reminiscence

The image of Lermontov in the Soviet poetry and Meeting by Bulat Okudzhava

The article examines the literary context of one of the most important poems of Bulat Okudzhava. Special emphasis is placed on the pattern of making a classic poet a myth in the belles-lettres of the Soviet era. The connections of the poem Meeting with Lermontov’s poetry are noted, the functions of reminiscences are examined. The place of Lermontov’s image in the ‘poetic mythology’ of Okudzhava’s poetry is defined.

The Image of the Garden in the Novel La Faute de l’Abbé Mouret by Emile Zola

The article focuses on the garden as a literary image based on the archetype and some mythological allusions. The structure of the garden is analyzed in detail as the novel space at variance and in connection with the naturalistic aesthetic approach.

The Poet’s Roses: the Poem of Bulat Okudzhava «I don’t Want to Write…» in the Context of Classical Tradition

Okudzhava’s poem is regarded in the context of the classical poetics of rose, in the background of the traditional situation «farewell to the lira». The parallels with Pushkin’s, Batyushkov’s, Boratynsky’s and Khodasevich’s poetry are drawn.

The Poem of Bulat Okudzhava «You’re not Drunkards, You’re not Vagrants…»: the Dialogue with Blok on the Background of Kipling

In the article Blok’s tradition is revealed in the image of the Beautiful Lady in Bulat Okudzhava’s poetry (an early poem by Okudzhava “You’re Not Drunkards, You’re Not Vagrants…” is taken as an example). Kipling’s motives in the poem also add to the recognition of Blok’s tradition.

Romance Tradition in Bulat Okudzhava’s Poetry: Poetics of «Vanka Morozov»

The poetic song of Bulat Okudzhava «Vanka Morozov» is regarded as an early manifestation of the poet’s self-determination in the context of the romance tradition. Juxtapositions with the genre thought to be the source of the poem (urban romance), with the parody and stylization of romance in the literature of the XXth century are given. The genesis of the key images and motives is traced. A new interpretation of the romance poetics transformation in Okudzhava’s poetry is offered.