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The article explores the connection of the words “brow” – “man” – “shuttle”. These lexical units have strong semantic and emotional charge in the young poet’s verses. M. Lermontov uses the words “brow”, “man” and “shuttle” in his poems as an important component of the poetic image. The author studies connections between these words with key motives of Lermontov’s lyrics.

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Bayram Durbilmez, stands as one of the most competent alive representatives of the Modern Turkish poetry with his lyric poetry, is a poet widely read in a vast part of the world: from Azerbaijan to Kazakhstan, from Ukraine to Russia and from Bulgaria to Germany. Bayram Durbilmez, whose poems have been translated into the languages and dialects that Turkic peoples speak in Azerbaijan, Turkmenistan, Uzbekistan, Kazakhstan, Crimea, Tatarstan, Bulgaria, Kosovo and Rumania and into the languages of English, Russian, German, Flemish and Japanese, started to take his place among the world poets with his poems inspired by universal sentiments. Bayram Durbilmez speaks and writes in Turkish in an eloquent way. His fluency and competence can hardly go unnoticed by any attentive mind. Besides his extensive vocabulary, Durbilmez likes to write words with profound meanings and this helps the strength of Turkish language to be proven one more time. In this article, five poems by the poet and which are translated into Japanese will be analyzed. Those poems are "Şiir Ağacı" (Poetry Tree), "Aşk Tanrıçası" (Goddess of Love), "Gizli Aşk" (Secret Love), "Sevda Rüzgarı" (Wind of Love) ve "Naz Çiçeğim" (My Coquettish Flower).

The article focuses on religious motifs in Vladimir Nabokov's works, and analyses the poems, based on the evangelical stories, including the ones from his book "Mountain Road".

The article examines the lyrical beginning of P. P. Yershov's poetry and his religious feelings. The whole of his world outlook and creativity gives particular harmony to poetical works and allows the author to embrace the world in all its diverse divine beauty.

The article deals with the marginal position of lyric poetry in Soviet Russia – the author claims the middle of the 20th century could be taken as the begin of the restoration of it, especially in the poetry by Nikolay Rubtsov. The specific character of his talent, his biography and the iniqueness of the type of his poetics and the close relationship of Rubtsov with Daniil Andreev are mentioned.

The article deals with the matter of finding borders of interpretation freedom in case of lyric poetry translation. This matter is viewed upon from the point of view of the culturologic science and the theory of dialog, being a part of this science. A border between the notions of transformational and free translation has been defined. The author focuses on the specific features of transformational model of poetic translation in comparison with free translation in order to define differences between these approaches. The author considers it to be an important matter. The culturologic point of view on transformational method of translation presents the translator with a wide range of interpretation freedom in comparison with the traditional immanent method. To reach the goals of this article the author makes the emphasis on the philosophy of dialog where mechanisms of preserving author's self has been developed in the context of intertext relations and the author's interrelation with the other. The author of the article defines two poles (scientific texts and literary text) of the role of culture in the process of translation and translator's borders of freedom. In scientific translation the role of culture is the weakest but in case with poetic works translation this role is the strongest. To describe the strongest influence of culture in case with poetic translation the author of this article notices the strongest refiguration of the source language in comparison with the language target. According to this point of view translator's freedom of any translation is limited only with the category of "Original permanence formula". In case with the transformational method of poetic translation "Original permanence formula" is defined through power of influence of images and not the language itself which gives an opportunity to make the result more comfortable. Although this is a characteristic of free translation. The author of this article notices that the notions of transformational translation and free translations are not synonymic. The main characteristic ("Original permanence formula") that creates difference between transformational translation and free translation is the form (the meter, number of lines, system of rhyming) which can be completely changed in case with free translation but must be preserved in case with transformational translation as a form is a priory of intercultural nature. Despite of this the author notes that the transformational translation form may also be changed to certain extent depending on concrete situation. The author makes the conclusions that the "Original permanence formula" cannot be defined. He also defines the formal elements that are not the parts of this formula (number of steps and partially system of rhyming). This article is a part of the author's dissertation research ("Poetic Translation as a Phenomenon of Cultural Senses Interpretation") and contains a number of questions which he is going to answer during his further scientific works. V. Tsybulko's article "Finding Borders of interpretation Freedom of Lyric Poetry Translator (Culturological Aspect)" is written according the requirements of the State Commission for Academic Degrees and Titles and can be recommended for publication. [ABSTRACT FROM AUTHOR]

The article contains broad discussion of well-preserved traditional Christian culture in the community of Priestless Old-Believers of the 'Pomortsy-Vygovtsy' faction located at the springhead of Kama River. The community of the Kama Old-Believers is situated on a small area (60 x 60 kilometers) where numerous oral and written relics of spiritual culture were found by the Moscow State University archaeographers. Unique richness and good preserving of a spiritual poem results from the division of the community in the middle of the 19th century into two groups - 'dyomintsy' and 'maximovtsy' for personal and geographical and not doctrinal reasons. Each group despite unity of faith tried to be more religious and better preserve their tradition. The introductory part contains general description of the lyrics which are the result of spiritual life of the Old-Believers community as well as detailed discussion of the research work and publications devoted to Kama Old-Believers. What follows is a deep analysis showing the character, depth of faith and preserving traditions which are included in the spiritual poetry of people working the soil who are directly connected with nature. Significant space devoted to quoting the proems and discussing the essence of numerous spiritual lyrics in the analytical frame proposed by the author. [ABSTRACT FROM AUTHOR]

Abstract: An important element of the communication situation of a lyric poem is the addressee. The speaker in the poem (lyrical subject or lyrical I) may address another person (as in much love poetry), himself (autocommunication), but also natural phenomena, countries, cities, and even abstract notions. The article discusses the extraordinary variegated field of addressees that one can find in the poetry of Velimir Khlebnikov. The many different addressees testify to Khlebnikovʼs intensive contact with the entire world, which becomes for him a living partner. [Copyright &y& Elsevier]

In the article "Antique World In The Lyric Poetry of M. Tsvetaeva" the antique characters and plots, which have become a method of comprehending the poet's experiences, are being examined. Myth, in the view of its universality and cosmology, has given a possibility to open deeper layers within it, giving birth to the completely new content. Different types of mythological reception are used in Tsvetaeva's poetry: from the direct reproduction of mythological means to the creation of the author's myths. Tsvetaeva uses the myths that were traditional in the poetry in the beginning of the 20th century (e. g. the myths about Orpheus and Euridice, Psyche, Phaedra and Ippolito, Areadne and Theseus, etc) to construct two individual myths: a myth about the poet as 'an emigrant of the Kingdom of Heaven' and a myth about the tragedy of the terrestrial love, doomed to separation of the loving souls, involving the conflict of soul and body. For the creation of the first myth she has turned to the characters of Psyche, Orpheus and Sevilla; in the creation of the second, she employs a majority of antique characters commonly used in her poetry (Aphrodite, Phaedra, Areadne, Euridice and others). Both myths observe a tendency towards the rejection of the female essence for the benefit of the high spirit of poetry. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present research on Freemason elements in the literary output of Russian 18th-and early 19th century poets, both the renowned ones and those whose names are mostly forgotten today, leads us to the conclusion that many traditional views concerning the literary process in the period must be challenged. Thus, religious-philosophical odes by Vasyl Maikov which 'translate' Freemason mythology and philosophy into the language of literature, appear a significant achievement of Freemason poetry. What can be regarded as the predominant feature of these poems are considerations upon the essence of God the Creator and the Great Architect of the Universe, the mystery of Creation and Salvation, and the possibility of reaching a mystical union with the Supreme Being. Equally important prove such themes as the condition of man, the myth of Golden Age and the Kingdom of Eternal Light--embodying man's dream of attaining eternal happiness. [ABSTRACT FROM AUTHOR]

The author of the report "Special features of space organization in Byelorussian lyric poetry in 1960-70th (taking works of Aleksey Pisin as the example)" analyzes some characteristics of space in the lyrics of Byelorussian poet Aleksey Pisin. On this basis following conclusions about features of space organization in the national poetry of 1960-70th are made: the space in the works of the given period is open in a vertical direction; there is no steady vector in a vertical axis "bottom-top" (it means that the lyrical character is oriented both to sky and to the ground); spatial images of "bottom" and "top" approach with the purpose to show aspiration to harmony in the world; and finally mythological sacralization is also one of space characteristics. [ABSTRACT FROM AUTHOR]

The subjekt of the article are the "sonnets on sonnets" -- which reflekt and interpretate their own poetic form. Compairative analyse demonstrates the process of forming general special feature -- the ironic plot construction -- for all three types of "sonnets on sonnets". Pushkin's "Sonnet" (1830) appairs the first to extrapolate this feature upon the form of "hystoric" sonnets on sonnets. [ABSTRACT FROM AUTHOR]

The conception of space and time in Pascal's "Thoughts" has a lyrico-philosophic character. It is built as the synthesis of everyday ideas about limited extension and length of science-philosophical comprehension of double infinity of world and religious idea. The micro genre of lyrical note has become an optimal form for the incarnation of this conception. [ABSTRACT FROM AUTHOR]