107 research outputs found
Образ «конца» в «Поэме конца» Марины Цветаевой
In the present article we analyse the poetic evolution of the concept of “end” in the “Poem of the End” of Marina Tsvetaeva and the reasons related to the “end”. These project the spatial and temporal structure of the writing. The leitmotifs of ‘descent’, ‘separation’ and ‘water’ represented as gradational series are emphasized in the text. The motive of separation is the most evident of the three, in the spatial and temporal scheme it is represented as movement sideward. The motive of descent from the mountain, which is a metaphor of the home lost (and, at the same time, of the happiness lost), is a movement downward. Visually in the vector scheme the motive of the water that is deepened in the end of the poem creates an image of the space flood. It completed the image of the end, of the mountain that dives under water. That induces to the association of deluge, the end of the world. Thus, the main motives are set in the first two chapters of the text. These cross in the poem and at the end create the image of the world catastrophe that can be Deluge or the end of Atlantis.Also, the associative series of the main motives mentioned are followed and analysed. A special attention is paid to the final image of the world catastrophe that is created by the confluence of three main motives that conduct the topic of the end in the text. The layer of the reminiscences related to these motives and represented in the poem is analysed. Here appear the allusions to the Babylonian complex of motives (biblical and of general culture), the references to the classic love topics (Platonism, Cupid and Psyche, and others), the reminiscences of Russian poetry from Pushkin to Mandelstam. The eschatological motives and autoreminiscences are distinguished (including the anticipation of the motives of the poem “The Rat-Catcher”).In the present article we analyse the poetic evolution of the concept of “end” in the “Poem of the End” of Marina Tsvetaeva and the reasons related to the “end”. These project the spatial and temporal structure of the writing. The leitmotifs of ‘descent’, ‘separation’ and ‘water’ represented as gradational series are emphasized in the text. The motive of separation is the most evident of the three, in the spatial and temporal scheme it is represented as movement sideward. The motive of descent from the mountain, which is a metaphor of the home lost (and, at the same time, of the happiness lost), is a movement downward. Visually in the vector scheme the motive of the water that is deepened in the end of the poem creates an image of the space flood. It completed the image of the end, of the mountain that dives under water. That induces to the association of deluge, the end of the world. Thus, the main motives are set in the first two chapters of the text. These cross in the poem and at the end create the image of the world catastrophe that can be Deluge or the end of Atlantis.Also, the associative series of the main motives mentioned are followed and analysed. A special attention is paid to the final image of the world catastrophe that is created by the confluence of three main motives that conduct the topic of the end in the text. The layer of the reminiscences related to these motives and represented in the poem is analysed. Here appear the allusions to the Babylonian complex of motives (biblical and of general culture), the references to the classic love topics (Platonism, Cupid and Psyche, and others), the reminiscences of Russian poetry from Pushkin to Mandelstam. The eschatological motives and autoreminiscences are distinguished (including the anticipation of the motives of the poem “The Rat-Catcher”).В статье анализируется поэтическое развертывание понятия «конца» в «Поэме конца» Марины Цветаевой и связанные с ним мотивы, отражающие пространственно-временную структуру произведения. Выделяются лейтмотивы ‘спуска’, ‘расставания’ и ‘воды’, представленные в виде градационных рядов. Мотив расставания является самым очевидным из трех, на временно-пространственной схеме он представлен как движение в стороны. Мотив спуска с горы, являющийся метафорой потери дома (и, одновременно, счастья), – это движение вниз. Визуально на векторной схеме мотив воды, усиливающийся к концу и создающий картину затопленного пространства, дополняет его и создает образ погружения горы под воду, что вызывает ассоциацию потопа, т.е. конца света. Таким образом, основные мотивы задаются в первых двух главах текста и, пересекаясь на протяжении всей поэмы, создают в конце произведения картину гибели мирового масштаба, какой может являться всемирный потоп или конец Атлантиды. Также прослеживаются и анализируются ассоциативные ряды вышеуказанных мотивов. Особенное внимание уделяется заключительному образу мирового бедствия, который создается посредством слияния трех основных мотивов, сопровождающих тему конца в произведении. Рассматривается слой реминисценций, связанный с этими мотивами и представленный в поэме. В него входят аллюзии на «вавилонский» комплекс мотивов (библейский и общекультурный), отсылки к любовной античной топике (платонизм, Амур и Психея и т.п.), реминисценции русской поэзии (от Пушкина до Мандельштама). Рассматриваются эсхатологические мотивы и автореминисценции (включая предвосхищение мотивов поэмы «Крысолов»)
Types of masks in Marina Tsvetaeva’s poetry
© 2015, Ecozone, OAIMDD. All rights reserved. This article attempts to demonstrate, by providing concrete examples, several fundamentally different kinds of literary masks in Marina Tsvetaeva’s poetry. The very notion of a literary mask has not yet got a clear understanding, which is revealed in the border and controversial cases where the identification of a mask causes difficulty, or where the apparent simplicity of this operation is deceptive. We observed four types of masks fulfilling different functions: 1) euphemistic, ‘concealing’ mask; 2) auto ironic mask; 3) language involving mask, or stylistic mask; 4) transgender, or character mask. In our opinion, the distinguished models are enough to demonstrate the extreme diversity of mask devices used by Marina Tsvetaeva and raise the question of the need to build a comprehensive system describing the literary mask function
The crystal structure of 2-(tetrazol-1-yl)pyridine complexes with Cu(II) and Co(II) chlorides
СОРБЦИОННОЕ ИЗВЛЕЧЕНИЕ Cu2+, Co2+, Ni2+ И Pb2+ ИЗ ВОДНЫХ РАСТВОРОВ ТЕТРАЗОЛСОДЕРЖАЩИМИ ПОЛИМЕРАМИ НА ОСНОВЕ ПРОМЫШЛЕННО ВЫПУСКАЕМОГО СОПОЛИМЕРА АКРИЛОНИТРИЛА
The sorption activity of tetrazole-based polymers prepared from commercial copolymer of acrylonitrile, methyl acrylate and 2-acrylamido-2-methylpropanesulfonic acid was studied in relation to Сu2+, Co2+, Ni2+ and Pb2+ in diluted aqueous solutions. It was found that the sorption capacity grew with increasing the tetrazolation ratio and the specific surface area of polymer. The possibility of selective sorption of Cu2+ in the presence of Co2+ was shown. The recovery of the sorbent after ion exchange sorption was achieved by treating with dilute hydrochloric acid.В данном сообщении представлены результаты исследования сорбционной активности тетразолсодержащих полимеров, полученных на основе промышленно выпускаемого сополимера акрилонитрила, метилакрилата и 2-акриламидо-2-метилпропансульфокислоты, в отношении ионов Cu2+, Co2+, Ni2+ и Pb2+ из их разбавленных водных растворов. Установлено, что с повышением степени тетразолирования, а также удельной поверхности, сорбционная емкость изученных полимеров увеличивается. Показана возможность селективной сорбции ионов Cu2+ из растворов, содержащих одновременно Cu2+ и Cо2+. Регенерация сорбента по окончании ионообменной сорбции достигается путем его обработки разбавленными растворами HCl
Neutron and synchrotron X-ray powder study of copper(II) chloride complex with deuterated 1-ethyltetrazole
The structure of the copper(II) chloride complex with deuterated 1-ethyltetrazole has been investigated in the temperature range of 2-290 K using neutron and synchrotron X-ray powder diffraction. The compound was found to exhibit structural transformation at ca 180 K, without change of space group and main structural motif. At higher temperatures, the complex reveals positional disorder of the ethyl group, whereas no disorder is observed at lower temperatures. Temperature dependence of the lattice parameters, obtained from synchrotron X-ray data, showed main lattice changes at the transformation, explained by structural features of the complex. From the magnetic measurements, the effect of the disorder on paramagnetic behaviour of the compound was found. Detailed structural data of the compound at 2 and 290 K, obtained from neutron powder diffraction data, are reported. © by Oldenbourg Wissenschaftsverlag, München
Синтез и строение тетразолсодержащих оснований Шиффа
A method for synthesis of tetrazole containing Schiff bases, the promising chelating agents, has been developed. The method is based on salicylic aldehyde reaction with N-substituted 5-aminotetrazoles. The prepared Schiff bases have been characterized by NMR and IR spectroscopy. The electron and molecular structure of compounds synthesized have been also studied by quantum-chemical calculations.На основе N-замещенных 5-аминотетразолов и салицилового альдегида разработаны простые методы получения тетразолсодержащих оснований Шиффа - перспективных хелатирующих лигандов в реакциях комплексообразования с ионами металлов. С использованием методов ЯМР- и ИК-спектроскопии, а также квантовохимических расчетов изучены состав и некоторые физико-химические характеристики полученных соединений
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