Thesis (Ph.D.)-- Dept. of Slavonic and Baltic Languages and Literatures, University of Helsinki, 2006. / Title from PDF t.p. (viewed on November, 2007).

This thesis explores Orphic mythologemes and tropes in Marina Tsvetaeva’s works in order to identify whether they create a personalized semantic system in her oeuvre. I review such themes as the “supernatural powers” of the archetypal poet, the descent to the underworld, the return from the dead, and the dismemberment and subsequent appearance of Orpheus’s head. I study in detail the trope of the severed head in Tsvetaeva’s poetics and her understanding of poetry as Land with its physical and metaphysical realms. I discuss a question: which persons might Tsvetaeva have associated with Orpheus? I examine the guises of the lyrical “I” and its associations with mythological or literary personae. I argue that Tsvetaeva demonstrated resistance and opposition towards the Orphic/Apollonian paradigms; above the authority of the "archetypal poet Orpheus" she introduced and established the authority of the Genius who leads "poets with a history."

TITLE: Topic childhood in the Marina Tsvetaeva's poetry in the period till the emigration AUTHOR: Jana Bruněva SUPERVISOR: PaedDr. Antonín Hlaváček ABSTRACT: My thesis aims at presentation of the form of childhood in the poetry by Marina Tsvetaeva, namely by means of her poems, that I have carefully read through. I have aimed primarily at the poetry from the period of the authoress' earliest creative years up to her emigration. This period of her literary activity was very fruitful and very varied as to its topics, form, vocabulary or metrics. I should like to find out by my investigation, how her own childhood influenced her creative activity and whether these motives are present in the whole creative period of here, I have chosen, or only in its particular part. Therefore I have examined also the special literature, which connects chronologically individual poems with realities of authoress' life. KEYWORDS: childhood, poetry, motive, Marina Tsvetaeva

Ce mémoire comporte deux grands axes en rapport avec le motif de la dérobade. Il s’agit d’étudier ce mouvement dans le texte, qui signale un retrait, une protection, ou une autre forme d’action dans mon écriture et chez deux auteures du XXe siècle, Marina Tsvetaeva (1892-1941) et Sylvia Plath (1932-1963). Dans la première partie de ce mémoire, je présente le fruit de ma création intitulé Marées d’Iris, un roman par tableaux qui regroupe récits, dessins et poèmes. Iris, la protagoniste qui parle au « je », est en proie à un étouffement quotidien. Ce roman par tableaux cherche à figurer ses dérobades à différents moments de sa vie. La partie réflexive de ce mémoire s’offre comme une analyse comparée des mouvements de dérobade dans l’écriture de Marina Tsvetaeva et Sylvia Plath. Y seront abordés les écrits intimes Vivre dans le feu : confessions, publié en 2005 aux éditions Robert Laffont, et Journaux 1950-1962, publié en 1999 chez Gallimard. Les mouvements de la dérobade seront appréhendés à partir d’analyses thématiques et formelles, suivant l’hypothèse que la dérobade sert d’exutoire à l’étouffement, en plus d’offrir une solution aux angoisses identitaires et amoureuses. Deux récits serviront ensuite à l’exploration des traits de la dérobade dans l’écriture fictionnelle, afin de déterminer leur incidence sur Ma mère et la musique de Marina Tsvetaeva, recueil publié en 1979 aux éditions l’Âge d’Homme, et La cloche de détresse de Sylvia Plath, roman publié en 1972 chez Gallimard.

Marina Tsvetáieva (18921941) escreveu a Anna Akhmátova (18891966), em carta de 1921: Eu sonhei com você, com o futuro livrinho... um tipo de magia antiga, algo como uma prece (o mais preciso seria dizer ao contrário). E, quando despertei, já sabia que o escreveria. Esse livrinho, em particular o ciclo de poemas Para Akhmátova, escrito por Tsvetáieva em 1916, será nosso objeto de tradução e análise neste trabalho. Essa característica de Tsvetáieva, esse escrever para seus poetas prediletos (e isso inclui outros de seus contemporâneos: Blok, Maiakóvski, Pasternak...), suas dedicatórias poéticas são aqui analisadas. Quanto ao Para Akhmátova, o que teria Tsvetáieva querido dizer com uma prece... ao contrário e de que modo isso se verifica no poema? É o que buscamos responder ao nos deter sobre essa imagem poética, usada por Tsvetáieva para descrever sua homenageada: Uma Mãe de Deus flagelante. Investigamos a seita religiosa dos khlisti, ou khlistovki (isto é, os flagelantes), que existiu na Rússia entre meados do século XVII e os fins da década de 1930. Que universo de implicações essa referência contém? De que maneira Tsvetáieva a usa para descrever certos traços religiosos (ou seria o caso dizer ao contrário) existentes na poesia akhmatoviana? Finalmente, analisamos a seita como um tema biográfico, narrado por Tsvetáieva em suas memórias de infância (As Flagelantes, 1934). Em que medida as relações amistosas de sua família com as Kirílovnas, flagelantes de Tarussa, e a atração da pequena Marina por aquelas religiosas, meio santas e meio heréticas (essa mesma atração pelo diabólico, a que Tsvetáieva se refere em outra narrativa da infância: O Diabo, 1935); em que medida essa inversão dos signos religiosos não estaria gravada na identidade da poeta e em sua poesia? Quais traços se averiguam, em sua obra poética, do que se poderia chamar uma consciência cismática? Enfim, falamos na existência do cenotáfio de Tsvetáieva, monumento funerário localizado na cidade de Tarussa, conforme desejo expresso pela poeta, no local onde ficava, naqueles tempos, o cemitério das flagelantes. / Marina Tsvetaeva (1892-1941) writes in a letter from 1921 to Anna Akhmatova (1889-1966). I dreamt of you, of the future little book... A kind of ancient magic, something like a prayer (it would be more precise to say the opposite). And when I woke up, I already knew what I would write. This little book, specially the cycle of poems To Akhmatova, written by Tsvetaeva in 1916, will be the subject of our translation and analysis in this work. We will analyze this trait of Tsvetaeva, this writing for her favorite poets (including some other contemporaries: Blok, Mayakovsky, Pasternak...), her poetic dedications. When it comes to Akhmatova, what would Tsvetaeva have meant by a prayer ... in reverse, and how does this takes place in the poem? This is what we seek to answer when we dwell on the poetic image used by Tsvetaeva to describe her honored poet: A flagellant Mother of God. We investigate the religious sect of the khlysty, or khlystovky (i.e., the flagellants), which existed in Russia between the mid-seventeenth century and the late 1930s. What universe of implications does this reference contain? In which way does Tsvetaeva use it to describe certain religious traits (or, maybe, the reverse) in Akhmatovas poetry? Finally, we examine the sect as a biographical fact, narrated by Tsvevaeva in her childhood memories (The Flagellants, 1934). To what extent did the friendly relations of her family with the Kirylovnas, flagellants from Tarussa, and the attraction of the small Marina to those religious people, half holy and half heretical (the same attraction to the devilish, to which Tsvetaeva refers in another childhood narrative: The Devil, 1935); to what extent would this inversion of religious signs be engraved on the poets identity and poetry? What traits can be observed in his poetic work of what might be called a schismatic consciousness? Finally, we speak about the cenotaph of Tsvetaeva, a funeral monument located in the city of Tarussa, according to her expressed desire, in the place where the flagellants cemetery was at the time.

Marina Tsvetáieva (18921941) escreveu a Anna Akhmátova (18891966), em carta de 1921: Eu sonhei com você, com o futuro livrinho... um tipo de magia antiga, algo como uma prece (o mais preciso seria dizer ao contrário). E, quando despertei, já sabia que o escreveria. Esse livrinho, em particular o ciclo de poemas Para Akhmátova, escrito por Tsvetáieva em 1916, será nosso objeto de tradução e análise neste trabalho. Essa característica de Tsvetáieva, esse escrever para seus poetas prediletos (e isso inclui outros de seus contemporâneos: Blok, Maiakóvski, Pasternak...), suas dedicatórias poéticas são aqui analisadas. Quanto ao Para Akhmátova, o que teria Tsvetáieva querido dizer com uma prece... ao contrário e de que modo isso se verifica no poema? É o que buscamos responder ao nos deter sobre essa imagem poética, usada por Tsvetáieva para descrever sua homenageada: Uma Mãe de Deus flagelante. Investigamos a seita religiosa dos khlisti, ou khlistovki (isto é, os flagelantes), que existiu na Rússia entre meados do século XVII e os fins da década de 1930. Que universo de implicações essa referência contém? De que maneira Tsvetáieva a usa para descrever certos traços religiosos (ou seria o caso dizer ao contrário) existentes na poesia akhmatoviana? Finalmente, analisamos a seita como um tema biográfico, narrado por Tsvetáieva em suas memórias de infância (As Flagelantes, 1934). Em que medida as relações amistosas de sua família com as Kirílovnas, flagelantes de Tarussa, e a atração da pequena Marina por aquelas religiosas, meio santas e meio heréticas (essa mesma atração pelo diabólico, a que Tsvetáieva se refere em outra narrativa da infância: O Diabo, 1935); em que medida essa inversão dos signos religiosos não estaria gravada na identidade da poeta e em sua poesia? Quais traços se averiguam, em sua obra poética, do que se poderia chamar uma consciência cismática? Enfim, falamos na existência do cenotáfio de Tsvetáieva, monumento funerário localizado na cidade de Tarussa, conforme desejo expresso pela poeta, no local onde ficava, naqueles tempos, o cemitério das flagelantes. / Marina Tsvetaeva (1892-1941) writes in a letter from 1921 to Anna Akhmatova (1889-1966). I dreamt of you, of the future little book... A kind of ancient magic, something like a prayer (it would be more precise to say the opposite). And when I woke up, I already knew what I would write. This little book, specially the cycle of poems To Akhmatova, written by Tsvetaeva in 1916, will be the subject of our translation and analysis in this work. We will analyze this trait of Tsvetaeva, this writing for her favorite poets (including some other contemporaries: Blok, Mayakovsky, Pasternak...), her poetic dedications. When it comes to Akhmatova, what would Tsvetaeva have meant by a prayer ... in reverse, and how does this takes place in the poem? This is what we seek to answer when we dwell on the poetic image used by Tsvetaeva to describe her honored poet: A flagellant Mother of God. We investigate the religious sect of the khlysty, or khlystovky (i.e., the flagellants), which existed in Russia between the mid-seventeenth century and the late 1930s. What universe of implications does this reference contain? In which way does Tsvetaeva use it to describe certain religious traits (or, maybe, the reverse) in Akhmatovas poetry? Finally, we examine the sect as a biographical fact, narrated by Tsvevaeva in her childhood memories (The Flagellants, 1934). To what extent did the friendly relations of her family with the Kirylovnas, flagellants from Tarussa, and the attraction of the small Marina to those religious people, half holy and half heretical (the same attraction to the devilish, to which Tsvetaeva refers in another childhood narrative: The Devil, 1935); to what extent would this inversion of religious signs be engraved on the poets identity and poetry? What traits can be observed in his poetic work of what might be called a schismatic consciousness? Finally, we speak about the cenotaph of Tsvetaeva, a funeral monument located in the city of Tarussa, according to her expressed desire, in the place where the flagellants cemetery was at the time.

O trabalho discute uma faceta ainda pouco explorada da poeta Marina Tsvetáieva: seus textos dramáticos, em especial o ciclo Romantika (1916-1917). Para tanto, apresenta Uma aventura (1917), peça integrante do ciclo mencionado, em tradução não definitiva. Uma tentativa, ainda que distante, de recriar a voz que a poeta achou para si nos palcos da Rússia recém-soviética. Ao buscar localizar a produção para teatro ao lado da obra poética de Tsvetáieva, o presente trabalho comenta todas as peças teatrais escritas por ela, mas se detém especialmente em Uma aventura, na qual busca as motivações para construções dramáticas tão díspares em relação à realidade que Marina Tsvetáieva encontrava na sua cidadenatal. Lança-se mão de um breve comentário sobre a teoria do individualismo e da paródia para elucidar uma possível interpretação de Uma aventura. / This study discusses an underexplored side of Marina Tsvetáieva\'s work: her dramatic creations, specially the Romantika (1916-1917) cycle. In order to do so, it presents a non settled translation of Uma aventura (1917), a play from that cycle. It\'s an intent to recreate the voice that the poet developed for herself on the stages in Russia, during the beginning of the soviet regime. When comparing side by side Tsvetáieva\'s dramatic and poetic oeuvre, this study offers commentary on all her plays, while focusing specifically on Uma aventura, in which it searches for the reasons that would lead her to create theatrical inventions that were very different to those she would find in her homeland. In order to develop a possible interpretation of Uma aventura, a brief theory of individualism and parody is sketched.

Although quite a few researchers have pointed to the significance of the childhood theme in Tsvetaeva’s work, no systematic analysis of her work has been done from this perspective. Nor have her childhood reminiscences been treated as a thematically consistent whole, but have rather been read as instances of the poet’s prose in general. The present study examines Marina Tsvetaeva’s memories of childhood in the context of her work and in the context of the cultural and political reality to which these reminiscences refer and in which they were written—i.e., Russia around the turn of the century and the Russian émigré world of 1930–1937. In the introductory investigation of the presence of the childhood theme in Tsvetaeva’s oeuvre, it is found that idealization of the naive, innocent state is a relatively constant feature and that the childhood memories can be read as a culmination of this set of motives. It is also stated that Tsvetaeva’s continuous striving in her poetry away from the world, out of time, is an integral part of the childhood thematics. This tendency is traced, in connection with the childhood theme, to the influence of writers of the late Russian Symbolist movement as well as to Boris Pasternak and Rainer Maria Rilke—all with roots in literary Romanticism. Childhood is moreover found to be something of a key theme that reveals fundamental differences in the relation to memory and language among the authors of Russian modernism. In Tsvetaeva' s case it is shown that her childhood memories contain the romantic essence of her aesthetics. The study also touches upon the symbolic and allegorical dimension of the texts—Tsvetaeva’s “otherspeak” in her prose. It is shown that the central scenes of these texts can be read as illustrations of an artistic and linguistic experience. In this regard the author’s narrative of childhood also appears to have been a suitable medium for articulating controversial aesthetic statements and taking a stand for an historical past and literary tradition that at the time seemed doomed to oblivion.

O trabalho discute uma faceta ainda pouco explorada da poeta Marina Tsvetáieva: seus textos dramáticos, em especial o ciclo Romantika (1916-1917). Para tanto, apresenta Uma aventura (1917), peça integrante do ciclo mencionado, em tradução não definitiva. Uma tentativa, ainda que distante, de recriar a voz que a poeta achou para si nos palcos da Rússia recém-soviética. Ao buscar localizar a produção para teatro ao lado da obra poética de Tsvetáieva, o presente trabalho comenta todas as peças teatrais escritas por ela, mas se detém especialmente em Uma aventura, na qual busca as motivações para construções dramáticas tão díspares em relação à realidade que Marina Tsvetáieva encontrava na sua cidadenatal. Lança-se mão de um breve comentário sobre a teoria do individualismo e da paródia para elucidar uma possível interpretação de Uma aventura. / This study discusses an underexplored side of Marina Tsvetáieva\'s work: her dramatic creations, specially the Romantika (1916-1917) cycle. In order to do so, it presents a non settled translation of Uma aventura (1917), a play from that cycle. It\'s an intent to recreate the voice that the poet developed for herself on the stages in Russia, during the beginning of the soviet regime. When comparing side by side Tsvetáieva\'s dramatic and poetic oeuvre, this study offers commentary on all her plays, while focusing specifically on Uma aventura, in which it searches for the reasons that would lead her to create theatrical inventions that were very different to those she would find in her homeland. In order to develop a possible interpretation of Uma aventura, a brief theory of individualism and parody is sketched.

This master thesis is devoted to Jana Stroblova, the Czech poet, novelist and translator from Russian language. The thesis is aimed at several goals: 1) to summarize and unite the known facts about life of this author and try to capture her personality, 2) to describe the relationship of Jana Stroblova to the Russian poet Marina Tsvetaeva, as the vast part of Stroblova's translations is dedicated to her, 3) to establish the similarities between the personalities of Stroblova and Tsvetaeva as well as to find the parallels in their poems, and, afterwards, to clarify the reasons that led Stroblova to decision to translate Tsvetaeva, 4) to summarize the reflections of Stroblova's translations while emphasizing the translations of Tsvetaeva's work and to use these reflections to define Stroblova's translation methodology, 5) to confront the findings of the thesis with opinions of Jana Stroblova during an interview with her. Powered by TCPDF (www.tcpdf.org)