The generic intertext of psalms in the poetry of Marina Tsvetaeva (1892-1941)

This study investigates the presence of the genre of psalms in Tsvetaeva's poetry by means of Alastaire Fowler's theory of the historical persistence of literary genres throughout history. The main argument is that in her intertextual use of psalms Tsvetaeva develops further some of their typical features such as the expression of bafflement at God's passivity or an over-familiarity in addressing God; although these features are already present in psalms, they are not given a full-blown realisation because of the religious restrictions reigning at the time and context in which they were written. Chapter One presents the theoretical tools used in this research, namely the concomitant concepts of intertextuality and genre: intertextuality focuses on how texts differ from one another, while genre theory highlights the resemblance existing between a set of texts. Taken together these concepts offer a balanced and multisided approach. Chapter Two presents the psalms and outlines its importance in Russian poetry. It also discusses Tsvetaeva's spiritual outlook. Chapter Three demonstrates that the integration of the generic intertext of psalms into Tsvetaeva's poetry results in the modification of their praying function: Tsvetaeva's psalm-like praises to God contain a veiled expression of doubt that is absent from the Psalter; another change of the praying function of psalms performed in Tsvetaeva's poetry consists in the implicit denunciation of the absence of a feminine voice. Chapter Four shows that Tsvetaeva's mixture of the psalmic intertext with the genre of diary-writing, epistolary writing and folk songs create a fruitful interaction between the universal tone of the psalmist and the private concerns voiced in diary, letters or folk laments. Chapter Five shows that in her poetry Tsvetaeva develops further some typical features of psalms such as the theme of the sacred land and that of God's passivity

RECENSION DE LA TRADUCTION DE LA VIE DE TOURGUÉNIEV DE BORIS ZAITSEV, TRADUCTION RÉALISÉE PAR ANNE KICHILOV (PARIS : YMCA-PRESS, 2018)

The review examines the French translation of the book “The Life of Turgenev” by Boris Zaytsev, published in the spring of 2018. That variant of Ivan Turgenev biography was originally published in Russian in Paris, in 1949. However, it took more than half a century to give the French public a chance to get to know the life of the Russian writer better, thanks to the French translation of the book by Boris Zaytsev. The study of Turgenev’s life is relevant, on the one hand, due to the fact that his works have French roots and the year of 2018 marks the 200th anniversary of his birth. On the other hand, the resurgence of interest in the personality of the Russian writer was brought about by the publication of the French translation of his biography written by Boris Zaytsev. The method of comparative analysis applied in the review made it possible to compare the biography written by Zaytsev to previous biographies of Ivan Turgenev in French. It should be noted that Boris Zaytsev is still little known to the French readers. However, the biography of Ivan Turgenev written by him has a special artistic value, as there is a definite and very deep spiritual relationship between him and the writer himself. The objective of this review is to assess the quality of the translation made by the French translator Anna Kishilov. It is necessary to pay tribute to the work of the translator, who successfully managed to convey not only the richness of Boris Zaytsev’s Russian language, but also preserve the originality of his style, as well as many nuances and details in Ivan Turgenev’s life description. The conclusion is made that thanks to this translation of the biography of Ivan Turgenev, the French readers will discover the impressionistic style of the original text, sometimes ironic, sometimes slightly melancholic. Miraculously enough, Anna Kishilov has managed to convey the unique style of Boris Zaytsev

The generic intertext of psalms in the poetry of Marina Tsvetaeva (1892-1941)

This study investigates the presence of the genre of psalms in Tsvetaeva's poetry by means of Alastaire Fowler's theory of the historical persistence of literary genres throughout history. The main argument is that in her intertextual use of psalms Tsvetaeva develops further some of their typical features such as the expression of bafflement at God's passivity or an over-familiarity in addressing God; although these features are already present in psalms, they are not given a full-blown realisation because of the religious restrictions reigning at the time and context in which they were written. Chapter One presents the theoretical tools used in this research, namely the concomitant concepts of intertextuality and genre: intertextuality focuses on how texts differ from one another, while genre theory highlights the resemblance existing between a set of texts. Taken together these concepts offer a balanced and multisided approach. Chapter Two presents the psalms and outlines its importance in Russian poetry. It also discusses Tsvetaeva's spiritual outlook. Chapter Three demonstrates that the integration of the generic intertext of psalms into Tsvetaeva's poetry results in the modification of their praying function: Tsvetaeva's psalm-like praises to God contain a veiled expression of doubt that is absent from the Psalter; another change of the praying function of psalms performed in Tsvetaeva's poetry consists in the implicit denunciation of the absence of a feminine voice. Chapter Four shows that Tsvetaeva's mixture of the psalmic intertext with the genre of diary-writing, epistolary writing and folk songs create a fruitful interaction between the universal tone of the psalmist and the private concerns voiced in diary, letters or folk laments. Chapter Five shows that in her poetry Tsvetaeva develops further some typical features of psalms such as the theme of the sacred land and that of God's passivity

L’utopie critique dans l’œuvre de Rousseau

Cet article est un compte-rendu du livre : Antoine Hatzenberger, Rousseau et l’utopie. De l’État insulaire aux cosmotopies, Paris : Honoré Champion, 2012, 731 p., EAN 9782745322524.</jats:p

Le Cercle Linguistique de Prague, entre questionnement idéologique &amp; découverte scientifique

Cet article est un compte-rendu du livre : Patrick Sériot, Structure et totalité. Les origines intellectuelles du structuralisme en Europe centrale et orientale, Limoges : Éditions Lambert‑Lucas, 2012, 335 p., EAN 9782359350449.</jats:p

The generic intertext of psalms in the poetry of Marina Tsvetaeva (1892-1941)

This study investigates the presence of the genre of psalms in Tsvetaeva's poetry by means of Alastaire Fowler's theory of the historical persistence of literary genres throughout history. The main argument is that in her intertextual use of psalms Tsvetaeva develops further some of their typical features such as the expression of bafflement at God's passivity or an over-familiarity in addressing God; although these features are already present in psalms, they are not given a full-blown realisation because of the religious restrictions reigning at the time and context in which they were written. Chapter One presents the theoretical tools used in this research, namely the concomitant concepts of intertextuality and genre: intertextuality focuses on how texts differ from one another, while genre theory highlights the resemblance existing between a set of texts. Taken together these concepts offer a balanced and multisided approach. Chapter Two presents the psalms and outlines its importance in Russian poetry. It also discusses Tsvetaeva's spiritual outlook. Chapter Three demonstrates that the integration of the generic intertext of psalms into Tsvetaeva's poetry results in the modification of their praying function: Tsvetaeva's psalm-like praises to God contain a veiled expression of doubt that is absent from the Psalter; another change of the praying function of psalms performed in Tsvetaeva's poetry consists in the implicit denunciation of the absence of a feminine voice. Chapter Four shows that Tsvetaeva's mixture of the psalmic intertext with the genre of diary-writing, epistolary writing and folk songs create a fruitful interaction between the universal tone of the psalmist and the private concerns voiced in diary, letters or folk laments. Chapter Five shows that in her poetry Tsvetaeva develops further some typical features of psalms such as the theme of the sacred land and that of God's passivity.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

The generic intertext of psalms in the poetry of Marina Tsvetaeva (1892-1941)

This study investigates the presence of the genre of psalms in Tsvetaeva's poetry by means of Alastaire Fowler's theory of the historical persistence of literary genres throughout history. The main argument is that in her intertextual use of psalms Tsvetaeva develops further some of their typical features such as the expression of bafflement at God's passivity or an over-familiarity in addressing God; although these features are already present in psalms, they are not given a full-blown realisation because of the religious restrictions reigning at the time and context in which they were written. Chapter One presents the theoretical tools used in this research, namely the concomitant concepts of intertextuality and genre: intertextuality focuses on how texts differ from one another, while genre theory highlights the resemblance existing between a set of texts. Taken together these concepts offer a balanced and multisided approach. Chapter Two presents the psalms and outlines its importance in Russian poetry. It also discusses Tsvetaeva's spiritual outlook. Chapter Three demonstrates that the integration of the generic intertext of psalms into Tsvetaeva's poetry results in the modification of their praying function: Tsvetaeva's psalm-like praises to God contain a veiled expression of doubt that is absent from the Psalter; another change of the praying function of psalms performed in Tsvetaeva's poetry consists in the implicit denunciation of the absence of a feminine voice. Chapter Four shows that Tsvetaeva's mixture of the psalmic intertext with the genre of diary-writing, epistolary writing and folk songs create a fruitful interaction between the universal tone of the psalmist and the private concerns voiced in diary, letters or folk laments. Chapter Five shows that in her poetry Tsvetaeva develops further some typical features of psalms such as the theme of the sacred land and that of God's passivity.EThOS - Electronic Theses Online ServiceGBUnited Kingdo