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Keywords: symbolism, classical tradition, Tumanyan, Teryan, Charents, statistics, context, color and sound
For citation:

Zulumyan B.S. From the Classical Tradition to the Symbolist Poetry: Tumanyan, Teryan, Charents. Studia Litterarum, 2019, vol. 4, no 4, pp. 252–279. (In Russ.)

DOI: 10.22455/2500-4247-2019-4-4-252-279

Author: B.S. Zulumyan
Information about the author:

Burastan S. Zulumyan, PhD in Philology, Senior Researcher, A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, Povarskaya 25 a, 121069 Moscow, Russia.

E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Received: March 10, 2019
Published: December 25, 2019
Issue: 2019 Vol. 4, №4
Department: Literature of the Peoples of Russia and Neighboring Countries
Pages: 252-279
DOI: 10.22455/2500-4247-2019-4-4-252-279
UDK: 821.19
BBK: 83.3(5Арм)

Abstract

Symbolism in Armenian poetry manifested itself at most in the works by Vahan Teryan and his follower Egishe Charents. Stemming from the classical heritage of Tumanyan, these two poets substantially reformed traditional verse on different levels, ideological, figurative, lexical, and metrical. The images of the Girl-Dream, Dreams, Other World, Twilight, Love-dispersed-in-th-world were new to the Armenian poetry at the beginning of the 20th century. Statistical the calculations of the groups of words with the meaning of the color (golden, silver, blue, sun, light, etc.), sound (voice, call, whisper, ringing, cry, silence, etc.), and words conventionally grouped as Upper World (self, soul, heart, sky, God, Universe, Dreams, Dream, etc.) demonstrate the difference in the poetics of Hovhannes Tumanyan, on the one hand, and Teryan and Charents on the other. The article juxtaposes semantic dominants of the poems and analyzes their stylistic properties with attention to their content and contexts. While Tumanyan’s poetic world is material and concrete and the language of his poems is traditional, symbolists develop a new poetical language that includes new lexical layers, neologisms and, most importantly, defamiliriazation of the ordinary words. The poet-demiurge creates a new symbolist meta-reality that results in a new poetic language and imagery.

References

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