Reconstruction of the «Armenian» Text in the Russian Poetry of the XX Century (Computer Research Experience)

2020 ◽  
pp. 5-21
Author(s):  
Mikhail Amirkhanyan ◽  
Larisa Pavlova ◽  
Irina Romanova
Keyword(s):  
Russian Literature ◽  
Russian Language ◽  
Research Experience ◽  
Poetic Tradition ◽  
Software Complex ◽  
Russian Poetry ◽  
History Of ◽  
Computer Research ◽  
The Common ◽  
Literary Portrait

The article describes a study on the reconstruction of the so-called «Armenian » text in Russian poetry. Russian folklore and ancient Russian literature have already mentioned Armenian literary portrait that was finally formed in Russian literature only in the ХХ century, after the tragic events in the history of Armenia in 1915. Through applying the software complex «Hypertext search for companion-words in author's texts» to the representative corpus of the Russian language poems on the Armenian theme (65 works of different poets), lexemes marking the minimal themes of the «Armenian» text have been identified. These lexemes act as dominant components of the «Armenian» lexical combinations presented in the poems of Russian poets («Ararat», «Yerevan», «mountain», «sky», «ground», «blood», «heart», «soul», «flame», «eternal») and optional ones («hostile», «to rot», «myopic», «book», «child», «Komitas», etc.). The common lexical combinations will allow the authors to establish intertextual links, which form the basis of the «Armenian» text in Russian poetry. However, in most cases poems have no intertextual links that could signal the influence of one text on another. The coincidence of vocabulary in the texts is usually explained by geographical and historical realities, as well as a poetic tradition.

The engineeress of human souls. Anna Kozlova

2020 ◽  
pp. 64-77
Author(s):  
A. V. Zhuchkova
Keyword(s):  
Personal Growth ◽  
Personal Development ◽  
Growth And Development ◽  
Russian Literature ◽  
Russian Language ◽  
The Novel ◽  
Contemporary Culture ◽  
History Of ◽  
Literary Portrait ◽  
Positive Character

The work attempts a literary ‘portrait’ of the contemporary writer and scenarist A. Kozlova. The author charts the evolution of Kozlova’s work, from the early ‘ultra-shock’ stories and the novel Whazzup, Winner [Preved pobeditelyu] (2006), a transparent satire of the fat years of the 2000s, to Ryurik (2019), a novel structured as a multilevel psychological quest. In addition, the critic describes the writer’s language as sharp, full of irony and in sync with contemporary culture and the modern Russian language. The critic notes that Kozlova’s works are highly context-dependent: one book picks up where the previous one left off, and together they form a confession and a journal of personal growth and development. According to Zhuchkova, the writer’s biggest achievement is that Kozlova managed to rise above the constrictions of the 1990s’ ‘ultra-shock literature’ and harness the format of  autopsychological prose, which in Russian literature originates in E. Limonov’s works, to portray a transcendent image of a positive character and a history of personal development, both of the heroine and the author herself.

scholarly journals INTERCULTURAL COMMUNICATION IN THE PROCESS OF TEACHING THE RUSSIAN LANGUAGE

2021 ◽  
pp. 119-123
Author(s):  
I. B. Ignatova ◽  
E. N. Legochkina ◽  
A. V. Goncharova
Keyword(s):  
Intercultural Communication ◽  
Russian Literature ◽  
Russian Language ◽  
Education Development ◽  
Culture Teaching ◽  
Russian Literary ◽  
History Of ◽  
Strategic Policy ◽  
History Of Literature ◽  
The Russian Language

The article deals with intercultural communication in the process of teaching the Russian language. It is currently the strategic policy of modern education. The use of intercultural communication between modern youth and the culture of the past in classrooms of the Russian language and Russian literature is an urgent problem of the modern stage of education development. The implementation of intergenerational intercultural communication in the process of teaching the Russian language and literature in modern Russia presupposes a purposeful appeal to the history of our state, to the history of the Russian literary language, the history of literature and culture. Teaching the Russian language and Russian literature based on the principle of national specificity offers infinite opportunities for educating students.

scholarly journals Yuly Aykhenvald and Petr Bitsilli: Reconstruction of the philosophical and aesthetic dialogue

Literary Fact ◽  
2020 ◽  
pp. 322-336
Author(s):  
Elena Takho-Godi
Keyword(s):  
Russian Literature ◽  
Literary Text ◽  
Russian Language ◽  
Russian Culture ◽  
Mutual Interest ◽  
Russian Poetry ◽  
The Impact ◽  
First Time ◽  
The Russian Language ◽  
Literature And Language

The article compares for the first time the philosophical and aesthetic views on Russian literature and language of two prominent representatives of Russian abroad — the critic Yu.I. Aykhenvald (1872–1928) and the medievalist, interpreter of Russian classics P.M. Bitsilli (1879–1953). A full overview of factual materials identified to date is given, confirming the mutual interest of Yu.I. Aykhenvald and P.M. Bitsilli: documents from P.M. Bitsilli collection at the Institute of Russian literature (Pushkin House) of the RAS, Yu.I.Aykhenvald’s review from the Berlin newspaper “Rul'”on P.M. Bitsilli’s “Studies on Russian Poetry”, obituary of Yu.I. Aykhenvald, which was published by P.M. Bitsilli in the Sofia newspaper “Golos”. Among the issues raised are the impact which Aykhenvald’s immanent method of analyzing a literary text had on P.M. Bitsilli’s aesthetically individualizing method, the approaches of both authors to solving the morphology of Russian culture and philosophy of the nation, the connection of the Pushkin theme with thoughts about the fate of post-revolutionary Russia and Russian language in their works, which they articulated during the discussion of S. and A. Volkonsky’s book “In defense of the Russian language”.

scholarly journals RIVER IN THE WORKS BY M. F. ISTOMIN: ON THE PROBLEM OF MODELING THE IMAGE OF THE NORTH IN THE WORKS OF KOMI WRITERS OF THE XIX CENTURY

2021 ◽  
Vol 15 (4) ◽  
pp. 654-662
Author(s):  
Valentina Aleksandrovna Limerova
Keyword(s):  
Literary Work ◽  
Russian Language ◽  
The North ◽  
Russian Literary ◽  
Literary Process ◽  
History Of ◽  
Literary Portrait ◽  
Xix Century ◽  
Literature Material ◽  
Made In

The works of Mikhail Fedorovich Istomin (1821-1862) are part of the unexplored and, until recently, not included in the history of Komi literature material - essays created by Komi writers of the XIX century in Russian language. Meanwhile, the work of M. Istomin is very representative both in terms of the formation of General regional characteristic of all the literature of the North, and the ways of familiarizing Komi intelligentsia to literary work. The analysis of works of M. Istomin made in this work, allows to judge about actual for the writer-“foreigner” of the XIX century connection to all-regional and all-Russian literary process, and also about a problem of creation of a native literary portrait for different people of the North. The description of the territory, its geographical and climatic features, the creation of descriptions of places was chosen by the writer as a priority, the most important task of creativity. This allows him to embody fragments of the Northern world through the focus of view of autochthon, to identify and record the most important, especially important for the northerner, locations and objects of environment. The writer paid special attention to the rivers as the most important geographical and natural attractions of the region. In essence, the North in the essays of M. Istomin takes the form of world saturated with many waters. The writer is far from symbolizing natural objects, does not endow their images with figurative meanings, at the same time, many descriptions of different rivers in his essays indicate the movement of regional and Komi literature by the way of creation its own concept of the North as a natural environment-centered world.

Furor Liturgicus: The Religious Concerns of Russian Poetry

2020 ◽  
pp. 395-411
Author(s):  
Martha M. F. Kelly
Keyword(s):  
Eighteenth Century ◽  
Human Life ◽  
Literary Tradition ◽  
Russian Literature ◽  
The Body ◽  
Poetic Tradition ◽  
The World ◽  
Russian Poetry ◽  
Modern Russian

In a now classic 1994 article Victor Zhivov counters the idea that the eighteenth-century quest to create a modern Russian literature represented a wholesale rejection of Russia’s previous literary tradition. He shows instead how poets appropriated elements of Orthodox liturgical tradition in a bid to adapt the classical notion of ‘furor poeticus’, marking it by the eruption of Church Slavonic norms into modern poetics. This chapter demonstrates how, as Zhivov contends, elements of Orthodox liturgical culture have continued to shape the modern Russian poetic tradition from the eighteenth century into the present. In particular, Russian poets have long presented poetry as uniquely able to transform the world by drawing on Orthodox imagery of theosis or divinization—the transfiguration of human life and thus the world, by the divine light and being. The liturgically inflected religious concerns of Russian poetry that sections address include prophecy, human co-creation with God, the problem of the body, and the role of silence.

scholarly journals СТРАНОВЕДЕНИЕ РОССИИ В ПРАКТИКЕ ОБУЧЕНИЯ ГРУЗИНСКИХ УЧАЩИХСЯ РУССКОМУ ЯЗЫКУ НА НАЧАЛЬНОМ ЭТАПЕ

2021 ◽  
Author(s):  
Н. Ш. Хинчагашвили ◽  
Keyword(s):  
Foreign Language ◽  
Foreign Students ◽  
Opportunity To Learn ◽  
Russian Literature ◽  
Russian Language ◽  
Cultural Meanings ◽  
Interactive Technologies ◽  
History Of ◽  
Interactive Exercises ◽  
The Russian Language

The article is dedicated to the possibility of the usage of the lingvo-oriented method for the Georgia students in the teaching of Russian as a foreign language. The aim of the article is to promote the enrichment of knowledge in the field of the Russian language through a dialogue of cultural meanings the presented linguo-and methodological culture oriented model of teaching Russian developed and based on communicative and interactive technologies gives the foreign students opportunity to learn about the culture of Russia and to use the acquired knowledge in the process of intercultural communication. The types of interactive exercises discussed in the article can also be used in the study of the history of Russian literature.

scholarly journals Siberian Free Verse of the 1920s – 1930s: General and Special in a New Poetic Form

2020 ◽  
Vol 15 (2) ◽  
pp. 129-155
Author(s):  
Yu. B. Orlitsky
Keyword(s):  
Twentieth Century ◽  
Russian Literature ◽  
Significant Part ◽  
Free Verse ◽  
Poetic Form ◽  
Poetic Tradition ◽  
Siberian Branch ◽  
Different Types ◽  
Russian Poetry ◽  
Folk Poetry

Since the beginning of the twentieth century, free verse (vers libre) begins an active penetration into Russian poetry, decisively moving from the category of a marginal poetic phenomenon into the most active forms of national verse. Since the end of the 1910s Russian free verse also appears in the thriving Siberian poetry. First of all, this occurs in the works of authors who work with verse in line with the main currents of the general Russian poetic tradition – relatively speaking, among the Siberian futurists, acmeists, and imagists. The article examines the process of the emergence of free verse (free verse) in the Siberian branch of Russian poetry in the first third of the twentieth century. Examples of early free verse from periodicals and books of the 1920s – 1930s, which were created in line with the all-Russian trends in the development of versification, are given. However, if we talk about the absolutely specific features of the Siberian free verse of the first third of the twentieth century, then this is, without a doubt, its use in translations and arrangements (including quite free ones) of the lyrics and epic of the peoples of Siberia. Publishing interlinear translations was common practice in those years. However, falling into the context of Russian literature, these interlinear translations were already perceived as poems, and precisely as written in free verse. The most productive source of Siberian free poetry can be considered the so-called “self- laying”, author’s variations on the themes of which are published by Anton Sorokin, Vsevolod Ivanov, Leonid Martynov and Pavel Vasiliev. Of particular interest are the Altai and Khakass “songs” of Ivan Eroshin, a significant part of which is also written in free verse. For the most part, these are small stylized lyric poems. His “Songs of Altai” is a rare example in world poetry of the reincarnation of a European poet into foreign characters – hunters, shepherds, even girls – on whose behalf most of the miniatures of the books “Blue Yurt” and “Songs of Altai” are written, performed by different types of verse. In total, from 1923 to the beginning of the 1950s, Eroshin wrote more than 40 vers libre, distinguished by the utmost laconicism combined with a bright “barbaric” imagery. A special place among the stylists of folk poetry (including the folklore of the peoples of Siberia) in Soviet poetry of these years is occupied by the poet and playwright Andrei Globa. His cycle of 1922 “Kyrgyz Songs”, consisting of 17 poems, was written mainly in free verse. His collection “Songs of the Peoples of the USSR”, which has survived three editions, includes translations and stylizations of works of different genres, many of which are also written in free verse. In addition, the paper examines the features of the use of free verse in translations and free transcriptions of the folklore of the peoples of Siberia, performed by V. Zazubrin, O. Cheremshanova, E. Tager.

scholarly journals THE PHENOMENON OF REPLACEMENT OF VOICEd-VOICELESS CONSONANTS IN RUSSIAN POETRY (BY THE EXAMPLE OF EXACT RHYMES IN LERMONTOV’s EARLY LYRICS (1828-1832))

2019 ◽  
Vol 29 (5) ◽  
pp. 824-831
Author(s):  
Fan He
Keyword(s):  
Statistical Data ◽  
Russian Literature ◽  
New Materials ◽  
Russian Poetry ◽  
History Of

The aim of the article is to identify the phenomenon of the replacement of voiced-voiceless consonants in Russian poetry and to study its use for exact rhymes in Lermontov’s early lyrics. The main content of the article is the analysis of replacement of voiced-voiceless consonants as a phonetic phenomenon and a corresponding method of rhyming in Russian poetry, the history of its employment in Russian poetry. The analysis helps to reveal the conditions of the use of replacement of voiced-voiceless consonants in exact rhymes of Lermontov’s early lyrics. In the article, the new materials and statistical data of different kinds of rhymes in Lermontov’s early lyrics are summarized. The article is directed to the specialists in the history of Russian literature and the researchers of Lermontov’s works in general.

scholarly journals FROM HISTORY OF THE RUSSIAN WORDS: Pryakha’ [a Spinner], ‘Tkachikha’ [a Weaver] and ‘Skatert’-samobranka’ [a Magic Table-Cloth]

2019 ◽  
Vol 29 (6) ◽  
pp. 913-923
Author(s):  
S.G. Sheidayeva
Keyword(s):  
Word Meaning ◽  
Russian Literature ◽  
Russian Language ◽  
Speech Communication ◽  
Processing Waste ◽  
History Of ◽  
Subject Orientation ◽  
Ancient Manuscripts ◽  
Large Groups

This article presents a spinning and weaving vocabulary based on the material of the historical Russian language dictionaries and on the ancient manuscripts containing colloquial and business lexis. It describes two large groups of words connected with the designation of the actions ‘pryast’’ [to spin] and ‘tkat’’ [to weave]. They comprise not only cognate words like ‘pryast’’ [to spin],‘pryakha’ [a spinner], ‘pryalka’ [a spinning wheel], ‘pryazha’ [yarn], ‘pryadilshchik’’ [a male spinner] (the first group), and ‘tkat’’ [to weave], ‘tkan’’ [cloth], ‘tkach’ [a male weaver], ‘tkachikha’ [a female weaver] (the second group), but also other purpose-specific lexis. Special attention is placed on the fact that these two groups include the names of persons (‘pryakha’ [a spinner], ‘pryadeya’ and ‘pryaljya’ which are both obsolete words meaning [a spinner], ‘pryadilshchik’ [a male spinner],‘tkach’ [a male weaver],‘tkachikha’ [a female weaver], ‘tkaljya’which is an obsolete word meaning [a female weaver],‘tkatel’’which is an obsolete word meaning [a male weaver],etc.), names of materials (‘lyon’ [flax], ‘konoplya’ [hemp], ‘kudel’’ [tow], etc.), labor actions and processes associated with their processing (‘terebit’’ [to pull], ‘myat’’ [to break], ‘trepat’’ [to skutch], ‘suchit’’ [to twist], etc.), as well as the processing waste (‘kostrika’ [chaff], ‘otryopki’ [hurds], ‘paklya’ [rug skutching], etc.), instruments of labor (‘myalka’ [a breaker], ‘pryalka’ [a spinning wheel], ‘vereteno’ [a spindle], ‘stan’ [a body], etc.), products of labor (‘pryazha’ [yarn], ‘polotno’[canvas], ‘poskon’’ [hemp cloth], etc.). This article analyzes the origin of these words and their subject orientation. Having compared the functioning of the terms of spinning and weaving production in the Russian literature records with the colloquial and slangy lexemes associated with them in modern speech communication, we came to a conclusion that the latter acquired purely attitudinal meaning.

scholarly journals GIOTTO IN RUSSIAN POETRY: NEGATIVITY, DESIGN AND CONSTRUCTION OF SOCIETY

2020 ◽  
Vol 18 (1) ◽  
pp. 170-181
Author(s):  
Alexander V. Markov ◽  
Keyword(s):  
Art History ◽  
Russian Literature ◽  
Careful Analysis ◽  
Russian Philosophy ◽  
Russian Art ◽  
Old Russian ◽  
Real Place ◽  
Russian Poetry ◽  
History Of ◽  
Writing Practice

The perception of Giotto’s heritage in Russian literature and culture has always been directly linked not only with the concept of the Renaissance and the development of Western culture, but with a special interest in writing practice and in the ambition of the narrative presented as innovative style to create communities. The main topic of the poetic thought was the transition from community to society, in other words, from community to church, so Giotto's status as a genius was always supported with statements about other geniuses who directly, but rather indirectly, made this transition. Despite the scarcity of references to the name Giotto, Russian poetry did not so much reflect the current art history conception, but anticipates or correctsconclusions of art historians. My careful analysis of the statements about Giotto in Russian poetry (V.Komarovsky, S.Soloviev, A.Voznesensky) in comparison with the conclusions of Russian philosophy and humanities (P.Florensky, P.Muratov, P.Bitsilli, V.Lazarev)explains plots of the poems related to picturesque impressions. The technique of chiaroscuro in Giotto, who first began to convey plausible depth through the illusory distribution of light, was understood as a technique primarily of hint and reflection, anegative, in comparison with which later Italian painting looks like a colorful positive. Such concept did not correspond to Giotto's real place in the history of art, but it did make it possible to correlate Giotto with Byzantine and Old Russian art using a golden background, emphasizing in the legacy of the Italian artist not credibility, but ability to create own art project relevant other projects.

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