Relevant bibliographies by topics / Experimental poetry, Russian

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Academic literature on the topic 'Experimental poetry, Russian'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Experimental poetry, Russian"

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Laletina, Olga S., and Iwei Zhang. "Describing the verse of Russian émigré poets: Poetry by Nikolay A. Shegolev and its metrical system." Vestnik of Saint Petersburg University. Language and Literature 18, no. 4 (2021): 661–79. http://dx.doi.org/10.21638/spbu09.2021.402.

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The article analyses Russian émigré poetry: it describes the lyric poetry of Russian emigrants in the Far East, its connection to the poetry of the metropolis and the western branch of Russian emigration. The work is focused on one of the least studied issues in the history of Russian émigré poetry, i. e., the specific development of its verse. Lyric poetry by Nikolay A. Shegolev (1910–1975), a poet of the so-called “Russian China”, offers extensive material in this respect. His poetry has been overlooked in terms of academic verse analysis to date; however, many scholars note that he was very
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Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.

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For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets crea
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Huttunen, Tomi. "Montage in Russian Imaginism: Poetry, theatre and theory." Sign Systems Studies 41, no. 2/3 (2013): 219–29. http://dx.doi.org/10.12697/sss.2013.41.2-3.05.

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The article discusses the concept of montage as used by the Russian Imaginist poetic group: the montage principle in their poetry, theoretical writings and theatre articles. The leading Imaginist figures Vadim Shershenevich and Anatolij Mariengof were active both in theorizing and practising montage in their oeuvre at the beginning of the 1920s. Shershenevich’s application of the principle in poetry was called “image catalogue”, a radical poetic experiment in the spirit of both Walt Whitman and Sergei Eisenstein. Mariengof ’s main contribution to the montage poetics was his first fictional nov
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Dreyzis, Yulia A. "Performative Strategies in Contemporary Chinese Avant-garde Poetry." Oriental Studies 19, no. 10 (2020): 100–116. http://dx.doi.org/10.25205/1818-7919-2020-19-10-100-116.

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The paper presents an attempt to explore the problem of mediality in Chinese poetry of the last thirty years. New Chinese poetry is particularly susceptible to the influence of the latest concepts of modern art and now more than ever needs a clear contextualization in relation to other forms of culture and avant-garde practice. This can be achieved through applying an analysis paradigm for performative word art developed by Dr. Tomáš Glanc in the context of Czech and Russian neo-avant-garde. It perceives experimental poetry as a form that fulfills a shift of the word thus making it labile. Exa
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Wenjuan, Tian. "TWO ORIENTALISMS: THE ROLE OF ORIENTAL DICTION IN G. G. BYRON’S THE BRIDE OF ABYDOS AND I. I. KOZLOV’S RUSSIAN TRANSLATION." Russkaya literatura 2 (2021): 50–53. http://dx.doi.org/10.31860/0131-6095-2021-2-50-53.

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«Oriental diction» is an important exotic element of Byron’s poem The Bride of Abydos. Using Oriental words that jarred with English poetry of early 19th century, and accompanying them with extensive notes, Byron gave his poem an experimental and scholarly character. While translating the English poem into Russian, I. I. Kozlov chose a creative approach to the problem of reproducing the Oriental diction (the exotic and bizarre words, style and poetics were somewhat downplayed), the reasons being the originality of the Russian culture of the early 19th century and Kozlov’s own literary taste.
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SHCHYHOLIEVA, Svitlana, and Svitlana Kryvoruchko. "ABOUT THE AUTHOR SHCHYHOLIEVA SVITLANA." Astraea 3, no. 1 (2022): 139–42. http://dx.doi.org/10.34142/astraea.2021.3.1.08.

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Svitlana Shchyholieva – modern Kharkiv poet, member of the National Union of Writers of Ukraine, engineer of Department of Experimental Physics of Kharkiv National University named after V. N. Karazin, write and sing her own songs. Svitlana Shchyholieva started writing at the age of 5, but more seriously at the age of 16. She is the author of poetry collections in Russian “November berries” (2007) and “Live thread” (2018), have poems in Ukrainian and a little in English.
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Sokolova, Olga, and Vladimir Feshchenko. "“Spaces of Silence” and “Secret Music of the Word”: Verbo-Musical Minimalism in the Poetry of Gennady Aygi and Elizaveta Mnatsakanova." Arts 13, no. 2 (2024): 66. http://dx.doi.org/10.3390/arts13020066.

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Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a mu
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Shafranskaya, Eleonora F., and Shevket R. Keshfidinov. "Ararat as the Main Pattern of the Armenian Text in Russian Poetry." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 176–88. http://dx.doi.org/10.37816/2073-9567-2023-69-176-188.

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The paper explores the current direction of modern literary criticism — local texts, in particular — the Armenian text in Russian poetry. The purpose of the presented study is to determine the range of associative images that arise in the mind of a modern person around the lexical token “Armenia”. The authors conducted a survey of respondents in one of the social networks. One hundred and ten responses (mostly representatives of the academic, intellectual environment, with a reader's background) became the basis for statistical analysis. The most common answer came to be the word “Ararat”. In
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Vishnevetsky, Igor Georgievich. "Three Contemporary Russian Poets and Biblical Tradition: Sergey Zavyalov, Natalia Chernykh, Jaan Kaplinski." Religions 13, no. 11 (2022): 1103. http://dx.doi.org/10.3390/rel13111103.

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The poets in question belong to different generations, as well as different cultural, ethnic, and even religious backgrounds. Ethnically Mordvinian Zavyalov (b. 1957), who is also a noted scholar and translator from Ancient Greek and Latin, and ethnically Russian Chernykh (b. 1969), who is trained as a librarian and grew up among hippies, are both Eastern Orthodox Christians. Jaan Kaplinski (1941–2021), half Polish and half Estonian, was born and died a Roman Catholic, yet for a considerable part of his life, until his gradual switch from the Estonian language to Russian, considered himself a
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Polilova, Vera. "German and Spanish rhythmic accents in Russian three-ictus dolnik." Studia Metrica et Poetica 11, no. 2 (2024): 7–44. https://doi.org/10.12697/smp.2024.11.2.01.

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This article presents a comparative rhythmic analysis of two types of Russian three-ictus dolnik: a heterosyllabic variant used as an equivalent of the German three-stress meter and an isosyllabic variant (7M/8F/9D) used as an equivalent of the Spanish octosyllabic meter. The corpus under examination is divided into two subcorpora. Subcorpus A consists of translations of Heinrich Heine’s poems, comprising 732 lines from 51 translations by twelve Russian translators, published between 1911 and 2003. Subcorpus B consists of translations of Federico García Lorca’s and Spanish folk romances, compr
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Books on the topic "Experimental poetry, Russian"

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A. A. Aleksandr Arkad'evich Kobrinskii. Poetika "OBERIU" v kontekste russkogo literaturnogo avangarda. Izd-vo Moskovskogo kul'turologicheskogo lytseia, 2000.

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Postnikova, T. V. Esli ty nosishʹ nachalo vremen v ushakh--: Avangardnai͡a︡ poėzii͡a︡ 80-kh-nachala 90-kh godov : bibliograficheskiĭ ocherk. Rossiĭskai͡a︡ gos. biblioteka, 1995.

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poets), Oberiu (Group of. Poety gruppy "Oberiu". Sovetskii pisatel', 1994.

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Biri͡ukov, Sergeĭ. Teorii͡a i praktika russkogo poėticheskogo avangarda. Izd-vo TGU, 1998.

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Vasilʹev, I. E. Russkiĭ poėticheskiĭ avangard XX veka. Izd-vo Uralʹskogo universiteta, 1999.

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Vasilʹev, I. E. Russkiĭ poėticheskiĭ avangard XX veka. 2nd ed. Izd-vo Uralʹskogo universiteta, 2000.

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Dmitrenko, A. L. Sluchai i veshchi: Daniil Kharms i ego okruzhenie. Materialy budushchego muzei︠a︡. Katalog vystavki v Literaturno-memorialʹnom muzee F.M. Dostoevskogo 8 okti︠a︡bri︠a︡--5 noi︠a︡bri︠a︡ 2013 goda. Vita Nova, 2013.

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Mikhail, Meĭlakh, and Kushner Aleksandr, eds. Poėty gruppy "OBĖRIU". Sov. pisatelʹ, S.-Peterburgskoe otd-nie, 1994.

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Vvedenskiĭ, Aleksandr Ivanovich, та V. N. Sazhin. "--Sborishche druzeĭ, ostavlennykh sudʹboi︠u︡": A. Vvedenskiĭ, L. Lipavskiĭ, I︠A︡. Druskin, D. Kharms, N. Oleĭnikov : "chinari" v tekstakh, dokumentakh i issledovanii︠a︡kh : v dvukh tomakh. Ladomir, 2000.

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Vladimirov, I︠U︡riĭ Dmitrievich, Svetlana Maslinskai︠a︡, Li︠u︡bovʹ Aleĭnik, Natasha I︠U︡gaĭ, Aleksandr Ivanovich Vvedenskiĭ, and Kharms Daniil. OBĖRIU. Klaudberri, 2019.

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Book chapters on the topic "Experimental poetry, Russian"

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Rann, James. "Russian Poetry and the Rewilding of Scottish Literature." In Translating Russian Literature in the Global Context. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.15.

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This chapter borrows the metaphor of ‘rewilding’ from contemporary ecology to describe the effect of Russian poetry translated into Scots on the literature of Scotland in the past century. In that time, it is argued, poets writing in Scots have treated Russia as a source of unorthodox, revolutionary energy that might help them push back against anglophone monoculture and revitalize Scottish letters. I divide this history into three periods: the first is the modernist ‘Scottish Renaissance’ of the 1920s, in which the iconoclastic Hugh MacDiarmid made versions of Aleksandr Blok, Zinaida Gippius
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Venditti, Michela. "Державин и эзоповская традиция в XVIII веке." In Biblioteca di Studi Slavistici. Firenze University Press, 2024. https://doi.org/10.36253/979-12-215-0585-6.31.

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Derzhavin and the Aesopian Tradition in the Eighteenth Century. The literary tradition of the fable genre emerged and developed in the 18th century, starting from A. Kantemir, through the formal experiments of Trediakovskij and Lomonosov, Sumarokov’s “sklonenie na russkie nravy”, and the subsequent original elaboration by undisputed Russian representative I. Krylov. The article examines G. R. Derzhavin’s fable production in the context of the genre’s reception in 18th-century Russia. Derzhavin’s fables were published posthumously and have been little studied to this day. Overall, the poet comp
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Sokolova, Olga V. "Mayakovsky and Italian Experimental Poetry of the Second Half of the 20th Century: Every Single Word Is Now a Tempest of Gestures." In The Works of V.V. Mayakovsky. Issue 5: Interdisciplinary Approaches and Global Reception (For the 130th Anniversary of the Poet’s Birth). A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. https://doi.org/10.22455/3034-4026-2024-5-565-581.

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The article examines the links between Russian Avant-garde poetry of the early 20th century and Italian Experimental poetry of the second half of the 20th century. Although the Avant-garde poetic trends in these literatures developed in parallel, the Cubo-Futurists laid the foundations for a linguistic experiment that had a significant influence on Italian experimental (and especially Neo-avant-garde) poetry. In addition, the theoretical works of the Formalists were of great importance to the Italian Neo-avant-garde. Among the main achievements of the Russian literary Avant-garde and the Forma
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Blasing, Molly Thomasy. "Darkroom of Dreams." In Snapshots of the Soul. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753695.003.0006.

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This chapter explores how other late and post-Soviet poets use photographic motifs to access the inner workings of the mind and the dream-like space of the unconscious in their experimental poetry. It considers two such poets — Arkadii Dragomoshchenko and Andrei Sen-Sen'kov — and their use of photographic practices and aesthetics to expand poetry's potential. The chapter examines the connection between photographic processes and Walter Benjamin's notion of the “optical unconscious” in poems by Dragomoshchenko and Sen-Sen'kov, each of whom uses photography as a means of accessing elements of hu
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Shevelenko, Irina. "“The Roman National Idea”." In Russian Archaism. Cornell University Press, 2024. http://dx.doi.org/10.7591/cornell/9781501776342.003.0004.

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This chapter begins by introducing an alternative perspective on the early twentieth century as the age of the decline of nations and the rise of empires, advocated, among others, by Valery Briusov, one of the principal figures in early Russian literary modernism. It considers the impact of the Russo-Japanese War (1904–5) in shaping the discourse of nationalism in early modernist publications such as the journals The New Path, Questions of Life, and Libra. The chapter also looks at the new aesthetic ideologies born out of the crisis of trust in political institutions. Viacheslav Ivanov, the mo
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Hedberg Olenina, Ana. "Motor Impulses of Verse." In Psychomotor Aesthetics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051259.003.0003.

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Chapter 2 explores scholarly theories that accounted for the role of kinesthetic sensations of pronunciation in the aesthetic experience of the poetic form. The Russian Formalists described the articulatory properties of various poetic styles as an objective, impersonal formal structure. They aimed to establish whether this structure takes shape during the process of verse composition and whether it impacts the subsequent oral renditions of the poem by the author and other readers. In historicizing the Formalists’ conceptions of the performative, embodied aspect of poetry, my analysis centers
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Damrosch, David. "Conclusion." In Comparing the Literatures. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691134994.003.0010.

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This chapter points out the acceleration of globalization that had a major impact on making comparative literature a good setting to explore interests and concerns from the conflictual transformation of the world's economic and cultural landscape. It also discusses the increase in international communication and travel fostered by the internet and deregulated airfares that enables scholars to gather and critique neoliberalism. The chapter explains how postcolonial writing is thought and changed differently within world literature and analyzes the interactions between postcolonial and global or
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Orlitsky, Yuri B. "The Features of Zinaida Gippius’ Poetic Poetry." In Merezhkovskys’ Circle: On the Occasion of the 150th Anniversary of Z.N. Gippius. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0679-6-41-62.

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The article analyzes the metrics and stanza repertoire of Z.N. Gippius` poetry. The main individual features of the repertoire are determined, allowing to talk about the special place of Gippius poetry in Russian poetry of the Silver Age. The most interesting poetic phenomena characteristic of Gippius poetry are examined in detail: the combination of syllabotonics and tonics in one text, a free verse, experiments with rhyme, a tendency towards the most rigorous sonnet form.
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Golubtsova, Anastasia V. "Italian Neoavanguardia and “Tradition of Innovation”." In Under the Sign of “Neo-”: Theory and History of Retrospective Movements in Modern Literature. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2025. https://doi.org/10.22455/978-5-9208-0786-1-584-628.

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The article deals with the controversy that has unfolded in “Group 63” circles around the relationship between the Neo-Avant-Garde and tradition. It considers the materials from two congresses of the group (in 1963 and 1965), articles included in the first collection of Italian Neo-Avant-Garde poetry Novissimi (1961), theoretical works written by the members of “Group 63” (L. Anceschi, U. Eco, E. Sanguineti, G. Manganelli) and other critics close to Neo-Avant-Garde circles. Most of the texts under consideration have not been translated into Russian and are being introduced for the first time.
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Lenchinenko, Marina V., and Alexey I. Lyubzhin. "Under the Wings of the Mantuan Swan: M.N. Muravyov as a Reader of Virgil." In Catherine II and Russian Literature. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. https://doi.org/10.22455/978-5-9208-0776-2-151-171.

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M.N. Muravyov, one of the most educated noblemen in Russia in the second half of the 18th and early 19th centuries, tutor to Grand Dukes Alexander and Konstantin, pursued his interests in marginalia of the books that were a part of his extensive library. One of the most important artefacts of this kind is the Basel complete edition of Virgil of 1547. This article is a summary of marginalia in Virgil’s “Bucolics”, with entries in other places relating to pastoral poetry. Some entries represent experiments in verse translation of Virgil; others reflect his focus on parallel segments in New Europ
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