THE POETIC NEW SPEECH IN THE WORKS OF DESANKA MAKSIMOVICH AND ELISAVETA BAGRYANA (1920S AND 1930S)

2021 ◽  
pp. 55-63
Author(s):  
Tsvetan RAKYOVSKI
Keyword(s):  
Common Trends ◽  
Classical Form ◽  
Avant Garde ◽  
Lyrical Poetry ◽  
Traditional Understanding

The article examines the work of the Serbian poet Desanka Maksimovich and the Bulgarian poet Elisaveta Bagryana, written between the two world wars. The two poetesses were formed under similar conditions and close cultural situations. This implies common trends and artistic horizons. Desanka Maksimovich and Elisaveta Bagryana are also the first serious representatives of the "female" writing in poetry. The specific modernism of the two authors is analyzed against the background of the poetic avant-garde at the time. The modern writing of Desanka Maksimovich and Elisaveta Bagryan demonstrates a violation of the classical form of the verse (number of syllables, verse length, correct rhyme), use of excessively long verses, long words and overcoming of the traditional understanding of verse harmony (rhythm). This makes the two poets unexpectedly different and fresh voices against the background of the male lyrical poetry of the same time. The poetic books of Desanka Maksimovich and Elisaveta Bagryana became literary phenomena in the time between the two world wars. However, they also became an example to several generations of poetesses, which were born of their energy. The Serbian and Bulgarian lyre make an important contribution to the development of female poetry in the region of the Balkan cultures and their poetic images.

scholarly journals Intertextual Connections in Nikolai Shchegolev’s Lyrical Poetry: Pasternak, Mayakovski, Futurists

2021 ◽  
Vol 23 (3) ◽  
pp. 164-185
Author(s):  
Ksenia V. Abramova ◽  
Keyword(s):  
Nineteenth Century ◽  
Point Of View ◽  
Classical Literature ◽  
Rhythmic Structure ◽  
Boris Pasternak ◽  
Special Position ◽  
Avant Garde ◽  
The Past ◽  
Lyrical Poetry ◽  
Intertextual Connections

This article analyses the poetics of Nikolai Shchegolev’s works from the point of view of the influence of the futuristic and avant-garde tradition on the artistic world of his works. The research aims to identify semantic (themes and motifs) and asemantic aspects (such as the rhythmic structure and construction peculiarities of stanzas and rhymes) of Shchegolev’s poems. These aspects resonate with such phenomena in the poems that were associated in émigré circles with the revolution and Soviet Russia’s art. There is a tendency in scholarly literature to consider the works of poets and writers of the “Eastern branch” of emigration as part of the development of nineteenth-century classical literature and as a continuation of the traditions of symbolism and Acmeism. This approach is often associated with the special position of Harbin, the Russian city in China, which has become a kind of symbol of the past, as life there was based on the model of pre-revolutionary Russia. Nevertheless, some scholars (A. A. Zabiyako, G. V. Efendiyeva, E. O. Kirillova, E. Yu. Kulikova) note the reflection and development of Harbin poets’ avant-garde experience. Nikolai Shchegolev’s works, including these aspects, remain insufficiently explored. In this work, referring to historical and literary and structural and semiotic approaches and the principles of intertextual and poetic analysis, the author turns to the study of themes, motifs, and images, as well as rhythm and strophic structures in the poetry of Nikolai Shchegolev, which makes it possible to deepen and summarise ideas about the poetics of his works. When considering individual texts, the author concludes that some themes and motifs (such as urban themes, the images of a cinematograph and a mannequin which is coming back to life, and the associated theme of oscillation between the living and the dead), as well as experiments with rhythm, strophic division, and word coinage were accepted and understood by Shchegolev through the poetry of Vladimir Mayakovski, Boris Pasternak, and the futurists.

Beyond Drama: Writing for Postdramatic Theatre

2004 ◽  
Vol 29 (1) ◽  
pp. 6-28 ◽  
Author(s):  
MAŁGORZATA SUGIERA
Keyword(s):  
Current Situation ◽  
Short Description ◽  
Avant Garde ◽  
Dramatic Text ◽  
Traditional Understanding ◽  
Dea Loher

The article begins with a short description of the current situation in Polish theatre where the traditional understanding of a dramatic text has made the reception of formally innovative European playwriting difficult. On the basis of recent German plays by Rainald Goetz, Dea Loher and Roland Schimmelpfennig, which have been translated into Polish and published but have not yet received significant productions, the article tries to answer two important questions. Firstly, how the postdramatic texts written for avant-garde, feminist and postcolonial theatre during last three decades have influenced plays written for and put on the mainstream stages in the 1990s. Secondly, in what ways the new texts, which in many respects go far beyond the borders of traditional drama, have changed the existing definitions of theatrical mimesis and theories of drama

scholarly journals Notes about Czerniawski

2020 ◽  
Vol nr specjalny 1(2020) ◽  
pp. 542-554
Author(s):  
Marian Kisiel ◽  
Keyword(s):  
Literary Criticism ◽  
20Th Century ◽  
Common Sense ◽  
Avant Garde ◽  
Surrounding World ◽  
The Common ◽  
Traditional Understanding ◽  
The Grotesque

The article constitutes a collection of notes related to the lesser known and rarely commented works by an émigré writer – Adam Czerniawski: his poems translated into English, short texts of literary criticism, short novels and his memoirs. Modern Polish prose is still frequently treated as a ciphertext, of interest only to a limited number of readers who revel in this labyrinth of thoughts. It may seem that at the end of the 20th century – a period so involved in the debate about the traditional understanding of literature – avant-garde variants of prose should be understandable for everyone or, at least, that literary criticism would assign them to the appropriate level in the hierarchy of modern forms. However, the situation turned out to be different. The prose model imposed by Positivism still remains predominant in the habits and tastes of both literary critics and readers, and only recently has this model been questioned. As a result, the short novels by Czerniawski have not yet been sufficiently analysed. Reminiscent of Gombrowicz, these texts can be seen as absolute stories. The feature of absoluteness is visible at all their levels: origin, narration, reading. Everything is possible, yet nothing is accidental or random. However, limiting these narratives to only avant-garde rules would, without a doubt, distort their sense. Czerniawski’s prose also uses the infinite potential of the grotesque, plays with its own language, thus making it into an undoubtedly philosophical Ding an sich. The prose was also written in order to face traditional sanctities such as, for instance, the incorrigible “Polishness” that glorifies old symbols and sees a divine influence in them. Finally, Czerniawski’s prose is based on the “common sense” that can be found in numerous amusing contexts of the surrounding world.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

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