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Matyash S.A.
ABOUT TYPOLOGY FUNCTION OF POETIC TRANSFERS (ENJAMBEMENTS) IN THE RUSSIAN POETRY [№ 6 ' 2017]
In big literature on poetic transfers (enjambements) there are a lot of judgments concerning functions of this reception in works of art. However these judgments, as a rule, have the nature of separate observations, and the classifications offered by scientists are based on different criteria. The works devoted to typology of functions of transfers no. In the present article the main approaches to interpretation of semantics of transfers come to light and the typology of their functions based on judgment of works of domestic and foreign stikhoved, and also on own researches of the author is offered. On the basis of rate of transfers three types of functions are allocated: the general (universal), private, exclusiveš— with the subsequent classification of each type. As a result of consideration of the called functions conclusions that are drawn: 1) all transfers have the general functions (increase in emotionality of the text, logical or emotional allocation of the word/phrase, marking of the graphic/expressive beginning of the word); the general functions have universal character; 2) private functions are peculiar not to all transfers; the criterion of their rate is important, but isn't the only thing; creation of transfers with these or those private functions depends on character of the work (his method, a genre, style, etc.) and identity of the poet; 3) private functions don't conflict to the general: concrete transfer, possessing all three general functions, can perform certain private functions; 4) private functions of transfers in real texts can be combined; 5) the list of private functions isn't exhausted by our list and can be replenished, including due to the spread-around exclusive functions.
Matyash S.A.
ON FUNCTIONS OF ENJAMBEMENTS IN N. KARAMZIN'S POETRY [№ 1 ' 2017]
Enjambements in N. Karamzin's poetry until recently were not a subject of research neither in Russian nor in foreign prosody. The study of Karamzin's enjambements was initiated in anniversary year 2016 by the author of this article, who determined the frequency (2š%), and described the structure of enjambements in Karamzin's poetry. Based on the conclusion that Karamzin's enjambements appear only in one third of the total of his poems and within this selection do not follow any regular pattern, the author in the given article puts forward the following thesis: Karamzin's use enjambements is deliberate despite the low total frequency index. The author also poses the question of the function of enjambements. In the article both general and specific functions of enjambements are considered. Within the scope of general functions there is analyzed the frequency of three types of enjambements: with expressive, figurative, or mixed expressive-figurative functions (depending on the lexical content of part of the phrase that is carried over and/or left by). The statistics shows predomination of enjambements with expressive functions and high index of enjambement with mixed expressiveš— figurative functions, which complements the characteristic of Karamzin-sentimentalist's poetical style. Within the scope of specific functions there are analysed compositional functions of enjambements: marking with enjambements important parts of the text, refrains, and endings of poems written in various genres. Karamzin's findings were used by Zhukovskiy and Pushkin. It is concluded at the end that Karamzin realised the figurative-expressive capacities, mastered this rhythmic-syntactical technique, and by this paved the way for other poets.
Matyash S.A.
POETIC TRANSLATIONS (ENJAMBEMENTS) OF N.M. KARAMZIN AND THE PROBLEM OF VERSE FORMS RECEPTION [№ 11 ' 2016]
The article presents the results of the first study of verse division (enjambements) N.M.šKaramzin in the aspects of frequency and structure. In the background are considered predecessors and contemporaries Karamzin: V.K.šTrediakovskii, M.V.šLomonosov, A.P.šSumarokov, G.R.šDerzhavin, M.N.šMuraviev, I.I.šDmitriev. Identification and description of all these poets transfers made by the method of the author. The frequency and transfers Karamzin structure and other authors analyzed with differentiation by decade (80s, 90s the XVIIIšcentury, the 800-th, 10-ies the XIXšcentury). Context predecessors (classicists) and contemporaries (sentimentalists) shows innovation Karamzin: he carries more than those and other transfers on various structures. Consideration of transfers Karamzin in diachronic terms and with the projection in the background revealed the nature of the reception poet founder of Russian sentimentalism experience-classicists predecessors. The study found that the search for innovative poet occur in the early stages of creativity and convergence to its predecessorsš— in later. Repeated appeals to the Karamzin ode to say that Karamzin-sentimentalist rejecting tradition besperenosnogo classicists style and in different periods of creativity followed this style.
Matyash S.A.
ONE MORE TIME ABOUT IDENTIFICATION OF ENJAMBEMENTS [№ 11 ' 2015]
The problem of identification of enjambements was defined by the author of this article about thirty years ago. At that point the author proposed the methodology of enjambements identification, which was used actively by the author and her disciples, but never became a common one. There are Numerous examples of ambiguous interpretation of texts from the point of view of presence or lack of enjambements in them, which drives the necessity of coming back to the problem. The presented articles brings additional arguments in favor of proposed earlier methodology, broadens illustrative material, includes polemics with newest proceedings about enjambements, some wordings was corrected. The main problem examined in the article is problem of status of in-verse pause and strength of syntactic relations between lines. The author considers absolutization of role of in-verse pause to be a mistake and insists on different methodology of identification of enjambements: they should be defined by comparison of strength of horizontal and vertical syntactic relations between lines. Enjambement appears when vertical relations are stronger than horizontal ones. When defining the strength of syntactic relations author bases on hierarchy of M.L.šGasparovš— T.V.šSkulacheva, but makes some supplements based on similar hierarchy of M.I.šShapir and own observations of enjambements in Russian poetry of XVIII–XXšages.
Matyash S.A.
ABOUT RELATION OF FOLKLORE AND LITERARY TRADITIONS IN THE "BOOK ABOUT A COMBATANT" OF A.TVARDOVSKY "VASILY TERKIN" [№ 3 ' 2015]
Researchers who analyzed the traditional sources of the "Book about a Combatant" (poem) "Vasiliy Terkin" rightly take into account both folklore and literary traditions. Talking about these traditions analysts were analyzing specifics of verse — metrical form, rhyme, strophes, sounds. The author of this articles proposes and justifies the necessity to analyze the correlation of these two traditions and suggests that analysis of enjambements will help in this process. Enjambements in this poem didn't draw the attention of any researcher so far. Russian folk poetry does not use enjambements at all, therefore presence of them in the "Book about a Combatant" proves the strong influence of literary tradition. The author of this article analyzed frequency and structure of enjambements with few parameters and compared the results with similar data in Russian poems of XIX-XX century, which allowed to see that Tvardovsky was inspired by epic poetry of Pushkin's and post-Pushkins' era. The author also performed the analysis of lexis of enjambements, using stylistics data in vocabularies, which allowed to reveal one of the mechanisms of links between folk and literary traditions.
Matyash S.A.
ABOUT ONE LITERATURE "THEFT" OF LERMONTOV AND ITS FURTHER IMPACT [№ 11 ' 2014]
The article analyses the Lermontov's adoption of Zhukhovsky's method of describing a bird fly with enjambement. The author shows the character of reception of Zhukovsky's method in poetry of Lermontov and other Russian poets of 19–20 centuries.
Matyash S.A.
THE STRUCTURE OF A. PUSHKIN'S DELAYED ("TORQUE") ENJAMBEMENTS [№ 11 ' 2013]
The structure of A. Pushkin's delayed ("torque") enjambements, identified and described using methods of the article's author, is analysed. Statistic data organized by means of seven aspects — both specific and general for analysis of any enjambements — is interpreted in terms of poet's various genre groups. As context serve the results of analysis of Pushkin's traditional enjambements.
Matyash S.A.
SPECIFIC FEATURES OF VERSE FORM IN RUSSIAN ELEGY IN PARODISTS REóEPTION [№ 11 ' 2012]
The author analyses specifics of verse form (metric and stanzaic repertoire, graphics, syntax etc.) of "Ironical and burlesque (a genre parody) elegies" included into anthology "Russian elegy" of L.G.šFrizman (1991). The results of analysis have been compared with analogous data on elegies of Russian poets in 18 — beg. 20th century. This allows identifying those elements, which were considered to be most important for investigated genre.
Matyash S.A., Chekasina N.A.
VERSE ENJAMBEMENTS IN BARATYNSKY 'S LIRICS IN CONTEXTS OF PUSHKIN’S TRADITION [№ 11 ' 2011]
The article presents the results of studies on Yevgeny Baratynsky 's lyrics from point of view of verse enjambements functioning. Searched by the authors material is analyzed by its frequency and structure. Statistics results are interpreted in contexts of analogical data in Pushkin’s lyrics. The authors show peculiarity in transformation of Pushkin’s tradition by Baratynsky-poet, who sought his "own way" in poetry.
Matyash S.A.
STROPHICAL FREE IAMBUS AT THE RUSSIAN POETRY [№ 5 ' 2010]
In this article the author puts questions of theory and history of strophical free iambus at the first time in native prosody: he determines the volume of strophical free iambus concept in differentiation with border forms, also he suggests the parameters of its structure describing, and he indicates general ways and stages of strophical free iambus formation at the Russian poetry in XVIII-XIXšcc.
Matyash S.A.
FROM THE HISTORY OF STROPHICAL HYPHENATION IN THE RUSSIAN POETRY [№ 11 ' 2008]
The first period in the history of strophical hyphenation which was represented by the experience of the Russian poets of XVIII – beginning of XIX centuries – V.K. Trediakovsky, A.Kh. Vostokov, A.F. Merzlyakov, V.A. Zhukovsky was regarded in this article. Also in this work the role of antique tradition in enrichment of the Russian poetic culture is shown.
Matyash S.A.
GENRE OF INVECTIVE IN THE POETRY OF F.I. TYUTCHEV [№ 11 ' 2007]
23 invectives are revealed in the poetry of F.I. Tytchev on the base of constant and dominate features of lyrical genre of invective established by the article’s author. They are regarded from the point of view of structure, typology and genesis in synchronistic and diachronic sections.
Matyash S.A.
ABOUT SCIENTIFIC HERITAGE OF M.L. GASPAROV [№ 11 ' 2006]
Brief analytical review of general blocks of M.L. Gasparov’s scientific heritage is given in this article. His place in science history at the categories "finisher" and "discoverer" advanced by him is shown here and methodological principals of the scientist are given here. Also the role of these principals in philological science development at Orenburg University is marked in this work.
Matyash S.A.
HYPHENATIONS (ENJAMBEMENTS) IN THE LYRICS OF A.S. POUSHKIN AND M.YU. LERMONTOV [№ 11 ' 2006]
In the article the results of statistic analysis of poetic hyphenations in Poushkin’s and Lermontov’s lyrics in frequency and structure aspects are stated. The material is being comprehended in synchronic and diachronic sections. The author shows that diachronic section detects differently directed evolution of "lyrical" hyphenations of the two poets and allows designation of the role of several factors in this evolution (including the role of dramatic poem).
Krakovyak A.S., Matyash S.A.
THE CONFLICT IN DRAMATIC THEORY OF A.P. CHEKHOV AND M.A. BULGAKOV ("THREE SISTERS" AND "TURBIN'S DAYS") [№ 1 ' 2005]
The peculiarities of conflicts in two plays are compared in social and pholosophical spheres. Typological aspect of comparison shows conditionality of conflicts of epoch and writers individuality. Genetic aspect of the analysis makes clear the polemics character of Bulgakov and Chekhov.
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