Citation

Seeing the Seeing: Lyric Landscape in Arkadii Dragomoshchenko

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Abstract:

The spatiality of Dragomoshchenko’s lyric has been convincingly analyzed as a dynamic, non-linear, post-Einsteinian sensibility. However, his consistent use of the word peizazh makes it possible to approach the particular aspect of spatiality in his work from a narrower angle pinpointing the divergent correspondences between the contemporary poet’s project and the poetic tradition. Landscape is a well-known experiential frame, intrinsic to modern lyric. In Dragomoshchenko’s works, however, landscape is experienced by overcoming its boundaries and transposing classical models of subjectivity into the realm of analytical imagination. It is the verbal virtualisation of a bounded spatiality that the paper sets out to trace.
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Association:
Name: ASEEES Convention
URL:
http://aseees.org


Citation:
URL: http://citation.allacademic.com/meta/p1265296_index.html
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MLA Citation:

Sokolov, Ivan. "Seeing the Seeing: Lyric Landscape in Arkadii Dragomoshchenko" Paper presented at the annual meeting of the ASEEES Convention, Chicago Marriott Downtown Magnificent Mile, Chicago, IL, <Not Available>. 2018-06-20 <http://citation.allacademic.com/meta/p1265296_index.html>

APA Citation:

Sokolov, I. "Seeing the Seeing: Lyric Landscape in Arkadii Dragomoshchenko" Paper presented at the annual meeting of the ASEEES Convention, Chicago Marriott Downtown Magnificent Mile, Chicago, IL <Not Available>. 2018-06-20 from http://citation.allacademic.com/meta/p1265296_index.html

Publication Type: Panel Paper
Abstract: The spatiality of Dragomoshchenko’s lyric has been convincingly analyzed as a dynamic, non-linear, post-Einsteinian sensibility. However, his consistent use of the word peizazh makes it possible to approach the particular aspect of spatiality in his work from a narrower angle pinpointing the divergent correspondences between the contemporary poet’s project and the poetic tradition. Landscape is a well-known experiential frame, intrinsic to modern lyric. In Dragomoshchenko’s works, however, landscape is experienced by overcoming its boundaries and transposing classical models of subjectivity into the realm of analytical imagination. It is the verbal virtualisation of a bounded spatiality that the paper sets out to trace.


 
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