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Abstract: In this paper the author discusses the occurrence and the (actual and potential) meanings of the non-prepositional instrumental in Pavel Filonovʼs poema ‘Propeven’ o prorosli mirovoiʼ. [Copyright &y& Elsevier]

Abstract: In this paper the author examines Ryzhii''s connections with a variety of poets-predecessors, primarily Blok and Georgii Ivanov, but also Nikolai Rubtsov and Sergei Esenin. Traces from these poets can be observed in much of Ryzhii''s poetry. [Copyright &y& Elsevier]

Abstract: In this paper the author discusses the role of music in Ryzhii''s poetry in various respects: as a motif that occurs frequently in his poems, in the form of songs, musical instruments, musicians, but also at the level of Ryzhii''s “philosophy of music” and as an equivalent of poetry itself. [Copyright &y& Elsevier]

Abstract: In this paper the authors focus on connections of Ryzhii''s poetry with earlier poets (Pushkin, Lermontov, Pasternak, Samojlov) especially with respect to metapoetic statements within their poetry. A special role here is played by music, both as theme and as constructive principle. [Copyright &y& Elsevier]

Abstract: In this paper the author comments on a number of poems by Ryzhii, in particular on the “reality value” (and its irrelevance) of three poems on a single theme. The author, a friend of Ryzhii''s, can judge this aspect of Ryzhii''s poetry well and concludes that in some cases Ryzhii “distorted” reality for his poetic purposes. [Copyright &y& Elsevier]

Abstract: We analyze two Tiutchev poems of the same title ‘Bessonnitsa’ (‘Insomnia’) (further B1 and B2) written in 1829 and 1873, in comparison with each other, as well as in connection with their poetic prototype found by L.V. Pumpianskii in Derzhavin''s ode ‘On the Death of Prince Meshcherskii’. The main goal of this paper is to reevaluate Tiutchev''s poem (B2) entitled ‘Insomnia: The Night''s Passing Moment’. B2 is shown to be a variation on the most famous early poem B1, whose main theme, lexicon, rhyme vowel structure and a system of vowel sound repetition (assonance) are explored in B2. Many features of B2 prove the novelty of its genre and composition. Tiutchev''s poem B2 turns out to belong to so-called “suggestive” poetry. Within the synaesthetic composition of B2, there are four parallel lines of images (temporal, spacial, auditory, and visual). The three-part composition of B2 is built similarly to a musical form; its focus on the vowel repetition in the sound texture indicates the “musicality” of Tiutchev''s late poem (the most characteristic feature of suggestive lyrics). [Copyright &y& Elsevier]

Abstract: In this paper the author investigates Tiutchev''s ‘Pominki’, a translation of Schiller''s ‘Das Siegesfest’. The date of writing is uncertain and factors are considered that could narrow it down. The literary and political contexts of Tiutchev''s ‘Pominki’ are outlined. They comprise Zhukovskii''s earlier translation of Schiller''s poem, which, perhaps, Tiutchev sought to emulate, and also Zhukovskii''s translation of the Odyssey. All of this is considered against the background of the events in Europe in 1848–1849 and their repercussions in Russia. [Copyright &y& Elsevier]

Abstract: The paper explores two almost paradoxical aspects of Tiutchev''s work, which characterize Tiutchev on the one hand as a poet, on the other hand as a thinker. As a poet Tiutchev is interested in daily life: from events of great political importance to small, insignificant incidents. Hence his predilection for fragmentariness and improvisation, epigrams and bon mots. Tiutchev the thinker seems to be far removed from the present and proves himself to be a disciple of Greek philosophers. [Copyright &y& Elsevier]

Abstract: The Latin epigraph to F.I. Tiutchev''s poem “Pеvuchеst'' еst'' v mоrskikh volnakh…” (1865) is known as a version of a poetic line which belongs to the Roman poet Decimus Magnus Ausonius (310–394). This paper proposes a hypothesis which explains why the name of Ausonius does not appear under the epigraph. It shows how certain words within the epigraph, and some poetic techniques associated with the name of its author, as well as his name as such, strongly influence the text of Tiutchev''s poem on various levels. Ausonius''s experiments, and the exploration of such compositional devices as anagram, acrostic, telestic, and mesostic happen to affect Tiutchev''s poetic technique, especially in the rhymes and in the final stanza. In the light of this study it becomes clear that the tradition of publishing just three out of the four stanzas may be harmful to both the poem''s composition and its meaning. [Copyright &y& Elsevier]

Abstract: In this paper the author sketches the representation of concepts of time and number as constituents of calendars in ancient texts (the Babylonian epic Enuma Elish, the Bible, Hesiod''s Works and Days). In the second part the author explores the role of (calendar) units of time (dates, weeks, months, years) in the poetry of Khlebnikov, Pasternak, Kharms and Zabolotskii. [Copyright &y& Elsevier]

Abstract: In this paper an analysis is presented of the 1920 poem “The Woollen Needles of Death...” by Riurik Ivnev, a poet who combines elements from the Symbolist tradition with Imagism, with which he was affiliated. The author demonstrates the tension between the literal and metaphorical significance of the poem''s imagery, in particular with respect to bodily and physical motifs. Special attention is given to the multifaceted roles of the addressee(s) within and without the poem, the blurring of which is characteristic of avant-garde poetics. [Copyright &y& Elsevier]

Abstract: This paper discusses Bitov''s lyrics, mainly with respect to versification and the connection between his prose and poetry. The unusual metrical-strophical and rhythmical organization of his poetry allows us to surmise that it is oriented neither towards contemporary nor towards obvious traditional models, which can be explained by viewing it in the cultural context of the second half of the twentieth century. The link between Bitov''s prose and poetry can be called “conceptual continuity”, since many of his poems have a counterpart in his prose. [Copyright &y& Elsevier]