Abstract
This article presents a comparative analysis of the modern Chinese and Russian poetry. Peculiar linguo-philosophical ideas of an internationally recognized Chinese poet Ouyang Jianghe are being juxtaposed with poetic views of famous Russian poets such as Osip Mandelstam, Joseph Brodsky and Arkadii Dragomoshchenko. The paper should be of interest to readers, because it deals with the yet unexplored topic. Recently, scholars have focused on the relationship between Chinese and Russian poetry of the classical period. According to a generally accepted opinion, the dialogue between Russian and Chinese literary traditions does not move further than the classical masterpieces by Dostoevsky, Pushkin, Gogol, Turgenev and Tolstoy. Hypothesis of research – a creative interaction between Russian and Chinese literatures still goes on after the collapse of the Soviet Union, which has lead to the loosening of strong cultural ties between Russia and China. As a proof of this statement the present paper reveals striking similarities between the theories of the Acmeist Mandelstam and the leading post-Obscure poet Ouyang Jianghe. That is, both of them share the language-centered approach to the art of poetry. Secondly, this paper provides factual evidence that Heidegger’s view on language as the house of being is one the main features uniting poetry of Dragomoshchenko, Brodsky and Ouyang. In summary, Russian school of poetry has left such a deep imprint on Chinese poetry that it can still be seen in the works of Post-Obscure poets. This article helps strengthen the intercultural dialogue, enhances mutual understanding between Russia and China and encourages further research regarding modern Chinese and Russian poetic traditions. Keywords: word, vivifying power, dissection, Hellenism, Acropolis, hunger, house of being, readability
Highlights
In order to find points of intersection between the two seemingly parallel roads (Russian and Chinese poetry) let’s take an internationally-acclaimed Chinese poet Ouyang Jianghe (欧阳江河) as a starting point
Let us mention the fact that contemporary Chinese poets are well acquainted with Osip Mandelstam, Anna Akhmatova, Marina Tsvetayeva, Nikolai Gumilev and Boris Pasternak whose brilliant works make up the Silver Age of Russian poetry
This article deals with the influence of Russian poetic tradition on modern and contemporary Chinese poetry
Summary
In order to find points of intersection between the two seemingly parallel roads (Russian and Chinese poetry) let’s take an internationally-acclaimed Chinese poet Ouyang Jianghe (欧阳江河) as a starting point. Speaking, when the old skin is peeled off, layers of new meanings can grow in their place From this viewing standpoint, one can draw a parallel between Ouyang and Futurist Velimir Khlebnikov who “busied himself with words like a mole digging down into the earth to make a path into the future for the entire century” (Polukhina, 2008: 295). The poet doesn’t want things, material objects to freeze readers to death, so he makes a determined effort to restore their body temperature Speaking, he seals up gaps and holes so that cold air can’t enter the world of poetry. Since ancient Greeks have treated every word-object as a live, breathing and warm flesh, Russian poet chooses to call this literary phenomenon “domestic Hellenism” His point of view is that Symbolists are still tinkering with dead, numb and lifeless shades. A struggle against non-existence is a sacred duty of every word-object
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