Genre-forming function of factic elements of language in Russian and Tatar lyrics

The article identifies linguistic "initial phenomena" of lyrical genres, forming the core of genre identity of the work and having universal character - supernatural and supranational. It has been concluded that the non-literary "other" in relation to which artistic speech, first of all its lyrical subsystem taken in the aspect of its genre structure, is self-determined, is deixis. On the basis of the analysis of the philosophical lyrics of Russian and Tatar poets of the XIX-XX centuries, it has been established that the genre of "definitions" goes back to the deuttic elements of language. In Russian and Tatar literatures it has similar features: the focus on the process of knowledge (dominance of the hermeneutic code), the reflection in the subject architect of the works of the processes of identification and self-identification of the lyrical subject, the use of tropical and mythopoetic figurative "languages." At the same time in Tatar poetry this genre has distinctive features related to the specifics of the manifestation of personal origin in Tatar literature, its characteristic forms of authorship, procedures of meaning inherent in this type of culture.

FRANKO’S POETIC CYCLE “MOURNING SONGS”: ASPECTS OF POETICS

Franko’s poetic cycle “Mourning Songs” became the third in his collection “From the Heights and Lowlands” (1893), however, this cycle was not included in the first edition of the collection in 1887. Nine lyrical poems of the cycle “Mourning Songs” mainly belong to the genre of reflective-meditative lyrics, in which the author (lyrical subject) reflects on social structure, ontological and existential problems. The articulation of the mental state of the lyrical hero, his inner suffering, loneliness, social vacuum, feeling of being unwanted in the world are important motives here. Franko purposely doesn’t arrange poems in chronological order but instead develops the inner plotline of the cycle with the following motives: guilt for the mournful mood of his muse, inner rebellion against social evil, apocalyptic vision of destroying the old world order, declaration of his solidarity with the humiliated, obsession with the idea of service, emotional despair, resignation and passive reconciliation with one’s own misfortune, statement of one’s social credo, the experience of loneliness and marginality, optimistic vision of the earthly paradise against the background of prison-like gloom. As a result, eschatological motives appear: the domination of evil on earth inevitably will lead to its destruction for the sake of a new life and restoration of just law and order. In mood and stylistically, Franko’s jail poetry corresponds to the prison lyrics by Taras Shevchenko. Each of the nine poems in the cycle has been considered in terms of poetics, genre, imagery, literary means, versification, as well as intertextual parallels at the level of reminiscences and allusions. The researcher paid attention to the character of the lyrical hero, the internal plot of the cycle, chronotopic organization, leitmotifs, folklore structures. The philosophical meditations of the cycle “Mourning Songs”, perceived in the context of Franko’s biography, reflect the parallelism of the lyrical hero’s existence and the author’s psychobiography of the period marked by the first two arrests.

Conceptual unity of Vl. Khodasevich’s book «Heavy lyre»

The article is devoted to the consistent patterns of the book Heavy Lyre by Vl. Khodasevich. The main issue of the article refers to the structural subsequence of the arranged poems in the book Heavy Lyre and the factors that may have influenced such structural subsequence. The author aims to compare the first and the last poems of the book so as to identify and compare their main themes and the change of the lyrical subject. In order to archive this goal the author carries out an immanent analysis of the poem Music. As a result, there has been proved the insufficiency of existing interpretations. Finally the author analyzes the poem Ballade in accordance with the other research studies, and there has been provided a comparative table of the two texts. The author concludes that there exist four main themes that unite both texts, and he provides the development of their change..

The Corporeality Poetics in V. Shalamov’s Lyrics

The article is devoted to the category of corporeality and the forms of its implementation in V. Shalamov’s lyrics, viz. identifying both the uniqueness of the poet’s artistic approach and the connections with tradition, in particular, acmeistic one. The stated problems have not become the object of detailed literary anal- ysis yet. To disclose the topic, the author of the article uses materials of V.T. Shalamov’s archive (Russian State Archive of Literature and Art). The article considers the most important perspectives concerning the realization of corporeality category, viz. the principle of revealing mental aspects of a personality’s life through the prism of body images, when certain emotional sensory or ideological facets are realized in a poetic text with the help of a somatological code; the relation and interaction of spiritual and physical in the characteristic of the lyrical subject; the semantic filling of key leitmotifs in Shalamov’s lyrics related to the corporate sphere and human organism. The study reveals and considers Shalamov’s characteristic property of poetic thinking consisting in extrapolating corporeality to the phenomena of natural world, as well as intelligible phenomena. The author touches upon Shalamov’s attitude to religion and specifics concerning the refraction of moral ideas in poetic discourse through the prism of tangible images. The article discloses aspects relating to the interpretation of corporeality problem in Shalamov’s lyrics and correlating with acmeistic artistic attitude.

Locus amoenus i locus horridus – w poezji Oskara Miłosza. Rozważania

The presented considerations are an attempt to analyse such concepts as memory and dream, in which the image of the “country of childhood” plays an important role. Oskar Miłosz returns in his work, including the poem entitled In the Country of His Childhood Years (from the volume Les Sept Solitudes from 1906), to the past from where he extracts memories of Lithuania. The past is a place for him, time – marked by sensuality – is both locus amoenus and locus horridus. By “imagination creating” the poet suggests various images of symbolic character; the lyrical subject of his poems exists “among the ruins”. Like Baudelaire in the poem Swan, or Nerval – he wanders around Paris, looking for traces of his homeland in a new space. He is like Orpheus who gains wisdom and mystery in loss. The analysis of selected works by Oskar and Czesław Miłosz, the memory of their family relations, allow to understand their artistic choices and the longing for Lithuania, the “country of childhood”, which is inscribed in their works.

I dropped a big stone on the water snake… Poetic and the Folk Image of a SNAKE

The aim of the article is to reconstruct the linguistic and cultural image of the snake in Polish language and Polish folk culture, functioning within three different but complementary genre-based models: (a) mythological, which echoes are present in belief stories, records of beliefs, and descriptions of practices; (b) biblical (religious), Judeo-Christian, settled in aytiological legends, wedding speeches, religious and historical songs (c) colloquial (common sense), confirmed mainly in colloquial phraseology. In the first model, the snake appears as the guardian of the house and the enclosure, a living creature, friendly to people and animals, whose presence ensures happiness and prosperity; in the second – the serpent is a symbol of evil, sin and Satan; in the third, the most stabilized features of the snake are: wisdom, prudence, but the most of all cunning and sly. The features that emerge especially from the mythological and religious model are the basis for the interpretation of the poetic creation of a snake from Czesław Miłosz’s poem Rue Descartes, in which the lyrical subject combines all evil that has happened to him in his life with in breaking of the ban and just punishment for killing a water snake coiled in the grass.

“We have an origin like water”: The Path towards Femininity in Eavan Boland’s The Journey

Eavan Boland’s poem “The Journey” depicts the dream of a woman, who – just like Inanna, a Sumerian goddess – embarks on the eponymous journey into the underworld, guided by Sappho. At first, she sees nothing in the darkness, yet, having accustomed to it, she observes mothers and children in loving embraces: the image which is immediately disturbed by the female’s guide, who makes the persona realise that these people are the victims of an unspecified plague. At this moment, the woman, stricken with terror, notices the signs of sickness and death; among others, she sees infants being poisoned during breast feeding. Sappho stresses that the watched mothers have a lot in common with the speaker – they are all loving and caring, despite their occupation or status, but also despite the tragedy they participate in. In this feminine transfiguration of The Aeneid, the terrified lyrical subject expresses the wish to provide a testimony on their behalf; however, Sappho assures her that she is here precisely in order to gain this knowledge of her genesis. When the woman finally returns to reality, everything remains as it was, but she feels the difference nonetheless; she is deeply affected by the events she has seen.The aim of my paper is to analyse Eavan Boland’s take on the path towards femininity in the context of Bracha L. Ettinger’s matrixial theory. What Ettinger proposes is a supplement to Freudian-Lacanian approach, which makes it possible to conceive of a new, feminine-based, non-binary matrixial difference, grounded upon proximity, hospitality, and exchange instead of a set of separations and the male/female opposition. I will endeavour to prove that Ettingerian psychoanalysis and Boland’s piece, when combined, can unfold the potential of a matrixial journey towards becoming a woman, grounded upon such notions as compassion, fragility, wit(h)nessing, exchange, connectivity, and transsubjective experience, unthinkable from the Oedipal perspective.

The striking otherness of Ján Ondruš (Through the critics’ eyes then and now)

This article aims to bring together the critical voices that have accumulated around the work and the figure of the Slovak author Ján Ondruš. The study focuses on the disputes that have arisen among researchers. The confrontational approaches can be grouped around several issues that emerge from the texts of the Slovak poet. These issues are as follows: rewriting his own literary texts, his “schizoid” and “schizophrenic” conditions in light of which critics write about him, and “the fragmentation” of the lyrical subject in his texts. The article aims to summarize the main problems of writing about the author and his poetry and thus facilitate their potential literary-critical solution.

N. Gumilyov’s poem "I did not live, I spent…" ("Ya ne prozhil, ya protomilsya…"): the metaphysical and poetic meanings (to the 135th anniversary of the poet’s birth)

This article analyzes one of Gumilyov’s most famous poems, a deeper understanding of which requires a linguopoetic analysis. Using the method of slow reading and paying attention to the following elements: composition, intertextual references, semantic and grammatical structure of text, system of alliterations — the author of this study shows how the development of lyrical subject progresses and what the lingual form highlights in disclosing the poem’s ideological and descriptive content. The results of the analysis allow the understanding of the poem presented in contemporary studies to be clarified.

MANSI POET ANDREY TARKHANOV: REALITIES AND PARADOXES OF THE ARTISTIC WORLD

The article comprehensively examines the poetry of the classic of Mansi literature Andrei Tarkhanov. The place of the national literature in the system of the vast interliterary community of the peoples of the circumpolar zone is determined, the genetic connection of the Mansi artistic tradition with mythological ideas and folklore is emphasized. The most common, creatively significant themes and problems are identified: a great author’s interest in the themes of time, history, cultural and civilizational identity of Russia is shown, the individual author’s artistic panorama of the post-Soviet era is analyzed, the socio-psychological contexts of the experience of the author / lyrical subject of modernity are considered. The plots of Tarkhanov’s appeal to Russian literature are studied, attention is paid to the study of the personological aspect. The focus of the reading falls on the poet’s numerous attempts to comprehend Christian narratives in poetry, to delve into the axiology and ritual practices of Orthodoxy. When we interpret the text corpus of the Mansi poet, we take into account his linguistic choice, which significantly reduces the associative and meaningful contexts with “his” Mansi literature. In general, the realities and paradoxes of A. Tarkhanov’s artistic worldview are identified, which are manifested at the figurative-symbolic level and in the author’s choice of themes, situations of poetic actualization and aesthetic guidelines. Andrei Tarkhanov was less a Mansi poet in his inner nature than the legendary Yuvan Shestalov. It seems that he wanted to break out of the Mansi “vicious circle” and at the same time understood that a creative break with his roots, ethnocultural origins would significantly affect the quality and originality of his texts.He constantly had to balance between the Russian and Mansi worlds, artistic mentality.