The reception of French symbolism in Georgian Literature

The comparative study of Georgian modernist poetry in the context of French poetry reveals that Georgian poetry of the early XXth ventury is not an epigenetic appendage or periphery of European poetry. It creates its original invariant, which in a way expands and expands the mythohraphic discourse and mythological character of French poetry, chronotopes, cultural and landscape spaces.At the beginning of the XXth century the blueroks could not hide their amdiration for the work of French Symbolists, which they considered to be evidence that the path of Georgian literature was directed towards Europe. They had adored poets: Edgar Allan Poe, Baudelaire,Rimbaud, Verlaine… However, I think the announcement of the Blue roks as Georgian symbolists is very controversial… Therefore, I consider it important to establish the basic principles of French symbolism and, consequently, to connect it with the Georgian poets of the XX century, ib paerticular with the poetry of Galaktioni.

SYMBOLISTS ANDREY BELY AND GEORGE BACOVIA: COMPARISON OF LOVE POEMS

The article discusses artistic features of the lyrical poems by A. Bely and G. Bacovia. The author also traces the features of symbolist poetics characteristic of both lyricists – the outstanding representatives of Russian and Romanian symbolism. The author compares the poems “The flying forest sings...” by A. Bely and “Pastel” by G. Bacovia, dedicated to the parting of lyrical characters, to love that is going away. These works reveal the main levels of artistic unity: image system, space-time continuum, lyrical situation, features of poetics and melody. An attempt has been made to translate the poem “Pastel” by G. Bacovia into the Russian language. The relevance of the research is determined by the lack of works devoted to the comparative analysis of Russian and Romanian symbolism, in particular, the lyrics of Andrei Bely and George Bacovia. The creativity of these poets finds its origins in French symbolism and at the same time has a bright individual character. The purpose of the article is to reveal the artistic originality of the worldview of two outstanding representatives of European symbolism, to trace the specific features of covering the theme of love in their works, taking the comparative analysis of A. Bely’s poem “The flying forest sings” and G. Bacovia’s poem “Pastel” as an example. The comparative analysis is the main method of research, it allowed to make a conclusion about the dramatic but bright nature of love in A. Bely’s poem and its pessimistic embodiment in G. Bacovia’s poem. Some conclusions are drawn about the similarities and differences in the image of the lyrical situation, the system of images, the space-time plan, colour values, composition, the ideological content, as well as the melody, rhythmic structure and meter.

Literary rhythm of the cycle by Isaac Babel “Red Cavalry”

This article examines the cycle by Isaac Babel “Red Cavalry in the context of literary trends of the 1920s. I. Babel avoided various literary organizations and loud manifestos; therefore, his role within the post-revolutionary literary system remains somewhat isolated: he had a reputation of a realist writer (although with some reservations) mostly due to specifically historical backstory of his military cycle. In this regard, his literary style is rarely viewed as a phenomenon of modernist literature – metareflective, intertextual, centered on the experiments with literary form. However, the works of I. Babel can be viewed as a characteristic to modernism phenomenon of “synthesis of arts” – not only painting and cinematography, but music as well. His musicality is traced both on the semantic level and particular recurring images, an on the level of rhythmic structure of the text. The article demonstrates “pretexts” (genre and stylistic models) that underlie the cycle “Red Cavalry”: folk songs, revolutionary marches, poetry of French symbolism (namely A. Rimbaud), which targeted to substitute versification with a rhythmic prose. Thus, some elements of I. Babel's prose are interpreted as variations of a free verse, which corresponds to the draft genre definitions given by the author to his stories, as well as to his writing style testified by some of his contemporaries.

Affinity and Influence of Federico García Lorca on the Poetry of Dai Wangshu

As one of the most representative modern poets in China, Dai Wangshu not only contributs a lot to the development of the modern Chinese poetry, but also plays an important role in introducing western poetics to China. Dai’s translation of western poetry has a profound influence on his poetic creation. Dai, throughout his poetic career, was at first influenced by the French romanticism, then was fascinated by the French symbolism and post-symbolism. The years of Disaster, a collection of poems in his later years, however, demonstrates an inclination to the Spanish modernist poetry, especially to the poems of Federico García Lorca, one of the most representative poets of the Generation of 27. This paper focuses on analyzing the characteristics of the works of these two poets, Dai Wangshu and Lorca, and is intended to make a comparative study of the affinities and similarities in their poetic beliefs and practice and the Lorca’s deep influences on Dai’s poetic creation, thus filling the blank in this field.

Symons, Arthur William (1865–1945)

Arthur Symons was a British poet, art and literary critic, memoirist, playwright, short story writer, and editor. He was born in Milford Haven, Wales, on 28 February 1865, the son of Cornish parents: Reverend Mark Symons (1824–1898), a Wesleyan Methodist minister, and Lydia Pascoe (1828–1896). Symons was the foremost exponent of Decadence and the leading promoter of French Symbolism in Britain. An enthused socialite, he manoeuvred successfully through London artistic circles and the Paris avant-garde. In 1901 he married Rhoda Bowser (1874–-1936) and in his later years he retreated to Island Cottage, Wittersham, Kent. In 1908–1910 he suffered a mental collapse in Italy, moving in and out of asylums; he chronicles this experience in Confessions: A Study in Pathology (1930). He recovered and resumed his literary career until his seventies, mainly regurgitating themes of his fin-de-siècle period. He died on 22 January 1945.

Zenon Przesmycki wśród młodopolskich „wskrzesicieli” Norwida

The author argues that a role of Zenon Przesmycki in the process of bringing back Cyprian Norwid to the Polish literary life is slightly overestimated. At the turn of the 19th and the 20th centuries on the Polish lands, the reception of French symbolism took place, which determined the perception of the author of Vade-mecum working in Paris (since 1849) as a great precursor of intellectual “visual poetry”. However, by making Norwid a strictly Romantic poet, the generation of the Young Poland artists effectively distanced themselves from artistic borrowings associated with Baudelaire, Verlaine, etc., thus obtaining the effect of the “nativeness” of modern Polish poetry at that time.