poetry

The article analyzes the poem by Nikolai Zabolotsky A City in the Steppe, which was written by the poet after returning from exile in 1946. The poem unfolds before the reader a grand panorama of the Kazakh city of Karaganda. The city appears as a kind of epic and even mythological City that has replaced the timeworn era. It is shown that there are several metaphysical layers in the plot of the poem: along with the description of the real city of Karaganda, the biblical symbolism of both the Old and New Testaments is present in the text.

The article considers the image of the Virgin, presented in the poetic world of one of the greatest poets of the second half of the 20th century, Semyon Lipkin. The organic religious commitment inherent in his poetry is realized, first of all, in the cultural space of the Holy Scripture. Being, in a way, in between the two Testaments, the poet in his worldview is rather inclined to favor the New Testament understanding of suffering and sorrow, life and death. The image of the Virgin becomes one of the bearers of the New Testament gospel.

In an article dedicated to the poetic heritage of G. G. Kasmynin, an attempt is made to determine the artistic and philosophical paradigm of metaphor in the poet’s creative method, the metaphorical picture of the world of his poetry is actualized, opposing the time of decay, the tragic consept of the historical frontire, when the author’s talent reached its peak.

The article analyses the units of time code, shows the ways of their representation in the poems by Elena Shvarts. Special aspects of how this code functions in the author’s artistic world are considered. A correlation is established between the choice of a particular option of the time code and the poet’s artistic task.

The article describes oppositions of spatial code and shows the ways of its representation in the poems of Elena Shvartz. Special features of how the spatial code functions in the author’s artistic world are also considered. The correlation between the poet’s choice of a particular spatial opposition and the artistic message is identified.

The article analyzes a variety of different forms of interaction between Dance and Poetry in Dadaist art and explores the common sources of poetics and dance-theory-transformation in the historical avantgarde. The mutual influence of Dance and Poetry is based on the avant-garde artists’ interest in ‘primitive’ mentalities and a search of syncretic language that combines verbal and corporeal expression. The representation crisis and the reinterpretation of the concept of rhythm caused the invention of intermedial poetic-dancing forms.

The article considers the features of the cultural dialogue of two generations – the 1970’s and 1990’s. The poems of E. Shvartz and A. Gorenko are analyzed, world-view and aesthetic attitudes that are key for the two generations are indicated. Also the paper reveals the difference in understanding the tasks of the creator and the purpose of the creative act.

The article discusses the critical responses of N. Ya. Abramovich devoted to the work of the brightest representative of the Russian female poetry of the 19–20th centuries, M. A. Lokhvitskaya. Deep and extraordinary assessments of the critic seem to be a significant milestone in the comprehension of her lyrics, and play a significant role in determining the place of the poetess in the literary space of the era.

The article deals with the poetic cycle by Alexander Revich Son of man. It is shown that the poet comprehends his own existence through the prism of Evangelical good tidings. The earthly life and suffering of Jesus Christ is the ‘archetype’ for a man who has embarked on the path specified in the New Testament. The meaning of it all is ‘iconically’ revealed as the man’s realization of his godliness: from birth to death and resurrection into eternal life.