Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 11

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Boris Pasternak
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Стихотворение Циприана К. Норвида Рояль Шопена в русском и мировом поэтическом контексте

100%
Malcew L.
Acta Polono-Ruthenica
|
2011
|
vol. Tom 1 Nr XVI
79-87
EN
The article contains an analysis of Cyprian Norwid’s poem, Chopin’s grand piano in thecontext of Russian and world poetry - specifically, it refers to the works of Dante Alighieri andBoris Pasternak. A particular emphasis is made on the central image of Piast the Wheelwright’sPoland in this poem, and a related concept of a wheel (circle) in Polish and world culture.
2
Publication available in full text mode
Content available

Нескучный сад Бориса Пастернака: между двумя поэтическими книгами (Поэзия и ее „определения")

70%
Абрамова К.
Studia Rossica Posnaniensia
|
2019
|
vol. 44
|
issue 2
29-40
RU
The article analyzes Boris Pasternak’s Poeziya (Poetry) from the cycle Neskuchny Sad. The cycle is the kind of a link between two poetic books of Boris Pasternak: Sestra moya – zhizn’ (My sister – Life) and Temy i variatsii (Themes and variations). We dwell in detail on the comparison of this text with the poem Opredeleniye poezii (Definition of poetry) from the book Sestra moya – zhizn’. We are mainly interested in the asemantic level of texts – their sound and rhythmic organization. The analyzed structure allows us to trace the dynamics of the images and the changes that took place in the poetic style of Boris Pasternak in the 1920s.
3
Publication available in full text mode
Content available

O translokacji nomina propria w dziele literackim (na przykładzie polskiсh tłumaczeń powieści Doktor Żywago Borisa Pasternaka)

70%
Ndiaye I. A.
Acta Neophilologica
|
2019
|
vol. XXI/2
187-200
EN
This paper analyzes problems involved in the Polish translation of proper names contained in Boris Pasternak’s novel Doctor Zhivago. Empirical material was collected from two Polish translations published in book form: by Jerzy Stempowski (Paris: Instytut Literacki 1959) and by Ewa Rojewska-Olejarczuk (Warsaw: PIW 1990). The study aimed to analyze translatorial equivalents taking into account the following criteria: consistency with the named object, informativeness of the name, and retaining the cultural ambience. The following research methods were applied: descriptive, com-parative analysis as well as functional and stylistic analysis. The comparative analysis focused on the adequacy of the applied translation methods.
4
Publication available in full text mode
Content available

Strategie przekładu Adama Pomorskiego na przykładzie tłumaczenia wiersza Метель Borysa Pasternaka

70%
Plakueva-Olejniczak M.
Acta Polono-Ruthenica
|
2018
|
vol. Tom 3 Nr XXIII
127-140
EN
The subject of this article’s research is the problem of translation of poetic texts on the basis of a poem Метель by Boris Pasternak. The work aims to analyse certain mechanisms and processes involved in the translation of poetic texts which are not limited to the rhythmical layer but also include lexical and phonological dimension. The article examines strategies of translation created by Adam Pomorski, a critic, essayist and recognised translator of Russian, German and English belles-letters, and a chairman of the Polish PEN Club. Pomorski reckons that translation is a “reconstruction of the prototype” within the norms and conventions, while all rest is a result of individual style. While cre- ating literature, some artists recall the sounds that they associate with the literary pictures. This way, the language goes beyond the sematic layer of a work, while trying to imitate the sounds through onomatopoeic words, acoustic expressions and also other ways that influence the rhythmisation of a poem and bring out the connotation to the musical side of things. We will try to investigate how the poetic word of a prototype changed upon a translation on the basis of a Метель poem Pasternak.
5
Publication available in full text mode
Content available

Отношение Бориса Пастернака к литературной традиции и современности

61%
Zbyrowski Z., Uniwersytet Bydgoski im. Kazimierza Wielkiego W. H.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
|
2014
|
vol. 07
EN
Boris Pasternak debuted at the onset of the 20th century, when Russian art witnessed radical transformations consisting in a departure from tradition and a quest for new content and forms of artistic expression. His family, however, disapproved of modernist aesthetics. The young poet thus found himself at an aesthetic crossroads and evaded making a decisive choice. On the one hand, he referred to nineteenth-century poetry, and on the other hand, he took an active part in the current literary life and maintained contacts with the Symbolists. He joined the moderate Futurist group ‘Tsentrifuga,’ which, however, did not exert a fundamental impact upon his oeuvre. Pasternak voiced opinions regarding various aesthetic problems and in the 1920s started to free himself from the influence of the then dominating literary milieus. He severed contacts with Futurism (including Mayakovsky), chose a path of his own, and rewrote a number of his early poems. At the beginning of the 1930s he announced his ‘second birth’. This involved evoking the traditions of nineteenth-century art and in particular, realism. Pasternak emphasized the priority of content over form and the merit of simplicity of poetic statements, the principle to which he remained loyal to the very end of his creative path.
6
Publication available in full text mode
Content available

„Рождественская звезда” Бориса Пастернака и Иосифа Бродского: условный экфрасис как интерпретация евангельского сюжета

51%
Автухович Т., Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach I. N. i. B. I.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
|
2015
|
vol. 08
RU
В статье рассматриваются интерпретации евангельского сюжета Рождества и поклонения волхвов в условных экфрасисах Б. Пастернака и И. Бродского. Поэты, подчеркивая философский потенциал сюжета, выявили в нем разный личностный смысл, что обусловлено движением времени, изменением исторических контекстов. Акцент на укорененности сюжета Рождества в национальной и мировой культуре у Пастернака сменяется его проблематизацией в стихотворении Бродского.
EN
The paper examines the interpretation of the gospel plot about Christ’s birth and the adoration of the Magi in the poems of Boris Pasternak and Iosif Brodsky. The poets emphasize the philosophical potential of the plot and reveal various personal meanings in it, which is conditioned by the passage of time and the changing historical contexts. While Pasternak focuses on the embedding of the Christmas plot in the national and the world culture, Brodsky problematizes the theme.
7
Publication available in full text mode
Content available

"Ветер (четыре отрывка о Блоке)" Бориса Пастернака как неотрадиционалистский цикл

51%
Ли Д.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
|
2021
|
issue 14
111-121
EN
The purpose of this article is to study the relations of the neotraditionalist cycle and genre strategies, as applied to Boris Pasternak’s cycle of poems “Wind (Four Fragments about Blok)” (1956). Despite an abundance of research dedicated to Pasternak’s attitude to Aleksandr Blok, still little attention is paid to the poetics of this lyric cycle. The analysis of genre strategies, the concept of which has been developed by Valery Tyupa, and the principles of lyric cycle, proposed by Igor Fomenko, were used as the methodology of this research. The paper is organised around the following points. Firstly, while the main title (“Wind”) and the meter (amphibrachic trimeter with the rhyme scheme AbAb) function as a centripetal force of the cycle, the configuration of various genre invariants becomes a centrifugal force. Secondly, however, the genre repertoire shows a special logic of the lyric cycle, which can be characterised as a movement from the vertical of the ode to the horizontal of the ballad. The first poem follows the strategy of the ode, but cannot be regarded as a traditional one. In the second poem, the lyrical subject uniquely combines the strategy of the idyll with Blok’s radicalness through the image of wind. The third poem also takes up the strategy of the idyll; here, however, signs of an impending catastrophe can be seen in the lines resonant with the first poem of Blok’s cycle “On the Kulikovo Field”. In the final poem, looking at the lines from Bely’s poem “To the Motherland” (“And you, firestorm, / rage and burn me, / Russia, Russia, Russia”) makes it possible to identify the strategy as that of the ballad (“Blok awaited this storm and its lashing. / With flame- -strikes its lashes would hit” [from Don Mager’s verse translation, “Wind”]). Thirdly, the analysis of Pasternak’s cycle from the perspective of genre strategies helps us to reconstruct a dialogue between poets, which is inherent in the neotraditionalist poetics. Finally, the artistic logic of combining genres in this work sheds new light on the poetological characteristics of the neotraditionalist cycle, which should be distinguished from the poetic homage.
RU
В статье рассматривается соотношение лирической циклизации и жанровых стратегий лирики на материале неотрадиционалистского цикла Б. Пастернака Ветер (Четыре отрывка о Блоке) (1956). В цикле Пастернака наблюдается конфигурация различных жанровых инва- риантов. В первом стихотворении очевидна одическая стратегия, во втором радикальность А. Блока, проявляющаяся в образе ветра, своеобразно сочетается с идиллией. Третье стихот- ворение – тоже идиллия, но тут посредством включения реминисценции строк из стихотво- рения А. Блока (первое из цикла На поле Куликовом) просматриваются приметы грядущей катастрофы. В частности, строки из стихотворения Андрея Белого Родине («И ты, огневая стихия, / Безумствуй, сжигая меня, / Россия, Россия, Россия») позволяют разъяснить бал- ладную стратегию четвертого, завершающего цикл, стихотворения («Блок ждал этой бури и встряски. / Ее огневые штрихи»). Анализ этого произведения позволяет выявить логику, возникающую в сочетании жанров в рамках цикла, и осветить поэтологические особенно- сти неотрадиционалистского цикла.
8

Исследование особенностей жеста в ранней поэзии Бориса Пастернака (на примере книги стихов „Сестра моя — жизнь”)

51%
Avimskaya Y.
Slavica Wratislaviensia
|
2017
|
vol. 164
65-77
EN
The article explains what the concept of gesture is, presents its categories, functions and importance in literature. The author creates his own classification of gestures, which corresponds to the analysis of the volume My Sister, Life. On the basis of selected pieces of work, the author validates the correctness of his classification and shows the importance and functions of gestures in the early poetry of Boris Pasternak.
UK
Автор статті пояснює, що включає в себе поняття жест, представляє його категорії, функції та значення в літературі. Після цього автор створює власну класифікацію жестів, яка найбільше підходить для аналізу збірки віршів Сестра моя — життя. На основі вибра- них віршів автор обґрунтовує правильність своєї класифікації, вказує на значення і функції жестів в ранній поезії Бориса Пастернака.
9
Publication available in full text mode
Content available

Politika překladu. Nad korespondencí Jana Zábrany s Antonínem Přidalem

50%
Glanc T.
Slovo a smysl - Word & Sense
|
2020
|
vol. 17
|
issue 2
165-176
EN
This article deals with various aspects of the ‘politics of translation’ in connection with the book When the Cage Keeps Falling (subtitle The Mutual Correspondence of Antonín Přidal and Jan Zábrana, 1963–1984). The political dimension concerns translation in the narrowest sense of the word, but also the choice of text and its reception in the cultural feld, communication with the publisher, number of copies and distribution, as well as (during the period of normalization) translation under foreign names, cancellation of contracts, and the relationship between the book market and samizdat. With this aim, the author works through various examples of Zábrana’s translations from Russian in the broader context of political phenomena and strategies. These examples, in the fnal analysis, appear exceptional insofar as Russian literature was the subject of increased ideological interest during the period under review.
10
Publication available in full text mode
Content available

Двустопный анапест Иосифа Бродского: ритмика и семантика

41%
Бараш О.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
|
2021
|
issue 14
97-110
EN
The paper discusses the poems by Iosif Brodsky written in cross-rhymed anapestic dimeter with alternating feminine and masculine line endings. The focus is on two poems titled “Strofy” (1968 and 1978). Anapestic dimeter is not typical of Brodsky’s work, his oeuvre includes only four poems written in this meter: “Stansy” (Stanzas, 1962), “Pod zanaves” (At Curtain-Call, 1965) and the two texts with the same title “Strofy” (Strophes, 1968 and 1978). Therefore, an assumption is made that the poet chooses it not by chance and that when doing so he follows the rhythmic patterns and semantic characteristics already established in Russian poetry in connection with this meter. Anapestic dimeter is rarely encountered in Russian poetry, with the main period of its development being the twentieth century, and the set of texts written in this meter limited, which makes it possible to clearly outline the range of possible “metrical pre-texts” of Brodsky’s poems. The metrical and rhythmic characteristics of anapestic dimeter of Brodsky are analysed and compared with those of Boris Pasternak and, on a smaller scale, those of Anna Akhmatova and Innokenty Annensky. The analysis of the poem “Strofy” (1978) shows how Brodsky makes a new use of the metrical-rhythmic potential contained in a seven- or six-syllable speech segment by combining two-word lines of anapestic dimeter with three-word (and therefore three-beat) tonic verses – at the same time retaining the connection both with his predecessors (here, Pasternak) and with his own texts, written earlier or over the same period.
RU
В статье рассматриваются стихотворения И. Бродского, написанные 2-ст. анапестом с чередующейся женской и мужской клаузулой и с перекрестной рифмой (Ан2ЖмЖм). Ос- новное внимание уделяется стихотворениям Строфы (1968) и Строфы (1978). 2-ст. анапе- стом у Бродского написано всего четыре стихотворения: Стансы (1962), Под занавес (1965) и два текста с одинаковым заглавием Строфы (1968 и 1978). По нашему предположению, вы- бирая этот размер, поэт следует сложившимся в русской поэзии ритмическим моделям и се- мантическим характеристикам, закрепившимся за этим размером. 2-ст. анапест в русской поэзии – редкий размер, основной период его развития – ХХ век. Благодаря ограниченному набору текстов, написанных Ан2, возможно очертить круг потенциальных «метрических претекстов» стихотворений Бродского. Рассматриваются метрико-ритмические характери- стики 2-ст. анапестов И. Бродского, Б. Пастернака и отчасти, для сравнения, А. Ахматовой и И. Анненского. Анализ стихотворения Строфы показывает, как, сохраняя связь с предше- ственниками (в данном случае Б. Пастернаком) и собственными текстами, как более ранни- ми, так и написанными в то же время, Бродский по-новому использует метрико-ритмические воз- можности, заложенные в семи/шестисложном речевом отрезке, сочетая двусловные строки Ан2 с трехсловными (следовательно, трехударными) тоническими стихами.
11
Publication available in full text mode
Content available

Советская поэзия в 1926 году в зеркале анкетирования писателей и читателей

41%
Павловец М.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
|
2017
|
issue 10
81-90
EN
The article researches the issue of the relevance of poetry in the USSR, using as an example the year 1926, when several literary periodicals simultaneously decided to investigate the attitude of their readers and of poets towards this issue. The analysis of the surveys conducted among readers and in libraries confirms the statement made by Boris Pasternak that lyric poetry was then undergoing a crisis, caused by the loss of its past audience and by not yet having any new audience who would need the subjectivity of an author to be presented to tchem in a lyrical form.
RU
В статье рассматривается проблема востребованности поэзии в СССР на примере всего одного – 1926 года, когда одновременно несколько литературных изданий решило исследовать отношение к ней читателей и самих поэтов. Анализ проведенных опросов читателей и библиотек показывает правоту Бориса Пастернака, который утверждал, что в настоящее время лирическая поэзия переживает кризис, связанный с утратой прежнего ее адресата и несформированности нового реципиента, который бы нуждался в лирических формах презентации субъектности ее автора.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.