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Russian poetess Akhmatova who was influenced by early 19th century poetic ethos and the works of Pushkin, especially in reference to the structural constructs or invitations to form, available to elegy and ballad, modified this facet to suit her own ends. Her application of stylistic and formal attributes resemble the manner in which she used thematic contexts through quotations and epigraphs. Akhmatova broke from tradition in creating her own specific stanza from, the versatile 'akhmatovskaia strofa' of 'Poema bez geroia.'

Pervoe svidanie (First Meeting) is Belyi's 1921 long poem, which has often been praised as one of his most successful and accessible works in verse. Two particular elements- the Wagnerian concept of leitmotiv and the ideas of Rudolf Steiner are examined, and they discuss the symbolic structure of the poem and an analysis of how they combine with Belyi's thematic aims further, is also done.

Pervoe svidanie (First Meeting) is Belyi's 1921 long poem, which has often been praised as one of his most successful and accessible works in verse. Two particular elements- the Wagnerian concept of leitmotiv and the ideas of Rudolf Steiner are examined, and they discuss the symbolic structure of the poem and an analysis of how they combine with Belyi's thematic aims further, is also done.

Das Ezzo-Lied in der Vorauer Uberlieferung: Text, Ubersetzung and Kommentar. By Christoph Lange. (Erlanger Studien, 133) Erlangen and Jena: Palm & Enke. 2005. viii+294 pp. 29 €. ISBN 978-3-7896-0833-9. The [...]

Flint on a Bright Stone: A Revolution of Precision and Restraint in American, Russian, and German Modernism. By Kirsten Blythe Painter. Stanford, CA: Stanford University Press. 2006. xxii + 306 [...]

Sensus Spiritualis: Studies in Medieval Significs and the Philology of Culture. By FRIEDRICH OHLY. Ed. and with an Epilogue by SAMUEL P. JAFFE. Trans. by KENNETH J. NORTHCOTT. Chicago and [...]

One of the features of the early Russian Symbolist movement in the 189os is its appropriation of literary models previously championed by the civic tradition which preceded it, and to which it was both philosophically and aesthetically opposed. One example can be found in treatments of the English poet Percy Bysshe Shelley. This article compares civic and Symbolist translations of Shelley's sonnet 'Ozymandias', showing that the same material could be used to support radically different views, and that the literary world of the period was a particularly fluid space in which multiple overlapping trends competed for the attention of readers. [ABSTRACT FROM AUTHOR]