Ouyang Jianghe’s Aesthetic Principles in their Relation to the Modern Poetic Tradition in Russia

Sofiia Zaichenko


This article presents a comparative analysis of the modern Chinese and Russian poetry. Peculiar linguo-philosophical ideas of an internationally recognized Chinese poet Ouyang Jianghe are being juxtaposed with poetic views of famous Russian poets such as Osip Mandelstam, Joseph Brodsky and Arkadii Dragomoshchenko. The paper should be of interest to readers, because it deals with the yet unexplored topic. Recently, scholars have focused on the relationship between Chinese and Russian poetry of the classical period. According to a generally accepted opinion, the dialogue between Russian and Chinese literary traditions does not move further than the classical masterpieces by Dostoevsky, Pushkin, Gogol, Turgenev and Tolstoy. Hypothesis of research – a creative interaction between Russian and Chinese literatures still goes on after the collapse of the Soviet Union, which has lead to the loosening of strong cultural ties between Russia and China. As a proof of this statement the present paper reveals striking similarities between the theories of the Acmeist Mandelstam and the leading post-Obscure poet Ouyang Jianghe. That is, both of them share the language-centered approach to the art of poetry. Secondly, this paper provides factual evidence that Heidegger’s view on language as the house of being is one the main features uniting poetry of Dragomoshchenko, Brodsky and Ouyang. In summary, Russian school of poetry has left such a deep imprint on Chinese poetry that it can still be seen in the works of Post-Obscure poets. This article helps strengthen the intercultural dialogue, enhances mutual understanding between Russia and China and encourages further research regarding modern Chinese and Russian poetic traditions.

Keywords: word, vivifying power, dissection, Hellenism, Acropolis, hunger, house of being, readability

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