Abstract

The article offers a reflection on the poetry of Varlam Shalamov, which continues to attract only a limited interest among literature experts researching the works of the author of Kolyma Tales . The analysis addresses the categories of time and space in the poem Мне что ни ночь – то море бреда… being part of the Сумка почтальона series. By analysing the individual motifs, with account taken of their historical ( Gulag by A. Applebaum) and literary contexts ( One Day in the Life of Ivan Denisovich by A. Solzhenitsyn, A World Apart by G. Herling-Grudzinski), as well as through reflection on their theoretical,literary and philosophical aspects (M. Bakhtin, Y. Lotman, H. Bergson, G. Bachelard, G. Durand), it has been established that the poem features three basic chronotypes: the external(n), the external(d), and the internal. The internal chronotype has been found to constitute a mirror image of the other two space-time dimensions which in fact determine the existential situation of the lyrical “I” (reduction or restoration of the spiritual sphere), with this situation depending on the category of memory.

Highlights

  • The article offers a reflection on the poetry of Varlam Shalamov, which continues to attract only a limited interest among literature experts researching the works of the author of Kolyma Tales

  • The analysis addresses the categories of time and space in the poem Мне что ни ночь – то море бреда... being part of the Сумка почтальона series

  • The internal chronotype has been found to constitute a mirror image of the other two space-time dimensions which determine the existential situation of the lyrical “I”, with this situation depending on the category of memory

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Summary

Introduction

Dialektyka czasu i przestrzeni a kondycja duchowa „ja” lirycznego w wierszu Мне что ни ночь – то море бреда... Wyeksponowane w tytule niniejszego artykułu kategorie czasu, przestrzeni oraz „ja” lirycznego w wierszu Мне что ни ночь – то море бреда... Perspektywa czasowa jest definiowana przez motyw nocy, determinujący jednocześnie perspektywę przestrzenną, bowiem mrok jako atrybut nokturnalny całkowicie wypełnia miejsce, w którym znajduje się „ja” liryczne.

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