Literatura dvukh Amerik最新文献

{"title":"Rituals of Spring in Hope Mirlees’s Paris and T.S. Eliot’s The Waste Land","authors":"Olga M. Ushakova","doi":"10.22455/2541-7894-2022-13-9-60","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-13-9-60","url":null,"abstract":"The paper offers the comparative study of two poems: Paris by Hope Mirrlees (1920) and The Waste Land by T.S. Eliot (1922). The research aims to consider Paris as one of the key works of modernist poetry and a possible model for The Waste Land. The author of the paper turns to some parallels confirming the similarity of these two poetic texts. Particular attention is paid to the “anthropological” or “ritualistic” mode of both poems. The philosophical concept and poetic structure of these poems were based on the ideas presented in the books and research papers by the representatives of Cambridge anthropological school (J.G. Frazer, J.E. Harrison, J.L. Weston, etc.). Both poems could be considered in the context of modern anthropological and psychoanalytic theories. The ritualistic mode of the texts not only provides scientific grounds for the embodiment of personal and collective experience in poetry but creates a powerful vital impulse inherent in those archaic rituals, the elements of which were reconstructed by the poets. The works of J.G. Frazer, J.E. Harrison, J.L. Weston, and others help the readers to comprehend and expand the content of certain episodes, clarify “dark” places, to see a harmonious poetic structure and sophisticated concept of the world order, civilization and man behind the external arbitrariness and fragmentation. Both Paris and The Waste Land became manifestations and embodiments of the “mythological method” articulated by Eliot in 1923.","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":"68680608","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":"“No One Writes to the Writer”: César Vallejo´s Soviet Correspondence","authors":"V. Popova","doi":"10.22455/2541-7894-2022-13-248-281","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-13-248-281","url":null,"abstract":"The article is dedicated to the history of the interaction of the Peruvian poet, writer, essayist and public figure César Vallejo with the Soviet Union, mainly after his three trips there in 1928, 1929 and 1931. Relying on the materials of the Russian archives RGALI and RGASPI, the creative and publishing plans of the writer are reconstructed. Vallejo repeatedly made attempts to return to the USSR, publish his reports and books in Russian, stage his plays Lock-out (1930) and Presidents of America (1934) on the Soviet stage. The correspondence with International Union of Revolutionary Writers (IURW) in 1933–1935 was not productive: Vallejo's Moscow correspondent F.V. Kelin did not answer the writer regularly and did not explain the reasons for his silence. The article contains fragments of diary entries by F.V. Kelin and his reports to the IURW, which indicate that the figure of Vallejo in the USSR was considered in the context of the author's social activities in Spain and work in the Union of Revolutionary Writers of Spain. Soviet literary functionaries tried to instruct the writer, expected active cooperation with the IURW, which for various reasons Vallejo could not carry out. Despite the irregular interaction, the Soviet episodes of the writer's work have become very important components of his creative biography, and his literary ties with Soviet Russia are a unique example of the cooperation of a Latin American poet with the literary institutions of the USSR in the late 1920s and early 1930s — at the stage of emergence and consolidation of contacts with writers of leftist views in Spain and Latin America. The appendix contains letters from C. Vallejo to F.V. Kelin, as well as a letter from the IURW to Vallejo (1931) and a memorandum from F. Kelin to the IURW (1931).","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":"68679934","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":"Vladimir Mayakovsky’s Mexican Notebook: Facts and Hypotheses","authors":"V. Terekhina, Aleksei P. Zimenkov","doi":"10.22455/2541-7894-2022-12-236-260","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-12-236-260","url":null,"abstract":"The article deals with the history of the so-called Mexican notebook of Mayakovsky, he traveled with from Europe to America and back in 1925. The notebook preserves one record in Spanish made by José Manuel Puig Casauranc, Minister of Public Education in Mexico, and traces of torn pages. According to Mayakovsky's testimony, Casauranc’s record was followed by a brief appeal to the working people of Soviet Russia, written in Spanish by the deputy F. Moreno, which the poet destroyed when crossing the US border, fearing political complications. It was suggested that two separate pages from Mayakovsky archive with the autographs of F.-T. Marinetti in French belong to this notebook. Drawing on new archival and memoir sources, the paper explores social, cultural and biographical circumstances of getting the autograph. Particular attention is paid to the interpretation of the goals and results of Mayakovsky's trip to Mexico, his contacts (Alfonso Reyes, Diego Rivera, Manuel Casauranc, Francisco Moreno, Tina Modotti, List Arsubido). On the basis of historical, literary and textual analysis of the Mexican notebook, its publication as part of the 19th volume of the Complete Collection of Works by V.V. Mayakovsky in 20 vols. (IWL RAS) is justified.","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":"68679343","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":"Black and White Horrors: American Gothic. A Review. (Lennhardt, Corinna. Savage Horrors. The Intrinsic Raciality of the American Gothic. Bielefeld: Transcript, 2020. 286 p.)","authors":"Albina V. Skisova","doi":"10.22455/2541-7894-2022-13-409-417","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-13-409-417","url":null,"abstract":"The monograph by Corinna Lenhardt (b. 1982) Savage Horrors: The Intrinsic Raciality of the American Gothic (2020) studies the problems of race, ethnicity, gender, genre and history of literature. The research is focused primarily on the American Gothic literature. Corinna Lenhardt argues that racialization is intrinsic and natural for all Gothic literature. The researcher also introduces the concept of gotheme and argues that literary Gothic is based on the unique binary opposition \"savage villain / civil hero\", proving this thesis on the material of the analyzed Gothic novels. The author highlights a long and destructive impact of Gothic racialization on cultural discourse in the United States, as well as Afro-American resistance to the status quo in the American Gothic literature. Corinna Lenhardt thoroughly studies early British Gothic novels, as well as WASP and African-American Gothic literature from the XVIII century to the present time.","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":"68679766","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":"EPIC 29-Kyoto: International Poundian Forum. (The 29th Ezra Pound International Conference “Ezra Pound and Friendship”, Kyoto, Japan, June 24–26, 2022)","authors":"K. Ibragimova","doi":"10.22455/2541-7894-2022-13-418-426","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-13-418-426","url":null,"abstract":"The article provides an overview of the 29th international conference “Ezra Pound and Friendship.” The conference was held at Kyoto University from June 24 to June 26, 2022, virtually. The conference was attended by researchers from fifteen countries, including scholars from the USA, Germany, France, Japan, China, Great Britain, Russia (Lomonosov Moscow State University). Two crucial themes of the conference related to (1) Pound's friendships and (2) the Asian, in particular the Japanese dimension in the work of the American poet did not limit its participants in their choice of material. The papers presented at the conference were distinguished by an extraordinary thematic diversity, which made it possible to construct a global context to study Pound. During the conference, a number of papers touched upon Pound's friendship with W.B. Yeats, E. Hemingway, T.S. Eliot, A. Gaudier-Brzeska, B. Banting, Katsuo Kitasono. Several panels were dedicated to Pound's interactions with his younger pen friends. The very concept of friendship in Pound's work, the specificity of its perception by the poet and its closeness to the Neoplatonic, Provencal, Confucian traditions was discussed. A number of speakers turned to the “Cantos” and methods for their study. One of the most important features of the conference was its focus not only on the study of Pound's poetry, but also on the poetry of contemporary authors: according to the established tradition, the closing panel of the conference was dedicated to poetry readings and subsequent discussion.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68679781","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":"Dialogue between Language School and Metarealism: Sun by Michael Palmer and Oil by Aleksei Parshchikov","authors":"Aleksei E. Masalov","doi":"10.22455/2541-7894-2022-12-102-114","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-12-102-114","url":null,"abstract":"In this article the author analyzes the interaction and mutual influence of such ways of speaking, which we call Language Writing and metarealism, which he reveals on the example of the poems Sun (1987) by Michael Palmer and Oil (1999) by Aleksei Parshchikov. Palmer's poem is a decentralized statement in which syntactic interruptions, complex symbolism, and an abundance of references create an embodied heteroglossia. The catastrophe of the meaning and the assembly of voices here are somehow structured by the central symbol — the Sun — from the headline of The Sun newspaper of July 22, 1986 (“A headless man walks, lives / for four hours”) to the artificial light of consumption centers. And the semantics of dying, references to Baudelaire in the poem, as well as Palmer's separate “Baudelaire Series” somehow admit that one of the many overtones of Sun poem is “The Voyage”, the final text of Fleurs du mal. Marjorie Perloff points out the difference between the approaches of Palmer and Parshchikov in the article “Russian Postmodernism: An Oxymoron?”, where, comparing their texts, she writes that the approach of the second is closer to Arthur Rimbaud, not the split subject Language Poetry. However, the similarity and differences between the approaches of Palmer and Parshchikov are similar to the similarity and differences between Charles Baudelaire and Arthur Rimbaud, when both use the mythopoetics of swimming as death, but incomplete, or rather incompleting. But if the first include it in the context of criticism of commodity fetishism and the subversive power of allegory (according to Benjamin), then the second in the context of “clairvoyance” and observation of the “black and cold” waters of capitalistic Europe. So the poem Oil by Parshchikov is close to the poem Sun by Palmer both in the depiction of the world in a frozen catastrophe, in the collapse of the language, and in the political dimension. And as in the poem Sun through heteroglossia, the symbolism of the crisis meaning, a permanent apocalypse Palmer creates political criticism of the symbolic order of the consumption society, including intellectual commodity fetishism, as in the poem Oil with a multilayered image of raw materials, including as an ideological concept, Parshchikov opens up new ways for analytical political poetry.","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":"68678973","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":"Understanding Aesthetic Radicalism: Alexander Blok and Wallace Stevens","authors":"T. Venediktova","doi":"10.22455/2541-7894-2022-12-158-174","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-12-158-174","url":null,"abstract":"Aesthetic radicalism characteristic of the modernist literary culture is explored in the work of Alexander Blok (1880 –1921) and Wallace Stevens (1879 –1955). Poetic imagination, Stevens wrote, is “always at the end of the era” — the two poets shared a sense of writing from a hiatus between no longer and not yet. Both were fascinated, however distantly, by radical ideologies of their time, particularly the power to produce and propagate heroic myth. Heroic visionaries are defined by the “warlike attitude” (R.W. Emerson), the oppositional stance that causes an enhancement and a reduction of imagination. The image of modern heroics in Blok’s and Stevens’ poetry is associated metaphorically with the energizing and deadening effect of the cold. In such poems as “The Twelve,” “The Snow man” and other the breakthrough to “absolute” reality is imagined as a result of the violent self-abstraction from all settled contexts and all subjective values. It is fraught with risk and associated, by Block, with the ability to hear the music of being through the noises of the time or, by Stevens, with the directness of seeing “things as they are.” Trust in the possibility of such a breakthrough, accompanied by the understanding of its utter impossibility is a characteristic paradox of the culture of modernism. It is most vividly observed as we compare the creative strategies of the two poets, however distant they are culturally.","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":"68679173","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":"Modernist Drama and Referentiality: T.S. Eliot’s Sweeney Agonistes and Walter Benjamin’s Trauerspiel","authors":"G. Ferreccio","doi":"10.22455/2541-7894-2022-13-109-133","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-13-109-133","url":null,"abstract":"“Words strain, / Crack and sometimes break, … will not stay in place, / Will not staystill” (Burnt Norton V). Using words and not being used by them is rare to Eliot’s thought tormented figures, from his drama Sweeney Agonistes to Four Quartets. The struggle with words is a constant trait of Eliot’s poetry, besides being common among modernists all over Europe. His drama’s broken syntax mirrors the clashing mixture of Aeschylean tragedy, Aristophanic comedy, and the popular culture of music-hall, cabaret, and jazz, which make up the play. As a result, the play brings forth a modernistic defamiliarizing, and metatheatrical effect, by breaking up the linear rapport between action and word, actor and gesture, sign and signified. Poetic drama or unfinished poem, Sweeney Agonistes has been recently revalued (Chinitz, Buttram, Daniel, Cuda), but in its daring avant-garde experimentalism (de Villiers), still eludes interpretations, mainly because of the far from clear reason why Eliot neither finished it nor included it in his theatrical production. If, however, we place the play in the context of various dramatic theories and plays of the time, we may read its incongruities, and disjunctions between words and things, as a one of the modernistic traits that were widely discussed at the time, among others, by Walter Benjamin in The Origin of the German Trauerspiel. Benjamin’s new way of looking at allegory, stressing its self-referential import, may help us find one more key to the revolutionary direction Eliot had envisaged in his non-dramatic tragedy. As Eliot himself said of Seneca: “the drama is all in the word and the word has no further reality behind it”. Although a link between Eliot’s conservative modernism and Benjamin’s messianism would seem unlikely, recent studies have highlighted some of their common ground (Neilson, Lehman). In order to account for the play’s disjunctions and metatheatrical language, I will dwell on Eliot’s notion of the dissociation of sensibility (1920–1927) comparing it to Benjamin’s allegorical perception, or “the falling apart of modern man”.","PeriodicalId":34458,"journal":{"name":"Literatura dvukh Amerik","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68679425","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 Voice of the March Hare. A Review. (Stayer, Jayme. Becoming T.S. Eliot: The Rhetoric of Voice and Audience in “Inventions of the March Hare”. Baltimore: Johns Hopkins University Press, 2021. 343 p.)","authors":"K. Ibragimova","doi":"10.22455/2541-7894-2022-13-400-408","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-13-400-408","url":null,"abstract":"The review focuses on the book Becoming T.S. Eliot: The Rhetoric of Voice and Audience in “Inventions of the March Hare”, 2021, written by Jayme Stayer, the American researcher of modernist poetry and T.S. Eliot’s work. Stayer uses rhetorical approach for studying poems from Eliot's notebook, refers to the concepts of ethos, logos and pathos, and analyzes the forms of existence of Eliot's lyrical voice, the development of his own poetic language, his interaction with real and imaginary audiences. The review briefly outlines the milestones of Eliot’s way as a poet from 1899 to 1915. Special attention is paid to the poem “The Love Song of J. Alfred Prufrock”. The author of the review examines the composition of the publication, consisting of eight chapters, notes the main theses of Stayer’s book.","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":"68679756","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":"James Baldwin’s Quest for Ethics Echoing Leo Tolstoy","authors":"Y. Stulov","doi":"10.22455/2541-7894-2022-13-282-294","DOIUrl":"https://doi.org/10.22455/2541-7894-2022-13-282-294","url":null,"abstract":"The paper deals with the ethical principles of James Arthur Baldwin, an outstanding US writer of the mid-20th century, which echo the moral imperatives of Leo Tolstoy. African American writers traditionally displayed great interest in Russian literature, which is connected with the figure of A.S. Pushkin who along with A. Dumas was regarded as a symbol of talent of a person with African roots; visits to Soviet Russia of African American writers, especially of Langston Hughes who significantly influenced Baldwin’s worldview; and their search for creative ideas which they found in Russian literature, like Richard Wright, his mentor in literature. James Baldwin knew literature very well, including Russian literature, and through Martin Luther King, Jr., his friend and leader of the Civil Rights movement, was greatly affected by Tolstoy’s theory of non-resistance to evil, which he not only advocated but also tried to put into practice. The analysis of some of his works shows certain similarities with Leo Tolstoy. This is especially characteristic of his essays and the artistic world of his novels. The comparison of the great Russian writer’s views with the ideas of the most popular African American writer of the mid-20th century can help understand Leo Tolstoy’s role in forming the ideological platform of African American literature more deeply, and, on the other hand, get an insight into the creative laboratory of the writer who became a prophet for his generation whose voice was important for millions of his compatriots.","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":"68680107","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}