![]() Instead of suggesting another framework for theorizing cosmopolitanism, I demonstrate how these strategies employed by bilingual writers can precede shifts in the individual and public imagination. My study focuses on narrative, thematic and linguistic strategies that the writers of my investigation employ to create a new linguistic persona in a world that is rethinking the very notion of linguistic and national identity. I treat cosmopolitanism as a deliberately chosen state and a laborious search for a new sense of home and identity in the multiplicity of texts. I argue that the unease with the status of bilingual writing derives largely from the Romantic model of mapping language to a nation. Existing literary and social practices inform and develop the notion theoretically and practically and illuminate new dimensions of cosmopolitanism as a constant and deep engagement with the other. I posit that sustained practice of bilingual writing charts a special space on the maps of national and world literature and presents an important dimension of emergent cosmopolitanism. It investigates why and to what effect language is appropriated by individual authors in different historical situations, and how a body of work produced by the same author in two languages articulates the relationship between the nation and the world. This dissertation addresses the phenomenon of literary bilingualism in the late 20th – early 21st centuries. The book will be of interest to scholars in Russian literature, comparative literature, applied linguistics, translation studies, and the rapidly developing field of self-translation studies. The unprecedented recent dispersion of Russian speakers over three continents has led to the emergence of a new generation of diasporic Russians who provide a more receptive milieu for multilingual creativity. Wanner argues that the perceived marginality of self-translation stems from a romantic privileging of the mother tongue and the original text. Investigating the parallel versions of self-translated poetic texts by Vladimir Nabokov, Joseph Brodsky, Andrey Gritsman, Katia Kapovich, Marina Tsvetaeva, Wassily Kandinsky, and Elizaveta Kul’man, Adrian Wanner considers how verbal creativity functions in different languages, the conundrum of translation, and the vagaries of bilingual identities. The Bilingual Muse analyzes the work of seven Russian poets who translated their own poems into English, French, German, or Italian. My waiting is over, my eyes have been opened!Īnd give the neighbours plenty to talk about! Tatyana and Olga stand on the opposite side, soliloquizing.)Ĭan you really be in love with the younger one? Lensky and Onegin walk over to the right, conversing (She leaves, making a sign to Tatyana not to be shy. ĭon't stand on ceremony we’re neighbours, Lensky kisses Mme Larina’s hand and bows politely to the girls.) The others, in extreme excitement, prepare to receive the guests. Madam, the young gentleman Lensky has arrived. Supposing Lensky should arrive, what then? Look, you've forgotten to take off your apron! You shouldn't take things quite so calmly! I came to see that there are no heroes in real life. It's very interesting, this book I'm reading. Tatyana sits down on the steps of the terrace and becomes engrossed in her book.) (Filipyevna and Tatyana have moved away from the others.)įilipyevna, see that they have some wine. ![]() Merry and playful little bird that you are, I was not made for melancholy sighing, (etc.) Why should I sigh, when full of happiness,įor me life will always, always be sweet, ![]() How I love to dream when I hear these songs, The sun has set, aren't you asleep, then? Under one coat-skirt he carries bagpipes, One day across the bridge, the little bridge, During the singing, Tatyana and Olga come out onto the balcony.) (The girls form a circle and dance around the sheaf. If that's what you'd like, little mother! (The peasant band enters, the leaders bearing a decorated sheaf.) (The singing of an approaching band of peasants is heard in the distance.) To call the maid Akulka instead of “Céline” Here you busied yourself with the household, They married you off without further ado! Was still courting you, but against your will (The duet continues as the older women chat and reminisce.) Then the music of the pipe, simple and sad, When, at the morning hour, the fields lay silent, The voice that sings of love and sings of sorrow? Have you not heard, from beyond the grove at night, The doors leading from the house onto the terrace are open and the voices of the two girls, singing a duet, can be heard coming from within.) Madame Larina is sitting under the tree making jam on qa portable stove Filipyevna is helping her. On the left a house with a terrace on the right, a shady tree.
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