| Titre | Le courbe et le droit chez Mandel´štam | |
|---|---|---|
| Auteur | Marc Weinstein | |
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Revue | Revue des Etudes Slaves |
| Numéro | Vol. 76, no 1, 2005 Liturgie et histoire dans l'Église russe médiévale | |
| Rubrique / Thématique | Articles |
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| Page | 87-107 | |
| Résumé anglais |
Curved Lines and Straight Lines in Mandel´štam's Works
The purpose of this essay is to show that Mandel´štam's whole poetical and critical works are based on the opposition between curved lines and straight lines. In so far as the cosmos produces a murmur which the mediator-poet only amplifies, and in so far as poetry is in return the language of the world, poetry and the world infinitely refer to one another according to a circular structure. This is why the fundamental characteristic they share is cur- vedness. In Mandel´štam's works, the motifs of curvedness are numberless : rainbows, lips, waves, winding streets, smiles, snails, etc. They are expressed through a curved language, i.e. a language which, as it does not directly designate an object, simultaneously refers to a thousand objects in the world which refer back to a thousand linguistic motifs referring back again to a thousand objects in the world. The absence of a directly designed object is therefore the first condition of a curved poetical language. Consequently nothingness and death émerge as the condition of any creative being.
The horseshoe, a motif which can be found throughout Mandel´štam's whole poetical works, can be seen as the main symbol of this dialectical movement : the empty space between the two ends becomes the condition of a full poetical arc. Source : Éditeur (via Persée) |
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| Article en ligne | https://www.persee.fr/doc/slave_0080-2557_2005_num_76_1_7216 |
