22 research outputs found
Charlotte Krauss, Tatiana Victoroff, Ă©ds., Figures de lâĂ©migrĂ© russe en France aux xixe et xxe siĂšcles
Ce volume rassemble les actes, complĂ©tĂ©s et augmentĂ©s, du colloque du mĂȘme titre qui eut lieu Ă lâuniversitĂ© de Strasbourg en automne 2009. Les organisateurs du colloque et les directeurs du prĂ©sent ouvrage se sont proposĂ© dâ« oser une approche rĂ©solument neuve » (p. 16) qui va au-delĂ des divisions chronologiques et disciplinaires conventionnelles, car elle confronte un groupe hĂ©tĂ©rogĂšne dâexperts en histoire sociale, culturelle et littĂ©raire russe, française et europĂ©enne Ă la problĂ©matique..
L'émigration russe et les élites culturelles françaises 1920-1925
RĂ©sumĂ©Cet essai traite des rapports professionnels et intellectuels entre lâintelligentsia russe Ă©migrĂ©e et les Ă©lites culturelles françaises dans la premiĂšre moitiĂ© des annĂ©es 1920, sujet jusquâici ignorĂ© des Ă©tudes sur lâĂ©migration russe en France. Il sâagit de dĂ©montrer que nous disposons dâores et dĂ©jĂ de suffisamment de documents dâarchives et dâinformations bibliographiques susceptibles de remettre en cause radicalement les idĂ©es reçues sur lâĂ©migration russe, en particulier cette reprĂ©sentation mythique de lâisolement des Ă©migrĂ©s face aux Ă©lites culturelles françaises dans lâentre-deux-guerres. En partant du fait, dĂ©sormais bien documentĂ©, que dĂšs le dĂ©but de lâhistoire de lâexil, lâintelligentsia Ă©migrĂ©e chercha Ă rallier lâĂ©dition et la presse françaises, lâauteur dĂ©crit, sans prĂ©tendre en prĂ©senter un tableau exhaustif, quelques voies principales de lâeffort organisĂ© de la part de la diaspora russe pour crĂ©er un rĂ©seau de communication intellectuelle et culturelle avec ses hĂŽtes. Il sâagit, notamment, de lâĆuvre du ComitĂ© de secours aux Ă©crivains et aux savants russes en France ; de la crĂ©ation dâun lieu dâĂ©changes intellectuels sous lâĂ©gide de la SociĂ©tĂ© des amis des lettres russes ; ainsi que de projets dâĂ©ditions franco-russes entrepris Ă plusieurs reprises par les Ă©migrĂ©s dans la pĂ©riode concernĂ©e.AbstractThe early stages of the collaboration between the Russian Ă©migrĂ© intelligentsia and the French cultural elite, 1920-1925This article deals with the professional and intellectual interaction of the Russian Ă©migrĂ© intelligentsia and French cultural elite in the first half of the 1920s, a subject hitherto ignored in Russian exilic studies. It argues that students of Russia Abroad already have at their disposal enough archival and bibliographical data convincingly to discard some commonplace notions about the inter-war Russian Ă©migrĂ© experience, particularly the myth of Ă©migrĂ© isolation vis-Ă -vis the French cultural elite. After the initial survey of data concerning the place of Russian Ă©migrĂ©s in the French press and publishing, the article proceeds to describe and analyze the ways in which the exiled intelligentsia attempted to establish a communication network with its host culture, focusing on the activities of the âComitĂ© de secours aux Ă©crivains et aux savants russes en Franceâ and the âSociĂ©tĂ© des amis des lettres russesâ, as well as on the history of the efforts to mount a joint Ă©migrĂ©-French publishing venture
Le social contre lâesthĂ©tique
AbstractThis article analyzes the difficult cooperation between exiled Russian artists and the editors of Ă©migrĂ© political-literary periodicals, Zemgor activists who, for the most part, lacked appropriate esthetic notions. This is illustrated through several outstanding episodes: Vladislav Khodasevichâs clash with Vladimir Zeeler in the Ă©migrĂ© press concerning Boris Poplavskiiâs death, or Vladimir Nabokovâs confrontation with the editors of Sovremennye zapiski who refused to publish the fourth chapter of his novel The Gift because of the biography of N. G. Chernyshevskii it contained.(traduit par Christine COLPART)RĂ©sumĂ©Lâarticle analyse la difficile coopĂ©ration des artistes russes exilĂ©s avec les responsables des pĂ©riodiques politico-littĂ©raires de lâĂ©migration, activistes du Zemgor le plus souvent dĂ©pourvus de toute formation esthĂ©tique. Pour confirmer cette confrontation entre social et esthĂ©tique, lâarticle Ă©voque quelques Ă©pisodes marquants : le duel, par presse Ă©migrĂ©e interposĂ©e, entre Vladislav HodaseviÄ et Vladimir Zeeler Ă propos de la mort de Boris Poplavskij, ou encore le conflit entre Vladimir Nabokov et la rĂ©daction des Annales contemporaines qui refusait de publier le quatriĂšme chapitre du roman de Nabokov Le Don, compte tenu de la biographie de N. G. ÄernyĂevskij qui y Ă©tait faite
Nina Berberova et la mythologie culturelle de lâĂ©migration russe en France.
RĂ©sumĂ©Dans leurs efforts pour comprendre et dĂ©crire lâexpĂ©rience de lâexpatriation, les Ă©crivains russes Ă©migrĂ©s produisirent un certain nombre de modĂšles idĂ©aux de leur activitĂ© littĂ©raire en exil. Lâeffort de conceptualisation de lâexil Ă travers des modĂšles idĂ©aux impliquait le recours Ă plusieurs mythes grĂące auxquels pouvait sâopĂ©rer la traduction de lâexpĂ©rience personnelle en « texte ». Nous nous proposons dâexaminer quelques arguments dĂ©veloppĂ©s dans lâouvrage autobiographique de Nina Berberova (1901-1993) Câest moi qui souligne afin dâĂ©tablir leur fonction dans la conceptualisation de lâexpĂ©rience dâĂ©crivains exilĂ©s. Il sâagira de lâinsistance sur lâisolement par rapport Ă la vie culturelle française, de lâaccent mis sur lâĂ©chec artistique de la jeune gĂ©nĂ©ration Ă©migrĂ©e et, enfin, de lâimportance accordĂ©e au martyre physique et moral pour cette gĂ©nĂ©ration dâĂ©crivains. Nous voyons la clef de la mythologie culturelle de lâĂ©migration russe dans le dĂ©sir des mĂ©morialistes Ă©migrĂ©s de reconstruire leur vie selon un modĂšle idĂ©al largement influencĂ© par le modĂšle traditionnel de lâĂ©crivain russe comme maĂźtre Ă penser dont lâabnĂ©gation hĂ©roĂŻque et le refus des compromissions Ă©voquent ceux des prophĂštes incompris et persĂ©cutĂ©s. Le piquant de la situation rĂ©side en ce que lâutilisation du mythologĂšme traditionnel russe du poĂšte-prophĂšte par les Ă©migrĂ©s sâinspirait des exemples français. La mythologie de Berberova et de ses contemporains sâest construite Ă partir de la coĂŻncidence entre le modĂšle traditionnel de lâĂ©crivain russe et celui de lâĂ©crivain français formĂ© dans lâimmĂ©diat aprĂšs-guerre. Mais si, dans lâentre-deux-guerres, les modernistes russes exilĂ©s ne dissimulĂšrent pas leurs liens vitaux avec la vie littĂ©raire française, leurs mĂ©moires passent complĂštement sous silence ces relations entre Français et Russes.AbstractNina Berberova and the cultural mythology of Russian emigration in France.In an attempt to give meaning to exile, Russian Ă©migrĂ© writers relied on a number of ideal models to describe their literary activity in a foreign setting. This process of conceptualization by means of ideal models required the creation of cultural myths that validated the translation of individual experience into âtext.â The present article examines several theses developed by Nina Nikolaevna Berberova (1901-1993) in her book of memoirs, The italics are mine, in order to clarify their function in the conceptualization of exilic experience by Russian writers. I analyze the insistence on isolation from French cultural life, the emphasis on the artistic failure of the younger generation of exiles, and the importance of physical and moral suffering in the story of this generation. I propose to seek the key to Ă©migrĂ© cultural mythology in the striving of memoirists to reconstruct their life in exile according to an ideal model heavily influenced by the traditional model of the Russian writer as a spiritual guide whose heroic asceticism and intransigence recall the paradigmatic figure of a misunderstood and persecuted prophet. The originality of the situation derives from the fact that the Ă©migrĂ© use of the traditional Russian mythologeme relies on French examples. The cultural myths of Berberova and her peers draw on the coincidence of the model of the Russian writer with that of the French writer as it emerged after WWI. But if, in the inter-war period, Russian modernists did not conceal their ties to French literary life, their memoirs suppress all mention of this French-Russian cultural commerce
Chapter Penser la phase perdue du modernisme russe
This paper proposes a revision of Russian modernismâs politically-motivated chronology and geography through the integration of two academic subfields â modernist and exilic studies. Such an integrative approach allows us better to position Russian modernist culture vis-Ă -vis its western counterparts, returning our research subject to its original context in the larger, international modernist field. The paper will subsequently offer a tentative sketch of the aesthetic and philosophical premises of late Russian modernism against the backdrop of western modernist practices in the 1930s
Histoire de la littérature russe en exil : la « période héroïque » de la jeune poésie russe à Paris
Toward the History of Russian Literature in Exile : the âHeroic Periodâ of Young Russian Poetry in Paris
The definitive history of Russian émigré literature in France is yet to be written. Until present, ail works describing the development of Russian literature on French soil in the interwar period have followed the same methodological convention according to which Russian literature in exile was born in Berlin, while Paris did not become its capital until roughly 1925. It has been argued that, thanks to the fluidity of political demarcations and the popularity of the Soviet avant-garde among younger Russian literati in Paris between 1921 and 1924, one must exclude this chapter of artistic activity in exile from the study of Russian émigré literature. Due to this methodological approach, the literary life of Russian exiles in Paris has been implicitly treated as nonexistent until 1924. The present article argues that the Paris period of 1921-1924 was as important for the evolution of Russian émigré literature as its Berlin period, since the Paris period produced a large number of major émigré literary figures. It is impossible to comprehend the general evolution of Russian émigré literature in ail its complexity, as well as the artistic trajectories of many exiles, without taking into account this Paris period called by Dovid Knut "the heroic period of young émigré poetry."Livak Leonid. Histoire de la littérature russe en exil : la « période héroïque » de la jeune poésie russe à Paris. In: Revue des études slaves, tome 73, fascicule 1, 2001. pp. 133-150
Suomi: Mika Pylsy: Istorija ponjatija «stilizatsija» v russkom modernizme. Helsinki: Helsingin yliopisto, 2023. 393 s. ISBN: 978-951-51-9948-5.
La dimension littéraire du Studio franco-russe
Livak Leonid. La dimension littéraire du Studio franco-russe. In: Revue des études slaves, tome 75, fascicule 3-4, 2004. pp. 473-491
Les deux solitudes de lâintelligentsia exilĂ©e
La dĂ©sintĂ©gration de la diaspora antisoviĂ©tique en tant que communautĂ© culturelle, dont lâĂ©picentre se trouvait en France dans lâentreâdeuxâguerres, nâa fait lâobjet dâaucune Ă©tude systĂ©matique. Ă force dâesquiver ce sujet, nous perdons de vue la nature complexe de la Russie en exil, comme en atteste sa frĂ©quente rĂ©duction Ă un milieu ethniquement russe et culturellement chrĂ©tien orthodoxe. Le prĂ©sent article suggĂšre que la perte de la diversitĂ© ethnoâconfessionnelle dans la communautĂ© russophone en France â le noyau intellectuel de la Russie en exil â fut parmi les raisons de son dĂ©clin prĂ©cipitĂ© dans les annĂ©es 1940. Cette Ă©rosion de la diversitĂ© de la diaspora russophone concerne avant tout sa composante juive, qui Ă©tait trĂšs active dans la vie culturelle russe en France du fait mĂȘme de la forte prĂ©sence de juifs dans lâintelligentsia Ă©migrĂ©e. Lâarticle sâattache Ă montrer que les expĂ©riences de la Seconde Guerre mondiale, divergentes pour la vaste majoritĂ© des Ă©migrĂ©s nonâjuifs de celles de leurs compatriotes juifs, produisirent des fractures fatales Ă la cohĂ©sion communautaire de la Russie en exil. Cette impossibilitĂ© dâharmoniser ces expĂ©riences dans un rĂ©cit rĂ©trospectif unique expliquerait en partie la rĂ©ticence des mĂ©morialistes Ă©migrĂ©s et des premiers historiens de lâĂ©migration antisoviĂ©tique Ă traiter des annĂ©es 1940.The disintegration of antiâSoviet emigration as a cultural community, whose epicenter was located in interwar France, is a poorly studied area. This historiographic lacuna distorts our view of Russia Abroad whose complex makeâup is thus frequently reduced to an ethnically and religiously homogeneous milieu of Orthodox Russians. The present article argues that the loss of ethnoâreligious diversity in Franceâs Russianâspeaking community â the intellectual core of Russia Abroad â was among the reasons for its precipitous decline in the 1940s. This erosion of diversity concerns first and foremost the Russian diasporaâs Jewish component, which was very active in Russian cultural life in France thanks to strong Jewish presence among the Ă©migrĂ© intelligentsia. I will show that significant differences in the ways the war was experienced by most nonâJewish Ă©migrĂ©s and by their Jewish compatriots contributed to the irreversible fracturing of Russia Abroad as a cultural community. The nearâimpossibility to reconcile these experiences and their retrospective interpretation is, to my mind, among the main reasons for the quasiâsilence on the subject of the Russian emigrationâs final years in scholarly and memoir literature
Le Studio franco-russe (1929-1931)
The Studio franco-russe, 1929-1931
The article examines the history and implications of the Studio franco-russe, an initiative of regular intellectual and cultural exchanges between the Russian émigré writers and thinkers who took refuge in France after the Bolshevik coup of 1917 and their French col- leagues, which took place in the inter-war Paris at the time of a radical shift in European ideological paradigms. Created by the younger artistic generation of Russian exiles in an effort to span the gap separating their creative activity from the French cultural circles, the Studio became a major venue of intellectual commerce, where a wide array of Russian and French cultural figures were united in open and public debates on the esthetic, philosophical, and moral dilemmas of the day. Archival documents and contemporary critical accounts which shed light on the work of the Studio, as well as the stenographic records of its fourteen meetings allow a relatively faithful reconstruction and analysis of an intellectual adventure unprecedented in the annals of Russian-French cultural interaction.Livak Leonid. Le Studio franco-russe (1929-1931). In: Revue des études slaves, tome 75, fascicule 1, 2004. pp. 109-123