Two texts by A. Rimbaud, published in 1886, but written earlier, and not poems by G. Kahn, J. Laforgue or J. Moréas, are considered the first vers libre in French. The paper shows two approaches to ...the analysis of free verse rhythm: the rules for reading and counting silent Ə; free verse is considered as a derivative of verse or prose, respectively (K. Scott and M. Murat), which proves the fundamental ambiguity of this poetic form and the importance of the reader’s perception in the process of reading as co-creation. The arguments of opponents and supporters of free verse, the so-called “free verse controversy” (“querelle du vers libre”) prove that in the imagination of writers there exists the connection between the poetic system and the social order. The paper considers the opposition proposed by the French researcher M. Murat — that of the national French vers libre and the international free verse that goes back to the American, that is to say Whitman’s model of Whitman through Valerie Larbeau’s poetry. The creative act of Larbeau, who created a heteronym — the English-language poet Barnabooth, raises the question of erasing national prosody and switching the linguistic code.
The poetry of the 20th century has become a real linguistic laboratory. The transition from traditional (national) systems of versification to free verse and, what is especially important, to ...international free verse, which can be translated faster and with less distortion, made it possible to reduce the time gap in the reception of American authors in France and French authors in the USA. John Ashbury, a prominent representative of the New York School, who lived in France for about 10 years, Denis Roche and Marcelin Pleine — members of the editorial board of the avant-garde magazine Tel Quel, the theorist of intransitive writing R. Barthes were active participants in the transatlantic dialogue of poets in the middle of the 20th century. The texts of John Ashbery and Denis Roche are an international vers libre created according to the principle of intransitive writing. R. Barth, also participating in the French-American dialogue, analyses the peculiarities of writing of the period in question in his paper “To write is an intransitive verb” (1966). A poem is understood as a rhythmic inoculation of lived experience, which has a transformative power for the writer and the reader.
French poems of Nikolay Gumilyov Belavina, Ekaterina M.
Izvestiâ Saratovskogo universiteta. Novaâ seriâ. Seriâ Filologiâ. Žurnalistika (Online),
11/2022, Letnik:
22, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Paris, regarded for centuries as the literary capital of the world, the literary ‘homeland of choice’, gave shelter (permanently or temporarily) to many great writers. Poets all over the world have ...dreamed of gaining access to the French reader; it has tacitly been considered a special stepping stone to global recognition. At the turn of the nineteenth and twentieth centuries, the paths of many Russian poets crossed in Paris. It was there that Gumilyov met A. Tolstoy, M. Voloshin, A. Bely and others. Most of his poems were written in his native language and translated from the foreign language into the native language. A rare case of cultural transfer and cross-linguistic contact are poetic texts written by the author in a foreign language, based on the original in his native language (auto-translation from the native language), or subsequently written in his native language (auto-translation from a foreign language). The auto-translations by Nikolai Gumilyov (1886–1921) did not have a resonance and his name is not very familiar to the French reader. The few translations done by the French have appeared in anthologies, and the first book of selected poems was published in France in the twenty-first century. Gumilyov’s rhyming poems were not well-received at a time when vers libre standard was being developed in France. The linguistic roughness of the form, striving for the classical form, gave the impression of linguistic errors. Gumilyov’s innovation manifested itself in overcoming national and temporal boundaries. A later fondness for the history of French literature manifested itself in programmatic focus of manifestos on tradition, which ran counter to Parisian contemporaries who deviated from laws of “beautiful clarity”. The desire to convey the music of the Russian syllabo-tonic also did not favour publications in French. Gumilev’s reception in France was delayed in time.
Henri Meschonnik’s legacy includes diversified, multidisciplinary, interdisciplinary research. The history and theory of literature, philosophy and linguistics underlie his methodology for studying ...rhythm. To analyze the text, Meshonnik uses the stress system, in particular, the prosodic stress that occurs on the first syllable of a word when its first consonant is repeated in a verse or in a prosaic sentence. The existence of prosodic stress, which is understood in this way, is ignored by phoneticians. The stress in the text is presented in the theory of Madden as a symbolic display of a clot of energy, since initially stress in speech concentrates muscular effort. The article makes an attempt to determine what is the current status of prosodic stress, an important element of A. Meshonnik’s analytical apparatus.
Stress has measurable acoustic parameters (intensity, pitch, duration), so an experiment was carried out (using a Praat speech analyzer). The stress on the first syllable in French phonetics is considered to be additional, depending on the individual implementation, however, Meshonnik, as well as his follower and co-author J. Desson, consider prosodic stress to be a linguistic (phonological) law. The article describes the stage of the experiment when native speakers (students of ENS Paris) were offered the phrase of Flaubert, commented by Madden and Desson in “Treatise on Rhythm”, and the same phrase, modified in two ways, to trace the stress in the absence of sound repetition. In the course of the experiment, most of the participants showed a slight increase in intensity when reading the original phrase, a decrease in intensity when reading a shortened phrase, and in some cases, the intensity increased when reading a phrase with a word modified to avoid repetitions.
The influence of French culture on the poetry of M. Tsvetaeva was noted by her contemporaries (B. Pasternak, S. Bobrov), and also became the subject of scientific research (for example, N. ...Strelnikova). However, the relationship of her poetry with the French writer work of the romanticism era, M. Desbordes-Valmore (1786-1859), which is almost forgotten in our days, is analyzed for the first time, which seems relevant in light of the growing interest in the role of women in European culture. The article uses a biographical method, with the involvement of the poetics of the rhythm of H. Meshonnik. The article examines the mentions of M. Desbordes-Valmore in M. Tsvetaeva’s poetry and in correspondence with B. Pasternak, provides a brief comparison of biographies in terms of their influence on the formation of a poetic voice. Their tragic fates have a lot in common: both survived revolutions, as a consequence the ruin of the family nest, extreme poverty, the loss of loved ones.
The main similarity between M. Tsvetaeva and M. Desbordes-Valmore lies in the auditory imagination, in intonational rhythmic expressiveness and in vivid metaphor. Both M. Desbordes-Valmore and M. Tsvetaeva left evidence of a moment preceding the moment of writing, “music” preceding verbal expression. They often rely on the song as a precedent text (O. Revzina), a precedent rhythm.
The autobiographical nature of the lyrics and the musicality bring together so dissimilar authors at first glance. M. Tsvetaeva read M. Desbordes-Valmore in the original, probably having become acquainted with her work at the summer courses in the history of French literature at the Sorbonne. The analysis of the transformations of M. Desbordes-Valmore’s poems motifs in M. Tsvetaeva’s lyrics clearly show not only a deep knowledge and understanding of the French romantic tradition, but also the innovation of her own poetic language.
Le destin de Marceline Desbordes-Valmore (1786-1859) est devenu une sorte de mythe culturel qui a inspiré des poètes et des prosateurs en Europe et en Russie. Poète et comédienne, elle a vécu une vie ...pleine d’évènements, de douloureuses séparations et de deuils, elle a connu des revers de la vie littéraire et artistique. Desbordes-Valmore n’est pas devenue aussi célèbre que ses grands contemporains Lamartine ou Musset, mais son œuvre est une partie indissociable de l’époque du romantisme. Elle était admirée par Hugo, Baudelaire, Verlaine, Aragon, mais aussi parmi ses lecteurs attentifs il faut citer tels poètes russes que A.Pouchkine, M.Lermontov, M. Tsetaeva, B. Pasternak.
Le présent numéro des Cahiers du MIMMOC réunit les articles des participant.es de la Journée d’études Figures de femmes dans les cultures européennes : mémoires, identités, marginalités qui a eu lieu ...à l’Université de Poitiers les 3 et 4 octobre 2019.
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