Suchergebnisse

The study of Russian dialectal vocabulary remains one of the most pressing problems of etymology. This article is devoted to the origin and history of a number of Russian dialect words. Namely, the author provides revised explanations for some dialecticisms from the already published issues of the Russian Etymological Dictionary (говéд(т)ник, дохóрь, дóхта, сбрéндить), as well as from its unpublished issues (есáк, жёл, жерсть, жúмы). Most of this material is missing from the Etymological Dictionary of the Russian Language by M. Vasmer.The essence of the explanations proposed is as follows:говéд(т)ник, говéдник, говéнник 'fastening (in front of a sleigh)' originates from головéнник 'head, front part of the sleigh' from голова 'head', головной; дохóрь 'marten' supplements the lexical data on Proto-Slavic *dъchor'ь 'ferret'; есáк 'motif, melody', есáчить 'explain with signs' should be linked with Old Russian ясáк 'sign, password' = ясáк 'tribute' < Turkic jasaq 'tribute', 'code, law';жел (жол) 'acorn' is identified with Belorussian dial. жэл and Bulgarian dial. жел 'acorn' < Proto-Slavic *žьlъ 'acorn', cf. Lithuanian gìlė 'acorn';жерсть, etc. 'pole' can be related to *žьrdь > Russian жердь with the suffix -tь, as in Russian ýжасть vs. ýжас 'horror'; жúмы 'pleated boxcalf boots' is correlated with жúмы 'folds, gathers' from жимáть, iterative to *žęti, *žьmǫ 'press' > Rus. жать, жму 'press'. The initial d- in the variant джúмы could appear as a result of rebracketing in combinations вот жимы, под жимы, etc. (of boots); дýнда 'fat man' is explained as a reflex of Proto-Slavic *dunda 'fat woman', an onomatopoetic or descriptive word that cannot be separated from Lithuanian dundà 'rake';дóхта 'peat' may be a relic of the Proto-Slavic *deg- 'burn' (> *žeg-) with preserved d-, cf. Russian дёготь 'tar', etc.; сбрéндить 'go crazy' perhaps comes from *сбрéндить 'break off, about the string of a wool beater' and *брéндить 'beat wool with a wool bow' of onomatopoeic origin, cf. бры́ндить 'to beat the wool' — бры́ндить 'play the balalaika' and so on.

This article analyses the poetics of Nikolai Shchegolev's works from the point of view of the influence of the futuristic and avant-garde tradition on the artistic world of his works. The research aims to identify semantic (themes and motifs) and asemantic aspects (such as the rhythmic structure and construction peculiarities of stanzas and rhymes) of Shchegolev's poems. These aspects resonate with such phenomena in the poems that were associated in émigré circles with the revolution and Soviet Russia's art. There is a tendency in scholarly literature to consider the works of poets and writers of the "Eastern branch" of emigration as part of the development of nineteenth-century classical literature and as a continuation of the traditions of symbolism and Acmeism. This approach is often associated with the special position of Harbin, the Russian city in China, which has become a kind of symbol of the past, as life there was based on the model of pre-revolutionary Russia. Nevertheless, some scholars (A. A. Zabiyako, G. V. Efendiyeva, E. O. Kirillova, E. Yu. Kulikova) note the reflection and development of Harbin poets' avant-garde experience. Nikolai Shchegolev's works, including these aspects, remain insufficiently explored. In this work, referring to historical and literary and structural and semiotic approaches and the principles of intertextual and poetic analysis, the author turns to the study of themes, motifs, and images, as well as rhythm and strophic structures in the poetry of Nikolai Shchegolev, which makes it possible to deepen and summarise ideas about the poetics of his works. When considering individual texts, the author concludes that some themes and motifs (such as urban themes, the images of a cinematograph and a mannequin which is coming back to life, and the associated theme of oscillation between the living and the dead), as well as experiments with rhythm, strophic division, and word coinage were accepted and understood by Shchegolev through the poetry of Vladimir Mayakovski, Boris Pasternak, and the futurists.