Literatura dvukh Amerik最新文献

{"title":"Walt Whitman: Gallerist in New York","authors":"T. Venediktova","doi":"10.22455/2541-7894-2023-14-8-29","DOIUrl":"https://doi.org/10.22455/2541-7894-2023-14-8-29","url":null,"abstract":"In mid-XIX century mechanical reproduction of images through lithography and photography becomes increasingly available — it allows for visual entrepreneurship on a growing scale. In literary artists this trend causes skepticism but in some (like O.W. Holmes) it also inspires creative interest. That the interaction between commercial and technological practices could be productive of aesthetic insight is proved by Walt Whitman’s poetic experiment. Whitman was fascinated by the art of photography – for a daguerreotype he would sit often, willingly and self-consciously, thus turning a portrait into an auto-portrait. Most of the editions of Leaves of Grass contain the author’s images, while Whitman’s form, the very principles his world-building imagination can be best understood through “photographic logic”. Two versions of the poem My Picture Gallery (the one dating back to mid-1850s and the one published in 1881) are being analyzed as instances of Whitman’s lifelong reflection on how the image, the world and the human subject interact. This relationship is full of submerged drama: technical reproducibility makes the image strikingly lifelike but also contributes to the “derealization” or “virtualization” of the world — tends to empower the subject but also to disable one through “the terrible doubt of appearances”. The visual analogue of the “catalogue” technique, representative of Whitman’s early manner, may be a sequence of snapshots and / or that of imperative pointing gestures: see, watch, imagine! Manicules are often used in Whitman’s early manuscripts: this typographic sign (described as “hand” or “printer’s fist”) is pervasive in newspaper advertising of the poet’s time and of particular interest to him — most probably, because giving a sense of forceful, embodied presence, direct contact with the world and the reader alike. In later editions the gesture gets a different representation — a butterfly rests, distractively, upon the index finger using it as a momentary landing grund. This image — Whitman’s newly chosen visual brand – is expressive of the contemplative attitude, indeterminacy and suggestiveness increasingly of import in his poetics.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"63 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68681197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On the Wreckage of the Bastille of Rhymes","authors":"Ekaterina M. Belavina","doi":"10.22455/2541-7894-2023-14-30-50","DOIUrl":"https://doi.org/10.22455/2541-7894-2023-14-30-50","url":null,"abstract":"Two texts by A. Rimbaud, published in 1886, but written earlier, and not poems by G. Kahn, J. Laforgue or J. Moréas, are considered the first vers libre in French. The paper shows two approaches to the analysis of free verse rhythm: the rules for reading and counting silent [Ə]; free verse is considered as a derivative of verse or prose, respectively (K. Scott and M. Murat), which proves the fundamental ambiguity of this poetic form and the importance of the reader’s perception in the process of reading as co-creation. The arguments of opponents and supporters of free verse, the so-called “free verse controversy” (“querelle du vers libre”) prove that in the imagination of writers there exists the connection between the poetic system and the social order. The paper considers the opposition proposed by the French researcher M. Murat — that of the national French vers libre and the international free verse that goes back to the American, that is to say Whitman’s model of Whitman through Valerie Larbeau’s poetry. The creative act of Larbeau, who created a heteronym — the English-language poet Barnabooth, raises the question of erasing national prosody and switching the linguistic code.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68680385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Island of Totalitarinism: Macbeth by Orson Welles","authors":"Yulia A. Kleiman","doi":"10.22455/2541-7894-2023-14-119-140","DOIUrl":"https://doi.org/10.22455/2541-7894-2023-14-119-140","url":null,"abstract":"By the time of the eventual success of the premiere of Macbeth (1936) directed by Orson Welles as part of the Harlem Negro project by FTP, the African American theater already had its own small but remarkable history. However, this production received a tremendous response and is still the subject of controversy among scholars: evidence of this resonance is the appearance of the feature film Voodoo Macbeth (2021). All roles were performed by black actors, and the action was transferred to Haiti during the reign of Henry Christophe. Critics were disturbed by the disrespectful attitude to the Shakespearean text, modern researchers — by the exoticization of the African American cultural code. The reason for the discussion was (and still is) the director's radical interpretation, which shifted the semantic accents from Macbeth and Lady Macbeth to the witches. By increasing their role quantitatively and qualitatively, Orson Welles, a contemporary of the growing totalitarian regimes, created a piece about the all-pervading evil leveling the human personality. Having changed the chronotope of Shakespeare's tragedy and rethinking the principle of working with Shakespeare's heritage, Welles, for the first time in the history of American theatre, invited black actors to perform universal characters, to work with classical dramaturgy. Article is based on vast amount of archival materials, critical reviews and researches on Orson Welles and the Federal Theatre Project. Article examines the steps of the formation of the director's and set designer’s concepts, a reconstruction of the production is executed among other purposes.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68680630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Annus Mirabilis: 1922 in the History of Modernism","authors":"O. Antsyferova, A. Astvatsaturov, I. Morozova, O. Panova, O. Polovinkina, I. Shaitanov, V. M. Tolmatchoff, Olga M. Ushakova, A. Zinovieva","doi":"10.22455/2541-7894-2023-14-451-464","DOIUrl":"https://doi.org/10.22455/2541-7894-2023-14-451-464","url":null,"abstract":"On December 8, 2022, an international academic conference dedicated to the year 1922 as an important milestone in the history of American and European Modernism was held at the Russian State University of Humanities (Moscow). The conference aimed at the cultural reconstruction of 1922 and was organized by the Department of Comparative-Historical Literary Studies, Russian State University for the Humanities, and A.M. Gorky Institute of World Literature of the Russian Academy of Sciences. American literary history occupied a prominent place in the program of the conference. The plenary session was devoted to T.S. Eliot, whose poem The Waste Land was published in 1922. Olga Polovinkina (Russian State University for the Humanities, A.M. Gorky Institute of World Literature of the Russian Academy of Sciences) spoke about the importance of the aesthetics of the music hall for the strcture The Waste Land. Igor Shaitanov (Russian State University of Humanities, The Russian Presidential Academy of National Economy and Public Administration) drew a parallel between The Waste Land and Evegny Zamyatin's Alatyr’. Vassily Tolmatchoff (Lomonosov Moscow State University) suggested a new interpretation of the “Love Song of J. Alfred Prufrock”. A.A. Astvatsaturov (St. Petersburg State University) considered T.S. Eliot’s modernist work in comparison with the creative attitudes and self-fashioning of Henry Miller. Alexandra Zinovieva (Lomonosov Moscow State University) spoke about Countess Marie Louise Elisabeth Larisсh von Moennich, the heroine of T.S. Eliot’s The Waste Land, and her participation in German and Austrian cinematographic projects of the late 1910s — early 1920s. Olga Panova (A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, Lomonosov Moscow State University) reconstructed the year 1922 in the history of the Harlem Renaissance. Irina Morozova (Russian State University of Humanities) presented the year 1922 as an important period in the history of American pharaohmania. Olga Antsyferova (St. Petersburg State University) analysed the book 1922: Literature, Culture, Politics (ed. by Jean-Michel Rabaté; Cambridge University Press, 2015) showing how the methodology of historical simultaneity works on the material of culture studies.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68680709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"VIII Zverev International Conference at RSUH: “America’s Hinterland in Literature, Politics, and Culture”","authors":"I. Morozova, V. Zhuravleva","doi":"10.22455/2541-7894-2023-14-465-478","DOIUrl":"https://doi.org/10.22455/2541-7894-2023-14-465-478","url":null,"abstract":"The review outlines the major topics of the conference on the American Studies held by RSUH in April 2023. Оn the one hand, the US hinterland, is proud of the reputation of true America with its family values and religious traditionalism as opposed to multicultural and cosmopolitan large urban centers. On the other hand, it often sees itself as a territory associated with the decline of morality, loneliness, poverty, and racial intolerance. The conference organizers proposed to conduct an interdisciplinary study of the problems associated with the life of the American hinterland; to show its self-representation and understanding from the standpoint of the Other; to enter the conversation about the hinterland into the general humanitarian space in order to identify those common elements that form a characteristic idea of the life of provincial America in various discursive practices and contexts in literature, culture, history and political thought of the XIX–XXI centuries. The conference topics included depiction of the US hinterland in literature; gothic narrative and hinterland; American hinterland as a factor and actor in the modern US politics; its images in visual discourse; its role in creating the image of the United States; a comparative analysis of Russian and American hinterland representations. Additionally, 2023 marks the centenary of the Walt Disney Company. Special round-table discussion was arranged at the conference commemorating this event. The conference featured two presentations: the educational internet-project “Discover America” (80 lectures and 80 videos) finished by the publication of three books both in Russian and English at RSUH Press and the collective monograph “Dreiser’s Path”: A View with a Modern Lens.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68680891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Great Pasha, Buried Alive: The Archetypes of the Characters in Truman Capote’s Story “A Tree of Night”","authors":"D. Zakharov","doi":"10.22455/2541-7894-2023-14-315-356","DOIUrl":"https://doi.org/10.22455/2541-7894-2023-14-315-356","url":null,"abstract":"“A Tree of Night” is probably Truman Capote’s most terrifying piece, which, along with “Miriam”, has become his signature story. Created in 1943 and published two years later in Harper's Bazaar, this story was called a “pure distillate of terror” by reviewers. Despite the absence of the manuscript in Capote’s archive and his silence about how and when this story was written, the paper pieces together the writer’s personal circumstances during that period. Based on these data the paper makes a suggestion on when the story might have been created and identifies the archetype of the mysterious character named the Great Pasha. This information corrects a number of inaccuracies contained in Capote’s biography published by Gerald Clarke in 1988. The paper explores in detail the history of the Great Pasha — “a fakir from Egypt”, who toured American South with a bold performance “Buried Alive”. According to the hypothesis made in the article, it was the Great Pasha who met six year old Truman at his aunts’ house in Monroeville in May 1931. Twelve years later Capote drew on his memories of the Great Pasha and his assistant Madame Flozelle to create sinister characters of his Gothic story “A Tree of Night”. Thanks to the archival materials the paper managed to bring out the traits that Capote’s characters owe to their archetypes, and to reconstruct the facts of the fakir’s life. For the first time in Russia the article reproduces a unique picture featuring the Great Pasha, his assistant, and the writer’s mother Lillie Mae Faulk.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68680417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"David Burliuk in Color and Rhyme Magazine. Article 2. Across Epochs and Cultures: A Journey to France, 1949","authors":"A. Arustamova","doi":"10.22455/2541-7894-2023-14-357-372","DOIUrl":"https://doi.org/10.22455/2541-7894-2023-14-357-372","url":null,"abstract":"In 1949 Maria and David Burliuk made a trip to France “following Van Gogh” in order to restore the memory of the French painter's stay in Arles. This trip was embodied in a series of Burliuk’s paintings and in the text Journeys available in Russian (handwritten manuscript) and in English (magazine publication). The paper considers author’s narrative strategies in both versions of the travel journal; special attention is paid to the subjective organization of the text. One can hear the voices of Marusya Burliuk as well as her husband’s although she employs the author’s we. Complex narrative structure of the text is construed with a number of techniques, the most important one being switching of point of view. The paper focuses on the goals of the journey that were set by the travelers and on the ways they were reflected in the text. It is shown that the trip to France, first of all, was aimed at strengthening Burliuk's reputation as an “American Van Gogh”, and, next, at commemorating the French painter and preserving his heritage. The publication in the magazine Color and Rhyme is a unique complex work based on the interaction of both visual and textual material, it includes ekphrases, literary allusions, an epistolary, reprints of materials from the press, American reviews of the Burliuk’s works, etc. There are lots of descriptions, genre scenes, literary portraits, masterfully created by Marusya Burliuk in the published version of the journey, while on the handwritten version reflects private, intimate aspects of the journey (letters to the family).","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68680444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Islands in the Ocean: The Adventure of a Word Between Russian and American Poetries (International Conference “American and Russian Poetries. Links and Circulations”, Université de Toulouse, 2–5 June 2021)","authors":"Anna V. Shvets","doi":"10.22455/2541-7894-2022-12-274-285","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-12-274-285","url":null,"abstract":"The article provides an overview of the conference “American and Russian Poetries. Links and Circulations”. The conference was held at the University of Toulouse from June 2 to June 5, 2021, virtually and was organized by Americanists, professors at the University of Toulouse, D. Rumeau and C. Gheerardyn. The conference attracted scholars from the USA, France, Israel, Russia (including scholars from Lomonosov Moscow State University Lomonosov, the Institute of Linguistics of the Russian Academy of Sciences, etc.). During the conference, a number of papers touched upon the issues of reception and “transfer” between poetic cultures. These papers would concern not so much a passive “transfer” of a literary phenomenon from one culture to another, but rather an active process of transferring, or transcoding the phenomenon through an intertext already existing in another culture. Apart from topics related to issues of reception and metamorphoses of cultural translation, during the conference, the contrast between Russian and American poetic traditions was questioned as a contrast between the tradition of “expression”, psychologism, and the tradition of “description”, a formal experiment. This opposition was coined by the Imagist poet J. Cournos, a Russian émigré, also known as Ioan Grigor’yevich Korshun. A number of speakers disputed the rigid division of Kurnos, drawing attention to (1) the similarity of conceptual schemes for comprehending experience in the poems of Russian and American poets, (2) a formal experiment in Russian futurism and the development of a theoretical vocabulary for describing form in Russian formalism, (3) the influence of Russian futurism on the American neo-avant-garde. The influence of Russian futurism and Russian formalism on American poetry was traced on the example of the Language School phenomenon.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68679614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The “Montage of Attractions” in T.S. Eliot’s The Waste Land","authors":"O. Polovinkina","doi":"10.22455/2541-7894-2022-13-207-223","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-13-207-223","url":null,"abstract":"The article deals with the importance of the music hall for The Waste Land by T.S. Eliot. This form of entertainment art, at first glance, does not fit well with the deep religious and philosophical message that is traditionally seen in the poem, but it is attracting more and more attention from researchers. The term “music hall” in the article refers to a type of theater that was represented by the English music hall, the American minstrel shows, vaudeville and musical comedy of Eliot's youth, the Parisian variety theater which he came to know intimately in the early 1910s, and revue. The English music hall was chosen to refer to the phenomenon because it was the one that occupied Eliot's imagination at the time when The Waste Land was being written. The article describes T.S. Eliot as a music hall habitué in the 1910s — early 1920s, his essays on the music hall in the magazines Dial and Tyro are analyzed. The author proves that the importance of the music hall song for The Waste Land is not limited to the usage of the rhythm and any kind of musical technique. The songs are not important in themselves, but as part of the performance. The fragment that opens the first version of the poem is a striking revelation of the music hall. The fragment is read as representing the music hall performance, starting with the motive of a “hot night” and ending with quotes from various music hall songs. From the same point of view, the original title of the poem is analysed. The presence of the music hall in the final version of The Waste Land is shown in connection with the characters from the working class and the image of Tiresias. The general principle on which the artistic whole is built in The Waste Land is presented as reproducing the structure of a music hall performance; the author takes the name “montage of attractions” for it from S. Eisenstein.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68679839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sister Ruth’s Stories, or, Evenings with John Woolman (1865) and Juvenile Literature of Domestic Abolitionism","authors":"D. V. Abdurakhmanova-Pavlova","doi":"10.22455/2541-7894-2022-13-367-382","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-13-367-382","url":null,"abstract":"Juvenile literature of “domestic abolitionism” seems to be one of the most interesting, yet under-researched branches of American abolitionist literature. Domestic abolitionist authors were usually women, who often published their texts anonymously or assuming pseudonyms. Diverse as they are in terms of genre, these texts share a set of common features. Among these features, according to Deborah De Rosa, is employment of three overarching images: the abolitionist mother-historian, the slave child, the white child. The mother-historian tells stories to foster “a change of hearts” of her young listeners, to inspire their empathy for their enslaved peers, and to engage them in the abolitionist cause. This paper focuses on semi-anonymous Sister Ruth’s Stories, or, Evenings with John Woolman (1865) — a domestic abolitionist text, which seems to have been overlooked in literary studies so far. Sister Ruth’s Stories are constructed as a sequence of evening conversations between Sister Ruth (“Motherhistorian”) and her younger siblings. The topic of these conversations is life of John Woolman (1720 –1772), a famous Quaker minister and proto-abolitionist. Sister Ruth retells children the plot of Woolman’s Journal, describing his personal campaign against slavery. She comments upon this autobiographical text, embellishing it with some additional sentimental scenes, biblical and poetical allusions. In Sister Ruth’s Stories, didacticism of domestic abolitionist literature seems to be counterbalanced by the multi-voice chorus of Ruth’s listeners, with their unfeigned reactions to the stories. As for revision of national history, which is also a substantial part of domestic abolitionist literature, it plays a pivotal role in the book, and yet appears moderate. Published in the last year of the Civil War, Sister Ruth’s Stories seem to embrace both abolitionist and pacifist messages of John Woolman’s Journal.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"84 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68680200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}