context of autobiographical motifs in the poetry of the Circassian author Kurman Duguzhev. The object of the research is the works of the second collection of the poetic series "The Cranes". To date, it has not been noted that the main value, determined at the intersection of the work biography and the thematic unpretentiousness of the work of Kruamn Duguzhev, is the category of the sublime. The author for the first time analyzes one of the essential categories of the poetic attitude of the Circassian poet, dwells in detail on such aspects as the experience of the sublime through participation in a certain type of space, the conjugacy of the sublime and creative activity of the subject. The structure of the designated subject implies the use of a biographical method in combination with the methods of figurative semantic and value analysis of a literary text. In the course of the analysis, it becomes obvious that the category of the sublime is more widely transmitted through the images of the ascended space. The latter is always deployed in the context of autobiographical value-related themes for the poet. It is significant that at the same time the actualization of the mountain vertical does not imply a value opposition to a horizontally organized space. However, the difference is that ascended space (mountains) transforms the hero, and the space expanding in breadth (field) transforms the hero. In addition, Kurman Duguzhev’s ascended space turns out to be semantically richer: through its details the features of the poet’s spiritual and physical appearance are outlined, it is not only the ascension / elevation motive that is found in it, but the motive of descent and extinction of vital forces logically associated with it. Thus, it can be said that the category of the sublime organizes and interprets the figurative logic of the series “The Cranes”.