Vladimir Mayakovsky ve Marina Tsvetaeva'nın Gündelik Hayatın Nesneleriyle İlişkilerinin Karşılaştırmalı İncelemesi

Bu makalede Rus şairler Vladimir Mayakovsky ve Marina Tsvetaeva'nın eserlerinde gündelik yaşamın ve nesnelerin temsili incelenmektedir. Gündelik pratikleri ve hayatın katılaşmış rutinlerini ifaden eden byt, Rus yazarların gündelik gerçeklikle kurduğu ilişkileri anlamak için kullanılmış bir kavramdır. Byt hakkında çeşitli akademik görüşler incelendikten sonra, izlenimciliğin mirasının gündelik hayatın estetik temsilini nasıl şekillendirdiği ele alınmaktadır. İzlenimcilik, birçok modernist ve avangard hareket için biçimsel temeller oluşturduğumdan, mirasının eleştirel bir değerlendirmesi, Mayakovski ve Tsvetaeva'nın eserlerinde gündelik nesnelere karşı geliştirilen duygusal ve estetik yönelimlerin açıklanmasında faydalı olacaktır. Her iki şairin gündelik nesneleri nasıl dönüştürdükleri ve onlara nasıl manevi anlamlar yüklediklerini incelerken, makale, şairlerin nesnel dünya ile kurduğu ilişkilerin benlik inşasındaki etkilerinin izini sürmektedir. Bu süreçte, şairler, dilin metonimik ve metaforik eksenlerini yeniden şekillendirerek gündelik hayatı yeniden düzenlemenin yollarını ararlar. Makalenin ikinci bölümünde, Mayakovski'nin tiyatro oyunu Vladimir Mayakovsky: Bir Trajedi’nin ve Tsvetaeva'nın “Masa” adlı şiirinin ayrıntılı analizleri sunulmaktadır. Her iki eserde gündelik nesneler adeta bir eşik konumundadır. Hem özerkliklerini ilan ederler hem de şairlerin vücutsal ve tinsel yansımalarıdır. Mayakovski’nin huzursuz ve kehanetler sunan kahramanı, benliğinin nesnel izdüşümleri için sembolik ritüeller düzenlerken, Tsvetaeva'nın nesnelerle kurguladığı ilişkilerde daha tekil ve samimi bir dinamik söz konusudur. Onun nesnesi, hem düşünsel hem de fiziksel mücadelesine şahitlik eden yazı masasıdır. Tsvetaeva bu masayla kurduğu çetrefilli ilişki üzerinden gündelik hayat olgusunu oluşturan kültürel temelleri ve toplumsal koşulları görünür kılmaktadır.

Anahtar Kelimeler:

Vladimir Mayakovsky, Marina Tsvetaeva, şiir, modernizm, fütürizm, imge

Unsettling Things: Vladimir Mayakovsky and Marina Tsvetaeva’s Attachment to Everyday Objects

This article studies representations of everyday life and objects in poetic works by the Russian poets Vladimir Mayakovsky and Marina Tsvetaeva. Byt, a concept that refers to quotidian practices and the hardened routines of everyday life, has been used to understand the manner of Russian writers’ negotiations with everyday reality. After surveying some prominent scholarly views on byt, this article assesses the legacy of impressionism with particular attention to how it informs aesthetic representations of the everyday. Since impressionism provided stylistic foundations for many modernist and avant-garde movements, a critical assessment of its legacy proves useful for understanding the affective and aesthetic orientations developed toward everyday objects in works by Mayakovsky and Tsvetaeva. An investigation of how both poets transfigure everyday objects and invest them with spiritual significance reveals the nature of their attachment to objects. The article pays particular attention to how the poets resist Marxian notions of fetishism by translating their objectual negotiations into a constructivist process for the poetic self. As part of this process of self-fashioning, the poets develop novel ways of reorganizing the everyday through a subversion of the metonymic and metaphorical axes of description. The article then offers detailed analyses of Mayakovsky’s play, Vladimir Mayakovsky: A Tragedy, and Tsvetaeva’s poem, “Desk.” In both, everyday objects become thresholds of intersubjectivity. They are at once autonomous entities and metonymic projections of the poets’ bodies. Compared to Mayakovsky's restless prophetic voice, which orchestrates ritualistic performances for objectual presentations of his body and psyche, Tsvetaeva’s poem seeks more absorbed and intimate immersion in her object, the writing table, which records traces of an embodied poetic self and its struggle to restructure cultural constructions of the everyday.

Keywords:

Vladimir Mayakovsky, Marina Tsvetaeva, poetry, modernism, futurism, imagery,

PDF

___

Adorno, Theodor (2002). Aesthetic Theory. Ed. Robert Hullot-Kentor. New York: continuum.
Bahr, Hermann (1925). Expressionism. Trans. R.T. Gribble. London: Frank Henderson.
Baudrillard, Jean (1997). “The System of Collecting.” The Cultures of Collecting. Ed. John Elsner and Roger Cardinal. London: Reaktion Books. 7-24.
Boym, Svetlana (2018). “The Death of the Revoltionary Poet: Vladimir Mayakosky and Suicide as Literary Fact.” The Svetlana Boym Reader. New York: Bloomsbury Academic. 38-79.
Brown, Bill (2001). “Thing Theory.” Critical Inquiry 28(1): 1-22.
Chester, Pamela (1994). “Engaging Sexual Demons in Marina Tsvetaeva's "Devil": The Body and the Genesis of the Woman Poet.” Slavic Review 53 (4): 1025-1045.
Ciepiela, Ciepiela (2006). The Same Solitude: Boris Pasternak and Marina Tsvetaeva. Ithaca: Cornell University Press.
Crone, Anna Lisa (2010). Eros and Creativity in Russian Religious Renewal: The Philosophers and the Freudians. Boston: Brill.
Dinega, Alyssa W (2001). “Losing Rilke.” A Russian Psyche: The Poetic Mind of Marina Tsvetaeva. Wisconsin: The University of Wisconsin Press, 2001.
Erlich, Viktor (1994). “The Futurist Rebellion.” Modernism and Revolution: Russian Literature in Transition. Cambridge, Mass: Harvard University Press. p. 32-56. Print.
Feiler, Lily (1994). Marina Tsvetaeva: The Double Beat of Heaven and Hell. Durham, Duke University Press.
Forrester, Sibelan (1992). “Bells and Cupolas: The Formative Role of the Female Body in Marina Tsvetaeva's Poetry.” Slavic Review 51(2): 232-246.
Gallop, Jane (1985). “Metaphor and Metonymy.” Reading Lacan. Ithaca: Cornell University Press. 114-132.
Jakobson, Roman (1987). “On a Generation That Squandered its Poets.” Language in Literature. Ed. Krystyna Pomorska and Stephen Rudy. Cambridge: Harvard University Press. 273-300.
Jones, Emma R (2010). “On the Life That is ‘Never Simply Mine’: Anonymity and Alterity in Merleau Ponty and Irigaray.” Phenomenology 2010: Selected Essays from North America. Ed. Michael Barber, Lester Embree, and Thomas J. Nenon. Bucharest: Zeta Books. 271-284.
Karlinsky, Simon (1985). Marina Tsvetaeva: The Woman, Her World, and Her Poetry. New York: Cambridge University Press.
Knapp, James A. and Jeffrey Pence (2003). “Between Thing and Theory.” Poetics Today 24(4): 641-671.
Lane, Tora (2013). “The Poetry of Poverty: ‘Poėma Lestnicy’ by Marina Cvetaeva.” Russian Literature, 73(4): 591-617.
Markov, Vladimir (1968). Russian Futurism: A History. Berkeley: University of California Press.
Marx, Karl (2011). The Fetishism of Commodities and The Secret Thereof. Capital: Volume One. Dover. 81-95.
Mayakovsky, Vladimir (1914). “ВЛАДИМИР МАЯКОВСКИЙ: ТРАГЕДИЯ.” Moscow: Типолитография Т|Д И.Н.Грызунов и К°.
Mayakovsky, Vladimir (1968). “Vladimir Mayakovsky: A Tragedy.” Mayakovsky: Plays. Trans. Guy Daniels. Evanston: Northwestern University Press. 19-38.
Mayakovsky, Vladimir (1970). The Bedbug and Selected Poetry. Ed. Patricia Blake. Trans. Max Hayward and George Reavey. New York: The World Publishing Company.
Mayakovsky, Vladimir (2013). Vladimir Mayakovsky: Selected Poems. Trans. James H. McGavran III. Evanston: Northwestern University Press.
Mayakovsky, Vladimir (2018). Vladimir Mayakovsky: A Tragedy. Trans. Paul Schmidt. Los Angeles: Green Integer.
McGavran III, James H. (2013). “Introduction.” Vladimir Mayakovsky: Selected Poems. Evanston: Northwestern University Press. xi-xxvi.
Payne, Robert (1995). “Introduction.” Mayakovsky: Plays. Northwestern University Press. 1-18.
Rozanova, Olga (2000). “Cubism, Futurist, Suprematism.” Exploring Color: Olga Rozanova and the Early Russian Avant-Garde, 1910-1918. Trans. Charles Rougle. New York: Routledge. 93-203.
Schwenger, Peter (2006). The Tears of Things: Melancholy and Physical Objects. Minneapolis: University of Minnesota Press.
Stapanian, Juliette R (1986). Mayakovsky's Cubo-futurist Vision. Houston: Rice University Press.
Sutcliffe, Benjamin M (2009). The Prose of Life: Russian Women Writers from Khrushchev to Putin. Madison: The University of Wisconsin Press.
Tsvetaeva, Marina (1992). “Epic and Lyric of Contemporary Russia: Vladimir Mayakovsky and Boris Pasternak.” Art in the Light of Conscience. Trans. Angela Livingstone. Cambridge: Harvard University Press. 87-129.
Tsvetaeva, Marina (2002). Earthly Signs: Moscow Diaries, 1917-1922. Trans. Jamey Gambrell. New Haven: Yale University Press.
Tsvetaeva, Marina (2012). “From ‘The Desk’.” Poetry, 199(6): 564-565.
Tsvetaeva, Marina (2013). “Стол.” Стихотворения. Поэмы. Moscow: Дрофа, 117-121.
Tsvetayeva, Marina (1981). Selected Poems of Marina Tsvetayeva. Trans. Elaine Feinstein. New York: E.P. Dutton.
Tsvetayeva, Marina (1987). Selected Poems. Trans. David McDuff. Glasgow: Bloodaxe Books.
Warden, Claire (2015). Modernist and Avant-Garden Performance: An Introduction. Edinburgh: Edinburgh University Press.
Zitzewitz, Josephine von (2008). “Marina Tsvetaeva.” The Facts on File Companion to World Poetry: 1900 to the Present. Ed. R. Victoria Arana. New York: Facts on File. 449-450.