1,721,213 research outputs found
Individual, yet collective voices: polyphonic poetic memories in contemporary Ukrainian literature
No full textQuesto articolo analizza la memoria polifonica nelle opere recenti di Serhij Žadan e Marianna Kijanovs'ka, due importanti scrittori ucraini contemporanei. Prima di concentrarsi su Žadan e Kijanovs'ka, vengono analizzati alcuni testi poetici di altri scrittori contemporanei in cui la memoria è tematizzata al crocevia di individualità e collettività. Nelle sue ultime raccolte, Žadan tende a modellare il suo universo poetico attorno a un soggetto lirico intento a raccogliere voci e memorie con l'obiettivo di preservarle dall'oblio. La raccolta del 2017 di Kijanovs'ka, Babyn Iar: Holosamy, è costituita da frammenti di memoria espressi dalle varie voci che costituiscono il suo soggetto collettivo, le vittime della tragedia di Babyn Jar del 1941. Nonostante la differenza tra questi due modelli di polifonia poetica, il primo veicolato attraverso la mediazione di un soggetto lirico e il secondo espresso direttamente dalle singole voci, questo articolo cerca di mostrare come la poesia recente di Žadan e Kijanovs'ka riesca a coniugare con successo la singolarità della memoria individuale con l'esperienza collettiva. La memoria poetica polifonica può oltretutto essere letta come una strategia per superare l'opposizione tra l'approccio “populista” e quello “modernista” alla letteratura che ha segnato l'autopercezione della letteratura ucraina fin dai primi anni del Novecento.This article analyzes polyphonic memory in recent works by Serhii Zhadan and Marianna Kiianovs'ka, two leading contemporary Ukrainian writers. Before focusing on Zhadan and Kiianovs'ka, the author analyzes some excerpts from poems by other contemporary writers in which memory is thematized at the crossroads of individual and collective remembering. In his latest collections, Zhadan has shown a tendency to shape his poetic world around a lyrical subject keen to collect human voices and memories with the aim of preserving them from oblivion. Kiianovs'ka’s 2017 collection Babyn Iar: Holosamy consists of memory fragments expressed by the various voices that constitute its collective subject, the victims of the 1941 Babyn Iar tragedy. In spite of the difference between these two models of poetic polyphony, the former conveyed through the mediation of a lyrical subject and the latter directly expressed by individual voices, the author here argues that Zhadan’s and Kiianovs'ka’s recent poetry successfully links the singularity of individual memory to the collective experience. He also argues that polyphonic poetic memory can be read as a strategy to overcome
the opposition between the “populist” and “modernist” approaches to literature that has marked the self-perception of Ukrainian literature since the early twentieth century
Writers, The Nation, And War: Literature Between Civic Engagement, Trauma and Aesthetic Freedom in Contemporary Ukraine
No full textLa cultura ucraina contemporanea è caratterizzata dall'idea che la letteratura debba servire da guida morale per un paese in guerra, riaffermando così il ruolo che gli scrittori ucraini hanno tradizionalmente ricoperto sin dagli inizi della modernità culturale ucraina all'inizio dell'Ottocento. Questo articolo si concentra sulla ricezione critica di Internat (Il convitto), un recente romanzo bellico dello scrittore di punta ucraino Serhij Žadan, e su alcuni testi poetici metaletterari di autori ucraini contemporanei come Pavlo Korobčuk e Borys Humenjuk, letti come esempi della tensione tra la questione nazionale e le arti nell'Ucraina di oggi.Contemporary Ukrainian literary culture is characterized by the expectation that literature should act as a moral guide for a country at war, reaffirming the traditional role that Ukrainian writers have played since the earlier phase of modern Ukrainian culture in the nineteenth century. In this article I analyse the critical reception of Internat, a recent war novel by leading Ukrainian writer Serhii Zhadan, and some examples of metaliterary poetry by contemporary Ukrainian writers Pavlo Korobchuk and Borys Humeniuk as instances of the tense relation between the national sphere and the arts in today's Ukraine
"As a Poet he is known to all of Russia". A rather fruitful Malentendu: Rilke and Spiridon Drožžin
No full textRilke’s interest in Russia and Russian culture is a well-established topic in the study of modern German-Slavic literary relationships. Nevertheless, scholars have paid little attention to Rilke’s exaggerated enthusiasm for the poetry of Spiridon Drožžin, a self-taught peasant-poet whom he visited during his second Russian trip in 1900. Rilke translated some poems by Drožžin and considered him one of the best living Russian literates. A possible explanation for Rilke’s unjustified captivation with the writings of a minor poet is to be found in the partial consonance of the prevailing imagery in Drožžin’s poems with Rilke’s own imagery in the three parts of his first masterpiece Das Stunden-Buch. The last part of this article is devoted to the idea of malentendu and its possible application to the case of Rilke’s involvement in Drožžin’s poetry
Taras Ševčenko in the Prose and Poetry of Vasyl’ Stus
Full text linkThe presence of Ševčenko in the poetry of Vasyl’ Stus and Stus’s widespread stereotypical image as a reincarnation of Ševčenko in the 20th century have occupied an important role in both literary studies and popularization. In my article I reconsider this fundamental issue by discussing Stus’s reception of Ševčenko in his critical essays, his letters, and his poetry. My focus is on both Ševčenko’s presence as a ‘fictional character’ in some poems by Stus and the overall influence of Ševčenko’s poetry on Stus’s poetic writing. Moreover, Stus’s representation of Ševčenko is compared with other images of the 19th-century poet in modern Ukrainian poetry from the Avant-garde up to the Seventies. In the conclusion I point out how Ševčenko’s Romanticism should not be confused with Stus’s Modernism. The former should be seen as a part of the complex intertextual mechanism which lies at the heart of Stus’s poetry
Author Correction: Uncovering the sources of DNA found on the Turin Shroud
Full text linkAn amendment to this paper has been published and can be accessed via a link at the top of the paper
La lirica di Vasyl' Stus
Full text linkVasyl’ Stus's (1938-1985) poetry is one of the richest and most complex chapters in the literary history of late Soviet Ukraine. His poems are not only born of the author’s talent, but also of his erudition and deep cultural awareness; Stus’s poetry eloquently shows the presence of a significant Modernist trend in the literature of the Ukrainian underground during the Age of Economic stagnation. Stus's Modernism is the ideal evolution of the Ukrainian poetic culture of the first decades of the century, and develops thanks to an intense intertextual dialogue with the European literature. Stus’s reception of Russian and German poetry, in addition to becoming the model for nineteenth-century and early-twentieth-century Ukrainian poetry, proves fundamental to fully understand his work’s literary palimpsest, which this volume offers a comprehensive reading of, from the early stages to the maturity’s collections
- …
