{"title":"Russian Modernist Poetry in English-Language Anthologies of the Twentieth Century","authors":"E. Kuznetsova","doi":"10.22363/2312-9220-2022-27-2-237-256","DOIUrl":null,"url":null,"abstract":"Modernist poetry is an intense stage in the development of Russian poetry, which builds a bridge between the poetry of the XIX century and that of the XX century. Russian modernist poetry in English-language anthologies has not yet become the subject of analysis. This article is one of the first attempts to narrow the gap. It reviews nine independent publishing projects, which record the poetic experience of modernists in a variety of ways. Almost each of them gives its own list of authors and their hierarchy, and the very concept of “modern Russian poetry” is understood differently in each instance. This selection is not intended to be exhaustive, but it allows us to draw certain conclusions on how the poetry of Russian modernism was introduced to English-speaking countries. Interest in Russian modernist poetry intensified in connection with certain historic events: the Russian Revolution and the first wave of emigration that followed it; World War II and the leading role of the USSR in the victory over fascism; and the 1960s and the “third wave” of emigration. Most of the reviewed anthologies were published during one of these periods. The biographies of the compilers and editors of these anthologies show that the English-speaking reader was introduced to Russian poetry either by emigrant scholars who were born and raised in Russia and who were native speakers of Russian (A. Yarmolinsky, D. Svyatopolk-Mirsky, D. Obolensky, V. Markov), or English and American Russophile enthusiasts who fell in love with the Russian language and literature while traveling around the country (M. Baring, J. Shelley, C.F. Coxwell, M.S. Bowra). Their efforts were so fruitful that they not only opened the world of Russian modernist poetry to English-speaking readers but also made them better acquainted with it than the Russian-speaking audiences, especially given that a lot of poets of the Modernist era were banned in Russia or consigned to oblivion.","PeriodicalId":32646,"journal":{"name":"RUDN Journal of Studies in Literature and Journalism","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"RUDN Journal of Studies in Literature and Journalism","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.22363/2312-9220-2022-27-2-237-256","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Modernist poetry is an intense stage in the development of Russian poetry, which builds a bridge between the poetry of the XIX century and that of the XX century. Russian modernist poetry in English-language anthologies has not yet become the subject of analysis. This article is one of the first attempts to narrow the gap. It reviews nine independent publishing projects, which record the poetic experience of modernists in a variety of ways. Almost each of them gives its own list of authors and their hierarchy, and the very concept of “modern Russian poetry” is understood differently in each instance. This selection is not intended to be exhaustive, but it allows us to draw certain conclusions on how the poetry of Russian modernism was introduced to English-speaking countries. Interest in Russian modernist poetry intensified in connection with certain historic events: the Russian Revolution and the first wave of emigration that followed it; World War II and the leading role of the USSR in the victory over fascism; and the 1960s and the “third wave” of emigration. Most of the reviewed anthologies were published during one of these periods. The biographies of the compilers and editors of these anthologies show that the English-speaking reader was introduced to Russian poetry either by emigrant scholars who were born and raised in Russia and who were native speakers of Russian (A. Yarmolinsky, D. Svyatopolk-Mirsky, D. Obolensky, V. Markov), or English and American Russophile enthusiasts who fell in love with the Russian language and literature while traveling around the country (M. Baring, J. Shelley, C.F. Coxwell, M.S. Bowra). Their efforts were so fruitful that they not only opened the world of Russian modernist poetry to English-speaking readers but also made them better acquainted with it than the Russian-speaking audiences, especially given that a lot of poets of the Modernist era were banned in Russia or consigned to oblivion.
现代主义诗歌是俄罗斯诗歌发展的一个激烈阶段,它在十九世纪诗歌和二十世纪诗歌之间架起了一座桥梁。英语选集中的俄罗斯现代主义诗歌尚未成为分析的主题。本文是缩小这一差距的首批尝试之一。它回顾了9个独立的出版项目,这些项目以各种方式记录了现代主义者的诗歌体验。几乎每一种诗歌都有自己的作者名单和等级制度,而“现代俄罗斯诗歌”的概念在每一种情况下都有不同的理解。这篇选集并不打算详尽无遗,但它使我们能够对俄罗斯现代主义诗歌如何传入英语国家得出一定的结论。对俄罗斯现代主义诗歌的兴趣随着一些历史事件而增强:俄国革命和随之而来的第一波移民潮;第二次世界大战和苏联在战胜法西斯主义中所起的主导作用;以及20世纪60年代和“第三波”移民潮。大多数被审查的选集都是在其中一个时期出版的。这些选集的编者和编辑的传记表明,英语读者是通过在俄罗斯出生和长大并以俄语为母语的移民学者(A. Yarmolinsky, D. Svyatopolk-Mirsky, D. Obolensky, V. Markov)或英美亲俄爱好者(M. Baring, J. Shelley, C.F. Coxwell, M. s . Bowra)介绍到俄罗斯诗歌的。他们的努力卓有成效,不仅向英语读者打开了俄罗斯现代主义诗歌的世界,而且使英语读者比俄语读者更了解俄罗斯现代主义诗歌,特别是考虑到许多现代主义诗人在俄罗斯被禁或被遗忘。