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1
Hadad, Astrid. "Lyrics and monologue fragments." Women & Performance: a journal of feminist theory 11, no. 2 (January 2000): 145–48. http://dx.doi.org/10.1080/07407700008571337.
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Abdullayeva, Umida. "ROLE-PLAYING LYRICS IN THE WORKS OF USMAN AZIM." Scientific Reports of Bukhara State University 5, no. 5 (December 30, 2021): 167–78. http://dx.doi.org/10.52297/2181-1466/2021/5/5/15.
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Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.
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Aprilia Susanti, Slamet Setiawan,. "Sexuality In Dangdut Lyrics: A Critical Discourse Analysis." Psychology and Education Journal 58, no. 1 (January 1, 2021): 3286–95. http://dx.doi.org/10.17762/pae.v58i1.1268.
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Dangdut is claimed to be the original music genre of Indonesia has been undergoing radical change lately in both rhythm and lyric. The latter is manifested into sub-genre called dangdut koplo which manipulates the rapid beat of ketipung ‘tom-tom’. The latter is expressed by altering message of the lyric to be blatant vulgar which leads to sexuality. This study investigated mainly on the latter case; the language expression and linguistic features used in dangdut lyric to exploit sexuality, the form of relation among the participants, and socio-cultural phenomena reflected within dangdut lyric with sensual content. The qualitative analysis using Critical Discourse Analysis (CDA) proposed by Fairclough (1995) were used to be the conceptual framework. There were 19 controversial dangdut songs lyric considered as sensual and exploit sexuality were taken as the source of the data and twenty listeners were interviewed. The results of the study show that: Firstly, the lyrics employed Bahasa Indonesia and Javanese, figurative language in both dialogue and monologue, narrative text, rhymes, rhetorical question, seducing expression, and incomplete sentence structure. Secondly, the songs talked about man and woman relationship, sensual desire, and gender stereotype. Finally, the songs concern on the justifiability of the sensual content and economy motive. Besides, free sex and gender stereotype are the reflection of sociocultural phenomena.
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Cheng, Guangrui. "Leslie's Love for Life with Its Musical and Lyrical Stylizations." BCP Education & Psychology 9 (March 29, 2023): 407–11. http://dx.doi.org/10.54691/bcpep.v9i.4715.
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This study chooses famous Hong Kong artist Leslie Cheung's song Love for Life for a detailed analysis of the musical and performance culture of that time. The song this study chooses has the style of Feng Yansi’s Song Poems Ye Jinmen, with a strong literati atmosphere, beautiful and colorful, euphemistic and implicit. Love for Life not only has good lyrics, but the music also exquisitely embodies the artistic conception of the lyrics. Through Leslie's singing, he sings such classical poetic lyrics in a monologue poet's voice. The live version of his 1988 concert, complete with medieval prince costumes, is quite Romeo style, reminiscent of Lam Yihua's words 'If there is a Romeo in the world, I think he is similar to you'. Apart from the analysis of Leslie, this study also draws some attention to the other contributors such as Zhong Xiaoyang. It is argued that through the cooperation of these artists, the song successfully represented the golden age of Hong Kong and one of the peaks of Cantonese culture.
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Moroz, L. V. Moroz. "ROLE-HERO IN TARAS SHEVCHENKO’S POETRY." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 22–28. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-22-28.
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The article deals with the artistic phenomenon of role lyrics as a poetic text constructed in the form of a holistic speech statement and organized from a person who is distanced from the author and can not be identified taking into consideration biographical, socio-historical or gender status of the speech subject as well as the range of moral, ethical, ideological, aesthetic, existential values and representations submitted by him.
A separate type of role lyrics includes poetic texts that are generally constructed in the form of the expression of one or more characters while the author's representation is minimized in them to some separate and fragmentary replicas which function as a specific frame element that formally combines submitted representational forms. On the contrary, it does not transfer them into the artistic plane concerning auto-psychological form of expression. This type of role-playing lyricism is constructed in the form of a monologue or a dialogue with two or more characters or a role dramatic scene where the author's voice acts as a remark linking the voices of poetic speech subjects.
The article analyzes the problems of literary critics’ theoretical searches in their studies related to the lyrics subject organization specifics. It makes an attempt to characterize the spectrum of poetic speech subjects in role lyrics.
An attempt is also made to typologize the role types of author's consciousness expression in T. Shevchenko’s lyrics. The varieties of the hero’s character actual role-type (i.e. personalized and personified) are analyzed as well.
The hero’s actual role-type is defined as the type when degree of objectification confirms his categorical (at least, outwardly declared) non-identity with the author himself motivated by biographical, socio-professional, existential, etc. incompatibility.
The article also deals with the problems related to the methods of composite and speech design of poetic role-text. It outlines conceptual and substantive points which reveal themselves at the level of ideological and thematic concepts of expression.
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Larkovich, Dmitry V. "Types of addressing in Gavrila Derzhavin’s lyrical discourse." Tekst. Kniga. Knigoizdanie, no. 34 (2024): 6–21. http://dx.doi.org/10.17223/23062061/34/2.
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The article deals with the specifics of communicative strategies and dialogical intentions of Derzhavin the lyricist. In the context of this scientific problem, the author of the article identifies five types of addressing (sacred, political, ideological, friendly, erotic), which determine the genre, intonation and thematic conditionality of Derzhavin's lyrical utterance and establish the nature of the relationship between the subject of speech and its addressee. Sacred addressing in Derzhavin's lyrics is carried out in the speech situation of the dialogue of the lyrical subject with the Creator, who acts as an invisible, but quite tangible Interlocutor, embodied in his creation. The subjective activity of Derzhavin's lyrical utterance is stimulated by the feeling of direct involvement in the active subjectivity of the Divine Addressee, the comprehension of whose essence opens up the possibility for the lyrical subject to comprehend himself. Political addressing is actualized in situations where Derzhavin's lyrical hero addresses royal persons and statesmen. Formally, this type of addressing fits into the odic genre tradition and serves as a means of poetic declaration of the author's civic position. However, in Derzhavin, this stable rhetorical model takes on the character of personally engaged communication, which implies a high degree of intimacy in the relationship between the sender and the addressee, which is especially pronounced in poems dedicated to Catherine II. Ideological addressing is practised by Derzhavin in those cases when the poet pursues the goal of a public discussion of issues of ethical, epistemological or aesthetic content. From the point of view of referential attitudes, a communicative strategy of this kind of addressing can be polemical, declarative (manifestation) or heuristic. Friendly addressing is mainly inherent in poems written in the genre of a friendly message. In lyrical works of this type, along with the main subject of speech, another subject-object instance (addressee) often appears, as a result of which a situation of value plurality arises, in the dialectical unity of which the author's value position is determined. Poems containing erotic addressing are purely monologue in terms of the structure of speech constructions and masked in terms of the nature of subjectivity. This type of addressing develops from the expression of rhetorically conditional forms of love experience, oriented to the tradition of Alexander Sumarokov's poetic school, to personally engaged subjective statements, often marked by features of the author's selfirony. The presented typology of addressing in Derzhavin's lyrics demonstrates a wide range of communicative strategies of the poet, striving to establish a truly dialogic relationship with his reader. The author declares no conflicts of interests.
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Zenevich, Ekaterina Vasilievna. "Reception of the Christian tradition of "cleansing" prayer in the lyrics of Julia Zhadovskaya." Litera, no. 5 (May 2024): 198–207. http://dx.doi.org/10.25136/2409-8698.2024.5.70669.
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Due to the constant interest in the study of religious images and motifs in literary works, it becomes relevant to study the motifs contained in literary texts on religious subjects. One of the key features of the work of the poetess of the mid – 19th century Yu.V. Zhadovskaya (1824-1883) is an artistic reinterpretation of the Christian traditions of spiritual weeping and "cleansing" prayer. The subject of the study is the motif of prayer tears as an external sign of "cleansing prayer" in the lyrics of Yu.V. Zhadovskaya. The object of the research is the texts of religious and spiritual subjects of the first lifetime collection of poems "Temptation" (1845), "Calmly over me Again" (1846), "Monologue" (1846), "When reading the History of Peter the Great" (1846), the texts of the second lifetime collection of poems "Wonderful Minute!" (1847), "Night... Chu! into the shady Garden" (1846), "The Awakening of the Heart" (1848), "Who are my relatives" (1850) and unpublished texts "I remember that evening and quiet and beautiful", "Who loved and believed passionately", "The curly birches are noisy, noisy". To conduct the research, the method of historical and philological analysis, the biographical method, the comparative method, as well as the method of complex text analysis were used. A special contribution of the author to the study of the topic is the identification in the lyrics of Yu.V. Zhadovskaya of a group of poems of religious and spiritual themes, the lyrical event of which is focused on the Orthodox prayer tradition. The main conclusions of this study are the identification of the religious component of the author's worldview. Turning to the Christian tradition of spiritual purification allows, on the one hand, to define the basic framework of readers' expectations, and on the other hand, to violate the peculiar genre canon of "cleansing" prayer, embodying the poetess's special worldview, which consists in a "dual" worldview: the desire to find inner harmony and tranquility is combined with a tragic sense of God-abandonment. The artistic reinterpretation of the tradition of Orthodox prayer is primarily associated with the use of such an element of "cleansing" prayer as crying and tears in the lyrics. A special prayerful state and poetic communion with God in lyrical situations containing the motif of prayer tears are a sign of entering the "field of purity" for spiritual purification and prayer, as well as a sign of inner transformation. The novelty of the research lies in conducting a systematic analysis of the motive of prayer tears in religious and spiritual texts.
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Shaw, W. David. "Lyric Displacement in the Victorian Monologue: Naturalizing the Vocative." Nineteenth-Century Literature 52, no. 3 (December 1, 1997): 302–25. http://dx.doi.org/10.2307/2933997.
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Though a venerable lyric tradition of apostrophizing the breeze, the dawn, or the nightingale celebrates the Romantic poet's words of power, only inmates of mental hospitals actually talk to birds, trees, or doors-much less to holes in a wall, as Pound's speaker does in "Marvoil." This essay shows how Victorian dramatic monologues substitute human auditors for nonhuman ones in an effort to naturalize a convention that nineteenth-century poets find increasingly obsolete and archaic. Instead of talking to the dawn, Tennyson's Tithonus addresses a beautiful woman, the goddess who becomes the silent auditor of his dramatic monologue. Like Coleridge's conversation poems, Browning's and Tennyson's monologues are poems of one-sided conversation in which a speaker's address to a silent auditor replaces Shelley's vocatives of direct address to the west wind or Keat's apostrophes to autumn. In recuperating an archaic convention of lyric apostrophe by humanizing the object addressed, the Victorian dramatic monologue illustrates John Keble's theory of the mechanisms by which genres are disturbed, displaced, and transformed. The dramatic monologue becomes an ascendant genre in post-Romantic literature partly because it is better equipped than lyric poetry to oppose the dogmas of a secular and scientific age in which an antiquated belief in "doing-by-saying" (including a belief in oracles, prophecies, and knowledge as divination) is in rapid and widespread retreat.
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Roche-Jacques, Shelley. "‘Out of the forest I come’: Lyric and dramatic tension in The World’s Wife." Language and Literature: International Journal of Stylistics 25, no. 4 (November 2016): 363–75. http://dx.doi.org/10.1177/0963947016663585.
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This article looks at lyric and dramatic modes of poetic expression in Carol Ann Duffy’s collection The World’s Wife. The book is of particular interest because it is Duffy’s only volume devoted entirely to the dramatic monologue. In the opening sections of this article, lyric and dramatic modes are defined and discussed, and the work of Keith Green on deixis and the poetic persona is considered in relation to the dramatic monologue. Of particular use is Green’s elaboration on the traditional deictic categories of ‘time’ and ‘place’. Green incorporates the concepts of ‘coding time and place’ and ‘content time and place’ into his analysis of lyric poetry. These concepts are used here as tools to consider and describe the communicative contexts established in lyric and dramatic poetry respectively. Ina Beth Sessions’ early, taxonomic approach to defining the dramatic monologue, in particular her idea of ‘action in the present’, is also found to be useful in the identification of the ‘dramatic’. The next section of the article is a close analysis of two poems from The World’s Wife, ‘Little Red Cap’ and ‘Mrs Sisyphus’. Other poems, and the communicative context evoked by the collection as a whole, are also considered in the light of Green, Sessions and the lyric and dramatic traditions in poetry. The work of Duffy examined here is found to be more clearly rooted in lyrical and narrative than dramatic traditions. It is suggested that the indexicalisation of the symbolic elements of deictic terms is essential to the building of the dramatically realised coding environment necessary for a Browningesque dramatic monologue. A call is made for further work to be carried out in identifying the ‘dramatic’ in poetry, and for a more meaningful employment of the term dramatic monologue.
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Zharylgapov, Zh, and D. Omirbekova. "The lyrical prose in the Kazakh literature." Bulletin of the Karaganda University. Philology series 98, no. 2 (June 30, 2020): 64–69. http://dx.doi.org/10.31489/2020ph2/64-69.
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The article analyzes the experiments of theoretical research of lyrical prose. Scientific views on lyrical prose in the theory of world and national literature are systematized. Various aspects of the study of lyrical prose in Kazakh literary studies are considered. The authors turn to the analysis of the ratio of epic and lyrical components in prose, the relationship between lyricism and psychology, the relationship between the author's worldview and the character. The place of lyrical prose in the art of modern Kazakh writers is determined. The methods and techniques of using lyrical prose in the poetic system are specified. Provisions on the connection of lyricism with realism and romanticism have been developed. Special attention paid to the analysis of the functions of internal monologue and landscape in modern lyrical prose. Ideological and aesthetic features, typological aspects of Kazakh lyrical prose are revealed.
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Trzcionka, Joanna. "„Monologami są rozmowy” . Liryczność w Pierścieniu Wielkiej Damy Cypriana Norwida." Colloquia Litteraria 7, no. 2 (November 20, 2016): 7. http://dx.doi.org/10.21697/cl.2009.2.01.
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“Dialogues are Monologues”. Lyricism in Cyprian Norwid’s The Ring of a Great Lady The article attempts to show how lyricism as an essential component of Cyprian Norwid’s The Ring of a Great Lady affects the artistic shape of the work. This issue is shown by the observation of selected structural elements of the drama, such as time, space and the construction of the main character. In the work the space of the drama and time of the action have been used as metaphors and moved into the sphere of the protagonists’ spiritual experiences. Both time and space planes undergo subjectivism which is the result of lyricism that pervades Norwid’s work. A window – the element of the theatre building plays a prominent role in shaping time and space of the drama. It is a point that links the outside world to a close space of the play which becomes simultaneously extended. The point performs the function of the prism through which this world penetrates the author’s life. In poetical expressions the window also becomes a place of the protagonists’ overcoming time-space limitations. The protagonists’ lyrical monologues, above all Mak-Yks’s monologues, show the evolution of the man’s personality. This character is externally passive, inactive though he exudes the unparalleled inner energy. The lyricism contained in dialogues and monologues, the shaping of a poetic language, its continual tension between expressing his personal experiences and a parallel general reflection initiate a multidimensional, symbolic significance of the drama. The analysis of lyrical fragments also shows that Mak-Yks, likewise Norwid’s other protagonists share a distinctive feature with the author, and the conclusions lead us to reflect that The Ring of a Great Lady is a lyrical drama.
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Vasyliuk, M. V. "GENRE AND COMPOSITIONAL PECULIARITIES OF THE PLAY “PATHETIC SONATA” BY MYKOLA KULISH." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 321–25. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-321-325.
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The article has analyzed the play “Pathetic Sonata” by Mykola Kulish, it sgenre and compositional peculiarities. It is indicated that the writer has revived the traditions of the ancient Ukrainian drama of crib. Events in the work occurinthebasement, in the atticandontwofloors of the house simultaneously. The play is written as a memory-monologue, the refore it provides for attraction of epic means. There marks are close to lyrical reflections. Lyricism deepens due to musical elements. It is proved that the artist uses elements of “the theater of the absurd”.
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Bankauskaitė, Gabija. "Respectus Philologicus, 2011 Nr. 20 (25)." Respectus Philologicus, no. 20-25 (October 25, 2011): 1–286. http://dx.doi.org/10.15388/respectus.2011.25.
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CONTENTS
I. PROBLEMS AND SOLUTIONSLoreta Ulvydienė, Giedrė Drėgvaitė (Lithuania). Linguistic Experience as the Projection of Urban Cognition in Literature...11Saule Altybayeva (Kazakhstan). Neomythologism of the Modern Kazakh Prose: Polycultural Discourse and Art Prospect Search...27Michał Mazurkiewicz (Poland). The Nature of Ritual... 40
II. FACTS AND REFLECTIONSLaima Kalėdienė (Lithuania). Attitude Towards the Official Language According to the Data of Sociolinguistic Survey... 52Vadim V. Dementyev (Russia). Glamour as “The Old New Svetskost”?....65Elena Bonta, Raluca Galiţa (Rumunia). Joking as a Semiotic Practice and Means of Spiritual Survival. A Pragma-linguistic and Stylistic Approach... 80Irina Melnikova (Lithuania). The Gorris Defence, Or Nabokov on Screen... 95Jadvyga Krūminienė, Artūras Cechanovičius (Lithuania). On some Jungian Archetypes Reflected in Joseph Conrad’s Heart of Darkness... 107Ewa Anna Piasta (Poland). Axiological Horizons of the Short Story „The Dream of the Saint“ by Reinhold Schneider... 122Oleg N. Grinbaum (Russia). The Fourth Chapter of the Novel “Eugene Onegin” by A. S. Pushkin: Onegin’s Monologue in the Light of Rhythm and Meaning ... 133Valentina Litvinova (Russia). The Epistolary Heritage of A. Chekhov from Siberia (the Letters of the Writer from the Point of View of Time and Space)... 153Roma Konsevičiūtė (Lithuania). The “Giesmių Giesmė” (The “Song of Songs”) Motive Transformation in Antanas Jasmantas’ Lyrics... 162Eleonora Lassan (Lithuania). Conjunction зато as a Means of Realization of Psychological Compensation in the Russian Language.... 170Joanna Senderska (Poland). The Social Vocabulary Enrichment Based on Selected Cases of Polish Sociolects...181Danguolė Melnikienė (Lithuania). Peculiarities of the Specific Realia Expression in Lithuanian Bilingual Dictionaries... 192Marlena Chudzik (Poland). Toponomastic Scholars’ Problems... 202Daiva Aliūkaitė (Lithuania). Expression Ideals of Young Samogitians: Conscious Attitude...209Yuri Tambovtsev, Ludmila Tambovtseva, Juliana Tambovtseva (Rusija / Rosja). Functioning of the Continuous Tenses in Female and Male Variants of the American and British English Language...221Natalia Krasilnikova (Russia). Public Opinion in the Light of Cognitive Discourse Paradigm... 233
III. OPINIONJelena Konickaja, Artur Zapolskij (Lithuania). Metaphors in Lithuanian and Slovenian Political Discourse... 243
IV. SCIENTIFIC LIFE CHRONICLEConferencesViktorija Makarova (Lithuania). “Language and Method”. Krakow, 5–6 May, 2011...254Daiva Aliūkaitė (Lithuania). Project “Research on Modern Geolinguistics in Lithuania: Point Network Optimization and Dissemination of Interactive Dialect Information“...257Books reviewsDanutė Balšaitytė (Lithuania). Diagnosed. What next? ЛАССАН, Э., 2011. Лингвистика ставит диагноз... Очерк «духа эпохи» в свете данных лингвистического анализа... 260Dagnė Beržaitė (Lithuania). Remarks of Ungrateful Reader. DOSTOJEVSKIS, F., 2010. Apysakos I: Antrininkas, Žiemos pastabos apie vasaros įspūdžius, Užrašai iš pogrindžio... 267
Announce... 271V. REQUIREMENTS FOR PUBLICATION...272VI. OUR AUTHORS...280
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Tymoshenko, Andrii. "Jacques Brel’s song “Ne me quitte pas” and its performance versions: genre-stylistic and linguistic aspects." Aspects of Historical Musicology 28, no. 28 (December 28, 2022): 84–100. http://dx.doi.org/10.34064/khnum2-28.06.
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Statement of the problem. One of the hallmarks of pop music culture is that in this sphere the song is much more associated with its performer than in classical music, let alone folklore. We know the songs mostly by the name of its performer, not by the lyricist’s or composer’s. In those conditions, practice of continuous appeal of different singers to the same song becomes even more significant and calls for its research. The article is devoted to “Ne me quitte pas”, a song that has interpretations differing in era, style, genre traits, language, whose first performer, Jacques Brel, is one of the most prominent figures in French chanson of the XX century. The purpose of the article is, at first in Ukrainian musicology, to compare selected renditions of “Ne me quitte pas” taking into consideration genre-stylistic and linguistic aspects. The main research method used in the article is comparative, applied both to different interpretations and to translations of the lyrics. Results and conclusion. In more than 60 years of its existence in performance tradition, the song “Ne me quitte pas” was interpreted multiple times. And its every performer was adding something to it, enriching it with something individual, but to a different degree. The performers like Mireille Mathieu suggest their own vision of this song, which does not result in drastic transfiguration of stylistic and genre parameters of the song, it remains roughly the same, just performed by another singer, albeit he creates his own individual image. The others versions fundamentally rethink the spirit, the essence of “Ne me quitte pas”: Barbara turns it in almost prayer-like recitation, Juliette Gréco transforms it into something akin to theatrical monologue with rather unusual instrumental part, Wyclef Jean makes out of it a modern hip-hop track, etc. This diversity of variants betokens almost endless creative potential enshrined in this song, its openness to various experiments, in other words, its possibility to be actively used in modern musical life, which is interpretative in its core essence. Moreover, this song having two fundamentally different English translations (rather free one and almost literary one) shows that there is “public demand” in these tools of broadening the potential audience of French chanson, even despite significant problems arising when doing these kinds of tasks for translators.
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Goodblatt, Chanita. "In other words: breaking the monologue in Whitman, Williams and Hughes." Language and Literature: International Journal of Stylistics 9, no. 1 (February 2000): 25–41. http://dx.doi.org/10.1177/096394700000900103.
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One important aspect of the ‘Whitman tradition’ in American poetry is its breaking of the monologic hegemony of the lyric voice. Focusing on this aspect necessarily assumes that a poem establishes a ‘fictional context of utterance’, particularly a ‘complex or shifting discourse situation … [which]may involve variations in deictic centre’ (Semino, 1995: 145). The resulting dialogic interplay of voices stands at the very centre of Walt Whitman’s poem ‘Out of the Cradle Endlessly Rocking’, William Carlos Williams’s ‘The Desert Music’ and Langston Hughes’s ‘Cultural Exchange’. The present discussion of dialogic interplay in the lyric text turns naturally to Bakhtin’s concept of heteroglossia. Making use of the cline of speech presentation developed by Leech and Short (1981), Bakhtin’s categories of ‘compositional-stylistic unities’ will be elaborated upon: direct authorial literary-artistic narration; the stylistically individualized speech of characters; and incorporated genres. In ‘Out of the Cradle Endlessly Rocking’ there is an interplay of voices between boy, bird and sea, within a narrative frame related by the adult and child lyric speakers. Within the more general conversation in ‘The Desert Music’ there is an interplay of the lyric speaker’s own social and poetic selves, while in ‘Cultural Exchange’ dialogic interplay is highlighted in the use Hughes makes of the ‘intimidating margins of silence’ (Culler, 1975: 161) which conventionally surround a lyric text, filling them with musical notations that comment on the lyric voice.
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Shaw, W. David. "Lyric Displacement in the Victorian Monologue: Naturalizing the Vocative." Nineteenth-Century Literature 52, no. 3 (December 1997): 302–25. http://dx.doi.org/10.1525/ncl.1997.52.3.99p0303u.
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Biying, Zhu. "Genre synthesis: Lyrical prose and a poem in prose by N. M. Karamzin." International Journal “Speech Genres” 19, no. 3 (43) (August 22, 2024): 256–65. http://dx.doi.org/10.18500/2311-0740-2024-19-3-43-256-265.
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The article considers the artistic originality of genre synthesis in the literary work of N. M. Karamzin. This feature is clearly expressed in the lyrical prose and the poem in the writer’s prose. According to Yu. M. Lotman, Karamzin created such works that include both narrative and lyrical features. In this article, we will consider the main works of Karamzin in the genre of lyrical prose and poems in prose, analyze the processes of their development and the main artistic features, as well as the aesthetic principles of Karamzin, which manifest themselves in different stages of creativity. Karamzin’s novelty in the genre corresponds to his aesthetic principle, his desire to overcome the canons of the classical style. The strict division of genres is weakening. For Karamzin, poetry and prose are not components of his work that are different in their essence and purpose. They are essentially one and closely related to each other. In the process of developing Karamzin’s lyrical prose, an important place is occupied by a lyrical monologue, which usually lacks a specific plot. Based on the experience of creating a lyrical monologue, Karamzin combined a plotless lyrical monologue with a storyline, created the first lyrical novel in the history of Russian literature, Bornholm Island, in which the main thing is not the course of objectively occurring events, but the change of the author’s moods associated with them. Among the prose poems created by Karamzin, “Sierra Morena” is distinguished by an elegiac tone. It is an elegy in prose with lyrical reflection on philosophical themes. The elegiac character of this work gives unity to the lyrical mood.
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Boym, Svetlana. "Dialogue as “Lyrical Hermaphroditism”: Mandel shtam's Challenge to Bakhtin." Slavic Review 50, no. 1 (1991): 118–26. http://dx.doi.org/10.2307/2500603.
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Osip Mandel'shtam, “Fransua Villon”Mikhail Bakhtin, “Slovo v romane”The two epigraphs disclose a crucial “genre gap” between Osip Mandel'shtam and Mikhail Bakhtin. If for Mandel'shtam dialogue is essential to lyric, for Bakhtin the dialogical discourse identifies the novel as a genre in opposition to monologic, self-centered and self-sufficient poetic language. In his essays “Fransua Villon” and “O sobesednike,” Mandel'shtam discusses different dimensions of dialogue—the dialogue between various historical epochs—modernity and Middle Ages, Ancient Greece and Renaissance, the dialogue between the author and the distant reader, and finally, the dialogue between the poet's diverse selves. The latter is called “lyrical hermaphroditism” and described in its multiple incarnations, including “ogorchennyi i uteshitel', mat’ i ditia, sudiia i podsudimyi, sobstvennik i nishchii.“ Mandel'shtam's “lyrical hermaphroditism” does not signify a Platonic ideal of androgynous wholeness, a reconciliation of two polarities.
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ДАУТОВА, Р. А. "BALLAD IN THE SYSTEM OF NARRATIVE GENRES IN THE POETRY OF RAVIL BIKBAYEV." Kavkaz-forum, no. 10(17) (June 20, 2022): 31–43. http://dx.doi.org/10.46698/vnc.2022.17.10.012.
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Народный поэт Башкортостана Равиль Тухватович Бикбаев (1938–2019) сыграл большую роль в развитии башкирской литературы конца ХХ – начала XXI века. Целью представленной статьи является анализ жанровых и идейно-художественных особенностей одного из ведущих жанров нарративной лирики – баллады в поэтическом творчестве Р.Т. Бикбаева. Дается краткая информация о творчестве поэта, рассматривается эволюция развития жанра баллады в башкирской литературе.В статье проанализированы баллады «Песня» («Йыр»), «Береза-виселица» («Дар ҡайын»), «Земля и море» («Ер һәм диңгеҙ») Р. Бикбаева. Для баллад Р.Т. Бикбаева свойственна народность, реалистичность и эмоциональная окрашенность. Поэт не только повествует об исторических событиях, но и выражает свои собственные мысли и переживания, а также оценивает все происходящее вокруг глазами своих героев. В балладах отчетливо выражен национальный колорит и менталитет башкирского народа, специфика национального характера, особенности этнического мировоззрения, в силу чего они представляют собой литературный источник для изучения соответствующих аспектов национальной духовной культуры. В сюжетах баллад Р.Т. Бикбаева обнаруживаются фольклорные элементы, а именно сказочные образы и мотивы.Язык баллад Р.Т. Бикбаева отличается тем, что в них повествовательность сочетается с монологической и диалогической формой изложения, используются, в первую очередь, такие изобразительно-выразительные средства, как олицетворение, гипербола, эпитет и метафора. Использование в балладах Р.Т. Бикбаева различных стилистических приемов, в частности повтора, характерного для балладного канона в целом, добавляет строкам особую экспрессивность. People's poet of Bashkortostan Ravil Tukhvatovich Bikbaev (1938–2019) played a prominent role in the development of Bashkir literature in the late XXth and early XXIst centuries. The purpose of this article is to analyze the genre and ideological and artistic features of one of the leading genres of narrative lyrics - the ballad in the poetic work of R.T. Bikbaev. Brief information about the poet's work is given, the evolution of the ballad genre in Bashkir literature is considered.The article analyzes the ballads “Song” (“Yyr”), “Gallows Birch” (“Dar ҡaiyn”), “Land and Sea” (“Er һәm dingeҙ”) by R. Bikbaev. R.T. Bikbaer’s ballads are characterized by nationality, realism and emotional coloring. The poet not only narrates the historical events, but also expresses his own thoughts and experiences, and also assesses everything that happens around him through the eyes of his heroes. The ballads clearly express the national color and mentality of the Bashkir people, the specifics of the national character, the peculiarities of the ethnic worldview, which is why they are a literary source for studying the relevant aspects of the national spiritual culture. In the plots of R.T. Bikbaev’s ballads, folklore elements are found, namely fairy-tale images and motifs.The language of R.T. Bikbaev's works is distinguished by the fact that the author masterfully combines narrative with a monologue and dialogic form of presentation, using, first of all, such figurative and expressive means as personification, hyperbole, epithet and metaphor. The use of various stylistic devices, in particular the repetition characteristic of the ballad canon as a whole, adds a special flavouring and expressiveness to the lines.
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Klein, Joachim. "Derzhavin and his “Marble Bust”." Izvestiia Rossiiskoi akademii nauk Seriia literatury i iazyka 83, no. 2 (April 15, 2024): 22–30. http://dx.doi.org/10.31857/s1605788024020026.
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This paper deals with Derzhavin’s autobiographical poetry as exemplified by his poem “My Bust”. A marble bust which Derzhavin had ordered for himself is a source of hope and self-doubt for his lyrical speaker. Does he actually deserve the honour represented by this sculpture and, if the answer is yes, on which grounds? Accordingly, the lyrical monologue turns into a sequence of sharply contrasting moods of confidence and self-deprecation, which is unique in eighteenth-century Russian poetry. The dramatism of this monologue calms down at the end of the poem in a spirit of Horatian wisdom. The poem is remarkable for its self-critical and self-ironic character. The article closes with a reflection on Derzhavin and his claim of eternal fame.
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Kulcsár-Szabó, Zoltán. "Bakhtin and Lyric Poetry." Dostoevsky Journal 17, no. 1 (November 14, 2016): 44–64. http://dx.doi.org/10.1163/23752122-01701004.
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This essay reopens the issue of lyric monologism. Widely considered as a weak point in Bakhtin’s genre theory, the conception of the monologic structure of lyric poetry has attracted many attempts at corrections of that concept, drawing attention to the unquestionable dialogical tendencies in poetry. Instead of providing further arguments in this vein, the essay provisionally accepts poetry’s monologism as a starting point and discusses some of the key elements of the conception in its early version (that is, Bakhtin’s account of the chorus as lyrical authority in Author and Hero in Aesthetic Activity). In a further step, it addresses Bakhtin’s contradictory approach to the category of trope in poetry, an issue brought to the fore by Paul de Man’s somewhat enigmatic commentary on The Discourse in the Novel. Finally, it raises the question whether there is a real contradiction between the structure of the trope and the internal dialogism attributed to prosaic discourse in Bakhtin’s view. In order to discuss this issue, one has to reconsider Bakthin’s (and Voloshinov’s) notion of “intonational metaphor” and their implicit distinction between dialogism and citationality.
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Talvinska, Maria. "Samuel Barber’s chamber and vocal lyrics in the mirror of performance interpretation (on the example of «Three songs», op. 10 to the words by J. Joyce)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, no. 65 (December 9, 2022): 170–84. http://dx.doi.org/10.34064/khnum1-65.10.
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The substantiation of the topic. Samuel Barber is an outstanding composer of the 20th century, who is one of the most performed American composers in the world. However, his orchestral and instrumental compositions are popular. Few people are familiar with the huge number of equally talented compositions of S. Barber in the genre of chamber and vocal lyrics. Songs for voice with piano are simply unknown to the Ukrainian listener. Perhaps this is due to their complexity to perform and perceive. Thus, the stylistic and performing analysis of the vocal cycle op. 10 is a relevant topic because it represents one of the first attempts to study S. Barber’s chamber compositions for their entry into the artistic space of Ukraine. The purpose of the article. The purpose of the article is to reveal the genre and stylistic features of the cycle of songs by S. Barber op. 10 «Three Songs» in terms of stylistic specificity and performance interpretation. The object of research is chamber and vocal music of the 20th century; the subject – the cycle of songs by S. Barber op. 10 as an expression of the author’s reflection. The analysis of recent publications on the topic. Available Englishlanguage editions are mainly devoted to the biography of the composer or genres of instrumental creativity. Thus, Barbara Heyman’s book «Samuel Barber: the composer and his music» (1992) contains biographical materials. As for opus 10, we find only the history of its writing. The research methods. A functional-structural approach (in particular, intonation, dramaturgy and compositional levels) is used to identify the dominant chamber-vocal style. On this basis, there is a need for a performance approach to reveal the specifics of the creative vision of S. Barber’s songs by various singerinterpreters. The research methods. A functional-structural approach (in particular, intonation, dramaturgy and compositional levels) is used to identify the dominant of the chamber-vocal style. On this basis, there is a need for a performance approach to reveal the specifics of the creative vision of S. Barber’s songs by various singer-interpreters. The presentation of the main material. The vocal cycle «Three Songs, op. 10» to the words by J. Joyce belongs to the early period of S. Barber’s creative work. The main leitmotif of the vocal cycle is the loss of a loved one. From song to song, the hero experiences the tragic fate of his love in different ways. The psychological reactions of the hero (a state of quiet, light sadness, pain and hopelessness, and, finally, the cry of the soul on the verge of insanity) form two plans of the dramaturgy (the external one – event-psychological; the internal one – lyrical and reflective). Each new stage increases the degree of drama of the story. The main task of the performer is to create an appropriate visual and psychological state of psychological sensations; therefore, in each song, its figurative order should be kept internally. A comparison of two performances is proposed – conditionally «male» and «female». Thomas Hampson perfectly achieves the author’s remarks and instructions of dynamics, tempo, articulation, and most importantly, he is in the corresponding visual and psychological state. Shannon Chauville is a soprano, an American opera singer who has a big voice and a rich timbre. But subtle dynamic nuances are not easy for her; singing at the piano does not always turn out to be of high quality. She sings song No. 1 loudly, sometimes changing the dynamics suggested by the author. She selects a faster tempo than specified. Therefore, the image sounds more hectic, agitated than the poetic text suggests («the rain has passed»): the accompaniment depicts drops of quiet rain, which gives the hero a nostalgic mood, which is present in Hampson’s version. In Chauville’s, this state was somewhat lost; due to the fast tempo, she «tears» the phrases into small «chains», which adds unnecessary anxiety to the image. Therefore, the most adequate, in the opinion of the author of the article, is the male interpretation. The same applies to songs No. 2 and No. 3. The vocal difficulties consist in articulation tasks that depend not only on the stylistic intonation of Barber’s vocal style, but also on the peculiarities of Englishlanguage stylistics, which singers should possess, reproducing the specifics of various national musical traditions of the 20th century. Conclusions. The stylistic dominants of the vocal cycle op. 10 of S. Barber are conditioned by the psychological and author’s experience of Joyce’s poetry. Barber’s vocal style is characterized by a tendency towards increased expression and declassification plasticity of canto with a virtuoso-sensitive presentation of the piano, careful and sensitive imitation of poetic meanings. Love semantics is embodied in «dual» drama through the declamatory melos in the canto part (the hero’s reflections) and the instrumental accompaniment (the external reflection of his soul), which form the stylistics of expressionism. Piano accompaniments are consonant with the voice, supporting it with articulatory counterpoints and textural-timbre and mode-harmonic variations. The compositional features of Joyce’s poems determine the individualization of the musical form of each song. The more complex the emotional state expressed in the song, the more complex the form: the first song is a couplet one, the second is a simple three-movement one, and the third is completely unstrophic. Among the parameters of musical and linguistic expression of S. Barber’s vocal cycle, the following are notable: a mode (minor) and metrical unity (4/4 metre); monologue quality and declamation of vocal speech; complementarity of textural and timbre layers. The stylistic dominants of the analysed composition by S. Barber: complexity of mode-harmony (frequent changes of tonality, alterations, dissonances); metrorhythm variability, polyrhythm, micro-agogy, dynamic contrasts at the macro- and micro-levels (phrase, sentence).
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Sipkina, Nina Ya. "Cycle of Poems “Aleshkin’s Thoughts” by R.I. Rozhdestvensky: Development of the Traditions of the Genres of Children’s Folklore." Proceedings of Southern Federal University. Philology 25, no. 3 (September 30, 2021): 131–43. http://dx.doi.org/10.18522/1995-0640-2021-3-131-143.
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In the third decade of the twenty-first century, the bundle of poetic energy left by talented poets as a legacy to the generation of Russian people who stepped into the world of high technologies does not allow them to sleep peacefully. This is evidenced by the endless stream of films and programs about people who managed to melt the block of totalitarianism. We are talking about the poets of the sixties, including R. I. Rozhdestvensky. His work for more than sixty years excites the reader: lyrics (landscape, love, philosophical, civil, confessional) and poems (“Requiem”, “Dedication”, “Before you Come”, “Waiting”, etc.). This article analyzes the cycle of poems “Aleshkin’s Thoughts” by R. I. Rozhdestvensky, which reflects the artistic world of childhood and has autobiographical features. The poet’s childhood associations were embedded in the poems-monologues of the three-yearold lyric character. The influence of children’s folklore on the structure and content of the cycle is traced. The development of genres of children’s folklore (fairy tales, jokes, nursery rhymes, tall tales, shifters, parodies, witticisms, horror stories, teasers, mimicry, mockingbirds, jokes, excuses, etc.) in the poems “Aleshkin’s thoughts” is revealed. It is noted that the continuation of the development of genres of children’s folklore in the work helped to reflect the serious-laughing perception of the author of the cycle on the life events of the baby.
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Morgan. "The Angry Woman's Case Against the Mask Lyric: Or, Redefining the Dramatic Monologue." Victorian Studies 62, no. 2 (2020): 201. http://dx.doi.org/10.2979/victorianstudies.62.2.06.
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Jose, Annu. "Exploring the Construction of Self: An Ironic Gaze Towards Robert Browning’s My Last Duchess." International Journal of English Literature and Social Sciences 8, no. 1 (2023): 253–55. http://dx.doi.org/10.22161/ijels.81.32.
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Dramatic monologue can be considered as a lyrical- dramatic narrative hybrid and the flagship genre of Victorian poetry. It is the most significant poetic innovation of the Victorian era that helped to increase the dignity of Victorian poetry and especially the poems of Robert Browning to a very sophisticated level in the genre of literature. The lengthy speech delivered by the speaker expresses his/her private thoughts intentionally or not. It leads to the uncovering of the intentions and emotions deep within the self of a person. A dramatic monologue reveals the speaker’s temperament and character. The peculiar characteristics of the psychological state of the speaker may be revealed to the silent listener. The construction of the self is done on the basis of the close reading of the lines of the poem. This paper deals with the idea on how a dramatic monologue throws light upon the self within a person.
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Sastri, Reena. "Louise Glück's Twenty-First-Century Lyric." PMLA/Publications of the Modern Language Association of America 129, no. 2 (March 2014): 188–203. http://dx.doi.org/10.1632/pmla.2014.129.2.188.
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This essay examines a contemporary poetics that implicitly challenges prevailing critiques of lyric as asocial, monologic, and naively self-expressive. Louise Glück practices a lyric mode whose plainspoken surface and emotional immediacy belie its metalinguistic and metafictional complexity. Her poems' illocutionary structures and their attunement to everyday grammatical nuance convey an understanding of language as situational, context-dependent shared action, an understanding that chimes with the insights of ordinary-language philosophy. The perspectives offered by Glück's work can fruitfully complicate dominant models of lyric and binary narratives of American poetic history that set lyric voice against philosophical ambition and linguistic innovation.
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Kubasov, A. V. "ABOUT “THE SKY IN DIAMONDS” IN A. P. CHEKHOV’S PLAY “UNCLE VANYA”, OR WHAT IS HIDDEN BEHIND THE WRITER’S LYRISM." Culture and Text, no. 60 (2025): 6–26. https://doi.org/10.37386/2305-4077-2025-1-6-26.
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The article is devoted to the problem of lyricism in Chekhov’s drama. An attempt has been made to approach the solution of the issue by analyzing the expression “the sky is in diamonds.” The expression acquired the character of an idiom, gradually lost touch with its original context and began to exist in colloquial speech on its own. In the play “Uncle Vanya” the expression is given in Sonya’s monologue and conveys the mood of the heroine, her faith in the future. The high pathos of the monologue can be presented as an example of lyricism. Turning to the context of Chekhov’s entire work removes the unambiguity of this approach. “Diamonds” in the writer’s prose are characterized by ambivalence. The author considers them not only as beautiful things, but also as stencils, fictional clichés. This determines the additional ironic tone of phrases in which “diamonds” are included. The author’s irony cannot be directly introduced into the object word of the hero of the play. Chekhov resorts to indirect forms of conveying the author’s ambiguous attitude towards the heroes of his plays.
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Jackson, Virginia. "Specters of the Ballad." Nineteenth-Century Literature 71, no. 2 (September 1, 2016): 176–96. http://dx.doi.org/10.1525/ncl.2016.71.2.176.
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Virginia Jackson, “Specters of the Ballad” (pp. 176–196) This essay argues that Paul Laurence Dunbar’s ballad “The Haunted Oak” (1901) indexes Dunbar’s invention of the modern American lyric through the (lynching) form of modern racism. How does race ghost-write poetry’s redefinition around the lyric? How does it create a dramatically abstract “speaker” that gives voice to and for an imagined community? Dunbar inverts both romantic apostrophe and Victorian dramatic monologue and dialogue in his speaking bough. He does this by framing his poem as a pre-romantic border ballad, a tale of Scots rebellion and English law superimposed upon American racist violence. What Jacqueline Goldsby has dubbed “racism’s modern life form” thus becomes modern American poetry’s life form, a lyricized poetic history haunted from root to branch.
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Treadwell, James. "Innovation and Strangeness; or, Dialogue and Monologue in the 1798 Lyrical Ballads." Romanticism on the Net, no. 9 (1998): 0. http://dx.doi.org/10.7202/005785ar.
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Zhang, Youyun. "Out-group Characters Depicted in American Musical Films: Take the Film The Greatest Showman as an Example." Communications in Humanities Research 35, no. 1 (July 25, 2024): 6–10. http://dx.doi.org/10.54254/2753-7064/35/20240018.
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The Greatest Showman, a 2017 film directed by Michael Gracey, focuses on the first circus in history, its founder, and its members under the background of The Great Depression. Therefore, this paper primarily examines the dialogue and lyrics in the film, and how these elements help to portray the out-group characters and describe what they have gone through. The data source of this research is The Greatest Showman (2017), which includes scripts, dialogues, and lyrics from the film soundtrack. Based on the content of the film, the authors carefully read the script credits and the soundtrack, subsequently selecting data relevant to the research topic and consulting secondary sources (research articles and audience reviews). By recording and analyzing relevant data, this paper relates them to the mechanisms of social identity theory. The paper finds that the film uses monologues, dialogues and title tracks to reflect the positions and emotions of out-group individuals, all of whom are discriminated against because of who they are, all of whom have good character traits, and all of whom dare to change the status quo, build shelters for themselves and ultimately take pride in their uniqueness and accept their out-group identity.
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Wojkiewicz, Rozalia. "Żywoty świętych w "Witrażach" Zofii Wojnarowskiej." Przegląd Humanistyczny, no. 67/1 (October 11, 2023): 110–20. http://dx.doi.org/10.31338/2657-599x.ph.2023-2.8.
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The subject of the article is the poetic series Witraże [Stained Glass] by Zofia Wojnarowska, de domo Zacharkiewicz (1881–1967), published in her debut volume Poezje [Poems] in 1913. This intriguing work consists of three lyrical monologues: “Magdalena Immortalis,” “Mahadewa,” and “Sanctus Augustinus,” which can be interpreted as a unique example of a stained-glass poem in the poetry of Young Poland and evidence of the author’s religious interests. Stained glass here has been endowed with exceptional meanings as an equivalent of the spiritual experiences of the three lyrical heroes.
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Gregory, Melissa Valiska. "Robert Browning and the Lure of the Violent Lyric Voice: Domestic Violence and the Dramatic Monologue." Victorian Poetry 38, no. 4 (2000): 491–510. http://dx.doi.org/10.1353/vp.2000.0042.
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Rasulova, Umida. "Badiiy asarda sarlavha poetikasi." Узбекистан: язык и культура 1, no. 1 (May 17, 2023): 92–99. http://dx.doi.org/10.47689/ulac-vol1-iss1-y2022-pp92-99.
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Mazkur maqolada badiiy asar strukturasida sarlavhaning ahamiyati xususida mulohaza yuritiladi. Asar sarlavhasida muallif g‘oyaviy,estetik qarashlarining namoyon bo‘lishi yoritiladi. Ma’no nuqtalarining yaxlitlik kasb etishi mohiyatni aniq ravshan anglatish imkonini berib, asar estetik quvvatini oshiradi. Sarlavhada tabiatdagi unsurlar nomi vositasida ramziylik, ishoraviylik ortib boradi. Badiiy muloqotga kirishayotgan san’atkor kitobxonga ma’lum axborot, yangilikni yetkazibgina qolmay, uni ijodiy yondashuvga chorlashi darkor. Tarkibdagi ilk semiotik markaz sarlavha bo‘lib, unda muallif g‘oyasi, konsepsiyasi jo bo‘ladi. Sarlavha ilk taassurot, muallif hamda kitobxonning ruhiy muloqoti debochasi. San’atkorlar borlig‘i, iste’dodi, ijodiy niyatini baholash shu lahzadan boshlanadi. “Yur, tog‘larga ketamiz”, “Qoyalar ham yig‘laydi”, “Saodat sohili” kabi qissalar maskan nomi bilan quvvatlanadi. Makon tasviri estetik zavq beribgina qolmay, shu maskan bilan bog‘liq asosiy voqea, kalitga ishora beradi. Ilk jumla muloqotning ibtidosi, qahramon hamda kitobxonning g‘aybona uchrashuvi, kompozitsion sathning muhim belgisi. Keyingi holatu vaziyat, dialogu monolog debochasi. Mavzu, muammolar borasidagi ilk taassurot, bu keyingi bosqichga ko‘tarilish, faollikni jadallashtirish jarayoni. Qissada epigraf poetik mazmunni umumlashtirish, badiiy niyatni uqishda muhim sanaladi. Muallif yoritayotgan masalaga doir zarur ko‘chirma (she’r, hikmat, maqol, hadis kabi)ni kiritib, g‘oyaviy, hissiy salmoqdorlikni oshiradi. U asosiy ma’noni o‘zida jo aylagani, qahramon holatini asoslashi, fikrni tasdiqlashi bilan e’tiborni tortadi.
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Koptelova, Natalya G. "THE IMAGE OF THE OLD MAN IN ALEXANDER BLOK’S POETRY OF THE 1900S." Vestnik of Kostroma State University 28, no. 3 (February 28, 2023): 109–16. http://dx.doi.org/10.34216/1998-0817-2022-28-3-109-116.
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The article makes a certain contribution to the study of the typology of Alexander Blok’s characters, which arose as a result of the “theatricalisation” of the lyrical subject. We examine examples of some lyrical monologues written on behalf of the old man. Their aesthetic nature is revealed, poetics and functions are characterised. It is proved that the lyrical monologues of the old men” created in Alexander Blok’s poems of the 1900s (“Under old age, forgetting the sacred...”, “When I began to grow decrepit and get cold...”, “Years have passed, but you are still the same...”, “The Double”) form a special local artistic integrity within his poetic “trilogy”. It is shown that in the spontaneously formed ensemble unity, the image of the old man turns out to be Alexander Blok’s “lyrical mask“, his tragic double and in many respects expresses autopsychological experiences associated with the idea of “betrayal“ of the mystical ideal of Eternal Femininity. The article emphasises that the poems (“Under old age, forgetting the sacred...”, “When I began to grow decrepit and get cold...”, “Years have passed, but you are still the same..” form an intersubjective paradigm. In these works, the image of the old men correlates not only with the personality of Alexander Blok and Dmitry Merezhkovsky, but also allows us to perceive the character as a completely independent hero with a unique character. The paper concludes that the “theatricality” of poetics is most clearly and clearly manifested in the poem “When I began to grow decrepit and get cold...”, as if oriented towards oral pronunciation and stage incarnation.
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Ciepiela, Catherine. "Taking Monologism Seriously: Bakhtin and Tsvetaeva's “The Pied Piper”." Slavic Review 53, no. 4 (1994): 1010–24. http://dx.doi.org/10.2307/2500844.
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“Lyric dialogism” is a contradiction in terms, at least in Bakhtin's terms. His most influential essay, “Slovo v romane” (“Discourse in the Novel,” 1934-1935), forcefully characterizes poetry as inherently “monologic,” as excluding or suppressing that wealth of social languages from which the novel shapes itself. Bakhtin's attack on poetry is generally perceived as a tactical exaggeration that serves his argument about the novel. He himself suggested as much when, in another context, he mentioned the "prosification" of the lyric in the twentieth century. On these grounds, many critics, most notably those of the Lotman school, have imported Bakhtin's notion of dialogism to the study of poetry.
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Bokarev, A. S. "Review of Kargashin, I. (2017). Russian poetic narrations in the 17th–21st centuries: Genesis. Evolution. Poetics. Moscow: Yazyki slavyanskoy kultury. 336 pages." Voprosy literatury, no. 6 (February 7, 2019): 368–73. http://dx.doi.org/10.31425/0042-8795-2018-6-368-373.
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The review is concerned with detailed analysis of I. Kargashin’s monograph on Russian poetic narrations in the 17th–21st centuries. Normally applied to the epic genre, the concept of skaz [oral narration, tale] is extrapolated by the scholar to describe lyrical poetry. Hence the broad scope of issues discussed in the book: how accurately can the term be applied to lyrical works, since poetry is anti-narrative in its ‘pure form’? How can one structure the subjective sphere of poems, given that a skaz recreates a consciousness other than that of the author, unlike in lyrical poetry, where the author and the hero are inseparable? Following the questions, the scholar identifies typological characteristics of the examined phenomenon (appropriation of another’s consciousness, realization of this consciousness through a colloquial monologue, and depiction of the subject’s speech in verse), uncovers the reasons for its emergence (including ‘emancipation’ of the hero and transition to the spoken word), and traces its history and development.
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Lyan, Tszitao. "The image of Andrea from the opera “Andrea Chenier” by U. Giordano: the history of vocal interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 29–42. http://dx.doi.org/10.34064/khnum1-50.03.
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Formulation of the problem. U. Giordano is a bright representative of the late romantic tradition of the Italian opera of the turn of the 19th-20th centuries. Among the brightest stage versions of his most famous opera “Andrea Chenier”, within this study we have selected a number of the key implementations of Andrea Chenier’s part, which show the constant and mobile signs of the interpretation of this famous opera image. The purpose of the study is to identify the features of interpreting the image of Andrea Chenier from the opera of the same name by the performers of various schools in the aspect of the interaction of historical traditions and modern tendencies from viewpoint of comparative interpretation science. Analysis of recent publications on the topic of the article. The Italian opera of the XIX century is the object of many fundamental researches. The monograph of O. Stakhevych [7] demonstrates a multifaceted approach to the problems of becoming and development the bel canto style; in the study by M. Cherkashina [9], the music theatre of Bellini and Donizetti is presented as an independent phenomenon of Italian operatic history in its first period. I. Drach [2] points to debatable and sometimes subjectivity of interpretation of the concept “bel canto”. The evolution of the Italian opera already at the beginning of the XX century is considered in the study of L. Kirillina [3]; reference information about the Italian opera can be found in English-language articles from Grove’s dictionary [17]. An interesting concept is the book of A. Mallach [14] – the author traces the very fast path of the Italian opera from verismo to modernism. As for U. Giordano’s creativity directly, beside the small articles of encyclopaedic character [12; 13], the publication of M. Morini [15] is the most fundamental and complete. It collected not only researches of the composer’s creativity, but also reviews by contemporaries U. Giordano, his correspondence, registers of his performances and music recordings. The study of C. Ruizzo [16] contains arguments about the components of verismo in the work of U. Giordano, in particular, analyzes the finale of the III pictures of the opera “Andre Chenier”. Regarding this opera, we will separate the mini-guide by Burton D. Fisher [11], the articles of I. Sorokina [8], G. Marquezi [5], H. W. Simon [6], C. Duault [10]. The authors discuss not only the dramatic features of this opera masterpiece, the figure of the main character, but also the influences that this opera made, for example, on “Tosca” by J. Puccini. Statement of the main content of the article. The opera “Andrea Chenier” is a sign composition of the verismo era, despite the fact that its main character is the well-known politician, French poet and journalist. After composing (1895) and the premiere (1896, Milan), the opera was staged in Genoa, Mantua, Parma, Turin, New York (1896), Kharkov, Moscow; Budapest, Buenos-Aires, Florence, Naples, Prague, Santiago (1897), Antwerp, Barcelona, Berlin, Cairo, Lisbon, Rio de Janeiro (1898); in 1907, in the production of Covent Garden, E. Caruso played the title role. The composer and librettist brought to the stage as the protagonist of opera bright, courageous and ambitious person, so it is not surprising that both separate arias and the party of Shenier still belong to the repertoire of many prominent tenors of the planet – F. Tamagno, J. Martinelli, E. Caruso, B. Gigly, G. Lauri-Volpi, A. Cortis, F. Corelli, M. Del Monaco, P. Domingo, L. Pavarotti, M. Alvarez. The opera “Andre Chenier” is a model of the golden age of verismo, and it is endowed with all the main features of this direction of Italian art. However, the protagonist, in addition to being a poet, is also a revolutionary, that is, an uneasy person, a hero, and it is the fact that deduces this work for the stylistic limits of verismo by demonstration of a strong, extraordinary character. These features are embodied in the musical characteristics of Chenier. The main thing in interpreting his famous Improvisation “Un di al’azzurro spazio” (the 1 act of the opera) by E. Caruso is the very elaboration, exact construction of the melodic line and the bright climax, that is, combination the features both a lyrical and a dramatic role specializations that E. Caruso was possessed in equal measure. B. Gigli’s singing (which we consider an example of a dramatic embodiment of the image) is characterized by the refinement of the mezzo voce and the richness, when he sings in full voice, therefore his performance of the Improvisation, in general, is more emotional (a high-profile register, a rhythmic emphasizing that gives a distinct organization the image). M. Del Monaco performs the Improvisation not so much playing by the shades of his strong voice as leading the almost continuous melodic line, which gives mostly lyrical colours to the Chenier’s image. The aria “Come un bel di Maggio” from the 4 act performed by F. Corelli is a model of the exalted lyrics, the lyrical culmination of the opera. F. Corelli performs the aria legato that is tellingly to the bel canto tradition, with a full sound, as if the sound hovers and penetrates everywhere through the skilful addition of dramatic notes (the last sounds of the upper tenor range – si, la of the first octave). P. Domingo interprets Andrea’s image as a whole more dramatically, but in a fairly wide range – from the pathetic (Act 1), the sublime, lyrical (recognition in love in the Act 2) to the tragic (monologue “Yes, I was a soldier” of the Act 3) and the dramatic (Act 4). His striking rubato, aimed at acutely emotional expression, is impressive, P. Domingo has literally speaking in the some parts of the recitatives and even the arias, and that, in conjunction with accelerando, fills the musical language by the speech expression. The interpretation by P. Domingo corresponds to Chenier’s status as a revolutionary hero. Conclusions. Composing the opera, U. Giordano counted on the Italian tenor in the main role, according to the traditions of the bel canto era (strong upper notes, wide range, and equal voice sounding in different registers). The tradition of interpreting the image of Chenier, laid by the first performer J. Borgatti, generally is preserved. The analysis of the most famous interpretations of the Chenier’s part (performed by E. Caruso, B. Gigli, M. Del Monaco, F. Corelli, P. Domingo, J. Carreras, and L. Pavarotti) demonstrated the leading role of the Italian bel canto school. This applies to the principle of canto è riflesso, singing without forcing the sound, the role of breathing, which transforms into the singing sound, the predomination of the head register (la voce di testa), and the integrity of the cantilena. For instance, M. Del Monaco and F. Corelli are lyrical tenors; they sing brightly, with a shine light decoration of high notes. In the performance of B. Gigli, there is a constant movement forward; L. Pavarotti, F. Corelli, J. Carreras, being within the limits of the lyric and dramatic role specifications, transmit in music the power of deep feelings. Instead, B. Gigli and, P. Domingo especially demonstrate the power of drama in the role specification of the Italian tenor, thereby enhancing the heroic side of the image of Shenier. The prospect of further study of the topic is associated with the emergence of new interpretations of the image of A. Chenier in the 21st century, which opens up new dimensions of the science about art interpretation.
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Попова_Бонналь, Т. "POÉSIE DE LA GUERRE MODERNE : TENDANCES DE DÉVELOPPEMENT À LA LUMIÈRE DU GENRE POETIQUE ET DE LA SPÉCIFICITÉ THÉMATIQUE." Journal “Ukrainian sense”, no. 1 (December 2, 2023): 30–44. http://dx.doi.org/10.15421/462304.
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Background. From the first day of the war, on February 24, 2022, Ukrainian poetry gained a new impetus for development. The actualization of this type of creativity isdriven, on the one hand, by the experience of the tragic moment because such poetry often emerges in the immediate aftermath of war events, and on the other hand, by the expected therapeutic effect of poetic words. Social media platforms played a significant role in the dissemination of amateur and professional poets' verses, providing people with moral support and the opportunity to uplift one another. It is worth conducting a comprehensive literary analysis of the representative poetics of contemporary Ukrainian literature to understand the conceptual changes in Ukrainian society's consciousness, experienced by current war.
Purpose. The aim of the study is to explore the poetic specificity of contemporary network poetry about the war unleashed by Russia against Ukraine.
Methods. The article predominantly employs the method of mapping, supplemented by structural-analytical, descriptive, and typological techniques.
Results. In the article, the poetic features of network (mostly amateur) poetry about the realities of Russia's full-scale invasion of Ukraine are mapping. Nearly 90% of the poems are written in Ukrainian, while other languages used by amateur poets include Russian, English, French, and Spanish. At first glance, the verses of contemporary amateurs may appear somewhat primitive in the literary sense, but they exhibit sincerity, honesty, and poetic exploration, with attempts to construct their own rhymes and rhythmic patterns, often flavored with a sense of "folkness" (colloquial language). The gender specificity of the poems is predetermined by the dominance of works by female authors, as the specificity of wartime often positions women as observers and emotionally involved parties through their familial or professional connections with men on the front lines. The gender aspect of amateur military poetry reveals a predominance of prayer-like verses in various forms, such as prayers for peace, prayers for loved ones, prayers for Ukraine, prayers for the fallen, prayers for children, and prayers of despair. Additionally, the analyzed layer of poetry includes genres such as meditation, chronicle-like poems, lullabies, and satirical verses. The military lyrics, predominantly created by male soldiers, exhibit severity and depict the harshness of trench life, abound with images of relentless death, celebrate friendship and brotherhood, and often convey psychological and physical aversion to acts of violence. Some of these poems take the form of messages addressed to mothers or loved ones. The collection of amateur military poetry written during the spring of 2022 revolves around the chronotope of the Ukrainian wartime, depicting cities and towns ravaged by the war. At times, it narrows down to the space of a native home, either intact or ruined and abandoned, emphasizing the motif of displacement and the image of refugees. Many poems express emotional negativity towards the enemy/enemies, namely Russians, "Russian nationalists," or "orcs." In terms of form and style, the analyzed works combine subjective forms of inner monologue with folkloric clichés and intertextual references to the works of Taras Shevchenko. In terms of versification, the dominant forms are quatrains with alternating rhymes or rhymed couplets (which aligns this poetic tradition with folk songs), with the number of stanzas ranging from two to five or six. Occasionally, free verse or futuristic stanzas with monosyllabic exclamatory sentences are encountered.
Discussion. War poems have become a social phenomenon through their dissemination on social media and internet resources. They serve the function of societal and personal therapy and meditation, psychological relief, and evoke an atmosphere of prayer, akin to both Christian and pagan prayers, particularly to Orphism with its closeness to peasantry and belief in soul purification. They embody a belief that the power of art, poetic words, and music contributes to peace. The layer of war poetry becomes stronger and more diverse every day, thus requiring its curator and researcher.
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Klinck, Anne L. "Lyric Voice and the Feminine in Some Ancient and Mediaeval Frauenlieder." Florilegium 13, no. 1 (January 1994): 13–36. http://dx.doi.org/10.3138/flor.13.002.
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In the study of mediaeval European literature, especially that of France and Germany, the terms chanson de femme and Frauenlied have come to be conventional designations for a distinct type of poem—more broadly defined than a genre: a female-voice love-lyric in a popular rather than a courtly mode. To use the language of Pierre Bec, femininity here is “textual” rather than “genetic.” Most of these “women’s songs” are attributed to male authors, although there has been a tendency to trace the type back to preliterate songs actually composed by women. Goethe, Jakob Grimm, and others saw in the early German and Balkan Frauenlieder and Frauenstrophen the traces of “das älteste Volkspoesie.” The use of this terminology to designate a lyric in the female voice—irrespective of its authorship—goes back to Alfred Jeanroy, at the end of the last century, who defined chanson de femme as a woman’s monologue, usually sad, relating to love (158). Theodor Frings, whose description of the Frauenlied is probably the one that has been the most influential, makes clear that it is a universal, not merely a mediaeval, type. Although he focusses on Middle High German, Provençal, and Old French poetry, he includes examples ranging from Greek to Chinese.
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Shreiber, Maeera Y. "“Oh Mohammed, Are You Still Awake?”: Admiel Kosman, Martin Buber, and the Poetics of Engagement." AJS Review 43, no. 01 (April 2019): 169–87. http://dx.doi.org/10.1017/s0364009419000059.
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An award-winning poet, an accomplished Talmudist, and a frequent contributor to the pages of Haaretz, Admiel Kosman is hardly new to the scene of contemporary Hebrew letters. However, his work only recently became accessible to English readers when the first translated volume of his poetry appeared in 2011. Reading his work within the context of Martin Buber, whom Kosman regards as his “rebbe,” one discovers a profound challenge to principles of relation—political as well as personal—that are grounded in fixed categories of identity and belonging. Drawing upon the Song of Songs, which whispers throughout his work, Kosman offers us a strong counterresponse to the dominant model of the lyric monologue, with a poetics that aspires towards the dialogic.
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Duke, Craig. "Lyric Forms as “Performed” Speech in Das Rheingold and Die Walküre." Journal of Music Theory 65, no. 2 (October 1, 2021): 287–323. http://dx.doi.org/10.1215/00222909-9143204.
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Abstract There is growing recognition that Richard Wagner's mature works—the music dramas—owed much to earlier nineteenth-century opera. In the often-contentious area of Wagnerian form, analysts have tended to draw more on Wagner's writings and the Formenlehre tradition than on operatic models, but recent studies by Karol Berger and Ji-Yeon Lee have shown examples of opera-specific formal types in the music dramas. This article demonstrates Wagner's continued use of one such formal type—lyric form (AABA or AABC)—in five examples from Das Rheingold and Die Walküre. The first part of this article proposes a conceptual revision of lyric form as a conventional configuration of both music and text, which are united by a shared set of music-rhetorical functions. The second part shows how Wagner's lyric forms integrate into the surrounding dramatic continuity as extroverted, performative monologues within realistic conversations. The third part analyzes the much “looser” lyric form in “Wotan's Farewell” from the end of Die Walküre, which displays both Wotan's intimate, self-expressive communication and Wagner's increasing flexibility with the template. These analyses show that operatic formal types were compatible with Wagner's Gesamtkunstwerk aesthetic, and the analytic method suggests a path toward further engagement with other nineteenth-century opera and other genres that combine music, text, and dramatic storytelling.
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ცხადაია, ზოია. "„ცამ მომმადლა და ...მიმიღო ცამან“." Literary Researches 44 (November 27, 2024): 381–93. https://doi.org/10.62119/lr.44.2024.8248.
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The Second World War had just finished when (1946, 5.V) student Ana Kalandadze recited her first poems at the Writers’ Union of Georgia, the majority of which were later recognized as masterpieces. War and post-war poetry was strictly limited to declarative, conjunctive style and themes, which did nothing to do with Ana Kalandadze's pathos. She was warmly appreciated, and soon after her first performance, her poems were published in Georgian journals. It was a promising start. However, everything radically changed in August 1946 with a new wave of repression launched by the totalitarian Soviet system. Anna Akhmatova, Mikhail Zoshchenko, Nikolay Tikhonov were severely reprimanded by the decision of the Central Committee of the CPSU ... the latter was dismissed from the chairmanship of the board of the Writers' Union. There were no objective reasons for such a decision by the government. Such was the subjective attitude of the evil empire towards freethinking. The repression campaign begun in Moscow was then extended to the "union" republics. Taking into account the message received from the center, in 1946, literary magazine “Mnatobi” (No. 9, 10) sharply criticized Ana Kalandadze's poetry for not being guided by advanced ideas, being trapped in decadence, etc. From now on, Ana Kalandadze's free poetry would have to follow the censor's orders. She refused to obey, stopped publishing poems, and only in 1953 her first book came out. Post-Stalinist liberalization has made it possible to avoid the absurd clichés of socialist realism since the second half of the twentieth century. In Georgian scientific criticism, Ana Kalandadze is regarded the first author (I. Ratiani), who overcame this tough path of transformation and created poetry with new artistic values. In her poems, it is especially important to present with greater intensity the spiritual world of the lyrical hero, personality. Her lyrical reflections, lyrical monologues, biblical motifs, historical themes organically blend into the poet's thought system, thinking about the meaning of life. The early poetic forms of life and beauty, her palette, were colored with new, complex feelings of earthly life, existential visions. Her lyrics largely determined the achievements of Georgian poetry in the second half of the 20th century.
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Li, Eryong. "Songs by S. V. Rachmaninov: On the problem of classification." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 53 (2024): 162–75. http://dx.doi.org/10.17223/22220836/53/13.
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In this article, the author for the first time offers his view on Rachmaninov’s romances and sets out their classification, obtained through a careful analysis of dramaturgy and poetics, taking into account the content and musical characteristics of the romances. Separate groups include lyrical romances, monologues, folklore, portrait sketches, pre-symbolist and symbolist. To date, no study has proposed a classification of romances based on convincing generalizations of their musical and content side.
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Rosul, Tetiana. "Intonation image of the home area in «Reminiscences» chamber symphony by V. Telychko." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 130–34. http://dx.doi.org/10.32461/2226-2180.39.2021.238707.
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The purpose of the article is to identify the peculiarities of the intonation plot deployment in Reminiscences chamber symphony by V. Telychko in terms of the genre interpretation peculiarities. This study is particularly focused on the analysis of V. Telychko’s musical language components, the principles of its formation, as well as the stylistic peculiarities. The methodology includes the methods of stylistic, historical-comparative, system-structural, and hermeneutic analysis aimed at understanding the features of this genre in the composer’s legacy. Scientific novelty. The article theoretically substantiates the individual-style model of the chamber symphony genre in art by V. Telychko. Conclusions. Reminiscences chamber symphony is a unique artistic phenomenon in the symphonic works not only of V. Telychko but also of the Transcarpathian professional school of composers. Continuing the line of lyrical-psychological meditative symphonism inherent in modern music, the work represents the moment of human touch to the inviolable, eternal, where not only intonational images of the past but also their relationship and lifestyle become extremely important. Meditative images of Transcarpathian musicians are organically embedded by the composer into several thematic formations: the author's topics of reminiscences and the relentless cluster of time. The use of quotations and monograms, along with the other means of expression, introduces programmatic features, symphonic plots. The intonation plot of the chamber symphony formed an individual genre model of the work, which combines a symphony and a lyrical monologue. Symphony is characterized by a cyclical structure, the logic of musical drama, intonation connections between the parts. The confessional nature of the author's statement reveals the features of monologue.
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Zeng, Xiaoan, and Junjin Lai. "On the Emotional Colors and Performance Techniques in Brahms' Interlude Op.118 No.2." Journal of Education and Culture Studies 7, no. 4 (November 7, 2023): p65. http://dx.doi.org/10.22158/jecs.v7n4p65.
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Johannes Brahms was the last German Austrian classical master of the romantic period. In this era of significant changes in music style, Brahms' early creative style still retained some traces of classical style. However, in his later years, he became more passionate about small genre lyrical works. I believe that these works must be the gentlest and most monologue works of Brahms' life. The interlude Op118 No.2, created in the late period of Brahms, possesses extremely clever creative techniques and extremely beautiful melodies, and is later known as the "Love Letter to Clara". The emotions and performance techniques involved are worth further exploration.
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Lapko, Olena. "«Сrimean text» in the lyrics by Lesya Ukrainka, yakiv Shchoholev and Adam Mickiewicz." Bulletin of Luhansk Taras Shevchenko National University, no. 6 (365) (2024): 73–79. https://doi.org/10.12958/2227-2844-2024-6(365)-73-79.
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The article is dedicated to the comparative analysis of lyrical works by Lesya Ukrainka, Yakiv Shchoholev and Adam Mickiewicz, which are based on the artists' impressions from their trips to Crimea. The aim of the study is to identify and compare the peculiarities of «Сrimean text» in Lesya Ukrainka's poetic cycles «Crimean Memories» and «Crimean Echoes», Yakiv Shchoholev's poems «In foreign parts» and «Yalta» and Adam Mickiewicz's poetic cycle «Crimean Sonnets». The author of the article highlights the dramatic circumstances that forced the poets to visit Crimea. The study examines the features of structuring the artistic space in their poetry, clarifies the artistic semantics of the antithesis «homeland – foreign land», investigates common motifs, including the motif of premature death, and analyzes the means of its artistic embodiment. The features of travelogue in poetic cycles and lyrical monologues by Lesya Ukrainka, Yakiv Shchoholev and Adam Mickiewicz are revealed. The article examines the peculiarities of the images of Crimean inhabitants; the artistic function of this image in Adam Mickiewicz's «Crimean Sonnets» is clarified. Common features in the images of Crimean Tatars created by Lesya Ukrainka and Yakiv Shchoholev are revealed, as well as the artistic mediums that express the poets' attitudes towards these characters. The distinctiveness of artistic representation of Crimea's natural landscapes, the peculiarities of artistic embodiment of emotions of lyrical heroes provoked by contemplation of exotic landscapes, as well as the contexts in which the poets comprehend Crimean realities, are determined. The author of the article analyzes semantic nuances of the metaphorical identification of Crimean landscapes with paradise. The peculiarities of artistic details, through which the Crimean landscape is depicted in the examined works, are elucidated. The work has practical significance for addressing specific methodical issues in language and literature education, particularly in developing lessons on the literature of the native region.
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Bogdanova, O. V. "Joseph Brodsky’s <i>‘New stanzas to Augusta’ [‘Novye stansy k Avguste’]</i>. Another suicide attempt." Voprosy literatury, no. 3 (June 14, 2023): 141–58. http://dx.doi.org/10.31425/0042-8795-2023-3-141-158.
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The article is devoted to J. Brodsky’s poem ‘New stanzas to Augusta’ [‘Novye stansy k Avguste’] (1964), which later gave its name to the collection printed in 1981. In her thorough analysis of the poem’s text and poetics, the author points out its pretexts (G. G. Byron, D. Alighieri) and intertexts, reconstructs the facts of the poet’s biography at the core of ‘New stanzas,’ and compares various interpretations of the work (L. Kolobaeva’s, L. Losev’s, and V. Polukhina’s, among others). The title’s reference to Byron may suggest that, like the English original, the form of the ‘new stanzas’ will be that of the lyrical hero addressing his beloved (Augusta). However, Brodsky’s lyrical narrative reveals a different purpose — rather than an excited lyrical monologue dedicated to a new Augusta, it is an imitation of a written confession, an attempt to use a seemingly epistolary form to talk about all that had befallen him lately (the betrayal by his beloved and a friend, the arrest, the trial, and the exile). The scholar believes that Brodsky’s poem contains an implied plot of a contemplated suicide and the overcoming of this intention by talking to ‘Augusta’ — his star and love.
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Borisova, A. B. "The Short Story of A. P. Platonov «The Impossible»: Genre-Narrative Structure, Function of Duality as a Way of Modeling of the Author’s Personality." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 160–71. http://dx.doi.org/10.25205/2410-7883-2019-1-160-171.
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In this article the short story of A. P. Platonov “The Impossible” (1921) is considered as a multidimensional wholeness, with a complex structure – at the level of genre and of narration. We highlight biography, scientific article, elements of a philosophical essay, lyric and philosophical poem in the genre structure. In addition to a neutral background, we highlight the lyrical monologue, scientific and publicistic discourse at the narrative level. The genre and stylistic heterogeneity of this short story did not allow researchers to unambiguously determine its genre dominant for a long time. It was not by chance that at first in earlier studies “The Impossible” was classified as a publicistic genre. Only in the first volume of the Scientific publication of Collected works this story is included in the corpus of Early Short Stories of Platonov. In a certain perspective, this work can indeed be read as a publicistic article containing the author’s reflection on philosophical, scientific concepts in the specific manner of Platonov, with overstepping beyond the boundaries of one genre. The focus on the addressee, declared at the beginning of “The Impossible”, activates its communicative function. The inclusion of his own technical developments by Platonov in this story introduces an element of scientific autobiography. At the same time, “The Impossible” is the life story of the “new saint”: the embodiment of the image of the “new human”, whose life, if it did not end so suddenly, could open the way to the Mystery of the World – the main metaphysical problem that occupied the mind of the young Platonov. At the same time it is the lyrical narration about the “sobbing” beauty of the world and the incredible, “impossible” love of the hero – the narrator’s alter ego to his beloved Maria. Using the technique of duality, the author is able to express his most intimate experiences through the image of the “other”, to expose his own soul to the reader. The unifying layer that maintains the integrity of this story is the motive structure with such basic components as the motives of the Mystery, the transfiguration of the world in the version of rebellion into the universe, light, impossible, silence, music, love, death and immortality, etc.
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Ghilas, Ana. "Character identities in monodrama." Arta 32, no. 2(AAV) (December 2023): 41–44. http://dx.doi.org/10.52603/arta.2023.32-2.06.
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The article addresses the specifics of the monodrama at the level of text and performance, the main objective being the ways of expressing the identity dimension of the character in such an artistic form. Considering the protean character of the monodrama, some aspects of the evolution of this type of artistic communication are exposed, highlighting its specific features: the combination of the epic with the lyric at the level of structuring the subject, the monologue as a way of creating conflicts and of developing inner action, the improvisational character, etc. Emphasis is placed on the typology of the character at the level of monodrama - psychodrama relationship, thus revealing the ways of affirming and manifesting the character’s identity/identities in the text and in the performance. The analyzed dramaturgical texts and the theatrical discourses reflect the specificity of monodrama in the Romanian space.
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刘玮, 哈尔滨工业大学. "The Role of Kunqu Literature in the Continuation of the Kunqu Heritage: the compilation of Collected Kunqu Plays, Series II." Sinology 2 (2019) 2 (2019): 37–80. https://doi.org/10.12906/9781682025222_003.
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Collected Kunqu Plays is a compilation of 411 relatively well preserved early zhezixi (single-act plays) scripts for stage performance from various extant kunqu literature. Series I of this collection presents photocopied texts from the originals, while Series II contains proofread transcripts of the plays with modern punctuation, with each original text being proofread again one or more script(s) for the same play from closet drama, script(s) with musical notations for non-stage performance, and/or script(s) for stage performance. Furthermore, fairly comprehensive introductions are given of the single-act plays and the complete plays containing the zhezixi, and explanatory notes are added where necessary for the lyrics, monologues, and dialogues in the scripts for stage performance, so as to connect closet drama to the stage. This collection is intended to be a comprehensive reference for kunqu artists, fans, and researchers alike, and to contribute to the continuation of kunqu heritage.