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Master's Dissertation
DOI
https://doi.org/10.11606/D.8.2018.tde-29082018-142032
Document
Author
Full name
André Bacciotti Nogueira
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2018
Supervisor
Committee
Francisco Junior, Mario Ramos (President)
Bernardini, Aurora Fornoni
Faleiros, Álvaro Silveira
Marques, Priscila Nascimento
Title in Portuguese
Uma 'Mãe de Deus flagelante': santidade e heresia em Para Akhmátova de Marina Tsvetáieva
Keywords in Portuguese
Anna Akhmátova
Khlisti
Marina Tsvetáieva
Rússia
Tarussa
Abstract in Portuguese
Marina Tsvetáieva (18921941) escreveu a Anna Akhmátova (18891966), em carta de 1921: Eu sonhei com você, com o futuro livrinho... um tipo de magia antiga, algo como uma prece (o mais preciso seria dizer ao contrário). E, quando despertei, já sabia que o escreveria. Esse livrinho, em particular o ciclo de poemas Para Akhmátova, escrito por Tsvetáieva em 1916, será nosso objeto de tradução e análise neste trabalho. Essa característica de Tsvetáieva, esse escrever para seus poetas prediletos (e isso inclui outros de seus contemporâneos: Blok, Maiakóvski, Pasternak...), suas dedicatórias poéticas são aqui analisadas. Quanto ao Para Akhmátova, o que teria Tsvetáieva querido dizer com uma prece... ao contrário e de que modo isso se verifica no poema? É o que buscamos responder ao nos deter sobre essa imagem poética, usada por Tsvetáieva para descrever sua homenageada: Uma Mãe de Deus flagelante. Investigamos a seita religiosa dos khlisti, ou khlistovki (isto é, os flagelantes), que existiu na Rússia entre meados do século XVII e os fins da década de 1930. Que universo de implicações essa referência contém? De que maneira Tsvetáieva a usa para descrever certos traços religiosos (ou seria o caso dizer ao contrário) existentes na poesia akhmatoviana? Finalmente, analisamos a seita como um tema biográfico, narrado por Tsvetáieva em suas memórias de infância (As Flagelantes, 1934). Em que medida as relações amistosas de sua família com as Kirílovnas, flagelantes de Tarussa, e a atração da pequena Marina por aquelas religiosas, meio santas e meio heréticas (essa mesma atração pelo diabólico, a que Tsvetáieva se refere em outra narrativa da infância: O Diabo, 1935); em que medida essa inversão dos signos religiosos não estaria gravada na identidade da poeta e em sua poesia? Quais traços se averiguam, em sua obra poética, do que se poderia chamar uma consciência cismática? Enfim, falamos na existência do cenotáfio de Tsvetáieva, monumento funerário localizado na cidade de Tarussa, conforme desejo expresso pela poeta, no local onde ficava, naqueles tempos, o cemitério das flagelantes.
Title in English
A 'flagellant Mother of God': holiness and heresy in To Akhmatova by Marina Tsvetaeva
Keywords in English
Anna Akhmatova
Khlysty
Marina Tsvetaeva
Russia
Tarussa
Abstract in English
Marina Tsvetaeva (1892-1941) writes in a letter from 1921 to Anna Akhmatova (1889-1966). I dreamt of you, of the future little book... A kind of ancient magic, something like a prayer (it would be more precise to say the opposite). And when I woke up, I already knew what I would write. This little book, specially the cycle of poems To Akhmatova, written by Tsvetaeva in 1916, will be the subject of our translation and analysis in this work. We will analyze this trait of Tsvetaeva, this writing for her favorite poets (including some other contemporaries: Blok, Mayakovsky, Pasternak...), her poetic dedications. When it comes to Akhmatova, what would Tsvetaeva have meant by a prayer ... in reverse, and how does this takes place in the poem? This is what we seek to answer when we dwell on the poetic image used by Tsvetaeva to describe her honored poet: A flagellant Mother of God. We investigate the religious sect of the khlysty, or khlystovky (i.e., the flagellants), which existed in Russia between the mid-seventeenth century and the late 1930s. What universe of implications does this reference contain? In which way does Tsvetaeva use it to describe certain religious traits (or, maybe, the reverse) in Akhmatovas poetry? Finally, we examine the sect as a biographical fact, narrated by Tsvevaeva in her childhood memories (The Flagellants, 1934). To what extent did the friendly relations of her family with the Kirylovnas, flagellants from Tarussa, and the attraction of the small Marina to those religious people, half holy and half heretical (the same attraction to the devilish, to which Tsvetaeva refers in another childhood narrative: The Devil, 1935); to what extent would this inversion of religious signs be engraved on the poets identity and poetry? What traits can be observed in his poetic work of what might be called a schismatic consciousness? Finally, we speak about the cenotaph of Tsvetaeva, a funeral monument located in the city of Tarussa, according to her expressed desire, in the place where the flagellants cemetery was at the time.
 
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Publishing Date
2018-08-29
 
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