контекст

The article examines the originality of I. S. Turgenev's and A. P. Chekhov's artistic dialogue based on the stories The Diary of a Superfluous Man, A Boring Story, and the novel Fathers and Sons. Among Turgenev's works, the story The Diary of a Superfluous Man stands out as a significant artistic discovery. Not only does Turgenev capture the important features of his contemporary ("the ordinary" man of the 1840s), but he also creates a typologically universal character.

The paper examines a complex of figurative meanings of the entomonym “abelha” (“bee”), manifested in the space of the Portuguese poetic text of the 19th–20th centuries. The purpose of the work is to trace the transformation of the image and its semantic increments. We used methods of contextual, stylistic, semantic analysis and linguistic and cultural commentary. The material includes poems by Almeida Garret, Guerra Junqueiro, Antonio Nobre, Fernando Pessoa, Sofi a de Mello, José Saramago, Fernando Echevarría, etc.

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.

The article is devoted to the identification of originality of I. I. Kozlov’s battle lyrics in the context of poems on Napoleonic wars. Particular attention is paid to the image of warrior.

The article regards O. Mandelstam’s poems published as a cycle only in the magazines of 1920s. The analysis of the cycle composition helps to supplement the picture of the co-existence of utopian and apocalyptic moments in the creative consciousness of Mandelstam in the beginning of 1920s.

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.

In the article the authors consider the stages of A. I. Solzhenitsyn’s texts being introduced in the school curriculum; key problems of studying «Matryona’s Home» in secondary school are identified: the incompatibility of the story with the age of the students, and their lack of cultural and historic facts necessary for a proper perception of the text.

In the present paper the extent of allusions to topics in the history of Ancient Rome is assessed within the officially accepted Soviet literature. Different instances of interest towards the Roman antiquity among the poets of the second half of the ХХ century are classified and accounted for. The social and literary context of Rome-inspired Jaаn Kaplinski’s ( Vercingetorix, 1967) and David Samoilov’s ( Remus and Romulus, 1969) lyric poetry is assessed, as well as their relationship with the Classical subject matter and the 19th century civil poetry.