THE ORTHODOX IDEALS OF THE "SILVER AGE" OF RUSSIAN POETRY: A. BLOK'S "POEMS ABOUT RUSSIA", N. GUMILEV'S "QUIVER"

В статье исследуются православные идеалы А. А. Блока и Н. С. Гумилёва, ярких представителей поэтического поколения конца 19 - начала 20 века, изучавших Закон Божий, в котором излагались общечеловеческие принципы мирного существования людей планеты Земля. Нагорная проповедь Иисуса Христа для поэтов - Новозаветный закон любви о путях и делах, через которые человек сможет войти в Царство Божие, то есть спасти свою душу. Для Блока и Гумилёва божественный «кодекс» совести не утратил своей актуальности: о неосуждении («Не судите, и не будете судимы; не осуждайте, и не будете осуждены»), о прощении («Прощайте, и прощены будете»), о любви к врагам («Любите врагов ваших, благословляйте проклинающих вас, благотворите ненавидящих вас и молитесь за обижающих вас и гонящих вас, да будете сынами Отца вашего Небесного»), об отношении к ближним («Во всём, как хотите, чтобы с вами поступали люди, так поступайте и вы с ними»), о силе молитвы («Просите, и дано будет вам; ищите и найдёте; стучите, и отворят вам») [Библия, 1990, с. 4 - 8] и другие заповеди. The article examines the Orthodox ideals of A. Blok and N. Gumilyov, prominent representatives of the poetic generation of the late 19 - early 20 centuries, who studied the Law of God, which set out the universal principles of the peaceful existence of people on our planet Earth. The sermon on the mount of Jesus Christ for poets is the new Testament law of love about the ways and works through which a person can enter the Kingdom of God, that is, save his soul. For Blok and Gumilyov, the Divine "code" of conscience has not lost its relevance: about non - condemnation ("do not judge, and do not be judged; condemn not, and ye shall not be condemned"), forgiveness ("Forgive, and ye shall be forgiven"), love for enemies ("Love your enemies, bless them that curse you, do good to them that hate you, and pray for them that despitefully use you, and persecute you; that ye may be sons of your Father in Heaven"), the attitude towards the others ("In everything as want that with you people acted, so do you also to them"), about the power of prayer ("Ask, and it shall be given you; seek and you will find; knock and the door will be opened to you") and the other commandments [1, p. 4 - 8].

The Dialogical Quality of the Russian Poetry of the Silver Age: A Case Study of Poems about Don Juan

The article brings a discussion of three poems of Russian modernist poets that undertake the theme of Don Juan – written by Konstantin Balmont, Valery Bryusov and Nikolai Gumilyov. The purpose is to elucidate the characteristics of the artistic dialogue in the discourse of modernist poetry. Two types of dialogue are discussed: macro- and microdialogue. The former is realised through intertextual forms, the latter – by means of intersubjective forms. When poets refer to the image of Don Juan, one variety of dialogue may well transform into the other. The author of the paper indicates emphatically that the poems under discussion constitute a chain of transformations of the image of Don Juan: the image as proposed by Balmont is then developed by Bryusov and revaluated by Gumilyov. The semantic core of all the three texts is the image of Don Juan as a wanderer who yields to temptations of transient delights.

Postmodern Tendencies in the Russian Poetry of the “Silver Age”

For the first time, the article analyses certain aspects of Russian poetry of the “Silver Age” in order to identify the rudiments or features which are characteristic of the postmodern creative paradigm. It is noted that a number of poets almost do not have any postmodernist tendencies. Despite the fact it is proved that postmodernism denies the personality-centric and aesthetically oriented concept of modernism, it nevertheless arose on the basis of modernism and has sharpened evolutionary features formulated in the first half of the 20th century. The article aims to prove a hypothesis that arises in the authors during a preliminary perceptual reading of the poets` works of the “Silver Age”: in the early 20th century. Sporadically and consistently in individual authors can be observed irony, play, reconstruction and performance as precursor of postmodernist creative thinking. Specialties of the Russian poetry of the “Silver Age”, which directly correlate with postmodernist tendencies of the second half of the 20th century is not a description itself, but the realization of reality, ambivalence, as well as following the linguistic and figurative, conceptual, motive levels of gradual transitions between the paradigms of “symbolism – modernism” and “modernism – postmodernism”. The international significance of the article is that the material of one of the Eastern European literatures has proved the existence of postmodern (quasi-postmodern) features in the first half of the 20th century for the first time, which can serve as a deeper research in the field of literary typology, continuity; culturology and anthropology.

Speech portrait of O. Mandelstam (On the methodology of philological evaluation of poetic idiolect)

The article develops an algorithm of philological evaluation of a poetic idiolect, determines the components of the language competence of its carrier; on this basis presents the speech portrait of O. Mandelstam in the context of modern Russian poetry. The study shows that the linguistic competence of the poetic idiolect carrier is represented by two components: 1) speech culture competence, the level of which is inversely dependent with respect to the number of a) the orthological ans stylistic mistakes made by them; b) their types and subtypes; 2) elocutive competence, the level of which is determined by the number of stylistic techniques used by them. The evaluation of the speech culture competence is possible on the basis of a general typology of speech errors; for this purpose, a list of typical for modern poetic speech errors and shortcomings is compiled: if these errors and shortcomings regularly appear in the author’s texts, this indicates that he has problems in this area. The proposed test allows to identify poets with impeccable cultural competence and those whose competence leaves much to be desired. The evaluation of the elocutive competence is made on the basis of the general typology of figures (including rhythmic ones) and semantic transfers. One of the most significant criteria for evaluating elocutive competence is an ability to produce new stylistic techniques and speech genres, i. e. its creative component, in this aspect O. Mandelstam appears as a creator of at least two speech genres that have become a familiar attribute of modern Russian poetry: 1) an acromonosyllabic verse with a terminal spondaic caesura; 2) a free dolnik formed through the procedure of secondary verse division.

FROM THE HISTORY OF THE RUSSIAN POETRY IN AVAR TRANSLATIONS (Based on the work of R. Gamzatov)

The article considers the history of Russian poetry in the translations of Rasul Gamzatov, an outstanding mas-ter of the artistic word, a national poet of Dagestan. Thanks to his activity and talent, the Avar recipient was able to read the works of famous Russian authors in his native language, among which the creative heritage of A. S. Pushkin occupies a special place. The review presented in the article allows not only to recreate in the fullest extent the chronology of R. Gamzatov's activities in translating works of Russian literature into his native language, but also to pay tribute to his titanic work, which has become a vivid phenomenon of the artistic culture of the Avar people.

"Without bargaining with your conscience": observations about the linguopoetics of N. A. Nekrasov’s lyrical poetry (to the 200th anniversary of the birth)

The article aims to reveal N. A. Nekrasov’s linguopoetic innovations which underpinned the evolution of the subsequent Russian poetry. Various lexical layers of Nekrasov’s lyrical poetry and their formation against a background of the literary Russian language dynamics in the 1850–70s are analysed. The research outlines the major poetic themes of Nekrasov’s poetry, its linguistic content, and compositional development. The paper also devotes attention to the poet’s metrics and versification (in accordance with M. L. Gasparov’s theory concerning the relationship between metre and meaning). Additionally, specific syntactic features of Nekrasov’s poems, their emotional content, and pathos are revealed. N. A. Nekrasov’s thematic, linguistic, and compositional discoveries are compared with various poetic movements in the Russian poetry at the end of the XIXth and in XXth centuries. Besides the observation of the text, lexical semantic and stylistic analysis, the research also exploits the statistical and linguochronological potential of the Russian National Corpus.

THE UNIFYING MOTIFS OF CUBAN AND RUSSIAN POETRY OF THE XX CENTURY ON THE EXAMPLE OF THE WORKS OF A. DEMENTIEV AND E. DIEGO

Статья посвящена флористическим мотивам поэзии кубинского поэта XX века Э. Диего и аналогичным мотивам в творчестве русского поэта А. Дементьева. В статье проводится сопоставительный анализ творчества указанных поэтов, формируются выводы о возможности интерпретировать флористическое наполнение поэтики в качестве объединяющего звена мировой поэзии. This article is devoted to the floral motifs in the poetry of the Cuban poet of the XX century E. Diego and similar motifs in the works of the Russian poet A. Dementiev, the article provides with a comparative analysis of these motifs and draws conclusion about the possibility of interpreting the floral motifs as a unifying link of the world poetry.

NAPOLEON ON ST. HELENA: SYMBOLS OF RUSSIAN POETRY

В статье рассматриваются символические структуры наполеоновского мифа, касающиеся пребывания свергнутого императора на острове Св. Елены. Устойчивый символический комплекс, сложившийся в европейской поэзии, проник в русскую поэзию, которая осмысляла его по-своему, одно перенимая практически без изменений, другое категорически отвергая. Рассмотрение ряда известных поэтических текстов первой четверти XIX - первой трети XX вв., позволило показать преемственность образов, сформировавших в русской поэзии данную часть наполеоновского мифа. The article examines the symbolic structures of the Napoleonic myth concerning the stay of the deposed emperor on the island of St. Helena. The stable symbolic complex that developed in European poetry penetrated into Russian poetry, which interpreted it in its own way, adopting one thing virtually unchanged and categorically rejecting another. Consideration of a number of well-known poetic texts of the first quarter of the 19 century - the first third of the 20century made it possible to show the continuity of the images that formed this part of the Napoleonic myth in Russian poetry.

Reception of peri's image in Russian poetry of the XIX century (the second article)

The article presents additions to the scientific research of D.N. Zhatkin and A.P. Dolgov «Peri in Russian poetry», published in 2007 in the magazine «Russian speech» and comprehending the facts that influenced on the process of assimilation of the symbolic image of Peri, who came from Eastern mythology and appeared in the works of Russian writers and translators thanks to the reception of the works of Thomas Moore, namely one of his frame tales of the eastern story «Lalla Rookh» «Paradise and Peri». This article is the first to systematize materials on the topic related to the literary work of such poets of the «second row» as D.V. Davydov, I.P. Myatlev, E.P. Rostopchina, L.A. Yakubovich, V.S. Pecherin, S. Ya.Nadson, P.F. Yakubovich. In their works, Russian poets of the «second row» traditionally continued to use the symbolic image of the peri to describe a woman with an unusual attractiveness and lightness.

Gustav Klimt and Egon Schiele in contemporary Russian Poetry

Leading Austrian artists of the first quarter of the 20th century, Gustav Klimt and Egon Schiele, did not attract the Russian writers attention until the 1990s, when the development of Russian postmodern literature was conductive to the attention to their experiments, polystylistics, cultural symbolism and aestheticism. It is stressed that although the heritage of these artists was adapted to the aesthetic project of Russian postmodernism, poetic statements about them revealed aspects of art that are not obvious to the common viewer. First of all, in the Russian poetry of the 1990s and the early 2000s (Alexander Ulanov, Alexander Skidan, Irina Mashinsky, Polina Barskova, Elena Fanailova) it was convincingly shown that Schiele’s expressionism directly takes it start from the symbolism of Klimt, and Klimt’s aesthetics already contains Schiele’s one, but Schiele’s manner retains the achievements of Klimt. Further, the author shows a connection between these artists and the achievements of physics along with the cultural and political atmosphere of the time. Finally, it was reported that the achievements of these artists opposed Nazism because Klimt and Schiele demonstrated the inadmissibility of any form of oppression. Regardless of the private thoughts or the works of Klimt and Schiele, these ideas are conveyed by the very form of their works and the approach to style: the semanticization of the material and the ability to give life to the depicted characters. Particular techniques and devices of expressiveness of both artists were interpreted as auxiliary to their humanistic ideas, and it should be recognized as the contribution of poetry to art history.