EL DESPLAZAMIENTO Y LA FRAGMENTACIÓN DEL YO POÉTICO EN LAS POESÍAS DE CHARLOTTE MEW, KARIN BOYE Y MARINA TSVIETÁIEVA Tesis D
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EL DESPLAZAMIENTO Y LA FRAGMENTACIÓN DEL YO POÉTICO EN LAS POESÍAS DE CHARLOTTE MEW, KARIN BOYE Y MARINA TSVIETÁIEVA Tesis doctoral para obtener el grado académico de Doctora en Teoría de la Literatura y Literatura Comparada por la Universidad Autónoma de Barcelona Doctoranda: Ljiljana Kragulj Director: Enric Sullà Álvarez Universidad Autónoma de Barcelona Facultad de Filosofía y Letras Departamento de Filología Española Barcelona 2014 A mis padres ÍNDICE SUMMARY 7 INTRODUCCIÓN 9 CAPÍTULO 1. CHARLOTTE MEW 15 1.1. La Inglaterra en la época de Charlotte Mew 17 1.1.1. La Era Victoriana 17 1.1.2. La Era Eduardiana 19 1.2. Charlotte Mew: la poeta de la tormenta 26 1.2.1. Datos biográficos 26 1.2.2. La producción poética 33 1.3. El desplazamiento y la fragmentación en los poemas de Charlotte Mew 35 1.3.1. Los temas de la infancia y de la locura 36 1.3.2. El sentirse sin techo como forma de desplazamiento 42 1.3.3. La oposición dentro-fuera: The Quiet House y The Changeling 45 1.3.4. Las imágenes de carreteras, viajes y huidas 50 1.3.5. La división entre la persona pública y la persona privada 54 1.3.6. La división entre la pasión humana y el amor divino 56 1.4. Charlotte Mew y el monólogo dramático 58 1.4.1. La tradición del monólogo dramático en la poesía inglesa 58 1.4.2. The Farmer’s Bride 60 1.4.3. Madeleine in Church 64 CAPÍTULO 2. KARIN BOYE 75 2.1. Suecia en la época de Karin Boye 77 2.1.1. La nueva Suecia y la literatura 77 2.1.2. La poesía modernista 84 2.1.2. Los autores del grupo socialista Clarté 95 2.2. Karin Boye – afligida por pureza 99 2.2.2. La producción poética 112 2.3. En fondo de las cosas 119 2.3.1. Las imágenes de mujeres fuertes: Lilit y la guerrera Amazona 119 2.3.2. Las tensiones opuestas: vida y muerte, lo divino y lo humano 132 2.4. De sju dödssynderna (Los siete pecados capitales) 140 2.5. El sentirse sin techo y las imágenes de carreteras 147 2.5.1. Vägen hem (El camino a casa) y Vandraren (El viajero) 151 2.6. Los poemas de amor 153 2.6.1. Nattens djupa violoncell (El violonchelo profundo de la noche), Ja visst gör det ont (Duele cuando llega la primavera) y Min hud är full av fjärilar (Mi piel está llena de mariposas) 157 CAPÍTULO 3. MARINA TSVIETÁIEVA 161 3.1. Rusia en la época de Marina Tsvietáieva 163 5 3.1.1. La Rusia zarista a comienzos del siglo XX 163 3.1.2. La revolución burguesa y la revolución bolchevique 166 3.1.3. La construcción de la URSS (1921-1939) 168 3.1.4. La revolución y la literatura: poesía de la Edad de Plata 169 3.2. Marina Tsvietáieva: el poeta como emigrante 182 3.2.1. Datos biográficos 183 3.2.2. La producción poética 190 3.3. Lettre à l’Amazone (Carta a la amazona) 200 3.4. Ciclo de poemas Подруга (Amiga) 209 3.5. Álbum vespertino y los mensajeros del mundo mágico 228 3.6. Царь-девица (El zar-doncella) 246 CAPÍTULO 4. DESDOBLAMIENTO Y FRAGMENTACIÓN DEL YO POÉTICO FEMENINO 264 4.1. Desdoblamiento y fragmentación del yo poético femenino 265 4.2. La complejidad del proceso de emancipación: máscaras poéticas 265 4.2.1. Refugio en la vía del sueño 271 4.2.2. Un sujeto poético viajero 275 4.2.3. Apegadas a la naturaleza: al lado del mar y debajo de los árboles 286 4.2.4. “¿No es el amor el arco / tenso de la ruptura?” 298 4.3. Poesía como lugar de verdad 302 BIBLIOGRAFÍA 305 6 SUMMARY This thesis focuses on the poetic production of Charlotte Mew (1869-1928), Karin Boye (1900-1941) and Marina Tsvetaeva (1892-1941). As important figures, although until recently very much ignored by the literary critics, the three poetesses are chosen for the purpose of enlightening the type of female writing that crosses the boundaries and general trends. From the late Victorianism (as is the case with English poetess Charlotte Mew) to Modernist currents of the first half of the twentieth century (as is the case with Swedish poetess Karin Boye and Russian Marina Tsvetaeva) similarities are found in creating a metaphorical space far from the imposed roles. Their newly created dichotomous worlds and their adopted means of expression are the main topics analysed. The present work aims to individualize the ways in which each poetess expresses her sense of fragmentation and the dualistic vision of the split female self. The first chapter analyses the poetic production of Charlotte Mew which began to receive wider critical attention in the 1960s. One of the reasons for her being omitted from anthologies lies in her displacement from literary tradition. On the one hand, Mew was connected with the avant-garde of the early twentieth century due to her contribution to The Yellow Book and experiments with metre and form, but, on the other hand, she was never able to break free from the nineteenth century preoccupations and remained imaginatively tied to the Victorian period. Therefore, in the general criticism, her poetry fills barely two pages: The British Poetry, 1900-50 dedicates a chapter to Mew and Edith Sitwell in order to recuperate and re-evaluate them. However, Mew’s poetry is characterized as “childlike, avoiding men and speaking in a language which makes no sense from the patriarchal point of view”1. In Post- Victorian Poetry Herbert Palmer defines Mew as a poetess who is preoccupied with death and disaster, while in a more recent study of Angela Leighton, Victorian Women Poets, Mew is placed next to Christina Rossetti. The originality of Mew’s poems lies in revoking the Victorian motifs of guilt, desire, death and prostitution in a highly individualistic manner and above all in using the dramatic monologue. Mew is also at her best when catching at the echoes and reflections of experience and when showing “imagination’s wintriness in the face of the woman’s natural subject of love”2. 1 Day&Docherty 1955:78. 2 Leighton 1992: 2. 7 Chapter two analyses the poems of the Swedish poetess Karin Boye. Although many Swedes know her poetry by heart, Boye became relatively famous only after publishing of her dystopian novel Kallocain, translated afterwards in almost all major European languages. For better understanding of her poetic œuvre and life there is Margit Abenius’ biography in Swedish Drabbad av Renhet (Afflicted with Purity) written less than a decade after poetess’ tragic death. Abenius places considerable emphasis on the role of lesbianism in Boye’s life and this book is still today the most exhaustive study ever written. Another recent and helpful book in English is a study Swedish Women Writing by Helena Forsås-Scott in which Boye’s work and poetry “formulates a feminine multiplicity of increasing complexity”. 3 1993 appeared the Italian translation of Kallokain (Kallocaina) and a choice of her famous poems in 1994. Chapter three deals with Marina Tsvetaeva’s lesser known and still untranslated poems such as those gathered in the volume Evening album or the epic poem The tzar-maiden. In addition, her poem cycle A Friend dedicated to Sophia Parnok and a short work in prose Letter to an Amazon, also available in Spanish translation, are also in the focus of the present research. Much of the material on Tsvetaeva started to appear and to be widespread in the late sixties. The first fullest biography and criticism of her work appeared in 1966 by Simon Karlinsky under the title Marina Cvetaeva Her Life and Art. Tsvetaeva’s love affair with Parnok and verses of both poetesses were the centre of Sofia Poliakova’s studies in the late 70s. Poliakova’s comments and analyses undoubtedly suggest new interpretations of Tsvetaeva’s verses. The life of this “lonely giant” and the extraordinary courage of her humanity and honesty were also the focus of Elaine Feinstein’s studies. She wrote Tsvetaeva’s biography A Captive Lion. The Life of Marina Tsvetaeva and is probably the best-known translator of her poems in English. Finally, the chapter four tries to define the common ground for all three poetesses examining the use of poetic masks, alienated persons and female figures characterized by their androgynous nature, constant references to roads, wanderings and travels that support the theory of the dichotomous vision. The female self in their poetics is split in other figures whose presence testifies the possibility of woman’s different and special destiny, far removed from everyday banalities. 3 Forsås-Scott 1997:3. 8 INTRODUCCIÓN El presente trabajo tiene su origen en una larga investigación desarrollada en torno a un proyecto inicial, escrito en lengua inglesa, sobre el desplazamiento y la fragmentación del yo poético en algunas de las obras más representativas de Charlotte Mew (1869-1928), Karin Boye (1900-1941) y Marina Tsvietáieva (1894-1941). Por tanto, es el resultado de un trabajo que, dentro del ámbito de los estudios de Humanidades, intentó sacar a la luz una lectura diferente de los poemas de las dichas autoras. El interés del tema residía en el hecho de que, en el caso de Charlotte Mew y en menor medida de Karin Boye, se trataba de unas poetas prácticamente desconocidas tanto a nivel nacional (refiriéndonos aquí a los países de habla inglesa y sueca) como internacional, y de que se pretendían analizar conceptos de fragmentación y de visión dicotómica en sus obras, basándose en un número restringido de libros críticos que en aquel entonces tuve a mi disposición.