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| 1 | The article examines the issue of Italian painting reception in the creativity of V.F. Odoevsky at the levels of images, motives, allusions. This issue is associated with pictorial art as a challenge for Odoevsky. Italian art in his prose is connected with a creator’s destiny: his …, insanity, unrealized … Art and creativity express chaotic and irrational part of the human nature, forming opposition with philosophy. The image of Italian Madonna is interpreted as an aesthetic and etic ideal of beauty. Odoevsky’s perception in this aspect corresponds with perception of the Lubomudry in general. This idea of perfection reflected in the images of wise and beautiful women playing the role of Muse. In aesthetic conception of Vackenroder the same image creates ties between art and religion. Madonna is identified in short stories “Vicenzio and Cecilia”, “The improvisator”, in stories “Silphide” and “Black glove”. Odoevsky uses ideas of German romanticists and Zhukovsky, but reconsiders them. For example, Cecilia embodies not only beauty, but also spiritual independence. The picture with Madonna in “The improvisator” expresses motive of beauty damaged by analysis and rationality. In the image of Siphide Odoevsky combines features of Venus, the divine of love and beauty painted by Botticelli, and Cristian Madonna. “Black glove” demonstrates absence of Madonna (line of Maria) in modern world. In conclusion, interpretation of Madonna’s image is included in Italian text system of the Lubomudry. However, Odoevsky adds to this text individual features typical of his philosophical prose. Keywords: the Lubomudry, Russian romanticism, Italian text, the image of Madonna | 1590 | ||||
| 2 | The article examines the issue of reception and comprehension of Italian nature in the journey diaries and letters of S. P. Shevyrev, the author belonging to the group of the Lubomudry. Italy was an important part of Shevyrev’s life and creativity, therefore it became a particular imagological phenomenon in his texts. As a significant component of the image of Italy, nature expresses some features of the country in general and interacts with other aspects of its image: historical, aesthetical (for example, Italian literature and pictorial art), social ones. From the point of view of the Russian traveler, the national character of the Italians (their sincere belief in God, sense of beauty, carelessness) depends on the soft climate and picturesque landscapes. Texts created by Vergil, Petrarch, Tasso, Ariosto reflect Italian nature, and images of these authors are tied with it in Shevyrev’s creativity. Nature was highly important for the intensive development of Italy in the Roman Empire and the Renaissance epochs, which is obvious in Shevyrev’s diaries and letters. Besides, Italian nature (images of the Vesuvius, the island Ischia, the sea, etc.) is associated with ontological senses and remains the ideal of beauty and harmony. In Shevyrev’s diaries and letters, traditional romantic interpretation of Italy as of a cultural myth, an earthly paradise coexists with individual comprehension and philosophical accents. These features correspond to the specificity of the cultural dialogue between Russia and Italy in the creativity of the Lubomudry. Keywords: the Lubomudry, Russian romanticism, Italian text, landscape | 1553 | ||||
| 3 | Introduction. The article examines images, motives, allusions tied to Italy in the prose of N. F. Pavlov. Pavlov’s Italian text corresponds to the one of the Lubomudry to whom he was close and to the Italian text of Russian romanticism as a whole. The issue of Pavlov’s Italian text is relevant: his creativity was not studied in this aspect, although his images and motives of Italy is a significant part of the cultural dialogue between Russia and Italy in Russian romanticism. The aim of the research is to reveal the imagological phenomenon of the Italian text in Pavlov’s stories and determine its specificity. Methods of research are comprehensive analysis and intertextual comparisons. Results and discussion. The research shows that Italian text plays an important role in Pavlov’s prose. As well as in the writings of Lubomudry, it is significant at the implicit level of motives and allusions. According to the tradition of German and Russian romanticism, Italy is tied to the art, beauty, and spiritual life. It is a part of the mythologeme of the beautiful South opposite to the North. The image of Ancient Rome as a symbol of strength and power is important. However, these connotations exist in the prosaic reality of high society; thus, Italy embodies lost values and ideals. Texts realize this viewpoint through Italian musical terms, proper names, allusions to Italian art combined satirically with the unspiritual reality. The use of “Italian” allusions through a foreign “author-mediator” is interesting. Some plot features point to a possible typological connection with the poetics of the Renaissance Italian novella. Thus, Pavlov’s Italian text is a particular semantic phenomenon close to the Italian text of the Lubomudry; it is tied to the philosophical issues, psychological collisions of characters, romantic myth of Italy and its art. However, it has some specific features. Pavlov’s Italian text is a significant part of the cultural dialogue between Russia and Italy. Practical significance. The research material may be used in such university philological courses as “History of the 19th century Russian Literature”, “Imagology”, “Comparative Studies”. Keywords: Italian text, Russian romanticism, cultural dialogue, allusion, imagology | 1325 | ||||
| 4 | The semantics of the image of a rose considered in the researches dedicated to the semantics of flowers has mythological roots. 67 verses by Tsvetaeva, from her early works to 1925, contain the image of a rose. The research purpose is to reveal the dynamics of semantic and stylistic features of the word-image rose expressed in a plural form (roses) analyzing lexical structure of the text. The poems containing this image have a lot of aesthetic differences. The research material includes 41 verses, from the early works to 1925. The texts are selected from Dictionary of the Poetic Language of M. I. Tsvetaeva. Philological analysis is based on the theories of M. N. Kozhina and N. S. Bolotnova. The authors consider the texts chronologically, which allows them to follow the dynamics of semantic and stylistic features of the image in different periods. The authors use the periodization developed by O. G. Revzina. In the collection of verses The Evening Album, roses express semantics of beauty and love; they are associated with a bright unreal space, with the image of a crown, the motif of martyrdom, sacral topics. The image of roses becomes a detail of stories and portraits. In the collection Youthful Verses, the word roses is, mainly, a detail of a portrait. Besides, the image of roses in this period is tied to the topics of death and writing. In the poems of 1916–1919, roses are an aesthetic element of sketches, a detail of the plot; they characterize the images considered by the heroine and have an evaluative function. The lyrical subject generalizes her feelings associating roses with the retrospection considered by the heroine in a new period of her life. In the theatrical 1918, Tsvetaeva often uses the plural form roses in dramatic sketches. The image of roses is developing as a vivid detail. In 1919 the image of roses has a descriptive function in genitive metaphors and a comparison with the semantics of strength, energy, and love. In the verses of the 1920s, the image of roses is associated with the topics of writing, talent, and a special role of the poet. The topics of love, writing, being are interrelated and expressed in the verses until 1925. In the poems where the image of roses expresses the topic of unrequited love, roses become a symbol of love as the beginning of life; being loyal to love is a great sense and a heavy burden. The image of roses, compared with the early verses, becomes deeper in the semantic aspect, more metaphorical and symbolic; Tsvetaeva often includes it in the expressive constructions typical for her. Keywords: semantics of flowers, idiostyle of M. I. Tsvetaeva, communicative stylistics of the text, lexical structure of the poetic text | 1192 | ||||
| 5 | The subject of research is reception of V. A. Zhukovsky’s personality and works in a military newspaper Russky Invalid (1813–1825). The author discovers 45 materials related to Zhukovsky and divides them into 5 groups: 1) biographical materials; 2) works by the poet, fragments from the works, announcements; 3) materials about collections, almanacs, anthologies containing the poet’s works; 4) parallels with works by other authors; 5) critical articles. The largest group is the third, because various communities, almanacs, magazines expressing different aesthetic positions were in the center of literary process in the 1800s – 1830s. The smallest group is the fifth: Russky Invalid did not focus on literature and rarely published critical articles. In addition, most of materials dedicated to Zhukovsky (except for one note) are complimentary: he is not an object of criticism, but a canon, a recognized genius. However, the newspaper contains some attempts to analyze the poet’s works: the ballade Eolova Arfa (The Harp of Aeolus), the translation of the poem The Prisoner of Chillon by G. G. Byron. The newspaper appreciates Zhukovsky’s translations from Byron, F. Schiller, T. Moore, ancient authors. Russky Invalid publishes his ballade Lesnoy Tsar (The Forest King), fragments from patriotic works; two little-known authors dedicate their works to his poem Pevets v Stane Russkikh Voinov (The Singer in the Camp of Russian Warriors), which gives to Zhukovsky the nomination “Russian Tyrtaeus”. There are some characteristics of Zhukovsky’s poetics: according to the newspaper, his poetry is dreamy, “abstract”, attentive to soul and emotional world, mystic, metaphysical, close to German romanticists. The newspaper notes some Zhukovsky’s biographical facts: his promotions at the court, awarding of a pension and orders, acceptance into the Imperial Russian Academy, education of Tsarevich Alexander Nikolaevich. In conclusion, although the newspaper Russky Invalid is far from literature, it reflects Zhukovsky as a personality, poet, and translator. The newspaper represents his works as an example, a national treasure; however, materials of that period are far from a real criticism and text analysis. Keywords: V. A. Zhukovsky, Russky Invalid, reception, Romanticism, criticism | 881 | ||||
| 6 | Contextual senses of a word with a landscape semantics reflect an individual world picture of the author. The word snow has a rich and diverse semantics in Russian poetry. The purpose of the article is to consider semantic and stylistic features of the image of snow in the poetry by a contemporary poet Tatiana Nikolaeva (1956–2021) based on analyzing lexical structure of a poetic text. Semantic and stylistic analysis is based on ideas of M.N. Kozhina (the concept of imaginative literary concretization) and N. S. Bolotnova (the concept of lexical structure of a poetic text). Description of textual syntagmatics and paradigmatics considers expressive means representing different levels, although the lexical level is recognized as the main one. Associative and verbal network of the text is studied in accordance with the author’s idea and the reader’s reception patterns. Each associative direction, as a contextual “group of associations with a common strategy” (A. P. Klimenko), creates a specific aspect of the image. Verses and poems of T.N. Nikolaeva’s first collection Where are you, the descendant of The First?..: The drama of love (2004) are material for semantic and stylistic analysis. The authors of the article selected 11 (from total 83) texts containing lexical representants of the image of snow, which were analyzed regarding their contextual syntagmatic and paradigmatic connections. In T. Nikolaeva’s poetry, snow is more a reflection of the heroine’s internal world than a landscape detail. Snow is not only a part of winter nature, but also of summer pictures and nature between seasons. There are three main aspects in associative and semantic development of the image of snow. They are united through the principle of gradation typical for T. Nikolaeva’s poetics. A dominating associative complex "snow element" includes the image of an intensive snowfall with chaotic nature tied to a symbolic topic of a lost way; this image also reflects expressive topics of passion and lost love. The second aspect of the image of snow is "snow nothingness", the cold of loss and emptiness. While in the first case various expressive means are emphasizing dynamic character of the image, in this case the central image is statics, absence of life. The third aspect of the image of snow is "divine snow": spiritual senses, a way to the higher light. Thus, the “snow triad” of T. Nikolaeva relates to her poetics of gradation and Christian worldview, in which a human is going through passions to God. Keywords: semantic and stylistic analysis, communicative stylistics of text, lexical structure of a poetic text, semantic lexical paradigms, image of snow, idiostyle of T. Nikolaeva | 492 | ||||
| 7 | The subject of research is reception of V.A. Zhukovsky’s personality and works in a military newspaper Russkiy Invalid in the late 1820s and 1830s. Through the continuous sampling method, the author selects 110 materials related to Zhukovsky and divides them into 7 groups: 1) biographical materials; 2) works by Zhukovsky and their fragments; 3) announcements and entries about publishing works by Zhukovsky; 4) materials about collections, almanacs, journals containing works by Zhukovsky; 5) works by other authors dedicated to Zhukovsky or related to him; 6) literary and critical materials about works by other authors mentioning Zhukovsky; 7) critical articles on works and translations by Zhukovsky. The author considers all the groups of materials. Due to comparison with materials of the previous period (1813-1825), the article considers the reception dynamically. Compared to the previous period, the total number of materials about Zhukovsky is increasing, which demonstrates growing significance of him as a poet and a public figure. At the same time, the number of critical articles on his works is decreasing: Zhukovsky is seen more as a living classic than as an author subject to criticism. The newspaper of this period contains just 2 critical articles about Zhukovsky; both of them examine the translation of Undine by Friedrich de La Motte-Fouqué (1837) and have complimentary character. The number of biographical materials is rising; most of them reflect Zhukovsky’s teaching activity (in that period, he was teaching the heir of the throne, Tsarevich Alexander Nikolaevich) and his court life. The group 4 remains the most numerous one: 1820s and 1830s are the epoch of journals and almanacs actively publishing works by Zhukovsky. The group 2, on the contrary, has a few materials: the newspaper of this period rarely publishes Zhukovsky’s works and mainly focuses on his patriotic poems, according to its key topics. Reception of Zhukovsky in this period is versatile: the newspaper shows him as a poet, teacher, translator, artist, courtier, he is even tied to music. Although most of materials about him are informative or complimentary, not analytical, such active reception gives a rich material for literary research. Keywords: V.A. Zhukovsky, Russkiy Invalid, reception, criticism, newspapers and journals | 183 | ||||