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Борьба с ностальгией как поэтический прием в поздней лирике Марины Цветаевой

100%
Войтехович Р.
Studia Rossica Posnaniensia
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2019
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vol. 44
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issue 1
63-72
RU
Tsvetaeva spent seventeen years in exile and could not avoid the topic of nostalgia. However, her solution of the theme is polemical against the dominant tendencies in emigrant literature. Instead of aspiration to return to a concrete place, to the unchangeable organization of life (prerevolutionary Russia), she forges baroque-romantic type of nostalgia as a desire for eternal movement following a mobile target (after Charles Baudelaire).
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Пространства Марины Цветаевой

88%
Voitekhovich R.
Studia Rossica Posnaniensia
|
2021
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vol. 46
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issue 2
27-49
EN
The hallmarks of space in Tsvetaeva’s poetic world are vertical orientation, two-worldness (many-worldness), measurability, and “immensity”, often expressed by asymmetry. Tsvetaeva’s model of the double world is presented both in its pure form and in a multilayer one (the model of “matryoshka” according to Lotman) with a hierarchical vertical correlation of spaces. The vertical sets the plots, stylistics, system of characters, system of time and expectations of the reader. Tsvetaeva is a bright representative of irrational tendencies in art, which manifest themselves against the background of rational ones, through their violation. Thus, The Attempt of a Room (1926) builds on an imaginary effort to present a hexagonal box of a rendezvous, but fails. The last poem I Keep Repeating the First Verse… (1940) is a poetic reaction to the “mistake in counting”: there should be not six but seven souls at the table. In one of her poems, Tsvetaeva calls herself “one who has edited the miracle with numbers”. This formula aphoristically expresses the nature of creativity asfirst intuitive search, and then rational design. The mathematical calculation of the composition of her books is an analogue of the metric-stanzaic “frame” of her lyrics. In the given proportions she often uses a deliberate failure by one unit (for example, in the collection From Two Books she adds one extra poem, which was originally missing in these two books).
3
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Conjuring Life: Magic in the Poetics of Marina Tsvetaeva

75%
Lane T.
Poznańskie Studia Slawistyczne
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2013
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issue 4
EN
This article discusses the notion of magic in the poetics of Marina Tsvetaeva (1892–1941) against the backdrop of romanticism and Russian modernism. Magic is related to the poet’s explorations  of folklore,  and  also  to  Romantic,  symbolist  and  futurist  invocations  of  it. Concepts  of  magic  are central  to  Tsvetaeva’s  poetics;  she  considers  conjuration  to  be a  property  of  language  that facilitates  contact  with  the  demonic,  elemental  and  natural aspects of the world. These elemental aspects are not to be considered merely as the poet’s mythologisations of the world, but also as her reflections on the capacity of poetic language to speak of what is otherwise hidden in the world. 
4
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Wojaczek – Cwietajewa. Przeklęte pokrewieństwo

63%
Wojtyła K.
Iudaica Russica
|
2020
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issue 2(5)
83-97
RU
В статье описаны ранние неизвестные интертекстуальные отношения и родство между Мариной Цветаевой и Рафалом Воячеком. Автор указывает на аналогии как в биографической, так и в текстовой сферах. Первая из них охватывает экзистенциальные и мировоззренческие проблемы, а также мифотворческие аспекты с упором на факт самоубийственной смерти (обоих авторов). Вторая - тематизацию, организацию поэтического высказывания и формальные приемы. На первом плане стоят фигуры „негра” и „еврея”, а также вопросы касающиеся противоположных категорий: вина и наказание, жизнь и смерть, sacrum и profanum.
EN
The article describes previously unknown intertextual relationships and kinships between Marina Tsvetaeva and Rafał Wojaczek. The author reveals analogies in both the biographical and the textual spheres. The first one contains the existential and ideological problems as well as myth-forming aspects focusing on the fact of suicidal death (of both authors), the second one the thematization, organizing poetic statements and identical formal resolutions. The figures of “the Negro” and “the Jew” come to the fore as well as the issues centered around the anti-aesthetic categories: guilt and punishment, life and death, sacrum and profanum.
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