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The culmination of four decades of work by J. Thomas Shaw, this fully searchable e-book carefully analyzes, both chronologically and by genre, Alexander Pushkin’s use of rhyme to show how meaning shifts in tandem with formal changes. Comparing Pushkin’s poetry with that of Konstantin Nikolaevich Batiushkov (1787–1855) and Evgeny Abramovich Baratynsky (1800–1844), Shaw considers, among other topics, what is exact and inexact in “exact” rhyme, how the grammatical characteristics of rhymewords affect the reader’s percepetion of the poem and its rhyme, and how the repetition of a rhyming word can also change meaning. Each of the five chapters analyzes in detail a distinct aspect of rhyme and provides rich resources for future scholars in the accompanying tables of data. The extensive back matter in the book includes a glossary, abbreviations list, bibliography, and indexes of poems cited, names, and rhyme types and analyses.
Alexander Pushkin’s lyric poetry—much of it known to Russians by heart—is the cornerstone of the Russian literary tradition, yet until now there has been no detailed commentary of it in any language. Michael Wachtel’s book, designed for those who can read Russian comfortably but not natively, provides the historical, biographical, and cultural context needed to appreciate the work of Russia’s greatest poet. Each entry begins with a concise summary highlighting the key information about the poem’s origin, subtexts, and poetic form (meter, stanzaic structure, and rhyme scheme). In line-by-line fashion, Wachtel then elucidates aspects most likely to challenge non-native readers: archaic language, colloquialisms, and unusual diction or syntax. Where relevant, he addresses political, religious, and folkloric issues. Pushkin’s verse has attracted generations of brilliant interpreters. The purpose of this commentary is not to offer a new interpretation, but to give sufficient linguistic and cultural contextualization to make informed interpretation possible.
A clear, detailed and accessible account of all Pushkin's poetry
WINNER OF THE READ RUSSIA PRIZE 2020 Alexander Pushkin established what we know as Russian literature. This collection includes his strongly personal lyric verse, which springs spontaneously from his everyday life - his numerous loves, his exile, his hectic life in St Petersburg - while the narrative poems here, from exotic Southern tales to comic parodies and fairy tales of enchanted tsars, display his endless ability to surprise. His landmark work The Bronze Horseman, with its ghostly central figure of Peter the Great, holds the meaning of all Russian history. Antony Wood's translations reveal the variety, inventiveness and perfection of Pushkin's verse.
In 1833 Alexander Pushkin began to explore the topic of madness, a subject little explored in Russian literature before his time. The works he produced on the theme are three of his greatest masterpieces: the prose novella The Queen of Spades, the narrative poem The Bronze Horseman, and the lyric "God Grant That I Not Lose My Mind." Gary Rosenshield presents a new interpretation of Pushkin’s genius through an examination of his various representations of madness. Pushkin brilliantly explored both the destructive and creative sides of madness, a strange fusion of violence and insight. In this study, Rosenshield illustrates the surprising valorization of madness in The Queen of Spades and "God Grant That I Not Lose My Mind" and analyzes The Bronze Horseman’s confrontation with the legacy of Peter the Great, a cornerstone figure of Russian history. Drawing on themes of madness in western literature, Rosenshield situates Pushkin in a greater framework with such luminaries as Shakespeare, Sophocles, Cervantes, and Dostoevsky providing an insightful and absorbing study of Russia’s greatest writer.
Montaging Pushkin offers for the first time a coherent view of Pushkin's legacy to Russian twentieth-century poetry, giving many new insights. Pushkin is shown to be a Russian forerunner of Baudelaire. Furthermore it is argued that the rise of the Russian and European novel largely changed the ways Russian poets have looked at themselves and at poetic language; that novelisation of poetry is detectable in the major works of poetry that engaged in a creative dialogue with Pushkin, and that polyphonic lyric has been achieved. Alexandra Smith locates significant examples of Pushkin's cinematographic cognition of reality, suggesting that such dynamic descriptions of Petersburg helped create a highly original animated image of the city as comic apocalypse, which followers of Pushkin appropriated very successfully even as far as the late twentieth century. Montaging Pushkin will be of interest to all students of Russian poetry, as well as specialists in literary theory, European studies and the history of ideas. "Smith's thesis is both startling and original: that Pushkin, for all his Mozart-like fluidity and perfection, can be productively read as a poet of pain and violence. His reflex was to respond to the totalizing, authoritative public landscape of his era with an equally severe but specifically private, individualizing, disciplined set of demands on the Poet. The recurring attention that later generations have paid toward those aspects of Pushkin's life and texts governed by the private right to resist or to initiate violence (his duel, his struggles with the bureaucracy, his failed pursuit of service with honour) suggest that this mythologeme is among the most productive in Pushkin's astonishing legacy" CARYL EMERSON (A. Watson Armour III University Professor of Slavic Languages and Literatures, Chair of the Slavic Department, Professor of Comparative Literature at Princeton University) "Smith's innovative study offers a wonderful analysis of how cinematographic editing and polyphony are detected in Russian twentieth-century poetry... It views Pushkin as a "reference obligee" of contemporary urban poetry" VERONIQUE LOSSKY (Professor Emeritus of Russian Literature at the Universite de Paris-Sorbonne IV)
In August 1836, Alexander Pushkin wrote a poem now popularly known simply as "Monument." In the decades following his death in January 1837, the poem "Monument" was transformed into a statue in central Moscow: the Pushkin Monument. At its dedication in 1880, the interaction between the verbal text and the visual monument established a creative dynamic that subsequent generations of artists and thinkers amplified through the use of allusion, simultaneously inviting their readers and spectators into a shared cultural history and enriching the meaning of their original creations. The history of the Pushkin Monument reveals how allusive practice becomes more complex over time. As the population of literate Russians grew throughout the twentieth century, both writers and readers negotiated increasingly complex allusions not only to Pushkin’s poem, but to its statuesque form in Moscow and the many performances that took place around it. Because of this, the story of Pushkin’s Monument is also the story of cultural memory and the aesthetic problems that accompany a cultural history that grows ever longer as it moves into the future.
A wide-ranging consideration of the nature and significance of Pushkin's African heritage Roughly in the year 1705, a young African boy, acquired from the seraglio of the Turkish sultan, was transported to Russia as a gift to Peter the Great. This child, later known as Abram Petrovich Gannibal, was to become Peter's godson and to live to a ripe old age, having attained the rank of general and the status of Russian nobility. More important, he was to become the great-grandfather of Russia's greatest national poet, Alexander Pushkin. It is the contention of the editors of this book, borne out by the essays in the collection, that Pushkin's African ancestry has played the role of a "wild card" of sorts as a formative element in Russian cultural mythology; and that the ways in which Gannibal's legacy has been included in or excluded from Pushkin's biography over the last two hundred years can serve as a shifting marker of Russia's self-definition. The first single volume in English on this rich topic, Under the Sky of My Africa addresses the wide variety of interests implicated in the question of Pushkin's blackness-race studies, politics, American studies, music, mythopoetic criticism, mainstream Pushkin studies. In essays that are by turns biographical, iconographical, cultural, and sociological in focus, the authors-representing a broad range of disciplines and perspectives-take us from the complex attitudes toward race in Russia during Pushkin's era to the surge of racism in late Soviet and post-Soviet contemporary Russia. In sum, Under the Sky of My Africa provides a wealth of basic material on the subject as well as a series of provocative readings and interpretations that will influence future considerations of Pushkin and race in Russian culture.