The subject of the study is the intertextual dialogue of the "Poem without a Hero" by A. Akhmatova with texts by Robert Browning: the poetic diptych "Porphyria's Lover" and "My last Duchess". The object of the study is the counterpoint of the pretext and subtext of English literature in the multilayered and polysemantic text of the "Poem without a Hero", to which Akhmatova herself attributed the "triple bottom". The authors consider in detail the overlap of the motives of Browning's poems with the text of the "Poem without a Hero" and demonstrate the systemic "mirroring" of the reflection of situations: the complexes of the motives of the Browning diptych in Akhmatova are inverted. Particular attention is paid to the issues of various interpretations of the text of the poem "Porphyria's Lover" and related interpretation options for individual scenes and fragments in the text of the "Poem without a Hero". The main conclusions of the study are the establishment of an unambiguous semantic connection of the "Poem without a hero" with two Browning poems. The research methods include comparative-historical and intertextual. A special contribution of the authors to the study of the topic is the substantiation of the trace of Robert Browning's diptych in the text of "Poems without a Hero": traditionally, another work of Browning is indicated among the sources of the poem. The novelty of the research is determined by the involvement of new material and the proposal of a new reading of Akhmatova's self-identification as "anti-Browning". These words should be deciphered not only by projecting the relationship of the Browning and Barrett pair onto the Gumilev and Akhmatova pair, but also as a reference to the mirror reversal of the situations described by Browning in the dramatic monologues of the diptych.
The subject of the study is explicit and hidden references to the work of John Keats in the works of Anna Akhmatova "Poem without a hero" and the cycle of poems "From a burnt notebook". The object of the study is the principle of "mirror writing" implemented through references to Keats, which allows using embedded references to various works of world culture located one inside the other. The author examines in detail such aspects of the topic as the use of quotations in the text and in the frame of the text, the roll call of citations among themselves and with other works. Special attention is paid to the motive of meeting with a dead lover formed with the help of allusions, which is present both in Keats' poems and in the "Poem without a Hero", and due to the principle of "mirror writing" is formed in the implicature of the cycle "From a burnt notebook". The main conclusions of the study are the detailed references to the form and content of John Keats' poems in the works of Anna Akhmatova. A special contribution of the author to the study of the topic is the connection established for the first time between the image of "embalming" mentioned in the Poem without a Hero and in Keats' poem "A Pot of Basil", the epigraph from which is used in the cycle "From a burnt notebook". The novelty of the research lies in clarifying the principle of "mirror writing", the quote "echo", implying the reflection of one quote in another and building a kind of chain of references in the work: Keats refers to Boccaccio, Boccaccio to Virgil, etc.
The subject of this research is the principles of correlation of onomastic code of the “Poem Without A Hero” with the text frame of its various editions, viewed from the communicative-pragmatic perspective. The object of this research is nine editions of the “Poem Without a Hero” and intertextual references marked within the text frame. The author dwells on such aspects as the interrelation between the literary onomastics and hidden meanings of the poem, transformations of the text frame, methods of “instilling” the authorial meanings to intertextual sources (the works of Byron, Pushkin, and Gumilyov). Special attention is given to projection of the personal myth of Anna Akhmatova, which is traced through the poem, on Western European and Russian literature and the evolution of the text frame. It is demonstrated that the ensemble of epigraphs, which represents an implicit dedication to the poet fallen in disfavor, dissolves leaving imprints in the form of mentioning of Byron and Don Juan in the text of the poem. The main conclusion lies in the establishment of a number of semantic correspondences between the text frame and the historical-cultural halo of names, which on the one hand are associated with the imagery-motif level of a particular poem, while on the other – with personal mythology of the poet. The author’s special contribution to this research lies in outlining the strategies aimed at preservation of special intertextual memory in the names. The novelty consists in determination of the semantic halo of the name, which specifies a range of implicit meanings of the poem. It is revealed that these meanings are “supported” by the corresponding references. Such reminiscences, interweaving into a complex ornamental pattern, on the one side are conceptually programmed by the very structure of the “Poem Without A Hero”, and on the other side, determined biographically.
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