“Upon The Hills Of Georgia”. (From manuscript to poetics)

This paper focuses on the history of the poem “Upon The Hills Of Georgia” (1829) published in “Severnye Tsvety” in 1831 under the title “A Fragment”. The published version did not include stanzas from the original drafts, which alluded to memories of a past love. According to the traditional interpretation offered by S. M. Bondi, Pushkin, who in 1831 was soon to be married, did not want to publish lines devoted to another woman. However, in 2004, the Institute of Russian Literature received an autographic manuscript of the poem identical to the published version, but written in the autumn or winter of 1829, at a point when Pushkin as yet had no aspirations to marry Goncharova. The omission of stanzas from the rough copy can be explained not by biographical circumstances but by a change in artistic intention: the poem — originally conceived as an elegy, with typical elegiac motives of memories — later acquires a different generic form, which harkens back to A. Chenierʼs “fragments”, and is closer in its poetics to anthological lyrical poetry and ancient epigrams.

Pieśń ku niebiosom. Echa chopinowskie w twórczości Artura Oppmana

This article presents a cycle of lyrical works entitled Z motywów Chopina (From Chopin’s themes) by Artur Oppman, published in 1893 in the volume Pieśni (Songs). The shape of this cycle had been modified over the years. In 1908, the poet changed its title and expanded it with new works. This change testifies to the evolution of the creative concept and the set of ideas about the function of the composer’s work. Contrary to the opinion rooted in the tradition of research about the conventional approach to the impact of Chopin’s work presented in Oppman’s lyrical poetry, the authors of the article demonstrate a far-reaching originality of the discussed work, focusing their attention both on issues related to understanding the narrowly-defined poetological knowledge and on the problem of translating musical means of expression into the language of a literary work.

Horizon of Expectation on Popular Lyrical Poetry: Jauss’s Reader Response Perspective

Humans have various opinions in commenting on a literary work. This diversity of opinions will eventually participate in developing research in the literary world. Lyrics are a medium for an author to convey the message he wants to convey in a more free and elegant form. This study aims to describe the reader's perception of the messages and values contained in the lyrics of Rebel's Girl from Bikini Kill, Beyonce from Partition, and God Is a Woman from Ariana Grande. This study uses Jauss' theory of the Harapan Horizon where the role of the reader is the main key in conducting an investigation of a literary work. This research is a qualitative descriptive literature research using a questionnaire distributed to readers who are used as respondents. Respondents were selected randomly with the aim of knowing the differences in opinion of each respondent in responding to a literary work. The conclusion of this study is that the various opinions obtained are influenced by the diversity of backgrounds of the respondents such as differences in gender, age, level of education and experience. In addition, there are messages obtained by readers through the lyrics, namely; freedom of speech, feminism, inner beauty, and sex education.

"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.

Enjambement in the Mounted Lyrical Poetry: the Untranslatable Translated?

The article is aimed at studying some features of translation strategies used to convey the expressive potential of a poetic text with elements of mounting techniques, viewed through the prism of the rhythmic-syntactic level of organisation of the poetic text. The subject of analysis is enjambement, or verse (poetic) transference, which is a “dissonance” between the rhythmic division of poetic speech into poetic lines and the syntactic division of verbal material into syntagmas in verse, thereby affecting the rhythmic structure of the text. The poem by H.M. Enzensberger (born in 1929), “verteidigung der wölfe gegen die lämmer”, as well as the translation of the specified poem into Russian (“Protection of wolves from sheep”) made by Lev Ginzburg (1921-1980), are used as the factual material. The original poem is written in free rhythms and includes elements of mounting techniques. To achieve this goal, a complex methodology has been applied, which, in addition to structural-descriptive and comparative analyses, also involves elements of linguopoetic and linguo-stylistic approaches. The relevance of the presented work is primarily due to the translation perspective of the study, which required the involvement of the main provisions of the theory of dynamic equivalence by E. Nida, secondly, – to the fact that translation strategies are considered in terms of intercultural interaction, i.e. taking into account the culturally specific characteristics of the bearers of the source and target languages. Based on the results of the analysis, a conclusion has been made about the special role of verse transferences in the mounted lyrical poetry of H.M. Enzensberger, which are engaged in the creation of the “defamiliarisation” effect at the appropriate micro-level of the lyrical work. A comparative analysis of the texts in the source language and the target language indicates that the application of the main provisions of the theory of dynamic equivalence, as well as the relevant linguistic aspects of intercultural communication when translating poetic works, contributes to a most accurate preservation of the aesthetic effect and of the expressive potential inherent in the original poetic text with elements of mounting techniques.

The General Features of Epic and Lyrical Poetry in the Kurdish- Gorany (Hawrami) Dialect

The well- known Russian orientalist and Kurdolog, V.F. Minorsky was the first researcher who classified Gorany Poetry into three literary genres: Epic, Religion, and Lyrical poetries. Our study is included within the frame of research of the literature of the Gorani (Hawrami) dialect. Therefore, we attempted to investigate this topic through the poetic methods of the two literary genres: Epic and Lyric to indicate their high level style and aesthetic values.

THE POETIC NEW SPEECH IN THE WORKS OF DESANKA MAKSIMOVICH AND ELISAVETA BAGRYANA (1920S AND 1930S)

The article examines the work of the Serbian poet Desanka Maksimovich and the Bulgarian poet Elisaveta Bagryana, written between the two world wars. The two poetesses were formed under similar conditions and close cultural situations. This implies common trends and artistic horizons. Desanka Maksimovich and Elisaveta Bagryana are also the first serious representatives of the "female" writing in poetry. The specific modernism of the two authors is analyzed against the background of the poetic avant-garde at the time. The modern writing of Desanka Maksimovich and Elisaveta Bagryan demonstrates a violation of the classical form of the verse (number of syllables, verse length, correct rhyme), use of excessively long verses, long words and overcoming of the traditional understanding of verse harmony (rhythm). This makes the two poets unexpectedly different and fresh voices against the background of the male lyrical poetry of the same time. The poetic books of Desanka Maksimovich and Elisaveta Bagryana became literary phenomena in the time between the two world wars. However, they also became an example to several generations of poetesses, which were born of their energy. The Serbian and Bulgarian lyre make an important contribution to the development of female poetry in the region of the Balkan cultures and their poetic images.

THE SPECIFICITY OF OLGA KAMENSKI’S LYRIC POETRY THEMES

В статье представлен анализ поэтического наследия Ольга Каменской, которая активно публиковалась в «Псковских епархиальных ведомостях» в конце XIX - начале ХХ вв. Своеобразие лирики О. Каменской заключается не только в обращении к религиозным темам и мотивам, но и в рефлексии на события истории России рубежа столетий. The article represents the analyses of Olga Kamenski’s lyrical poetry heritage. Olga Kamenski’s verses were published in Pskov Eparchial Gazette in the end of the 19th and the beginning of the 20th century. The specificity of Olga Kamenski’s lyrical poetry includes not only the appeal to the religious themes and motifs, but also the reflection on the Russian history at the turn of the century.

LYRICAL POETRY BY Y. MORITZ: ON THE QUESTION OF POETICS AND PROBLEMS

В статье анализируются основные темы и художественные особенности лирики Ю.П. Мориц, в которой нашли отражение советская эпоха и постсоветская действительность. The article analyzes the main themes and artistic features of the lyrics of Y.P. Morits, which reflect the Soviet era and post-Soviet reality.