THE CONCEPT OF “EYE” IN THE ART OF ANNA AKHMATOVA: IMAGE OF “BODY-MAKING MAN”

The anthropocentric postulates of Silver age’s poetry “acmeism” are opened as an idea of continuity of cultural and civilization models; the concept of "spiritual body of the Universe", of world physiological basis are represented. The article reveals the idea of continuity of cultural and civilization models in the works of acmeism representatives. The conceptual importance of the somatic lexicon as the name of parts of a body is analyzed in A. Akhmatova's masterpieces, especially the “eye” image. It is important to analyze the somatic lexicon as a component of the model of "body-making man” reproducing the most harmonious condition of the world. The authors of the article interpret static data determining the character and the number of references to the concept “eye” in A. Akhmatova's poetry and deduce the main regularities of the use of this concept. The structural models of constructions that include "eye" are revealed; the most productive semantic groups corresponding to traditional cultural interpretations and archetypes are highlighted. The main interpretations of the “eye” as a retranslator of inner feelings, a means of cognition of the world, a semantic detail of mythological and individual-author images are highlighted. The antithesis “closed eye - open eye” is introduced, the color symbolism of the “eye” is deciphered. The paper differentiates cultural and individual-author associative rows of the studied units. The authors of the article hypothesize the importance of “eye” in the works of A. Akhmatova as a part of the concept of “spiritual body of the Universe”; they reveal the dualism of this organ, which combines the experience of studying the outer world with the function of a conductor of feelings and emotions to the outer world. The idea of the fruitfulness of further observations on the functioning of somatic vocabulary in the works of A. Akhmatova in the aspect of anthropocentric model is introduced.

Between Modernism and the Underground During the Thaw

This chapter discusses some of the figures responsible for redeveloping the cultural heritage of Russian modernism and the avant-garde and shaping its reception in the post-Stalinist period. Because Stalinism had sought to consign the modernist experience to oblivion, deeming it too complex and problematic, and to substitute its own cultural dogmas, their work proved crucial for defining the modes of poetic development in underground culture from the mid-1950s onwards. The main figures discussed are Anna Akhmatova, Vasilisk Gnedov, Evgeny Kropivnitsky, Igor Bakhterev, Pavel Zal’tsman, and Ian Satunovsky.

Eurasianism Today and What Lev Gumilev Was Right About

Lev Gumilev, the son of the famous Russian poets Nikolai Gumilev and Anna Akhmatova, according to all the canons of history, had to remain in the shadow of his great parents. However, Lev Gumilev went down in history as a very outstanding personality, the author of the original idea of the birth and development of ethnicities, which was called the “passion” theory of ethnogenesis. This theory causes great controversy about its scientific nature to this day. Lev Gumilev developed his theory within the framework of the concept of Eurasianism. Among the wide variety of Eurasian peoples, Gumilev saw a common ethnic origin, common stereotypes of behavior that could lead to the geopolitical unity of the territory inhabited by them. At the end of the last century, primordialism in ethnology was rejected by the majority of the scientific community, and Gumilev’s ideas were criticized. However, last years the Eurasianist ideas of Lev Gumilev are experiencing a new wave of importance in connection with the strategic path of development that the Russian Federation has chosen for itself, which is progressively building the United Eurasian Community.

The Affective Aspect of the “Poetics — Poetry — Translation” Paradigm

В статье с переводческой позиции рассматривается эмоциональный эффект, производимый короткими стихотворениями о Великой Отечественной войне. Предметом исследования является выразительность, понимаемая не как экспрессивность тропов, фигур речи или авторских окказионализмов, а как эффект воздействия на читателя, достигаемый всей совокупностью средств письменного художественного текста. Особое внимание уделяется неброским проявлениям выразительности, приобретающим смысл только в конкретном тексте. Исследуется взаимодействие и взаимозависимость лексических, синтаксических, фонетических и пунктуационных способов выразительности, их смысловой потенциал, пути достижения компрессии, а также способы передачи создаваемого впечатления в переводе. Авторы предлагают свое видение основной задачи поэтики в отношении поэтических произведений с присущей им компрессией, где любая самая мелкая единица текста, включая знаки пунктуации, участвует в создании тона, авторского голоса и производимого эмоционального впечатления. Исследование выполнено на материале четырех стихотворений отечественных классиков середины ХХ века — А. А. Ахматовой, А. Т. Твардовского, К. М. Симонова и А. А. Тарковского. Переводы стихотворений на английский язык сделаны авторами статьи. The paper examines, through the lenses of a translator, the emotional effect produced by short poems about the Great Patriotic war. The study focuses on the notion of expressiveness, but not the kind of expressiveness that catches the eye with original tropes and figures of speech or the author’s nonce-words. It is treated as the effect produced upon the reader by a whole array of descriptive and expressive means employed in written texts. The authors examine the interaction and interdependence of lexical, syntactical, and, especially, less conspicuous phonetic and punctuation means of meaning-making. It is stated that a compressed and unaffected manner of expression in poetry may have a far greater impact than an excessive use of tropes or most inventive nonce-words. The authors suggest their vision of poetics in reference to poetry, with its tendency for compression, where every component, however unobtrusive (like punctuation signs, for instance), participates in creating the right tone, in rendering the poet’s voice and producing the intended emotional impression. The research is based on four Russian poems written in the 1940’s–1970’s by Anna Akhmatova, Alexander Tvardovsky, Konstantin Simonov, and Arseny Tarkovsky. The translations belong to the authors of the paper.

Muravyov, V. (2020). Swift's way. Moscow: Rudomino. (In Russ.)

The book is a collection of two texts separately brought out half a century ago: one on Jonathan Swift (1968), the other on his famous novel Gulliver's Travels (1972). If on the first publication they attracted attention it was thanks both to the hero, presented as a satirist and political journalist, and the author Vladimir Muravyov (1939-2001), who enjoyed a reputation among Moscow intelligentsia as a dissident intellectual whose taste in poetry was appreciated by Anna Akhmatova. The texts in a new book are identical to those published in the Soviet time. Muravyov must have mastered stylistic inventiveness of his hero — to speak in a manner quite direct and at the same time elusive. He wanted to tell a life story of the writer whom he had chosen as one of his literary guides and whose lifelong battle on the side of the Reason must have looked too archaic, and therefore safe, to the Soviet censor but quite actual to the penetrating eyes of the audience.

Antithesis as a structural and semantic principle of organizing a poetic text (Based on the poetry of Anna Akhmatova)

The article explores antithesis as the main structural and semantic principle of organizing the poetic context, focusing on the structural features and semantic content of antithesis in the poetic works of Anna Akhmatova. The article presents temporal, spatial, subjective, abstract antitheses and their implementation in various syntactic constructions of poetic text.

Anna Akhmatova. “The Twenty-First. Monday. Night...”: An Experience of Linguistic Hermeneutics

This article describes two linguistic approaches to literary analysis. It is stated that in modern linguistics, the language-oriented approach occupies a much larger place than linguistic hermeneutics. The paper shows how linguistic hermeneutics differs from the linguistic analysis of a literary text. Further, the research setting of linguistic hermeneutics is determined: utmost attention to the language, with all linguistic facts being considered as potential hermeneutic problems. The necessity of turning to the methodology of linguistic hermeneutics is substantiated not only in the case of obviously complex texts, but also in the case of texts that do not look as such. In addition, the main task of the linguistic hermeneutics of a literary text is formulated: to contribute to the maximum objectification of the process of interpreting linguistic facts as the most effective way of approaching the author’s intention. Using Anna Akhmatova’s poem “The Twenty-First. Monday. Night...”, the article demonstrates the possibilities of linguistic hermeneutics. Moreover, the author of this paper presents some interpretations of the poem and suggests his own interpretation. The hermeneutic difficulties faced by researchers when working with this text in particular and Akhmatova’s oeuvre in general can be explained by the fact that the religious aspect of her poetry had, for obvious reasons, been overlooked by Soviet literary criticism and did not come into focus until the mid-1990s. Today it can be argued that without taking into account religious motifs, the analysis of Akhmatova’s works would be not only incomplete, but also inadequate. The main conclusion of the article can be reduced to the following statement: “The Twenty-First. Monday. Night...” is a phenomenon of Christian (Orthodox) aesthetics, and an adequate interpretation of this poem has to take this into consideration.

System of gender attitudes of the poetic system of anna akhmatova

As you know, the study of the female worldview and the female experience of living life allows you to look deep into the creative laboratory of the poetess, see the system of correlations and ratios of the female and male in her lyrics and trace the extent to which the nature of this interaction has formed the system of Akhmatova's gender attitudes

Из Именного указателя к «Записным книжкам» Ахматовой: Итальянцы [From an Index to Anna Akhmatova’s _Notebooks_: Italians]

This article is yet another installment in the series of Roman Timenchik’s annotations to Anna Akhmatova’s Notebooks (see also three previous volumes of Slavica Revalensia). This particular installment concerns two Italians mentioned in Akhmatova’s notes: Bruno Carnevali (1924—1990) and Carlo Riccio (1932—2011). Keywords: 20th-Century Russian Literature, Anna Akhmatova (1889—1966), Annotations, Notebooks (1958—1966), In memoriam: Larisa Georgievna Stepanova (1941—2009).