I Love: The Story of Vladimir Mayakovsky and Lili Brik

1980 ◽  
Vol 39 (2) ◽  
pp. 267
Author(s):  
Edward J. Brown ◽  
Ann Charters ◽  
Samuel Charters
Keyword(s):  
Vladimir Mayakovsky

FEATURES OF THE TRANSLATION OF V. MAYAKOVSKY'S POEMS INTO PERSIAN

2020 ◽  
pp. 53-61
Author(s):  
Nahid Akbarzadeh ◽  
Keyword(s):  
Comparative Research ◽  
Semantic Matching ◽  
Vladimir Mayakovsky

This article is dedicated to the translation of poems written by the popular and famous Russian poet Vladimir Mayakovsky into Persian, as well as to their features and general trends of the translation of Futurist poems. The work was performed in the technique of comparative research, where one of the most acute issues is formulated as the degree of translatability / untranslatability of the text. The purpose is to find appropriate approaches for its solution and consider the issue of semantic matching.

Shklovsky, Viktor (1893–1984)

2018 ◽  
Author(s):  
Angeliki Spiropoulou
Keyword(s):  
Scientific Study ◽  
Poetic Language ◽  
Literary Critic ◽  
Vladimir Mayakovsky ◽  
Russian Formalism ◽  
Avant Garde ◽  
Epic Theater ◽  
Political Function ◽  
Alienation Effect

Born in St Petersburg, Russia, Victor Borisovich Shklovsky (or Shklovskii; Ви́ктор Бори́сович Шкло́вский) was a literary critic, autobiographical novelist, and a leading figure of Russian Formalism (1910–30). A charter founder of OPOYAZ (The Society for the Study of Poetic Language, 1917), he was also associated with the Moscow Linguistic Circle, and contemporary avant-garde writers, such as the Serapion Brothers and the Russian Futurists, especially the poet Vladimir Mayakovsky (1893–1930), all of whom similarly emphasized literature as language against the moralizing idealism of Symbolist poetics and Impressionist criticism prevalent in pre-Revolution Russia. However, Formalism was later attacked as "decadent" aestheticism, and Shklovsky was forced to compromise. In his much quoted essay "Art as Device" (1917), a "manifesto of the Formalist method" (Eichenbaum 1965: 113), Shklovsky posits the autonomy of literature and affirms the Formalist pursuit of the immanent, scientific study of the "literariness" of literature derived from its distinctive language and techniques instead of its content, resonating with modernist aesthetics. Here he develops the concept of "estrangement" or "defamiliarization" ( ostraneniye ) as both the aim and method of all art, self-reflexively impeding the automatism of our perception. Renamed as the "alienation effect" or "distancing effect" (Verfremdungseffekt) and endowed with a political function, "estrangement" became the foundational technique of Bertolt Brecht‘s epic theater.

Vladimir Mayakovsky: Parody and Propaganda

Theater ◽  
1979 ◽  
Vol 10 (2) ◽  
pp. 63-67 ◽  
Author(s):  
J. Oille
Keyword(s):  
Vladimir Mayakovsky

Vladimir Mayakovsky

1969 ◽  
Vol 20/21 ◽  
pp. 5
Author(s):  
Vladimir Mayakovsky ◽  
Pierre Sokolsky
Keyword(s):  
Vladimir Mayakovsky

Mayakovsky and Whitman: The Icon and the Mosaic

Slavic Review ◽  
1969 ◽  
Vol 28 (3) ◽  
pp. 416-425
Author(s):  
Dale E. Peterson
Keyword(s):  
Walt Whitman ◽  
Vladimir Mayakovsky

Vladimir Mayakovsky, who knew hardly a word of English, once upbraided his friend Kornei Chukovsky for his “too confectionized” (chereschur bonbon'-erochno) rendering of Walt Whitman into Russian. Chukovsky, it seems, was deeply impressed by Mayakovsky's instinctive feel for Whitman's rugged diction. Ever since, Chukovsky has detected in the Russian poet's verse the permanent impress of the American “kosmos.” This notion, propagated by the translator in numerous places, has fully infiltrated both Western and Soviet scholarship on Mayakovsky. In a recent philological study, Vera Timofeeva has suggested that Mayakovsky's anthropocentrism and his flair for concrete metaphors are a direct legacy from Whitman. And Helen Muchnic, following up a clue from Chukovsky, has referred to Chelovek (Man) as “a Whitmanesque poem,” though admitting that it lacks somewhat the “geniality” of the “Good Gray Poet.” Such remarks perpetuate a rather loose impressionism. Chelovek, as we shall later observe, is hardly a “Whitmanesque poem.“

The AgitProp and Circus Plays of Vladimir Mayakovsky

1973 ◽  
Vol 17 (1) ◽  
pp. 47 ◽  
Author(s):  
Frantisek Deak
Keyword(s):  
Vladimir Mayakovsky
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