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Journal articles on the topic 'Russian Russian poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Demyankov, V. Z. "Alien Creativity of Russian Macaronic Poetry." Critique and Semiotics 38, no. 1 (2020): 73–91. http://dx.doi.org/10.25205/2307-1737-2020-1-73-91.

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Traditionally, the status of foreigners in Russia, especially of West-Europeans, is fairly high. My linguistic analysis of Russian literary sources of the 18 th to the 21 st centuries aims at eliciting presumptions (i. e. indirectly expressed opinions) and/or stereotypes of foreigners disclosed in occurrences of Russian lexical items such as ‘inostranets’ (“foreigner”). This procedure yields a list of typical culturally relevant “parameters of aliens” in Russian culture. Stereotypes of alien behaviour and alien appearance, for short, stereotypes of “Russian aliens” are specific for Russian culture and include a privileged social status and extraterritoriality. Foreigners are typically expected to be both intellectually superior in issues of civilization and utterly ignorant of virtually all Russian peculiarities of everyday life and of Russian customs. Russian macaronic verses combining Russian with West-European expressions used to be popular in Russia, but they are much less frequent nowadays, i. a. because of certain shifts which the concept of “alien” underwent in the last decades of Russian history. The humor of Russian macaronic poetry is based on a sort of travesty, when a person held to be a foreigner because of admixture of foreign expressions (and therefore automatically occupying a privileged position) proves to be a pretender. “Alien creativity” of Russian macaronic verses may be looked at as a by-product of cultural adaptation of Russian culture to Western civilization.

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2

Terras, Victor, and Stephanie Sandler. "Rereading Russian Poetry." World Literature Today 74, no. 2 (2000): 433. http://dx.doi.org/10.2307/40155759.

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3

Scherr, Barry P., and Stephanie Sandler. "Rereading Russian Poetry." Slavic and East European Journal 44, no. 2 (2000): 306. http://dx.doi.org/10.2307/309960.

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4

Gandlevsky, Sergey, Marina Boroditskaya, and Maria Falikman. "Contemporary Russian Poetry." Wasafiri 26, no. 1 (2011): 28–32. http://dx.doi.org/10.1080/02690055.2011.534262.

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5

Simon Schuchat. "Poetry Today: Russian Poetry After." Antioch Review 76, no. 1 (2018): 180. http://dx.doi.org/10.7723/antiochreview.76.1.0180.

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6

Markov, Aleksandr V. "EL GRECO IN RUSSIAN POETRY." Vestnik of Kostroma State University, no. 1 (2020): 93–101. http://dx.doi.org/10.34216/1998-0817-2020-26-1-93-101.

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The name El Greco (Doménikos Theotokópoulos) is rarely found in Russian poetry, although French romanticism included him in the canon of world classics. This article assumes that El Greco’s reception in Russian poetry is due not so much to the infl uence of French romanticism or Spanish surrealism as to the stylistic features of the artist himself, who inherited Cretan icon painting, while in his mature period he followed the Renaissance principles of life-like and rivalry. As a result, El Greco is perceived in Russian culture as a classic imitating nature, and stylistic features are then interpreted as existentially signifi cant rather than a strange and bizarre artist. El Greco is then compared with the characters of his paintings, such as the apostles and evangelists, and is considered to be an artist, communicating something existentially signifi cant about fate. His landscape style was then interpreted as the transformation of artistic conventions into ontologically signifi cant constructions. A close reading of poetic texts dedicated to El Greco (Konstantin Balmont, Anna Akhmatova, Yevgeny Yevtushenko, Viktor Krivulin, Bella Akhmadulina, Svetlana Kekova), and taking into account the theoretical statements about El Greco (Alexandre Benois, Dmitry Likhachov) allows us to show that El Greco was not perceived within the framework of expressionism or surrealism, but in the key of icon-painting ontologism. The techniques of El Greco were then understood in Russian poetry as plotsignifi cant: chiaroscuro and colour turned out to be symbols of life’s upheavals, and the mission of the apostle and Orpheus was then identifi ed as a model for a poetic attitude to everyday life.

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7

Bartosh, Julija V. "Specific language of Russian Internet poetry." Russian Language Studies 17, no. 2 (2019): 229–42. http://dx.doi.org/10.22363/2618-8163-2019-17-2-229-242.

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The article analyses the linguistic means of modern Internet poetry having millions of readers and actively developing on the Internet. Being a kind of mass literature, the Internet poetry “complicates linguistic reality”, influencing the literary language “by virtue of its mass character” (Solganik, 2010). Therefore, the study of such “alternative” art seems relevant: it can later become the material for a new poetic theory becoming urgent nowadays. The author took as the material for the study poetic websites (“Stihi.ru”, “Izba-Chitalnya”, etc.) and thematic groups in social networks (“Rifmach”, “Filashki”, “Artichoke”, etc.). The purpose of the article is to identify the specificity of the language of the Internet poetry, analyze cases of unconventional use of language means in modern Internet poetry. Undoubtedly, not only Internet authors are looking for new forms and methods, but it is the Internet poets who consciously violate all the norms - the norms of versification, of the language, of text structure in order to reveal the potential of the language. The study revealed a lot of experiments with genres and language tools, for example in the graphic design of the text (for instance, graphic symbols in an unconventional function), in specific features of vocabulary, word formation, morphology and syntax.

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8

Kolchevska, Natasha, and Elena Sokol. "Russian Poetry for Children." Slavic and East European Journal 29, no. 3 (1985): 350. http://dx.doi.org/10.2307/307230.

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9

Pyman, Avril, and Elena Sokol. "Russian Poetry for Children." Modern Language Review 81, no. 1 (1986): 271. http://dx.doi.org/10.2307/3728855.

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10

Terras, Victor, John Glad, and Daniel Weissbort. "Twentieth-Century Russian Poetry." World Literature Today 67, no. 1 (1993): 204. http://dx.doi.org/10.2307/40148985.

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11

Kates, Jim. "Twentieth-Century Russian Poetry." Translation Review 42-43, no. 1 (1993): 53–55. http://dx.doi.org/10.1080/07374836.1993.10523607.

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12

Markov, Alexander. "SCHUBERT'S «THE TROUT» IN RUSSIAN POETRY." Izvestia of Smolensk State University, no. 1 (49) (May 26, 2020): 5–18. http://dx.doi.org/10.35785/2072-9464-2020-49-1-5-18.

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Franz Schubert is one of the well-known western composers in Russian poetry due to the fact that poets have been attracted by his laconic plots, relation to legends, melodramaticism and deep symbolism going beyond historical symbolism. In Russian poetry the small play «The Trout» acquired a meaning different from the composer’s intensions. It began to be understood not as a moral tale of caution and temptation and not as a hymn to youth and young feelings, but as a call for freedom of improvisation. The article, based on material from Russian poetry of the XXth century, immigrant and modern poetry, examines the reasons for the bias in the understanding of the play. The article thoroughly analyzes rhetoric of the text «The Trout» and features of its perception in modern and contemporary lyrics. The author indicates factors of meaning bias such as a biographical subtext of «The Trout» creation, Schubert’s general image mainly as a romantic composer, an implicit competition between poets lived at the same time for the correct understanding of musical rhetoric. The research methods include reconstruction of the composer's reputation in Russian culture, a comparative historical analysis and hermeneutics of a poetic text, and specification of musical allusions. Thanks to the individualization and analysis of the stages found in the transformation of the «The Trout» perception in Russian poetry, it is proved that the musical work perception is associated with a special understanding of media nature like the play brevity, its distribution, the first publication in the newspaper its use in parodies and mass culture has made the author understand «The Trout» as a democratic work with its own media principles. In addition, the richness of Schubert’s legendary and ballad plots and the need to artificially build Schubert’s world within a short lyrical work have turned «The Trout» into an exemplary key of the plot. The ballad starts to be interpreted through poetic form as the opposite to the work with morality; musical intonation is understood as a gesture of gaining freedom contrary to the literal content of the ballad.

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13

Sycheva, Anastasia V. "Peculiarities of Reconstructing Russian Rhyme in English Translations." Polylinguality and Transcultural Practices 17, no. 1 (2020): 59–64. http://dx.doi.org/10.22363/2618-897x-2020-17-1-59-64.

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The article deals with the problem of preserving the rhyme traditional for Russian poetry in translations into English. A brief analysis of Russian and foreign linguists’ works on the theory and practice of poetic translation shows that rhyme in English poetry does not play such a significant role as it does in Russian poetry. Opinions of English-speaking readers coincide with the opinion of translators. However, adequate versions of Russian poems in English with preservation of rhymes of original verses are the preferred type of poetic translation. The article deals with the problem of preserving the rhyme, characteristic of Russian poetry, in translations into English. The purpose of this scientific research is to conduct a brief analysis of the works of Russian and foreign linguists on the theory and practice of poetic translation to reveal the role and significance of the category of rhyme in English and Russian poetry. The author pays special attention to the opinion of translators of Russian poetry into English and English-speaking readers of translated Russian lyrics in the context of preserving rhyme or deviation from it. As a result of the conducted research, the author comes to the conclusion that rhyme does not play such a significant role for foreign linguists and translators as it does for their Russian-speaking counterparts. A more attractive form of poetry for them is vers libre. Consequently, the issues of rhyme reproduction for English translators are not of paramount importance. The main emphasis is on the meaning of the translated text, not its form. Opinions of English-speaking readers coincide with the opinion of translators. In addition, the article presents summary information of the conducted comparative linguistic analysis of 275 poems by B. Okudzhava and their originals. The analysis shows that in percentage terms the number of rhymed translations from the total number of translated texts is about 40%. However, the overwhelming number of English translations of poems Okudzhava - about 60% - belongs to unrhymed translations. Nevertheless, the author of the article emphasizes the need to preserve rhyme in translations as an integral part of the Russian classical verse and believes that adequate versions of Russian poems in English with preservation of original rhyme are the preferred type of poetic translation.

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14

Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.

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For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets created an enormous and diverse area of postmodernist poetic texts, which is in sync with Russian poets of postmodernism. In the fi rst part of the article, the authors review the contemporary Russian poetry, in particular the “second avant-garde” poetry, in relation with the contemporary Chinese poetry that was “moved in time” for some decades, but came across the same processes of rising and the dialogue with society (sometimes provocative), with the world poetry, processes of introspection and experimental search. The second part of the article deals with the aspects of infl uence, made by Russian poets of different periods upon Chinese poetry, and with the issues of further development of contemporary Chinese poetry.

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15

Rann, James. "Maiakovskii and the Mobile Monument: Alternatives to Iconoclasm in Russian Culture." Slavic Review 71, no. 4 (2012): 766–91. http://dx.doi.org/10.5612/slavicreview.71.4.0766.

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This article examines Vladimir Maiakovskii's frequent references to statues and monuments in his poetry in relation to traditions of iconoclasm in Russian culture in order not only to shed light on the poet's attitude toward the role of the past in the creation of a new culture but also to investigate the way in which the destruction, relocation, and transformation of monuments, both in the urban landscape and in art, reflects political change in Russia. James Rann demonstrates that, while Maiakovskii often invoked a binary iconoclastic discourse in which creation necessitates destruction, his poetry also articulated a more nuanced vision of cultural change through the symbol of the moving monument: the statue is preserved but also transformed and liberated. Finally, an analysis of “Vo ves' golos” shows how Maiakovskii's myth of the statue helped him articulate his relationship to Soviet power and to his own poetic legacy.

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16

Logutenkova, O. N. "STUDYING POETRY WITH BILINGUALS IN A RUSSIAN LANGUAGE CLASS." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 89–98. http://dx.doi.org/10.35634/2500-0748-2020-12-89-98.

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The article is devoted to the problem of studying poetic texts of Russian writers in Russian language classes with natural bilingualism. The aim of our research was to justify, develop and experimentally test the methodology of teaching students to read lyrics, taking into account the peculiarities of perception of fiction texts in Russian by bilingual schoolchildren living outside Russia. The work considers the stages of studying lyrics and skills, which are formed in the process of working on artworks on the example of V. Mayakovsky’s poem “Good Attitudes towards Horses” and its translations into Greek by translators Georgios Moleskis and Petros Anteos, and also substantiates the effectiveness of the methodology used.

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17

Logutenkova, O. N. "STUDYING POETRY WITH BILINGUALS IN A RUSSIAN LANGUAGE CLASS." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 89–98. http://dx.doi.org/10.35634/2500-0748-2020-12-89-98.

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The article is devoted to the problem of studying poetic texts of Russian writers in Russian language classes with natural bilingualism. The aim of our research was to justify, develop and experimentally test the methodology of teaching students to read lyrics, taking into account the peculiarities of perception of fiction texts in Russian by bilingual schoolchildren living outside Russia. The work considers the stages of studying lyrics and skills, which are formed in the process of working on artworks on the example of V. Mayakovsky’s poem “Good Attitudes towards Horses” and its translations into Greek by translators Georgios Moleskis and Petros Anteos, and also substantiates the effectiveness of the methodology used.

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18

Dergachev, M. I. "The plastic age of Russian poetry." Voprosy literatury, no. 3 (June 22, 2021): 89–97. http://dx.doi.org/10.31425/0042-8795-2021-3-89-97.

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Dergachev believes that modern poetry, along with any other art form these days, is going through an identity crisis, which has made it virtually impossible to distinguish true art from a parody of it. It is increasingly more common for journals and literary award short-lists to feature perfectly confusing oeuvre, to whose defense, however, fellow poets and nominating panels jump without hesitation. The author contemplates what criteria could help ordinary readers to orient themselves, and where in-group favouritism comes in. He claims that nowadays preferences of the few tend to shape the so-called ‘elite’ trend, which in turn forces its choice on hundreds of people, and the artificially complicated narrative and the shrinking poetic framework, along with a social or feminist agenda, propel the fact of the author’s position to dominance over the fact of artistic creation. The article offers an opinion about the problems of contemporary Russian poetry and attempts to look at them from an insider’s perspective as well as through the eyes of an outsider, by a blogger who has stayed out of the inner workings of journals.

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19

Chesnokova, E. V. "“Poetry of the Russian word”." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 3 (2020): 380–84. http://dx.doi.org/10.29235/2524-2369-2020-65-3-380-384.

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20

Muranska, N. "SLOVAK POETRY IN RUSSIAN INTERPRETATIONS." RUDN Journal of Language Education and Translingual Practices 14, no. 1 (2017): 102–9. http://dx.doi.org/10.22363/2312-8011-2017-14-1-102-109.

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21

Vickery, Walter, and Evelyn Bristol. "A History of Russian Poetry." Russian Review 53, no. 1 (1994): 124. http://dx.doi.org/10.2307/131303.

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22

Briggs, A. D. P., and Evelyn Bristol. "A History of Russian Poetry." Modern Language Review 88, no. 3 (1993): 812. http://dx.doi.org/10.2307/3735006.

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23

France, Peter. "Edwin Morgan and Russian Poetry." Slavonica 25, no. 1 (2020): 52–61. http://dx.doi.org/10.1080/13617427.2020.1757265.

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24

Scherr, Barry P., and Evelyn Bristol. "A History of Russian Poetry." Slavic and East European Journal 37, no. 2 (1993): 239. http://dx.doi.org/10.2307/309221.

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Terras, Victor, and Evelyn Bristol. "A History of Russian Poetry." World Literature Today 66, no. 3 (1992): 543. http://dx.doi.org/10.2307/40148507.

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26

Feldman, Sara Miriam. "Jewish Simulations of Pushkin's Stylization of Folk Poetry." Slavic and East European Journal 59, no. 2 (2015): 229–45. http://dx.doi.org/10.30851/59.2.004.

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This article examines the prosody and other features of Hebrew and Yiddish translations of Eugene Onegin , which were composed as a part of Ashkenazi Jewish cultural movements in Eastern Europe, Russia, and Palestine. Russian literature played an important role within the history of modern literature in both Hebrew and Yiddish. Translating Russian literature tested the limits of the literary Yiddish and Hebrew languages. Due to the novel’s status in the Russian canon and its poetic forms, translating it was a coveted literary challenge for high-culture artistic production in Jewish languages. I examine this phenomenon using Pushkin’s simulation of folk poetry in the “Song of the Girls.” Due to the different social and textual functions of Yiddish and Hebrew, as well as their linguistic features, translatability of even formal characteristics differed from one Jewish language to another. The changes in Hebrew pronunciation during this period were reflected clearly in the changing limits of the ability of writers to translate Onegin . Though motivated by an inward-facing drive to produce modern and Western literature in one Jewish language or another, these translations were also a manifestation of the cultural bond between secular, East European Jewish intellectuals and Russian literature.

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Polilova, Vera. "Spanish Romancero in Russian and the semantization of verse form." Studia Metrica et Poetica 5, no. 2 (2019): 77–108. http://dx.doi.org/10.12697/smp.2018.5.2.04.

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In this paper, I analyze Russian translations and close imitations of Spanish Romancero poetry composed between 1789 and the 1930s, as well as Russian original poems of the same period marked by “Spanish” motifs. I discuss the Spanish romance as an international European genre, and show how this verse form’s distinctive features were transferred into Russian poetry and how the Russian version – or, rather, several Russian versions – of this form came into being. I pay special attention to the genesis of the stanza composed of a regular sequence of feminine (F) and masculine (m) clausulae FFFm. In Johann Gottfried Herder’s Der Cid, this clausula pattern was combined with unrhymed trochaic tetrameters, but, in early twentieth-century Russia, it emancipated from this metrical form, having retained the semantic leitmotifs of the Spanish romance, as well as its “Spanish” theme. I contextualize other translation equivalents of romance verse and compare them to the original Spanish verse form. I show (1) which forms poets used in translating romance verse and how those forms correlate (formally and functionally) with the original meter. Further, I discuss (2) when and how the trochaic tetrameters rhyming on even lines (XRXR) – originally used in translations of Spanish romances in German and English poetry – became the equivalent of romance verse in the Russian tradition. Finally, I demonstrate (3) how, in Konstantin Balmont’s translations of Spanish poetry, the FFFm clausula pattern lost its connection with trochee. After Balmont, other poets of the Silver Age of Russian literature started using it in original non-trochaic compositions to express “Spanish” semantics.

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28

Franklin, Simon. "Book Review: Russian Studies: The Cambridge Introduction to Russian Poetry." Journal of European Studies 37, no. 1 (2007): 108–10. http://dx.doi.org/10.1177/004724410703700122.

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29

Wanner, Adrian. "A Forgotten Translingual Pioneer: Elizaveta Kul’man and her Self-Translated Poetry." Polylinguality and Transcultural Practices 16, no. 4 (2019): 562–79. http://dx.doi.org/10.22363/2618-897x-2019-16-4-562-579.

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Elizaveta Borisovna Kul’man (1808-1825) is a unique figure in the history of Russian literature, or more precisely, the history of Russian, German, and Italian literature. A child prodigy with formidable linguistic gifts, Kul’man stands out both with her polyglot prowess and outsized literary productivity. At the time of her premature death at age seventeen, Kul’man left behind a vast unpublished oeuvre in multiple languages. The edition of her works published by the Imperial Russian Academy in 1833 contains a trilingual compendium of hundreds of parallel poems written in Russian, German, and Italian. The writing of poetic texts in three languages simultaneously makes Kul’man an early practitioner of what has been called “synchronous self-translation”. Not only are the poems linked horizontally as mutual translations of each other, they also pose as translations of a fictitious Greek source. Kul’man thus combines translation, self-translation, and pseudo-translation into a unified whole. This article discusses the genesis of Kul’man’s translingualism and explores her trilingual poetics in more detail by following the metamorphosis of one particular poem through its incarnations in Russian, German and Italian. It argues that Kul’man’s translingual creativity anticipates more recent developments in twentieth and twenty-first-century poetry produced by globally dispersed Russians.

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Troitsky, Vsevolod Yu. "The idea of the state and popular thought in the poetry of Apollon Maykov." Two centuries of the Russian classics 2, no. 4 (2020): 104–17. http://dx.doi.org/10.22455/2686-7494-2020-2-4-104-117.

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The article examines the reflection and consistent confirmation of the religious and patriotic ideals of the Russian people in the work of Apollon Maykov. The poet’s view of the Russian statehood as a national value is analysed. The deep historicism, topicality and enduring significance of Apollon Maykov’s spiritual heritage are emphasised. The author of the article proves that the image of the Russian state, which was inherent in the spiritual image of the Orthodox people, was originally expected in Apollon Maykov’s poetry, correlated with the organic ability of unconditional personal sacrifice in the name of love, in the name of common needs and interests, in the name of Russia. The fundamental principles of the state-forming concepts of family, fatherland, motherland, and statehood, embodied in Russian literature, are formulated. Special attention is paid to Apollon Maykov’s poems about statesmen (Alexander Nevsky, Ivan the Terrible), their difficult life and fate, inseparable from the history of Russia.

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Huttunen, Tomi. "Montage in Russian Imaginism: Poetry, theatre and theory." Sign Systems Studies 41, no. 2/3 (2013): 219–29. http://dx.doi.org/10.12697/sss.2013.41.2-3.05.

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The article discusses the concept of montage as used by the Russian Imaginist poetic group: the montage principle in their poetry, theoretical writings and theatre articles. The leading Imaginist figures Vadim Shershenevich and Anatolij Mariengof were active both in theorizing and practising montage in their oeuvre at the beginning of the 1920s. Shershenevich’s application of the principle in poetry was called “image catalogue”, a radical poetic experiment in the spirit of both Walt Whitman and Sergei Eisenstein. Mariengof ’s main contribution to the montage poetics was his first fictional novel The Cynics (1928). The article also discusses the Imaginists’ writings on the essence of theatre as an autonomous art form – Shershenevich’s actitivy in the OGT (Experimental Heroic Theatre) and Mariengof ’s participation in the work of the MKT (Moscow Kamerny Theatre).

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32

Kalandarov, Tokhir S. "Tajik Migrant Religious Poetry." Вестник антропологии (Herald of Anthropology) 48, no. 4 (2019): 169–77. http://dx.doi.org/10.33876/2311-0546/2019-48-4/169-177.

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Today there are hundreds of papers published on the problem of labor migration from Central Asian countries, its political, social and economic aspects, as well as on the problem of integration and adaptation of migrants in the Russian society. However, the topic of migrant poetry is still poorly studied in Russia. At least there is no such research on Tajik labor migrants. The genres of Tajik migrant poetry vary significantly and include such forms as love poems, political songs, songs about migration hardships, religious poems. This paper is based on the results of monitoring social networks «Odnoklassniki», «Facebook», as well as on the results of personal communication and interviews with poets. In the paper we use the poems of three authors written in Tajik, Russian and Shugnani languages. The semantic translation from Tajik and Shugnani was done by the author of this paper

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33

Nekrasov, Andrei. "Сэр Бернард Пэрс и Школа славянских исследований в Лондоне". Roczniki Humanistyczne 69, № 7 (2021): 77–90. http://dx.doi.org/10.18290/rh21697-6.

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This article covers the diverse activities of the renowned British historian Sir Bernard Pares on the development of Russian and Slavic studies in the first half of the 20th century. He was the author of several books and a fair number of articles on Russia, edited the journals The Russian Review and The Slavonic Review. Pares also founded the first School of Russian Studies at the University of Liverpool (1907) and served for twenty years as Director of the School of Slavonic and East European Studies at the University of London (1919-1939). Due to his interest in Russian politics, history and culture, frequent and lengthy visits to Russia from 1906 to 1919 and close friendship with many Russian liberals, his appointment as an official observer to the Russian army in 1915 and as a British representative to Kolchak’s army during the Civil War, Pares became one of the most authoritative British experts on Russia and rightfully assumed the position of Director of the School of Slavonic Studies. This article pays close attention to various financial and administrative problems that Pares had to cope with as the Director of the School. The author concludes that Bernard Pares’ role as a promoter of all things Russian, a translator of Russian poetry and prose, a researcher into Russian history and an organiser of Russian and Slavonic studies in Britain was indispensable.

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TERBISH, BAASANJAV. "Russian Cosmism: Alien visitations and cosmic energies in contemporary Russia." Modern Asian Studies 54, no. 3 (2019): 759–94. http://dx.doi.org/10.1017/s0026749x17001123.

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AbstractThis article is about a cultural-philosophical movement called Russian cosmism (Russky kosmizm) and its current status in the Republic of Kalmykia, southwest Russia, home to Buddhist Kalmyks, a people of Oirat-Mongol origin. Emerging in Russia in the early twentieth century and suppressed during the Soviet period, this movement proliferated openly across Russia with the beginning of perestroika. Promulgated as an original product of the Russian mind, cosmism positions itself as a ‘science of the truth and soul searching’ and purports to address various issues, including—but not limited to—the spiritual, psychic, and paranormal anxieties that are on the rise in Russia. Although Russian cosmism is an all-encompassing movement combining various elements of theosophy, philosophy, poetry, theories of evolution and energy, astrology, cosmology, ecology, and even science fiction, this article focuses upon its more cosmic topics—that is, those that are related to outer space, cosmic energies, and alien visitations, as well as responses to these ideas in Kalmykia. The story of Russian cosmism is not just a story of this particular movement, but also that of science in Russia.

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Jasiūnaitė, Birutė, and Jelena Konickaja. "Metaphors of winter natural phenomena in Lithuanian and Russian poetic texts." Lietuvių kalba, no. 13 (December 20, 2019): 1–16. http://dx.doi.org/10.15388/lk.2019.22484.

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The present article is devoted to metaphors of winter natural phenomena, that is frost, ice and hoarfrost, in Lithuanian and Russian poetic texts that mainly come from the 20th century. The metaphors have been identified on the basis of poetry collections, anthologies, children's poetry and the Russian language corpus (363 metaphors in total from 53 Russian and 44 Lithuanian poets’ works). The researchers rely on previous experience in the analysis of metaphors of natural phenomena. Thus, the article considers five groups of metaphors: 1) a natural phenomenon is a living creature or a part of it; 2) frost, ice and hoarfrost are objects (phenomena) of inanimate nature; 3) a winter phenomenon is an object from the social sphere; 4) frost, ice and hoarfrost are abstract objects; 5) some other metaphors. The comparison of the metaphors in two poetic languages has shown both significant similarities and striking differences. The similarity consists in the fact that subject metaphors are most often utilized in poetic texts, as well as anthropomorphic, zoomorphic and biomorphic metaphors. The differences are explained by the lack of metaphors in one of the systems that are presented in the other one, for instance, in Lithuanian poetry there are no metaphors of ‘frost’ as smoke and ‘ice’ as mica, while Russian poets do not use metaphors, such as ‘a winter phenomenon of nature’ is a means for lighting, or ‘icicles’ are a clock that is characteristic of Lithuanian poetry. In Russian poetry, there is a branching group where ‘a winter phenomenon’ is metal, a precious stone, and in Lithuanian poetry there is a group of ‘frost (ice, hoarfrost)’ that is a sharp cutting object. The differences between the two poetic systems are also associated with connotations: in Russian poetry, unlike Lithuanian, metaphors of winter natural phenomena quite often have positive connotations. At the end of the article, a scheme is presented that reflects the results of the analysis.

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Poliakov, Nikolai S. "“My Rap Is a Prayer but with a Razor in the Mouth”: Religious Themes in Russian Rap." Study of Religion, no. 3 (2019): 110–16. http://dx.doi.org/10.22250/2072-8662.2019.3.110-116.

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The paper presents the analysis of religious themes in the lyrics of Russian rap artists. The songs of such musical groups and artists as “Kasta”, Detsl, FACE, Husky, Noize MC, “Sol’ Zemli”, “25/17” are considered. The article proves that rap in Russia has become a significant cultural phenomenon, and the lyrics of rap artists can be interpreted as poetry, inscribing it in the tradition of Russian literature. The article demonstrates that in Russian rap we can find such religious themes as God-seeking, anti-clericalism, criticism of religion as an institution, philippics against its individual representatives, a premonition of the coming Apocalypse, expressing a general sense of impending disaster. Musicians sensitively capture the atmosphere of the era and reflect it in their lyrics. Despite the fact that rap is a new form of art, in the world’s poetic tradition, dating back to the biblical texts, is reflected the works of Russian rap musicians, and at the same time it has a clear and sharp social character.

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Khaliullin, Karim R. "“Hymn lyric-epic on driving out the French from the Fatherland” by G.R. Derzhavin as a prediction of the ideological turn of 1813–1815." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2021): 57–61. http://dx.doi.org/10.20339/phs.4-21.057.

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Based on the analysis of the poem by G.R. Derzhavin “Hymn lyric-epic on driving out the French from the Fatherland”, the article demonstrates how this text predicted the changes in the state rhetoric and ideology of the Russian Empire in 1813–1815. Creating this text as an ideological poem and developing the motive of the Russian people there, Derzhavin left the civil understanding of it widespread in poetry during the Patriotic War in which people are recognized as an autonomous figure in history, independent of either the tsar or God and gave the motive a biblical dimension: opposition of Russia and France are compared to the ontological battle of divine and demonic forces. In “Hymn lyric-epic …” the idea of messianism of the Russian people sounds louder than in other modern poems. Moreover, Derzhavin's poem was one of the first, in which the plot of the Patriotic War of 1812 is clearly, voluminously and consistently set out: from the awakening of Napoleon (“Dragon or the serpentine demon”) to the final triumph of the Russians chosen by God and led by the archangel-like Mikhail Kutuzov, and the flight of the French emperor from the borders of the Russian Empire.

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Zinov’eva, N. V. "SPECIFICITY OF POETRY IN THE MAGAZINE OF THE RUSSIAN EMIGRATION “CHISLA” (“NUMBERS")." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (2020): 511–19. http://dx.doi.org/10.35634/2412-9534-2020-30-3-511-519.

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In this article the author examines the features of the form and content of poetic works in the literary and artistic magazine of the Russian emigration “Сhisla” (“Numbers”). The purpose of this article is to examine the poetry of the magazine “Сhisla” in the unity of the ideological and aesthetic position of the authors and their artistic practice. This poetry is closely connected with the creative, religious and philosophical searches of the Russian abroad of the 1930s and almost unknown in modern Russia. Through art that hides nothing, through creation-confession, to break through to the transcendent, to know oneself, to reach God (the Creator) - that is the highest task of the young authors of “Numbers”, which found its direct expression in theoretical articles by B. Poplavsky, L. Kelberin, A. Alferov. The authors of “Сhisla” try to solve the same problems in their lyrics. From here, motifs of prayer and conversation with God and the striving for full sincerity of creativity appear in the poems of young emigrants. The statements and conclusions contained in this article may be useful not only for students and teachers, but also for people interested in the literature and spiritual life of the Russian abroad.

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Voloshina, O. A. "The poetry of science and the science of poetry (about the scientific and poetic heritage of M. V. Panov)." Russian language at school 82, no. 2 (2021): 90–99. http://dx.doi.org/10.30515/0131-6141-2021-82-2-90-99.

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The article examines the scientific and poetic creativity of the outstanding Russian philologist Mikhail Viktorovich Panov. The author analyses Panov’s ideas formulated in the course of lectures on the language of Russian poetry, emphasizing that, for Panov, the development of the Russian poetic language relies on the movement of poetic forms embodied at the level of phonetics, verbal and figurative series of literary works. The dynamics of poetic form is determined by poets’ desire to search for new and unexpected forms of poetic language; however, this search frequently follows the path of repeating familiar poetic formulas or their conscious displacement (shift). Panov-the researcher finds a scheme or matrix for describing a wide variety of poetic trends and styles, offering a scientific classification of poetic techniques. However, having a poetic talent, Panov was able to discover poetry in science, which he adored. The author of the article analyses several of Panov’s poems about life and war (of which he was a participant), about science and scientists. Linguistics and scientific ideas formulated by linguists became heroes of Panov’s poetry. Therefore, Panov’s work intertwined the approach of both a scientist and a poet: he finds science in poetry and poetry in science.

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Karlova, Olga A. "The Mindset of Russian Poetry and Its Rebellion against Russian History." Journal of Siberian Federal University. Humanities & Social Sciences 9, no. 2 (2016): 358–73. http://dx.doi.org/10.17516/1997-1370-2016-9-2-358-373.

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Lobin, Aleksandr M. "The Poetry of the Russian Novel." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 4 (2020): 483–85. http://dx.doi.org/10.18500/1817-7115-2020-20-4-483-485.

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The monograph under review explores the poetics of the Russian novel of the first half of the 20th century. The author focuses on the titular sphere of the works and their inner organization, as well as the rhythm of the composition.

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Zinurova, E. S. "INTERTEXTUALITY IN THE MODERN RUSSIAN POETRY." RUDN Journal of Studies in Literature and Journalism 22, no. 2 (2017): 256–66. http://dx.doi.org/10.22363/2312-9220-2017-22-2-256-266.

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Zinurova, E. S. "DIVERSITY OF THE MODERN RUSSIAN POETRY." RUDN Journal of Studies in Literature and Journalism 23, no. 3 (2018): 293–301. http://dx.doi.org/10.22363/2312-9220-2018-23-3-293-301.

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Petrochenkov, Valery, Kent Johnson, Stephen M. Ashby, Alexei Parshchikov, Andrew Wachtel, and Mikhail Epstein. "Third Wave: The New Russian Poetry." Russian Review 54, no. 1 (1995): 126. http://dx.doi.org/10.2307/130788.

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Friedberg, Nila, and Michael Wachtel. "The Cambridge Introduction to Russian Poetry." Slavic and East European Journal 50, no. 4 (2006): 695. http://dx.doi.org/10.2307/20459373.

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Briggs, A. D. P., and Barry P. Scherr. "Russian Poetry: Meter, Rhythm and Rhyme." Modern Language Review 83, no. 3 (1988): 807. http://dx.doi.org/10.2307/3731410.

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Worth, Dean S., and Barry P. Scherr. "Russian Poetry: Meter, Rhythm, and Rhyme." Slavic and East European Journal 33, no. 3 (1989): 448. http://dx.doi.org/10.2307/308732.

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Pyman, Avril. "Russian poetry and the October revolution." Revolutionary Russia 3, no. 1 (1990): 5–54. http://dx.doi.org/10.1080/09546549008575542.

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Hoover, Marjorie L., and Gerald S. Smith. "Contemporary Russian Poetry: A Bilingual Anthology." World Literature Today 68, no. 1 (1994): 158. http://dx.doi.org/10.2307/40149994.

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KUKULIN, ILYA. "Documentalist Strategies in Contemporary Russian Poetry." Russian Review 69, no. 4 (2010): 585–614. http://dx.doi.org/10.1111/j.1467-9434.2010.00583.x.

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