About the author
Maria S. Akimova — PhD in Philology, Senior Researcher, A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, Povarskaya 25a, 121069 Moscow, Russia; Senior Researcher, Museum of Zelenograd, Gogol str., 11B, 124575 Zelenograd, Moscow, Russia.
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ORCID ID: https://orcid.org/0000-0001-6051-3949
Abstract
The article notes the relevance of a systematic, holistic study of the poetics of Russian literature of the Silver age, which is increasingly necessary as this era moves away from the modern reader. Typical of the culture of XIX–XX features: “the anthro pological turn”, “the expansion of artistic sensibility”, a new notion of psychological insight, lyrical exploration of the experience of the body — resulted in works of art the largest layer of the touch of poetic imagery reflecting the experience of individual sense of life. On the material of Russian poetry of the late XIX — early XX century the sound world of the Russian estate and the poetics of its sound space are analyzed. It is shown how the sound variety is gradually replaced by silence or new sounds — disturbing, foreshadowing the death of the estate as part of the old world. There are traced the mechanisms of transmission of sound “psychophysiological space”, methods of repre sentation of nonverbal language, including features of sound recording. An attempt is made to trace the internal reactions that this or that sound causes in the lyric hero, and in the subjective interpretations of a number of poets to reveal the “acoustic invariant” of the “estate” poetry of the Silver age in its historical dynamics.