Papers by Galina Mikhailova
"Я воздух и огонь…»: к интерпретации стихотворения Анны Ахматовой "Клеопатра, 2024
In interpreting Akhmatova’s poem Cleopatra, attention is often primarily given to its historical... more In interpreting Akhmatova’s poem Cleopatra, attention is often primarily given to its historical and social parameters, which are involved in the poem’s meaning-making process. This article suggests focusing on the literary sources of the poem (Shakespeare’s tragedy Antony and Cleopatra and Horace’s ode), exploring Akhmatova’s working notes, different versions of the lyrical heroine in her poetry, as well as the reproduction of her image in poems dedicated to her, testimonies of memoirists, essays, and philological observations of Akhmatova’s contemporaries.
In this case, the poem may be read within the framework of the poet’s intimate relationship with ‘being’, and it may turn out to be a space for the embodiment of the author’s essential personal characteristics.
СЕМАНТИКА И ПОЭТИКА ДВУХ АНТИЧНЫХ ДИПТИХОВ А. А. АХМАТОВОЙ: ШЕКСПИР И СОФОКЛ, ШЕКСПИР И ГОРАЦИЙ, 2023
The subject of the article are two texts by A. Akhmatova, namely a stanza from Poem without a Her... more The subject of the article are two texts by A. Akhmatova, namely a stanza from Poem without a Hero and a poem of 1963. The author analyzes the content and formal uniqueness of the oppositions represented by Akhmatova — Shakespeare vs Sophocles and Shakespeare vs Horace. The value of the Antiquity and Shakespearean «cultural layers» of her work is taken into account. The analysis shows that the relations between the «characters» of the poetic diptychs are interdependent, rather that
mutually exclusive.
Мотивация некоторых изменений смысловой структуры французского текста в переводах Николая Гумилева, 2021
The article examines two episodes from the translation practice of the poet, critic and literary ... more The article examines two episodes from the translation practice of the poet, critic and literary theorist Nikolaj Gumilëv. It analyses figurative and semantic deviations from the original text in Russian translations of the poems The Hippopotamus by Theophile Gautier and The Death of Lovers by Charles Baudelaire. Gumilëv strictly followed the “precepts” of translation, which he himself formulated in one of his articles in 1919. These precepts concerned, above all, the respect of the rhythmic, syntactic and lexical structure of the original, as well as the originality of its image system. Therefore, the deviations from the originals of Gautier and Baudelaire seem, at first glance, unimportant. Nevertheless, they are
not incidental, but they reveal conceptual ideas of the translator’s original work. In the translation of the last stanza of Gautier’s poems The Hippopotamus the poet deviates from the original poem and adds
the adverb solemnly, thus adding to the attitude of the lyrical subject. This choice is motivated by the semantic and symbolic field of the lexeme solemnity in Gumilev’s Russian poems: solemnity is associated with the acceptance of one’s poetic destiny, which is defined as both dramatic and victorious. Without believing that the poet is the bearer of supreme truth, Gumilev seeks the Absolute both in his poetic craft and in his personal search for truth – some kind of “golden door”. In his translation of
Baudelaire’s poem The Death of Lovers, the poet deviates from the French text and introduces in the last stanza his own theme of the “golden door”. Not only do the half-opened doors, concrete enough in
Baudelaire‘s poem, receive in the Russian translation the meanings that are important for the poetry of the French poet (the semantics of the reversible movement of Eros and Thanatos, the proximity of this world and the otherworldly; Hymn to Beauty: “If your regard, your smile, your foot, open for me /An Infinite I love but have not ever known?”, translated by W. Aggeler), but they are enriched with new meanings about the hidden, mystical knowledge associated with the “golden door”. When translating,
Gumilëv follows, on the one hand, his own advice to translators to be “careful researchers and perceptive critics”, and on the other hand, he betrays his own thesis that the translator “must forget his
personality, thinking only of the author’s”.
«ЛИНИЯ — ЭТО ТОЧКА, ВЫШЕДШАЯ НА ПРОГУЛКУ». ПАУЛЬ КЛЕЕ, РОБЕРТ ВАЛЬЗЕР И МИХАИЛ ШИШКИН: СЕМАНТИКА ФЛАНИРОВАНИЯ, 2017
“A Line is a Dot that Went for a Walk”. Paul Klee, Robert Walser
and Mikhail Shishkin: Semantics ... more “A Line is a Dot that Went for a Walk”. Paul Klee, Robert Walser
and Mikhail Shishkin: Semantics of Flanerie
This article deals with the story of the Swiss writer Robert Walser The Walk as well as essay of the Russian writer Mikhail Shishkin Walser and Tomzack. The theoretical background of the research is based on the works of Gérard Genette and Emmanuel Lévinas. Studying the variability of interpretations of the Walser’s work and life, the author comes to the conclusion that Mikhail Shishkin represents Walser’s life and creative works already known from the collection of essays recently translated
into Russian. Walking features heavily in Walser’s writing. The writer is keen on the observer and his interpretation of the visual images. Thus the article shows the similarities and differences in the approaches of some authors (Walter Benjamin, Susan Sontag, Olga Vainshtein and others) to such concepts as flânerie (stroll) and flâneur (stroller). Throughout The Walk, walking coincides with the act of writing. The author seeks to underline those aspects of the Walser’s story and Shishkin’s essay that reveal the transgressivity of the stroll and writing. They become a means of escaping
life, its method to delay the inevitable (death). So the Walser’s departure from the social life and leaving for the void begins with the main character’s leaving for the walk and for the telling a story. We can observe a similar tendency in visual art of Paul Klee who was a contemporary of Robert Walser.
Izvestia of the Ural federal university. Series 2. Humanities and Arts, 2019
Журнал зарегистрирован Федеральной службой по надзору в сфере связи, информационных технологий и ... more Журнал зарегистрирован Федеральной службой по надзору в сфере связи, информационных технологий и массовых коммуникаций. Свидетельство о регистрации средства массовой информации ПИ № ФС 77-48320 от 27 января 2012 г. Входит в Перечень рецензируемых научных журналов и изданий, в которых должны быть опубликованы основные научные результаты диссертаций на соискание ученой степени доктора и кандидата наук. Журнал индексируется в БД: Web of Science Core Collection's Emerging Sources Citation Index; DOAJ; European Reference Index for the Humanities (ERIH PLUS); Russian Science Citation Index (RSCI) на платформе Web of Science (WoS); Российский индекс научного цитирования (РИНЦ) Включен в объединенный каталог «Пресса России. Газеты и журналы. Т. 1», подписной индекс-43143 В журнале публикуются научные статьи и рецензии в области истории, филологии и искусствоведения. Редакционная политика журнала ориентируется на современные гуманитарные исследования, свободные от идеологических штампов, базирующиеся на использовании различных научных парадигм, введении в научный оборот новых источников. Редколлегия журнала следует правилам научного либерализма, предусматривающего публикацию мнений вне зависимости от идеологических взглядов. Все статьи, поступающие в редакцию журнала, подлежат обязательному рецензированию. Публикации в журнале осуществляются на некоммерческой основе.
Journal of Siberian Federal University. Humanities & Social Sciences, 2015
Based on P. Ricoeur's theory of reading, the article provides a literary solution to the problem ... more Based on P. Ricoeur's theory of reading, the article provides a literary solution to the problem of self-identification, leading to the issue of a poet's "narrative identity". It is proved by the analysis of "Reading "Hamlet"", Anna Akhmatova's early poem. Analysis of Akhmatova's refiguration and study of this poetic configuration have showed the poet's desire to achieve selfhood by identifying the life-world with Shakespeare's texts. The article presents the comparison of cultural meanings, characteristic to Shakespeare's characters (Ophelia and Hamlet) from the point of view of Russian and European readers, Anna Akhmatova's predecessors and contemporaries. Special attention is paid to possible identification of Akhmatova with Elizabeth Siddal, one of the characters of the European cultural field, and to her fictional image of herself as Shakespeare's Ophelia. Interpolating certain meanings of the read and interpreted cultural texts on the predicates of her own life situation of 1903-1912, Akhmatova, first of all, clarifies her relationships with Nikolai Gumilev and solves the problem of preserving her own identity.
Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies, 2021
This essay examines Anna Akhmatova’s lyric cycle “Midnight Poems” (“Polnochnye stikhi”, 1963–1965... more This essay examines Anna Akhmatova’s lyric cycle “Midnight Poems” (“Polnochnye stikhi”, 1963–1965) as a textual space where Faustian motifs and allusions intersect with Shakespearean and other intertexts associated with erotic, oneiric, and thanatological motifs. It explores the polygenic nature of the “Midnight Poems” cycle, in which Goethe’s “Faust” (as well as texts by Valery, Eliot, Annensky, Pasternak and others) became for Akhmatova one of those “filters” of world literature, through which themes and images of Shakespeare got into her poetry. The context of the interpretation is also broadened by introduction of selected writings from Akhmatova’s notebooks and lyrics, where Goethe’s characters appear (for example, Goethe’s Margaret as one of the “mirrors” of Akhmatova’s lyrical heroine; the selected Christian topics of “Faust”, etc.). In this way, the direction of a comparative analysis of Akhmatova’s cycle in the context of Russian-German literary ties is outlined.
Literatūra, 2016
Вильнюсский университет Кафедра русской филологии Для анализа ахматовского пути самопознания и са... more Вильнюсский университет Кафедра русской филологии Для анализа ахматовского пути самопознания и самоосуществления в статье уделяется внимание чтению Ахматовой и истолкованию ею некоторых текстов культуры. Исследование разворачивается в сторону рефлексивной традиции Поля Рикёра. Поэтому в исследовании проблемы имеют значение круг чтения Ахматовой («Гамлет» Шекспира) и избранные ею для самоистолкования литературные персонажи (Офелия). Они задают личности «индивидуальный стиль существования». Предполагается также, что «прочтение» Ахматовой живописных работ Данте Габриэля Россетти, а также опосредованной этими работами драматической истории жизни Россетти и его ученицы, музы и жены Элизабет Сиддал, «рефигурировали» ахматовское Я, продуцируя модель для интерпретации собственного опыта.
Straipsnyje aptariamas I. Turgenevo literatūros kritinis darbas apie F. Tiutcevo poeziją. Pagrin... more Straipsnyje aptariamas I. Turgenevo literatūros kritinis darbas apie F. Tiutcevo poeziją. Pagrindinių straipsnio teiginių analizė leidžia teigti, kad Turgenevas, nors ir priestaraudamas kai kurioms pagrindinėms Tiutcevo lyrikos tendencijoms, vis tik siekia įrodyti, kad Tiutcevas – poetas gali būti siejamas su „Puskino kryptimi“ literatūroje. Straipsnyje taip pat atsispindi aktualios XIX a. sestojo desimt. rusų literatūros kritikos temos ir problemos. Tiutcevo kūrybą Turgenevas linkes analizuoti remiantis poeto psichofiziniu tipu, savybėmis. Kai kurios Turgenevo tezės apie Tiutcevą – tai rusų prozininko bandymas apmąstyti savo paties kūrybą ir visa, kas su tuo susije. Galima būtų teigti, kad Turgenevo straipsnio tekstas buvo „aktyvizuotas“ N.Gumiliovo kūrybinėje sąmonėje, nes straipsnyje isdėstyta nemažai mincių, itin svarbių postsimbolistams.
Literatūra, 2020
The article presents some considerations on the motives for the creation and text strategies of A... more The article presents some considerations on the motives for the creation and text strategies of Akhmatova’s memories of Mandelstam. The Pages from a Diary are viewed from two points of view: first, as a fragment of Akhmatova‘s memoir prose of a certain historical time, as an actualization of personal memory in order to correct collective cultural memory; secondly, as a supertext formed by numerous drafts, lists and variations.Within the framework of this genre, it is possible to single out a number of principles that Akhmatova is guided by when creating a memoir text: for example, a dialogical mode of a “conversation” with existing memories, documents, oral evidence; intention of myth-fighting, etc. A look at the Pages from a Diary as a work of narrative prose (based on Akhmatova’s definition of memories as a “short story”), called “The Death’s Way,” allows us to add the hero of her memoir to a number of “damned poets” that are not alien to Mandelstam.
Literatūra, 2015
Ñòàòüÿ èçâåñòíîãî â ëèòåðàòóðíûõ êðóãàõ òîíêîãî êðèòèêà è ïóáëèöèñòà È. Ñ. Òóðãåíåâà «Íåñêîëüêî ñ... more Ñòàòüÿ èçâåñòíîãî â ëèòåðàòóðíûõ êðóãàõ òîíêîãî êðèòèêà è ïóáëèöèñòà È. Ñ. Òóðãåíåâà «Íåñêîëüêî ñëîâ î ñòèõîòâîðåíèÿõ Ô. È. Òþò÷åâà» áûëà íàïå÷àòàíà â ÷åòâåðòîì íîìåðå aeóðíàëà «Ñîâðåìåííèê» â 1854 ã. 1 Ïîÿâëåíèå ñòàòüè ñîïðîâîaeäàëîñü ïóáëèêàöèåé ñòèõîòâîðåíèé â äâóõ êíèaeêàõ «Ñîâðåìåííèêà» ýòîãî aeå ãîäà (ïðè÷åì, «Òóðãåíåâó ñòîèëî áîëüøîãî òðóäà âûïðîñèòü ó Òþò÷åâà òåòðàäêó åãî ñòèõîòâîðåíèé äëÿ "Ñîâðåìåííèêà"» 2) è ïåðâûì îòäåëüíûì èçäàíèåì ñòèõîâ Òþò÷åâà (1854). Îñíîâíûå ïîëîaeåíèÿ ñòàòüè î òîì, ÷üå òâîð÷åñòâî, ïî ìíåíèþ Òóðãåíåâà, ÿâëÿåòñÿ ñîâåðøåííûì îáðàçöîì ïîýçèè (...î Òþò÷åâå íå ñïîðÿò; êòî åãî íå ÷óâñòâóåò,
Literatūra, 2016
Сновидческая тема в связи с поэзией и творческой личностью Ахматовой, несмотря на всю свою очевид... more Сновидческая тема в связи с поэзией и творческой личностью Ахматовой, несмотря на всю свою очевидность, подмеченную группой исследователей еще в 1975 г. 1 , не подвергалась отдельному анализу. Это с сожалением было констатировано, к примеру, С. А. Коваленко, озаглавившей свою книгу-реконструкцию Поэмы без героя следующим образом-Петербургские сны Анны Ахматовой (Петербургские сны 2004: 68-72). При этом во многих работах, касающихся той или иной проблемы творчества Ахматовой, онейрическая тематика неизменно оказывается затронутой, чаще всего в рамках рассуждений о так называемой «зеркальной» поэтике Ахматовой либо фольклорно-мифологических корнях ее поэзии (труды В.
Literatūra, 2017
Valentino Rasputino apysaka „Ivano duktė, Ivano motina“ (2003) nagrinėjama kaip dialogo su „kaimo... more Valentino Rasputino apysaka „Ivano duktė, Ivano motina“ (2003) nagrinėjama kaip dialogo su „kaimo prozos“ skaitytojais replika. Straipsnio autorė analizuoja dviejų lūkesčių horizontų – skaitytojo ir teksto santykį. Tyrimo išvados yra tokios: tam tikros socialinės ir ideologinės grupės skaitytojams Rasputino apysaka žanro, stiliaus ir prasmės požiūriu atspindi nusistovėjusį, įprastą lūkesčių horizontą.Apysaka atskleidžia, kad šiuolaikinė rusų „kaimo proza“ yra antiglobalaus, antimultikultūrinio, antitranskultūrinio pobūdžio, – Rasputino tekstas siekia įtvirtinti stiprų nacionalinį ir kultūrinį identitetą, archainę žemės ir kraujo sampratą, aukštesnės moteriškos esybės archetipą. Tai leidžia šiuolaikinę „kaimo prozą“ priskirti konservatyvaus romantinio nacionalizmo tekstams. Tačiau Rasputino apysakoje, skirtingai nuo kitų rusų „kaimo prozos“ autorių tekstų, nėra kai kurių pagrindinių konservatyvaus nacionalizmo konseptų, pvz., „Maskva – trečioji Roma“ arba Rusijos dominavimo sla...
Literatūra, 2016
Straipsnyje aptariami Anos Achmatovos vertimų kultūriniai, istoriniai bei sociologiniai aspektai.... more Straipsnyje aptariami Anos Achmatovos vertimų kultūriniai, istoriniai bei sociologiniai aspektai. Atskleidžiamas Achmatovos vertimų iš lietuvių poezijos (Liudmilos Malinauskaitės-Eglės, Salomėjos Nėries ir Vinco Mykolaičio-Putino kūryba) profesionalumas, jos ypatingas dėmesys S. Nėries kūrybai. Parodoma, kad Achmatovos trumpalaikis apsilankymas Vilniuje 1914 m. gruodyje buvo ganėtinai svarbus įvykis, įsirašęs į jos asmeninę patirtį ir poetinę biografiją. Atskirai aptariamas galimas poetų ir vertėjų Marijos Petrovych ir Levo Ozerovo vaidmuo Achmatovos vertimų iš lietuvių poezijos istorijoje. Nagrinėjami tekstų vertimui atrankos principai, pažodinių bei autorizuotų spausdintų vertimų klausimai, bendraautorystės problema. Taip pat tikslinamas bendras verstų iš lietuvių kalbos tekstų skaičius, nurodomi netikslumai archyvinių dokumentų aprašuose.
Literatūra, 2013
В статье рассмотрена многокомпонентная организация системы художественной картины мира. При анали... more В статье рассмотрена многокомпонентная организация системы художественной картины мира. При анализе структуры, построенной на интеграции художественных категорий и мировоззренческих образов-концептов, автор вводит новое понятие "художественный образ-концепт" как системообразующее и координирующее образование. Обосновывается зависимость многомерности и саморазвития системы от влияния субъект-объектных факторов. Предлагается целостный подход к исследованию художественных явлений в контексте художественной картины мира.
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Papers by Galina Mikhailova
In this case, the poem may be read within the framework of the poet’s intimate relationship with ‘being’, and it may turn out to be a space for the embodiment of the author’s essential personal characteristics.
mutually exclusive.
not incidental, but they reveal conceptual ideas of the translator’s original work. In the translation of the last stanza of Gautier’s poems The Hippopotamus the poet deviates from the original poem and adds
the adverb solemnly, thus adding to the attitude of the lyrical subject. This choice is motivated by the semantic and symbolic field of the lexeme solemnity in Gumilev’s Russian poems: solemnity is associated with the acceptance of one’s poetic destiny, which is defined as both dramatic and victorious. Without believing that the poet is the bearer of supreme truth, Gumilev seeks the Absolute both in his poetic craft and in his personal search for truth – some kind of “golden door”. In his translation of
Baudelaire’s poem The Death of Lovers, the poet deviates from the French text and introduces in the last stanza his own theme of the “golden door”. Not only do the half-opened doors, concrete enough in
Baudelaire‘s poem, receive in the Russian translation the meanings that are important for the poetry of the French poet (the semantics of the reversible movement of Eros and Thanatos, the proximity of this world and the otherworldly; Hymn to Beauty: “If your regard, your smile, your foot, open for me /An Infinite I love but have not ever known?”, translated by W. Aggeler), but they are enriched with new meanings about the hidden, mystical knowledge associated with the “golden door”. When translating,
Gumilëv follows, on the one hand, his own advice to translators to be “careful researchers and perceptive critics”, and on the other hand, he betrays his own thesis that the translator “must forget his
personality, thinking only of the author’s”.
and Mikhail Shishkin: Semantics of Flanerie
This article deals with the story of the Swiss writer Robert Walser The Walk as well as essay of the Russian writer Mikhail Shishkin Walser and Tomzack. The theoretical background of the research is based on the works of Gérard Genette and Emmanuel Lévinas. Studying the variability of interpretations of the Walser’s work and life, the author comes to the conclusion that Mikhail Shishkin represents Walser’s life and creative works already known from the collection of essays recently translated
into Russian. Walking features heavily in Walser’s writing. The writer is keen on the observer and his interpretation of the visual images. Thus the article shows the similarities and differences in the approaches of some authors (Walter Benjamin, Susan Sontag, Olga Vainshtein and others) to such concepts as flânerie (stroll) and flâneur (stroller). Throughout The Walk, walking coincides with the act of writing. The author seeks to underline those aspects of the Walser’s story and Shishkin’s essay that reveal the transgressivity of the stroll and writing. They become a means of escaping
life, its method to delay the inevitable (death). So the Walser’s departure from the social life and leaving for the void begins with the main character’s leaving for the walk and for the telling a story. We can observe a similar tendency in visual art of Paul Klee who was a contemporary of Robert Walser.
In this case, the poem may be read within the framework of the poet’s intimate relationship with ‘being’, and it may turn out to be a space for the embodiment of the author’s essential personal characteristics.
mutually exclusive.
not incidental, but they reveal conceptual ideas of the translator’s original work. In the translation of the last stanza of Gautier’s poems The Hippopotamus the poet deviates from the original poem and adds
the adverb solemnly, thus adding to the attitude of the lyrical subject. This choice is motivated by the semantic and symbolic field of the lexeme solemnity in Gumilev’s Russian poems: solemnity is associated with the acceptance of one’s poetic destiny, which is defined as both dramatic and victorious. Without believing that the poet is the bearer of supreme truth, Gumilev seeks the Absolute both in his poetic craft and in his personal search for truth – some kind of “golden door”. In his translation of
Baudelaire’s poem The Death of Lovers, the poet deviates from the French text and introduces in the last stanza his own theme of the “golden door”. Not only do the half-opened doors, concrete enough in
Baudelaire‘s poem, receive in the Russian translation the meanings that are important for the poetry of the French poet (the semantics of the reversible movement of Eros and Thanatos, the proximity of this world and the otherworldly; Hymn to Beauty: “If your regard, your smile, your foot, open for me /An Infinite I love but have not ever known?”, translated by W. Aggeler), but they are enriched with new meanings about the hidden, mystical knowledge associated with the “golden door”. When translating,
Gumilëv follows, on the one hand, his own advice to translators to be “careful researchers and perceptive critics”, and on the other hand, he betrays his own thesis that the translator “must forget his
personality, thinking only of the author’s”.
and Mikhail Shishkin: Semantics of Flanerie
This article deals with the story of the Swiss writer Robert Walser The Walk as well as essay of the Russian writer Mikhail Shishkin Walser and Tomzack. The theoretical background of the research is based on the works of Gérard Genette and Emmanuel Lévinas. Studying the variability of interpretations of the Walser’s work and life, the author comes to the conclusion that Mikhail Shishkin represents Walser’s life and creative works already known from the collection of essays recently translated
into Russian. Walking features heavily in Walser’s writing. The writer is keen on the observer and his interpretation of the visual images. Thus the article shows the similarities and differences in the approaches of some authors (Walter Benjamin, Susan Sontag, Olga Vainshtein and others) to such concepts as flânerie (stroll) and flâneur (stroller). Throughout The Walk, walking coincides with the act of writing. The author seeks to underline those aspects of the Walser’s story and Shishkin’s essay that reveal the transgressivity of the stroll and writing. They become a means of escaping
life, its method to delay the inevitable (death). So the Walser’s departure from the social life and leaving for the void begins with the main character’s leaving for the walk and for the telling a story. We can observe a similar tendency in visual art of Paul Klee who was a contemporary of Robert Walser.