Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-2-316-333
E. A. Andrushchenko
The article discusses a curious case of the reception of Goethe in Russia in the late 19th century — the first translation of “Conversations with Goethe” (1891), authored by D.V. Averkiev and commissioned by A.S. Suvorin. Taking the expectations of the implicit reader into account had made his newspaper and publishing house one of most successful Russian enterprises by the turn of the century. It also aligned with Averkiev’s Kulturträger attitude, both as a writer who introduced the public to the culture and everyday life of old Russia and as a translator who familiarized it with the achievements of Western European literature and science. In his translation Averkiev utilized an intermediate text, namely É. Delerot’s translation of the “Conversations” into French. He transferred not only its structural features, but also the skeptical opinion of Eckermann’s personality expressed by C.A. Sainte-Beuve in his letter to G. Charpentier. By reducing the original text, extending his translation with materials from Goethe’s correspondence and recollections about him, Delerot corrected the “wrong” genre of the source text — with the ideal seen in J. Boswell’s book on S. Johnson. Averkiev retained the essential features of the intermediate text, but complemented it with his own article as well as footnotes bringing the text closer to Russian understanding. He expanded some footnotes into detailed comments on the history of literature and theatre, which he specialized in. Having emerged in the depths of a fading culture, Averkiev’s translation anticipated the future explorations of Russian modernism, whose representatives studied the personality of Goethe via his translation and quoted the German writer’s conversations in his interpretation.
{"title":"Sainte-Beuve vs Eckermann, or How the First Russian Translation of “Conversations with Goethe” Was Made","authors":"E. A. Andrushchenko","doi":"10.22455/2500-4247-2023-8-2-316-333","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-316-333","url":null,"abstract":"The article discusses a curious case of the reception of Goethe in Russia in the late 19th century — the first translation of “Conversations with Goethe” (1891), authored by D.V. Averkiev and commissioned by A.S. Suvorin. Taking the expectations of the implicit reader into account had made his newspaper and publishing house one of most successful Russian enterprises by the turn of the century. It also aligned with Averkiev’s Kulturträger attitude, both as a writer who introduced the public to the culture and everyday life of old Russia and as a translator who familiarized it with the achievements of Western European literature and science. In his translation Averkiev utilized an intermediate text, namely É. Delerot’s translation of the “Conversations” into French. He transferred not only its structural features, but also the skeptical opinion of Eckermann’s personality expressed by C.A. Sainte-Beuve in his letter to G. Charpentier. By reducing the original text, extending his translation with materials from Goethe’s correspondence and recollections about him, Delerot corrected the “wrong” genre of the source text — with the ideal seen in J. Boswell’s book on S. Johnson. Averkiev retained the essential features of the intermediate text, but complemented it with his own article as well as footnotes bringing the text closer to Russian understanding. He expanded some footnotes into detailed comments on the history of literature and theatre, which he specialized in. Having emerged in the depths of a fading culture, Averkiev’s translation anticipated the future explorations of Russian modernism, whose representatives studied the personality of Goethe via his translation and quoted the German writer’s conversations in his interpretation.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"65 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89353081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-2-182-199
S. Titarenko
This article is dedicated to the insufficiently studied topic concerning comparative analysis of European mannerism and neo-mannerist tendencies in Russian modernist poetry. The basis of this analysis is formed by ideas of Ernst Robert Curtius regarding mannerism as a constant theme in European literature and classic art history studies (Max Dvořák, Erwin Panofsky) and modern philological studies dedicated to this style of the 16th century. The article examines the poems from early poetry collections by Valery Bryusov, such as “Juvenilia” (1892–1894), “Chefs d’oeuvre” (1894–1896), “Mе eum esse” (1896–1897), and “Pearls” (1910) by Nikolay Gumilev. It demonstrates that the neo-mannerism in Bryusov’s and Gumilev’s poetry was brought upon by influence of French culture and Art Nouveau style, which reveals in the creation of the contingent, aestheticized and exotic image of the world. The poets use techniques of theatricalization in order to develop plots. A complexity of poetic manner is characteristic, principles of surprise poetics are created in line with it. The picturesque scenes, motifs of narcissism and love games are varied. The topoi of mannerism or early baroque are used. It allows us to talk about the actualization of mannerist model of thinking that embody ideas of aesthetic rebel against tradition.
本文致力于对俄罗斯现代主义诗歌中欧洲风格主义与新风格主义倾向的比较分析这一研究不足的主题。这种分析的基础是由恩斯特·罗伯特·柯提乌斯(Ernst Robert Curtius)的观点形成的，他认为风格主义是欧洲文学和古典艺术史研究(马克斯Dvořák, Erwin Panofsky)和16世纪致力于这种风格的现代语言学研究的恒定主题。本文考察了瓦列里·布留索夫早期诗集中的诗歌，如《少女》(1892-1894)、《开胃菜》(1894-1896)、《小姐》(1896-1897)和尼古拉·古米列夫的《珍珠》(1910)。分析表明，布留索夫和古米列夫诗歌中的新风格主义是受法国文化和新艺术风格的影响而产生的，表现在对偶然的、审美化的、异国情调的世界形象的塑造上。诗人运用戏剧化的技巧来发展情节。诗歌方式的复杂性是其特点，惊喜诗学的原则与之相适应。风景如画的场景、自恋的主题和爱情游戏是多种多样的。风格主义或早期巴洛克风格的主题被使用。它使我们得以探讨体现美学反叛传统思想的矫饰主义思维模式的实现。
{"title":"The Metamorphosis of Mannerism in Russian Poetry at the Turn of the 19th–20th Centuries: Valery Bryusov and Nikolay Gumilev","authors":"S. Titarenko","doi":"10.22455/2500-4247-2023-8-2-182-199","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-182-199","url":null,"abstract":"This article is dedicated to the insufficiently studied topic concerning comparative analysis of European mannerism and neo-mannerist tendencies in Russian modernist poetry. The basis of this analysis is formed by ideas of Ernst Robert Curtius regarding mannerism as a constant theme in European literature and classic art history studies (Max Dvořák, Erwin Panofsky) and modern philological studies dedicated to this style of the 16th century. The article examines the poems from early poetry collections by Valery Bryusov, such as “Juvenilia” (1892–1894), “Chefs d’oeuvre” (1894–1896), “Mе eum esse” (1896–1897), and “Pearls” (1910) by Nikolay Gumilev. It demonstrates that the neo-mannerism in Bryusov’s and Gumilev’s poetry was brought upon by influence of French culture and Art Nouveau style, which reveals in the creation of the contingent, aestheticized and exotic image of the world. The poets use techniques of theatricalization in order to develop plots. A complexity of poetic manner is characteristic, principles of surprise poetics are created in line with it. The picturesque scenes, motifs of narcissism and love games are varied. The topoi of mannerism or early baroque are used. It allows us to talk about the actualization of mannerist model of thinking that embody ideas of aesthetic rebel against tradition.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"25 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87028247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-10-27
Evgeniy S. Maslov
The article explores the essence of the cognate oppositions “fabula — syuzhet” and “story — discourse” through the prism of the semiotic triangle concept. The “corners” of the semiotic triangle (thing, thought, symbol) are not aspects of one and the same phenomenon, but independent types of phenomena, and each of them has its own temporality. The author proves that the substance of the plot / discourse is a thought (sense), and not a text as a unity of sense and its acoustic-graphic expression. The time of the syuzhet / discourse (the time of thinking about the object) can not only differ from the time of the fabula / story, but fundamentally does not need it, since it has a different ontological basis; as a consequence, its counterpart exists in any kind of text, not just in narrative. If the text presents events to the reader in the mode of sensual “pseudo-living,” the time of the syuzhet / discourse tends to coincide with the time of the fabula / story. But the rational grasp, based on abstraction, allows thinking to use for its movement not only temporal, but also other “dimensions” of the described material.
{"title":"Time in Narrative: “Fabula — Syuzhet” and “Story — Discourse” vs Semiotic Triangle","authors":"Evgeniy S. Maslov","doi":"10.22455/2500-4247-2023-8-3-10-27","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-10-27","url":null,"abstract":"The article explores the essence of the cognate oppositions “fabula — syuzhet” and “story — discourse” through the prism of the semiotic triangle concept. The “corners” of the semiotic triangle (thing, thought, symbol) are not aspects of one and the same phenomenon, but independent types of phenomena, and each of them has its own temporality. The author proves that the substance of the plot / discourse is a thought (sense), and not a text as a unity of sense and its acoustic-graphic expression. The time of the syuzhet / discourse (the time of thinking about the object) can not only differ from the time of the fabula / story, but fundamentally does not need it, since it has a different ontological basis; as a consequence, its counterpart exists in any kind of text, not just in narrative. If the text presents events to the reader in the mode of sensual “pseudo-living,” the time of the syuzhet / discourse tends to coincide with the time of the fabula / story. But the rational grasp, based on abstraction, allows thinking to use for its movement not only temporal, but also other “dimensions” of the described material.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135356415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-232-255
Maria V. Kundozerova
The article is devoted to the study of the Karelian runosongs of the bilingual storyteller of the White Sea, Matvey Korguev. The tasks of the study include the identification of runosongs recorded from Korguev in archival and published sources; determination of their genre affiliation, range of plots and motifs; analysis of their features in the context of the Karelian epic tradition. The texts of 29 runosongs containing the plot “Searching for a tree for a boat” and 271 runes with the plot “Feast in Päivölä” from published collections and the Scientific Manuscript Archive of the Karelian Research Center of the Russian Academy of Sciences were used for comparison. It has been established that three runosongs were written down from M. Korguev, one of which (a handwritten version of 1938) is introduced into scientific circulation for the first time. According to a comparative textual analysis, the records of 1938 and 1941 are variants of the epic runosong with contamination of the plots “Search for a tree for a boat” and “Feast in Päivölä,” while the text of 1935 contains only the plot “Feast in Päivölä.” All texts have an original composition, complicated by interspersing motifs from the plots “Competition in matchmaking” and “Journey to Pohjola.” The text of 1935 contains the motif of the birth of the sun from the yolk, which belongs to the plot “Creation of the World.” Most of the identified motifs are traditional for Karelian epic poetry. Unique are the motifs for setting off to marry on an ahkivo and the marriage of an uninvited guest who killed the host of the feast, as well as some details of the narrative.
{"title":"Plots and Motifs of Matvey Korguev’s Runosongs in the Context of Karelian Epic Tradition","authors":"Maria V. Kundozerova","doi":"10.22455/2500-4247-2023-8-3-232-255","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-232-255","url":null,"abstract":"The article is devoted to the study of the Karelian runosongs of the bilingual storyteller of the White Sea, Matvey Korguev. The tasks of the study include the identification of runosongs recorded from Korguev in archival and published sources; determination of their genre affiliation, range of plots and motifs; analysis of their features in the context of the Karelian epic tradition. The texts of 29 runosongs containing the plot “Searching for a tree for a boat” and 271 runes with the plot “Feast in Päivölä” from published collections and the Scientific Manuscript Archive of the Karelian Research Center of the Russian Academy of Sciences were used for comparison. It has been established that three runosongs were written down from M. Korguev, one of which (a handwritten version of 1938) is introduced into scientific circulation for the first time. According to a comparative textual analysis, the records of 1938 and 1941 are variants of the epic runosong with contamination of the plots “Search for a tree for a boat” and “Feast in Päivölä,” while the text of 1935 contains only the plot “Feast in Päivölä.” All texts have an original composition, complicated by interspersing motifs from the plots “Competition in matchmaking” and “Journey to Pohjola.” The text of 1935 contains the motif of the birth of the sun from the yolk, which belongs to the plot “Creation of the World.” Most of the identified motifs are traditional for Karelian epic poetry. Unique are the motifs for setting off to marry on an ahkivo and the marriage of an uninvited guest who killed the host of the feast, as well as some details of the narrative.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"2012 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135356416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-106-125
Marianna V. Kaplun
The article examines the work of the Russian writer Olga Pavlovna Runova (nee Meshcherskaya) (1864–1952) in the context of literary and gender discourse that developed in the modernist period. One of the most striking, accentuated feminine works of Runova is the epistolary story Moonlight, published in 1913 in the leading literary and political publication “Russian Thought.” Later, the story was included in another collection of Runova’s gender-specific prose, published in Petrograd in 1916 with the same title. In Moonlight the writer uses diary genre of unsent letter with first-person narration, trying to penetrate deeper into the inner world of a woman, to demonstrate her vulnerability to the patriarchal environment and to show possible options for overcoming a spiritual split. The story combines various artistic tactics of Runova in the construction of femininity, which were reflected in the prose of the writer of the 1900–1910s (psychosis, conformism, escapism). The character of story goes through all the stages of feminine self-determination: from internal discontent through rebellion/rejection to a compromise acceptance of dictated conditions. Runova sees the main way out for a woman in inner escapism, which gives an imaginary respite from the oppressive reality, the prevailing patriarchy, but not solving the problem of women’s self-determination outside the patriarchal world.
{"title":"Principles of Constructing Femininity in O.P. Runova’s Novel Moonlight","authors":"Marianna V. Kaplun","doi":"10.22455/2500-4247-2023-8-3-106-125","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-106-125","url":null,"abstract":"The article examines the work of the Russian writer Olga Pavlovna Runova (nee Meshcherskaya) (1864–1952) in the context of literary and gender discourse that developed in the modernist period. One of the most striking, accentuated feminine works of Runova is the epistolary story Moonlight, published in 1913 in the leading literary and political publication “Russian Thought.” Later, the story was included in another collection of Runova’s gender-specific prose, published in Petrograd in 1916 with the same title. In Moonlight the writer uses diary genre of unsent letter with first-person narration, trying to penetrate deeper into the inner world of a woman, to demonstrate her vulnerability to the patriarchal environment and to show possible options for overcoming a spiritual split. The story combines various artistic tactics of Runova in the construction of femininity, which were reflected in the prose of the writer of the 1900–1910s (psychosis, conformism, escapism). The character of story goes through all the stages of feminine self-determination: from internal discontent through rebellion/rejection to a compromise acceptance of dictated conditions. Runova sees the main way out for a woman in inner escapism, which gives an imaginary respite from the oppressive reality, the prevailing patriarchy, but not solving the problem of women’s self-determination outside the patriarchal world.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135356448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-2-86-107
M. Y. Ignatieva (Oganissian)
The article analyzes the poetics of the “Spiritual Canticle” of St. John of the Cross as a single two-part work, consisting of a poetic text and its prosaic commentary. The “Spiritual Canticle” is one of the masterpieces of Spanish mystical literature of the 16th century. The author of the article describes this literary context, showing the reasons for its emergence and flourishing, the main directions and features, and then proceeds to analyze the poetics of the texts under consideration. The relationship between poetry and prose in the literary legacy of St. John of the Cross is one of the traditional themes of juanística. The article proposes to consider both the one and the other as a manifestation of both the mystical experience and the poetic genius of St. John, without placing the commentary in an auxiliar position in relation to the verses. By interpreting his own poetic text, John creates a new parallel text on the same topic, but in a different genre. Each component has its own internal plot.These two plots, called “lyrical” and “theological,” enter into complex relationships. Thus, “mountains,” “forests,” “extraordinary islands” and other images change their meaning both in verses and in commentary, revealing a general but whimsical transformation of an earthly topos into a transcendental one. Transformation takes place through various types of intersection of created and uncreated beginnings: in man, in nature and in God. Poems from lyrics become sacred text, commentary from didactic becomes exegetical.
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Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-1-144-161
Elena V. Trepetova
The article presents the history of the search for Louis Boussenard’s novel L’Orpheline de Montmartre undertaken by the author since 2011. The French original of this work was lost, the title is totally unknown to French specialists, and the only evidence of its creation was a pre-revolutionary translation into Russian. The author of the article analyses the translation of E.N. Kiselyov, identifies the narrative elements characteristic of Boussenard, which make it possible to exclude the falsification of authorship, establishes the date of the first publication of the Russian translation, and finds sporadic mentions of this novel in French sources. The analysis of these documents allows to put forward a hypothesis that the novel in question was published in the Parisian daily “La Petite République” and reprinted by an unknown regional socialist newspaper. This hypothesis was exactly confirmed after the digitization in 2015 of the daily socialist newspaper “L’Égalité de Roubaix-Tourcoing.” The result of this discovery was the first book publication of the novel L’Orpheline de Montmartre in French (2017).
本文介绍了路易斯·布塞纳德自2011年以来寻找小说《蒙马特孤儿》的历史。这部作品的法语原版失传了，法国专家完全不知道书名，唯一的证据是革命前的俄文译本。本文的作者分析了E.N.基谢廖夫的翻译，确定了布塞纳德的叙事元素特征，这使得排除作者伪造的可能性，确定了俄文译本首次出版的日期，并发现法国资料中零星提到了这部小说。对这些文件的分析可以提出一个假设，即该小说发表在巴黎日报“La Petite r publique”上，并由一份不知名的地区社会主义报纸转载。这一假设在2015年社会主义日报《L ' Égalité de Roubaix-Tourcoing》数字化后得到了证实。这一发现的结果是小说《蒙马特孤儿》(法语版)首次出版(2017年)。
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Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-82-105
Veronika B. Zuseva-Özkan
The article reveals patterns in the construction of female characters in the entire corpus of D.S. Merezhkovsky’s and Z.N. Gippius’ dramas. Although their plays are connected by a number of common motifs, themes and images, the construction of femininity by the husband-and-wife authors differs in many ways. Merezhkovsky is more traditional than Gippius: in his plays, female figures, as a rule, turn out to be only a background for a male character who suffers between “two loves,” anticipating, but not being able to accept the truth of the Third Testament. Therefore, the female characters either embody two faces of Eros, or simply represent variations of female types constant for literature and culture, such as the “Amazon,” “comforter,” “strong woman,” etc. In Gippius, female figures are brought to the fore, it is they who solve existential issues. Their main characteristic is the desire for “that which is not of this world.” The male characters of Merezhkovsky are mainly occupied by their love for two different women, while the female characters of Gippius are occupied by their attempts to find some “meaning,” to transform life, Russia and themselves.
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Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-214-231
Ekaterina V. Volkova, Zoya S. Zakruzhnaya
The article introduces into scientific circulation and for the first time examines the marginalia of I.A. Bunin at the “Collection of Poems” (1927) by V.F. Khodasevich from the funds of the Russian Archive of Leeds (RAL). A comprehensive analysis of the marginalia of I. Bunin, undertaken by the authors of the article, allows to clarify both the aesthetic and general poetic principles of I. Bunin himself, and his attitude to the poetry of V. Khodasevich. As a result of the study, conclusions were made that in his marginalia I. Bunin appears as a traditionalist advocating for classical aesthetic orientation. He does not accept the symbolist worldview and modernist poetics, the mixing of prosaism and poetism, reduced “physiological” imagery, the use of heterogeneous lexical and stylistic layers. It is these characteristic features of V. Khodasevich’s poetry that cause the negative attitude of I. Bunin, which is reflected in his marks and comments. The negative marginalia of I. Bunin are also associated with the biographical context of V. Khodasevich’s poems, which is not always “read” by I. Bunin, as well as with allusions to the poetry of A. Bely and A. Blok.
本文介绍了俄罗斯利兹档案馆(Russian Archive of Leeds, RAL)资助的V.F. Khodasevich的《诗集》(1927)中I.A. Bunin的旁注，并首次在科学流通中进行了考察。本文作者对布宁的旁注进行了全面分析，可以澄清布宁本人的美学和一般诗歌原则，以及他对霍达塞维奇诗歌的态度。研究结果表明，在他的旁注中，布宁是一个提倡古典美学取向的传统主义者。他不接受象征主义的世界观和现代主义的诗学，不接受散文体和诗学的混合，不接受“生理”意象的减少，不接受异质词汇和文体层次的使用。正是霍达塞维奇诗歌的这些特点，导致了布宁的消极态度，这种消极态度体现在他的批注和评论中。布宁的负面旁注也与霍达塞维奇诗歌的传记背景有关，这些诗歌并不总是由布宁“阅读”，也与A.别利和A.布洛克的诗歌的典喻有关。
{"title":"“Tuberkulez Kuporosovich!” On I. Bunin’s Marginalia at V. Khodasevich’s “Collection of Poems”","authors":"Ekaterina V. Volkova, Zoya S. Zakruzhnaya","doi":"10.22455/2500-4247-2023-8-3-214-231","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-214-231","url":null,"abstract":"The article introduces into scientific circulation and for the first time examines the marginalia of I.A. Bunin at the “Collection of Poems” (1927) by V.F. Khodasevich from the funds of the Russian Archive of Leeds (RAL). A comprehensive analysis of the marginalia of I. Bunin, undertaken by the authors of the article, allows to clarify both the aesthetic and general poetic principles of I. Bunin himself, and his attitude to the poetry of V. Khodasevich. As a result of the study, conclusions were made that in his marginalia I. Bunin appears as a traditionalist advocating for classical aesthetic orientation. He does not accept the symbolist worldview and modernist poetics, the mixing of prosaism and poetism, reduced “physiological” imagery, the use of heterogeneous lexical and stylistic layers. It is these characteristic features of V. Khodasevich’s poetry that cause the negative attitude of I. Bunin, which is reflected in his marks and comments. The negative marginalia of I. Bunin are also associated with the biographical context of V. Khodasevich’s poems, which is not always “read” by I. Bunin, as well as with allusions to the poetry of A. Bely and A. Blok.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135356165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-28-45
Elizaveta V. Sokolova
The autumn poems of the Austrian poet Georg Trakl (1887–1914), making up a significant part of his lyrical heritage, may be examined through the prism of color and acoustic imagery. The article shows that in his earlier lyric poems (1909–1912) color and sound serve primarily to distinguish between the two spaces, the first of which associates with the reality (natural life, autumn landscape), while the second corresponds to the places of “otherness” (sleep, death). The first space is characterized by a rich palette and sound diversity; the “other” space is depicted mostly in black and white, full of disturbing silence or sharp mechanical sounds. Later verses from 1913–1914 demonstrate less clear distinction of the two spaces, both flow into each other and even merge into one. Color and sound, as it were, “stitch” them through, connecting one with the other. Duality leaves the space and is now concentrated in the very image of autumn, which combines the generosity (abundance of fruits) of the life lived and dying, “black decay.” At the same time, color and sound markers of life and death remain the same, though their use changes slightly: color often acts now as a part of a complex image (“blue wings of the evening”), “dark” tends to become “black”; sounds subside, replaced by a meaningful silence.
{"title":"Phenomena of Color and Sound in the Autumn Lyrics by Georg Trakl","authors":"Elizaveta V. Sokolova","doi":"10.22455/2500-4247-2023-8-3-28-45","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-28-45","url":null,"abstract":"The autumn poems of the Austrian poet Georg Trakl (1887–1914), making up a significant part of his lyrical heritage, may be examined through the prism of color and acoustic imagery. The article shows that in his earlier lyric poems (1909–1912) color and sound serve primarily to distinguish between the two spaces, the first of which associates with the reality (natural life, autumn landscape), while the second corresponds to the places of “otherness” (sleep, death). The first space is characterized by a rich palette and sound diversity; the “other” space is depicted mostly in black and white, full of disturbing silence or sharp mechanical sounds. Later verses from 1913–1914 demonstrate less clear distinction of the two spaces, both flow into each other and even merge into one. Color and sound, as it were, “stitch” them through, connecting one with the other. Duality leaves the space and is now concentrated in the very image of autumn, which combines the generosity (abundance of fruits) of the life lived and dying, “black decay.” At the same time, color and sound markers of life and death remain the same, though their use changes slightly: color often acts now as a part of a complex image (“blue wings of the evening”), “dark” tends to become “black”; sounds subside, replaced by a meaningful silence.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135356462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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