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Концепт «свобода» в современной русской лирике

100%
Graf A., Justus-Liebig-Universität Gießen I. f. S.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2014
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vol. 07
EN
The article surveys the concepts of ‘freedom’ (“svoboda”) in contemporary Russian poetry and points out that there is no single understanding of it but a whole complex of approaches. While the concept of “svoboda” seems to have been absorbed by the bigger and therefore less concrete one, “volya”, a certain evolution of the former notion can be observed as well. At the beginning of the 20th century ‘freedom’ was associated with a heroic attitude, during the Thaw it became a term for a collective domestic separation, after perestroika and glasnost the poets started to look for freedom as individuals, having nothing or very little in common with the society. Over the last years a new kind of inner emigration has been evolving, combined with a tendency towards ostentatious indifference to ‘traditional’ values.
2
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Прецедентные имена как часть польского текста в русской поэзии

88%
Воронцова К., Uniwersytet Jagielloński W. F.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2014
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vol. 07
EN
The author analyses the structure and components of the ‘Polish text’ in the Russian literature after the Second World War. One of the main aspects of this phenomenon is the so-called precedent name. This can be observed when the image of a person (real or fictional) becomes a cultural text or myth. For the ‘Polish text’ in Russian literature such significant names have been Adam Mickiewicz, Julian Tuwim, Juliusz Słowacki, Czesław Miłosz and Konstanty Ildefons Gałczyński. In the Russian mentality Poland has always evoked poetry in general, which means that characteristics of ‘the Pol-ish text’ can be identified through an analysis of poems about these cultural figures.
3
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Современная русская поэзия на театральных подмостках. Поэтический спектакль „Вера Павлова. Стихи о любви”

75%
Sadzińska E.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
69-78
EN
The article is devoted to the trilogy of Eduard Boyakov, artistic director of the Moscow theatre “Praktika” and artistic director of “Polytheatre”, based on the poems of contemporary Russian poets Yelena Fanaylova, Vera Polozkova and Vera Pavlova. The aim of this project was to show the dramaturgy of the poetry, the rhythm and intonation by means of scenic resources. The center of attention was the last part of the trilogy Vera Pavlova. Poems about Love and her three productions. The author tries to prove that poetic performances of Boyakov, on the one hand continue the tradition of poetry in the Russian theatre (Yuriy Lyubimov’s activity and the Taganka Theatre in the 1960’s), on the other hand – have shown the need and importance of poetry in broad cultural space, including theatre. The activity of Eduard Boyakov confirms that contemporary poetry is needed in theatre: it’s not only the renewal of the repertoire, but also of the whole theatre.
4

Когнитивная метафора как один из способов вербализации эмотивных концептов

63%
Pieriepielicyna N.
Slavica Wratislaviensia
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2014
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vol. 158
321 - 327
EN
The present work is devoted to the phenomenon of cognitive metaphor and its role in shaping the emotional basis of Joseph Brodsky’s poetry. Cognitive metaphor in the poem Six years later is considered as an element of a complex mental space (the area of sensory or social experience). The phrases map the system of cognitive mechanisms in Russian consciousness, the metaphorical complex of representation of concepts such as Russian culture purity, humility, depression/ lack of freedom, despair and openness. In the poem these concepts create a kind of metaphorical coordinate system, which is based on the archetypal associations.
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