Pub Date : 2017-04-03DOI: 10.1080/10611975.2017.1400272
D. Ioffe
The text focuses on the stiob (the Russian word for a particular form of parody) and subversive aesthetic praxis of the Second Russian Avant-Garde. In particular, Ioffe analyzes Michail Grobman’s oeuvre from the perspective of various irreverent techniques associated with the political left and the cynic tradition, drawing a conceptual parallel between the avant-garde’s life-creational outrage and Surrealist patterns of discursive terror. Ioffe reflects on the synthetic nature of the avant-garde, which puts equal emphasis on visual and verbal arts. His analysis explores the radical artistic gesture that represents one of the unique contributions of this cultural paradigm.
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Pub Date : 2017-04-03DOI: 10.1080/10611975.2017.1400269
Evgenii Demenok
This article focuses on Russian Futurist Velimit Khlebnikov (1885-1922) as both a poet and a visual artist. Biographical and bibliographic data are drawn from various memoirists, especially David Burliuk but also citing Roman Jakobson, Aleksei Kruchenykh, Benedikt Livshits, Vladimir Mayakovsky, and others.
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Pub Date : 2017-01-02DOI: 10.1080/10611975.2017.1350062
I. Surat
In a less formal article, Irina Surat parses the words and history of Osip Mandelstam’s poem “The Wolf,” mostly written in 1930, to identify the significance of its final line, which the poet settled on only in 1935. The discussion ends by citing a stanza from “Facing Nature,” a 1975 poem by Aleksandr Eremenko, which builds on Mandelstam’s poem in much the same way as Mandelstam’s builds on writings by Nikolai Gumilev and Aleksandr Pushkin.
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Pub Date : 2017-01-02DOI: 10.1080/10611975.2017.1350060
N. Ivanova
Natalia Ivanova traces the relationship of Boris Pasternak and his contemporary, Osip Mandelstam, as recorded in their correspondence and in recollections by others. Despite the differences in their personalities and their poetic fates, their communication and mutual admiration became an increasingly important element in the life of each poet until and even after Mandelstam’s death.
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Pub Date : 2017-01-02DOI: 10.1080/10611975.2017.1350066
I. Surat
Irina Surat traces the theme of theft through Osip Mandelstam’s work, finding its roots in works by François Villon and Paul Verlaine as well as Mandelstam’s life experience. Mandelstam’s attention to the earlier French poets allows him to note a word cluster that supports an image of the poet as thief and outlaw, supporting his work and self-image at a time when the Soviet literary system was no longer welcoming or supportive.
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Pub Date : 2017-01-02DOI: 10.1080/10611975.2017.1350059
O. Lekmanov
Oleg A. Lekmanov provides copious examples of poems about Stalin from the 1930s, and especially 1937, written by a wide range of both famous and forgotten Russophone Soviet poets as well as poets from various Soviet nationalities, including examples of putative folklore, translated into Russian. Mandelstam mobilizes this familiar and accepted vocabulary in his Stalin Ode, and Lekmanov argues that a reader in 1937 would have known exactly how to read each trope—although Mandelstam nonetheless frequently subverts them or brings them to unexpected life. The “Ode,” presented towards the end of the article, does indeed read differently after preparatory reading of the other poets.
Oleg a . Lekmanov提供了大量1930年代，特别是1937年的关于斯大林的诗歌，这些诗歌的作者包括著名的和被遗忘的俄语苏联诗人，以及来自苏联各个民族的诗人，其中包括被认为是民间传说的例子，被翻译成俄语。曼德尔施塔姆在他的《斯大林颂》中运用了这些熟悉的、被接受的词汇，列克马诺夫认为，1937年的读者会确切地知道如何阅读每一个比喻——尽管曼德尔施塔姆经常颠覆它们，或者给它们带来意想不到的生活。在文章末尾呈现的“颂歌”，在对其他诗人的预备阅读之后，确实读起来有所不同。
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Pub Date : 2017-01-02DOI: 10.1080/10611975.2017.1350061
Grigorii M. Kruzhkov
Grigorii Kruzhkov examined three of Mandelstam’s poems. First, he identifies the various voices in “The Decembrist” (Dekabrist), arguing that this musical quality is an innovation in M’s poetry. Reading “To Cassandra” (Kassandre), he argues that the order of the stanzas was changed to conceal its counter-revolutionary meaning, nevertheless apparent to the attentive reader who could perform the same reading. Third, in the poem “The Apartment” (Kvartira), he deciphers the significance of “Nekrasov’s hammer,” suggesting that the poet identifies with the boy who is hurt when he jumps on a footboard full of nails rather than with Nekrasov, the earlier poet who condemned this practice, or the fine people riding in the new Soviet carriage of state.
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Pub Date : 2017-01-02DOI: 10.1080/10611975.2017.1350055
I. Surat
Irina Surat examines the poetry written during Osip Mandelstam’s two years of exile in Voronezh, finding that its precise evocations of space provide the terms that can be used to analyze the poems. This helps Mandelstam to address exile as a personal experience and a poetic trope, as well as to assert imaginatively his connections with the wider world—both in Soviet space and farther afield. Geography (taken through the filter of Dante’s Inferno, etc.) expresses the poetic connections that support his internal freedom, moving (as Surat puts it) from real space into an open space of imagination.
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Pub Date : 2016-10-01DOI: 10.1080/10611975.2016.1264003
E. Ivanova
Ekaterina Ivanova traces the career of Maryna and Serhiy Dyachenko, who have been publishing speculative fiction as a popular team since the 1990s. She notes the ways they undo clichés of the genre, a tendency that has become subtler over time.
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