Tatiana Krasilnikova
Columbia University, Slavic Languages and Literatures, Graduate Student
- Humanities, Languages and Linguistics, Russian Literature, Poetry, Poetics, Comparative Literature, and 14 moreLiterary Theory, Russian Poetry, Russian Formalism, Russian Verse, History of Humanities, Literature, Russian Studies, Gender Studies, Female Writing, Cognitive Literary Studies, Cognitive Literary Theory, Cognitive Poetics, Contemporary Poetry, and Russian contemporary Literatureedit
This article focuses on the role of idioms in Boris Pasternak’s collection The Second Birth (1932), a topic which has not yet received scholarly attention. The idiomatic level of the Russian language, with its fixed connotations, provides... more
This article focuses on the role of idioms in Boris Pasternak’s collection The
Second Birth (1932), a topic which has not yet received scholarly attention.
The idiomatic level of the Russian language, with its fixed connotations,
provides Pasternak with material for sophisticated metaphors, and
simultaneously for transmitting conventional and easily recognizable
meanings. Thus, the focus on idioms offers an opportunity to explain clearly
how a balance of simplicity and complexity is achieved in a work that stems
from the poet’s transitional period. In the first section of the article, we
discuss the main types of Pasternak’s treatment of idioms; in the second, we
provide a number of illustrative examples, analyzing the intertwining of
various phraseological modifications in the context of stanzas. In our reading,
we pay close attention to the relationship between semantic and visual
features of Pasternak’s verses, and in the third section, we discuss the topic
of visuality in Pasternak’s poetry from a theoretical point of view. Idioms, we
conclude, are not only an essential part of Pasternak’s poetic language, but
also represent an area that opens up a new frontier of research.
Second Birth (1932), a topic which has not yet received scholarly attention.
The idiomatic level of the Russian language, with its fixed connotations,
provides Pasternak with material for sophisticated metaphors, and
simultaneously for transmitting conventional and easily recognizable
meanings. Thus, the focus on idioms offers an opportunity to explain clearly
how a balance of simplicity and complexity is achieved in a work that stems
from the poet’s transitional period. In the first section of the article, we
discuss the main types of Pasternak’s treatment of idioms; in the second, we
provide a number of illustrative examples, analyzing the intertwining of
various phraseological modifications in the context of stanzas. In our reading,
we pay close attention to the relationship between semantic and visual
features of Pasternak’s verses, and in the third section, we discuss the topic
of visuality in Pasternak’s poetry from a theoretical point of view. Idioms, we
conclude, are not only an essential part of Pasternak’s poetic language, but
also represent an area that opens up a new frontier of research.
Research Interests: Semantics, Poetics, Vygotsky, Phraseology, Russian Poetry, and 15 more20th Century Russian Literature, Literature and visuality, Boris Pasternak, Idioms, Russian Poetry of the 20th century, Soviet discourse, Collocation and idiomatic expressions, Linguistics and Literature, Linguistics and Poetics, Poetic Language, Visual Effects in Poetry, Phraseology In Poetry, Soviet Poetry, Luria, and Борис Пастернак
The article focuses on puns in boris Pasternak’s collection The Second Birth (1932). Since the analysis of the language game was almost entirely replaced with the analysis of polysemy, puns have not become the subject of a special study.... more
The article focuses on puns in boris Pasternak’s collection The Second Birth (1932). Since the analysis of the language game was almost entirely replaced with the analysis of polysemy, puns have not become the subject of a special study. Within the framework of this approach, the ambiguities in the poems were interpreted as “aesopian language” or the “author’s deafness”. According to the article, the cases of linguistic ambiguity in The Second Birth are the phenomena of poetical irony. Basing the analysis on phraseology as a fixed linguistic material, we show how the transformation of idioms
creates puns. The article examines examples in which Pasternak playfully transforms fixed expressions or constructions taken from the soviet discourse (the second section), as well as the language game that is not related to ideology (the third section). In the latter case, we are interested by the linguistic mechanisms of pun creation – from explicit interpretation of idioms to subtle ambiguity arising from language associations. The puns throughout the collection reduce the degree of seriousness and form the
ironic modality of the poems. The Second Birth thus balances not only between the simplicity and complexity of language, but also between the pathetic and ironic modalities.
creates puns. The article examines examples in which Pasternak playfully transforms fixed expressions or constructions taken from the soviet discourse (the second section), as well as the language game that is not related to ideology (the third section). In the latter case, we are interested by the linguistic mechanisms of pun creation – from explicit interpretation of idioms to subtle ambiguity arising from language associations. The puns throughout the collection reduce the degree of seriousness and form the
ironic modality of the poems. The Second Birth thus balances not only between the simplicity and complexity of language, but also between the pathetic and ironic modalities.
Research Interests: Semantics, Poetics, Phraseology, Russian Poetry, Russian Formalism, and 15 moreBoris Pasternak, Ideology and Literature, Idioms, Irony, Soviet discourse, Puns, Soviet literature, Collocation and idiomatic expressions, Linguistics and Literature, Aesopian Language, Linguistics and Poetics, Poetic Language, Phraseology In Poetry, Soviet Poetry, and Maksim Shapir
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The article is a part of a study titled “The Lyrical Character in Lev Loseff’s Poetry: Image, Name and Reflection”, concerned with three aspects: firstly, the category of “the lyrical character”, proposed to describe the author’s image in... more
The article is a part of a study titled “The Lyrical Character in Lev Loseff’s Poetry: Image, Name and Reflection”, concerned with three aspects: firstly, the category of “the lyrical character”, proposed to describe the author’s image in a substantial corpus of Loseff’s poems; secondly, the issue of self-naming; thirdly, the motive of the subject’s reflection in a mirror. In real life Loseff had a number of names and surnames and it is not surprising that their multiplicity found its way into his poetry. The perspective adopted in the article enables a better understanding of Loseff’s poetics as well as opens new areas for discussion.
Настоящая статья – часть исследования под названием Лирический персонаж в поэзии Льва Лосева: образ, имя, отражение, в фокусе которого три аспекта: во-первых, категория «лирического персонажа», предложенная для описания образа автора в довольно большом корпусе стихотворений Лосева; во-вторых, проблема самономинации поэта; в-третьих, мотив отражения лирического персонажа в зеркале. В реальной жизни у Льва Лосева было несколько имен и фамилий, и совсем неудивительно, что такое разнообразие воплотилось и в творчестве поэта. Предложенный ракурс помогает определить, чем объединены многие «ключевые» стихотворения Льва Лосева, приблизиться к пониманию его поэтики и одновременно с этим приоткрыть новые дискуссионные области.
Настоящая статья – часть исследования под названием Лирический персонаж в поэзии Льва Лосева: образ, имя, отражение, в фокусе которого три аспекта: во-первых, категория «лирического персонажа», предложенная для описания образа автора в довольно большом корпусе стихотворений Лосева; во-вторых, проблема самономинации поэта; в-третьих, мотив отражения лирического персонажа в зеркале. В реальной жизни у Льва Лосева было несколько имен и фамилий, и совсем неудивительно, что такое разнообразие воплотилось и в творчестве поэта. Предложенный ракурс помогает определить, чем объединены многие «ключевые» стихотворения Льва Лосева, приблизиться к пониманию его поэтики и одновременно с этим приоткрыть новые дискуссионные области.
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Статья посвящена исследованию стихотворения Арсения Тарковского «Ветер», при этом в центре внимания оказываются такие категории и явления, как звукосимволизм, синестезия в искусстве, в частности взаимозаменяемость аудиальной и... more
Статья посвящена исследованию стихотворения Арсения Тарковского «Ветер», при этом в центре внимания оказываются такие категории и явления, как звукосимволизм, синестезия в искусстве, в частности взаимозаменяемость аудиальной и кинестетической модальностей, а также особенности временной организации текста. В ходе анализа формулируются причины трудности переноса импрессионистской рефлексии в рамки научного дискурса и предлагается спроецировать некоторые методы исследования стихотворения «Ветер» на поэзию Тарковского в целом.
Abstract. The article is dedicated to the research of a poem “Wind” by Arseniy Tarkovskiy. In the spotlight there are such categories and phenomena as soundsymbolism, synesthesia in literature, especially interchangeability of auditory and kinesthetic modalities and features of tenses’ system of the text. In the analysis reasons of difficulties in understanding of Tarkovskiy’s poetry are represented. In conclusion the author suggests using methods of researching this poem while reading Tarkovskiy’s poetry at all.
Abstract. The article is dedicated to the research of a poem “Wind” by Arseniy Tarkovskiy. In the spotlight there are such categories and phenomena as soundsymbolism, synesthesia in literature, especially interchangeability of auditory and kinesthetic modalities and features of tenses’ system of the text. In the analysis reasons of difficulties in understanding of Tarkovskiy’s poetry are represented. In conclusion the author suggests using methods of researching this poem while reading Tarkovskiy’s poetry at all.
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Аннотация. В фокусе настоящей статьи – стихотворение Льва Лосева «Норковый ручей», прочитанное сквозь призму стихотворения " West-Running Brook " Роберта Фроста. В результате компаративного анализа двух текстов становится ясно, что... more
Аннотация. В фокусе настоящей статьи – стихотворение Льва Лосева «Норковый ручей», прочитанное сквозь призму стихотворения " West-Running Brook " Роберта Фроста. В результате компаративного анализа двух текстов становится ясно, что география, культура и история штата Нью-Хэмпшир в сознании Лосева неразрывно связаны с фигурой американского поэта, творчество которого, в свою очередь, ассоциируется с традицией русской нарративной лирики XIX века (в частности, с именем Н.А. Некрасова) и с поэзией ближайшего друга Льва Ло-сева Иосифа Бродского. Отдельно рассматривается роль «чужих слов», которые расширяют заданную Фростом и переосмысленную Лосевым тему смертности и вечности бытия и позволяют взглянуть на нее с ракурса русской литературной традиции. В ходе пристального чтения стихотворения «Норковый ручей» комментируются некоторые биографические, географические и культурные реалии. (Nizhny Novgorod) "
Mink Brook " by Lev Loseff: Through the Prism of Robert Frost
Abstract. The article deals with the poem " Mink Brook " by Lev Loseff, read through the prism of Robert Frost's " West-Running Brook ". The comparative analysis shows that for Loseff New Hampshire's geography, culture and history are inextricably linked with the image of Robert Frost, whose poetry, in turn, is associated with the tradition of Russian narrative lyrics of the 19 century (particularly with the name of N. Nekrasov) and with Joseph Brodsky's poetry. The role of the 'alien words' is separately considered: they broaden the theme of the mortality and of the eternity, set by Frost and rethought by Loseff, and let us look at them from a different angle (Russian literature tradition). During the close reading of the Loseff's poem the author comments some of the biographical, geographical and cultural realities.
Mink Brook " by Lev Loseff: Through the Prism of Robert Frost
Abstract. The article deals with the poem " Mink Brook " by Lev Loseff, read through the prism of Robert Frost's " West-Running Brook ". The comparative analysis shows that for Loseff New Hampshire's geography, culture and history are inextricably linked with the image of Robert Frost, whose poetry, in turn, is associated with the tradition of Russian narrative lyrics of the 19 century (particularly with the name of N. Nekrasov) and with Joseph Brodsky's poetry. The role of the 'alien words' is separately considered: they broaden the theme of the mortality and of the eternity, set by Frost and rethought by Loseff, and let us look at them from a different angle (Russian literature tradition). During the close reading of the Loseff's poem the author comments some of the biographical, geographical and cultural realities.
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В монографии рассматривается поэтический язык книги Бориса Пастернака «Сестра моя — жизнь» сквозь призму идиоматики (коллокации, фразеологизмы, устойчивые словосочетания, конструкции и поговорки). Пристальное прочтение стихов сборника —... more
В монографии рассматривается поэтический язык книги Бориса Пастернака «Сестра моя — жизнь» сквозь призму идиоматики (коллокации, фразеологизмы, устойчивые словосочетания, конструкции и поговорки). Пристальное прочтение стихов сборника — начиная с разбора отдельных строк и строф и заканчивая языковым анализом нескольких стихотворений — позволяет утверждать, что «готовые» словосочетания были для поэта источником неожиданных и темных метафор, а также обеспечивали повышенную семантическую связность и многозначность поэтического текста. Особая роль идиоматики в «Сестре моей — жизни» дает возможность на новых основаниях обратиться к проблеме эволюции поэтического языка модернизма.