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Academic literature on the topic 'Poets, Russian. [from old catalog]'
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Journal articles on the topic "Poets, Russian. [from old catalog]"
1
Class, James N. "The Religious Language of Russian Poets in 1812." Russian History 41, no. 1 (2014): 39–54. http://dx.doi.org/10.1163/18763316-04101003.
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Russian poets during the reign of Alexander I widely employed images and stories from Old Testament Scriptures to describe the ongoing wars with Napoleon, especially regarding the invasion of 1812. Their ideas are collected in a body of patriotic literature, which has received little attention for its literary merits but provides insight into the contemporary climate of opinion and the ways in which Russians responded to the French Revolution and Napoleon. Across Europe, other writers and intellectuals exhibited millenarian tendencies, seeking a renewed world with the old order swept away. While Russian writers exhibited similar concerns with finding a way to regenerate the decadent European world, they did so by appealing to their own experience as expiation for Europe’s sins. This study argues that the Napoleonic Wars catalyzed the development of Romantic Nationalism and the development of a messianic national myth, which arose primarily in Moscow after its destruction in 1812.
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Timoschenkova, Galina A. "Figures of the socio-political, scientific, and cultural life of Italy, 17–19 centuries. The exhibition of autographs at the RSL." Bibliotekovedenie [Russian Journal of Library Science], no. 5 (October 24, 2011): 70–78. http://dx.doi.org/10.25281/0869-608x-2011-0-5-70-78.
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2011 — the Year of Russian culture and Russian language in Italy and the Year of Italian Culture and Italian language in Russia is the culmination of centuries-old ties between Moscow and Rome. The history of relations between Russia and Italy is intimately associated with the interpenetration of cultures of two countries: Italy culture in Russia — due to famous and great architects, sculptors, musicians, and Russian in Italy, where many painters, poets and writers from our Fatherland worked. “Cross-year” also has been reflected in the activities of the Russian State Library, where was the exhibition of the Italian autographs of 17–19 centuries, presented to visitors for the first time from 10 to 30 June 2011. There are letters and documents written with the own hand of those who made up blossom to Italy, working for the blessing and country prosperity, struggling for its independence.
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Petrov, Alexej, Angelina Dubskikh, and Aleksandr Soldatchenko. "Poetic cosmogony in poems of Russian poets of the 18th – early 19th century." SHS Web of Conferences 55 (2018): 04017. http://dx.doi.org/10.1051/shsconf/20185504017.
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The research is significant due to the undiminishing interest shown by philosophers, philologists and culture experts to an eternal question of all times – the creation of the world by God. This aspect demands special consideration. That is why, the article aims to define the cosmogony as a part of the historiosophy, more precisely, the poetic cosmogony as a part of the artistic historiosophy. To achieve this aim, it is necessary to answer the following questions: 1) what is the fundamental principle of the world (universe), and is the poet focused on this particular problem? 2) what does this fundamental principle consist of? what are the constituents of the world? 3) how does it show itself? where is it situated? where does it exist? how did the world come into existence? The answers to these questions can be provided not only by religion and theology but also by science, philosophy and mythology. The analysis is carried out on the material of cosmogonical poems of four Russian 18th–19th century poets: “World’s Creation. Panegyric Song” (1779–1782) by А. N. Radishchev, “Reflection on World’s Creation Based on the First Chapter of Genesis” (1784, 1804) and “The Fate of the Ancient World or the Flood” (1789, 1804) by S. S. Bobrov, “Matter” (1796) by P. А. Slovtsov, “Song to the Creator” (“Pesn’ Sotvorivshemu vsja”) (1817) by S. А. Shirinsky-Shikhmatov. The conducted research found out, that all authors of the above writings put into verse versions of the so-called cosmogonic myths reputable for them, which describe how the universe originated, more or less. Four poets rely in their cosmogenesis reflections on some myth invariants to be found in the Old Testament [6], but these are the variants, and sometimes even concepts, alternating to the Bible determine an individual diversity of historiosophical constructs of our “metaphysical” poets. The material from this article can be used in teaching the following disciplines: history, 18th-century Russian literature and philosophy.
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Pascal, A. D. "Cyrillic writing system: from Slavic to Romanian." Proceedings of SPSTL SB RAS, no. 3 (September 17, 2020): 5–10. http://dx.doi.org/10.20913/2618-7515-2020-3-5-10.
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The article is devoted to Cyrillic handwritten books of the XIII–XIX centuries, created in the Romanian principalities, and stored today in the manuscript collections of the Russian State Library. The uniqueness of the writing system, functioning in the principalities (Wallachia, Moldavia, Transylvania) since their political formation, is that it was a Cyrillic script based on the old Slavic language with a predominant Roman-speaking population. In course of the writing system’ development in the principalities, there was a transition from the Slavic font to the Latin one; the intermediate result of this transition was the creation of monuments written in Romanian language with Cyrillic script. The main stages of this process are considered by reference to the specific examples of unique handwritten books and their fragments that have become objects for collecting by scientists, antiquaries, and Old Believers, whose book collections have formed the basis of the handwritten collections of the Russian State Library. They are the oldest Cyrillic manuscripts and their fragments dated to the XII–XIV centuries, found on the territory of Romania, Slavic manuscripts, produced mainly in monasteries of principalities in the XV–XVII centuries, translations of individual words into the Romanian language in the rewritten Slavic texts in the XVI century; the glosses and comments in Romanian on the margins of Slavic manuscripts in the XVI–XVIII centuries; numerous notes in the Romanian language in the manuscripts of the XVI–XVIII centuries, made by owners and readers; translations of literary monuments, including bilingual (Slavic–Romanian) and trilingual (Slavic–Latin–Romanian) versions in the XVI–XVIII centuries; Romanian–Slavic and Slavic–Romanian dictionaries in the XVII–XVIII centuries; letters and their copies in the Romanian language (sureties) in the XVI–XIX centuries. The article is an intermediate outcome of studying and describing Cyrillic Romanian handwritten books in the collections of the Russian State Library, which will result in the publication of a hard–copy catalog.
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Markov, Aleksandr V. "BAROQUE PLATONISM AND ROCOCO ARISTOTELISM IN INDEPENDENT RUSSIAN CULTURE." Verhnevolzhski Philological Bulletin 22, no. 3 (2020): 232–39. http://dx.doi.org/10.20323/2499-9679-2020-3-22-231-238.
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In modern Russian culture, Platonism and Aristotelianism were normally opposed not only as philosophical, but also cultural programs. The paper proves that this resulted from an understanding of different media and art styles as frames of cultural practices. Baroque style alluded to Platonism, as symbolic and sublime, and requiring the routine work of old media, and Rococo style to Aristotelianism, as ephemeral and requiring any intervention of new media. In the poetry of Russian samizdat, the need to deal only with typewriting, which was understood as weak and not able to achieve largescale circulations, this conception of Baroque and Rococo was very intensive. Baroque in this case was conceptualized as the idea «life is a dream», as a grand empire style, as an immersion in illusion, as a result, images of the ship and sailing became central to the understanding of the Baroque. Moreover, the old media were understood here as false, if they could never be perceived in such a «dream», they turned out to be carriers of outdated information that does not correspond to the existential experience. Whereas Rococo was understood as pathetic adherence to everything ephemeral, as the use of artistic conventions supported by a new type of media, and thus as a way to return truth to art, as the truth of direct experience, not mediated by ready-made symbols. Such a confrontation differs from the usual Russian controversy of symbolism and acmeism, while both «baroque» and «rococo» are found within the same work, and in many verses of the leading poets of Samizdat the dispute between the two programs occurs within the same poem. Thus, the question of the relationship between Platonism and Aristotelianism is solved as structure-making, not within the framework of the struggle of aesthetic parties or groups.
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Tavis, Anna A. "Russia in Rilke: Rainer Maria Rilke's Correspondence with Marina Tsvetaeva." Slavic Review 52, no. 3 (1993): 494–511. http://dx.doi.org/10.2307/2499721.
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Rainer Maria Rilke's widely celebrated fiftieth birthday in December 1925 and his sudden death on 29 December 1926 framed his correspondence with members of Boris Pasternak's family and Marina Tsvetaeva- Efron, for which Leonid Pasternak's initial greetings to his old Moscow friend and Rilke's prompt reply had set the stage. It was agreed that Rilke's letters from Switzerland would be sent to Boris Pasternak in Moscow via Marina Tsvetaeva in Paris. Against all historical and political odds, the three poets decided to form a union, the last one, perhaps, of an era which still believed that the making of poetry equaled the making of life. Rilke's participation in this association reassured uprooted Russian writers of their continuing link with European culture and history.
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Zeltchenko, Vsevolod V. "Classical Allusions in the Russian Poetry of the Early 20th Century: A Critical Survey of Research Practices." Philologia Classica 15, no. 2 (2020): 331–53. http://dx.doi.org/10.21638/spbu20.2020.210.
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As befits a proper Renaissance, the revival of Russian poetry in late 19th — early 20th century was marked by an increasing interest in Greco-Roman antiquity. The vigorous and enthusiastic exploration of classical subjects, motifs and topoi, from accurate stylization to radical rethinking, emerged as an important feature of Russian modernist poetics. It is thus not surprising that the last decades have seen multiple and various investigations into classical reminiscences in Silver age poetry. The author of this polemical survey aims to draw attention to the vulnerable aspects of such research practices and to formulate a “code of conduct” for studying intertextual parallels between ancient authors and the Russian poets of the early Novecento. The paper was written in conjunction with the 25th anniversary of the methodologically important but not sufficiently well-known book by M. L. Gasparov Antichnost’ v russkoi poezii nachala XX veka (“Antiquity in the Russian Poetry of the Early 20th Century”). It examines such questions as the development and limits of knowledge about antiquity among the Russian litterati, the link between reception studies and the history of classical education, the ranking and weighing of intertextual parallels, the search for the intermediate sources, the importance of translations of ancient authors into European languages, the need to incorporate philological scholarship contemporary to the author and not the researcher, etc. The discussion is interspersed with case studies proposing new (or complementing old) interpretations of the poems by Ossip Mandel’shtam, Vladimir Shileiko, Vasilii Komarovskii et al.
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Kuts, O. I. "Dedications and autographs on the rare stock books of the Central Scientific Library of the Irkutsk Scientific Center of SB RAS." Proceedings of SPSTL SB RAS, no. 2 (July 15, 2021): 35–40. http://dx.doi.org/10.20913/2618-7575-2021-2-35-40.
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Today it is widely practiced to exhibit autographs, inscriptions at exhibitions in museums, institutions of science, education and culture. This is due to the increased interest in the history of scientific research, personal and official relation-ships of people, and testifies to the urgency of the problem, that requires the attention of specialists.According to Brockhaus and Efron, «the autographs of famous scientists, writers and poets constitute the true treasure of libraries ...» (Encyclopedic Dictionary of Brockhaus and Efron, St. Petersburg, 1890. T. 1, p. 123). Autographs, inscriptions on books can serve as an additional source of information about any author’s life, era, scientific or cultural phenomenon. In the libraries of the Academy of Sciences, one can find literature with autographs, donation inscriptions of scientists, various notes.The purpose of the article is to bring to the readers some autographs, inscripts, their content, handwriting of prominent Russian scientists on books from the library stock of the Central Scientific Library of the Irkutsk Scientific Center SB RAS (СSL ISC SB RAS) (previously – the library of the East-Siberian Branch of the USSR Academy of Sciences), to tell about these books and their authors destinies. Responses to the article will help to determine the authorship of unidentified inscriptions.In the course of the work, there were exposed and identified de visu books with autographs, donations (inscriptions) to the library from authors, to scientists from colleagues and owner’s inscriptions; the analysis of library materials was carried out, an attempt was made to systematize written sources with autographs and donations. At the second stage of the work, an electronic database was being compiled - the Catalog of Rare Books in EC IRBIS, which can be found on the library website.
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Musayeva, E. "Issues of Physical Perfection and Physical Education of Women in the Poetry by Nizami Ganjevi." Bulletin of Science and Practice 7, no. 9 (September 15, 2021): 650–54. http://dx.doi.org/10.33619/2414-2948/70/67.
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After gaining independence, the Republic of Azerbaijan, one might say, has always honored all our writers and poets from our classical heritage. Our President Ilham Aliyev has declared this year the Year of the classic poet Nizami Ganjavi. The main goal is the desire to lead our nation forward, to protect it, to preserve the legacy left to us by our great leader, world politician Heydar Alirza oglu Aliyev. He also pointed out the importance of preserving our classical poets such as Nizami Ganjavi and passing on their works to the younger generation. Female images play a key role in the works of Nizami Ganjavi. In his works, he highlighted the place of a woman, depicting a woman as a mother, an ornament of life. In Sultan Sanjar and the Old Woman Beit from Treasury of Secrets, the first poem in the five-verse Hamsa, Nizami Ganjavi describes a woman as the leading force of society, defending her rights. In the second poem — Khosrov and Shirin, Nizami Ganjavi always wanted to see women free and made it clear that a society without women would become an orphan. In his third poem, Layli and Majnun, he described in detail the image of Layli as a selfless oriental woman, attached to her family and devoted to her love. In fact, Nizami Ganjavi foresaw the role of women in society thousands of years ago. The fourth poem Seven Beauties shows the customs and traditions of Chinese, Russian, Persian, Indian, Arab and Turkish women. The poem describes in detail the maternal care of a woman, regardless of her nationality. In his works, Nizami Ganjavi called for an end to all forms of violence against women and wanted to see women free.
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Dutbayeva, S. S. "Linguaculturological Features of the Images of the Celestial World in the Russian Poetry of the 1990’s." Bulletin of Kemerovo State University 21, no. 4 (December 31, 2019): 1095–104. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1095-1104.
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Modern philology studies language at the junction of different directions, e.g. hermeneutics and cultural studies, cognitive linguistics and literary criticism, linguaculturology and textology, etc. As a rule, combined methods provide the most interesting results. The article describes the images of the sky / heaven in the Russian poetry of the late XX century, the period of Russian history known as “the dashing nineties”. Contemporary poets seemed to have a very peculiar perception of that period. Their vision of traditional mythological and cultural symbols differed from commonly accepted interpretations. They described Russia as a dead woman or as a man at a crossroads, while the sky was a lost paradise that retained the peace and tranquility that are not to be found on the earth any more. The gap between heaven and earth is shown by the chaos of birdcalls, machinery noise, and nuclear clouds. Heaven and earth are connected by the World Tree, which unites the macroand microcosm. Man seeks balance and harmony but cannot find them. In the 1990’s, mankind was repeating the stage it had passed in the early XX century, when cherry orchards gave place to railways, and the old world order was coming to an end. In such periods, people do not look at the sky for solace; they mind their own step and see heaven reflected in the rails. The poetry of the 1990’s is filled with deep symbolism. The present analysis revealed several image clusters of the sky: mythological, religious, culturological, philosophical (eschatological), scientific and technological, and folklore. These clusters are interconnected and complement each other.
Books on the topic "Poets, Russian. [from old catalog]"
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Jonathan, Swift. Gulliver's travels: Complete, authoritative text with biographical and historical contexts, critical history, and essays from five contemporary critical perspectives. Boston: Bedford Books of St. Martin's Press, 1995.
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Jonathan, Swift. Travels into several remote nations of the world: By Lemuel Gulliver, first a surgeon, and then a captain of several ships. Köln: Könemann, 1995.
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Jonathan, Swift. Gulliver's travels. Oxford [England]: Oxford University Press, 1998.
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Jonathan, Swift. Kiwlivēri chambordutʻiwnĕ. Pēyrutʻ: Hamazgayini Vahē Sētʻean Tparan, 2001.
Find full textBook chapters on the topic "Poets, Russian. [from old catalog]"
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Zelenskaya, Galina M., and Svetlana K. Sevastyanova. "Corpus of Patriarch Nikon’s Inscriptions on “Sacred Things”: Questions of Textology and Architectural and Artistic Design." In Hermeneutics of Old Russian Literature: Issue 20, 479–547. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-479-547.
Full textAbstract:
In the vast and varied written heritage of Metropolitan and Patriarch Nikon, the inscriptions on the “holy things” that were written with the participa- tion of, or on his behalf, occupy a special place. These texts, different in volume and content, exist as notes on sheets of manuscript and early printed books, in the form of belts and compositions of tiled temple decoration, as well as on an- timenes, crosses, icons, bells, liturgical vessels, and seals. Many of them by their origin and location are associated with the patriarchal monasteries — the Resur- rection in New Jerusalem near Moscow, the Iversky Svyatoozersky in Valdai and the Onega Godfather on the Kiy-island. The corpus of the inscriptions, united by the name of the Primate, has never been studied in its entirety and systematically. The authors of the article attempted to fill these gaps by applying an integrated approach in the study. They prepared on the principle of a catalog a register of “holy things” — sacred objects that make up a single whole with the texts present- ed on them. The inscriptions are classified according to the functional purpose of the objects on which they are located. The groups of annals-historical, spiritual- educational, liturgical, historical-topographic, supplementary and owner’s in- scriptions are distinguished. Historical and philological research of texts is com- plemented by an analysis of the symbolic and semantic aspects of their architectur- al and artistic design. The inscriptions appear in the context of the iconic work of Patriarch Nikon, including hierotopic, iconographic and architectural programs, embodied with the participation of masters from Great, Small and White Russia. A comprehensive study allowed us to see the inscriptions and the personality of His Holiness Nikon from a perspective that reveals the richest spectrum of litur- gical, church-historical, patristic and artistic traditions of Old Russia, combined with new trends melted down in the furnace of Orthodoxy.
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Akimova, Maria S. "Sound world of the Russian estate in the lyrics at the turn of the XIX–XX centuries." In Russian Estate in the World Context, 162–73. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0627-7-162-173.
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The article notes the relevance of a systematic, holistic study of the poetics of Russian literature of the Silver age, which is increasingly necessary as this era moves away from the modern reader. Typical of the culture of XIX–XX features: “the anthro pological turn”, “the expansion of artistic sensibility”, a new notion of psychological insight, lyrical exploration of the experience of the body — resulted in works of art the largest layer of the touch of poetic imagery reflecting the experience of individual sense of life. On the material of Russian poetry of the late XIX — early XX century the sound world of the Russian estate and the poetics of its sound space are analyzed. It is shown how the sound variety is gradually replaced by silence or new sounds — disturbing, foreshadowing the death of the estate as part of the old world. There are traced the mechanisms of transmission of sound “psychophysiological space”, methods of repre sentation of nonverbal language, including features of sound recording. An attempt is made to trace the internal reactions that this or that sound causes in the lyric hero, and in the subjective interpretations of a number of poets to reveal the “acoustic invariant” of the “estate” poetry of the Silver age in its historical dynamics.
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Zanou, Konstantina. "Conclusions." In Transnational Patriotism in the Mediterranean, 1800-1850, 62–64. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198788706.003.0005.
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These three chapters together attempted to answer an ostensibly simple question: why did these three poets and intellectuals, born on the same little island and within a few years of each other, become the ‘national poets’ of two different countries? What does this tell us about the world in which they lived, about the wider issues of their epoch? By reframing their biographies and by highlighting aspects that have been overlooked, I have tried to show how these three microhistories, viewed together, tell us something about the macrohistorical processes unfolding in the Adriatic at the end of the eighteenth and during the first decades of the nineteenth century. These processes involved the transition from the old Venetian Empire to the new empires which by turns appeared and disappeared from the region (the Napoleonic, the Austrian, the Russian, and the British), as well as to the emerging nationalisms and the resulting nation-states. This transition did not signify only the slow and uneven passage from empire to nation-state. It also marked the radical transformation of the concept of ‘patria’, from a cultural and local community into a political and national entity. It meant the gradual reconceptualization of language that was transformed from an index of social mobility into an attribute of national identity, as well as of poetry, which was now reconfigured as committed and national. What is more important, this transition amounted to the dissolution of the common Adriatic space and to the shattering of its Venetian cultural continuum. It meant a shift in political and cultural geographies—in the case of the Ionians, loyalties shifted from the centre that Venice used to be to the centre that Athens was now becoming, while there was an in-between moment when the statelet of the Ionian Islands was configured as an autonomous space. Overall, these processes led to the total restructuring of space and to the tracing of new boundaries between homelands and languages: in the world that was now emerging, a world of mutually exclusive nationalisms, the Adriatic Sea was slowly being transformed from a bridge into a border....