Collecting Mandelstam
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Boris Pasternak - Poems
Classic Poetry Series Boris Pasternak - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Boris Pasternak(10 February 1890 - 30 May 1960) Boris Leonidovich Pasternak was a Russian language poet, novelist, and literary translator. In his native Russia, Pasternak's anthology My Sister Life, is one of the most influential collections ever published in the Russian language. Furthermore, Pasternak's theatrical translations of Goethe, Schiller, Pedro Calderón de la Barca, and William Shakespeare remain deeply popular with Russian audiences. Outside Russia, Pasternak is best known for authoring Doctor Zhivago, a novel which spans the last years of Czarist Russia and the earliest days of the Soviet Union. Banned in the USSR, Doctor Zhivago was smuggled to Milan and published in 1957. Pasternak was awarded the Nobel Prize for Literature the following year, an event which both humiliated and enraged the Communist Party of the Soviet Union. In the midst of a massive campaign against him by both the KGB and the Union of Soviet Writers, Pasternak reluctantly agreed to decline the Prize. In his resignation letter to the Nobel Committee, Pasternak stated the reaction of the Soviet State was the only reason for his decision. By the time of his death from lung cancer in 1960, the campaign against Pasternak had severely damaged the international credibility of the U.S.S.R. He remains a major figure in Russian literature to this day. Furthermore, tactics pioneered by Pasternak were later continued, expanded, and refined by Aleksandr Solzhenitsyn and other Soviet dissidents. <b>Early Life</b> Pasternak was born in Moscow on 10 February, (Gregorian), 1890 (Julian 29 January) into a wealthy Russian Jewish family which had been received into the Russian Orthodox Church. -
Sculptor Nina Slobodinskaya (1898-1984)
1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. -
Poetry in a Time of Affliction
01-logos-murray-pp19-39 6/14/05 8:25 AM Page 19 Paul Murray, OP The Fourth Friend: Poetry in a Time of Affliction What, if anything, consoles us in a time of affliction? Today we don’t need to look very far to see that our own generation is living through such a time, and this is true whether we are living in Europe or in Iraq, in Sudan or the Middle East, in Egypt or in the United States. As far as the West is concerned, we have only to think back to the horrific bombings that took place in the station at Madrid some time ago or to recall the shock and horror of 9/11. But there have been other horrors, other scenes of humiliation and terror, which we have witnessed on our television screens, and most notable of all, of course, the effects of the tsunami. Although these events may have taken place thousands of miles away, they too have seared our imagination. My question, then, is this: In such a time of afflic- tion, of what possible use to us is poetry? Can it be said to help or console us in any way? After 9/11, there was, as it happens, one remarkable, instinctive response of the people in New York,a response manifest not only in and around Ground Zero, but also in many of the streets of the city. For, on the walls of the city, in the subway, on the sidewalks, there logos 8:3 summer 2005 01-logos-murray-pp19-39 6/14/05 8:25 AM Page 20 logos began to appear lines from famous poems and even entire original poems, written up and pinned to photographs of some of the men and women who had died in the catastrophe. -
Anna Akhmatova - Poems
Classic Poetry Series Anna Akhmatova - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Anna Akhmatova(23 June 1889 – 5 March 1966) Anna Andreyevna Gorenko, better known by the pen name Anna Akhmatova, was a Russian and Soviet modernist poet, one of the most acclaimed writers in the Russian canon. Akhmatova's work ranges from short lyric poems to intricately structured cycles, such as Requiem (1935–40), her tragic masterpiece about the Stalinist terror. Her style, characterised by its economy and emotional restraint, was strikingly original and distinctive to her contemporaries. The strong and clear leading female voice struck a new chord in Russian poetry. Her writing can be said to fall into two periods - the early work (1912–25) and her later work (from around 1936 until her death), divided by a decade of reduced literary output. Her work was condemned and censored by Stalinist authorities and she is notable for choosing not to emigrate, and remaining in Russia, acting as witness to the atrocities around her. Her perennial themes include meditations on time and memory, and the difficulties of living and writing in the shadow of Stalinism. Primary sources of information about Akhmatova's life are relatively scant, as war, revolution and the totalitarian regime caused much of the written record to be destroyed. For long periods she was in official disfavour and many of those who were close to her died in the aftermath of the revolution. <b>Early life and family</b> Akhmatova was born at Bolshoy Fontan, near the Black Sea port of Odessa. -
Some Poets Are Astonishingly Precocious: Arthur Rimbaud, for Ex
Morshen, or a Canoe to Eternity1 ome poets are astonishingly precocious: Arthur Rimbaud, for ex- S ample, wrote everything he had to write by the time he was nineteen. Nikolai Morshen’s development as a poet offers an opposite example. Gradually maturing in a leisurely and deliberate manner over almost four decades, this poet’s work, when viewed in its totality, is a study in ever deepening philosophical thought and ever more finely honed verbal mastery. The stages of Morshen’s development and their chronology are obvious enough: the verse of 1936 to 1946 (written prior to Morshen’s first published collection and, for the most part, not included in it); the three published books of verse, Tiulen’ (The seal, 1959), Dvoetochie (Punctua- tion: Colon, 1967), and Ekho i zerkalo (The echo and the mirror, 1979); and a few poems that have appeared in émigré journals from his fourth, unpublished collection, “Umolkshii zhavoronok” (The now-silent lark).2 To read this poetry in the order in which it was written is to realize that the concept of Darwinian evolution—a major theme in Morshen’s po- etry—applies not only to the examples of related animal species or related language groups, but also to the model of one man’s slowly maturing po- etic vision. Nikolai Nikolaevich Marchenko, who took the German word for “little Blackamoor” as his pen name, was born in Kiev on 8 November 1917, exactly one day after the October Revolution. His mother, Elizaveta Petrovna Toropova, came from a St. Petersburg family of government of- ficials. -
Marina Tsvetaeva 1
Marina Tsvetaeva 1 Marina Tsvetaeva Marina Tsvetaeva Tsvetaeva in 1925 Born Marina Ivanovna Tsvetaeva 8 October 1892 Moscow, Russian Empire Died 31 August 1941 (aged 48) Yelabuga, USSR Occupation Poet and writer Nationality Russian Education Sorbonne, Paris Literary movement Russian Symbolism Spouse(s) Sergei "Seryozha" Yakovlevich Efron Marina Ivanovna Tsvetaeva (Russian: Мари́на Ива́новна Цвета́ева; 8 October [O.S. 26 September] 1892 – 31 August 1941) was a Russian and Soviet poet. Her work is considered among some of the greatest in twentieth century Russian literature.[1] She lived through and wrote of the Russian Revolution of 1917 and the Moscow famine that followed it. In an attempt to save her daughter Irina from starvation, she placed her in a state orphanage in 1919, where she died of hunger. As an anti-Bolshevik supporter of Imperialism, Tsvetaeva was exiled in 1922, living with her family in increasing poverty in Paris, Berlin and Prague before returning to Moscow in 1939. Shunned and suspect, Tsvetaeva's isolation was compounded. Both her husband Sergey Efron and her daughter Ariadna Efron (Alya) were arrested for espionage in 1941; Alya served over eight years in prison and her husband was executed. Without means of support and in deep isolation, Tsvetaeva committed suicide in 1941. As a lyrical poet, her passion and daring linguistic experimentation mark her striking chronicler of her times and the depths of the human condition. Marina Tsvetaeva 2 Early years Marina Tsvetaeva was born in Moscow, her surname evokes association with flowers. Her father was Ivan Vladimirovich Tsvetaev, a professor of Fine Art at the University of Moscow,[1] who later founded the Alexander III Museum, which is now known as the Pushkin Museum of Fine Arts. -
Russian Poets and the October Revolution: Alexander Blok, Sergey Yesenin, Mikhail Kuzmin and Others
Sylaiev, O., Razumenko, I., Tararak, O., Vorozhbit-Horbatiuk, V., Prokopchuk, I. / Volume 9 - Issue 27: 436-444 / March, 2020 436 DOI: http://dx.doi.org/10.34069/AI/2020.27.03.48 Russian Poets and the October Revolution: Alexander Blok, Sergey Yesenin, Mikhail Kuzmin and Others Русские поэты и Октябрьская революция: Александр Блок, Сергей Есенин, Михаил Кузьмин и другие Poetas rusos y la revolución de octubre: Alexander Blok, Sergey Yesenin, Mikhail Kuzmin y otros Received: January 22, 2020 Accepted: March 21, 2020 Written by: Oleksandr Sylaiev151 ORCID ID: 0000-0002-2388-5951 Iryna Razumenko152 ORCID ID: 0000-0002-3221-4340 Oleksandr Tararak153 ORCID ID: 0000-0002-9740-0750 Viktoriia Vorozhbit-Horbatiuk154 ORCID ID: 0000-0002-5138-9226 Inna Prokopchuk155 ORCID ID: 0000-0001-9353-2169 Abstract Аннотация The article considers the question of the В статье рассматривается вопрос об идейно- ideological and creative evolution of famous творческой эволюции известных русских Russian poets at a turning point in the history of поэтов на переломном этапе истории ХХ the twentieth century - during the years of the столетия – в годы активного формирования active formation of a totalitarian state system тоталитарного государственного устройства и and its aesthetic socialist-realist doctrine. его эстетической соцреалистической Revolutionary maximalism, the idea of a доктрины. Революционный максимализм, идея complete renewal of all being, came not only полного обновления всего бытия шла не только from Marxism and the Bolsheviks, but was also от марксизма и большевиков, но prepared by literature, long before the подготавливалась и литературой, задолго до revolution, it had already “artistically matured” революции уже «вызрела» художественно в in the poetry of Alexander Blok, Sergey поэзии Александра Блока, Сергея Есенина, Yesenin, Osip Mandelstam, Vladimir Осипа Мандельштама, Владимира Mayakovsky and many others. -
Gregory Freidin a COAT of MANY COLORS: OSIP MANDELSTAM
Gregory Freidin A COAT OF MANY COLORS: OSIP MANDELSTAM AND HIS MYTHOLOGIES OF SELF-PRESENTATION Copyright © University of California Press (Berkeley, Los Angeles, London, 1987) Chapter I1 THE CHARISMA OF POETRY AND THE POETRY OF CHARISMA Nomen Est Omen And they said unto him, We have dreamed a dream, and there is no interpreter of it. And Joseph said unto them, Do not interpretations belong to God? tell me them, I pray you." Gen. 40:8 A man's name is one of the main constituents of his person and perhaps a part of his psyche. S. Freud, Totem and Taboo But how can I tear myself away from you, my dear Egypt of things? Osip Mandelstam, The Egyptian Stamp. Now it is a matter of coincidence that Mandelstam whose first name happened to be Osip was a namesake of the Biblical interpreter and dreamer. But once his parents made up their minds to name their first-born Joseph, the Egyptian career of Israel's most beloved son became an easily available exemplar for Mandelstam--one of the measures of his life's progress. To use Joseph in this way became especially tempting after Mandelstam had decided to pursue the vocation of lyric poet--in a way, a born dreamer and interpreter of dreams--one that was valued highly in the "Egypt" of his time but still remained to be properly conferred on a man of Jewish origin.[1] To spin this much meaning out of something so random and insignificant as a poet's first name may look more than a trifle archaic, but a more or less vague hope that a famous namesake can influence one's life is deeply imbedded in Western culture, the majority of whose members still have Christian names, that is, live under the guidance and protection, however attenuated by modernity, of a particular holy woman or man.[2] In Russian culture (and Mandelstam's mother was quite 1 This is the first chapter of A Coat of Many A Coat of Many Colors Freidin Chapter One: The Charisma of Poetry and the Poetry of Charisma at home in it[3]) this tradition remained relatively strong. -
Mythologies of Poetic Creation in Twentieth-Century Russian Verse
MYTHOLOGIES OF POETIC CREATION IN TWENTIETH-CENTURY RUSSIAN VERSE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ona Renner-Fahey, M.A. * * * * The Ohio State University 2002 Dissertation Committee: Approved by Professor Angela K. Brintlinger, Adviser ___________________________ Professor Irene Masing-Delic Adviser Department of Slavic and East Professor Richard Davis European Languages and Literatures ABSTRACT In my dissertation, I address how four twentieth-century Russian poets grapple(d) with the mysteries of poetic inspiration and I propose what I consider to be their personal mythologies of the creative process. As none of these poets offers a comprehensive description of his/her personal mythology of poetic creation, my task has been to sift through the poets= poems and prose in order to uncover pertinent textual references to themes of inspiration. The four poet-subjects are Osip Mandelstam, Anna Akhmatova, Joseph Brodsky, and Olga Sedakova. Together they represent many of the factors contributing to the remarkable genius of twentieth-century Russian poetry. By looking at these four particular mythologies of poetic creation, we are able to view notions developed by both genders, within two faiths, in both capitals, and throughout the entirety of the century. It is significant that each of these poets has turned to prose to work out his/her ideas concerning the creative process. In reconstructing these mythologies of poetic creation, I have looked to the poets= entire oeuvres and the Asingle semantic system@ working within each of them. My work aims to bring together poets= prose and poetry and to offer readings of texts that are guided by the poets own concerns and beliefs. -
Osip Emilevich Mandelstam - Poems
Classic Poetry Series Osip Emilevich Mandelstam - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Osip Emilevich Mandelstam(1891 - 1938) Osip Mandelstam, also Osip Mandel'shtam, was born in Warsaw and grew up in sburg. His father was a successful leather-goods dealer and his mother a piano teacher. Mandelstam's parents were Jewish, but not very religious. At home Mandelstam was taught by tutors and governesses. He attended the prestigious Tenishev School (1900-07) and traveled then to Paris (1907-08) and Germany (1908-10), where he studied Old French literature at the University of Heidelberg (1909-10). In 1911-17 he studied philosophy at St. Petersburg University but did not graduate. Mandelstam was member of 'Poets Guild' from 1911 and hand close personal ties with Anna Akhmatova and Nikolai Gumilev. His first poems appeared in 1910 in the journal Apollon. As a poet Mandelstam gained fame with the collection 'KAMEN' (Stone), which appeared in 1913. The subject matters ranged from music to such triumphs of culture as the Roman classical architecture and the Byzantine cathedral of Hagia Sophia in Constantinople. It was followed by 'TRISTIA' (1922), which confirmed his position as a poet, and 'STIKHOTVORENIA' 1921-25, (1928). In Tristia Mandelstam made connections with the classical world and contemporary Russia as in Kamen, but among the new themes was the notion of exile. The mood is sad, the poet is saying his farewells: "I have studied science of saying good-by in 'bareheaded laments at night'. Mandelstam welcomed February 1917 Revolution but he was hostile at first to October 1917 Revolution. -
OM Final Draft
T H E P O E M S O F O S I P M A N D E L S T A M T R A N S L AT E D F R O M R U SS I A N I N T O E N G L I S H B Y I L Y A B E R N S T E I N The Poems of OSIP MANDELSTAM translated from Russian into English by Ilya Bernstein EPC Digital Edition, 2014 2 Table of Contents Tristia ...............................................................................................7 “I was washing in the yard at night…” ............................................9 “With the pink foam of fatigue on his soft lips…” ........................10 “I know not since when…” ............................................................11 “Up a little ladder I climbed…” .....................................................12 The Age .........................................................................................14 The Slate Ode .................................................................................16 “For the rattling glory of ages to come…” ....................................20 Canzone .........................................................................................21 Lamarck .........................................................................................23 “Oh, how we love to dissemble…” ................................................25 To the German Language ...............................................................26 Ariosto............................................................................................29 Octaves ...........................................................................................31 -
Interview on Anna Akhmatova
The Isaiah Berlin Virtual Library INTERVIEW ON ANNA AKHMATOVA This text is based on a translation by Helen Rappaport of a complete transcript (made by Robin Hessman from a videotape) of an unedited interview filmed in April 1989 at Berlin’s Oxford home, Headington House. The interviewer, the late Vsevolod Georgievich Shishkovsky, was London correspondent of Russian State TV and Radio. Excerpts from the interview (here identified in red where known) were used on Russian TV: see catalogue of broadcasts, items 80 and 80a. The late Elena Tsezarenva Chukovskaya was also present, and joins in at the end. VSEVOLOD SHISHKOVSKY In our country the one hundredth anniversary of the birth of our famous poetess Anna Akhmatova is being widely celebrated. And at the moment, we are attempting, literally, to the nth degree, to gather together everything connected with her life, her work, her encounters, and I think that your reminiscences of those meetings with her have an absolutely priceless significance, and I know that you are well acquainted with the work of Anna Akhmatova, and that you met her. And so, might you recount your first meeting with her? ISAIAH BERLIN You called her a poetess. She despised that word. She called herself a poet. She did not acknowledge any poetesses, neither herself, nor Tsvetaeva, nor others. This is incidental. But I remember it. She was very angry about it, she said: ‘Yes, yes, they call me a poetess’, she said this in a very angry tone. I wrote an article about it,1 which appeared in English, and which has now been translated into Russian.2 It’s all probably very clearly 1 ‘Meetings with Russian Writers in 1945 and 1956’, in PI.