Fetisova E.E. The Phenomenon of Neoacmeism in David Samoylov's Poetry

Abstract: In this article Fetisova defines the fundamentals of neoacmeism as one of the main literary schools of the XXth century, its concept and specific mythology that builds the poetic model of the world. The researcher analyzes the space-time continuum and its coordinates. Artistic space and time are viewed as a specific easthetic and verbal phenomenon. The author also introduces the term 'synchronous-reminiscential chronotope' displaced against the borders of the real space and time thus creating the 'polyphony-based monologue' in the mythology. Fetisova analyzes David Samoylov's writing - poetics, mythology and polysemantic genre specifics in terms of the neoacmeism paradigm. The author's comparative approach focuses on similar expressive means and author's style from literary techniques, general phrases, quotations, allusions to the general author's concept of the lyrical plot, artistic space and time (so called synchronous-reminiscential chronotope) that can be found in Anna Akhmatova's poems, Dante's The Divine Comedy and David Samoylov's poetry. The comparative analysis as well as the method of semiotic reconstruction complete each other and promote the detailed recoding of the poetic text. The novelty of the research is caused by the fact that writings of a scantily studied poet from the 'frontline' generation are comprehensively interpreted by the author and viewed in terms of the mechanism of the cultural memory as the synthesis of the form and content. Coded references and reminiscences in neoacmeist texts relate to the author's method of polysemy and polycitationality of the implicit nature. Archetypic images are associated with several citation-containing references - Biblical, folkloric, and images of the Russian and world literature which allows to come up with several potential 'prototexts' and interpretations. On a formal level this approach encourages the origin of genres at the confluence of two or more genre 'valencies'. 

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