Edited By Tatiana Victoroff
Les contributions de chercheurs comparatistes ou slavisants, français et russes, s’organisent selon plusieurs axes – Akhmatova en dialogue avec les poètes européens ; Akhmatova comme poète européen ; les questions de traduction et de transmission – mais l’ouvrage inclut également les témoignages de poètes et d’intellectuels au sujet de leur rencontre avec Akhmatova ou à travers la lecture de ses vers. Il propose également de nouvelles traductions d’Akhmatova en français. Enfin, des poèmes inédits d’auteurs européens contemporains qui ont composé sous l’inspiration akhmatovienne témoignent de l’écho européen d’une voix contre laquelle la censure s’est acharnée sans l’étouffer et qui reste un surgeon toujours fécond dans la lignée de la poésie la plus existentielle.
“A word which is not mine”: T. S. Eliot’s The Waste land and Akhmatova’s Poem without a Hero
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“A word which is not mine”: T. S. Eliot’s The Waste Land and Anna Akhmatova’s Poem without a Hero
University of Tioumen
It is quite natural that, for many years, the works of moderns were not known to the majority of Russian readers and that an open cultural dialogue between Western and Russian culture was impossible. Post-revolutionary Russian literature was being cut off from the main streams of modern Western culture, and many new Russian poets and writers educated after 1917 developed poetic structures rooted in the classical literature of the 19th century. Therefore, it is difficult to demonstrate any influence of modernism on most Russian writers. At the same time, sprouts of native Russian modernist aesthetics were wiped out. Thus Andrey Biély (author of the novel Petersburg), Ossip Mandelstam (Poems on an Unknown Soldier) and Marina Tsvetaeva (Poem of Air; Poem of a Ladder, and others), because of their innovations in creating modernist poetics, were not included in the list of authors whose works could be published in Soviet Russia. And their tragic destiny (the death of Mandelstam at a concentration camp and Tsvetaeva’s suicide) was the paradigmatic fate of any independent and bright artist in Russia.
Nevertheless, no restrictions and punitive measures could kill the “longing for culture” (in Mandelstam’s words) and interest in artistic life abroad. Forbidden fruit is sweet, and people very often stared dangers in the face to invent different ways...
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