Soviet Poetic Underground in Critical and Scientific Coverage (First Article)

The results of a research of literary critical works devoted to the study of Soviet under-ground poetry in the 1960s and 70s are presented in the review article. It is shown how the process of liberation of unofficial poetic culture from the collectivist attitudes of Soviet ideology and the search by its representatives for the spiritual and moral foundations of life and creativity was highlighted in the sam- and tamizdat periodicals. Special attention in the review is payed to the reflection of uncensored criticism in relation to the problems of restoring the connection with the literary tradition of the Silver Age by nonconformist poets and the formation of new principles of artistic writing in their work. In the context of these processes, the value nature of the phenomenon of “Christian Renaissance” in underground poetry, its role in the development of modernist poetic culture in the second half of the 20th century is revealed. In the light of literary-critical reception, the concept of “cultural movement” is considered as a strategy for uniting creative forces in the literary underground, which determines the value horizons of unofficial poetry. It is substantiated that the “cultural movement” was interpreted by uncensored criticism from the standpoint of its ideological and institutional self-sufficiency, the ability to be an active subject of Russian and world culture.

On Dramaturgy of Russian Romances of S.V. Rachmaninov

The relevance of the study is determined by the fact that the main field of Rachmaninov’s vocal creativity was lyrics, the world of personal feelings and moods. In its origins, it is associated mainly with Tchaikovsky’s legacy, which is also manifested in the general emotional “openness”, sincerity and immediacy of expression, and in some more specific stylistic characters. The novelty of the study determines that, like Tchaikovsky, Rachmaninov sought above all to capture the basic mood of a poetic text in a bright melodic image, showing it in growth, dynamics and development. Therefore, there are those long lines of rise, growth and pathetic climax, which Rachmaninov’s romances abound with. The authors show that he did not miss the experience of the senior masters of the “St. Petersburg school” with their careful, attentive attitude to the poetic word. Rachmaninov, with some rare exceptions, does not allow arbitrary permutations of words or repetitions that violate the form of the verse, his vocal declamation, as a rule, is accurate and distinct. In this regard, he was quite at the level of his time – the era of the highest, most refined poetic culture. The practical significance of the research is determined by the fact that the study of the heritage of the art of Rachmaninov will be important for the general study of the flow of musical culture of the period under study.

POETRY ON THE ADVANCE: THE EMERGENCE AND FORMATION OF A POETIC CULTURE IN ROMAN BRITAIN

The way in which the Roman army, as a major factor contributing to relative mobility of individuals within the Roman Empire, may be thought of as a driver behind the diffusion and general dynamic of Roman poetry and song, has not sufficiently been explored. Similarly, regionalized approaches to poetry and song as a cultural practice, subject to local, ethnic, social, and cultural variation and change, have not yet been pursued in a research context in which Roman poetry has largely remained a domain of study in upper-class entertainment and intertextuality. Not only is the common approach at odds with a methodology that has long, and successfully, been adopted otherwise in historical and linguistic research: it also excludes the vast majority of surviving poems from the Roman world, the Carmina Latina Epigraphica, from consideration – a body of texts that provides us with information about a cultural practice that, subject to substantial regional variation, literary poets stylized and drove to its artistic extremes.

Innovation and the Poetic Discourse: Reading Experimental Trends in Post-War American Poetry

This paper aims at analysing the rise of innovative and experimental poetics within the American poetic grounds and the factors that remain extremely influential in establishing an alternate poetic culture that emerged with the rise of modernism within poetic circles. With influential and significant American poetic voices like Ezra Pound, T.S. Eliot and innovative women poets like Gertrude Stein popularising the use of ‘experimental’ techniques within the processes of poetic construction, the American poetic culture witnessed the rapid growth of an alternate realm of poetic activity that particularly gained significant recognition in the post-war era. This paper attempts to present an overview of the various post-war poetic groupings that contributed to the establishment of an experimental tradition within contemporary American poetics.

Karakalpak poetry and the artistic character of dedication poetry in the works of I. Yusupov

The article examines the place of I. Yusupov's poetry in the history of Karakalpak literature and genre features of dedicated poems in the poet's work. Artistic approaches in the poetry of I. Yusupov renew the artistic form of poetry. The poet's additions to the types of initiations in literature increased the significance of the genre. Therefore, we believe that a special study of this genre in the poet's work will serve to reveal the peculiarities of the poet's lyrics. In this article, we will focus on the nature of the development of the genre of initiation in the poet's work. The works of scientists who commented on the poet's work laid the foundation for the methodological conclusions of our article. Dividing I. Yusupov's poems into types, a thematic, genre, poetic analysis will be carried out. Civic pathos, lyrical thought, poetic clarity, poetic culture and other qualities are characteristic of the poet's work. The poetic tradition of Ibragim Yusupov continues in modern Karakalpak poetry.

Perceptions of A.A. Akhmatova and her works in China

This thesis is devoted to studying the acceptance extent of A.A. Akhmatova and her works in China. Not enough attention was paid to the acceptance extent of foreign poetess’s works while conducting contemporary studies about Akhmatova. The analyses of Chinese literary works about the Akhmatova poetic heritage and the existing assessments of her poetry are carried out in this thesis for the first time. The author insists that the acceptance of Akhmatova’s works in China goes through several stages. It was in the late 20 century that the Chinese public firstly acquainted with her poems. Yet, the real discovery of her poems occurred only in the 1980s. And at the turn of the XX-XXI centuries, there was a genuine Akhmatova study boom, which began to carry out studies about her biographies and early lyrical works. Associating with analyses of foreign studies about her works and taking into account the poetess’s translation strategies of permeating Chinese poems to Russian poetic space, the researchers identified her significant influence on Chinese poetic culture. Attention is also drawn to analyze the comparative works within the framework of the similarity of “female voices” in poetry. This thesis also indicates the future study trend of Akhmatova in China, which will certainly trigger closer interactions and discussions among Chinese scholars who focus on studying the poetess’s heritage.

Event-sphere as a communicative platform for the modern poet

The authors of the article proceed from the conviction that it is necessary to present the creative achievements of the modern poet in various communication platforms. The article describes the different types of such sites, motivates the need for their convergent use in the system of strategic communications. The effectiveness of the most popular communication platforms is based on the assessments of millenial poets facing with the most difficult task of identifying their own author’s identity in the context of altermodern discourse. The following types of communication platforms are overviewed: TV shows, a literary magazine, a festival, a festival with a competitive component, a school of writing, poetic blogosphere, and a personal brand. The communicative opportunities offered by these platforms allow to integrate traditions and innovations, modern and postmodern, universal and particular, mass and elitist beginnings in culture, overcoming the negative trends of each discourse separately: isolationism and commercialization, dogmatism and simulation, closeness for the interlocutor and the devaluation of the values of high poetic culture. In the issue we hypothesize that the millennial poet chooses the art of combining as the most effective communication strategy, allowing the author to show his identity.