Reading Suicide: Tsvetaeva on Esenin and Maiakovskii

Slavic Review ◽  
1991 ◽  
Vol 50 (4) ◽  
pp. 836-846 ◽  
Author(s):  
Olga Peters Hasty
Keyword(s):  
Lyric Poetry ◽  
Rainer Maria Rilke ◽  
Marina Tsvetaeva ◽  
Aleksandr Blok ◽  
Definition Of

Мне кажется, смерть художника не следует выключать из цепи еґо творческих достижений, а рассматривать как последнее заключительное звено.Osip Mandel’ shtamThe death of a poet is a theme Marina Tsvetaeva addressed frequently both in poetry and in prose. The list of poets whose deaths underwent Tsvetaeva’s artistic scrutiny is varied and includes Aleksandr Pushkin, Aleksandr Blok, Sergei Esenin, Rainer Maria Rilke, Vladimir Maiakovskii, Maksimilian Voloshin, Andrei Belyi, and Nikolai Gronskii. A number of notable lyric cycles and some of Tsvetaeva’s finest prose essays emerged as homage to deceased poets. The function of these works extends beyond commemoration and entails the elaboration of Tsvetaeva’s definition of lyric poetry and her exploration of poetic responsibility.

scholarly journals Motherland in the Philosophical Constructions of I.A. Ilyin: Literary Projections

2021 ◽  
Vol 6 (3) ◽  
pp. 222-243
Author(s):  
Evgeny R. Ponomarev
Keyword(s):  
World History ◽  
Vladimir Nabokov ◽  
Russian Philosophy ◽  
Emigre Literature ◽  
Marina Tsvetaeva ◽  
Typical Sign ◽  
Definition Of ◽  
In The Beginning ◽  
Main Ideas ◽  
Ideological Structure

This is the first attempt at analyzing philosophical works about Motherland by Ivan Ilyin (written in the 1920s) as the solid ideological structure, which influenced literature of the Russian emigration of the 1920s as well as Russian émigré selfawareness. The article describes the system of Ilyin’s thought in its dynamics: from his first speeches, delivered in Berlin in 1922, towards the speeches (and articles) of the second half of the 1920s. It highlights certain changes in the definition of the Motherland: in the beginning of his philosophical career, Ilyin understands Motherland as related to the Civil War and the interests of the White Army; later, he moves this concept to religious sphere; by the end of the 1920s he relegates Motherland to the context of world history and Russian culture. Several examples show how Ilyin’s philosophy influenced (or sounds in consonance with), main ideas of the early émigré literature (including novels and political articles by Ivan Bunin, Nina Berberova, Vladimir Nabokov, and Marina Tsvetaeva). That Ivan Ilyin, a former professor of law turned into the greatest ideologist of Russia Abroad is a typical sign of the time and the proof of politicization of Russian philosophy.

Alfonso X: Poetry of Miracles and Domination

2017 ◽  
pp. 105-140
Author(s):  
Samuel England
Keyword(s):  
Middle East ◽  
Conventional Treatment ◽  
Lyric Poetry ◽  
Alfonso X ◽  
The Mediterranean ◽  
Definition Of

Chapter three shifts the Crusades analysis from the Middle East to Gibraltar, studying the contentious political and literary career of Alfonso X in Spain. His extraordinary academic projects and intricate relations with Islamic communities have led scholars to minimize his combative lyric persona. A severely tested leader, Alfonso constructed two main targets for his attacks in song, the Muslims of the Mediterranean and his own knights for their failures against the fierce “Moor.” I counter the conventional treatment of this lyric poetry as light verse. This chapter shows how Alfonso used the specter of the enemy to provoke his own chivalric subjects into responding at court. Critics have portrayed Alfonso mostly entertaining his audiences with profane lyric while he completed more substantive religious and legislative manuscripts, but I argue that his aggressive troubadour persona allowed him to rework the imperial narrative. His image as Iberia’s intellectual, pious, combative, and at times slanderous leader expanded the definition of court and king.

scholarly journals “Going Home to Russia”? Irish Writers and Russian Literature

2006 ◽  
Vol 1 ◽  
pp. 239-251
Author(s):  
Frank Sewell ◽  
Keyword(s):  
Women Artists ◽  
Russian Literature ◽  
Seamus Heaney ◽  
Anton Chekhov ◽  
Medbh Mcguckian ◽  
Marina Tsvetaeva ◽  
The Face ◽  
Aleksandr Blok ◽  
The Many ◽  
The Impact

The poet Josef Brodski once wrote: ‘I’m talking to you but it isn’t my fault if you can’t hear me.’ However, Brodski and other Russian writers, thinkers and artists, continue to be heard across gulfs of language, space and time. Indeed, the above line from Brodski forms the epigraph of ‘Travel Poem’, originally written in Polish by Anna Czeckanowicz. And just as Czeckanowicz picks up on Brodski’s ‘high talk’ (as Yeats might call it), so too do Irish writers (past and present) listen in, and dialogue with, Russian counterparts and exemplars. Some Irish writers go further and actually claim to identify with Russian writers, and/or to identify conditions of life in Ireland with their perception of life in Russia. Paul Durcan, for example, entitled a whole collection of poems Going Home to Russia. Russia feels like ‘home’ to Durcan partly because he is one example of the many Irish writers who have listened in very closely to Russian writing, and who have identified with aspects of what they find in Russian culture. Another example is the poet Medbh McGuckian who has looked to earlier Russian literature for examples of women artists who ‘dedicated their lives to their craft’, who ‘never disgraced the art’, who created timeless works in the face of conflict and suffering: she refers particularly to Anna Akhmatova and, especially, Marina Tsvetaeva. Contemplating and dialoguing with her international sisters in art, McGuckian finds a means of communicating matters and feelings that are ‘closer to home’, culturally and politically (including the politics of gender). Ireland’s most famous poet Seamus Heaney has repeatedly engaged with Russian writings: especially those of Anton Chekhov and Osip Mandelstam. The former is recalled in the poem ‘Chekhov on Sakhalin’, a work taut with tension between an artist’s ‘right to the luxury of practising his art’, and the residual ‘guilt’ which an artist may feel and only possibly discharge by giving ‘witness’, at least, to the chains and flogging of the downtrodden. On the other hand, Mandelstam, for Heaney, is a model of artistic integrity, freedom and courage, a bearer of the sacred, singing word, compared by the Irish poet to an on-the-run priest in Penal days. In this conference paper, I will outline some of the impact and influence that Russian writers have had on Irish writers (who write either in English or in Irish). I will point to some of the lessons and tactics that Irish writers have learnt and adopted from their Russian counterparts: including Cathal Ó Searcaigh’s debt to Yevgenii Yevtushenko, Máirtín Ó Cadhain’s to Maxim Gorki, Máirtín Ó Direáin’s to Aleksandr Blok, and Padraic Ó Conaire’s to Lev Tolstoi, etc.

Historical Poetics, Dysprosody, and The Science of English Verse

PMLA ◽  
2008 ◽  
Vol 123 (1) ◽  
pp. 229-234 ◽  
Author(s):  
Yopie Prins
Keyword(s):  
Lyric Poetry ◽  
John Stuart Mill ◽  
English Verse ◽  
Charles Bernstein ◽  
Large Audience ◽  
The Moment ◽  
Definition Of ◽  
The Voice

“The sound of poetry, the poetry of sound” resonated as Marjorie Perloff's theme for the 2006 MLA Convention, where one could hear about this topic at panels, poetry readings, and the Presidential Forum. Addressing a large audience at the forum, Charles Bernstein tapped the microphone and loudly intoned, “Is this working? Can you hear me?” The moment was a self-conscious performance, perhaps parody, of lyric utterance addressed to “you” from “me”: even before beginning his speech, Bernstein called our attention to the amplification of voice. Instead of addressing any particular you, singular or plural, he seemed to address the microphone, a mediating apparatus that makes possible but also interrupts the intimacy of address that lyric poetry (after John Stuart Mill) invites us to overhear. Through the microphone, Bernstein gave new overtones to Mill's definition of poetry as “overheard,” which could also mean hearing it too much, making it too loud, overworking the metaphor of the voice that we think is speaking directly to us. Although we tend to think of sound as immediate (is it?), the sound of poetry is never heard without mediation, and we should attend to the medium.

scholarly journals “The Star of Venusˮ in Russian poetry of the 20th century: mythopoetic symbolism

2021 ◽  
Vol 27 (3) ◽  
pp. 128-134
Author(s):  
Veronika Igorevna Abramova ◽  
Yulia Vladimirovna Arkhangelskaya
Keyword(s):  
Celestial Body ◽  
20Th Century ◽  
Lyric Poetry ◽  
Marina Tsvetaeva ◽  
Mikhail Kuzmin ◽  
Symbolic Meanings ◽  
Life Journey ◽  
Century Poetry ◽  
Vyacheslav Ivanov ◽  
Linguistic Units

Being a part of the astronomical, temporal, anthropomorphic linguocultural codes, Venus as a celestial body has a significant place in the Russian verbal culture. This statement can be proved not only when analysing linguistic units, but also when referring to literary works, in particular to Russian lyric poetry. Twenty four poetic contexts, which include the image of Venus, have been analysed in the article (the works by Alexander Pushkin, Georgy Adamovich, Pavel Antokolsky, Leonid Martynov, Mikhail Zenkevich, Alexander Blok, Vyacheslav Ivanov, Nikolay Gumilyov, Marina Tsvetaeva, Fyodor Sologub, Mikhail Kuzmin, Georgy Shengeli, Ilya Selvinsky, Konstantin Simonov, Anatoliy Demyanov). The authors focus on the Russian 20th century lyric poetry because it is there that Venus appears as a star rather than a planet, and this corresponds to the archaic notions of this celestial body. Mercury and Mars are also called 'stars' in the 20th century poetry, but in a much smaller number of contexts than Venus. The authors come to the conclusion that Venus in Russian poets’ works can symbolise the onset of morning / evening, love, paradise, loneliness, fate, youth, old age, life journey. Moreover, Venus is included into poetic conceptions (it corresponds to the image of the Beautiful Lady in Alexander Blok’s poetry). The set of the above-mentioned symbolic meanings correlates with the archaic notions of Venus, widens them and makes the image of this celestial body mythopoetic.

ЦВЕТ В ЛИРИКЕ МАРИНЫ ЦВЕТАЕВОЙ

2020 ◽  
pp. 54-57
Author(s):  
Л. Пущина
Keyword(s):  
Lyric Poetry ◽  
Black And White ◽  
Marina Tsvetaeva ◽  
Social Belonging

Аннотация: В стихотворных строчках Марины Цветаевой имеется богатая палитра колоронимов. Мы находим их переосмысления, контекстуальные наращения смыслов и расширение синонимических рядов. В статье (в силу ограниченности ее объема) затрагиваются только три базовых колоронима – красный, белый, черный. В лирике Марины Цветаевой эти цвета имеют глубинный смысл: это как противоборствующие стихии.Белый – это не просто цвет, это и символ чистоты и святости (белая совесть, бела монашка), и символ социальной принадлежности. Противопоставления черный и белый так же часты в лирике Цветаевой, как и ее авторские антонимы белый – красный. Ключевые слова: цвет, колороним, базовый колороним, красный, белый, черный, контекстуальные наращения смысла. Аннотация: Марина Цветаеванын ыр саптары колоронимдерге бай. Биз аларды биригүүнүн жана синоним катар көбөйтүүнүн контексттик маанисин, кайрадан карап чыгуубуз керек. Макала (анын чектелүү көлөм негизинде) үч гана негизги колороним таасир - кызыл, ак, кара. Цветаевага бул түстөр зор мааниге ээ: бул карама-каршы элемент. Ак туз – булл жон эле түс эмес, аруулук жана ыйык белгиси (ак абийир, ак кечил) болуп саналат, жана коомдук абалдын бир белгиси. Цветаеванын лирикасында карама-каршы кара жана ак жана анын авторлук антониидери ак – кызыл көп жолугат Түйүндүү сөздөр: түс, колороним, негизги колороним, кызыл, ак, кара, контексттик мааниге болууда. Annotation: In the poetic lines of Marina Tsvetaeva there is a rich palette of coloronims. We find their redefinition, contextual buildups of meaning and the expansion of synonymic rows. In the article (due to the limited nature of its capacity), only three basic coloronims are broached - red, white, black. In the lyric poetry of Marina Tsvetaeva, these colors have a deeper meaning: they are like opposing nature elements. White is not just a color, it’s also a symbol of purity and holiness (the white conscience, the white nun), as well as symbol of social belonging. Contrasts between black and white are as common in Tsvetaeva’s lyrics as her author’s antonyms — white and red. Keywords: color, coloronim, base color red, white, black, contextual buildups of meaning

Tsvetaeva's Onomastic Verse

Slavic Review ◽  
1986 ◽  
Vol 45 (2) ◽  
pp. 245-256
Author(s):  
Olga Peters Hasty
Keyword(s):  
Acoustic Properties ◽  
Creative Potential ◽  
Marina Tsvetaeva ◽  
Proper Name ◽  
Aleksandr Blok ◽  
Poetic Creation

In her artistic philosophy Marina Tsvetaeva insists on the precedence of the word over what it stands for. “Slovo ved' bol'she veshch', chem veshch': ono samo veshch', kotoraia tol'ko znak.” The signifier comes first and the signified trails after it, for the acoustic properties of the word expand its capability beyond mere denotation to poetic creation. The proper name too, far from being a mere representation in Tsvetaeva's view, draws its bearer into a broad range of associations and creates a complex personal universe that can be discovered by means of the poet's “khozhdenie po slukhu.”From general observations on the importance Tsvetaeva ascribed to names in a variety of works, this paper will proceed to an examination of her 1916 dedication to Aleksandr Blok, “Imia tvoe—ptitsa v ruke.” Analysis of this remarkable poem demonstrates vividly Tsvetaeva's realization of the creative potential of Blok's name. This specific example will provide the basis for a discussion of the broader implications of naming in Tsvetaeva's art.

scholarly journals After Rilke": revisiting the question of the genre of Derek Mahon’s poem "Night Drive"

2019 ◽  
pp. 126-129
Author(s):  
Yekaterina A. Markova
Keyword(s):  
Present Article ◽  
Johann Wolfgang Von Goethe ◽  
William Butler Yeats ◽  
Literary Tradition ◽  
Rainer Maria Rilke ◽  
Literary Traditions ◽  
Definition Of

The present article approaches the issue of the genre definition of Derek Mahon’s poem "Night Drive", which was written "after Rilke". Possible definitions of the genre are as follows – "(loose) translation", "adaptation", "version", "pastiche". Mahon’s concept of translation implies that it is essential to adapt the original to the literary tradition of the language of translation. This concept is linked with Mahon’s use of Byzantium image in imitation of William Butler Yeats in his poem. In addition, a hypothesis is suggested about Mahon’s interpretation of the poem by Rainer Maria Rilke: the parallel between Rilke’s image of "granite", which goes back to Johann Wolfgang von Goethe, and Mahon’s image of Byzantium, which is traced to Yeats, may be explained by the urge to overcome German and Irish national literary traditions.

Some Prospects for the Theory of Lyric Poetry

2017 ◽  
Vol 11 (1) ◽  
Author(s):  
Dieter Lamping
Keyword(s):  
World Literature ◽  
Theoretical Foundation ◽  
Lyric Poetry ◽  
Theoretical Terms ◽  
Universal History ◽  
Life Of The Mind ◽  
History Of ◽  
Definition Of ◽  
The Mind

AbstractTaking the definition of lyric poem as ›Einzelrede in Versen‹ for its basis, this article pursues two objectives: firstly, to advocate the concept of lyric poetry as an intertextual system of relationships against the background of world literature (a concept that can also constitute the theoretical foundation for the universal history of lyric poetry) and, secondly, to encourage a profound discussion with philosophy to locate lyric poetry within the ›life of the mind‹ as well as to grasp it in theoretical terms.

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