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The Penguin book of Russian poetry
\"Whether romantic, realistic, surreal, mocking or blackly comic, poetry has been at the heart of Russian life and culture for centuries. This new anthology presents the best of Russian verse, from the 'Golden Age' of Pushkin and his contemporaries, through the symbolist Alexander Blok and twentieth-century masters such as Osip Mandelstam and Marina Tsvetaeva, and on to lesser-known and modern works.\"--Back cover.
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Russian Silver Age Poetry
Russian Silver Age writers were full participants in European literary debates and movements. Today some of these poets, such as Akhmatova, Mandelstam, Mayakovsky, Pasternak, and Tsvetaeva, are known around the world. This volume introduces Silver Age poetry with its cultural ferment, the manifestos and the philosophical, religious, and aesthetic debates, the occult references and sexual experimentation, and the emergence of women, Jews, gay and lesbian poets, and peasants as part of a brilliant and varied poetic environment. After a thorough introduction, the volume offers brief biographies of the poets and selections of their work in translation—many of them translated especially for this volume—as well as critical and fictional texts (some by the poets themselves) that help establish the context and outline the lively discourse of the era and its indelible moral and artistic aftermath.
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Evgeny Boratynsky and the Russian Golden Age
Evgeny Boratynsky and the Russian Golden Age is the first metrical and rhymed translation of nearly all the lyrics by Evgeny Boratynsky (1800–1844), one of the greatest poets of the Golden Age of Russian poetry. Also included is the translation of two narrative poems ('Banqueting' and 'Eda') and the most characteristic passages from 'The Gypsy' and 'The Ball'. Each work is followed by a full annotation, in which, in addition to the background necessary for the understanding of the work, one finds an analysis of its form. In many cases, the poems on similar themes by Pushkin, Lermontov, Tyutchev, Yazykov and some later poets are included. In its entirety, the commentary provides a glimpse into Boratynsky’s literary epoch, his ties with his environment (Russian, French and German) and the influence he exercised on later poets.
A special feature of Evgeny Boratynsky and the Russian Golden Age is the translator’s strict adherence to the form of the original. In all cases, Anatoly Liberman attempts to reproduce not only the rhyming and the metrical scheme of the poems but also the sound effects and some of the special features of Boratynsky’s vocabulary, while remaining as close to the poet’s wording as possible. A long introduction provides the expected biographical information and acquaints the reader with the poetic climate of the Golden Age and with the history of translating Boratynsky into English.
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The Hand at Work
Focusing on the gestures of giving, touching, showing and handcrafting, this study examines key scenes of tactile interaction between subject and artifact. The readings of this book call for a revision of an optically obscured aesthetics and poetics to include haptic experience as an often overlooked but pivotal part of the making as well as the perception of literature and the arts.
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How Women Must Write
How Women Must Write studies how women who write poems were invented in late nineteenth and early twentieth-century Russia by women poets themselves, readers who derived poets of their own design from women's poems, and male poets who fabricated women and wrote poems on their behalf. These distinct vantage points on how the Russian woman poet is constituted foreground the complex interactions between writing women and their readers within ever-shifting social, political, and cultural power structures. Hasty's exploration takes us from an emphatically male Romantic age to a modernist period preoccupied with women's creativity but also its containment. Each chapter studies an episode from Russian cultural history. The first part explores the successes and vulnerabilities of Karolina Pavlova and Evdokiia Rostopchina, who lay the groundwork for women writing after them. The second part examines two women invented by men: Cherubina de Gabriak and Briusov's Nelli, who reflect the establishment's efforts to retain command over women's writing in the Silver Age. Last, Hasty examines Marina Tsvetaeva's and Anna Akhmatova's challenges to male authority. Illuminating these writers and characters not as passive victims of gender-driven limitations and disincentives but rather as purposeful actors realizing themselves creatively and advancing the woman poet's cause,How Women Must Write will appeal to the general reader as well as to specialists in Russian literature, women's studies, and cultural history.
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The Scribe’s Confession
This pocket-sized paperback is one of the thirty titles published for 2019 Hong Kong International Poetry Nights. The theme of IPHHK2019 is Speech and Silence. From 19–24 November 2019, 30 invited poets from various countries will be in Hong Kong to read their works based on the theme Speech and Silence. Included in the anthology and box set, these unique works are presented with Chinese and English translations in bilingual or trilingual formats.
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