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... more
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 throug...
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Paris, regarded for centuries as the literary capital of the world, the literary ‘homeland of choice’, gave shelter (permanently or temporarily) to many great writers. Poets all over the world have dreamed of gaining access to the French... more
Paris, regarded for centuries as the literary capital of the world, the literary ‘homeland of choice’, gave shelter (permanently or temporarily) to many great writers. Poets all over the world have dreamed of gaining access to the French reader; it has tacitly been considered a special stepping stone to global recognition. At the turn of the nineteenth and twentieth centuries, the paths of many Russian poets crossed in Paris. It was there that Gumilyov met A. Tolstoy, M. Voloshin, A. Bely and others. Most of his poems were written in his native language and translated from the foreign language into the native language. A rare case of cultural transfer and cross-linguistic contact are poetic texts written by the author in a foreign language, based on the original in his native language (auto-translation from the native language), or subsequently written in his native language (auto-translation from a foreign language). The auto-translations by Nikolai Gumilyov (1886–1921) did not hav...
The poetry of the 20th century has become a real linguistic laboratory. The transition from traditional (national) systems of versification to free verse and, what is especially important, to international free verse, which can be... more
The poetry of the 20th century has become a real linguistic laboratory. The transition from traditional (national) systems of versification to free verse and, what is especially important, to international free verse, which can be translated faster and with less distortion, made it possible to reduce the time gap in the reception of American authors in France and French authors in the USA. John Ashbury, a prominent representative of the New York School, who lived in France for about 10 years, Denis Roche and Marcelin Pleine — members of the editorial board of the avant-garde magazine Tel Quel, the theorist of intransitive writing R. Barthes were active participants in the transatlantic dialogue of poets in the middle of the 20th century. The texts of John Ashbery and Denis Roche are an international vers libre created according to the principle of intransitive writing. R. Barth, also participating in the French-American dialogue, analyses the peculiarities of writing of the period i...
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The influence of French culture on the poetry of M. Tsvetaeva was noted by her contemporaries (B. Pasternak, S. Bobrov), and also became the subject of scientific research (for example, N. Strelnikova). However, the relationship of her... more
The influence of French culture on the poetry of M. Tsvetaeva was noted by her contemporaries (B. Pasternak, S. Bobrov), and also became the subject of scientific research (for example, N. Strelnikova). However, the relationship of her poetry with the French writer work of the romanticism era, M. Desbordes-Valmore (1786-1859), which is almost forgotten in our days, is analyzed for the first time, which seems relevant in light of the growing interest in the role of women in European culture. The article uses a biographical method, with the involvement of the poetics of the rhythm of H. Meshonnik. The article examines the mentions of M. Desbordes-Valmore in M. Tsvetaeva’s poetry and in correspondence with B. Pasternak, provides a brief comparison of biographies in terms of their influence on the formation of a poetic voice. Their tragic fates have a lot in common: both survived revolutions, as a consequence the ruin of the family nest, extreme poverty, the loss of loved ones. The main...
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Proust et Bakhtine sont deux penseurs de l'imagination. Le dialogisme et la polyphonie, définis par Bakhtine, latents mais omniprésents chez Proust, résultent d'une aptitude particulière à l'écoute, à la source d'une... more
Proust et Bakhtine sont deux penseurs de l'imagination. Le dialogisme et la polyphonie, définis par Bakhtine, latents mais omniprésents chez Proust, résultent d'une aptitude particulière à l'écoute, à la source d'une comparable technique de transcodage sonore.
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Literary translation is a complex transformation of a work that requires identifying the principles and means of the language organization of the original text in order to involve the addressee in the reading process – the process by... more
Literary translation is a complex transformation of a work that requires identifying the principles and means of the language organization of the original text in order to involve the addressee in the reading process – the process by which the text produces an aesthetic effect. Often, the features of the text that present the greatest difficulties for translation constitute the artistic value of the author's style. Working with a text not previously translated into Russian is only possible after students have mastered the course of contrastive grammar of both languages, as well as the course of literary history of the corresponding era. Working on M. Desbordes-Valmore's tales, never before translated into Russian, together with the students of Lomonosov Moscow State University, Faculty of Philology, made it possible to draw attention to some features of the discourse organization of this littlestudied author. During two semesters eighteen tales by Marceline Desbordes-Valmore...
In the era of romanticism the genre of autobiography becomes especially popular. The French writer Marceline Debordes-Valmore (1786–1859) published a novel "A Painter's Studio" in 1833, which consists of chapters-short... more
In the era of romanticism the genre of autobiography becomes especially popular. The French writer Marceline Debordes-Valmore (1786–1859) published a novel "A Painter's Studio" in 1833, which consists of chapters-short stories based on her own memories (two parts, 41 chapters). The action takes place in the studio of the painter, whose prototype is Constant Debord, Marceline's uncle. In the XX century the novel was repeatedly reprinted, and publishers emphasized the autobiographical nature of this work. Published in 1922 under the title "the Youth of Marceline", the novel "missed" 15 chapters, extracted by the caring hand of Boyer D'agen, who felt that Marceline sometimes "sins against her own biography". In 1949 the reissue of the novel was undertaken by Louis Aragon. In the novel, many characters are contemporaries of the writer. The relationship between fictional and autobiographical can be understood with the help of the commen...
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Contributeurs : Gérard Abensour, Hélène Arjakovsky, Mikhaïl Bakhtine, Ekaterina Belavina, Sergeï Botcharov, Galina Ivanovna Danilina, Evelyne Enderlein, Luc Fraisse, Roberto Gac, Armelle Groppo, Françoise Lesourd, Anna Lushenkova Foscolo,... more
Contributeurs : Gérard Abensour, Hélène Arjakovsky, Mikhaïl Bakhtine, Ekaterina Belavina, Sergeï Botcharov, Galina Ivanovna Danilina, Evelyne Enderlein, Luc Fraisse, Roberto Gac, Armelle Groppo, Françoise Lesourd, Anna Lushenkova Foscolo, Nikolai Ivanovich Nikolaev, Ioulia Podoroga, Lev Poumpiansky, Layla Raïd, Jérôme Roger, Polina Rybina, Alexandre Taganov et Tatiana Victoroff.
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Henri Meschonnik’s legacy includes diversified, multidisciplinary, interdisciplinary research. The history and theory of literature, philosophy and linguistics underlie his methodology for studying rhythm. To analyze the text, Meshonnik... more
Henri Meschonnik’s legacy includes diversified, multidisciplinary, interdisciplinary research. The history and theory of literature, philosophy and linguistics underlie his methodology for studying rhythm. To analyze the text, Meshonnik uses the stress system, in particular, the prosodic stress that occurs on the first syllable of a word when its first consonant is repeated in a verse or in a prosaic sentence. The existence of prosodic stress, which is understood in this way, is ignored by phoneticians. The stress in the text is presented in the theory of Madden as a symbolic display of a clot of energy, since initially stress in speech concentrates muscular effort. The article makes an attempt to determine what is the current status of prosodic stress, an important element of A. Meshonnik’s analytical apparatus. Stress has measurable acoustic parameters (intensity, pitch, duration), so an experiment was carried out (using a Praat speech analyzer). The stress on the first syllable i...
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Résumé L’article étudie les représentations féminines dans des romans espagnols contemporains, dits « de la mémoire » ou mémoriels (Dulce Chacón, La voz dormida (2002), Alfons Cervera, Maquis (1997), Manuel Rivas, Las voces bajas (2012)),... more
Résumé L’article étudie les représentations féminines dans des romans espagnols contemporains, dits « de la mémoire » ou mémoriels (Dulce Chacón, La voz dormida (2002), Alfons Cervera, Maquis (1997), Manuel Rivas, Las voces bajas (2012)), qui innovent dans leur présentation du rôle et de la part des femmes dans la revendication historique et politique, dans le combat des idées et des corps et de la mémoire. Les nombreux personnages féminins de compagnes, filles, mères, sœurs de militants, elles-mêmes militantes ou combattantes, dans les romans contemporains, post Transition démocratique (1975), surtout depuis les années 1990, sont des figures qui revendiquent et affirment leur identité et leur engagement. Nous étudierons leur représentation, leur caractère hors norme et les objectifs éthiques de romans qui redonnent aux personnages féminins, reflets de femmes espagnoles des années 1930-60, leur place dans l’histoire et dans la société contemporaines
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Le destin de Marceline Desbordes-Valmore (1786-1859) est devenu une sorte de mythe culturel qui a inspiré des poètes et des prosateurs en Europe et en Russie. Poète et comédienne, elle a vécu une vie pleine d’évènements, de douloureuses... more
Le destin de Marceline Desbordes-Valmore (1786-1859) est devenu une sorte de mythe culturel qui a inspiré des poètes et des prosateurs en Europe et en Russie. Poète et comédienne, elle a vécu une vie pleine d’évènements, de douloureuses séparations et de deuils, elle a connu des revers de la vie littéraire et artistique. Desbordes-Valmore n’est pas devenue aussi célèbre que ses grands contemporains Lamartine ou Musset, mais son œuvre est une partie indissociable de l’époque du romantisme. Elle était admirée par Hugo, Baudelaire, Verlaine, Aragon, mais aussi parmi ses lecteurs attentifs il faut citer tels poètes russes que A.Pouchkine, M.Lermontov, M. Tsetaeva, B. Pasternak
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Belavina Ekatetina. Philippe Jaccottet et Olga Sedakova : une expérience d’une traduction vivante. In: Modernités Russes, n°17, 2018. Traduire la poésie. pp. 181-191
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The article examines the peculiarities of the lyrics of contemporary French poet Philippe Jaccottet, his approaches to translation in comparison with the translation strategies of Russian poet Olga Sedakova and their practical... more
The article examines the peculiarities of the lyrics of contemporary French poet Philippe Jaccottet, his approaches to translation in comparison with the translation strategies of Russian poet Olga Sedakova and their practical implementation in Jaccottet's translations into Russian. The aesthetic proximity makes the worldviews of these two poets mutually transparent for each other. For both, translation is first and foremost an experience of understanding, the art of translation for both is an opportunity to express their philosophy of language.
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-"Откройте Марселину Деборд-Вальмор, и вся литература, как зонтик, вывернется наизнанку, закройте Марселину,-и все вернется на свои места,"-хочется воскликнуть мне, перефразируя слова Понжа о Лотреамоне. Казалось бы, чей голос мог быть... more
-"Откройте Марселину Деборд-Вальмор, и вся литература, как зонтик, вывернется наизнанку, закройте Марселину,-и все вернется на свои места,"-хочется воскликнуть мне, перефразируя слова Понжа о Лотреамоне. Казалось бы, чей голос мог быть скромнее и тише? Рецепция творчества Марселины Деборд-Вальмор в России растянулась во времени, среди ее читателей и почитателей можно назвать Пушкина, Лермонтова, Пастернака и Цветаеву.
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Два поэта, два великих путешественника, Николай Гумилев и Блез Сандрар были друг другу современниками, почти ровесниками по году рождения.Творчество Гумилева и Сандрара – яркий пример пересечения литературных путей России и Франции.... more
Два поэта, два великих путешественника, Николай Гумилев и Блез Сандрар были друг другу современниками, почти ровесниками по году рождения.Творчество Гумилева и Сандрара – яркий пример пересечения литературных путей России и Франции. Россия влекла Сандрара, Франция – Гумилева. На примере их творчества - синхронический срез, сходная тематика - ярко видно различие развития поэтических систем Франции и России.
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Lle kakemphaton est une anagramme inconsciente, et du point de vue de la psychanalyse, son mécanisme doit être proche d’un lapsus révélateur. Le mot kakemphaton appartient plutôt aux dictionnaires de rhétorique qu’au langage quotidien,... more
Lle kakemphaton est une anagramme inconsciente, et du point de vue de la psychanalyse, son mécanisme doit être proche d’un lapsus révélateur. Le mot kakemphaton appartient plutôt aux dictionnaires de rhétorique qu’au langage quotidien, mais le procédé même est largement utilisé dans le discours poétique. Le kakemphaton est une des manifestations de l’imagination auditive qui forme à tout instant des images à partir des données physiques et acoustiques.
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Это интервью, проведенное Ильей Божовиком, было опубликовано в Белграде в еженедельнике “Студент” 22 апреля 1969 г.