Владимир Маяковский и Фрэнк О’Хара: новый взгляд

Ronald Vroon

doi:10.22455/2500-4247-2020-5-3-144-185

Abstract

The “New York School” refers to a group of poets and painters, mostly of the Abstract Expressionist movement, who congregated in New York in the first two decades following the end of the Second World War. They constitute a coterie that has been characterized as America’s “last avant-garde”. Among its most prominent members was Frank O’Hara (1926–1966). Like other members of the New York School of poets, he was strongly influenced by the French and Russian avant-garde movements of the early twentieth century. He was particularly drawn to the works of Vladimir Mayakovsky, whose persona and poetry are frequently referenced in his own oeuvre. The present study seeks to establish the origins of O’Hara’s interest in the Russian poet, the sources he consulted in familiarizing himself with Mayakovsky’s work, and the trajectory of references to Mayakovsky that documents how his avant-garde aesthetic both accommodates and distances itself from that of his Russian forebear.

Highlights

Памяти Пола Шмидта I «Нью-Йоркская школа» — это название сразу двух групп: во-первых, группы художников — абстрактных экспрессионистов — и, во-вторых, кружка поэтов
The “New York School” refers to a group of poets and painters, mostly of the Abstract Expressionist movement, who congregated in New York in the first two decades following the end of the Second World War
Like other members of the New York School of poets, he was strongly influenced by the French and Russian avant-garde movements of the early twentieth century. He was drawn to the works of Vladimir Mayakovsky, whose persona and poetry are frequently referenced in his own oeuvre

Summary

Introduction

Памяти Пола Шмидта I «Нью-Йоркская школа» — это название сразу двух групп: во-первых, группы художников — абстрактных экспрессионистов — и, во-вторых, кружка поэтов. Пастернак несколько раз упоминает поэму Маяковского «Облако в штанах» и цитирует из нее отдельные строки, а в конце приводит отрывок на восемь строк, который, как мы вскоре увидим, должен был глубоко запечатлеться в памяти О’Хары: И чувствую, «я» для меня мало, Кто-то из меня вырывается упрямо.

Results

Conclusion