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1

„Metafizyka” życia Mariny Cwietajewej

100%

Janczuk E.

Studia Interkulturowe Europy Środkowo-Wschodniej

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2018

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vol. 11

174-199

PL

Feature of oeuvre of Marina Tsvetaeva – the predominance of the motive of death. Henry Gorchakov discovers this topic in sixty percent of the poet’s works of M.Tsvetaeva. Naturally, reflections on death are accompanied by reflections on life. The article analyzes the peculiarities of development of Tsvetaeva’s work of another constant motive – the motive of life, the concept of which is found out in a complex metaphysical context of thinking. Particular attention is paid to the diversity of approaches to understanding life and their changes. At the same time, the poet does not develop his own philosophy of life, focusing on the world of experiences, on the one hand, or on a holistic and volatile reality, on the other.

2

Pożegnalne listy Mariny Cwietajewej w tłumaczeniach na język polski – unisono czy polifonicznie?

100%

Ojcewicz G.

Acta Neophilologica

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2021

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vol. XXIII/1

239-258

EN

The subject of the author’s considerations are three letters written by Marina Tsvetaeva before her death. All three letters were subject to a translation analysis. The author focuses here on transformation procedures in order to discover the strategies applied by each translator and to answer the question: do these renditions create a poetic unison or a translator’s polyphonic version? Following the analysis, it is argued that, by principle, the Polish versions of farewell letters written by Marina Tsvetaeva provide very similar arrangements with regard to their content and form, which leads to the conclusion that these translations represent the poetics in unison. However, at times, especially in the version translated by Anna Piwkowska there is the visible polyphonic tendency of disparities between the target text and the end result.

3

Polskie inspiracje Mariny Cwietajewej

100%

Janchuk E.

Acta Polono-Ruthenica

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2008

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vol. Tom 1 Nr XIII

57-77

EN

The article introduces new results of the genealogy research into Marina Cvetaeva’s family, particularly of its Polish line that can be traced back to the poet’s grandmother Maria Bernacka (Mayn). The approximate life periods of the poet’s Polish ancestors such as: grand grandmother Marianna Leduchovska and grand grandfather Luka Bernatsky, as well as grand grand grandfather Stanislav Leduchovsky and grand grand grandmother Elzhbeta Hoffman till the dynasty’s legendary founder Nestor Halka Leduchovsky count Shalava (Salava) (who was lived in the middle of the 15th century) have been set. The second part of the article draws the readers’ attention to some great Polish characters who provided the inspiration for Cvetaeva’s poems, e.g. the pretender for the Russian throne called Dymitri the Impostor, Marina Mnishek, Isabella Chartorysky and the poet’s grandmother. Besides her poetic inspirations this part of the article is also focused on the process of creating and rethinking the conception of characters, that took place in her poetic mind after sometime. The analysis of the poetical pieces is supplemented with commentary and some remarks, taken from the poet’s memories and essays as well as some other sources.

4

О ПРИЕМЕ «УСВОЕНИЯ»: ЛЮБОВЬ АРМАНА-ЛУИ ЛОЗЕНА И ИЗАБЕЛЛЫ ЧАРТОРЫЙСКОЙ В ПЬЕСЕ МАРИНЫ ЦВЕТАЕВОЙ ФОРТУНА

88%

Janczuk E.

Acta Neophilologica

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2015

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vol. XVII/1

103-112

EN

This article discusses the poetics of appropriation of historical and literary material as a way of the reevaluation of the past proposed by M. Tsvetaeva. In the poet’s consciousness, the coexistence and comparison of different times and historical parallels are inevitably linked to her presence and, at the same time, the material employed by Tsvetaeva does not only show any reality, but it recreates reality according to her own vision of this particular material. Tsvetaeva accentuates the primacy of created reality over historical existence. One part of Tsvetaeva’s play Fortuna presents the transformation of the real love story between Izabela Chartoryska and duke Lauzan into a literary history, and finally the process of the disappearance of this story in her real life. ‘Disappearance’ of Lauzan’s image leads the poet in her life and Tsvetaeva becomes engaged with Lauzan by a very idiomatic relationship.

5

Każda droga ma kres (tragiczna przystań reemigrantki Mariny Cwietajewej w Jełabudze w świetle Dzienników Gieorgija Efrona)

88%

Ojcewicz G.

Acta Neophilologica

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2019

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vol. XXI/2

141-158

EN

This paper presents the last few days in the life of Marina Tsvetaeva spent in Yelabuga, which eventually led the writer to commit suicide. The notes included in the diary of her son, Georgy Efron, are an important and original source of knowledge on Tsvetaeva’s mental and physical state. The 16-year-old boy’s reaction to the death of his mother may come as a surprise if a broader social and biographical context (a migrant and remigrant biography of the poetess and her teenage son as well as the reality of the Stalinist country, where – contrary to the assurances made by the propaganda – there was no safe haven for people returning from post-Revolution exile) is not taken into consideration.

6

The Structure of Artistic Expanse in Marina Tsvetaeva’s Autobiographical Essay Mother and Music

88%

Бетко И.

Slavia Orientalis

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2020

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vol. LXIX

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issue 4

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ВОЗРАСТНЫЕ МОТИВЫ В ТВОРЧЕСТВЕ МАРИНЫ ЦВЕТАЕВОЙ

75%

Janczuk E.

Conversatoria Litteraria

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2017

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vol. 11

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issue XI

225-241

RU

In the work of Marina Tsvetaeva, autobiographical in nature, successively trace motifs, exploring the characteristics of the different ages of her life: childhood, adolescence, youth and old age are clearly traced while late adolescence and maturity in her work is less consistently defined. A special place in her work takes the problem of being out of age, having no connection with age.

8

O genezie „cielesnych” motywów w twórczości Mariny Cwietajewej

75%

Janczuk E.

Studia Interkulturowe Europy Środkowo-Wschodniej

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2017

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vol. 10

86-111

PL

It is difficult to form a coherent conception of Marina Tsvetaeva’s considerations about the body, as sometimes they contradict each other and sometimes they complement each other. However, they were changing as new experiences were accumulated. From the idea that the body is like a wall or an obstacle in the way, Tsvetaeva moves to the idea of the body as a separate zone of her personality, where freedom and democracy go along with subjection, and where the rigorous part of the personality – soul is to be subdued. When the poet starts to lose contact with the body, when she becomes convinced that she no longer can identify with it, she experiences a stormy passion in which she hopes to complete her own incarnation. However, she comes to the conclusion that the nature of her body is flawed and the signs of gender are not proper. She consciously resigns from love, claiming that love and creativity cannot be reconciled. Her body bothers her, it seems to cast a veil on the true reality, which is invisible and “by which one thinks”. After another period of her soul and body disassociation, she comes to the conclusion that she did not know her body at all.

9

Muzyczno-synestezyjna przestrzeń Mariny Cwietajewej w eseju autobiograficznym „Matka i muzyka”

75%

Ojcewicz G.

Acta Neophilologica

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2020

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vol. XXII/1

149-170

EN

The author presents Marina Tsvetaeva’s musical and synaesthetic space on the basis of My Mother and Music, her autobiographical essay. Synaesthesia, although present in the life of Tsvetaeva as a young child and adult poet, is not especially depict-ed in this particular piece of work. The writer chose her memories which encompass a significant period of time from her birth to her 42nd birthday as her main narrative focus. The musical sphere of the young child was presented through the piano and its attributes (the keyboard, pedals, music stand, metronome, notes, piano stool), which were a source of various – both positive and negative – experiences for this sensitive girl. Marina Tsvetaeva’s mother, unfulfilled as a pianist, undoubtedly played a toxic role in her musical education. Maria Tsvetaeva “drowned and killed her daughters with music”, making them feel an organic resistance towards required physical and mental efforts far too great for their age. The situation changed after her mother’s death when Marina could pour all her love for music into incredibly original lyric poetry, becoming one of the greatest writers of the 20th century.

10

DOM - OJCZYZNA W EMIGRACYJNEJ POEZJI M. CWIETAJEWEJ

75%

Ndiaye I. A.

Acta Neophilologica

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2008

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vol. X

139-146

EN

Home and its attributes as designata of the homeland in Tsvetaeva’s poetry occur in various pictures. These are among other things: home-reminiscence and home-dream. The first case con- cerns Russia before emigration. The second home is a metaphor of the return. The existence in exile, involving the fact of physical and spiritual alienation, entails the way of perceiving oneself. Tsvetaeva believed in the possibility of finding the way home, but it never arose.

11

Марина Мнишек: образ польки в русской поэзии

63%

Kovalev G. F.

Przegląd Rusycystyczny

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2023

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issue 1 (181)

12-27

RU

В статье рассмотрены два разных образа Марины Мнишек – воссозданных в художественных произведениях Пушкина и Цветаевой, а также существовавших – судя по автобиографическим и мемуарным источникам – в сознании этих великих творцов. Образ пушкинской Марины – идеала женской красота и манер – сформировался под воздействием уже сложившегося тогда стереотипа польской шляхтянки и личных впечатлений поэта о женщинах-польках из его окружения. Образ Мнишек у Цветаевой – личностный, а оттого противоречивый – скрещенный с собственной судьбой поэтессы.

EN

Despite the constant feuds between Poland and Russia, Russian men have always appreciated the beauty of a Polish woman, and they are featured in Russian literature. Therefore, it is not surprising that Alexandr Pushkin turned his attention to a woman who played an ambiguous role in the history of Russia. This woman was Marina Mnishek. Besides the fact that she became one of the main characters of the drama Boris Godunov, for the great Russian poet she was a symbol of female beauty, which allows us to learn the letters of the poet. Marina Tsvetaeva was in love with the image of Marina Mniszek. However, she explained this by the fact that she turned out to be the namesake of a famous Polish woman, and even an admixture of Polish blood in her pedigree.

PL

W artykule są rozpatrywane dwa różne obrazy Maryny Mniszek u Puszkina i Cwietajewej, zarówno te odtworzone w utworach, jak i w umysłach (wyobraźni) tych wielkich poetów. Obraz Maryny Puszkina jako ideału kobiecego piękna i wytwornych manier powstał pod wpływem ówczesnego stereotypu polskiej szlachcianki, a także osobistych kontaktów poety z Polkami z jego otoczenia. Wizerunek Cwietajewej przedstawiający Mniszek w sposób osobisty, a zatem pełen sprzeczności – powstał jako skrzyżowany z własnym losem poetki.

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Глубиннопсихологическое пространство материнского комплекса в творческом сознании Марины Цветаевой (на материале автобиографической прозы)

63%

Betko I.

Prace Językoznawcze

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2021

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vol. XXIII/1

137–150

PL

W artykule na podstawie autobiograficznej prozy Mariny Cwietajewej (w tym esejów: Matka i Muzyka, Historia jednej dedykacji, Mój Puszkin, a także Autobiografii etc.) podjęto próbę wstępnej analizy archetypowych motywów, kreujących głębinowo-psychologiczną przestrzeń kompleksu matki w obszarze twórczej świadomości pisarki. Metodologiczno- badawczą bazę pracy stanowią wybrane zagadnienia analitycznej psychologii Carla Gustava Junga, zaś na jej treść merytoryczną składają się cztery zasadnicze fragmenty. W pierwszym zostały wyłonione przeciwieństwa natury psychiczno-egzystencjalnej, ściśle związane z postrzeganiem obrazu matki przez jej pierworodną córkę oraz obarczające ją odpowiednim kompleksem. W drugim rozpatrywane są ciemne strony matczynej pedagogiki, pogłębiające ów kompleks. W trzecim naświetla się te pozytywne cechy wewnętrzne, które powstały w trakcie konfrontacji z matką pianistką córki poetki, walczącej o własną tożsamość twórczą. W czwartym są omawiane sposoby kompensacji traumy kompleksu matki. Ambiwalentny obraz matki, urastający do rangi potężnego symbolu, zarówno afirmowany, jak też demonizowany, był obecny w duszy Cwietajewej nie tylko za życia rodzicielki, lecz także po jej śmierci. Olbrzymią wartość poznawczo-estetyczną stanowi sam proces zgłębiania przez pisarkę zróżnicowanych motywów archetypowych, ostatecznie przywidujący werbalizację doświadczeń dokonanej samoanalizy w artystycznie doskonałych utworach prozatorskich.

EN

This article, based on the autobiographical prose of Marina Tsvetaeva (in this essays: Mother and Music, The Story of One Dedication, My Pushkin, and Autobiography etc.), attempts to analyze the archetypal motifs, that generate the deep-psychological space of the mother complex in the areas of the writer’s creative consciousness. The methodological and research base of the article are selected issues of analytical psychology of Carl Gustav Jung, while its substantive content consists of four main fragments. In the first one, psychic-existential opposites were identified, closely related to the perception of the mother’s image by her firstborn daughter and burdening her with an appropriate complex. The second deals with the dark sides of maternal pedagogy, which deepen this complex. The third highlights the positive internal features, that arose during the confrontation with the pianist mother of the poet’s daughter, who fought for her own creative identity. The fourth discusses ways to compensate for the trauma of the mother complex. Ambivalent image of the mother, growing to the rank of a powerful symbol, both affirmed and demonized, was present in Tsvetaeva’s soul not only during the lifetime of the mother, but also after her death. A great cognitive and aesthetic value is the process of writer exploring the different archetypal motifs, ultimately guiding the verbalization of the experience of self-analysis in artistically perfect prose work.

13

Идея простора в творчестве Марины Цветаевой

63%

Yantchuk E.

Acta Polono-Ruthenica

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2020

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vol. Tom 1 Nr XXV

87-102

RU

В данной статье рассматривается идея простора как феномена экзистенциально-эстетического порядка. В работах, посвященных творчеству М. Цветаевой, простор не был предметом специального изучения, хотя идея простора занимала поэта, а образы простора также представлены в значительном объеме как в ее прозе, так и в поэзии. В статье прослеживаются способы и направления расширения значения понятия простор в творчестве Цветаевой. Идея простора не была объектом специальной рефлексии поэта, однако простор становится достаточно прочной характеристикой пространства жизни и пространства смерти, простор она находила в действиях и предметах, в людях и отношениях с людьми, в себе самой, что давало ей возможность – в том числе, через простор – вступить в отношения со сферой, находящейся за границей действительности, со сферой метафизического.

EN

An expanse, as an existential-aesthetic phenomenon, is almost unex-plored in fact. It is also not considered as a subject of special study in works on the poetry of M. Tsvetaeva, although she was interested in the idea of expanse very much and the images of expanse are represented in her poetry and prose in a significant number. In the article, the directions and areas of a wider interpretation of the notion of expanse in the works of Marina Tsvetaeva are designated. The idea of expanse was not the object of the poet’s special reflection. But it is a frequently encountered characteristic of the space of life and the space of death, as both were described in her poetry and prose. She could find an expanse in actions and objects, in people and relationships with them, in herself. And through that vision of absolute expanse, she could communicate with the transcendental and metaphysical spheres.

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«Дубовый противовес». Семантико-стилистические функции слова «стол» в поэзии Марины Цветаевой

63%

Степновска Т.

Acta Universitatis Lodziensis. Folia Linguistica Rossica

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2016

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issue 12

149-161

EN

The article attempts to analyze semantic and stylistic functions of the word ‘table’ in Marina Tsvetaeva’s 1933 poetic cycle Table, which consists of seven poems, as well as in her last work, “I keep repeating the first poem” (1941).Tsvetaeva assigns several new meanings to the word „table”. Table is for her a synonym of creativity, hard work, God’s gift, a guardian and a friend, a bedrock, a throne, a road sign, and a plank for a coffin. In her last poem it becomes a tombstone, a grave where she longed to find herself after her daughter and husband were arrested in 1939.

RU

Статья является попыткой семантико-стилистического анализа функций слова «стол» в поэзии Марины Цветаевой на примере поэтического цикла стихотворений «Стол» (1933), состоящего из семи произведений, и последнего стихотворения поэтессы «Все повторяю первый стих...» (1941). Цветаева наделяет слово «стол» целым рядом новых значений. Для нее стол становится синонимом творчества, тяжелого труда, даром Бога, опекуном и другом, поддержкой, троном, путеводителем и одной из досок ее гроба. В последнем стихотворении он превращается в надгробную плиту, могилу, куда она желает попасть после ареста в 1939 году своей дочери и мужа службами безопасности советской России.

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„Metafizyka” życia Mariny Cwietajewej

Pożegnalne listy Mariny Cwietajewej w tłumaczeniach na język polski – unisono czy polifonicznie?

Polskie inspiracje Mariny Cwietajewej

О ПРИЕМЕ «УСВОЕНИЯ»: ЛЮБОВЬ АРМАНА-ЛУИ ЛОЗЕНА И ИЗАБЕЛЛЫ ЧАРТОРЫЙСКОЙ В ПЬЕСЕ МАРИНЫ ЦВЕТАЕВОЙ ФОРТУНА

Każda droga ma kres (tragiczna przystań reemigrantki Mariny Cwietajewej w Jełabudze w świetle Dzienników Gieorgija Efrona)

The Structure of Artistic Expanse in Marina Tsvetaeva’s Autobiographical Essay Mother and Music

ВОЗРАСТНЫЕ МОТИВЫ В ТВОРЧЕСТВЕ МАРИНЫ ЦВЕТАЕВОЙ

O genezie „cielesnych” motywów w twórczości Mariny Cwietajewej

Muzyczno-synestezyjna przestrzeń Mariny Cwietajewej w eseju autobiograficznym „Matka i muzyka”

DOM - OJCZYZNA W EMIGRACYJNEJ POEZJI M. CWIETAJEWEJ

Марина Мнишек: образ польки в русской поэзии

Глубиннопсихологическое пространство материнского комплекса в творческом сознании Марины Цветаевой (на материале автобиографической прозы)

Идея простора в творчестве Марины Цветаевой

«Дубовый противовес». Семантико-стилистические функции слова «стол» в поэзии Марины Цветаевой