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- Bodin, Per-Arne
(författare)
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TSVETAEVA AND HISTORY : ON THE DEMESNE OF THE SWANS AND THE POEM, “TO THE TSAR—AT EASTER”
- 2015
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Ingår i: Slavic and East European Journal. - : Aatseel. - 0037-6752 .- 2325-7687. ; 59:4, s. 544-564
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Tidskriftsartikel (refereegranskat)abstract
- Опираясь на положения, разработанные в эссе Цветаевой 1930-х гг., статья рассмативает комплекс отношений между поэтом и временем в широком смысле. В центре исследования—цикл Лебединый стан, состоящий из 62 стихотворений, написанных в период с марта 1917 г. по декабрь 1920 г. Цикл написан в форме дневника в стихах, в нем отражаются исторические события данного периода и биография Цветаевой. Для анализа и интерпретации выбрано третье стихотворение цикла (второе в хронологическом порядке) «Царю—на Пасху», датированное первым днем Пасхи 1917 г., которое рассмативается в контексте всего цикла. Историчность стихотворения анализируется с точки зрения жанра пасхального стихотворения, времени его написания, биографии поэта, ситуации, в которой Цветаева читала стихотворение в различных аудиториях, а также с учетом отношения самой Цветаевой к связи поэта с историей.
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| 2. |
- Finer, Emily, et al.
(författare)
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Introduction
- 2022
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Ingår i: Slavic and East European Journal. - : OHIO STATE UNIV, DEPT SLAVIC & EAST EUROPEAN LANGUAGES & CULTURE. - 0037-6752 .- 2325-7687. ; 66:1, s. 2-7
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- This forum examines the translation of English literature into Russian during the early Soviet period, offering case studies of how a diverse cohort of translators, editors, scholars, and writers-including Maxim Gorky, Nikolai Gumilev, D. S. Mirsky, Mikhail Morozov, Boris Pasternak, Gustav Shpet, and Alexander Smirnov-worked to bring to Soviet readers classic and contemporary works by English authors, such as W. H. Auden, Samuel Coleridge, William Shakespeare, and Laurence Sterne. The four articles in the forum offer new insights into the politics and practices of literary translation as a highly productive form of cultural mediation in the Soviet Union during the 1920s and 1930s. The articles also contribute to a new subfield within translation studies that analyzes archival materials, such as translators' correspondence and translation drafts, in order to gain a better understanding of various processes of translation.
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| 7. |
- Ljunggren, Anna, 1953-
(författare)
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Vladimir Nabokov's Ada : In the "Crystal Ball" of Transcultural Utopia
- 2018
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Ingår i: Slavic and East European Journal. - 0037-6752 .- 2325-7687. ; 62:3, s. 549-565
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Tidskriftsartikel (refereegranskat)abstract
- Vladimir Nabokov’s novel Ada or Ardor. A Family Chronicle (1969) is a trilingual work saturated with literary and pictorial allusions. It is regarded here as a nexus with regard to different branches of Nabokov’s earlier writing. The dystopian/utopian part of Nabokov’s earlier work is expanded in Ada into the genre of the family novel, traditionally anchored in a referential historical and geographical reality. The article discusses images of space in Ada: the planetary utopias of Terra and Anti-Terra, where Anti-Terra is an anachronistic world of trilingual toponyms. The family chronicle is placed within internal smaller “utopias”: the idyllic Ardis Park, Ada’s larvarium—a lepidopterist’s scientific paradise—as well as the parodic erotic utopia of Villa Venus. It will be argued here that there exists a prototype for these hermetic spaces: Nabokov’s image of art as a “crystal ball” (“snow globe”). Finally, the question of a connection between the multilingualism of Nabokov’s Ada and its pictorial “turn” will be discussed: it will be argued that pictorial sources provide images of space, replacing real referential ones. Vladimir Nabokov’s novel Ada or Ardor. A Family Chronicle (1969) is a trilingual work saturated with literary and pictorial allusions. It is regarded here as a nexus with regard to different branches of Nabokov’s earlier writing. The dystopian/utopian part of Nabokov’s earlier work is expanded in Ada into the genre of the family novel, traditionally anchored in a referential historical and geographical reality. The article discusses images of space in Ada: the planetary utopias of Terra and Anti-Terra, where Anti-Terra is an anachronistic world of trilingual toponyms. The family chronicle is placed within internal smaller “utopias”: the idyllic Ardis Park, Ada’s larvarium—a lepidopterist’s scientific paradise—as well as the parodic erotic utopia of Villa Venus. It will be argued here that there exists a prototype for these hermetic spaces: Nabokov’s image of art as a “crystal ball” (“snow globe”). Finally, the question of a connection between the multilingualism of Nabokov’s Ada and its pictorial “turn” will be discussed: it will be argued that pictorial sources provide images of space, replacing real referential ones.
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| 8. |
- Mjør, Kåre Johan, 1973-
(författare)
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Metaphysics, Aesthetics, or Epistemology? : The Conceptual History of tvorchestvo in Nineteenth-Century Russian Thought
- 2018
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Ingår i: Slavic and East European Journal. - 0037-6752 .- 2325-7687. ; 62:1 (Spring 2018), s. 4-25
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Tidskriftsartikel (refereegranskat)abstract
- This article analyzes the history of the Russian concept of tvorchestvo (“creation,” “creativity”) from its emergence and early usages in the early nineteenth century, in particular in the writings of Nikolai Nadezhdin, Nikolai Stankevich and Vissarion Belinskii, and up to and including the philosophy of Vladimir Solov’ev. While the concept later on became a key term and pivotal philosophical issue for thinkers such as Nikolai Berdiaev and Sergei Bulgakov, this article focuses on its early history, and more specifically on how it was coined in the translation of the ideas of Schelling, while subsequently becoming independent of the Schellingian origins. More specifically, while it initially was a metaphysical concept, corresponding to Schilling’s idea of “productivity” (of nature as well as of the human being), thinkers like Nadezhdin and Belinskii used it as an aesthetic concept, referring to the creative genius, while Solov’ev in turn applied it in order to emphasize the active role we play in cognition and perception (epistemology). The article demonstrates the importance of cultural transfer in the creation of a Russian philosophical discourse in the nineteenth century and expolores how processes of transfer and translation generate new philosophical issues.
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| 9. |
- Sandomirskaja, Irina, 1959-
(författare)
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Bakhtin In Bits And Pieces : Poetic Scholarship, Exilic Theory, And A Close Reading Of The Disaster
- 2017
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Ingår i: Slavic and East European Journal. - : American Association of Teachers of Slavic and East European Languages. - 0037-6752 .- 2325-7687. ; 61:2, s. 278-298
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Tidskriftsartikel (refereegranskat)abstract
- This essay is an attempt to interpret Mikhail Bakhtin’s working notes in a new way, by reading them as instances of fragmented writing produced in exile during the war. To capture the specific way Bakhtin’s thinking reveals itself in a difficult relationship with writing, I read these pieces through the prism of critical categories suggested by Maurice Blanchot in his book The Writing of the Disaster (1980). By means of comparative reading of these two quite disparate authors, I hope to demonstrate that the very fragmentariness of Bakhtin’s writing, a well as its unfinished and ”un-worked” character, opens it up for critical reflection. The fragments in question should be read as exilic theory rather than merely biographic data or preliminary materials that suffer, not surprisingly, from intellectual and writerly incompleteness. This essay also discusses ambiguities in Bakhtin the asyndetic writer (a stylistic trait especially difficult to solve in translation) as methodologically central for an understanding of his philosophy of history and language.
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