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Dialogues across Cultures: Adaptations of Chinese Verse by Judith Gautier and Nikolai Gumilev

Dialogues across Cultures: Adaptations of Chinese Verse by Judith Gautier and Nikolai Gumilev HEN ONE CULTURE ENGAGES in a dialogue with another, it can often reveal something essential about itself. When two cultures base their interaction on yet a third, an important connection is established that transcends geographical, national, and chronological boundaries. The pre-revolutionary years were for Russian art a period of heightened cosmopolitan interest and creative exploration of foreign traditions. Although Russian writers and artists sought inspiration directly from the West, East, South, and North, they also assimilated a range of traditions through the medium of European civilization. By the early twentieth century, Russia’s ties with Western Europe had intensified, and the Russian intellectual elite were traveling and living in Europe for extended periods of time, facilitating the integration of European ideas and artistic styles into Russian culture. The poetry of Nikolai Gumilev (1886-1921) exemplifies the cosmopolitan spirit that suffused Russian art before the Bolshevik Revolution. The founder and leader of Acmeism, a modernist poetic school of the second decade of the last century, Gumilev drew on many Western models, particularly French ones. The descriptive, plastic aesthetics of the nineteenth-century French Parnassians served as an important source for Acmeism, which emphasized the material quality of the world, verbal precision, and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

Dialogues across Cultures: Adaptations of Chinese Verse by Judith Gautier and Nikolai Gumilev

Comparative Literature , Volume 54 (2) – Jan 1, 2002

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Publisher
Duke University Press
Copyright
Copyright 2002 by University of Oregon
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/-54-2-145
Publisher site
See Article on Publisher Site

Abstract

HEN ONE CULTURE ENGAGES in a dialogue with another, it can often reveal something essential about itself. When two cultures base their interaction on yet a third, an important connection is established that transcends geographical, national, and chronological boundaries. The pre-revolutionary years were for Russian art a period of heightened cosmopolitan interest and creative exploration of foreign traditions. Although Russian writers and artists sought inspiration directly from the West, East, South, and North, they also assimilated a range of traditions through the medium of European civilization. By the early twentieth century, Russia’s ties with Western Europe had intensified, and the Russian intellectual elite were traveling and living in Europe for extended periods of time, facilitating the integration of European ideas and artistic styles into Russian culture. The poetry of Nikolai Gumilev (1886-1921) exemplifies the cosmopolitan spirit that suffused Russian art before the Bolshevik Revolution. The founder and leader of Acmeism, a modernist poetic school of the second decade of the last century, Gumilev drew on many Western models, particularly French ones. The descriptive, plastic aesthetics of the nineteenth-century French Parnassians served as an important source for Acmeism, which emphasized the material quality of the world, verbal precision, and

Journal

Comparative LiteratureDuke University Press

Published: Jan 1, 2002

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