Wyniki wyszukiwania - Biblioteka Nauki

1

Религиозно-этический идеал Михаила Лермонтова: истоки формирования и художественное воплощение

100%

Киселёва И.

|

nr 5

30-40

EN

Ethics by Lermontov are deeply original and have a religious character. According to Christian canons, in the poet’s consciousness, the source of moral is acting and a measure of a moral sense is Christ. Primary in Lermontov’s poetry is the accusation of his generation’s flaws. Also acusation of defectsc are strong in his creativity. The leading motive of Lermontov’s poetry is that of God's court, which acts as a justice standard.

2

Баллада М. Ю. Лермонтова «Три пальмы» и судьба одного ориентального мотива в поэзии В. Жуковского, А. Пушкина, А. Мицкевича

86%

Ходанен Л.

|

2011

|

nr 4

53-61

EN

This article concerns the Eastern motif ―the horse and the rider in the desert‖. This motif appeared in French poetry (Millevoye and Lagrange) in connection with the translations of the Bedouin (desert arabs) poetry. Gradually, in the poetry by Zukovskij (Песнь араба над могилою коня), Pushkin (IX Imitation from the poetic cycle Подражания Корану), Mitskevich (Фарис), and Lermontov (Три пальмы), a metasubject was formed, with a synthesis of Eastern and Western motifs. The poets start with the imitation of the Eastern texts and then, in their poetry, they start to express the philosophical ideas of correspondence between the Eastern and Christian cultures as different forms of a civilization development.

3

Звуковой мир поэмы Михаила Юрьевича Лермонтова Демон

72%

Hodanen L.

|

tom 158

41 - 48

EN

The article concerns about the sonosphere in M. Lermontov’s works. The earlier poet’s epistolary legacy, in which the main ways of sound perception are reflected, is analyzed. It is noted that in Lermontov’s literary works this perception became the foundation of a distinct theme in lyrics and paradigm of motifs which appeared in his poems (Sounds, Yest rechi — znachenye). The phonic world of the poem Demon is described in detail (1841 edition). The types of Demon’s and Tamara’s sonospheres which by means of phonic images diversify the main conflict are defined; the artistic functions of the musical images are brought to light.

4

Концепт „смерть” в романтической лирике Михаила Лермонтова

72%

Megrelishvili T.

Slavica Wratislaviensia

|

2018

|

tom 167

111-122

EN

The romantic concept of deathin the poetry of Mikhail Lermontov The analysis of the European romantic discourse has demonstrated the importance of the motive of death for the understanding of the artistic worldview of a romantic poet. Lermontov’s legacy is no exception to this general rule. The existence of recurring themes in his poetry requires special attention to the motive of death that makes it stand out from the context of Russian Romanticism. The article analyzes the peculiarities of Lermontov’s artistic worldview and his approaches to overcome psychological loneliness, which is reflected in the motive of death, among others.

BG

Романтична концепция за смърттав лириката на Михаил Лермонтов Анализът на общоевропейския романтичен дискурс демонстрира важността на мотива за смъртта, за разбирането на художествената картина на света на поета романтик. В този аспект творческото наследство на Лермонтов не прави изключение. Като се има предвид характерния за Лермонтов похват да се връща към постоянните теми в творчеството си, особено внимание трябва да се обърне върху трансформирането на мотива за смъртта, поради което лириката му изпъква на фона на общия контекст на руския романтизъм. Статията разглежда особеностите на художествената картина на света на поета Лермонтов и начините за художествено преодоляване на психологическата самота, което намира своя израз и в мотива за смъртта.

5

Mотивы театральности / маскарадности в "Маскараде" Лермонтова и драматургии Шекспира

58%

Шульц С. А.

|

nr 4

281-293

RU

В "Маскараде" Лермонтова преломлен мотив Шекспира «весь мир – театр» во всем многообразии смыслов мотива. В отличие от Шекспира, их позитивное наполнение Лермонтовым в целом отвергается. Оно дано в превращенном измерении – как героическое, стоическое претерпевание индивидом почти всегда страдательной «роли», и в таком «претерпевании» – неотъемлемая высота «роли».

EN

In Lermontov’s "Masquerade", Shakespeare’s motif “the whole world – theater” is reversed in all the diversity of its meanings. Lermontov rejects any positive content of various meanings of the motif. It is given in the transformed dimension – as a heroic, stoic endurance of an almost always passive “role”. This endurance in an inherent part of the “role’s” greatness.