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ІМПРЕСІОНІСТСЬКЕ НАЧАЛОВ ЛІРИЦІ ІГОРЯ СЄВЕРЯНІНА / сторінка 14

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ІМПРЕСІОНІСТСЬКЕ НАЧАЛОВ ЛІРИЦІ ІГОРЯ СЄВЕРЯНІНА
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Poetic fiction "Vtoraya simfonia" consists of four parts: 1. "Octava"; 2. "Triolet"; 3. "Prosto poesa" ("Simply poesa"); 4. "Final".
The author of the thesis defines the following features that bring together this poetic fiction with the symphony, the musical one: 1) similarity in composition of part 1 ("Octava") with sonata form, because "piecework consisting from few parts becomes symphonic quality in case if part 1 of it is written in sonata form" (by Igor Stravinsky); 2) its part 4 named "Final"; 3) relative independence of each of 4 parts; 4) "fluidity", i.e. "constantly crossing laying" of different words being concrete expression of different motives, varying in complement of topics.
The psychologism is investigated and the main features of images structure and devices of fiction typification are defined.
It is typical for Igor Severjanin before 1916 to pay an increased attention exactly to suburbs of Petersburg, but after 1916 the main place is Petersburg. Gatchina, originally similar to Pushkin's and Akhmatova's Tsarskoye Selo, synthesized three themes for the poet: civilization as the historic past, nature as the contemporary and love as the timeless. The historic past embodied in buildings from the epoch of Catherine II and Paul I, perceived against a background of nature and due to it produces double effect: 1) Petersburg and its suburbs are associated with the ruins of Rome and Ellada; 2) the Great past doesn't suffice under man's destiny.
It can be noticed the originality of Petersburg theme by Igor Severjanin: 1) he changes accents from the epoch of Peter I as dominating in Petersburg text to the epoch of Catherine II and Paul I; 2) except from lacking opposition the city and man's destiny in it can noticed also a harmony between nature and architecture (as opposite to the Symbolists, especially, Blok); 3) antique features have seen in suburbs (the above mentioned harmony), but not in the city (before the Revolution Petersburg was Rome for Mandelshtam); 4) theatricality in image of city is not "terrible world" of Blok and Bely, but the city of love and arts; 5) the Petersburg theme becomes a prototype of North theme, since the original type of northern Scandinavian impressionism more mild compared with the French one was more close to Severjanin, who loves nature.
The influence of Scandinavian impressionism on the lyrics by Igor Severjanin is also reviewed. But the theme of North is not associated by Severjanin only with the Baltic, where the appearance of utopian country, Mirrelia, is completely formed. The poet also sings of the nature of Northern Russia corresponding to the landscape lyrics by Bunin.
So, the theme of North is an organic part of poetic merits by Igor Severjanin.
Materials and results of the thesis have scientific, theoretical and practical importance for understanding of literary process of the Silver Age, particularly the problem of impressionism. Findings and conclusions contained in the thesis can be used in research papers, studying the problems of arts synthesis.
Key words: impressionism, synaesthetism, syncretism, pictorial devices, Scandinavian influence.
Аннотация
Авдеева Л.В. Импрессионистское начало в лирике Игоря Северянина.–
Рукопись.
Диссертация на соискание учёной степени кандидата филологических наук по специальности 10.01.02 – русская литература. – Институт литературы
им. Т.Г. Шевченко НАН Украины, Киев, 2002.
Защищается рукопись, в которой впервые проводится исследование импрессионистского начала в лирике Игоря Северянина. Выявлен синкретизм собственно поэтического, живописного и музыкального начал, взаимопроникновение приёмов. Установлено, что синэстетичность выступает как основной фактор формирования структуры поэтического образа. Проведены параллели между эстетикой лирики Северянина и живописи конца XIX – начала XX вв. (русской и западноевропейской). Впервые выполнен подробный анализ живописно-изобразительного начала у Игоря Северянина. При этом выделены и тщательно рассмотрены как пейзаж, портрет, интерьер, колористика, так и применяющиеся в них живописные приёмы, своеобразно перенесённые в поэтическую сферу.

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