2024

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https://dspace.brusov.am/handle/123456789/1380

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Browsing 2024 by Subject "Russian language"
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    Валерий Брюсов и армянская поэзия во французской прессе начала XX века
    (Лингва, 2024) Строев А.Ф.
    In France, V. Brusov has been known as a writer since 1905, but until 1914 he was translated and published very little. During the First World War England, Russia, and France fought against Turkey, supported the aspirations of the Armenian people, and condemned the genocide. Professor F. Macler, in cooperation with Armenian writers and politicians living in Paris and Tiflis (M. Varandian, A. Tchobanian), actively promotes lectures and articles by V. Brusov on the history and poetry of Armenia.
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    Лингвостилистические особенности переводов В. Брюсова и армянских переводчиков «На льдистой вершине» Г. Гейне и «Нового Колумба» Ф. Ницше
    (Лингва, 2024) Сарафян Д.Р. ; Сафарян Л.А.
    The article deals with a comparative analysis of translations of «Ein Fichtenbaum» by Heinrich Heine and «Der neue Columbus» by Friedrich Nietzche made by Valery Brusov into Russian and Vahan Teryan and Hakob Movses into Armenian. Comparing the translations of «Ein Fichtenbaum» by Heinrich Heine made by Valery Brusov (in Russian) and Vahan Teryan (in Armenian) the authors of the article conclude that the Armenian translation is closer to the verse by H. Heine. In contrast, the Armenian translation of «Der neue Columbus» by Friedrich Nietzsche differs from the German primary source. Valery Brusov couldn’t convey all the tiniest shades of Nietzsche’s verse.
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    Фрик в творчестве Валерия Брюсова
    (Лингва, 2024) Седых Г.И.
    Freak is a phenomenon in the modern subculture. The etymology of the term freak in the synonymous list of decadence. The history of freak performing arts on the European stage. Brusov’s discovery of an unknown medieval Armenian poet with the pseudonym FREAK. Armenophile Brusov and his work on the anthology of Armenian poetry: compilation, translation, commentary. Brusov’s echoing motives as a way of immersing himself in the related elements of Freak’s texts. Proteism and the pose of a freak as a form of self-protection, self-affirmation, and survival of the poet’s personality.