ISSN / EISSN : 0258-0802 / 1648-1143
Current Publisher: Vilnius University Press (10.15388)
Total articles ≅ 752
Latest articles in this journal
Literatūra, Volume 62, pp 112-128; doi:10.15388/litera.2020.2.6
This article analyzes poems written by Polish authors about Osip Mandelstam. Fifteen poems by famous Polish authors, such as Artur Międzyrzecki, Wiktor Woroszylski, and Jarosław Marek Rymkiewicz, are examined. Polish poets perceive Mandelstam‘s tragic fate through the prism of the poet‘s image and significance of poetry as they appear in the context of the lives of the Polish literary and cultural tradition. These authors see Mandelstam as a martyr, an outstanding poet. To them, their mission is to bear testimony.
Literatūra, Volume 62, pp 59-79; doi:10.15388/litera.2020.2.3
“To prove now, that the history of literature is not only the history of writers, but also the history of readers […] means to belabor the obvious,” stated Alexander Beletskii a century ago, but the task of the detailed detecting of the separate groups, or rather to use Boris Tomashevskii’s term, “schools” of readers, is still vital for the historians of modern Russian poetry. The following is the attempt to name the first “enrollees” of the school of reading Osip Mandelshtam’s poetry, two of them sharing his activities in the literary workshop “The Guild of the Poets” in St. Petersburg in the 1910s, and the third being the poet’s wife during 1919–1938.
Literatūra, Volume 62, pp 171-184; doi:10.15388/litera.2020.2.10
The article demonstrates the fact that the duality of human consciousness is connected by mutual projections with the topography of the Georgian Military Road and the model of the universe and also forms the system of narrators / characters and the structure of the novel as a whole, including the number of stories and the partition of the novel into two parts. The sources used by the writer in the formation of the narrative structure of the novel are reconstructed. The numerological code of the novel is considered, the language bases of the conceptual system are analyzed. The embeddedness in the conceptual system of the trinomial name of Mikhail Yuryevich Lermontov is demonstrated. The vertical and horizontal spatial orientation of the Georgian Military Road allows discovering the topographic connection of the road with the dual reality of Lermontov, in which the opposite poles of good and evil, divine and evil turn into one.
Literatūra, Volume 62, pp 235-248; doi:10.15388/litera.2020.2.17
Publication, introduction, and commentary by Valentina Brio
Literatūra, Volume 62, pp 231-234; doi:10.15388/litera.2020.2.16
Literatūra, Volume 62, pp 185-201; doi:10.15388/litera.2020.2.11
This article publishes a little-known story by I. A. Bunin in 1902 – The Date – with the dedication “M. P. CH.”, stored in the personal archive of Maria Pavlovna Chekhov. An attempt is made to trace the author’s changes in the story to 1907, which made it possible to remove the dedication and change the original title to Happiness. This edit did not suit Bunin; in Paris he once again changes the text of the story, giving a different name – Dawn All Night. Not only is the text of the story Happiness based on the 1907 collection Korabli, but the place of its publication is specified.
Literatūra, Volume 62, pp 154-170; doi:10.15388/litera.2020.2.9
This paper is devoted to the analysis of Osip Mandelstam’s poem “No, I will not hide from the great mess.” The poem is well-known yet remains relatively obscure and understudied, the meaning of most of its images is not clear. On the basis of motive analysis, draft versions of the poem (as analyzed by I. M. Semenko), and memoirs, a new interpretation is proposed: the addressee and the antagonist of the poem is Anna Akhmatova. The lyrical hero of the poem rides in a tram in the 1930s and painfully recalls the trips on a carriage with Akhmatova in 1917–1918. This interpretation allows to clarify the semantics of all the elements of the poem: its desperate and “rippling” intonation, the motive of the carriage driver, the motive of the game, the image of the “whore,” the comparison with a sparrow, etc. All of these images have a biographical connotation, related to Mandelstam’s relationship with Akhmatova.
Literatūra, Volume 62, pp 92-111; doi:10.15388/litera.2020.2.5
The fates and fortunes of any national literature in a foreign culture is a multifaceted subject. And this is where the perception of Russian culture in France belongs. In France, the general public became aware of the life and works of Osip Mandelstam in the early seventies, when Nadezhda Mandelstam’s memoirs were published. Before 1970, only some translations of Mandelstam’s poems, the first one made by Chuzeville back in 1925, found their way to periodicals and anthologies. Information about the poet was spread to a great degree thanks to anthologies, as befits this genre of reading matter. During that period, the publishers of anthologies could either collaborate with translators (Slonim, Reavey), or translate the poetry themselves (Rais, Granoff). Journal articles and translations chime in and resonate with anthological publications.
Literatūra, Volume 62, pp 216-222; doi:10.15388/litera.2020.2.13
This paper analyzes the book of memoirs The Power of Weak written by Elena Chervinskiene, Professor of the Department of Russian Literature at Vilnius University. Chervinskiene’s book discusses her experiences being deported to the Altai region and Yakutia, part of the wave of deportations from Lithuania that began in the fateful year of 1941. The early traumatic experience determined not only the author’s further personal life but also her professional choice. It is stated that the chosen field of scientific and creative interests of the expert on classical Russian literature, author of books and articles about L. Tolstoy, F. Dostoevsky and A. Chekhov, was also shaped by the all of the human experience gained during this tragic stage of her life.
Literatūra, Volume 62, pp 10-46; doi:10.15388/litera.2020.2.1
The article proves that the ontological poetics of Osip Mandelstam and one of his sources of the concept of the word lie in the doctrine of the Logos of Heraclitus of Ephesus, which is set in the surviving fragments of his treatise On Nature. The author comments on the explicit and hidden references of Mandelstam to Heraclitus and shows the specifics of the functional refraction of Heraclitic allusions in different periods of the Acmeist poet’s work.It is noted that Mandelstam received from Heraclitus the material-being and sensually perceived the integral and hypostatic idea of the Logos as a kind of cosmic law, and at the same time as an ordinary human word, the form of which can nevertheless conceal an analogy with the laws of the world order.Like Heraclitus, Mandelstam assumes that the universe (cosmos) has different stages of formation, controlled by the Logos. According to Heraclitus, the primary basis of the world, its material root is fire. The idea of the changing state of natural substances, their mutual transitions and transformations caused by the “world fire,” which goes back to Heraclitus, permeates a number of the poet’s works written in the era of social upheavals. In the “post-revolutionary” period, Mandelstam develops the idea of the unity of the world and aeonic time, based on Heraclitus. Heraclitic overtones are discerned in a number of Mandelstam’s poems of the 1920s and 30s, including one of his final works – Poems about the Unknown Soldier.In light of the discovered references, Mandelstam, with the sayings of Heraclitus, clarified a number of aesthetic ideas and tropic moves of the poet – for example, the idea of the correlation of how sound envelops speech and its meaning; the motive is the “fluidity” of the world and at the same time its structural unity; the method of the “reversible metaphor of,” marking the identity or paradoxical union of different and sometimes antinomic phenomena.