Czech Syllabic-Accentual Metres (1795-1914)

This project was part of a major research project into Czech verse texts from the National Revival to the present and looked at two groups of topics from the theory and history of Czech verse. The first was the rhythm of iambic and trochaic trimeter and trochaic hexameters, with a typological distinction of variants due to individual and generational arising. The rhythmic contours of 63 sets of verses were described statistically and differences in the frequency of stresses on strong and weak positions of the metre were identified. The second part of the project concerned the Czech dactyl. The history of triple metres ranging from poets of the Enlightenment to the present day underground writer Krchovsky were traced in detail. Along with the rhythm and technique of verse, the group analysed the semantics of dactylic metres of different extents (dimeters, trimeters, etc.) and their relationships to literary genres and trends. Their findings differ totally from the assumptions of traditional metrics. A general metrical norm of dactylic verses was defined within the system of rules of correspondence by the method of generative metrics. They established a typology, specified the frequency of divergences from the norm in a range of texts and investigated their role in the style and rhythmic differentiation of poetic works.

Marginal Man in Modern Russian Literature

This research was focused around the intersection of two discourses: that of marginality and that of ideology. Ponomarev analysed works by Alexander Zinoviev, Vladimir Maximov and Eduard Limonov - three writers representing different groups of Soviet dissidence - from the viewpoint of the concept, drawn from anthropological theory, of marginal man. Using a methodology he describes as ideological analysis, Ponomarev showed that the ideologies of both the writers and their characters are marginal, lying as they do between official Soviet and western democratic ideologies. He showed that the works and the 'creative behaviour' of the three writers did not change after 1991, when their ideas seemed victorious. Marginality is shown to be a permanent characteristic and is linked with the main ideas of the dissident movement in the USSR. On the basis of this marginality, Ponomarev identified some common traits in dissident ideas and drew up a model of dissident ideology. This general model of dissident ideology seems to be one of the special Russian variants of the marginal ideologies of intelligentsia and could be compared to the ideology of Rodon Raskolnikov, the central character in Dostoevsky's Crime and Punishment. The discourse of ideology in the USSR in the 1970s-1980s and in 1990s Russia thus appeared as a process in which the elements of the official Soviet ideology were gradually superseded by those of the dissident ideology linked with the ideology of the underground, the Russian version of the post-modern. Marginal ideologies won and became mainstream but did not lose their basic marginal traits. Ponomarev concludes that the gap between the 'state ideology' and the dissident ideology, taken together with the special Russian version of postmodernity has shaped the current literary process in Russia, making the figure of the marginal man into the main writer type.