《色彩与韵律》杂志的大卫·伯利乌克。第二条。跨越时代与文化:法国之旅,1949

Q4 Arts and Humanities
A. Arustamova
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引用次数: 0

摘要

1949年,玛丽亚和大卫·布利乌克“跟随梵高”去法国旅行,以恢复这位法国画家在阿尔勒的记忆。这次旅行体现在Burliuk的一系列画作和俄文(手写手稿)和英文(杂志出版)的《旅行》一书中。本文考察了作者在两个版本的旅游日志中的叙事策略;特别注意文本的主观组织。我们可以听到Marusya Burliuk和她丈夫的声音,尽管她使用了作者的we。文本复杂的叙事结构需要运用多种技巧来解读,其中最重要的是转换视角。本文的重点是旅行的目标是由旅行者和他们在文本中反映的方式。由此可见,这次法国之行,首先是为了加强Burliuk作为“美国梵高”的声誉,其次是为了纪念这位法国画家并保存他的遗产。《色彩与韵律》杂志上发表的这篇文章是基于视觉和文本材料相互作用的独特复杂的作品,它包括短语、文学典故、书信体、媒体材料的再版、美国对Burliuk作品的评论等。Marusya Burliuk在出版的旅行版本中巧妙地创作了许多描述,类型场景,文学肖像,而在手写版本中则反映了旅行的私人,亲密方面(给家人的信)。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
David Burliuk in Color and Rhyme Magazine. Article 2. Across Epochs and Cultures: A Journey to France, 1949
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).
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