DOI: 10.25136/2409-8698.2023.11.68832

EDN: EHKXHL

Abstract: The present study is aimed at identifying specific features of the methodology of interpretation of Russian lyrics by V.S. Solovyov. The article raises the question of the methodological tools of Solovyov's interpretive strategy on the example of his approach to the lyrics of A.A. Fet. In particular, an immanent analysis of the article "On lyrical poetry. About the last poems of Fet and Polonsky" ("Russian Review", 1890). The compositional features of the work are studied, the complex of problems that Solovyov puts forward in connection with his proposed interpretation of Fet's lyrics is considered. At the same time, special attention is paid to the problem of creating an artistic image of the poet in Solovyov's poem "A.A. Fet, October 19, 1884" – a poem inspired by the presentation of the first Pushkin Prize to Fet for the complete translation of Horace. The methodology presented in this article for the study of Solovyov's approach to Fet's lyrics, as well as his general theoretical calculations about the essence of lyrics as such, are based on the possibilities of logical and semantic contextual analysis of the utterance. The novelty of the research consists in the fact that for the first time the problem of actualization by Solovyov of the dialectic of such properties as "subjectivity" / "objectivity", "singularity" / "multiplicity", "completeness" / "openness", "form" / "content" when reading Fet's poetry is considered. It is shown that in Solovyov's article "On lyrical poetry" this method is used in the disclosure of various aspects. It is argued that the interaction of the properties of "completeness" and "openness" in Solovyov's presentation of general theoretical issues related to the problem of defining poetry allows the philosopher to deduce the definition of "pure lyrics". It is concluded that Solovyov's analysis of the thematic range of Fet's lyrics and his study of the formal features of poetry are based on dialectical principles, which makes it possible to correlate the philosopher's approach with the hermeneutic tradition.

DOI: 10.25136/2409-8698.2024.3.70037

EDN: CKMARM

Abstract: The object of research in this article is the lyrical subject in works related to the lyrics of the non-classical stage of the poetics of artistic modality (S. N. Broitman). The subject is bodily images that perform the function of the boundary between the hero and the world in the lyrical works. The purpose of the study is to identify and describe the value-semantic parameters of bodily images that perform the functions of the boundary between the hero and the world in the works of non-classical lyrics. The focus of this article is on the specifics of the relationship of the lyrical subject/character with the outside world, expressed by bodily images that carry the semantic meaning of the boundary between him and the world. Identifying and describing the features of these images, it is worth noting that the images of the similarity of the world to the human body and, conversely, the human body to the world are most directly related to them. The main method used in this work is historical and poetical analysis, namely, the identification in the texts under consideration of those features that are due to its belonging to a certain stage of the evolution of poetics. The scientific novelty of the study is determined by the fact that for the first time it theoretically summarizes observations on bodily images that perform the function of the boundary between the hero and the world in the lyrics of the non-classical stage of the poetics of artistic modality. In non–classical lyrics, the semantic emphasis in works depicting the world through the body and/or the body through the world, in our opinion, is placed on the external similarity of the lyrical subject and the phenomena of the external world (and more broadly, man and being), illustrating the relationship of the original connection between them with autonomy from each other. The images of the mutual similarity of man and the world in the lyrical works of this stage of poetics express the theme of the inseparability of these two spheres, the outer world of the hero and the inner world of the hero, with their a priori non-identity to each other.

DOI: 10.25136/2409-8698.2023.2.39810

EDN: COUDZX

Abstract: The article examines the theme of music and features of the use of musical imagery in Alexei Apukhtin’s poetry. The object of the research are “poems for occasion”, friendly messages and dedications for musicians-friends as well as poems “Barrel organ”, “Life”, “Fate”. To Beethoven’s Symphony No.5 author gives historical-cultural comments on Apukhtin’s works, analyses their ideological and artistic meaning and form. The author pays special attention to analysing the biographical context, summarising the information on the poet’s friendly contacts with composers and musicians, on Apukhtin's perception of music, understanding of his aesthetic position. The other direction of the research is the analysis of the works, in which music is used as a basis for an allegorical depiction of the life path. The novelty of the research lies in the systematic consideration of the theme of music in Apukhtin's works. The article analyses in detail the works addressed to Petr Tchaikovsky, a friend of Apukhtin, demonstrates how their intonation and mood change from irony to sadness. These poems not only reflect the stages of the friendly relations between the poet and the composer, but give an assessment of their own creative destiny. The article reveals the polemical plan of the poem "A Singer in the Camp of Russian Composers" shows what innovations in contemporary opera Apukhtin rejects. The study pays particular attention to poems, the plot of which the poet bases on the very process of perceiving music when trying to find a verbal equivalent to a musical text.

DOI: 10.25136/2409-8698.2022.8.37315

EDN: VPLPLQ

Abstract: In the article, as part of the study of the poetics of modern Mari philosophical poetry, the symbolism of natural images in the lyrics of Zoya Dudina is considered. Based on the material of the poems included in her collection "Kuanyshym, kuem ӧndal ..." (Rejoiced, hugging a birch ...) (2012), the symbolic meaning and artistic functions of natural images that represent the philosophical attitude and worldview of the author and characterize the lyrical heroine in a certain way are revealed. In this aspect, Zoya Dudina's lyrics are explored for the first time. The methodological basis of the research is the structural and semantic analysis of poetic works, which allows to identify and describe the structural and semantic levels of natural images that reveal the author's concept of the world and man, as well as the character features of the lyrical heroine. The article proves that natural images occupy a significant place in the lyrics of the Mari poet Zoya Dudina. They express not only the various inner states of the lyrical heroine, but also various aspects of human existence. Natural images are anthropomorphic (often the lyrical heroine herself appears in the form of natural images) and symbolic, they carry a deep philosophical meaning. The natural images-symbols express not only the individual author's perception of the world and man, but also the ethnic ideological traditions of the Mari people, with which Zoya Dudina is closely connected, are revitalized through them.