Suchergebnisse

Исследуются особенности языкового сознания В.А. Жуковского, представленные в его дневниках и письмах 1820-1830-х гг. и формирующие основные черты художественной картины мира поэта в этот период. На основе трех путешествий В.А. Жуковского по Италии выявляются основные стратегии русско-итальянского культурного диалога, исследуется авторский мирообраз Италии. Итальянский мир в рецепции русского поэта неотделим от его «горной философии» и эстетики невыразимого, в качестве конструктивных элементов включает в себя наполеоновский и рафаэлевский сюжеты. На восприятие поэтом Италии повлияли его встречи с А. Мандзони и С. Пеллико, а также его обращение к переводам Горация, Овидия, Вергилия, Данте, Гольдони. ; The peculiarities of V.A. Zhukovskys language consciousness, which found their reflection in his letters and diaries, are studied in the work. The author of the article points out 4 types of bilingual Russian-Italian vocabulary used by the poet. These models influence directly the forming of the Italian text and the Italian world image in Zhukovskys works. The poets three journeys to Italy are analysed in the article: his short trip to Milan in August, 1821; a journey through Italy in April-May, 1833; a journey together with the heir of the throne, future Emperor, Alexander II, from September, 1838 to February, 1839. Three journeys of the poet to Italy are three stages in his comprehension of Italy. The formation of a peculiar vision of the nature and culture of this country gives place to the creation of authors typical plots about Italy and the forming of an integral national world image. Aesthetic reification of the divine, a sort of materialisation of the spirit in the light, colour and stone constitute the core of the Russian reception of the Italian world. At the same time, the authors world image of Italy is determined to a large extent by the Russian poets contacts with conspicuous figures of West-European politics and culture and the image forms according to the model of a large family with its official and, at the same time, deeply intimate relations. Historiosophical issues of the mountain philosophy of the Russian poet and closely connected with them comprehension of Napoleons fate and personality are in the spotlight of the authors work. Zhukovskys art philosophy, which was forming at that time, correlates with his romantic interpretation of Raphaels personality and works. The image of Italy and its cities: Rome, Naples, Florence, forming in Zhukovskys artistic consciousness, then acquires a high level of specification and aestheticization, and is comprehended through the contrasts poetics and aesthetics of inexpressible. The authors two forming plots about Italy: external, panoramic plot and internal, psychological plot connected with poet A.A. Voeykovas nieces death and a visit to her grave in the cemetery in Livorno, are the subjects of particular study in the work. The poets reflection on overcoming of death is comprehended at that time as the dilution of the carnal principle in the nature one, as transfiguration of corporality by materiality. The poets perception of Italy was greatly influenced by his personal meetings with A. Manzoni and S. Pellico as well as by his reference to the translations of Horace, Ovid, Virgil, Dante, Goldoni. The creation of Russian-Italian cultural ties is inseparable from Zhukovskys friendly ties with Russians who then lived in Italy: N.V. Gogol, F.I. Tyutchev, Z.A. Volkonskaya; Russian artists: A.A. Ivanov, O.A. Kiprensky, K.P. Bryullov. To conclude, Zhukovskys three Italian journeys are important stages in his biography and creative development. The use by the poet of bilingual vocabulary with its typological models is considered aesthetically as an attempt of conveying the most important features of the Italian world image together with the external (other nations) and internal (national) points of view, as an attempt to mutually adopt West-European and Russian cultures. The poets impressions of Italy are formed on the principle of a self-increasing text. This principle is based on the fact that the author is not initially identical to himself in such leading genres of the time as a diary and a letter to a friend.