title: Pushkin anthological epigram: Poetics of self-referentiality
metadata.name: dc.contributor.author
metadata.value: Virolainen, Maria N.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2024-09-16T21:12:08Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2024-09-16T21:12:08Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2024-06
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Virolainen M. N. Pushkin anthological epigram: Poetics of self-referentiality. Vestnik of Saint Petersburg University. Language and Literature. 2024, 21 (2): 320–331. https://doi.org/10.21638/spbu09.2024.203 (In Russian)
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu09.2024.203
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/47519
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article examines the nature and lyrical plot of Pushkin’s anthological epigram (the analysis
  material is “Fragment” (“The darkness of night lies on the hills of Georgia”), “Nereida”, “Beauty in front of the mirror”, “Statue in Tsarskoye Selo”, “Who grew the tender roses of
  Theocritus in the snow?” by Pushkin, as well as some anthological epigrams of his contemporaries).
  The ancient Greek epigram, distinguished by clear formal features and a wide variety
  of content, recorded, as a rule, only something static or instantaneous. This quality ensured,
  in the eyes of Pushkin’s contemporaries, the authenticity of the transmission and perception
  of the object depicted in the epigram. In anthological epigrams of the first third of the 19th
  century, deviations from such primordial features of the genre as the elegiac distich and the
  absence of rhyme were allowed, but the static nature, anti-narrativeness, and embodiment of
  an instantaneous, non-deployable state characteristic of ancient models were preserved. In
  connection with the last feature, the question arises as to whether a lyrical plot can be realized
  within the framework of such a genre. Using the example of Pushkin’s epigrams, which are
  not an inscription addressed to a really existing object, but create a convincing plastic image
  (creating their own denotation), it is shown that the event component of such texts (their lyrical
  plot) lies in the very act of embodiment of a visible object, in the act of its acquisition of
  existence. In a number of cases, this act becomes the subject of poetic reflection, the epigram
  comprehends itself and becomes self-referential. The substance of poetry, cleared of narration
  (Yu. N. Chumakov’s terms), is presented in such cases as a self-creating and self-interpreting
  principle.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Language and Literature;Volume 21; Issue 2
metadata.lang: -
metadata.name: dc.subject
metadata.value: A. S. Pushkin
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: anthological poetry
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: epigram
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: self-referentiality
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Pushkin anthological epigram: Poetics of self-referentiality
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 9-2-2024+для+сайта-32-43+Виролайнен.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/47519/1/9-2-2024%2b%d0%b4%d0%bb%d1%8f%2b%d1%81%d0%b0%d0%b9%d1%82%d0%b0-32-43%2b%d0%92%d0%b8%d1%80%d0%be%d0%bb%d0%b0%d0%b9%d0%bd%d0%b5%d0%bd.pdf
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