This book can be classified as a memoir with one reservation made by its author: ‘These meditations go alongside the recollections…’ The son, writing his recollections in the memoir form, is Vladimir Zelinsky, a Russian Orthodox Church priest serving in Italy. His father Kornely Zelinsky (1896–1970) is a Soviet literary critic whose reputation has been stained by a number of gestures in his literary career. Most known as the theoretician in the Constructivists poetic group in the 1920s, he abandoned it and his former views in 1930 under the ideological pressure. In 1940, he wrote an internal review that practically barred the publication of Marina Tsvetaeva’s verse collection and made her life situation unbearable. In 1958, he was among the most bitter critics of Boris Pasternak after the latter was awarded the Nobel Prize. What position can his son, a priest, take in his memoirs? This position is not one of all-forgiveness but of understanding arrived at in the filial dialogue with his father’s life spent in the time affected by the ideological virus.
“Comparative poetics” does not belong to the set of established terms. It was introduced by Earl Miner (1990) and might have heralded an ambitious project if not immediately undermined by the subtitle “An Intercultural Essay on Theories of Literature.” It did not take long to find that poetics did not easily agree with cultural studies as they were proposed. The word, reduced to a sign and viewed as a function, was cut off from its poetic significance. In search for a new poetics, a special interest has been recently demonstrated toward “historical poetics” only vaguely heard of before thanks to the eminent Russian scholars (the Formalists, Bakhtin, and Propp) but still less known in its original form worked out by Alexander Veselovsky. His magnum opus, unfinished by the author, may serve as a guide in our search for method to restore the study of verbal art as poetics of world literature.
a Российская академия народного хозяйства и государственной службы при Президенте РФ (Россия, Москва) b Российский государственный гуманитарный университет (Россия, Москва) c Журнал «Вопросы литературы» (Россия, Москва) как ПеревОдить жанр? ОстрОМыслие в английскОМ ренессанснОМ сОнете Аннотация. Остроумие в елизаветинскую эпоху стало одной из обязательных характеристик «достойной» личности. Оно проявляло себя в разных речевых формах, в том числе в жанре сонета на пути пародийного переосмысления петраркистской условности и трансформации ее в антипетраркизм, «поэтику двойственности» (Брукс-Дейвис). Эта черта сонета не была в полной мере оценена русскими переводчиками, что облегчило в процессе перевода фактическое преобразование ренессансного сонета в «жестокий» романс, особенно отличающее переводческую практику С. Маршака. Остроумное инверсирование сонетной формы свойственно манере Ф. Сидни, с первых сонетов в сборнике «Астрофил и Стелла» связавшего вопрос, как писать, с вопросом, как вознести хвалу даме сердца, чтобы хвала не показалась лестью. Шекспир подхватил этот мотив (сонет 39 и другие), но по мере того как возрастает степень рефлективности в его сонетах, он все чаще обращается к теме внутренней речи, проникновению на душевную глубину собственного «я» (self), вокруг которого в сонетах не раз остроумие проявляет себя в местоименной круговерти (сонеты 13, 36, 39).
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