rouslane ludmile de pouchkine alexandre (3 résultats)

20 x 27, xix-1-112 pages, reliure plein carton marbré, couverture conservée (3 pièces), très bon état (bords très légèrement frottés). Edition originale, N° 159 sur 500 exemplaires numérotés; illustrations de Marie Egoroff; traduit du russe par Vèra Starkoff; 1 page de dédicace.

Rouslane et Ludmile. Poème traduit du russe par Véra Starkoff. Illustrations de Marie Egoroff.Paris, Librairie de l'art indépendant, 1898. (Vannes, Imprimerie Lafoye).In-4 broché de XIV de notes biographiques sur Pouchkine + (1) f. de dédicace + 112 pp. Couverture souple illustrée et titrée en lithographie, dos carré muet. Petites déchirures au bord du premier plat.Rouslane et Ludmile est une oeuvre de jeunesse et le premier livre d'Alexandre Pouchkine (1799-1837), c'est un poème aux accents de conte de fée écrit en 1820 qui se compose d'une dédicace, d'un prologue, de six chants et d'un épilogue. Cette nouvelle traduction française est ornée de quatre illustrations hors-texte (frontispice et pp. 8, 24, 58) de Marie Egoroff.Une traduction française intégrale du présent poème apparaît dans la première publication d'ensemble en français dans les Oeuvres choisies de A. S. Pouchkine, poète national de la Russie, traduites par H. Dupont (Pétersbourg, 1847 en 2 vol. in-8 voir Brunet 15925). Malheureusement la médiocrité de la traduction de Dupont fut critiquée dans la Revue des Deux Mondes : "Le traducteur français des oeuvres de Pouchkine a échoué pour n'avoir point compris les exigences de sa tâche".Ce n'est qu'en 1898 avec la présente édition, que le public francophone se vit offrir une nouvelle traduction française en vers de Rouslane et Ludmile, réalisée par une véritable russophone, la féministe-libertaire Teresa Ephron (1867-1923) connue sous le pseudonyme de Véra Starkoff. Née en Pologne en 1867, elle s'établit à Paris vers 1889 où elle gagna sa vie en donnant des cours de russes et en traduisant des oeuvres de Pouchkine ou de Tchernychevski. Elle est également l'auteure de quelques oeuvres personnelles : La Sibérie 1899 ; ou des pièces de théâtre comme L'Amour libre, pièce sociale en un acte 1902, Le petit verre 1904. Pour illustrer sa traduction, Véra Starkoff a choisi les oeuvres sombres et symbolistes de Marie Egoroff : "une artiste très personnelle" dont elle définit ainsi le style dans sa préface : "son art ingénu et puissant a rendu d'une façon remarquable l'esprit de ce conte dans quatre dessins et une couverture du livre".Tiré à seulement 500 exemplaires non numérotés. Agréable exemplaire de cet ouvrage classique du célèbre auteur russe Alexandre Pouchkine.Ex-libris manuscrit à l'encre au faux titre et au titre.

Inscribed by the translator, a feminist character --- The first complete poetic French translation of Pushkin's poem that "raised him to the summit of Russian Parnassus" (Terras). This is also the first separate book edition in French, and the second illustrated book by Pushkin in France. Strikingly illustrated by an original Russian female artist, and this copy inscribed by the translator: a politically-engaged playwright and one of the main figures of the feminist theatre movement in France. Only 500 copies printed: scarce, especially on the market, as we could not trace any example at auction outside Russia, including France. Worldcat locates only 5 copies: 2 in the US (NYPL and Pennsylvania) and 3 in France (Université Côte d'Azur, Strasbourg, BnF). Aleksandr Pushkin's (1799-1837) first complete book, Ruslan and Ludmila was published in 1820 and sold out almost immediately. In 1823, a French translation of an extract appeared in the Anthologie russe by Dupré de Saint-Maure: this was Pushkin's very first appearance in Western Europe. The full French translation of the poem was published in prose in 1847, as part of the uvres choisies de A. S. Pouchkine, translated by H. Dupont. This translation however has been criticised, for example by Vasilii Shults in his bibliography of Pushkin's works in French: "The French could hardly appreciate Pushkin from these translations. H. Dupont, a former professor of literature at the St. Petersburg Institute of Railway Transport, did very mediocre translations for it [.] In some places there is a misunderstanding of the real meaning of words, which results in an inaccurate presentation of the poet's thought" (our translation). The first French translation in verses would appear only in 1898 with our edition, at a time a friendship between France and Russia (rulers of both empires had just visited each other). Vera Starkoff was a pseudonym for Teresa Ephron (1867-1923), a Jewish woman born in modern-day Poland (or Vilnius, according to some sources). She studied in Geneva and lived in Paris from 1889, where she became a playwright: "after Olympe de Gouges, George Sand and Louise Michel, [Starkoff] is one of the first women to write for the theatre" (Auffret, our translation). Inspired by Tolstoy, Zola and Ibsen, she wrote multiple plays in which she advocated for the workers' rights and expressed her convictions as an ardent feminist and libertarian. Among her transgressive works are the tellingly titled L'Amour libre (1902), Le vrai Tolstoi (1911) and Le Bolchevisme (1922). Starkoff was also responsible for one of the first Universités populaires, or adult education institutions, where she performed her plays and works of like-minded authors. She was an active member of the Women's Fraternal Union (L'Union fraternelle des femmes) and was initiated into Freemasonry in 1901. Beside Ruslan and Ludmila, she translated works by the socialist Nikolai Chernyshevskii and the Ukrainian-Russian activist Vladimir Korolenko. To illustrate her translation, Starkoff chose "une artiste très personnelle" as she puts it in her preface: "son art ingénu et puissant a rendu d'une façon remarquable l'esprit de ce conte dans quatre dessins et une couverture du livre". Indeed, Egoroff drawings depicting mystical characters and animals appearing through turbulent graphic patterns surprise with their compositional complexity and early avant-garde qualities. They are remarkable for their striking character, resembling dark, symbolist visions not entirely dissimilar to fantastic artists such as Odilon Redon or Felicien Rops, while the 4th plate echoes later book illustrations by another great Russian female artist, Natalia Goncharova. Egoroff also integrates some elements of the traditional Russian iconography, which she was normally practicing. Marie Egoroff (also Mariia Kirillovna Egorova) was indeed a member of the "Paris Ceramic Workshop of Russian Artists", which belonged to her husband Egor Alekseevich Egorov (1832-91), a porcelain and faience painter and a son and grand-son of noted Russian painters. Interestingly, the great painter Ilya Repin spent some time in Egorov studio during his 2-year stay in Paris in the 1870s. Marie Egorov exhibited her own works in 1894, three years after the death of her husband, and reviews of this exhibition associated her with spiritualists and "Les Occultistes parisiens". Next to her lyrical explanation of Egorov's enigmatic drawings, Starkoff delivers in her 10-pp. long preface a short biography of Russia's best poet, as well an analysis of his most important works. She also gives comments on her translation, sometimes referencing Russian encyclopaedias and explaining some of the Russian words and mythological names she kept for the French audience, such as Kochtczei ("l'immortel un personnage fantastique") and isbouchka ("habitation de paysan"). Provenance: Inscribed by Vera Starkoff on the half-title "hommage à la Fronde [?], 17 juin 99"; blue ink tamp to half-title badly inked "Bibliothèque de la.". Physical description:Large 8vo (25.5 x 20.5 cm). XIV incl. half-title and title, [2] dedication, 112 pp., with 4 plates by Egoroff incl. frontispiece, some signed in the plate. Original upper wrapper by Egoroff bound in later brown marbled calf spine over marbled boards, gilt lettering to spine, silk bookmark. Condition:Starkoff's inscription a bit shaved, minor light creasing, otherwise excellent. Bibliography:Vladimir Boutchik, Bibliographie des uvres littéraires russes traduites en français, #865. Vasilii Shults, A. S. Pushkin v perevode frantsuzskikh pisatelei, St Peterburg, Gratsianskii, 1880. Séverine Auffret, Le Théâtre de Combat de Véra Starkoff, l'Université Populaire de Caen, 2009. À propos de la Première Exposition de Marie Egoroff // Tout-Paris, Le Gaulois, n° 536, mardi 4 décembre 1894. Tomasz Kaczmarek, La Voix des femmes dans le théâtre français de contestation sociale au tournant du xxe siècle, Université de ód , 2017.