Through genres: artist's book, art object and ekphrasis of Lyudina Ru / Lyudmila Rusova "Насквозь / Through"

The book Насквозь / Through by Lyudmila Rusova (1954-2010) was printed in 1999 in 500 numberedcopies on designer paper, with the graphic works, a special composition, lexis and punctuation, a general, “through” author's concept. Art critics qualify the edition as an art book. The article presents this genre definitionas a problem. The notions of “book of the artist”, livre d'artiste, art-book are not synonymous, and the concept of “art-book” puts on the first place the generalized idea of syncretism of arts. L. Rusova's poetry, however, hasan artistic valuable in itself. Her poetic language has a number of typologically common properties with the poetry of G. Aygi and A. Dragomoshchenko, at the same time it is original and diverse.В статье рассматривается книга Л. Русовой "Насквозь / Through " в рамках теории книги стихов и экфрасиса

Book of Poems as a Genre in the Works of "Pereval" Poets

The article studies the books of poems by P. Druzhinin, N. Zarudin and D. Semenovsky by such parameters as title, composition, motives, and meta-plot.В статье рассматриваются книги стихов П. Дружинина, Н. Зарудина, Д. Семеновского по таким параметрам, как композиция, мотивы, метасюжет

“Large” and “Small” poetic forms in new lyric-epic relationship (based on the poetry by M. Stepanova)

The article presents an analysis of the problems associated with the genre renewal of modern poetry, notes the importance of the concepts of “big” and “small” form to determine the boundaries of lyrical and lyric-epic genres. On the material of Maria Stepanova poetry considered “small” and “large” poetic forms (lyric, ballad, cycle, poem, a book of poetry), shows their genre specificity

"Feeling of the plot" and composition of the poems by S. L'vovskij

Понятие "Переживание сюжета", введенное Т. И. Сильман для лирического стихотворения, применено в статье для анализа произведений, включающих элементы лирики, эпоса и драмы, - стихотворений С. Львовского. Лирические родовые свойства выявляются из совокупности композиционных средств: повторов, многократных возвращений к теме, заглавий и эпиграфов, зачинов и концовок. Также принимаются во внимание такие аспекты, как субъектная структура, длина строки, ритм и графика стиха. Короткострочные стихи С. Львовский использует в стихотворениях с преобладанием сюжета, нарратива с целью создания художественно выверенного баланса между лирическим и эпическим. Сверхдлиннострочные стихи, графически весьма близкие прозе, композиционно строятся на акцентуации элементов лирики. Сюжет в них может быть не выражен, а лишь подразумеваем всей структурой текста, зачастую имеющего сложную трехродовую природу.Concept "feeling of the plot" for lyric poem by T. I. Silman introduced. In the article this concept is applied for the analysis of poems by S. L'vovskij that include elements of lyrics, epic and drama. Lyrics genres properties are identified from the complex of composition tools such as repetitions, multiple returns to the theme, titles and epigraphs, openings and endings. Aspects such as subject structure, line length, and rhythm as well as verse graphics are taken into consideration also. S. L'vovskij uses short lines in the poems with a predominance of the plot, narrative to create artistic calibrated balance between lyrical and epic. Over-long lines very close to prose graphically but compositionally they are based on the accentuation elements of lyrics. The plot cannot be expressed but only mean in the entire structure of the text, and this text, in turn, often has a complex three genres nature