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THE ROLE OF YEREVAN “BRUSOV READINGS” COLLECTION IN LITERARY CRITICISM OF THE LATE XX – EARLY XXI CENTURIES
No full textThe article presents the detailed review of “Brusov readings” collected articles since 1962. It summarizes the output of scientific effort over 50 years, mentions the significance of collected articles in literary criticism published in Yerevan in the late XX – early XXI centuries. The author of the article comes to the following conclusion: continuous publication merits its systematic history because it has established a reputation as a unique and extremely valuable scientific phenomeno
"SEVENTH VERSES IN BRUSOV’S STROPHIC REPERTOIRE"
No full text"The author comes to the following conclusions by analyzing ten cases of the use of seventh verses by Brusov: 1. These poems aren't cyclizing in the strophic of Brusov poetry either in thematic or in genre forms or structurally. 2. The different strophic models, which have never repeated each other, are used in them. 3., Despite the passionate interest which he had in the most exotic strophe structuring, the experimenting poet didn’t reach the half-sonnet as a firm strophic form.
"BRUSOV’S “POEMS ABOUT HUNGER” IN THE CONTEXT OF SOVIET AND EUROPEAN LITERATURE ABOUT HUNGER"
No full text"The article is devoted to the topic of hunger, including mass disasters of hunger in the European literature of the XIX – XX century and contemporary literature (2000 – 2014). After a brief historical-literary reference, the author makes a suggestion of possible theoretical and literary approaches to research the works of this kind. The four poetic works of 1922-23's.: “Poem about hunger” by V.Brusov, “Two cases...” by V.Mayakovsky, “The Hunger” by M.Voloshin and “Blow, cry, bring!” by V. Khlebnikov were considered in this context.
"THE ESSAY “SPHINXES AND VISHAPS” BY V.BRUSOV: FISH-DRAGONS OF ARMENIA AND CAUCASIAN FOLKLORE"
No full text"Common cultural space of nations having inhabited different areas since the II millennium BC is confirmed not only by historical and archeological investigations, but also by the data of folk and mythological character. So vishap-stones found in the Armenian mountains, are similar in content to analogous monuments of other nations. At the same time, the Vishap-dragon functioning in various mythological systems also detects invariant identity.
ARTISTIC SOLUTIONS OF ARMENIAN TRANSLATORS TO THE WORKS OF VALERY BRUSOV'S POETIC CYCLE «IN ARMENIA»
No full textThe article presents Armenian translations of Valery Brusov’s poetic cycle «In Armenia». Particular attention is paid to the translation of the central poem «To the Armenians», which conveys the views of the Russian poet on the particular historical path of the Armenian people and their national spirit. In comparison with the authentic material, the four translation solutions are analyzed, performed from the 30s to the 80s of the 20th century. The article gives the value judgment of the poems «To Armenia», «To Ararat», «Tigran the Great». On the basis of the analyzed material the author of the article comes to the conclusion that a considerable part of the poems in poetic cycle should be translated anew. The comments and remarks should be considered in the new publication of Brusov's poetry in Armenian
THE GENRE PECULIARITIES, CULTURAL AND HISTORIC ANALOGUES OF BRUSOV'S «MISCELLANEA»
No full textThe whole book has never been published. It consists of thoughts and notes on different topics. The author of the article tried to identify the genre and draw parallels between Brusov and some other authors, who wrote essays in different epochs
MORE ON THE QUESTION OF BRUSOV AND TRADITION: THE MYTHOPOETIC IMAGE OF CLEOPATRA IN THE POEM «EGYPTIAN NIGHTS»
No full textThis article analyses the mythopoetic image of Cleopatra in Valery Brusov’s poem «Egyptian Nights», which is the processing and ending of Pushkin’s eponymous poem. The Russian symbolist creates an image of the Egyptian queen according to the historical evidence and cultural tradition, but at the same time according to the symbolist worldview. His lyric heroine combines the specific features of the historical Cleopatra and the mythical Aphrodite, and becomes the personification of eroticism and passion that exceeds all other values and exercises the complete power over a human life
CAUCASIAN TEXT OF V. BRUSOV AND N. GUMILEV: COGNITIVE-CONCEPTUAL INTERPRETATION OF JOURNEY MOTIFS
No full textThis article explores the creative connections between Brusov and Gumilev which reveal the poets’ world perception and define both general and individual features of their works’ perspective, specifically reviewing the philosophical and aesthetical approach to describing journey motives in the Caucasus inspired works
Introduction
Get PDFLa lumière constitue un objet d’étude foncièrement équivoque et pouvant être appréhendé de nombreuses façons. Au niveau le plus élémentaire, la lumière est un phénomène perçu : la notion d’ « éclairement », par exemple, traduit la quantité de lumière pénétrant dans un édifice et reçue par l’œil humain. Néanmoins la lumière n’est pas seulement perçue, elle est également vecteur de la perception et organisatrice d’espaces : elle donne en effet à voir, et, ce faisant, contribue à ordonner l’espace en secteurs qui peuvent témoigner d’une gestion motivée, soit par des contraintes d’ordre pratique ou fonctionnel, soit par des raisons spirituelles, religieuses ou mystiques. Subissant des distorsions qui la dissimulent ou l’exaltent, la lumière, référence qui symbolise, peut alors donner à voir ce qui, précisément, relève de l'invisible, du sacré, de l’immatériel
Douze fenêtres de synagogue. Usages de la lumière, du Sud tunisien à Jérusalem
Get PDFLes Juifs du Sud tunisien (Djerba et Gabès), à partir d’une banale structure de l’architecture coloniale, un lanterneau carré, ont inventé une des compositions spatiales symboliques les plus subtiles qui répondent à la spiritualisation juive de la lumière, tout en offrant une dimension pratique. Il est même devenu une sorte de symbole identitaire en contexte musulman. Nous en trouvons une vingtaine dans le Sud tunisien des XIXe et XXe siècles. Est-ce un hasard que la synagogue la plus extraordinaire pour ses vitraux, celle de l’Hôpital Hadassah à Jérusalem (1961), ait été construite sur le même principe, un lanterneau qui pût recevoir les Douze tribus de Chagall ? Car, non seulement la majorité de ces lanterneaux comportent douze fenêtres, chiffre à valeur symbolique, mais ils répondent à une nécessité fonctionnelle d’éclairage de l’estrade de lecture (teba), créant un contraste entre la zone d’ombre où sont les arches saintes contenant les rouleaux de la Tora (elle-même lumière) et l’espace de l’officiant. La fonctionnalité de ce type de synagogue à lanterneau, associée à une interprétation parfaitement traditionnelle, a favorisé sa diffusion