Автор Ёергей Ращупкин задал вопрос в разделе Образование
Нужен срочно сайт, на котором есть сразу и русская и английская биография Анны Ахматовой! и получил лучший ответ
Ответ от Пользователь удален[мастер]
найди на русском. таких не встречала. а потом перевести можешь и ко мне обращаться)
Ответ от Makhnutin@mail.ru[новичек]
- на русском
- инглиш
не перевод
- на русском
- инглиш
не перевод
Ответ от Feinschel diana[активный]
Akhmatova,
born June 11 [June 23, New Style], 1889, Bolshoy Fontan, near Odessa, Ukraine, Russian Empire
died March 5, 1966, Domodedovo, near Moscow, Russia, U.S.S.R.
pseudonym of Anna Andreyevna Gorenko Russian poet recognized at her death as the greatest woman poet in Russian literature.
Akhmatova began writing verse at age 11 and at 21 joined a group of St. Petersburg poets, the Acmeists, whose leader, Nikolay Gumilyov, she married in 1910. They soon traveled to Paris, immersing themselves for months in its cultural life. Their son, Lev, was born in 1912, but their marriage did not last (they divorced in 1918). The Acmeists, who included notably Osip Mandelshtam, were associated with the new St. Petersburg journal Apollon (1909–17; “Apollo”) and such poets of the older generation as Innokenty Annensky and Mikhail Kuzmin, who stood apart from the dominant Symbolist poets of the day. Partly in response to the manifestos of the Russian Futurists (1912–13), the young poets founded Acmeism, a school that affirmed “beautiful clarity” (Kuzmin's term) in place of the vagueness and abstractness of Russian Symbolism. Codifying their own poetic practice, Acmeists demanded concrete representation and precise form and meaning—combined with a broad-ranging erudition (Classical antiquity, European history and culture, including art and religion). To these Akhmatova added her own stamp of elegant colloquialism and the psychological sophistication of a young cosmopolitan woman, fully in control of the subtle verbal and gestural vocabulary of modern intimacies and romance. A small detail could evoke a whole gamut of emotions (“You are drawing on my soul like a drink through a straw”). Her first collections, Vecher (1912; “Evening”) and Chyotki (1914; “Rosary”), especially the latter, brought her fame and made her poetic voice emblematic of the experience of her generation. Her appeal stemmed from the artistic and emotional integrity of her poetic voice as well as from her poetic persona, further amplified by her own striking appearance. Akhmatova's principal motif is frustrated and tragic love expressed with an intensely feminine accent and inflection entirely her own.
During World War I and following the Revolution of 1917, she added to her main theme some civic, patriotic, and religious motifs but did not sacrifice her personal intensity or artistic conscience. Her artistry and increasing control of her medium were particularly prominent in her next collections: Belaya staya (1917; “The White Flock”), Podorozhnik (1921; “Plantain”), and Anno Domini MCMXXI (1921). The broadening of her thematic range, however, did not prevent the communist cultural watchdogs from proclaiming her “bourgeois and aristocratic” and condemning her poetry for its narrow preoccupation with love and God, even as her standing as a premier poetic voice of the generation was being affirmed by major critical authorities of the 1920s (e.g., Korney Chukovsky and Boris Eikhenbaum, who in 1922 coined the definition of Akhmatova's poetic persona as a blend of “a harlot and a nun”). The execution in 1921 of her former husband, Gumilyov, on trumped-up charges of participation in an anti-Soviet conspiracy (the Tagantsev affair) further complicated her position. In 1923 she entered a period of almost complete poetic silence and literary ostracism, and no volume of her poetry appeared in the Soviet Union until 1940. Her public life was now limited to her studies of Aleksandr Pushkin.
The 1930s were especially hard for Akhmatova. Her son, Lev Gumilyov (1912–92), and her third husband (she was married from 1918 to 1928 to the Assyriologist Vladimir Shileiko), art historian and critic Nikolay Punin (1888–1953), were arrested for political deviance in 1935. Both were soon released, but her son was arrested again in 1938 and subsequently served a five-year sentence in the Gulag. Her friend Mandelshtam was arrested
Akhmatova,
born June 11 [June 23, New Style], 1889, Bolshoy Fontan, near Odessa, Ukraine, Russian Empire
died March 5, 1966, Domodedovo, near Moscow, Russia, U.S.S.R.
pseudonym of Anna Andreyevna Gorenko Russian poet recognized at her death as the greatest woman poet in Russian literature.
Akhmatova began writing verse at age 11 and at 21 joined a group of St. Petersburg poets, the Acmeists, whose leader, Nikolay Gumilyov, she married in 1910. They soon traveled to Paris, immersing themselves for months in its cultural life. Their son, Lev, was born in 1912, but their marriage did not last (they divorced in 1918). The Acmeists, who included notably Osip Mandelshtam, were associated with the new St. Petersburg journal Apollon (1909–17; “Apollo”) and such poets of the older generation as Innokenty Annensky and Mikhail Kuzmin, who stood apart from the dominant Symbolist poets of the day. Partly in response to the manifestos of the Russian Futurists (1912–13), the young poets founded Acmeism, a school that affirmed “beautiful clarity” (Kuzmin's term) in place of the vagueness and abstractness of Russian Symbolism. Codifying their own poetic practice, Acmeists demanded concrete representation and precise form and meaning—combined with a broad-ranging erudition (Classical antiquity, European history and culture, including art and religion). To these Akhmatova added her own stamp of elegant colloquialism and the psychological sophistication of a young cosmopolitan woman, fully in control of the subtle verbal and gestural vocabulary of modern intimacies and romance. A small detail could evoke a whole gamut of emotions (“You are drawing on my soul like a drink through a straw”). Her first collections, Vecher (1912; “Evening”) and Chyotki (1914; “Rosary”), especially the latter, brought her fame and made her poetic voice emblematic of the experience of her generation. Her appeal stemmed from the artistic and emotional integrity of her poetic voice as well as from her poetic persona, further amplified by her own striking appearance. Akhmatova's principal motif is frustrated and tragic love expressed with an intensely feminine accent and inflection entirely her own.
During World War I and following the Revolution of 1917, she added to her main theme some civic, patriotic, and religious motifs but did not sacrifice her personal intensity or artistic conscience. Her artistry and increasing control of her medium were particularly prominent in her next collections: Belaya staya (1917; “The White Flock”), Podorozhnik (1921; “Plantain”), and Anno Domini MCMXXI (1921). The broadening of her thematic range, however, did not prevent the communist cultural watchdogs from proclaiming her “bourgeois and aristocratic” and condemning her poetry for its narrow preoccupation with love and God, even as her standing as a premier poetic voice of the generation was being affirmed by major critical authorities of the 1920s (e.g., Korney Chukovsky and Boris Eikhenbaum, who in 1922 coined the definition of Akhmatova's poetic persona as a blend of “a harlot and a nun”). The execution in 1921 of her former husband, Gumilyov, on trumped-up charges of participation in an anti-Soviet conspiracy (the Tagantsev affair) further complicated her position. In 1923 she entered a period of almost complete poetic silence and literary ostracism, and no volume of her poetry appeared in the Soviet Union until 1940. Her public life was now limited to her studies of Aleksandr Pushkin.
The 1930s were especially hard for Akhmatova. Her son, Lev Gumilyov (1912–92), and her third husband (she was married from 1918 to 1928 to the Assyriologist Vladimir Shileiko), art historian and critic Nikolay Punin (1888–1953), were arrested for political deviance in 1935. Both were soon released, but her son was arrested again in 1938 and subsequently served a five-year sentence in the Gulag. Her friend Mandelshtam was arrested
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