For the first time, the article analyses certain aspects of Russian poetry of the “Silver Age” in order to identify the rudiments or features which are characteristic of the postmodern creative paradigm. It is noted that a number of poets almost do not have any postmodernist tendencies. Despite the fact it is proved that postmodernism denies the personality-centric and aesthetically oriented concept of modernism, it nevertheless arose on the basis of modernism and has sharpened evolutionary features formulated in (...) the first half of the 20th century. The article aims to prove a hypothesis that arises in the authors during a preliminary perceptual reading of the poets` works of the “Silver Age”: in the early 20th century. Sporadically and consistently in individual authors can be observed irony, play, reconstruction and performance as precursor of postmodernist creative thinking. Specialties of the Russian poetry of the “Silver Age”, which directly correlate with postmodernist tendencies of the second half of the 20th century is not a description itself, but the realization of reality, ambivalence, as well as following the linguistic and figurative, conceptual, motive levels of gradual transitions between the paradigms of “symbolism – modernism” and “modernism – postmodernism”. The international significance of the article is that the material of one of the Eastern European literatures has proved the existence of postmodern features in the first half of the 20th century for the first time, which can serve as a deeper research in the field of literary typology, continuity; culturology and anthropology. (shrink)

In this article, the author concentrates on the space of contemporary Russian poetry and through the means of allusive proper names specifically focuses upon reflections of international culture. In this regard, expressive possibilities, text-formation role, as well as typological, semantic and functional characteristics of allusive proper names are considered. Attempts are made to analyze, formulate basic mechanisms of intertextual connections and identify the readers’ role in the creation of meaning of precedent anthroponyms in accordance with the context of (...) the world cultural heritage. The corpus of the texts, which we deal with, demonstrate that precedent anthroponyms function as an implement of parody and a way of ciphering some semantic of the intentions. Thus, a mechanism of contextual augmentation of cultural implications comes into effect at the readers’ perception of a connotative meaning of precedent names. Here at a close interaction between some common cultural and author’s individual connotations, which is provoked by consciousness of poet and reader and their creativity, are realized. References to ancient and Biblical heroes, as well as to other famous people, have a rich spectrum of connotations as a consequence and form a wide space for semantic games, interweaving and variations of meanings, which are typical for postmodern discourse and present day human’s world view. Such frames of mind on the one hand, explain the high frequency of desperate motives, ironic or sometimes even cynical attitude of the lyrical subject to the reality in which he lives. On the other hand, applying precedent names, using such anthroponyms, contemporary authors try to use cultural basic units, in order to save significant constants, guiding line, which the cultural inheritance of the past centuries generously provides. (shrink)

This article analyzes the artistic experience of Osip E. Mandelstam in the context of the aesthetic and ideological transformations of Russian and European culture during the first half...

RESUMO Este artigo propõe o uso do conceito de cronotopo para analisar a obra literária de emigrantes russos da primeira onda na França. O artigo se concentra na representação artística de mundo da comunidade de emigrantes russos em Paris, ao explorar os poemas de Irina Knorring, uma representante da jovem geração da primeira onda de emigrantes russos. Nesses poemas, a figura do emigrante russo assume uma posição central. Ao examiná-los, esta pesquisa identifica os motivos e as imagens recorrentes, dotados de (...) sentidos espaciais e temporais, e discute aspectos específicos do cronotopo de Paris. Em seus poemas, Knorring explora não só o mundo interior e as particularidades dos indivíduos, mas também reflete sobre os acontecimentos da vida e sobre o destino comum dos refugiados russos no exílio. Nas obras da poeta, o cronotopo serve como um elemento indispensável, estabelecendo uma unidade espacial e temporal coesa, que permite aos leitores perceberem a imagem dos emigrantes russos na Europa (Paris) pelos olhos do andarilho russo. A análise cronotópica presente no artigo oferece uma representação espacial e temporal abrangente da trajetória de vida de emigrantes russos em Paris, abarcando tanto as experiências individuais, quanto o contexto mais amplo da emigração russa como um todo. (shrink)

The article is devoted to the new poetry that entered the Russian musical culture with the Khrushchev "thaw". A special perspective of the study is the "female" chamber vocal cycle of the 1960s and 1970s. The wave of interest of Russian composers in chamber and vocal music that arose during this period is associated with a hitherto unprecedented wealth of poetic themes and images, the emergence of modern literature. Spiritual horizons expanded rapidly, original texts entailed fresh genre (...) and technological solutions. The new poetic "information", as well as scientific information, liberated the creative forces of musicians, demanded a new language, style, form. Poetry turned out to be one of the most important incentives for the renewal of compositional concepts. The main conclusion of the study is the idea that the development of vocal music, the figurative and thematic expansion of "female" chamber vocal cycles is primarily associated with the modern poetic tradition, with the expansion of the spiritual horizons of Soviet cultural life in the second half of the last century. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful, more fully revealing the most important vectors of the development of the musical and poetic tradition. It is quite obvious that the modern literary preferences of composers became the basis for a radical renewal of the chamber-vocal genre in the 1960s and 1970s. (shrink)

Viacheslav Ivanov, the central intellectual force in Russian modernism, achieved through his work an original synthesis of Christianity, Platonism, and the philosophy of Friedrich Nietzsche. His powerful intellect exerted an immeasurable influence in modernist Russia and the early Soviet Union, and after emigrating to Italy in 1924 he played an important role in intellectual debates in Western Europe between the wars. In recent years, Ivanov's manifold contributions have been recognized in all major aspects of Russian culture, including (...) class='Hi'>poetry, literary theory, philosophy, and theology. In _The Russian Prospero_, Robert Bird uncovers the foundations of Ivanov's poetic and theoretical universe, traces its evolution, and explores its connections to cultural and intellectual currents in international modernism. Blending a close reading of Ivanov's work with a thoughtful analysis of his place within twentieth-century thought, Bird finds that Ivanov's ecstatic creative psychology leads directly to a consideration of history as a continuum of human interpretive activity, and to a conception of art as a historical force. He emphasizes and dramatizes Ivanov's quest to harness the power of art and apply it to concrete life-situations. It is the dilemma of Prospero, who must liberate his attendant spirit Ariel in order to restore full sovereignty over his own creative self and to regain ethical agency. The productive tension that resulted from Ivanov's struggle was a remarkable force in Russian modernism and remains a powerful spur for our own reflections on modernity. Outstanding Academic Title, _Choice_ Magazine “[Bird’s] clear explanations of Ivanov’s ideas and his informed, insightful, astute readings of the poetic works make this book required reading for anyone interested in modern poetry, intellectual history, cultural studies, and philosophy of early 20th century Russian and European thought.... Essential.”—_Choice_ “[Bird] makes a welcome contribution to our understanding of Russian modernism in its broader European context.... In this undertaking he has not only succeeded admirably, but will undoubtedly inspire others to follow him.”—Pamela Davidson, _The Russian Review_ “The most comprehensive overall treatment of Ivanov’s work to date.”—David N. Wells, _The Slavic and East European Journal_. (shrink)

Although to the readers of Utopian Studies Darko Suvin remains perhaps best known for his criticism of science fiction, much of his recent writing has fallen into the category of Marxist political epistemology. Of note are In Leviathan's Belly: Essays for a Counter-Revolutionary Time (2012), his analysis of former Yugoslavia in Splendour, Misery, and Potentialities: An X-ray of Socialist Yugoslavia (2017) as well as a number of shorter works on subjects that range from the Russian Revolution to George Orwell's (...) Nineteen Eighty-Four. For decades, Suvin has also written (about) poetry: he discussed verse already in the 1979 The Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre and his... Read More. (shrink)

continent. 1.2 (2011): 129-135. Introduction Vincent W.J. van Gerven Oei Successions of words are so agreeable. It is about this. —Gertrude Stein Nachoem Wijnberg (1961) is a Dutch poet and novelist. He also a professor of cultural entrepreneurship and management at the Business School of the University of Amsterdam. Since 1989, he has published thirteen volumes of poetry and four novels, which, in my opinion mark a high point in Dutch contemporary literature. His novels even more than his (...) class='Hi'>poetry are criticized for being inaccessible, which I generally take to be a compliment. It would be like saying that Fernando Pessoa is inaccessible, which he is not. Neither is Wijnberg. When we think of the combination economist-poet we are immediately reminded of the American poet Wallace Stevens, who, as the story goes, had two stacks of paper on his desk, one for contracts, one for poems. We also know that Stevens wrote on the economy and that questions of economy and insurance surface at multiple points in his poems. The following text is a very preliminary attempt to point at the intersections between poems, novels, business, and poetry in Wijnberg’s work. On the back cover of his novel De opvolging ( The Succession , 2005), Wijnberg states the following: “[This is] a novel for whomever is interested in the workings of a company as much as in the workings of a poem.” Wijnberg thus claims that the way in which a company “works” may be similar to the way in which a poem “works.” The question is the obvious one, what does this similarity consist in? De opvolging tells the story of company in which bosses and company doctors, secretaries, children, clowns, and beggars have tons of meetings, recite poems, perform plays, tell jokes, and succeed each other, climbing up and down in the company’s hierarchy. De opvolging is a novel in which the career of people follows the career of words. It resonates with Gertrude Stein's sentences, "Grammar. What is it. Who was it" (1975, 50). The words in Wijnberg's poems are like he characters in his novel. And if we keep in mind this allegorical reading of De opvolging , which is obviously only one of the possible readings, we may be able to understand some aspects of Wijnberg’s poetry. A repetition is already a pun. Look, that word is trying it again, as if it is afraid that by not doing it it would give up the hope that it will ever be able to do something. A pun is the opposite of the first word coming to the mind of someone who shouts it when he suddenly discovers something. (104) The repetition, the succession of the same word, is already a pun, a joke. The succession of the father by the son after the revolution is a joke. "Look he's trying it again!" The essence of a joke is a repetition. Archimedes’ “Eureka!” is its opposite. Poems can easily become jokes, depending on the way the words follow and repeat each other. In De opvolging , the careers of the bosses, good and bad secretaries, and company doctors easily become jokes, as they are “afraid that by not doing it [they] would give up the hope that [they] will ever be able to do something.” Not only the repetition, but also the distance and difference between the words in a poem, their cause and effect relations can be read as company relations. This becomes clear when we, for example, read the first lines of the poem “Cause, sign” from Het leven van ( The Life Of , 2009). A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate some- thing only because it’s different for me. If I didn’t have to write this myself, but would have secretaries to whom I could dictate it, I would be able to say more about it. (49) Upon reading the first two lines we can already conclude that any word may be cause or sign or both. If a sign is also a cause there is no reason to discriminate it, yet to the poet they are still different. This difference only becomes expressible the moment he would have a secretary. Just like in De opvolging , the secretary introduces a distance; not in a company but in a poem. Hence the difference between “good” and “bad” secretaries in a company, where the good secretary of one boss may be the bad secretary of another one. The more we can say about the bosses of the company, or signifiers of the poem, the greater the distance we introduce between them and us. We should take serious the relation between Wijnberg’s novels and poems. Although they operate on different scales, they explain and converse with each other. Another example may be the novel Politiek en liefde ( Politics and Love , 2002), which deals with the relation, precisely, between politics and love. In the novel, Nicolai, a lieutenant in the Dutch army, is sent to Africa on a military mission. Upon leaving a receives a letter from his father. Dear son, Don’t do anything stupid before your father has advised you to do so. Your mother asked me to write a wise letter. I have been looking for wisdom for half a day and haven’t found much. If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave. What I want to say is that you have to return from Africa in good health, and before you know it the world will be your slave [....] Signed with a kiss from your father. (88) The line, “If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave,” returns as the title of poem in Het leven van: “If I borrow enough money the bank becomes my slave” (12-3), which elaborates this theme. So both in the way that these poems are structured and in their subject matter, they refer to the structures of our economy, to the ever-continuing line of CEOs succeeding each other like words, to the distance between them introduced by bureaucracy, and giving and receiving as economical and poetical acts. Poem and economy map onto each other, as in another episode from De opvolging : Edward reads two of the beggar’s poems about presents. Of a holiday nothing remains, except for memories, and if some of them are bad I’d rather forget them all; if I get a present I’d rather get something that’s useful to me for a long time. If I may choose, I choose what I can use longest, long enough to partially forget that this was the present, because it feels bad when nothing is left of it. […] Giving away becomes destruction in the stock destruction economy [ voorraadvernie -tigings-economie ], that is a gift economy [ geschenkeneconomie ], encountering for the first time an economy in which there’s selling and buying on markets. Instead of destroying supplies someone can also quickly say that they aren’t worth anything anymore; if someone wants to take them I’d gladly give him something extra. In a stock destruction economy he is someone who each day wants to work more hours than his colleagues. If around a company there is a gift economy in which someone’s rank is determined and made visible by the gifts someone can give someone else, a company will be more often character- ized by an invisible or unclear system of ranks. (152) Two poems about gifts present two different economical models, described by Wijnberg with the terms “stock destruction economy” and “gift economy.” Here we immediately recall the opposition introduced by George Bataille’s work on the concept of expenditure in The Accursed Share , where a “general economy” would surpass the stock destruction economy based on scarcity (capitalism) and become a gift economy (potlatch) and an egalitarian (communist) society. These claims are made both on the level of the poems and in their discursive explanation. They follow each other and on each other. I would like to finish this introduction to Wijnberg’s writing with a translation from his novel De joden ( The Jews , 1999), which develops the story of Hitler abdicating as chancellor of the Third Reich, appointing philosopher Martin Heidegger as his successor. In a conversation with two Russian actor-spies, sent by Stalin to figure out the situation, philosopher Walter Benjamin describes the abdication scene. Maimon: You were there when Hitler resigned? Benjamin: In the room we’re right now. The desk and the chairs are new. After his resignation Hitler would like to take his furniture to his new house. Martin naturally agrees. It is a sunny day. Martin is very nervous and complains about the heat. Martin is wearing his best dark blue suit, not his professor’s robe. Hitler is wearing his uniform. We enter the room and Hitler gets up and embraces Martin. Martin is not very good at embracing. Hitler shakes his hand. Hitler’s cap is on the desk. The cap has a metal lining. Hitler has strong neck muscles. Hitler says: A man is unclean. He takes a bath. Does he make the bath water unclean? I say: a man is unclean. He steps into a river. A little further a man steps into the river; does he become unclean? Hitler nods. I say: a man is standing in music. Another man hears the music but also sees the first man moving on the beat of the music in a way that he is certain that the music would excite different feelings in him if he wouldn’t to see the first man. Hitler says: a man is clean, listens to music, is suddenly touched and he doesn’t know by what. The conversation ends in the way you know it ends. Hitler picks up his cap from the desk and puts it on Martin’s head. (73-4) Aware of the never ending debate on the question of Heidegger’s involvement in the Nazi regime, Wijnberg has the audacity to present the arguments of complicity in the religious terminology of cleanliness and uncleanliness, while at the same time recalling overtones of Hitler’s supposed love for Wagner, suggesting a relation between Benjamin and Hitler, and so on. The space of this introduction is to small to treat a novel like De joden , a reading of which together with passages from Philippe Lacoue-Labarthe's Heidegger, Art, and Politics: The Fiction of the Political , Jacques Derrida's Of Spirit , Christopher Fynsk's Heidegger: Thought and Historicity , and Avital Ronell's The Telephone Book would be extremely elucidating and potentially open new avenues in thinking Heidegger's emphasis on poetry after the fall of the Nazi empire. But at this point we will have to curb our curiosity and follow the poet himself. The themes of the relation between business and poetry, but also Chinese landscape painting, love, Indian and Japanese poetry, and Western philosophy are analyzed and assimilated in Wijnberg’s work without ever losing the clarity of expression. It may be that, according to Alain Badiou, the “Age of the Poets” is over, but its end (Paul Celan) has exactly brought a new balance between philosophy and poetry, and it is this playful, but nonetheless serious balance that makes one hope that one day Wijnberg’s complete oeuvre might become available to readers across the planet. Tiranë, Albania February 15, 2011 English translations (all of them translated by David Colmer, who is preparing an English collection of Wijnberg’s poems entitled Advanced Payment ): Poetry International Words Without Borders Green Integer Review from Het leven van ( The Life of ) THE LIFE OF KANT, OF HEGEL As if every day he takes a decision that is as good as when he’d been able to think about it all his life. The life of Kant, of Hegel, the days of the life of, select three or four of them. Tell what he has discovered during those days as if he were the last one who knew so little. Give me something that I can cancel against then I can prepare myself for it. The reward is that I may continue with what I’m doing, it doesn’t matter how long it takes. This has nothing to do with everything remaining the same if I say that I no longer want anything else. I wouldn’t be able to say in which one and the other occur in a way that I if I knew something to cancel that one against it wouldn’t be possible now. The stars above my head and being able to say what belongs to what if I’ve let them in. FOLLOWING MY HEART WITHOUT BREAKING THE RULES Observing the rules without observing the rules by going where the rules no longer apply. I could also observe the rules there by applying them to what at great distance may resemble what the rules are about. But why would I do that, not to confuse someone who is seeing me from a great distance? Behind this morning the morning prepares itself when the rules are everything I have. IF I BORROW ENOUGH MONEY THE BANK BECOMES MY SLAVE A bank lends me money, if I don’t pay it back they tell my boss that he has to pay them my salary. But they have to leave me enough to eat and sleep and an umbrella when it’s raining. They can also empty my house, the furniture isn’t worth a lot, but every little helps. Each morning I leave for work, if I don’t start early they’ll soon get someone else, no bank will lend me money when the sun is shining. My boss has given me a cat to raise as a dog. Of course I know that it won’t work out, but I’ve asked for a week—maybe the cat gets lucky, maybe I get lucky. My hands around a cup of coffee, before I leave for work, warm-empty, cold-empty, as if hidden in the mist over a lawn. What I make when there’s no work left for me, I’m ashamed to say how little it is. Once I’m outside I check it, if they watch out of the window they can see me doing it. Suppose it is so much that I’d stay counting for hours, it’s getting dark and I’m still there. They stay watching for a while once they’ve finished their work, but have to go home, I get that, sure, I could also go home and continue counting there. If it’s too little running back immediately won’t help, because nobody’s there anymore, and if I come back tomorrow I may have spent what’s missing tonight. Going somewhere where it’s warm enough to walk around without clothes during daytime, it helps me to know that something’s more there than here. For someone like me there’s work anywhere, it shouldn’t take a week to find work for me there. Three times work and a home close to work, I may choose one and try for a week whether I want to stay there. If at the end of the week I don’t want to stay I’m back on the next day, then it was a week’s holiday. RULES If that’s against a rule, it’s yet another one that I cannot observe, or only so briefly that I cannot re- member it later. Anyways the rules are only there to help me remember what I need in order to do better what I do. In that respect there’s no difference between the rules that I find in a book and the rules that I think of early in the morning. I know that because I’ve made a rule just now nothing has yet to observe it. CAUSE, SIGN A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate something only because it’s different for me. If I didn’t have to write this down myself, but would have secretaries to whom I could dictate it, I could to say more about it. If something is taken away from me I consider how it would be if the opposite had been taken from me. That is what causes or signifies what is farthest away from what is caused or signified by what has been taken away from me. note: For the translations of “The life of Kant, of Hegel” and “If I borrow enough money the bank becomes my slave” I was able to consult David Colmer’s wonderful translations. (shrink)

The article is dedicated to the early, Paris period of life and literary work of Nikolay Gumilyov (1906–1908), which is still insufficiently studied and understood by scholars. The paper aims to study the influence of this period on shaping Gumilyov’s personality and his spiritual values and aspirations, polishing of his literary taste, gradual gaining of an independent ideological and aesthetic platform and development of his inimitable poetic style. – The research for the paper was based on the comprehensive historical and (...) cultural approach, with application of literary and historical analysis techniques. This approach was used to consider the memoirs of his contemporaries, Gumilyov’s letters to Valery Bryusov, as well as his poetry, prose and art criticism during that period. Particular attention is paid to the history of publishing Sirius magazine and to such poorly studied aspects as the symbolic meaning of the magazine name and the first manifestations of acmeism in its aesthetic platform. The authors emphasize the fruitful and creative character of Gumilyov’s friendship with Sirius co-editor, artist and art critic M.V. Farmakovsky, whose name is unfairly forgotten. – They come to the conclusion that the “first Paris period” was not only the novice time for Gumilyov but also the start of his personal and creative self-identity. It was in Paris that the strong and persistent character of the poet was formed, his skills honed and his inimitable style created, with the colour-sound synthesis of the striking romantic picturesqueness and a clear strong word. Paris was the place of polishing the artistic taste, developing a comprehensive system of views, finding main poetic motifs and setting life goals of Gumilyov, a rising star of the Silver Age. (shrink)

For decades, Darko Suvin has enjoyed a worldwide reputation as a distinguished science fiction and utopian scholar, best known for his seminal work Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre, equally important for both SF and utopian studies. Suvin's introduction of the Russian formalist/Brechtian–inspired concept of estrangement proved to be revolutionary in both academic fields of research. His definition of utopia is now one of the recognized stepping-stones in the study of utopia.1However, it (...) is less known that Suvin is not just a dedicated and fruitful theoretician but an accomplished poet, and a utopian one at that.... (shrink)

In this book, Aleksandr V. Bezgodov and Konstantin V. Barezhev formulate planetary ethics--the most important part of the philosophy of the Planetary Project. Planetary ethics represent the moral basis and value code for building a biocompatible, harmonious, and manageable civilization. They analyze the moral and ethical views of those Russian cosmists who belonged to the natural science branch of this unique philosophical, scientific, and cultural phenomenon. Looking at the world through the prism of a planetary-cosmic consciousness, cosmists developed a (...) system of biocentric and humanistic values.Russian cosmism is a spiritual rebellion of life against chaos, death, and limitation. A combination of science, philosophy, poetry, and a certain utopianism extended on a universal scale makes Russian cosmism a prologue to the modern nonclassical, science-based worldview that emphasizes synergy and globalism. Back in the late nineteenth to early twentieth century, cosmists focused on a united humanity and the principles of a close relationship between man and the universe. This monograph lays the groundwork for the planetary ethics that originated in the philosophy of Russian cosmism. The monograph continues the series of books of the Planetary Project, Planetary Project: From Sustainable Development to Managed Harmony and Planetary Rent as an Instrument for Solving Global Problems. (shrink)

Poetry doesn't write about what it writes about. Critics may now agree that this tends to be so, but why? Is it, as here argued, inherently so because of poetry's two or more rhythm-levels? Or is it, as many "explicating" critics imply, noninherently and only recently so because of the two or more diction-levels of the symbolist heritage? If the answer to the latter question is no, then the explicators have brought us to a blind alley by being (...) oversubtle about the ambiguities and ambivalences of diction and undersubtle about those of rhythm. The fact that good prose also has two rhythm-levels is not to the point. The tension between two irregular rhythms, as in prose, is simply not the same as that between one irregularity and one formal, traditionally shared regularity in poetry. The half-conscious uncovering of rhythm's hidden language helps explain an ancient truth: unlike a prose essay, a tragic poem or a tragic verse-play may leave the reader feeling exalted while an exalting love poem may leave him mournful. The explanation is not some miraculous "transcending" of tragedy and of the human condition but the uncovering of a palimpsest layer. What will be needed, from now on, are not generalizations but precise trochee-by-iamb-by-spondee analyses of why the relevant passages in King Lear, for example, achieve tragic joy by means of the joy-connoting rhythms beneath the somber words. While translating certain German and Russian poets of our century, I am also making a parallel analysis in parallel languages. My conclusion: the future translator should consult his dictionary less and his ear more . Poets, then, are not our Shelleyan "unacknowledged legislators" but our unacknowledged kinaesthesia. Peter Viereck, professor of European and Russian history at Mount Holyoke College, received the Pulitzer Prize for his book of poems, Terror and Decorum ; this and his Conservatism Revisited and The Unadjusted Man have recently been reprinted by Greenwood Press. In a slightly revised version, "Strict Form in Poetry" appears as the appendix in his book of poems, Applewood, for which he has been awarded a fellowship by the Artists Foundation. See also: "On the Measure of Poetry" by Howard Nemerov in Vol. 6, No. 2. (shrink)

This second installment in a chronologically arranged, three-part sequence continues the author's examination of Anglo-American literati who, in the later nineteenth and twentieth centuries, turned — in acts of combined xenophilia and xenophobia — to Russian literature and literary theory in order to escape the dominant influence of avant-garde movements in France. These Anglophone writers found in Russian exemplars a responsible, morally rigorous, and pragmatic, yet philosophically sophisticated, alternative to what they described as the amoral, superficial, and pretentious (...) aestheticism of French literary culture. Part 2 treats the poetry and criticism of the English “Movement” poet Donald Davie in light of his turn, in 1958, toward the example of Boris Pasternak as a way of escaping the influence of French Symbolist poetics and the post-Symbolist poetics of anglophone modernism. Although Davie understood that Pasternak was as much a modernist as T. S. Eliot or Ezra Pound, he also argued that the Russian's poetry, unlike theirs, sought, on explicitly moral grounds, to maintain conventional syntax and purity of diction, with the result that Pasternak's verse communicates with the reader more as prose than as music does. (shrink)

This book is of considerable interest to philosophers. Bruns studies poetry from two perspectives: as hermetic and as orphic. In the first, a poem is considered as a self-sufficient whole, admirable and analyzable in itself, the world-reference of its words suspended; in the second, a poem is considered much as Heidegger takes the work of poets, as establishing a world in which meaning can be found, as instituting a condition in which words and being are indistinguishable. Of the book’s (...) eight chapters, six are devoted to the hermetic and two, the last two, are concerned with the orphic. The literary theories and opinions of the Russian Formalists, the Prague Structuralists, Wallace Stevens, Valéry, Barthes, and Foucault are presented as the first modern move towards a hermetic sense of poetry; the literary object is considered as determined by a system of pure relations. The movement is further studied in a chapter on Mallarmé and his attempt to isolate the book and writing from any worldly context, to employ the physical and spatial character of words written on a blank page as the ultimate setting for what is stated; even syntax begins to evaporate, leaving spatial constellation as the principle of order. The hermetic is further intensified in Flaubert and Joyce. Bruns uses Jakobson’s opposition of metaphor and metonymy as a framework here; metaphor is the process of substituting one word or unit of language for another, metonymy the process of annexing other units to the one we have; it works in combination, association, syntax, and the linkage of sentences. Metaphor is normally dominant in poetry, metonymy in narration and prose. But in the prose of Flaubert and Joyce, metaphor comes to prevail. In Flaubert there still remains room for metonymy and its narrative element, but in Joyce metonymy is overwhelmed by metaphor. The extreme is reached in Finnegan’s Wake, where the principle of substitution, metaphor, reaches beyond the replacement of one word by another, into replacements among parts of words: "eventide," for example, blends with "Eve," and completely new words are formed which are, however, parasitic on established words, as the writer attempts to control that which classically remained beyond his free manipulation, the very establishment of words out of phonemic units. The writer tries to move in an area of the subconscious calculus, to insert his choices beyond the limits of what he seemed forced to take for granted. In all this the linguistic object and not the world becomes more and more the writer’s theme, and the last step is reached in the chapter on Beckett. Bruns describes various transformations of language found in Beckett’s work, and concludes with Lessness, in which all syntax is dissolved and no ordering principle seems to remain; correlatively, the speaker of such surrealistic discourse also loses his identity. (shrink)

Creative adoption of the antic heredity by the 18th century Russian poetry has been studied in the article. An episode of the hidden polemics between A.P. Sumarokov and M.V. Lomonosov about the moralizing value of the anacreontic ode genre is the main subject of the analysis. The system of Sumarokov’s methods for russification of the traditional story lines (or the motives) and for the parallel recording of the same story line into the anacreontic ode and into the anacreontic (...) parable has been described. Sumarokov’s artistic experiments in the poems from his book «Pritchy» (1762) have proved high moral-didactic validity of the anacreontic poetry. (shrink)

The article is devoted to the four principle realization in the creative work of two poets, namely the English literature classic T.S. Eliot (1888-1965) and a representative of the Russian poetry Elena Swarz (1948-2010). Number four is a structural principle in their works composition and crucifix of Christ. On the example of the two poets the author shows that on the one hand, the symbol of four is a cosmic transversalism of being and the cross image, on the (...) other. Thus, two contradictory meanings are combined here: harmony and drama as truly Christian forms of dialectics. (shrink)

The article is devoted to the Russian Symbolist poet Vyacheslav Ivanov’s perception of Evgeny Boratynsky’s poetry. The specific focus is on Ivanov’s interest concerning the way Boratynsky’s lyrics relate to his philosophy of art. The article examines various types of lyrics in which Ivanov echoes Boratynsky’s poetry. One of these is a revival of the genre of “friendly epistles,” a genre that was popular in Russian poetry of the Golden Age. In poems of this type, (...) Ivanov uses some of the artistic principles typical of “Pushkin era” poems and refers to Boratynsky’s works. The article features Ivanov’s address to Boratynsky in the poem “Before Boratynsky’s portrait,” which serves Ivanov as a means to express his main aesthetic concepts. The article concludes with a suggestion that one of the reasons why these poets belong to the tradition of “the poetry of thought” is the influence of Goethe on both. (shrink)

The problem of the article is based on a long tradition of studying the category ‘antinomy‘ in the history of philosophy from antiquity until the early twentieth century. Antinomical thinking has particular importance for the spiritual life in the 20th century. The author draws attention to the fact that, for example, in the poetry of Thomas Stern Eliot antinomies and paradoxes are of philosophical and religious nature especially in then dealing with questions of reaching the Truth by rational way (...) exclusively. The basic material for studies are the works of modern Russian poets Olesya Nikolaeva, Sergei Kruglov, Timur Kibirov, Olga Sedakova and Helen Schwartz. It is shown how moral and philosophical themes and descriptions of the spiritual lives of the characters associated with the interpretation of ideas of compositions in the form of antinomies. The idea of the influence of the antinomies of thinking on aesthetics and system of images of Russian poets verses is justified. Article reveals the originality of each of the poets whose poems are analyzed in the work. The author concludes that modern poetry gives traditional antinomies personal psychological nature, but at the same time, problems and poetics of paradox are in tune with thinking of twentieth century as a whole - with its disastrous spirit, full of doubt and contradiction. (shrink)

The paper introduces a conceptually important, but previously unknown essay by the Russian poet, theologian and philosopher Aleksey Khomyakov. This essay, “The Slavic and Orthodox Christian Population of Austria,” was discovered in two versions: an original, previously unpublished manuscript and a later anonymous 1845 text. The author reveals an aesthetic function that certain structural elements perform in Khomyakov’s essay, encouraging the interaction between historiosophical ideas and literary creativity. The essay is emphatically philosophical in its style, as its very composition (...) embraces the classic Hegelian triad of “Being—Nothing—Becoming.” This notion overlaps with Khomyakov’s historiosophical idea of the European Slavdom that flourished in the first millennium B.C., and that then lost its sovereignty being under German rule, and finally enjoyed a renaissance in the 19th century. The paper also shows that the distinctive feature of Khomyakov’s poetry is its prophetism. The contrastive analysis was carried out to identify the affinity between the thematic-figurative patterns of Khomyakov’s early poetry and his essay on the Austrian Slavs, which revealed how the poetic thought had been accumulating and what aspect it had taken on within a philosophical and historical discourse. The author of the article puts forward the hypothesis that the difference in depicting Peter the Great in the two versions of Khomyakov’s essay can be attributed to his dispute with Konstantin Aksakov’s poem “To Peter.” This polemic between two fellow-Slavophils was driven by their diverging approaches to the problem of the ethical dilemma of ends and means. (shrink)

This article attempts to understand not so much the poetic and stylistic features of Osip. E. Mandelstam’s poetics, which has been of great interest to philologists and thus sufficiently studied to...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:After the Future. The Paradoxes of Postmodernism and Contemporary Russian CultureDmitry KhaninAfter the Future. The Paradoxes of Postmodernism and Contemporary Russian Culture, by Mikhail Epstein; translated with an introduction by Anessa Miller-Pogacar; xvi & 394 pp. Amherst: University of Massachusetts Press, 1995, $55.00 cloth, $19.95 paper.Mikhail Epstein, a renowned Soviet critic—his books in Russian include Paradoxes of the New (1988) and Faith and Image: The (...) Religious Subconscious in [End Page 508] Twentieth Century Russian Culture (1994)—emigrated to the U.S. in 1988. After the Future is the first collection of his major essays (written from 1986 to 1991) in English translation. It begins with the article “New Currents in Russian Poetry: Conceptualism, Metarealism, and Presentism,” which first introduced to the Soviet reader a group of postmodernist poets, just coming out (with the advent of glasnost) from the literary underground. Other articles (“Avant-Garde Art and Religion,” “After the Future: On the New Consciousness in Literature”), though first published in Russian literary journals, were shipped to Russia from “the other shore” (to use Alexander Herzen’s description of emigre writers’ whereabouts vis-à-vis their homeland). The latest studies (“Relativistic Patterns in Totalitarian Thinking: The Linguistic Games of Soviet Ideology,” “The Origins and Meaning of Russian Postmodernism”) were not only sent from the other shore but apparently produced for the other shore. Instead of analyzing the recent Russian literary crop and emerging aesthetic sensibilities, Epstein focuses on Russian historic experience in its entirety, which he somewhat didactically clarifies for the foreign reader.Despite its shifting perspectives, After the Future features a distinctive approach toward Russian postmodernism, its bona fide subject matter. Following Jean Baudrillard, Epstein defines postmodernism as simulation (“the production of reality as a series of plausible copies”) that engenders some new hyperreality and in so doing supplants “reality itself, which then becomes irrecoverable” (p. 189). The originality of Epstein’s position lies, however, in his claim that Russia as a historic and cultural entity is a postmodernist phenomenon in its own right that simulates and masterminds reality. Epstein’s claim that postmodernism is ingrained in Russian tradition is pitted specifically against those who doubt that Russia is ready to enjoy its own postmodernist bash since (contrary to the West) it never went through prior modernist phases. To prove that Russia foreshadowed postmodernism, Epstein draws on a number of historic illustrations. He cites the forceful adoption of Christianity under Prince Vladimir in 988, Peter the Great’s building of Petersburg in the “Finnish swamp” and Prince Potemkin’s infamous make-up villages as examples of the Russian tendency to forfeit the status quo for the sake of trumped-up, ersatz realities.However, Epstein’s arguments to the effect that Russia, and not the West, is the birthplace of postmodernism are not very convincing since (in accordance with his own premise) other countries can claim such a dubious distinction as well. (“Russia is the motherland of elephants”—the Russians joke about claims by zealous patriots that all great discoveries were known in their country before they appeared elsewhere.) Elsewhere, the building of the Chinese wall and the ensuing Chinese policies of isolationism, draconian enclosures of peasant land in England that led to a speedy transition to capitalism, drastic economic and social reforms after the French Revolution, and the racist policies of the Third Reich were just as arbitrary, and yet transformative of prior realities, as any of [End Page 509] Russia’s most foolhardy experiments. Ironically, Epstein’s claim that Russia is the motherland of postmodernism harks back to the turn-of-the-century controversy as to whether it is pertinent to apply Marxist theory to rustic Russia. Lenin argued that Russia can claim Marxism as its own because all of its long-suffering history was an anticipation of Marxism and leading toward it. Epstein analogously contends that there is a special, indigenous Russian route to postmodernism, a statement that evokes similar pronouncements ingrained in Russian philosophical tradition: Epstein’s thesis that Russia is “irreal” reminds one of Peter Chaadaev’s contention that Russia does not have a history; his idea that Russia is on the threshold of a cultural synthesis with the... (shrink)

The autocratic rule of both tsar and church in imperial Russia gave rise not only to a revolutionary movement in the nineteenth century but also to a crisis of meaning among members of the intelligentsia. Personal faith became the subject of intense scrutiny as individuals debated the existence of God and the immortality of the soul, debates reflected in the best-known novels of the day. Friendships were formed and broken in exchanges over the status of the eternal. The salvation of (...) the entire country, not just of each individual, seemed to depend on the answers to questions about belief. Victoria Frede looks at how and why atheism took on such importance among several generations of Russian intellectuals from the 1820s to the 1860s, drawing on meticulous and extensive research of both published and archival documents, including letters, poetry, philosophical tracts, police files, fiction, and literary criticism. She argues that young Russians were less concerned about theology and the Bible than they were about the moral, political, and social status of the individual person. They sought to maintain their integrity against the pressures exerted by an autocratic state and rigidly hierarchical society. As individuals sought to shape their own destinies and searched for truths that would give meaning to their lives, they came to question the legitimacy both of the tsar and of Russia’s highest authority, God. (shrink)

Stefano Garzonio. Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with (...) the reign of Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to the first opera seria, La forza dell’amore e dell’odio (‘The force of love and hate’, 1736) by F. Araja and F. Prata; the second phase, in the period 1740–1770s, is characterized by a very varied production of translations and imitations, which undoubtedly influenced the general developing of Russian musical and dramatic poetry. It is during this periodthat pereloženie na russkie nravy is introduced into dramatic genres and sometimes it is findable in musical poetry as well. The third phase, in the 1780–1790s, is linked with the activity of such poets-translators as Ivan Dmitrevskij, Michail Popov, Vasilij Levšin and is characterized by the new practice of performing operas in Russian translations. In the paper the different forms of pereloženie na russkie nravy are pointed out, starting from the formal niveau of metrics and stylistics up to the adaptation of themes, places and realia. (shrink)

Stefano Garzonio. Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with (...) the reign of Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to the first opera seria, La forza dell’amore e dell’odio (‘The force of love and hate’, 1736) by F. Araja and F. Prata; the second phase, in the period 1740–1770s, is characterized by a very varied production of translations and imitations, which undoubtedly influenced the general developing of Russian musical and dramatic poetry. It is during this periodthat pereloženie na russkie nravy is introduced into dramatic genres and sometimes it is findable in musical poetry as well. The third phase, in the 1780–1790s, is linked with the activity of such poets-translators as Ivan Dmitrevskij, Michail Popov, Vasilij Levšin and is characterized by the new practice of performing operas in Russian translations. In the paper the different forms of pereloženie na russkie nravy are pointed out, starting from the formal niveau of metrics and stylistics up to the adaptation of themes, places and realia. (shrink)

Osip Mandel''tam (1891–1938?) belongs among the greatest Russian poets of the twentieth century. During the thirties, when he led a tragic existence and felt a premonition of his inevitable violent death, Mandel''tam saw in Dante not only the greatest poet, but also his own superior teacher, and his poems of that period contain a tormented meditation on the masterpiece of Dante''s genius — theDivine Comedy.Epic poetry of Dante, Homer, Virgil and others was possible because the inner world of (...) each poet was essentially at one with the ethos of the society in which he lived. (shrink)

Osip Mandel'štam belongs among the greatest Russian poets of the twentieth century. During the thirties, when he led a tragic existence and felt a premonition of his inevitable violent death, Mandel'štam saw in Dante not only the greatest poet, but also his own superior teacher, and his poems of that period contain a tormented meditation on the masterpiece of Dante's genius -- the "Divine Comedy". Epic poetry of Dante, Homer, Virgil and others was possible because the inner world (...) of each poet was essentially at one with the ethos of the society in which he lived. Mandel'štam's inner world was Judaeo-Christian, European, and rooted in classical and neo-Platonic philosophy, but his outer world, consisting of a new Marxist or pseudo-Marxist system, was totally at odds with it. Thus Mandel'štam could not embody the epic impulse of the society he opposed. He was left with the tormented lyric impulse. The fundamental conflict between Mandel'štam as a lyric poet and the society in which he had to live and work accounts for the fact that his vision of Stalinist society in a number of respects remarkably corresponds to Dante's vision of a perverted divine order in the Inferno. (shrink)

There are two problems discussed in the article. The first one is the phenomenon of mass literature and semiotic approach to it. According to Lotman, mass literature of the 20th (and 21st) centuries is not so much an object of semiotics as of sociology. However, it is possible to consider mass literature of earlier times as an object of semiotics of culture. Lotman discusses Russian mass literature of the 18th and 19th centuries as such an object in the article (...) “Massovaya literatura kak istoriko-kulturnaya problema”. Considering mass literature a dynamic factor of the semiotic system, Lotman distinguishes its main features: a high degree of automatization and syndrome of retardedness. In the second part of the article the author discusses the phenomenon of mass poetry in contemporary Lithuania. This kind of mass literature is much more similar to the phenomenon discussed by Lotman than to the mass literature of the postmodernist epoch. Lithuanian mass poetry employs the codes of national romanticism (the end of 19th century) and considers itself an ignored part of high culture. This sort of poetry unknown to Western societies exhibits archaising tendencies in the modern postsoviet culture. (shrink)

There are two problems discussed in the article. The first one is the phenomenon of mass literature and semiotic approach to it. According to Lotman, mass literature of the 20th (and 21st) centuries is not so much an object of semiotics as of sociology. However, it is possible to consider mass literature of earlier times as an object of semiotics of culture. Lotman discusses Russian mass literature of the 18th and 19th centuries as such an object in the article (...) “Massovaya literatura kak istoriko-kulturnaya problema”. Considering mass literature a dynamic factor of the semiotic system, Lotman distinguishes its main features: a high degree of automatization and syndrome of retardedness. In the second part of the article the author discusses the phenomenon of mass poetry in contemporary Lithuania. This kind of mass literature is much more similar to the phenomenon discussed by Lotman than to the mass literature of the postmodernist epoch. Lithuanian mass poetry employs the codes of national romanticism (the end of 19th century) and considers itself an ignored part of high culture. This sort of poetry unknown to Western societies exhibits archaising tendencies in the modern postsoviet culture. (shrink)

The article presents an analysis of the existential paradigm of M. Lermontov's creativity in the light of the existential theories of S. Kierkegaard and K. Jaspers, which is considered in the context of the cultural transition in Russian literature of the 1830s-1840s. It is argued that Lermontov radically changed the nature of his literary activity by the mid-1830s, overcoming his own existential ambivalence and abandoning the subjective emotionality and exoticism of his youthful poetry in favor of objective observations (...) and research of the surrounding world. Lermontov was aware of his existential ambivalence and sought to overcome this state in order to achieve cultural integrity, which should be considered as one of his main values. Lermontov's works reflect the concept of integrity as the integration of culture through a set of prevailing norms and ideals, as well as the feeling that this integrity was disintegrating in transitional times. This state of affairs caused a sense of disintegration in Lermontov, which is similar to the borderline situation of Jaspers. Lermontov's works illustrate the loss of cultural ideals with the decline of Romanticism. But rejecting the ideals of Romanticism, Lermontov conveys the feeling that post-Romantic disappointment generated cynicism and distorted thinking. The novel "The Hero of Our Time" has become the embodiment of such shortcomings. Lermontov's works do not belong to romanticism, nor to protorealism, nor to any combination of both. But Lermontov played his transitional role superbly. Not only did he raise questions about Romanticism that realism would later make its own, he also shed light on Romanticism itself and how it was fading. Lermontov showed how difficult it is for an artist who is aware of his own existential ambivalence to create and live in a transitional time devoid of a unifying sense of cultural integration and integrity, illustrating how badly a creative personality needs such integration and integrity. (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S18-S21, March‐April 2022.

The Russian philosopher and cultural theorist Mikhail Bakhtin has traditionally been seen as the leading figure in the group of intellectuals known as the Bakhtin Circle. The writings of other members of the Circle are considered much less important than his work, while Bakhtin's achievement has been exaggerated in proportion to the downgrading of the thinkers with whom he associated in the 1920s. This volume, which includes new translations and studies of the work of the most important members of (...) the Circle, sets out to correct the distortions in the established representations of its activity. The original contributions to literary and linguistic theory made by Valentin Voloshinov and Pavel Medvedev (but frequently credited to Bakhtin) are assessed, and the distinctiveness of their approaches is highlighted. (shrink)

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...