лирика

The paper analyzes the poem by Velimir Khlebnikov “When over the field glow green...” (1911–1912) concerning the issue of how the sonnet genre functions in the author’s verse. This genre, present in the works by futurists and their followers, has been scarcely studied and requires serious scrutiny.

The article offers formal criteria of differentiating the military poetry of N. Gumilev from the opinion journalism poetry of G. Ivanov (collection «Fame Memorial»): communicative structure of the poem; the image of the speaker – the image of the rhetorician; tropes preferred; the system of metaphoric models and the ingenuity of their content; figures of speech; the degree of speech being clichéd, etc.

The article presents the point of view of V. F. Savodnik – a leading literary reviewer of Russkiy vestnik (Russian Bulletin) in 1900-1901s – on the issue of the development of contemporary national poetry; it is explained why the reviewer’s opinions were unconventional for the members of the journal writers.

The article considers communicative models of G. Ivanov’s lyric poetry and their transition from St. Petersburg period of work to that of the exile. An assumption is put forward that the change of the poems’ communicative structure can serve as one of the indicators of the individual style evolution.

The article considers the techniques of formal organization of the transcendent lyric poetry and the peculiarity of its spatial structure. Different types of poetic transcendence are analyzed on the example of N. Gumilyov’s poems, their characteristic features are singled out.

The article attemps to sum up the results of the national theoretical reflection on the nature of the lyric. The author considers the question whether such characteristics as enhanced emotionality, musical sense, subjectivity, ingenuousness, traditionally attributed to the lyric, are its specific features.

The article studies the topic of music and its functioning in the poem by B. Poplavsky Dark Madonna. Its motivational and symbolic structure, as well as its composition and intertextual ties with the modernist poetry are considered. The article focuses on the description of the ‘spirit of music’ concept in the poet’s philosophy and its interpretation in the text of the miniature.

In the article the motive of the music of the moon in K. D. Balmont’s poetry is researched on the material of his poems, prose and aesthetic articles. Its symbolic value and evolution in books of the early, mature and late periods are explored. The following conclusions are drawn. In the early lyric poetry of Balmont the moon is associated with the oxymoronic motive of the ‘sounding silence’.