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| Additional Physical Format: | Online version: Amert, Susan. In a shattered mirror. Stanford, Calif. : Stanford University Press, 1992 (OCoLC)645827768 |
|---|---|
| Named Person: | Anna Andreevna Akhmatova; Anna Andreevna Achmatova |
| Document Type: | Book |
| All Authors / Contributors: |
Susan Amert |
| ISBN: | 0804719829 9780804719827 |
| OCLC Number: | 24246374 |
| Notes: | Based on the author's doctoral dissertation. |
| Description: | xii, 274 p. ; 23 cm. |
| Contents: | 1. Secrets of the Craft -- 2. Akhmatova's Song of the Motherland: The Framing Texts of Requiem. "Instead of a Foreword": The Tenth Circle. Akhmatova's Song of the Motherland. The Shroud and the Monument -- 3. "Prehistory": A Russian Creation Myth. Akhmatova's Genesis. Dostoevskian Facts and Fictions. The Portrait of a Woman. The Poet's Genealogy -- 4. The Poet's Lot in Poem Without a Hero. Shades of Poets in "Nineteen Hundred Thirteen" Over the Threshold: Figures of Repression in "Tails" The Road to Siberia -- 5. The Poet's Transfigurations in The Sweetbrier Blooms. Dido and the Burned Notebook. Under the Sweetbrier -- 6. The Design of Memory. A Myth of Memory and Forgetting. The Garden and the House. |
| Responsibility: | Susan Amert. |
| More information: |
Abstract:
publication. Akhmatova fell silent. When she began writing again in the late 1930s, her poetry was much changed--formally, thematically, and technically. In contrast to the relative simplicity of the early erotic miniatures, the later poetry speaks in riddles, flaunting its own opacity. The author places the later work in its socio-cultural context through close readings of the major texts. The dominant metapoetic themes of the later poetry are taken as a point of.
departure: they speak both to the poet's plight in society (repression, silencing) and to the array of means employed to transcend that plight (indirection, concealment, obfuscation). The theme of concealment highlights one of the most salient aspects of the later poetry--its saturation with allusions and quotations drawn from Russian and Western European literature. These allusions are interpreted through analyses of the complex relations between the source text and.
Akhmatova's poems. In contrast to the relatively unified image of the lyrical persona in the early verse, the poet's self-representation in the later poetry features a multiplicity of masks and guises. Throughout, the author traces the genesis and transfigurations of these images of self. Quoted texts are given in Russian and in English translation.
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