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![The Concept of Stikhiia in Marina Tsvetaeva's Poetry and Essays için kapak resmi The Concept of Stikhiia in Marina Tsvetaeva's Poetry and Essays için kapak resmi](/client/assets/d79c3e4af2b6d196/ctx/images/no_image.png)
The Concept of Stikhiia in Marina Tsvetaeva's Poetry and Essays
Başlık:
The Concept of Stikhiia in Marina Tsvetaeva's Poetry and Essays
Yazar:
Rosochinsky, Max, author. (orcid)0000-0001-8321-1628
ISBN:
9780438115965
Yazar Ek Girişi:
Fiziksel Tanımlama:
1 electronic resource (224 pages)
Genel Not:
Source: Dissertation Abstracts International, Volume: 79-11(E), Section: A.
Advisors: Clare A. Cavanagh Committee members: Nina Gourianova; Susan McReynolds Oddo.
Özet:
In this dissertation, I argue that the locus of Tsvetaeva's seemingly conflicted views about art and the criteria for its evaluation is the tension between the rational, ethical, and distinctively human in us, and the irrational spontaneous impulse. Tsvetaeva's term for the irrational impulse is stikhiia, a force of nature that is characterized by a creative striving. Stikhiia, on Tsvetaeva's view, is not unique to humans. Plants and animals are driven to grow and reproduce in virtue of the same force. But in humans stikhiia finds its unique expression due to the human possession of the faculty of the will. Insofar as humans come to be possessed by stikhiia, they experience an urge to reproduce, create, and dissolve in the larger "we" or a grand ideal. In her poetry and critical writings, Tsvetaeva examines different dimensions and expressions of stikhiia, from the revolutionary impulse that drives the masses, to erotic passion, to artistic creation, to all-embracing and indiscriminate motherly love. Yet stikhiia, on Tsvetaeva's view, is not the only type of human motivation, and it would be misleading to characterize all human activity as stemming from this single source. Humans are also moved to act by principles they reflectively endorse, and can rule themselves in accordance with rationally adopted laws. On Tsvetaeva's view, stikhiia and the rationally adopted principles and values can come into conflict. A work of art, she argued, is a result of a conflict in which the artist managed to maintain a balance between the two impulses through an act of will. Works that have been produced through an act of will alone are products of an uninspired craft. By contrast, those that have come into being through stikhiia that was not mastered by the artist's will collapse into undisciplined mutterings and formless visions. As Tsvetaeva argues in her seminal essay [special characters omitted] ("Art in the Light of Conscience, 1932"), a genuine work of art can only be produced by an artist who masters stikhiia through an act of will.
In the opening chapter, I examine Tsvetaeva's cycle [special characters omitted] ("The Demesne of the Swans," 1917--1920). I show that in it Tsvetaeva raises a problem for herself as a poet: what is the poet's role in the morally destitute time? Tsvetaeva's narrator becomes increasingly self-conscious of the need to articulate her mission. On the one hand, she must be guided by the power and the sheer forcefulness of stikhiia , exemplified in the poems by the figure of the faceless and nameless masses, natural forces, and the vengeful God enacting obscure dark laws. On the other hand, she must be attuned to her inner ethical disposition, her conscience. While stikhiia is a source of inspiration, the force that gives her voice and elicits a response, a conscience would silence her, revealing her "singing" as inappropriate. Torn in this way, Tsvetaeva's poetic narrator attempts to reconcile the tension by discovering an ethical dimension to her poetic project. Her mission, as an ethically minded poet, will be two-fold: to preserve an account of the virtues that are lost and forgotten in the revolutionary chaos; and to retain the memory of the virtuous defenders of the ordered world whose valor will be suppressed and distorted by the historical narrative of the morally indiscriminate victors. What inspired the poem is the inherently productive force of stikhiia ; but it is equally important that stikhiia rages against something enduring and active. On my reconstruction of Tsvetaeva's thinking, the poet is inspired by the tension that emerged between stikhiia and those that oppose it due to their rectitude and ability to stand their ground in the face of danger.
I go on to examine Tsvetaeva's notoriously difficult and controversial essay [special characters omitted] (1932). In this essay, Tsvetaeva argues that art is essentially amoral---even more radically, that great art "puts conscience to sleep." Insofar as an artist is guided by her conscience, her artistic achievements will be limited and her creative powers compromised. Yet a close reading of Tsvetaeva's typology of artists shows that she does not think that great art is necessarily immoral -- indeed, that would be a counterfactual. So how can great art be compatible with the requirements of morality? Tsvetaeva's lucid analysis reminds us that artists are human beings, and so are bound by the moral requirements appropriate to humans. (Abstract shortened by ProQuest.).
Notlar:
School code: 0163
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Yer Numarası | Demirbaş Numarası | Shelf Location | Lokasyon / Statüsü / İade Tarihi |
---|---|---|---|
XX(689143.1) | 689143-1001 | Proquest E-Tez Koleksiyonu | Arıyor... |
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