Olga F. Krivnova
PROSODIC PHRASING IN PROSE: HIERARCHICAL STRUCTURE AND MEANS OF ITS REALIZATION |
12 - 27 |
Alexander E. Kostyuk
Prosody of the russian verse line |
27 - 41 |
Sergeĭ G. Bolotov
[“...BECAUSE ALL THE SHADES OF DEFINITION A SMART NUMBER CAN RELAY, WITH WOW ”]. . ACCENTUAL DOUBLETS OF СÓБРАЛЪ ↔ СОБРÁЛЪ [SÓBRAL″ ↔ SOBRÁL″] TYPE IN XVIIITH – BEGINNING OF XIXTH CENTURY RUSSIAN, REVISITED |
41 - 77 |
Tatyana V. Skulacheva
Verse and prose: linguistic peculiarities* |
77 - 89 |
Marina V. Akimova
TRADITIONS OF RUSSIAN VERSE SYNTAX STUDY: B. I. YARKHO AND M. L. GASPAROV |
89 - 113 |
Robert Kolár, Petr Plecháč
THE FREQUENCY OF PARTS OF SPEECH IN CZECH POETRY |
113 - 126 |
Marina Tarlinskaja
A COMMA OR SYNTAX? ANTS ORAS AND THE RUSSIAN SCHOOL OF VERSE STUDIES |
126 - 139 |
Svetlana A. Matyash
IOSIF BRODSKY’S NOTES ABOUT MARINA TSVETAYEVA’S ENJAMBEMENTS IN THE CONTEXT OF “PROLONGED” ENJAMBEMENT IN POETRY. |
139 - 152 |
Anastasia V. Kruglova, Olga S. Smirnova, Tatyana V. Skulacheva
SYNTAX AND PROSODIC BREAKS IN LINES OF SPANISH HENDECASYLLABIC VERSE. |
152 - 169 |
Evgeniya D. Shuvalova
RHYTHM AND PARTS OF SPEECH: THE RUSSIAN, GERMAN AND ENGLISH IAMBIC TETRAMETER |
169 - 183 |
Alexandra S. Odinokova, Mikhail S. Kudinov
A SIMPLE PIPELINE FOR QUANTITATIVE ANALYSIS OF «EUGENE ONEGIN» |
183 - 192 |
F. N. Dvinyatin
THE QUANTITATIVE GRAMMAR AND POETICS OF FINITE VERBS IN THE RUSSIAN POETIC TRADITION |
192 - 202 |
Anna S. Kuleva
CLIPPED ADJECTIVES: THEIR POSITION IN THE POETIC LINE |
202 - 211 |
Evgeniya V. Korovina
ON THE TYPOLOGY OF LISTS CONTAINING MORE THAN 7 ELEMENTS |
211 - 217 |
Antonina A. Balashova
THE SYNTAX OF RUSSIAN PALINDROMES: PRELIMINARY OBSERVATIONS |
217 - 225 |
Аlexander K. Zholkovsky
POETICS AT THE TEA-TABLE ALEXANDER KUSHNERʼS “SUGAR BOWL” |
225 - 243 |
Elena V. Uryson
ON THE SEMANTIC ORGANIZATION OF A POEM |
243 - 257 |
Elena V. Uryson
A PRELIMINARY SEMANTIC ANALYSIS OF A LATE LYRICAL POEM BY MARSHAK |
257 - 270 |
Zoya Yu. Petrova
METAPHORS AND SIMILES: FORMAL MEANS OF EXPRESSING SIMILARITY |
270 - 282 |
Alexander G. Stepanov
“Ostensible Prose ”: Semantics of the Form |
282 - 306 |
Vadim S. Andreev
THE INDIVIDUAL STYLE OF E. A. POE: STYLOMETRIC APPROACH |
306 - 316 |
Vadim S. Bayevsky
GRIEF AND HARMONY |
316 - 327 |
I. Karlovsky
“THE MIDDLE OF THE JOURNEY”, “THE DARK FOREST”, AND THE FAIR LADY, OR WHY VOLOSHIN WROTE TERZA RIMA IN 1907 |
327 - 349 |
Maria V. Falikman
NEUROPOETICS AS A COGNITIVE RESEARCH AREA: NEUROIMAGING AND EYETRACKING IN STUDIES OF POETRY RECEPTION AND GENERATION |
349 - 368 |
