Color in Anna Akhmatova's Early Poetry

Anna Akhmatova (1889-1966), a Russian post-Symbolist
poet, published a variety of poems in the Russian
language, which were later translated into English.
The book focuses on her early poetry collections
Evening (1912), Rosary (1914), White Flock (1917),
and Anno Domini (1922) and the semantics of color
used as the medium conveying the essence of the
persona s self in Akhmatova s early poetry at
various temporal stages of past and present. The
book focuses on basic colors, such as white, yellow,
red, green, blue, gray, and black, because their
usage is predominant in Akhmatova s poetry. The
study of her early poetry and its translations (by
Stanley Kunitz and Max Hayward, Richard McKane,
D.M.Thomas, Judith Hemschemeyer, Jane Kenyon and
Vera Sandomirsky Dunham) anchored in the semantics
of color, its etymology, and relation to various
objects reveals the stylistic devices the poet uses
to show how the persona finds herself in the objects
through concrete visual sensations and the
exploration of things past, present, and future.

Autorentext

I was born in Russia. After getting BA in teaching from KGPU, I moved to the US to enroll in the English graduate program with focus on Composition and Rhetoric at EIU. After receiving MA from EIU, I was admitted into a PhD program in Slavic Department at UW in Seattle, WA.I am currently completing the PhD program and teaching at UW.

Klappentext

Anna Akhmatova (1889-1966), a Russian post-Symbolist poet, published a variety of poems in the Russian language, which were later translated into English. The book focuses on her early poetry collections Evening (1912), Rosary (1914), White Flock (1917), and Anno Domini (1922) and the semantics of color used as the medium conveying the essence of the persona's self in Akhmatova's early poetry at various temporal stages of past and present. The book focuses on basic colors, such as white, yellow, red, green, blue, gray, and black, because their usage is predominant in Akhmatova's poetry. The study of her early poetry and its translations (by Stanley Kunitz and Max Hayward, Richard McKane, D.M.Thomas, Judith Hemschemeyer, Jane Kenyon and Vera Sandomirsky Dunham) anchored in the semantics of color, its etymology, and relation to various objects reveals the stylistic devices the poet uses to show how the persona finds herself in the objects through concrete visual sensations and the exploration of things past, present, and future.