Title of the article:

ANASTASIA TSVETAEVA’S NOVEL AMORTHE LYRICAL GENRE MODEL AS THE EMBODIMENT OF SPIRITUAL RESISTANCE

Author(s):

Tatyana E. Smykovskaya 

Information about the author/authors

Tatyana E. Smykovskaya — PhD in Philology, Associate Professor, Blagoveshchensk State Pedagogical University, Lenina St. 104, 675000 Blagoveshchensk, Russia. ORCID ID: https://orcid.org/0000-0002-3800-0239 E-mail: tarkatova@yahoo.com

Section

Philological sciences

Year

2022

Volume

Vol. 63

Pages

pp. 198–207

Received

February 05, 2020

Approved after reviewing

June 15, 2020

Date of publication

March 28, 2022

DOI:

https://doi.org/10.37816/2073-9567-2022-63-198-207

Index UDK

821.161.1.0

Index BBK

83.3(2Рос=Рус)6

Abstract

The study looks at Anastasia Tsvetaeva’s novel Amor, the first draft of which (1939–1941) was composed when the author was incarcerated in Amurlag, a labor camp located in the Soviet Far East. Tsvetaeva resumed work on the manuscript, which was smuggled to Moscow by some free workers employed in the camp, in 1960, after she had served her term of “perpetual exile” in Siberia. Yet the definitive, canonical text was completed only in the 1980s. The novel was first published in the journal Moskva. The paper examines the novel from a concrete, genre-based perspective and interprets it as a lyrical work, owing to its focus on the psychological depiction of the consciousness of the protagonist, Nikki, Tsvetaeva’s alter ego. The genre of the lyrical novel, to which the work conforms, determines its poetics. Amor exhibits a degree of multilayered lyrical fragmentation that frames several of its aspects: narrational and compositional structure (a multilayered chronotope), mythopoetic dimension (a novel about the authorial self, the poem about Moritz, and the author’s own verse productions), discursive design (complex monologues of a voiced and interior kind), portrait sketches, and landscapes notes. By making use of this lyrical genre during a period of the totalitarian enslavement of the individual, Tsvetaeva asserts the value of every human being and gives expression of her axiological and humanistic stance, aimed at defending personhood under any historical and social circumstances.

Keywords

Anastasia Tsvetaeva, “Amor”, genre, lyrical novel, lyrical heroine, lyrical fragmentation.

References

1 Budi blagosloven tot den' i chas: Memorial'nyi katalog Anastasii Ivanovny Tsvetaevoi iz fondov Muzeia sem'i Tsvetaevykh v Novo-Talitsakh [Blessed Be That Day and Hour: Anastasia Tsvetaeva Memorial Catalogue of Items from the Tsvetaev Family Museum]. Ivanovo, ID “Referent”; Izdatel'stvo Muzeia sem'i Tsvetaevykh v Novo-Talitsakh Publ., 2009. 48 p. (In Russian)

2 Ginzburg L. Ia. O lirike [On Lyrical Poetry]. Moscow, Leningrad, Sovetskii pisatel' Publ., 1964. 382 p. (In Russian)

3 Esenina E. A. Proza A. I. Tsvetaevoi: avtobiografizm i mifotvorchestvo [Anastasia Tsvetaeva’s Prose: Autobiographism and Mythmaking]. Studia Litterarum, 2017, vol. 2, no 4, pp. 218–229. (In Russian) DOI: 10.22455/2500-4247-2017-2-4-218-229

4 Zinova E. A. Problema sootnosheniia avtora i geroia na primere romana A. I. Tsvetaevoi “Amor” [The Issue of the Author-Hero Correlation in Relation to the Novel “Amorˮ by Anastasia Tsvetaeva]. Diskussiia, 2015, no 2, pp. 140–146. 

5 “Zovut ee Asia. No luchshee imia ei — Plamia…” [“Her Name Is Asya. But She Is Best Called The Flameˮ]. Grani, 2014, no 252, pp. 52–80. (In Russian)

6 Kasatykh E. A. Mir tvorchestva A. I. Tsvetaevoi: khudozhestvennoe, ontologicheskoe, sobytiinoe [The World of Anastasia Tsvetaeva’s Art: Fictions, Ontology, Events: PhD thesis]. Shuia, 2009. 18 p. (In Russian)

7 Medvedev A. A. Kontsept tishiny v lirike A. I. Tsvetaevoi 1937–1943 gg. [The concept of silence in the poetry of A. I. Tsvetaeva 1937–1943]. Vestnik ChelGU, 2014, no 9–1, pp. 319–325. (In Russian)

8 Poetika: slovar' aktual'nykh terminov i poniatii [Poetics: A Dictionary of Current Terms and Concepts], chief scientific editor N. D. Tamarchenko. Moscow, Izdatel'stvo Kulaginoi; Intrada Publ., 2008. 358 p. (In Russian)

9 Reznichenko O. M. Vera pomogla vyzhit' [Faith Helped Them Survive]. Poslednii luch Serebrianogo veka: Vospominaniia ob Anastasii Tsvetaevoi [The Last Ray of the Silver Age: Reminiscences of Anastasia Tsvetaeva]. Moscow, Izdatel'stvo Doma-muzeia Mariny Tsvetaevoi Publ., 2010, pp. 81–84. (In Russian)

10 Rymar' N. T. Liricheskii roman: tvorcheskie zadachi i poetika [The Lyrical Novel: Poetics and Creative Purposes]. Samara, Izdatel'stvo SamGU Publ., 2008. 80 p. (In Russian)

11 Smykovskaia T. E. “Raia vest' v trekhmernosti adu”: spetsifika khudozhestvennogo toposa lagernykh stikhotvorenii Anastasii Tsvetaevoi [“Paradise news in the three-dimensionality of hell”: the specificity of artistic topos of the camp poems by Anastasia Tsvetaeva]. Filologicheskie nauki. Nauchnye doklady vysshei shkoly, 2018, no 1, pp. 97–104. (In Russian)

12 Smykovskaia T. E. “Dve nerazluchnykh...”: tvorcheskoe sopriazhenie i dushevnaia soobraznost' sester Tsvetaevykh [“The two inseparables”: creative junction and spiritual affinity between the Tsvetaeva sisters]. Vestnik slavianskikh kul'tur, 2019, vol. 52, pp. 177–187. (In Russian)

13 Khalizev V. E. Teoriia literatury [Literary Theory]. Moscow, Vysshaia shkola Publ., 2000. 398 p. (In Russian)

14 Tsvetaeva A. I. Amor [Amor]. Moscow, Kniga po Trebovaniiu Publ., 2014. 456 p. (In Russian)

PDF-file

Download