Bruno Jasienski: His Evolution from Futurism to Socialist by Nina Kolesnikoff

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By Nina Kolesnikoff

An admirable ebook on Polish writer Bruno Jasienski. The publication comprises prose translations of a handful of his poems.

Bruno Jasieñski used to be a bilingual Polish-Russian author who died in exile in Siberia in 1939. This quantity lines his literary evolution. The introductory biographical comic strip is by way of a dialogue of Jasieñski's contribution to shine poetry, in particular the Futurist move which, like its parallels in Russia and Italy, revolutionized poetic language. An research and overview of Jasieñski's prose paintings sheds gentle at the dating among politics and literature in early twentieth-century Poland and Russia. so much of Jasieñski's novéis and brief tales have been written within the authorized Soviet culture of Socialist Realism. His guy alterations His pores and skin is taken into account the most effective Soviet business novéis of the Thirties.
The author's accomplished and skillful therapy of Jasieñski's literary construction, the 1st to seem in English, additionally makes a helpful contribution to the information of Futurism in jap Europe and Socialist Realism within the Soviet Union. the amount comprises various quotations from Polish and Russian literature, either in English translation (prepared through the writer) and within the unique. will probably be of curiosity tostudents of Slavic literature, comparative literature, and the literature of ideology.

Nina Kolesnikoff holds the Ph.D.degree in Comparative Literature from the college of Albería. She is at the moment Assistant Professor within the division of Russian, McMaster collage. Her articles have seemed in Canadian Slavonic Papers, Slavic and East eu magazine, and Russian Language Journal.

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Contents
Acknowledgments ix
Introduction 1
CHAPTER ONE
A Biographical caricature 4
CHAPTER TWO
Polish Futurism: Its foundation and Aesthetic Programme 10
CHAPTER THREE
The Poetry of Bruno Jasieñski and the Futurist Quest to Renovate
Poetic Language 23
CHAPTER FOUR
The Lay of Jakub Szela and Folklore 59
CHAPTER FIVE
I Burn París—A Utopian Novel 74
CHAPTER SIX
Bruno Jasieñski and Soviet Literary existence 1929-1934 86
CHAPTER SEVEN
Man adjustments His epidermis and the economic Novel 93
CHAPTER EIGHT
Socialist Realism in "Bravery" and A Conspiracy of the detached 110
CHAPTER NINE
Grotesque components within the Ball of the Mannequins and "The Nose" 117
Conclusion 125
APPENDIX
A collection of Bruno Jasieñski's Poetry with Prose Translation of Each
Poem 128
A chosen Bibliography 142
Index 146

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12 (1936), pp. 197-215. 26 Tadeusz Peiper, "Metáfora terazniejszosci," Zwrotnica, no. 3 (1922), reprinted in Polska awangarda, poetycka, II, 325. 38 Bruno Jasieñski: From Futurism to Socialist Realism Cracow "Zwrotnica," which regarded the metaphor as the best means of removing the literalness of standard language and creating poetic ambiguity. The reconsideration of the function of the metaphor was undoubtedly the most important contribution of "Zwrotnica" to the development of modern Polish poetry.

27 The underlying feature of Stern's metaphors is their strong biologism, which endows the whole surrounding world with the characteristics of living organisms. Nature is often described in terms of the human body; inanimate objects are animated; even technical objects share the properties of the human world. 29 The only other Polish Futurist equal to Stern in the use of metaphors was Bruno Jasieñski, whose mature poetry is highly metaphoric. Jasieñski's metaphors are diversified in their formal structure, with a 27 28 29 Kazimierz Wyka, "Z lawy metafor," Rzecz wyobraíni (Warszawa, 1959), p.

The first volume of Jasieñski's poems, A Boot in a Buttonhole, is very characteristic in this regard, with almost half the poems cast in the traditional metric pattern, the rest in free verse. The syllabo-accentual system predominates in this collection, especially in one of its trinary forms, the anapaest. The poems "Boot in a Buttonhole," "The Vomiting Statues," and "Corpses with Caviar," among others, are almost classic examples of the four-foot anapaest with the caesura after the seventh syllable, and with the constant hypercatalexis in the caesura and in the clausula of every even line.

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