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OBRAZOWANIE SAMOTNOŚCI W WIERSZU JOSIFA BRODSKIEGO НОВЫЕ СТАНСЫ К АВГУСТЕ W UJĘCIU KOGNITYWNYM

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Nikadem-Malinowska E.
Acta Neophilologica
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2009
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vol. XI
97-106
EN
many years. The subject matter of this research will be a poem Новые стансы к Августе from the collection of the same title. Thanks to cognitive methods, the analysis of loneliness that is carrying out in it by Brodsky underlines paradoxical variety of his poetry. According literature should be treated as a set of linguistic phenomena that has cognitive basis. The authoress of the present research is focusing on the figure-ground organization which is considered by Peter Stockwell to be notably useful for interpretation of the issues if literary criticism.
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„РОДЫ ЛЮБВИ” В РАННЕМ ТВОРЧЕСТВЕ Л.Н. ТОЛСТОГО

88%
Базилевская А.
Acta Neophilologica
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2010
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vol. XII
153-173
EN
A number of early works by L.N. Tolstoy is devoted to the problems of love in its modifications, modulations and shades. Tolstoy who, as an artist, discovered the law of “fluidity” of human person proves here that love states are multidimensional and changeable, that movement is the nature of love itself. Love feeling goes through its different kinds: from “beautiful” and “selfless” love to ideal, highly moral “active” love. Gradations are relative, differences among “kinds of love” are caused by degree of presence of subjective-egoistic element. Stages of “dialectics” of feelings are interconnected with emotional and spiritual development of the personality. Tolstoy is sure that man is free in choice of his own way in the life of heart and in his responsibility for it to his own life and other people.
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POEZJA WASILIJA KAMIEŃSKIEGO „POD MIKROSKOPEM”. Z HISTORII ROSYJSKIEJ POEZJI WIZUALNEJ

88%
Ndiaye I. A.
Acta Neophilologica
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2011
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vol. XIII
201-215
EN
Visual poetical text came into existence as a connection of two types of activity - the poetical (verbal) one and the visual (graphic) one. It composes a varied phenomenon, which unites poetry, painting, graphic arts, fine arts and photography together. That dependence on each other was understood differently by particular artists in distinct periods of history. Russian literature also has its rich history of visual poetry. The first trials, which were started by Symeon of Polotsk in the 17th century, were continued by Gavrila Derzhavin, Alexei Apuchtin, Erl Martov, as well as others. This new and productive period of visual poetry was connected with the vanguard movement from the beginning of the 20th century, which spread across Europe. The biggest contribution into the development of this literary genre in Russia, not only in a practical matter, but also in a theoretic one, brought in futurists and constructivists, for whom the form became an essence, and a word became an image. The poetry of Vasily Kamensky (1884-1961) had a special place among different examples of experimental word-image Russian vanguard poetry. He is known as a Russian futurist, and a poem-experimenter. His poems prove that visual poetic graphic arts, can be recognized as a dominant force in the creating of and illustration of texts. This process can be done with a basic level of meaning in the writing and illustration of the text, however, this is purely linguistical.
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