Abstract
Inspired by the works of Judith Schlanger, Isabelle Poulin and Stephanie Sandier, this article aims at understanding how the words chosen by Pushkin define a Russian identity without any identification with rigid patterns. Pushkin's works offer a paradigm within which a moving and imaginative private life stands out against an indifferent world. In Eugene Onegin, for example, a living community surrounds Tatiana's pain expressed by contractions and enjambments. Djamilia by Aïtmatov echoes that kind of writing when the off-camera end paradoxically makes the characters brighter. Erected by authoritarian regimes and, as Droujnikov notes in Pushkin 's second wife, often mistaken for others in the age of globalization, the statue of Pushkin does not fit the freedom of his works. Indeed, the creativity of Pushkin should rather encourage us to translate, rewrite, and play with his words.
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