Author:
E. P. Garanina,
Master of Russian Language and Literature, Foreign Languages,
Postgraduate, Dostoevsky Omsk State University,
Senior Lecturer Pavlodar State Pedagogical University,
60 Mira st., Pavlodar, 140000, Republic of Kazakhsan
e-mail: kate1917@mail.ru
Abstract:
Introduction. The article proposes a possible experience of interpretation of the cycle “Tram”, based on the analysis of the artistic space features as the central organizing and unifying element of the cycle.
Materials and Methods of the analysis of the cycle “Tram” are defined by the artistic integrity of the cycle, which is a single metatext. Individual poems in the cycle interact with one another, thus creating a sin-gle artistic space. The system of cross-cutting images is explained by the peculiarities of the artistic space. The unifying element in the cycle is the consciousness of the lyrical hero, who perceives this space.
Results. One may state that in the cycle “Tram”, in comparison with the first cycle of Dmitriy Vodennikov, the artistic space is a complicated and expanded, but the principle of duality remains valid: there is a real space, but it transforms and changes in the consciousness of the lyrical hero (and the real chronotope elements stay in this changed space).
Conclusions. The compositional element that unites individual poems into a whole cycle is the artistic space based on the real geographical space of Moscow. The central image that links the elements of the Moscow space together is a tram. The unravelling of the lyrical plot of the cycle is also connected with it–a lyrical character and his friends are traveling around Moscow by tram. This development of the lyrical plot makes it possible to introduce cross-cutting themes into a cycle, such as childhood, existence and non-existence, creativity, all important to Dmitriy Vodennikov’s poetry.
Keywords:
D. Vodennikov, lyrical cycle, cycle structure, lyrical subject, art space, lyrical plot.
