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1

Venice from Another Perspective

100%

Cataluccio F. M.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2020

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issue 9

227-234

EN

This essay with a clearly personal touch is a narrative anchored in cultural texts which deals with experiencing Venice in a multi-faceted way. Talking about his many years of wandering around the city (in the company of, for instance, Joseph Brodsky) and describing places and architectural details important to him, the author argues that especially the mediation of painting, which also documented the history of Venice, allows for a better understanding of the phenomenon of the city. This fusion of the two modalities of experience is also reflected in the structure of the text, which closes the reflection on the contemporary condition of the city and various threats which Venice has to face.

2

Poetycka i translatorska valedictio: o jednym autoprzekładzie Josifa Brodskiego

100%

Weymann D.

Pamiętnik Literacki

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2014

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vol. 105

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issue 1

105-141

EN

The article examines the way a bilingual poet Joseph Brodsky translated one of his Russian language poems into English. Taking this lyrical poem as an example, the article aims to identify the poet’s practical approach to translation. It starts by examining how the poet views the poetic form and the translation process, and then proceeds to analyse both texts at different levels of verse structure to allow the reader to compare and understand the semantic functions of the poet’s choices. The conclusion is that, when recreating his poem in English, Brodsky primarily seeks to follow the formal matrix of the Russian original through mimetic translation. By so doing, he effectively “Russianizes” his English while trying to respect the nature of his target language at the same time. The article ends by proposing an interpretation of both texts which shows that, in reality, they are actually quite similar.

3

Польский компонент в поэтике Иосифа Бродского

88%

Barasz O.

Acta Polono-Ruthenica

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2015

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issue 20

147-155

EN

The article deals with the influence of Polish literature on the creative work of Joseph Brodsky. The relation of Brodsky’s poetry to Polish sources is shown on different text levels: phonetic, lexical, metrical and intertextual. It is maintained that some elements of Brodsky’s poetic technique are rooted in the works by M. Pawlikowska-Jasnorzewska, L. Pasternak, J. Iwaszkiewicz and M. Hlasko.

4

Шеймас Хини и Иосиф Бродский. Метафизика смерти в контексте христианской традиции

71%

Elepova M., Beloshitskaya N.

Roczniki Humanistyczne

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2022

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vol. 70

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issue 7

127-141

PL

W artykule analizie poddano poemat Seamusa Heaneya „Audenesque” [W stylu Audena], poświęcony pamięci Josifa Brodskiego. Autor przedstawia problem śmierci w kluczu transcendencji. Reminiscencje z Boskiej komedii Dantego i starosumeryjskiego Eposu o Gilgameszu nadają tekstowi utworu metafizyczną głębię i pozwalają stawiać „odwieczne pytania” o pośmiertne losy człowieka oraz nieśmiertelność. Wbrew własnej sekularnej świadomości lat dojrzałych Heaney, wychowany jako katolik, widzi rozstrzygnięcie problemu wyższego sensu bytu w systemie wskazań religijnych. W utworze stwierdza, że charakterystyczna dla Brodskiego „idolizacja” języka, kiedy język zamienia Boga i stanowi podstawę wszystkiego, co istnieje, jest niepewna. Na podstawie materiałów, wypowiedzi i wspomnień Heaneya oraz Brodskiego jest badany stosunek przedmiotowych poetów do duchowej sfery życia: trudna droga poszukiwań religijnych Heaneya, intuicyjne zakorzenienie irlandzkiego poety w tradycji chrześcijańskiej i metafizyczny nihilizm Brodskiego, odrzucającego jednoznaczną przynależność do jakiegokolwiek systemu wyobrażeń religijnych. W wierszu “Audenesque” [W stylu Audena] poprzez zmianę rejestru emocjonalnego i odniesienia intelektualne Heaney wyraziście uwydatnia nieujawniony za życia Brodskiego, ale ostro przejawiający się w świadomości irlandzkiego poety po śmierci przyjaciela konflikt metafizyczny, którego rozwiązanie jest możliwe jedynie w kontekście wyższych sensów religijnych.

EN

This article analyses the poem “Audenesque” by Seamus Heaney, dedicated to the memory of Joseph Brodsky. The poem addresses the phenomenon of death in a transcendental way. Reminiscences from Dante’s Divine Comedy and the ancient Sumerian epic of Gilgamesh give the text of the poem a metaphysical depth and allow us to pose those eternal questions about the posthumous fate of man and immortality. Contrary to the secularised outlook of his middle years, Heaney, a Catholic by upbringing, sees the solution to the problem of the ultimate meaning of being in the system of religious indications. In the poem, Heaney asserts the failure of language in the face of death, which is a characteristic of Brodsky’s “idolisation”, namely, when language replaces God and appears as the basis of all that exists. Drawing upon interviews, memoirs and statements by Heaney and Brodsky, the authors of the article reflect on the poets’ attitudes towards the spiritual life: Heaney’s religious searches, his profound intuitive rootedness in the Christian tradition, and Brodsky’s metaphysical nihilism, denying his belonging to any religion. In “Audenesque”, through the change of emotional registers and intertextual references, Heaney sharpens the metaphysical conflict. This conflict, which was implicit during Brodsky’s life, flared up in Heaney’s consciousness after his friend’s death. Heaney is certain that only in the context of ultimate spiritual meanings can the solution to this conflict be found.

RU

В статье анализируется стихотворение Шеймаса Хини «Оденское», посвященное памяти Иосифа Бродского, в которой автор в трансцендентном ключе обращается к проблеме смерти. Реминисценции из Божественной комедии Данте и древнешумерского Эпоса о Гильгамеше придают тексту произведения метафизическую глубину и позволяют ставить «вечные» вопросы о посмертной участи человека и бессмертии. Вопреки собственному секуляризованному сознанию зрелых лет Хини, католик по воспитанию, видит решение проблемы высшего смысла бытия в системе религиозных координат. В стихотворении он утверждает несостоятельность перед лицом смерти характерной для Бродского «идолизации» языка, когда язык замещает Бога и предстает как основа всего сущего. На основе материалов интервью, высказываний, воспоминаний Хини и Бродского рассматриваются позиции двух поэтов по отношению к сфере духовной жизни: трудный путь религиозных исканий Хини, интуитивную укорененность ирландского поэта в христианской традиции и метафизический нигилизм Бродского, отрицающего свою отчетливую принадлежность к какой-либо системе религиозных представлений. В стихотворении «Оденское» через смену эмоциональных регистров и интертекстуальные связи Хини до предела заостряет неявный при жизни Бродского, но остро вспыхнувший в сознании ирландского поэта после смерти друга метафизический конфликт, разрешение которого, по мысли поэта, возможно лишь в контексте высших духовных смыслов.

5

Od „nowego realizmu” ku poszukiwaniom awangardowym. Kilka uwag o współczesnej dramaturgii rosyjskiej

63%

Piłat W.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2013

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vol. Zeszyt specjalny 2013

43-48

EN

The article gives us some insight into the subsequent phases of development of contemporary Russian dramaturgy, which is illustrated by works of selected authors. For over two decades a new generation of playwrights has entered literature and it is this generation that is setting the trend in this sphere. The changes began with the journalistic drama by Mikhail Shatrov, whose debut was still in the Soviet times, and his follower was Aleksandr Buravskiy. The works of Vladimir Voinovich and close to it Joseph Brodsky’s dramaturgy stay on the border of journalist drama and psychological drama of manners. However, the forerunner of new drama was created by Lyudmila Petrushevskaya who preceded the dramaturgy of Alexei Schipenko, Nikolai Kolada, Maria Arbuzova. Further changes of dramatic form could be observed in plays by Yevgeni Grishkovets, Ivan Vyrypajev, the Presnyakov brothers who already belong to a new generation of playwrights.

6

Когнитивная метафора как один из способов вербализации эмотивных концептов

63%

Pieriepielicyna N.

Slavica Wratislaviensia

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2014

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vol. 158

321 - 327

EN

The present work is devoted to the phenomenon of cognitive metaphor and its role in shaping the emotional basis of Joseph Brodsky’s poetry. Cognitive metaphor in the poem Six years later is considered as an element of a complex mental space (the area of sensory or social experience). The phrases map the system of cognitive mechanisms in Russian consciousness, the metaphorical complex of representation of concepts such as Russian culture purity, humility, depression/ lack of freedom, despair and openness. In the poem these concepts create a kind of metaphorical coordinate system, which is based on the archetypal associations.

7

Миф как пространство индивидуально-творческой интерпретации

63%

Автухович Т.

Studia Wschodniosłowiańskie

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2019

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vol. 19

7-19

EN

The article on the example of poems by Boris Pasternak You in the wind, a branch sampling (1919) and Joseph Brodsky Illustration (L. Cranach’s “Venus with Apple”) (1964) discusses the changing of the use of myth in the poetry of the twentieth century. Both poets turned to the myth of Adonis, but in the Pasternak’s poem myth presented by the image of an anemone, and in Brodsky’s by the images of a boar and Venus. It is shown that the poems of Pasternak and Brodsky demonstrate the process of the reduction of myth in the literature of the twentieth century and its gradual transformation into “ready” word of the culture. Modernism as any transitional epoch carries out the compression of the preceding culture, translating her quest and achievements in the area of “ready words”, and therefore refers to the archetypal images that allow to create the text with unlimited semantic potential. Both Pasternak and Brodsky use the iconic images of myth to visualize the meaning, which thus leaves in the subtext and is expressed implicitly. Modernist poetry is aimed on the individual-personal interpretation of the mythological images and on the creation of the artist’s own spiritual space. At the same time, the remythologization of the image and, as a consequence, the sacralization of the author’s inner space takes the place.

8

Страсть влияния: поэтика Иосифа Бродского в книге стихов Андрея Драгунова "Monologica" (2002)

51%

Степанов А.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2018

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issue 11

169-181

EN

The article deals with the absorption of another writer’s poetics in Andrei Dragunov’s poetry. In Dragunov’s Monologica elements of Joseph Brodsky’s poetical method manifest themselves on various textual levels (rhythm, syntax, vocabulary, motifs, topoi). While the author may not consider it a form of borrowing, the reader is well aware of the other poet’s rhythmical, stylistic and ideological influence here. The younger poet seems to have directly appropriated the “alien discourse”, and another’s voice is not presupposed “in the imitator’s plan” (Mikhail Bakhtin, based on C. Emerson’s translation – Ed.). By comparing the two poets’ verses, the author comes to the conclusion that for Dragunov the borrowed form has become the sole and universal vehicle of expression, preserving the characteristics of the aesthetic norm and stylistic model.

RU

В статье рассматриваются элементы чужой поэтики в стихах Андрея Драгунова. В книге Monologica приемы Иосифа Бродского обнаруживают себя на разных уровнях текста (ритм, синтаксис, лексика, мотивика, топика). Если автор не осознает это как заимствование, то читатель видит здесь ритмический, стилистический, идеологический облик чужой оригинальности. Новый поэт как бы присваивает себе чужое слово, и этот другой голос «вовсе не входит в замыслы подражающего» (Михаил Бахтин). В ходе сопоставления стихов двух поэтов мы приходим к выводу, что чужая форма стала для Драгунова единственным и универсальным способом высказывания, сохраняющим признаки эстетического образца и стилистического шаблона.

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