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The study of language itself is a means of communication between the poet and the reader. It aims to show the creative aspect of the text through several functions, the most important of which is the subject of current study (the emotional function), the essence and purpose of which is the existence of an stimulus to issue a decision after the mind realizes that incentive. The poem, with its content, appears in an artistic form that the poet expresses in an unusual language. Its goal is to violate the usual system because the poetic image is nothing but an expression of a psychological and emotional state that the poet suffers as a result of a daily life situation. Any image within a work of art carries a feeling and performs the same function as the other partial image. The sum of these images constitutes the overall image that the poem ends with. From this principle, the subject of research began in clarifying the emotionalism of the nineties poet. So that the researcher can know the nature of his poetic language and translate it through poetic texts in which there was a lot of emotion and in which there was no calmness and satisfaction with everything that was available. [ABSTRACT FROM AUTHOR]

The article outlines the main ideas of a research project aimed to create scholarly papers and databases reflecting the formation of the Russian rhetorical tradition. Up to now, literary norms of the Russian language have been studied either in relation to syntactic structures severed from the living practice of versification, or in terms of rhetorical techniques typical of individual literary schools. The main goal of the project is not only fixing, describing and interpreting the techniques for enhancing speech embellishment and expressiveness as such and identifying the main trends in the field of composition and quantitative data about the use of tropes and figures of speech by the poets of the 18th century, but also analyzing the theoretical recommendations of the first Russian treatises on the art of eloquence, based on the rich tradition of ancient and modern European rhetorical manuals, in their correspondence with the real poetic practice of the Russian poets. The sources of the study include “De arte Rhetorica. Libri X” by F. Prokopovich, guides to eloquence by M. V. Lomonosov, some other rhetorical works of the 18th century, as well as poetic works by F. Prokopovich, A. D. Kantemir, and M. V. Lomonosov. The methods used in the course of the project research and within the framework of the interpretation of the material of this article make it possible to ensure close interaction between the linguistic, linguopoetical, linguo-stylistic and critical literary approaches to the analysis of a literary text. In the 18th century, in the era of the formation of the Russian national language and Russian literature, rhetorical culture was the only current normative basis for the formation of new general literary rules and the genre-stylistic system, and the process of trope and figure of speech unfolding in artistic text was carried out along with the expansion of the potential of the lexical and the grammatical subsystems of the language. The creation of a database that demonstrates the specific features of “rhetorical portraits” of the most famous poets and rhetoricians of the era of the Russian baroque and classicism – Feofan Prokopovich, Antioch Kantemir, Mikhail Lomonosov, Vasily Trediakovsky, Aleksandr Sumarokov – may become an important result of the project.

This paper contains a review the collection of articles, published after the Second International Scholarly-Literary Readings dedicated to the 100th anniversary of one of the most significant figures of unofficial Russian-language poetry in Belarus, the poet V. Blazhenny (1921–1999). The book comprises 11 research articles, translations of his poetry and three appendixes, including archival and illustrative materials to the articles. The scientific level of the collection demonstrates that a separate field of literary criticism devoted to the study of the creative heritage of the Belarusian poet has been established. The authors of the articles successfully develop such areas as motif studies, comparative studies, versification studies and translation reception, relying on archival documents and the cultural and literary context of the time.

The article deals with the symbol of the HOUSE as a language culture unit, which considerably influences the nature of artistic creativity. It shows that the structure of the content of Shakhrin’s lyrics of the song “From the War” is formed by the author on the basis of creative variation of the invariant semantics of the HOUSE symbol that fixes cultural and subcultural ideas about the world. The purpose of the study is to discover the forms of the influence of the symbol of the HOUSE on the generated text. The research was carried out at the intersection of linguopoetics, cultural linguistics, discursive linguistics and linguistics of creativity. The author proceeds from the fact that Russian rock poetry is oriented not only towards aesthetic, but also towards creative and cognitive tasks of the world understanding and its reflection in the lyrics. To achieve these goals, the authors of the texts of the Russian rock culture use the mechanisms of speech generation that go beyond the limits of models based on rules, in particular, on associative valency. Russian rock poetry as a symbolic practice puts the author in the situation of cognitive and nominative deficit, in which the word as a carrier of conceptual meaning does not allow revealing the depth of ideas about the world and endowing the world events with existential meaning. A philological analysis of the lyrics of Shakhrin’s song “From the War” shows that they are built around the contradictions inherent in the semantics of the symbol of the HOME. At the same time, the narrative character of the semantics of the symbol predetermines the narrative character of the lyrics. The reference to the central symbol of the text involves other units of the culture code in it. The actualization of the symbolic code gives the text the transpersonal character of a parable and a myth. This facilitates the correlation of the aesthetic and ideological components of the text content. The symbol provides creative freedom, removing the limitations of the logic of relations between objects. This, in particular, allows the author to introduce irrational, mystical lines into the text. The multidimensional nature of the semantics of the symbol creates the effect of the three dimensional narrative due to the combination of different points of view (the author, the main and secondary characters), allows the author to project various plans for the perception of space, time, and properties of objects onto each other, specifically in a synesthetic key. The results of the study complement the ideas about the creative activity of Shakhrin and can be used both for comparative theoretical analysis and in the practice of teaching philological text analysis at a university.

Purpose. The proposed article is devoted to linguistic intensification (intensity) in the German poetry. In this paper, the main lexical and phraseological means of expressing the amplification of meaning are considered, the structural and semantic characteristics of the intensifiers are presented and their stylistic potential is also established. Methods or methodology of the work. The basis of the research is formed by the continuous sampling method in the selection of practical material as well as the method of descriptive linguo-stylistic analysis. Results. The results of the study showed that the intensification of expressiveness and expressiveness of meaning, as well as the effectiveness of utterances can be achieved by lexical units (adverbs, adjectives) and a number of phraseological units (comparative constructions, paired combinations of words, prepositional-substantive language units), which serve potential function being a powerful linguistic tool in expressing emotions, feelings, state of mind, will of romantic poets. Application area. The results of the research can be used in the teaching of such linguistic disciplines as lexicology, phraseology, stylistics, as well as in translation activities.

The article deals with the problem of correlation between the poetic text and the video footage in modern video poetry. Despite the fact that this topic has already been touched upon in one way or another by researchers of the new direction in media art, not all issues have been resolved. Examples from the archive of the Fifth Leg video poetry festival (organized by E. Troepolskaya and A. Rodionov) are used for discussion in this article. The study considers the following types of video poetry: a video record of the author's reading; a video illustration or video clip based on a poem; a footage presented as a new interpretation, or as a “secondary” text, created on the basis of the “primary” one; a video production which initially, at the stage of planning already, combines poetic and visual components. Modern video poetry at a new stage in cultural history continues the idea of Gesamtkunstwerk, which inspired romantics (Goethe, Byron, Wagner) and symbolists, as well as the verbal-visual experiments of avant-garde artists. In contrast to the art of romanticism and “high” modernism, video poetry is democratic and in the form of its online existence it opposes the art market and enjoys a certain freedom of self-expression. In general, video poetry can be considered one of the new reading practices that are attractive to the generation of visuals. At the same time, video poetry faces difficulties due to the differences between the languages of the verbal and visual forms of art. The verbal characteristic does not pretend to be understood literally, and the visual “subtitles” only simplify the content of the poem. The language of poetry is metaphorical; therefore, the footing should be highly semiotic. The solution to the problem of the embodiment of the lyrical subject is also difficult: expressed in the text, as a rule, by a pronoun, the lyrical subject can hardly be visually substituted for by a concrete character of the video footage. Finally, a special problem is associated with the relationship between the poetic rhythm and video editing. Variants of the solution of the above mentioned issues in the videos of R. Osminkin (the poem “Life Passes By”), O. Yagodin (the poem by Mandelstam “Cinematograph”), A. Tolkacheva (“Fragments of Disappearance”) are considered in this article. Concrete examples convince us that there should be a “gap” between the verbal and visual components in video poetry, and that a new meaning arises as a result of experiments precisely on the borderline between literature and cinema. The key methods for visualizing a poem include the dissimilarity of the subject of the lyric expression and the change of the cultural context.

The article discusses approaches to a holistic analysis of poetic texts of the 21st century at Literature Olympiads. The main aim of this academic activity of senior schoolchildren is to teach them to demonstrate their own understanding of a poem through considering it as an integral unity of elements and analyzing the most essential features of its artistic structure. The author answers the following questions: what knowledge, skills, competences are tested by assignments on contemporary poetry? What poetics features of modern literature require special attention and how to teach senior schoolchildren to carry out analysis correctly? How can “Olympiad” poetry be of interest to a modern secondary schooler? On the material of the poems by Polina Barskova, Alexei Tsvetkov and Vladimir Gandelsman the article shows possible ways of text analysis that have formed in practical work – primarily in the Sirius educational center (Sochi). The author uses P. Barskova’s poem “Happiness” (2001), included in the tasks of the final stage of the 2019 Literature Olympiad, to show the methods of work with subtext / intertext and subject structure. The relationship between the object-based and symbolic plans, of the empirically “true-to-life” plot and the biblical subtext are in the focus of attention during the analysis of A. Tsvetkov’s poem “The experience of the end of the world” (2019). V. Gandelsman’s poem “In the morning, right after dawn, I am at the foot…” (2018) was offered to students at a trial competition in “Sirius”. The article contains excerpts from the works of secondary school students, showing how they interpreted the poem.

The article considers the role of songs and poems in English lessons in the elementary classes. It is difficult to imagine teaching English without methodical approach assongs and poems. Songs can develop a special interest and motivation of junior school students is learning English language. The song is a valuable educational material that develops not only verbal skills, but also the creative and informative abilities of the junior school students. An easy and relaxed method will help to quickly memorize new words and grammar building. A good song improves the mood and helps to relax or, on the contrary, to energize. [ABSTRACT FROM AUTHOR]

The modern development of literary education involves the search for innovative methods of work with texts of fiction – this, in turn, determines the urgency of this study, as well as the need for humanization of education, spiritual and moral improvement of the senior secondary school student with the aim of upbringing a socially responsible and practically oriented person. The problem of using interpretation tools in analyzing a literary work is especially urgent, and this includes various ways of introducing musical interpretations into the structure of literature lessons, so a detailed consideration of musical interpretation as a means of lyric text analysis is necessary. In particular, this is due to the vision of the poetry of Russian symbolism as a separate category that uses the principle of “musicality” as a basis and requires clarification in the framework of school curriculum. The experimentally obtained data have confirmed the relevance of the topic chosen and have allowed outlining prospects for further research in this area. This article describes the use of musical interpretation, integrated into a comprehensive system of comparative and intertextual analysis, with reference to certain works of Russian symbolism and its philosophical concept, explicated by the activating means (symbols) designed to carry out the systematic inclusion of “conceptual content”. In the 11th grade, each particular student or the whole group of students have an individual understanding of the text through musical interpretations. This is combined with the developmental and psychological characteristics of secondary school students, who tend to improvise in the choice of various musical interpretations of the poem. Taking personal characteristics of senior secondary school students into consideration, it is necessary to pay special attention to what own musical interpretations a student can offer or create in the learning process. On a theoretical level, the article presents a variant of realization of a musical interpretation while working with K. D. Balmont’s poem “I am a wild wind, I blow eternally...” (1897) within an optional course designed for secondary school students with a humanitarian bias. The practical part presupposes testing the materials available and evaluating the empirical data.

Thispaper examines different types of written poetic texts, both manuscript and printed, that circulated in various shapes, formats and media during the 18th century in New Spain. Beyond playscripts themselves, texts are related to the theatre of the time, to poems written by actors and other people in the trade, to showbiz gossip. From these texts emerge some figures and representations that conforms the New Spain social imaginary. RESUMEN: Este artículo presenta diferentes textos poéticos, tanto impresos como manuscritos, que se divulgaron por distintos medios, formatos y soportes (entre los cuales el pliego de cordel) durante el siglo XVIII en la Nueva España. Más allá de los propios textos dramáticos, se trata de textos relacionados al teatro de la época, desde las ideas y concepciones acerca del mismo, hasta poemas escritos por la misma gente de teatro, pasando por chismes de la farándula. De dichos textos emergen algunas de las figuras y las representaciones que conforman el imaginario social que en ese momento rodeaba el teatro.

The author of the article argues that a discussion in high school literature classes of contemporary Russian lyrical poetry that includes intertextual allusions to the literature of earlier periods is a means to stimulate a thoughtful, “philological’’ approach to the text and, at the same time, a way to actualize the material already studied in the course on the literature of the 18th-20th centuries, thus preparing the students well for graduation exams. In the course of the discussion of lyrical texts of contemporary poets, it’s possible to begin a conversation about the lyrical works of Derzhavin, Lomonosov, Pushkin, Lermontov, Blok, Mandelshtam and others. Models are proposed for the study in high school classes of the poems of two contemporary authors (A. S. Kushner and K. Arbenin), combining the themes of creativity and poetry. Studying the poems during the lessons (using a frontal, group approach), it’s possible to learn not only the particular qualities of the lyrical text (the important in the small space of a lyrical work ‘conflictuality’ among elements of the artistic form – details of objects, words belonging to different stylistic registers) but also the functions of quotation in artistic texts: for A. S. Kushner, quotation is a way to create composite image of literature and culture, while for Arbenin, it’s a means to highlight the ‘conventional,’ that which the poet seeks to overcome in the search for his ‘own’ word.

The main subject of study in this article is the internal conflict of the tragedy of A. S. Pushkin “Mozart and Salieri”. The object of the study is the rhythmic composition of the text in a broad sense, including the alternation of replicas of the main actors and the so-called “musical replicas” introduced by the author’s remarks. They are considered in the historical and cultural context of the rhetorical tradition, the oblivion of which inevitably led to the subsequent “recoding” of the semantic constants of the text of the tragedy. The paper questions the stereotype of Mozart as a protagonist and Salieri as an antagonist in the development of a tragic conflict. The proposed critical, and later literary reconstructions of the internal logic of the origin and development of the conflict in Mozart and Salieri are devoid, in our opinion, of the most important component – tragedy, assuming the fundamental insolubility of the dramatic conflict. This fact is one of the reasons for the “genre rethinking” of “small tragedies” in the studies of the last quarter of XX – early XXI centuries, the desire to see them in the connection (and even the displacement) of the dramatic view of the world lyrical or epic. Additional motivation for a new interpretation of the tragedy is the fact that the traditional consideration of Salieri as the antagonist, inevitably confronts the tragedy of the other three, where the protagonists – albert, the don Juan and Walsingham – embody the intimate and personal, the autobiographical the beginning. A special burden in the rhythmic development of the conflict is the inverse relationship of “musical” and “verbal” replicas. On the one hand, it is the decreasing volume of Salieri’s monologues and the increasing volume of musical excerpts. On the other hand, the dynamics of emotional dominants: the solemn pathetic of Salieri’s first monologue is replaced by the passionate instability and internal polemics of the second and the desperate confusion of the third, while Mozart’s music sounds first in the “parody” version, then – as a dramatically tense fragment and, finally, as a solemn mourning music.

Three unfinished texts by Akhmatova (“Poem without a Hero”, sketches of a ballet libretto for “A Poem without a Hero” and “Prose about a Poem”) became the object of the paper. According to our hypothesis, these works go back to a primary idea, the traces of which are found in their poetic semantics. Hence, the goal of the study is to identify the “residual” traces of this idea in the texts, to trace the dynamics of its implementation and to determine the ways of its implementation in the semantic structure of these works. Being formed at the junction of literary studies and psychology, the goal predetermined the methodology related to the psycholinguistic researches. The methodological base of the article was the idea of N. I. Zhinkin on the “language of inner speech” as a material substrate of primary conception of utterance. The paper shows that the non-verbal sensual components of the “Poems without a Hero” primary conception, associated with visual and auditory onset, were enhanced in texts. The deployment of a polymodal primary conception in different modes into a linear speech product is accompanied by the inevitable loss of meaning. In order to compensate for the loss of meaning when translating an internal image into a verbal plan, Akhmatova uses three strategies: semantic, communicative and intertextual. Semantic strategy includes the nominative aspect, involving the use of images, which, by the degree of saturation with personal meanings, are similar to the inner word, and the plot aspect, which implies the connection of polymodal images with different plot deployment options. Intertextual strategy appears as a means of fixing the original non-verbal meanings. Communicative strategy, connected primarily with the “Poem without a Hero”, causes Akhmatova’s close attention to the reader’s reception, which is caused by the complex polymodal specificity of the Poem’s text in relation to which Akhmatova herself becomes a reader. Thus, the heterogeneity of the original units of the common idea, to which the analyzed works go back, dictates a mixture of genre-generic modes, determines the semantic structure of their images, and determines the fundamental incompleteness of these texts.

The article reviews the two-volume book “Studies in the History and Theory of Literary Translation” by E. G. Etkind, the first volume of which is the monograph “Poetry and Translation” (1963), and the second one contains 11 articles published in different years. The publication of the book was timed to coincide with the centenary of the birth of E. G. Etkind (1918–1999), a Leningrad professor, literary critic, translator, and scholar who played a significant role in the development of the aesthetics of poetry translation. From 1974 the scholar was in forced emigration and until 1985 his name was banned, and all his works were withdrawn from libraries. The monograph examines the criteria for the accuracy of translation, depending on the belonging of the original text to the artistic method of classicism, romanticism or realism. It is important in the work of a translator to be aware of the style, metric characteristics, and structure of the verse under translation, for which the translator must have not only knowledge of literature, but also of history, culture, and geography of foreign countries. The second volume contains articles on the history of Russian translated poetry and the history of French poetry in Russian translations. The main focus of the articles is on the analysis of the literary translation activity of the most significant poets and translators of the 20th century: M. Lozinsky, S. Marshak, B. Pasternak, etc.

This special issue of the Journal of Sufi Studies attempts to make the case that the act of translation is best seen as a recurrent activity necessitated by the various changes that inform the interpretation of Sufi texts on the one hand, and the languages and cultures that receive them on the other. The nine Sufi texts featured in this collection illustrate the diversity of genres and variety of languages in which they have been written, thereby pointing up the distinctive hermeneutic potentials of translation theory and practice when these texts are rendered by experts into modern European languages, particularly English and French. [ABSTRACT FROM AUTHOR]

A review of the monograph "Russian Song and European Lyrical Song in the Handwritten Collection of the Beginning of the XIX century: Emotional Culture at the Turn of the Century".

The paper presents reading a poetic text as a complex cognitive activity of constructing underspecified meanings of a message expressed in a linguistically unconventional form. The reader’s meaning-construction activity is analyzed in terms of dynamic forming and reforming of conceptual content of language units, functioning in the unconventional speech context. The research aims at investigating the pedagogical value of a poetic text usage for developing linguistic creativity in schoolchildren at the lessons of language and literature. The research is based on the interdisciplinary approach combining methodological principles of cognitive linguistics, creativity linguistics, text linguistics and the language acquisition theory. The paper describes pedagogical conditions for developing different aspects of linguistic creativity (verbal fluency, flexibility and originality), which are regarded to be necessary for constructing the meanings of separate nonce-words as individual poetic signs and of the poem as a poetic whole. Genrikh Sapgir’s poems have been selected as the research material suitable for illustrating nonce-words functioning as the meaningful complexes of unconventional form and content, which trigger lingua-creative process of meaning construction in the reader’s perceiving mind. The paper presents the analysis of several types of lingua-creative tasks, including tasks encouraging pupils (1) to define derivational and lexical motivation for constructing the meaning of poetic nonce-words, (2) to identify and analyze the speech context of nonce-words use, (3) to formulate nonce-words definitions taking into account their inner word-building context and outer speech context, (4) to produce their own nonce-words complementary to the theme, artistic idea and stylistics of the poem. The paper summarizes the subject and the meta-subject results of schoolchildren’s learning activity. It is concluded that development of lingua-creative thinking by means of intensive reading is to be organized according to the principle of the readers’ «reflexive exit» and conscious awareness of their meaning-construction activity.

Nowadays the study of relationships between synonyms and antonyms is relevant in the literary context. This article considers the interaction between antonymy and synonymy based on a delicate semantic play in poetic texts by M. I. Tsvetaeva who is a courageous and talented experimenter over the poetic language. In this article analyzed the fragment of Tsvetaeva's famous poem «Toska po rodine», «Bezhit tropinka s bugorka...», «Sedina — v visok», «Gibel ot zhenshhiny. Vot — znak...». Tsvetaeva makes a semantic line between synonyms and antonyms mobile by means of actualization and deactualization some semantic features, comparing but not contraposing antonyms. Such mobility of meanings, their gaping plays an important role and helps to create a special emotional tension of poems. Lexemes of thematic group «zdanie, stroenie»: dom, gospital', kazarma («Toska po rodine…); zamok, saraj («Bezhit tropinka s bugorka...») M. I. Tsvetaeva involve in semantic synonymo-anthonymic game. In the first case, the synonymization of contextual antonyms accents the indifference of the lyrical heroine, but in the second case, emphasizes the romantic delight of the child's sense of the world. Tsvetaeva draws on the etymological meaning of the words ‘roznye’ and ‘raznye’ in the passage of the poem «Sedina — v visok». She does it to actualize the necessary semantic nuances. In the excerpt from the poem «Gibel' ot zhenshhiny. Vot — znak...» contextual antonyms Serafim and Orlionok become are synonyms, which specially are split by dash into different poles of the semantic space.

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Metaphor in poetic texts has been discussed from different perspectives. Philosophers and rhetoricians conceive of metaphor as an instrument utilized in the composition of literary texts, though metaphor proper was construed as ornamentation within a text. In cognitive linguistics, metaphor is not only confined to literary studies but it has become a commonality among all the sciences that address issues related to language and mind and it demonstrates the various ways we perceive our experiences. The present study is an investigation of mystical love metaphors in Sohrab Sepehri's poetry by drawing upon conceptual metaphor theory (CMT). Studying mystical metaphors via conceptual metaphor theory will provide a clearer perception of the ambiguous mystical concepts and can provide an exact explanation of the mapping of an abstract concept based on a concert one. The present paper will be focused on Sohrab Sepehri, a contemporary Persian poet and painter, renowned for his composition of several acclaimed Persian modern poems and mystical tendencies. Applying the cognitive approach upon metaphysical concepts proves the Lakoffian claim, which denies the possibility of producing 'pure' language even in metaphysical texts. According to this theory, the relations that exist between body, brain and interaction with the environment are the builders of unconscious mind and this kind of mundane mind cannot produce pure metaphysical experiences. In the meantime, cognitive viewpoint of language changes the notion of 'novelty' in poetic texts and argues that poetic innovations are just 'extending forms' of conventional metaphors. This paper concludes that Sepehri's mystical poems benefit from conventional cognitive metaphors about love and the complex relations between mystical metaphors are indeed the innovations that Sepehri had applied. [ABSTRACT FROM AUTHOR]