The object of this research is women’s lyrics in the Even literature. It is underlined that women's poetry, represented by the Evdokia Nikolaevna Bokova, Maria Amamich, Maria Prokopievna Fedotova-Nulgynet, Varvara Grigorievna Belolyubskaya-Arkuk, Ekaterina Nikolaevna Gerasimova-Aynady is not broadly reflected in literary studies, although the topic was discusses by the writers, literary scholars and critics, such as V. B. Okorokovs, V. Shemetov, V. Sivtsev, A. Burykin and others. The subject of this research is the works of Evdokia Bokova and Varvara Arkuk. The article explores the genre uniqueness of poems, as well as cognitive, educational and aesthetic meaning of lyrics in the works of E. Bokova and V. Arkuk. Relevance of this study is defined by the need for conducting contextual analysis of the Even women’s poetry. The scientific novelty consist in characterization of aesthetic uniqueness of women's poetry in the Even literature, and in analysis of certain aspects of the works of E. Bokova, V. Arkuk as a remarkable hue in description of the images of nature and inner emotions of the people of the North. The poems of E. Bokova and V. Arkuk are familiar to wide audience. The collections of poems that enriched the Even poetry with women’s lyricism were published in the mid-1990s in the Even language.
The study objective is describing the interpretation features of Kulakovsky's ideas and images in the history of Yakut Soviet literature; outlining the national uniqueness of the literary word by this classical poet. The methodological basis of the research is theoretical issues of source studies as a philology area, as well as major aspects of textual criticism. In this paper, we selected comparative and hermeneutical methods of text analysis based on the literary language analysis. The research results show that in Kulakovsky's texts the poetics of oral folk art is equated with an unshakable basis of his individual style, but in works of the classics there are distinct guidelines of the desire to detach from tradition to establish a literary form. The practical and theoretical significance of the research is to present new perspectives of studying the national classics problems.
Using the example of Horace's lyrics, the article discusses the interaction between the visual and the linguistic in a literary work. In the introduction we raise the question whether it is possible to use the concepts of 'focus' and 'background' for describing the structure of a literary text, be it a whole poem (Epod. 2) or single passages where the shift of focus emphasizes a detail, e. g. in an enumeration (Carm. 1, 15, 11-12). Then, three passages are considered where the interpretation can be helpfully based on visual experience. The epithet flavus describing Tiber (Carm. 1, 2, 13 a. o.) is an epitheton ornans and is hardly a euphemism; the combination alta nive in Carm. 1, 9, 1-2, means rather 'deep' snow, as one can judge after a glance at the shape of Monte Soratte, described by Horace; the adjective vitreus (Carm. 1, 17, 20 a. o.) used by the authors of the 1 st cent. BC depicts the mould-pressed glass of that period and means 'glittering' rather than colour qualities-'blue', 'greenish', 'semitransparent'-typically referred to in later works.
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