Paul Verlaine Research Articles

Edutainment as a Modern French Language Teaching Technology of Prospective Philologists and Translators

Introduction. The development of the system of teaching foreign languages and cultures in institutions of higher education requires regular updating of the components of this system, in particular, modern technologies for teaching foreign languages and cultures to the students of various specialties. Among such technologies, the edutainment technology stands out for the formation of foreign language linguistic / linguo-sociocultural competences. Purpose. To present the technology of edutainment on the example of a specific exercise using a support, a poem by the French poet Paul Verlaine, as one of the means of this technology and justify the feasibility of using this means. Methods. Reviewing the studies that have already been conducted, analyzing the feasibility of using this technology on the example of specific exercises. Results. The study showed that the edutainment technology, namely its specific means, a poem, can be used during online and offline classes on learning foreign languages and cultures. This technology will contribute to better assimilation of the material, and will enhance student’ interest and motivation. Conclusion. To sum up, the use of poetry in classes as one of the means of the edutainment technology for teaching the French language and culture contributes to the effective formation of students’ lexical and phonetic components of the French-language communicative competence. Further research involves the study of other means of the edutainment technology for teaching the French language and culture to students – prospective philologists and translators, teachers.

ПЈЕСНИЧКИ СВИЈЕТ ЈАКОВА ШАНТИЋА

This paper analyzes the poetry of Jakov Šantić, today an unjustly forgotten poet of the Mostar literary circle (Mostarski književni krug), who published only one collection of poetry in his lifetime under the title Poems (Pjesme), printed in Mostar in 1904, by the well-known publishers Paher and Kisić. Looking back at the poet’s short life, poetic work and posthumously published poems, we first analysed his poetry in the context of Serbian Modernism, pointing out that he had spontaneously accepted the Symbolist program. In the paper, we draw attention to the presence of Baudelaire’s themes in the poetry of Jakov Šantić, as well as to his acceptance of the programme principles proclaimed by Paul Verlaine in the famous poem “The Art of Poetry”.

FRANKO'S ARTISTIC DISCOURSE IN UKRAINIAN TRANSLATIONS: A LINGUACULTURAL ANALYSIS

The article provides a linguistic and cultural analysis of Ukrainian translations of French literature. The study reveals important aspects of the transmission of artistic symbols and cultural realia by Ukrainian translators and their influence on the perception by Ukrainian readers. The relevance of the research is due to the growing volume of translations of French texts, the importance of quality translation and the study of linguistic and cultural aspects of translation. The results of the study indicate different translation strategies used by translators to convey the content and form of the original, as well as the importance of taking into account linguistic and cultural features when reproducing artistic images. The analysis of the translation of the poem “Chanson d’automne” by Paul Verlaine emphasizes the complexity of translating poetry and the need to preserve its stylistic and sound features.

Bryusov-lyrics' Genre in a Translation Dialogue with French Symbolism

The subject of the study is an intertextual dialogue between V.Y. Bryusov and Paul Verlaine based on the poem "Croquis parisienne" ("Parizhskoe croquis"). The object of the research is the ways and means of forming intertextual and intercultural dialogue in poetic translations of the Silver Age. The authors consider in detail such aspects of the topic as the unique word usage of the word "croquis" in the use of V.Y. Bryusov, reinforcing the conclusions with quotations from the National Corpus of the Russian language. Special attention is paid to the exclusive use of the word "croquis" as a genre mark, which corresponds to the extensive tactics of mastering genres by V.Y. Bryusov both in translations and in original poetry. The main conclusions of the study are the means allocated by the authors to implement intertextual dialogue in translation: the changes made by the translator to the original text strengthen the dialogic component of the picture developed by the author and weaken the motive of existential loneliness presented in the original text. A special contribution of the authors to the study of the topic is the identification in the translation work of V.Y. Bryusov of the original genre of the ekphrasic type - "croquis"-a sketch associated with the visual and verbal representation of the image. The novelty of the research lies in a detailed description of this impressionistic poetic genre and tracing its semantic and aesthetic connections with the fundamental attitudes of Impressionism in painting.

Lirismo-narratividad. Reflexiones a partir del poema “Colloque sentimental” de Paul Verlaine

This essay explores the thin boundaries of genres in Paul Verlaine’s poem “Colloque sentimental”, where the theatrical, the lyrical, and the narrative coexist. Of these three terms, the lyrical is the most elusive, which beyond its musical substratum, would be related to the expressive side, the accent placed on the poetic subject, the extreme subjectivation and the tendency to self-representation, the varied world of explicit feelings, a singular atmosphere, something similar to a “soft” world, traversed by the exaltation of the “other”, and all the expressive consequences that these considerations have in poetry.

Narrative Strategy of Paul Verlaine’s Prose Poems

The article analyses historical and genetic origins of the genre of prose poem. It singles out the genus-genre syncretism of prose poem, the foundation of which lies in the intertwining and interpenetration of epic, dramatic and lyrical principles, "overlapping" of different modifications. The material under study is represented by a collection of prose poems by Paul Verlaine Les mémoires d'un veuf. The aim of the article is to study the narrative peculiarities of a prose poem given the syncretic nature of the genre, and its delivery, which allows to analyze artistic works from the standpoint of their composition and structure. According to the internal genre-style dominant, three forms of narrative modeling are distinguished: a narrative with the predominance of epic-realistic elements, a narrative with the predominance of lyrical-impressionistic elements and dramatization of the narrative.  According to its plot-compositional structure works of the epic-realistic block can be divided into two categories: the first one is determined by the dominance of the linear principle of the beginning, the second one is characterized by the fragmentary principle of composition with the increased aestheticization and intellectualization, in-depth psychological insights, and appeal to “eternal themes”. The works of the lyrical-impressionist model include an internal psychologized plot, attention to feelings and changes in emotional states, as well as stylistic syncretism. The lyrical semantics of the work is closely connected with the position of the lyrical character, personal author's experience. The entire plot of the poem is centered on the inner world of the poetic lyrical character; therefore, it is not the work itself that conveys the plot line but the character’s emotional experiences do that. It is the ability to express a particular feeling, a state without adhering to the plot line that becomes decisive for the dramatized type of story.

Prelude to “Dance of Agony”, and: Memories, and: With Moon, and: Three Flower Songs, and: Nights in Andong, and: When It Snows

Prelude to “Dance of Agony”, and: Memories, and: With Moon, and: Three Flower Songs, and: Nights in Andong, and: When It Snows Kim Ok Translated from the Korean & Introduced by Ryan Choi Born in 1896 in the North when it was just the “north,” in the twilight of the Joseon Dynasty, which had thrived for over five centuries as the last in a long line of kingdoms, Kim Ok was an early Modernist poet, literary translator, and editor. Beyond these endeavors he was known as a secondary school teacher, freelance lecturer, and administrator at the Gyeongseong Central Broadcasting Company (the predecessor of the modern Korean Broadcasting System). A gifted linguist who lived through Korea’s modernization, as well as its colonization and eventual liberation from Japan at the end of the Second World War, he was sent to study at Keio University in Tokyo in 1913, which was common for the Korean academic elite of the time. Notable for being among the first literary translators to work from original texts, Kim was capable in a range of languages beyond his own—Japanese, Chinese, English, French, and even Esperanto—introducing to the Korean language Western literary theory in his essays, as well as English and French Symbolist poetry in Dance in Agony (1921), a landmark anthology of 84 translations of poems by Paul Verlaine, Remy de Gourmont, Charles Baudelaire, W. B. Yeats, and more. This volume, together with Kim’s essays and foreign-inspired poetry, would become a catalyst for the Modernist movement in Korean poetry, which was defined as much by the assimilation of Western aesthetics like free verse and the extension of subject matter beyond Chinese-influenced folk themes (of love and nature, moral and historical pedagogy) as by the rise of Japan, which— having replaced China as the portal to the outer world—would act as both model and foe for Korea, being on the one hand the occupying power but on the other the first country in the region to modernize successfully. Many of the Korean intellectual luminaries who had gone, like Kim, to study in Japan during this era were impressed by Japan’s achievements in everything from basic infrastructure to university academics, and returned home with a vision for the same in their homeland. (By this point in time, Japan had translated a substantial amount of the Western canon, both classical and contemporary. Japan was also up to date in the physical and social sciences, mathematics, medicine, architecture, engineering, law, philosophy, and most other standard areas of academic study.) Although Kim is classified as a Modernist, the label is most appropriate for the early part of his career. After a stint translating Rabindranath Tagore and Sarojini Naidu, Kim—circa 1925, under the sway of an increasingly complicated political scene—deserted the theories and aesthetics of the West that defined his early work, and turned to classical Chinese literature and the folk songs of his country, at which point his own poetry transitioned from the overtly innovative rhythms of [End Page 66] his youth (represented in the following selection by “Prelude to ‘Dance in Agony,’” “Memories,” “With Moon”) to styles and themes indebted to tradition (see: “Cosmos,” “When It Snows”). Also key to this change in subject and tone was a relationship Kim had made as a teacher at the Osan Middle School, where his pupil was Kim Sowol (1902–1934), another gifted student sent to study in Japan, who would posthumously become one of the most celebrated poets of the 20th century in Korea, famous for his only book Azaleas (1925), which is still taught in schools today as an exemplar of modern Korean verse. Osan Middle School was a Christian school, eventually closed by the Empire of Japan (but later reopened and still standing today) for the purpose of limiting the influence of Christianity and inculcating in the Koreans a reverence for the Japanese emperor. In these circumstances, Christianity became a key point of cohesion for the Korean Independence Movement, and it is partly for this reason that it maintains until this day a foothold in South Korean society and identity. Relatedly, during this same period, communism was also making its own inroads...

Simbolist’uri kalakis mxat’vrul-msoplmxedvelobrivi ret’rosp’ekt’iva Sandro cirekidzis miniat’urebshi /სიმბოლისტური ქალაქის მხატვრულ-მსოფლმხედველობრივი რეტროსპექტივა სანდრო ცირეკიძის მინიატურებში [Artistic-Worldview Retrospective of Symbolist Сity in Miniatures by Sandro Tsirekidze]

In literary studies, there is a firmly rooted idea that generally the genre specificity of the symbolist creative thought is merely poetic imagology, however, the genre area in the European history of Symbolism has also embraced prose, fiction, drama, miniature literature as well as essays. In this regard, the Georgian Symbolist school which represents a creative variation of the European narrative is consistent. Sandro Tsirekidze’s name is unquestionably associated with the history of the Georgian Symbolist prose; he, all the way through his life and work, fully embraced the destiny of the so-called “cursed poets” and the fate of the “forgotten artists”, although, back then, he along with others from the Blue Horns was constructing the new history of the Georgian literature. Sandro Tsirekidze’s ideas about literature and art serve as another analogue of the assessment of creative events, performed professionally with a then-innovative and modern approach. These attitudes have been demonstrated in his miniatures in which the Georgian reflection of the creative and worldview discourse of Paul Verlaine, Émile Verhaeren, Arthur Rimbaud, Georges Rodenbach, Valery Bryusov, and other Symbolists becomes fully conscious. For the character of Sandro Tsirekidze’s miniatures, the city is the space for action as well as the space for thinking; the city which, at the same time, is a symbolic binary essence, and an artistic and creative stepping stone. Here, the author’s subjective opinions and attitudes undergo a certain artistic transformation, when the author rather proceeds along the “footbridge” of literature positioned between the emotion and analysis, where the author’s genuine emotional experiences are explicitly identified. The city text by Sandro Tsirekidze is related to the conceptual symbolist perception. It is the complex of concepts, motifs and plots, which covers the author’s model of city life – both generally and in its private manifestations.

A Comparative Analysis of Reynaldo Hahn’s and Gabriel Fauré’s Settings of Paul Verlaine’s “La Lune Blanche Luit Dans Les Bois”

This paper compares Reynaldo Hahn’s and Gabriel Fauré’s musical settings of Paul Verlaine’s poem, “La lune blanche luit dans les bois.” Composing at the end of the 19th century, Hahn and Fauré were prominent figures in French musical culture—performing in the salons of the Parisian intelligentsia—and made significant contributions to the development of French art song. Despite having shared influences, their respective approaches to Verlaine’s poem are highly individual. I begin by introducing Verlaine and the poem through the broader lens of the symbolist movement, followed by an original interpretation of the poem. Through my analysis, I provide insight into Fauré’s and Hahn’s harmonic languages, with an emphasis on their use of chromatic harmony, while highlighting unique characteristics of each setting and how they convey an individualized interpretation of the poem. I conclude by inviting additional exploration of Hahn’s and Fauré’s output to gain a further understanding of their musical languages, and by framing their works within the broader context of 19th century France.

Translation of Charles Cros, ‘process for recording and reproducing colors, forms and movements’ (1867) with an introduction

ABSTRACT This 1867 document, akin to a patent application for the US Patent Office, is among the first to describe processes for producing both motion and color photography. It precedes by 20 years Edison’s 1888 kinetograph/kinetoscope design, the earliest working prototype of cinema. Its author is Charles Cros, who also outlined a phonograph system in 1877, a few months before Edison displayed his working phonograph. Cros is mostly known as a poet, fiction writer and playwright associated with members of the French Symbolist and Decadent movements (Arthur Rimbaud, Paul Verlaine, Auguste Villiers de l’Isle-Adam). Yet he was an accomplished technician and inspired media innovator who deserves reconsideration in media history. Evidence of his status comes for instance from his close collaboration with Jules-Adrien Carpentier, the very engineer the Lumière Brothers tasked with constructing their Cinématographe camera. Sent to and received by the French Academy of Sciences, this document is in three parts. The first describes with prescient specificity the photographic synthesis of motion. The second offers several ways of achieving the photographic synthesis of color using filters and projection (rather than pigment and print, as later achieved in the 1890s). The last and more cryptic section concerns an ambitious theory of perception. Unpublished in French until 1970, this document will be of wide interest to scholars of media history, cinema and photography studies, literary studies, and modernist studies. The introductory essay makes a strong case for rehabilitating Charles Cros as a key inceptor of modern audiovisual media.

Генологічні моделі оповіді в поезіях у прозі Поля Верлена

The aim of the article is to study the specific features of the narration in Paul Verlaine’s prose poems. Historical and genetic origins of prose poems were analyzed. We observed that poems in prose became extremely popular at the turn of the XIX–XX centuries, meeting the demands of modernism regarding the change of the aesthetic canons through the renewal of artistic systems and types of narration. The prose poems sketches are characteristic of subtlety in reproducing the personal experience, in subtle play of the colours and chiaroscuro which create impressions, moods and association. The exterior details, landscapes, nature become the means of conveying ambivalent emotional process. The research describes, analyzes and generalizes the narrative models of the prose poems by Paul Verlaine, on the material of his “Mémoires d’un veuf” (“The Memoirs by a Widower”). Research methodology is based on integrated use of systematic, philosophical aesthetic approaches; cultural-historical, contextual, biographic methods; theoretical studies carried out with narrative typologies and methodological analysis of the main narrative strategies as important components of the artistic storytelling in the text. We define narration as the system of principles of constitution of the text at the deep level of its formation in complete agreement with the nature of the narration featuring the following components: specific traits of the organization of the chain of episodes; way of presentation of the writer’s theme; presentation order of events; focalization as a condition node, that affects the perception and reproduction of events; presentation type of statements and opinions of characters in the text. The basis of the model division of narration types in prose poems is the syncretic nature of the genre, which involves interpenetration of epic and lyrical principles, «superimposement» of some modifications. Depending on the dominance of certain genealogical elements and stylistic dominating idea of the work, the contexture of the narration is prevailed by epic-realistic or lyrical-impressionistic components. It has been found that according to the plot-compositional structure, the works of the epic-realistic block are divided into two categories: the first category has the dominance of the linear principle, the second – of the fragmentary construction principle with the strengthening of aestheticization and intellectualization. The works of the lyrical-impressionistic model contain an internal psychologized plot, attention to feelings and changes in emotional state, stylistic syncretism, an appeal to «eternal themes». The position of the lyrical hero, personal authorial experience, is closely connected with lyrical semantics.

Abd al Malik au musée: Rap, Camus, and Neo-Impressionism in the Spring of 2020

Abd al Malik au musée:Rap, Camus, and Neo-Impressionism in the Spring of 2020 Lynne Bermont In Albert Camus's 1947 novel La peste, the impact of the plague on the publishing industry is manifest in a sudden profusion of pablum: "Des imprimeurs de la ville virent très vite le parti qu'ils pouvaient tirer de cet engouement et diffusèrent à de nombreux exemplaires les textes qui circulaient" (201). In the spring of 2020, however, the pandemic produced the obverse effect: the exponential growth in sales of a literary classic by a philosopher and Nobel Laureate acclaimed for incandescent intellect and a lucid assay of human nature. In March, sales in France and Italy of La peste had increased by 300%. In the United States, Amazon had sold out of its copies, resulting in a rush to reprint. As Alice Kaplan noted on NPR, the French press exhorted readers to turn to it "almost as though this novel were a vaccine, not just a novel that can help us think about what we're experiencing but something that can help heal us." Similarly ardent articles appeared throughout American publications in which writers such as Laura Marris and Alain de Botton recommended the book to immunize us from despair. This cultural phenomenon coincided with the pedagogical concerns that many of us confronted in the spring of 2020 as on-campus classes made a brusque transition online: How do we keep our students engaged amid the all the distraction and dislocation incurred by the pandemic? How do we maximize relevant cultural content and critical thinking to maintain a cohesive learning community? How can an introductory French course respond swiftly to students confronting an upended world, not to mention the vicissitudes of Wi-Fi? My humble response to these challenges was to incorporate Camus into the course. Students would therefore at least be offered, to paraphrase Boethius (480–524), some consolation from philosophy. Since students were not yet grammatically equipped to read excerpts from La peste, there had to be another mode of authentic content through which students could become acquainted with Camus. Abd al Malik could provide such an introduction, as he has done for French audiences through his rap, hip-hop, poetry slams, performance art, theatrical productions and a book dedicated to his intellectual hero, Camus, l'art de la révolte (2016). [End Page 69] Born Régis Fayette-Mikano in Paris in 1975 to Congolese parents, Abd al Malik and his six siblings were raised by a single mother in a crime-ridden housing project in Strasbourg. By age thirteen, he had joined his brother's rap group, New African Poets, and began reading Camus voraciously. During his peripatetic youth, he left behind pickpocketing and drug-dealing to immerse himself in the study of Islam, Sufism, and Seneca. In 2007, he was awarded prizes for Best Artist and Best Album and in 2008, he was honored as a Chevalier des Arts et des Lettres. Abd al Malik has long espoused the notion that artistic expression is a convergence of diverse voices and origins, for example, the correlations he sees between hip hop and ancient traditions of griots and troubadours. In conjunction with the Opéra de Paris, he reimagined Verdi's Otello (1887) as a short film in a contemporary urban setting. At the Théâtre du Châtelet, his production of Camus's Les justes fused the story of a 1905 Russian aristocrat's murder with elements of twenty-first-century urban youth culture to examine ethical justifications of violence. Our virtual classroom incorporated Abd al Malik's prismatic, multimedia approach to study works of art and their reflections on society and the self. The assignment began with students familiarizing themselves with aspects of Abd al Malik's life story through the trailer for his film Qu'Allah bénisse la France (2014). In the first moments of the trailer, the main character, based on Abd al Malik, is seen rapping and riffing on Paul Verlaine's poem "Il pleure dans mon cœur." The students listened to a recording of the poem and read along with the text to practice pronunciation...

Соперники в символизме

The article examines the reception of Western European modernism in Russia in the late 19 th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which not only endows the work of a foreign author with new functions, but sometimes also gives it a new scale (as with Byron, Zola, some of whose novels were published in Russian translation earlier than in the original in France, the Parnassian poet Jose Maria de Heredia, who received real fame in Russia, in contrast to the very short recognition in his homeland). The subject of the analysis is the texts that are maximally indicative and convincing for the stated topic, above all the translations from Paul Verlaine by Fyodor Sologub, who, along with Bryusov, opened the French poet to the Russian reader, and his original poems, created in the course of and largely as a result of work on translations. The systematization of observations on specific texts makes it possible to conclude that Russian Symbolists, adhering to sometimes opposite views on art, relying on the authority of Baudelaire and Verlaine who are perceived in France more as predecessors of Symbolism than its representatives, walked alongside them, never meeting along the way, but recognizing the “other” as “equal”.

Introduction

Introduction Robert St. Clair and Seth Whidden This special issue of Nineteenth-Century French Studies, long in the making, arrives at a moment of contradictions. Commemorating an event seen by many of its contemporaneous actors as the culminating point of a decades-long collective struggle for freedom and democracy in nineteenth-century France1—an event whose name, to this day, still conjures up ideals of freedom and direct democracy, as well as the conscience-shaking act of repression with which it was put down—the present issue seeks to take stock of the past and to bring some clarity to blind spots that may have heretofore remained obscured. Its relevance in the present, however, reveals nothing short of urgency: this issue comes to print amid acute crises and breakdown of political forms while across the globe citizens struggle to find new forms and spaces for collective political actions, contest anti-egalitarian forms of a partage du sensible (Rancière) bolstered by the State's proverbial monopoly on violence, and challenge at its core the notion that the present in which we find ourselves is inescapable—that is to say, futureless. It is therefore in a broader context of leaping into the past in the hopes of better sounding out a way forward—a manoeuvre perhaps best materially emblematized, if not put into practice, by the déboulonnage of public monuments to oppressions not so much past as on-going which spread across transnational contestatory movements and spaces, from Richmond, VA to Nantes, in the summer of 2020—that we have convened the following essays. Each bears witness to the imperative of grappling with the past in the hopes of understanding the present, and of understanding that past in the hopes of finding a way out of a present that seeks to present itself as timeless. In a word, each bears witness to what Paul Verlaine once referred to as "le besoin pressant d'opportuns lendemains."2 It is doubtless more than a little tempting to search for a solitary strand running through each of the essays and interventions assembled in the present volume—however richly multifarious they may be in object or approach, or at [End Page xi] times only uncomfortably compatible in the conclusions they reach where the question of the Commune's significance is concerned—that might allow us to pull them each together in a single dialectical stitch. A red thread connecting each story about the 1871 Paris Commune to, as it were, a larger story, a collective story, that might bring into clearer relief something like the "matter(ing)" of the Commune, the meaning of our "entanglement" with the Commune today.3 Why is it that, in a century which was at no loss for massive revolutionary upheavals, insurrectionary events or world-shaking transformations followed by cruelly dashed hopes (1830, 1831, 1834, 1848, 1851, etc.), nearly alone the Commune retains a particularly intense, perduring grasp on our historical imaginations and perhaps our political aspirations? Revisiting the Paris Commune with 150 years of hindsight is a daunting task, and we could not hope to be exhaustive in our reach. Consistent with the journal's remit of "nineteenth-century French studies and related fields," the Commune's resonance stretches the notion of what is "related" beyond what regular readers of Nineteenth-Century French Studies find in a typical issue. Paul Lidsky's statement that "il n'y a plus deux visions antithétiques de la Commune, mais des lectures plurielles, éclatées, complémentaires de l'événement"4 could well explain the various voices, disciplines, modes, perspectives, and even oppositions that the Commune requires throughout this issue's texts, divided into six groupings, movements, or phases. Despite (or perhaps because of) this fundamental and irresolvable lack of simplicity and the Commune's resistance to facile summary, its potential to endure was always already there, from its earliest moments. On 17 April, when it was just barely one month old, Karl Marx saw the lasting resonance of this event that was still in its infancy: "Whatever the immediate results may be, a new point of departure of world-historic importance has been gained."5 Twenty years later...

ПОЕЗІЯ ФЕДОРА СОЛОГУБА І ФРАНЦУЗЬКИЙ СИМВОЛІЗМ

The article is devoted to a comparative analysis of the lyrics of Fyodor Sologub and his predecessors, French symbolist poets Paul Verlaine and Charles Baudelaire. The poetry of Sologub is considered in the context of the main provisions of symbolist aesthetics, set forth in the theoretical works of Jean Moréas and lectures of Dmitry Merezhkovsky. Fyodor Sologub became interested in poetry of the French Symbolists at the end of the 1880s and did not stop thereafter. The first significant poet for the Russian symbolist was Paul Verlaine, whose poems were so consonant with Sologub’s worldview that the latter considered them as an organic part of his work. The picturesqueness and musicality of Verlaine's poems, his methods of suggestion, mystical irony, as well as the highest level of verification became for Sologub a starting point and one of the most important guidelines in his work. Sologub enters into a poetic dialogue with Charles Baudelaire. The undertaken comparative analysis of their poems showed that, having common aesthetic features, aims and values (the idea of correspondences, the opposition of the sacred and profane worlds, the aestheticization of the ugly and death, the desire for infinity, theomachism, etc.) and using similar poetic techniques (cyclization, associations, suggestion, grammatical constructions, sound writing, etc.), each poet, however, creates a unique artistic world. In our opinion, the main thing that is the fundamental difference between Baudelaire’s worldview platform and Sologub’s position is the possibility (for Baudelaire) or impossibility (for Sologub) of liberating a person from an illusory and deceitful material world, in which a person is doomed to suffering, and achieving the desired Ideal. In other words, Baudelaire asks the reader riddles, the answer to which is difficult to find, but possible, and Sologub puts the reader face to face with the mystery of the universe, where each new answer is not final and produces more and more new questions.

«…В буквальном смысле слова пересоздать на другом языке»: к вопросу о специфике переводческой манеры Федора Сологуба

The article considers the specifi c features of the translation style of the greatest symbolist poet Fyodor Sologub (1863–1927), who was one of the best translators of the French Modernists, primarily Paul Verlaine, into Russian. The analysis of various versions of the translation of Verlaine’s poem «Bruxelles. Simples Fresques. I» demonstrates how Sologub was searching for the best way to render the rhythm, phonics, vocabulary, fi gurative structure of the original, achieving «accuracy» in the rendition of a particular level of the text, yet sometimes failing to preserve its main semantic dominant.

Blue Balls of Fire and the Ethics of Spectatorship: Verlaine, Yeats, Beckett

This paper looks at three short dramatic scenes by Paul Verlaine, W. B. Yeats and Samuel Beckett which all pick up that most conventional of theatrical themes, thwarted love, only in a disturbing way, by shifting the focus from the torments of the soul to the painful embodied experience of sexual frustration, and by having it performed not by youthful “star-crossed lovers”, but by ambiguously incarnated revenants, or by decrepit, nearly dead old people. I first suggest that a certain filiation, conscious or not, runs from one of Verlaine’s most famous poems, “Colloque sentimental”, through the dance of the ghosts in Yeats’s “play for dancers” The Dreaming of the Bones, to the “love scene” played out by Nagg and Nell out of their respective dustbins in Beckett’s Endgame. More importantly, I argue that the three pieces ask uncomfortable questions about the ethics of spectatorship and invite us to think critically about the conceptualising of theatre as a “face-to-face encounter with the Other”, a notion inspired by Levinas which has gained currency since the “ethical turn” hit theatre studies in the mid-2000s. This paradigm, I further suggest, is applied inaccurately to the theatrical encounter, especially in such contemporary productions as Milo Rau’s 2019 show Orestes in Mosul, which rather rests on a problematic ethics of empathy, a notion foreign to Levinas. The three scenes by Verlaine, Yeats and Beckett, on the other hand, offer an alternative model of unempathetic spectatorship which, paradoxically, may go further towards allowing the presence of radical Others on the stage.

Paul Verlaine: A Bilingual Selection of his Verse. Translated by Samuel N. Rosenberg. Edited by Nicolas Valazza

<i>Paul Verlaine: A Bilingual Selection of his Verse</i>. Translated by <scp>Samuel N. Rosenberg</scp>. Edited by <scp>Nicolas Valazza</scp>

Gaya Bahasa Asonansi dan Aliterasi pada Antologi Puisi Romances Sans Paroles

This research aims to explain the analysis figure of speech of assonance et alliteration in poems anthology by Paul Verlaine. The research questions discussed in this research are how the assonance and the alliteration found in those poems by focusing on the repetition of vowels and consonants phonemes in an array. The method used in this research is descriptive-qualitative, by analyzing data contained in the poetry anthology Romances Sans Paroles in the form of sentences. The repetition of phonemes both assonance and alliteration was encountered 137 times. 61 assonances and 76 alliterations were found. The data is dominated by the phoneme [R] which is a type of vibrating shear consonant that found 11 times.

Literary Translation as a Polemic Manifestation of Program Mindsets of Silver Age Trends (translations by V. Bryusov and N. Gumilyov)

The question of literary translation of poems that are important in the context of developing a new artistic strategy by the leaders of the poetic movements of the Silver Age is considered. The relevance of the study is due to the fact that the multicultural and multilingual dialogue of translators is analyzed both with the texts of the original and with each other. The results of a comparative analysis of poems by Paul Verlaine “Art Poétique” in the translation of Valery Bryusov and Teofil Gautier “L’Art” in the translation of Nikolai Gumilyov are presented. The author notes that Bryusov saw ideas that resonate with his idea of symbolism as a stylistic phenomenon in Verlaine’s work. Particular attention is paid to the fact that Verlaine is polemicizing with the previous tradition - the poetry of the Parnassians, whose principles were embodied in the work of Gautier. The question is raised that Nikolai Gumilev, translating Gautier, engaged in implicit controversy with both Bryusov and Verlaine. The author dwells on the fact that the background of this polemic is the justification of the “neoparnassian” and “neoclassical” foundations in the style and poetics of acmeism. It is proved that the purpose of this polemic is the manifestation of the program mindsets of symbolism (in Bruce's version) and acmeism (in Gumilev version) based on the authority of Verlaine and Gautier.