DOI: 10.7256/2454-0749.2022.6.38022

Abstract: The object of research in our article is body images in the lyrics of the non-classical stage of the poetics of artistic modality (in the terminology of S. N. Broitman). The subject of research in this article is a specific way of depicting a lyrical subject and/or a lyrical character, in which his body is experienced (comprehended, evaluated) by himself as something separate, independently existing (or the body of a lyrical character is comprehended by a lyrical subject as something independent in relation to his inner world, "soul"). The article examines various methods of bodily objectification in non-classical lyrics based on the material of a number of lyrical works of the twentieth century. The scientific novelty of the research is determined, firstly, by the insufficient study of the artistic specificity of bodily images in lyrics as a kind of literature in general, secondly, by the lack of clarity of the artistic specificity of bodily images in the lyrics of the non-classical stage of the poetics of artistic modality, and thirdly, by the unexplored phenomenon of bodily objectification in both classical and modern lyrics. As a result of the conducted research, a number of conclusions were made. 1. A common feature of bodily objectification in lyrics (with all the variety of its depiction in specific texts) is the following: the perception by the lyrical subject of his body / the body of the lyrical character as another (related to the outside world) while maintaining an actual connection with him. 2. In the works of non-classical lyrics, two main variants of the image of bodily objectification are distinguished: a) in the image of a lyrical subject /character, the body is opposed to the "I"; b) in the image of a lyrical subject / character, the body is opposed to the "I", as well as to a certain extent to the objectified inner principle - the "soul".

Keywords: non - classical lyrics, artistic image, lyrical character, lyrical hero, lyrical subject, objectification, author, physicality, the poetics of modality, reflection

Abstract: If we reconstruct the dynamics with which Pushkin filled in his Ushakovsky’s Album, we can assume that the Don Juan’s lists Puhskin composed in autumn was the continuation of his spring conversations with the sisters about love adventures. Most likely, it was influenced by the 2d edition of the first chapter of his Eugene Onegin and publication of his poem ‘Poltava’ at the end of March 1829. A visible evidence to that is Pushkin’s self-portrait as a romantic Poet and a female Trinity in other pages of the album. Consequently, Pushkin’s verse novel, especially the first chapters created in Odessa, keeps the secret of Pushkin’s love. Unlike åhe Fountain of Bakhchisarai, Eugene Onegin has never been thought to be the key novel in solving the mystery of A. S. Pushkin’s ‘secret love’.

Keywords: philology, Alexander Pushkin, Ushakovsky’s Album, poetry, Pushkin’s graphics, portraits, Eugene Onegin, Poltava, love, mystery, game.

DOI: 10.7256/2454-0749.2014.1.10838

Abstract:

DOI: 10.7256/2454-0749.2014.1.63993

Abstract: The author of the article offers a complete analysis of creative work by a great Russian poet Boris Pasternak. The author of the article appeals not only to Pasternak’s poetry but also touches upon his novel “Doctor Zhivago”. The purpose of the article is to describe special features of Boris Pasternak’s poetic style. At the same time, the author of the article tries to define the phenomenological and metaphysical meaning of Pasternak’s creative work by analyzing Pasternak’s style. When analyzing Boris Pasternak’s works, the author of the article uses the historical method that allows to describe the social environment where the poet lived and created his works. The author also uses the phenomenological method to demonstrate in what terms the poet thought. The novelty of the approach is that the author describes the connection between Boris Pasternak’s poetry and the culture, demands and intellectual resources of those times. The author of the article shows that the poet’s position was rather autonomous and independent.

Keywords: philology, the life world integral, success of existence, true origin of culture, spiritual mean, moral revolution, immortality, many-meaning accuracy, sinn-ism.

DOI: 10.7256/2454-0749.2014.2.11999

Abstract:

DOI: 10.7256/2454-0749.2014.2.65038

Abstract: The article is devoted to Vasily Zhukovsky (1783–19520) as a figure understudied in the history of philosophy. Creative legacy of Vasily Zhukovsky as a poet, translator and literary critic has been studied a lot but his philosophical views are rarely paid attention to. According to the author of the article, it is very important to study Vasily Zhukovsky as a foregoer of the Russian religious philosophy in order to understand the genesis and development of the Russian religion. Based on the analysis of Zhukovsky’s epistolary legacy, his diaries and notes, the author of the article makes an attempt to outline the nature of his philosophy and localize the forms and spheres where his philosophy was especially revealed. The author shows the cultural environment in which Zhukovsky’s philosophical thought developed. Noteworthy that sentimentalism and romanticism are viewed not only as categories of the literary theory and history but also as cultural forms defining peculiarities of philosophizing in the zone of their influence. Indeed, the author believes that Zhukovsky can be viewed as one of the founders of the lyrical philosophizing, the latter in many ways creating the singularity of the Russian philosophical thought as a spiritual and cultural phenomenon. The author shows that the development of Zhukovsky’s philosophical thought was defined, firstly, by his religious world view and, secondly, by his talent for teaching.

Keywords: Zhukovsky, sentimentalism, melancholy, mysticism, romanticism, language of philosophy, poetry and philosophy, Christian philosophy, lyrics, spiritual culture.

DOI: 10.7256/2454-0749.2013.3.9730

Abstract:

DOI: 10.7256/2454-0749.2013.3.63569

Abstract: Based on the comparative analysis of creating writing by Anna Akhmatova, Marina Tsvetaeva and Bella Akhmadulina, the author of the article studies the philosophical and esthetical issue of the three ‘axes’ of art images of the world and human, nature and history, individual destiny and the destiny of the nation represented as the trinity of the Truth, Kindness and Beauty in Russian ‘female’ poetry. In particular, the author of the article analyzes fates of these three mistresses of the poetic word, their differences and similarities. Peculiarities of their literary legacy is analyzed in comparison with the general philosophical question about the balance of ethical, esthetical and rational aspects, on one hand, and as a part of a particular period in history of Russia and Russian culture, on the other hand. The article is based on the analysis of creative writing by Akhmatova, Tsvetaeva and Akhmadulina. Their memories as well as writings of other authors and biographical facts from different sources are used, too.

Keywords: Russian poetry, Silver Age, Soviet culture, creative writing, ‘female poetry’, gender approach, esthetic criteria, philosophical lyrics, harmony, disharmony, truth, kindness, beauty.

DOI: 10.7256/2454-0749.2016.3.19034

Abstract: The aim of the article is to analyze Konstantin Siminov’s poem “Wait for me” considering the system of internal connections which are determinate by the fact the poem belongs to Simonov's poetic cycle “With you and without you”. The author examines the place of this work in the “romantic plot” (I. Fomenko’s term) of the cycle. “Wait for me” is a false climax and it is devoted to temporary and deceptive harmonization of relations of the lyrical hero and heroine. Key words, motifs and devices combining the poem with the overall whole become the subject of study. The work is based on the systems approach to the study of Simonov's poetry cycle and combines immanent and comparative analysis methods. The study reveals the “ties” which connect the poem with the cycle: motifs of love, expectation, miracle, miraculous meeting, overcoming of time and the method of subsequent narration. The poem “Wait for me” has been viewed as the poem about the victory over hostile force of time and space. The researcher establishes that other works of the cycle implicitly direct at this poem as at the ideal model of world.

Keywords: motif of miraculous meeting, motif of miracle, climax, lyrical plot, lyrical cycle, Simonov, conflict, love poetry, war poetry, amphibolia

DOI: 10.7256/2454-0749.2016.3.68246

Abstract: The aim of the article is to analyze Konstantin Siminov’s poem “Wait for me” considering the system of internal connections which are determinate by the fact the poem belongs to Simonov's poetic cycle “With you and without you”. The author examines the place of this work in the “romantic plot” (I. Fomenko’s term) of the cycle. “Wait for me” is a false climax and it is devoted to temporary and deceptive harmonization of relations of the lyrical hero and heroine. Key words, motifs and devices combining the poem with the overall whole become the subject of study. The work is based on the systems approach to the study of Simonov's poetry cycle and combines immanent and comparative analysis methods. The study reveals the “ties” which connect the poem with the cycle: motifs of love, expectation, miracle, miraculous meeting, overcoming of time and the method of subsequent narration. The poem “Wait for me” has been viewed as the poem about the victory over hostile force of time and space. The researcher establishes that other works of the cycle implicitly direct at this poem as at the ideal model of world.

Keywords: motif of miraculous meeting, motif of miracle, climax, lyrical plot, lyrical cycle, Simonov, conflict, love poetry, war poetry, amphibolia