{"title":"莱西娅·乌克兰卡的克里米亚循环:与亚当·米奇维茨的诗意对话","authors":"Yelena Severina","doi":"10.18523/kmhj249187.2021-8.69-83","DOIUrl":null,"url":null,"abstract":"This paper examines Lesia Ukrainka’s two lyrical cycles about Crimea, Krymski spohady and Krymski vidhuky, as examples of a poetic dialogue with Adam Mickiewicz’s Sonety krymskie. I begin my analysis by highlighting the diff erent sensibilities of Mickiewicz’s Sonety krymskie and Lesia Ukrainka’s Krymski spohady, and underscore their formal and thematic peculiarities. The paper continues with an examination of Lesia Ukrainka’s second cycle, Krymski vidhuky, as an experiment in drama – a genre that is absent from her fi rst cycle – before situating a dramatic scene, “Ifi heniia v Tavridi,” this cycle’s only text about Crimea’s Hellenic history, within the cultural contexts of Lesia Ukrainka’s oeuvre. In doing so, I argue that Iphigenia’s lament echoes the voice of an exiled poet from Mickiewicz’s sonnets and conclude my analysis by probing reasons behind Lesia Ukrainka’s choice of a Greek (not Tatar) heroine.","PeriodicalId":40752,"journal":{"name":"Kyiv-Mohyla Humanities Journal","volume":" ","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2021-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Lesia Ukrainka’s Crimean Cycles: A Poetic Dialogue with Adam Mickiewicz\",\"authors\":\"Yelena Severina\",\"doi\":\"10.18523/kmhj249187.2021-8.69-83\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This paper examines Lesia Ukrainka’s two lyrical cycles about Crimea, Krymski spohady and Krymski vidhuky, as examples of a poetic dialogue with Adam Mickiewicz’s Sonety krymskie. I begin my analysis by highlighting the diff erent sensibilities of Mickiewicz’s Sonety krymskie and Lesia Ukrainka’s Krymski spohady, and underscore their formal and thematic peculiarities. The paper continues with an examination of Lesia Ukrainka’s second cycle, Krymski vidhuky, as an experiment in drama – a genre that is absent from her fi rst cycle – before situating a dramatic scene, “Ifi heniia v Tavridi,” this cycle’s only text about Crimea’s Hellenic history, within the cultural contexts of Lesia Ukrainka’s oeuvre. In doing so, I argue that Iphigenia’s lament echoes the voice of an exiled poet from Mickiewicz’s sonnets and conclude my analysis by probing reasons behind Lesia Ukrainka’s choice of a Greek (not Tatar) heroine.\",\"PeriodicalId\":40752,\"journal\":{\"name\":\"Kyiv-Mohyla Humanities Journal\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-12-24\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Kyiv-Mohyla Humanities Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.18523/kmhj249187.2021-8.69-83\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Kyiv-Mohyla Humanities Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18523/kmhj249187.2021-8.69-83","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
摘要
本文考察了莱西亚·乌克兰卡关于克里米亚的两个抒情周期,克里姆斯基·斯波哈迪和克里姆斯基·维杜基,作为与亚当·米凯维奇的索尼蒂·克里姆斯基诗歌对话的例子。我在分析开始时强调了米凯维奇的Sonetiy krymskie和莱西亚·乌克兰卡的Krymski spohady的不同情感,并强调了它们的形式和主题特点。论文继续研究了莱西亚·乌克兰卡的第二个周期《克里姆斯基·维杜基》,将其作为戏剧的实验——这是她第一个周期中没有的一种类型——然后将戏剧场景“Ifi henia v Tavridi”置于莱西亚·乌克兰卡作品的文化背景中,这是该周期唯一一部关于克里米亚希腊历史的文本。在这样做的过程中,我认为伊菲格尼亚的哀歌呼应了米凯维奇十四行诗中一位流亡诗人的声音,并通过探究莱西亚·乌克兰卡选择希腊(而非鞑靼)女英雄背后的原因来结束我的分析。
Lesia Ukrainka’s Crimean Cycles: A Poetic Dialogue with Adam Mickiewicz
This paper examines Lesia Ukrainka’s two lyrical cycles about Crimea, Krymski spohady and Krymski vidhuky, as examples of a poetic dialogue with Adam Mickiewicz’s Sonety krymskie. I begin my analysis by highlighting the diff erent sensibilities of Mickiewicz’s Sonety krymskie and Lesia Ukrainka’s Krymski spohady, and underscore their formal and thematic peculiarities. The paper continues with an examination of Lesia Ukrainka’s second cycle, Krymski vidhuky, as an experiment in drama – a genre that is absent from her fi rst cycle – before situating a dramatic scene, “Ifi heniia v Tavridi,” this cycle’s only text about Crimea’s Hellenic history, within the cultural contexts of Lesia Ukrainka’s oeuvre. In doing so, I argue that Iphigenia’s lament echoes the voice of an exiled poet from Mickiewicz’s sonnets and conclude my analysis by probing reasons behind Lesia Ukrainka’s choice of a Greek (not Tatar) heroine.