Download Freedom From Violence and Lies: Essays on Russian Poetry and by Robert P. Hughes, Richard Taruskin, Thomas A. Koster PDF

April 5, 2017 | Criticism Theory | By admin | 0 Comments

By Robert P. Hughes, Richard Taruskin, Thomas A. Koster

Freedom from Violence and Lies is a suite of 41 essays through Simon Karlinsky (1924-2009), a prolific and arguable pupil of recent Russian literature, sexual politics, and track who taught within the college of California, Berkeley's division of Slavic Languages and Literatures from 1964 to 1991. between Karlinsky's full-length works are significant reports of Marina Tsvetaeva and Nikolai Gogol, Russian Drama from Its Beginnings to the Age of Pushkin; versions of Anton Chekhov's letters; writings by means of Russian migrs; and correspondence among Vladimir Nabokov and Edmund Wilson. Karlinsky additionally wrote usually for pro journals and mainstream guides just like the ny occasions booklet overview and the kingdom. the current quantity is the 1st number of such shorter writings, spanning greater than 3 many years. It contains twenty-seven essays on literary issues and fourteen on tune, seven of which were newly translated from the Russian originals.

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Additional resources for Freedom From Violence and Lies: Essays on Russian Poetry and Music by Simon Karlinsky

Sample text

And indeed, the Crimea of The Fountain of Bakhchisarai is closer to the Oriental tales of Byron than to either any actual Moslem life which the poet could have observed during his trip or authentic Moslem poetry of the kind quoted by Muravyov-Apostol when he speaks of the inscriptions at the palace of the Gireys. Tomashevsky6 gives a list of exotic words which became common currency in most European languages after Byron used them in his Oriental tales, and which also appear in Pushkin’s Crimean tale: harem, eunuch, fakir, sherbet, chibouque.

Pushkin and Romanticism poetry into maximally precise English prose. This method, exemplified by Edmund Wilson’s version of The Bronze Horseman included in his book The Triple Thinkers, satisfies the reader’s curiosity about what Pushkin has to say. But it leaves out the verbal music of the text, which in Pushkin’s case means that it leaves out the poetry. The adherents of the second method seek to convey Pushkin’s meters through their (very approximate) English equivalents. They try to reproduce his rhyme schemes by facile English rhymes of the “singing-wingingringing,” “love-above” and “passion-fashion” variety, though anything this trite is the very antithesis of Pushkin.

And expanded ed. —Ed. 51 I. Pushkin and Romanticism Trying to compare Thomas’s work to the originals in order to check its accuracy, I soon realized that much of the book was not translated from Pushkin’s Russian but rather adapted from two earlier volumes of Pushkin translations into English. ”4 In his acknowledgment section, Thomas admits to having been “much influenced” by Fennell’s “lucid prose versions” of Pushkin. But influence seems hardly the right term when we juxtapose the end of the first part of The Bronze Horseman as “translated” by Thomas (six lines as compared to Pushkin’s eight): And he, as though bewitched, as if riveted To the marble, cannot get down!

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