Natalia Azarova (Наталия Азарова)
Author

poèmes

[я кошачая птица...] russe

traductions: en es fr de nl sv

[это наказание – ножом...] russe

traductions: en es ro de sv

[горизонт заткну под пятки...] russe

traductions: en es ro de sv

[ещё живые лебеди под снегом...] russe

traductions: en es fr de

[когда моисей ходил по бульвару ротшильда...] russe

traductions: es ro

[известно: бо́льшая часть рек протекает...] russe

traductions: es de sv

[со мною много покосилось...] russe

traductions: en es ro de sv

сентябрьский шлягер russe

traductions: es ro de nl sv

[из земель ярче огрызок...] russe

traductions: de sv

[я твою мысль мыслю...] russe

traductions: en es ro de sv

красные краны на сером russe

traductions: de

Natalia Azarova Наталия Азарова
Author

About

* 23.09.1956, Moscow, Russie
Réside à: Moscow, Russie

Natalia Azarova was born on the 23rd of September 1956 in Moscow. She graduated in Spanish philology from Moscow State University, there has got her PhD and later was awarded a doctorate in letters from the Institute of Language Studies in the Russian Academy of Sciences where she serves currently as a senior fellow and the head of The Center of World Poetry Studies. Started writing poetry quite late in her life, Azarova had published eight poetical books through ten years. Besides this, she wrote two monographs about the language of philosophy and it's interdependence with poetical language, and produced a number of important translations of world poetry, amoung them there are the new Russian version of Du Fu’s selected poems, the work of acute urgency, as well as the first Russian translation of the "Ode Marítima" by Fernando Pessoa, that latter work was awarded with the Andrei Bely Prize in 2014.

Azarova's poetry is remarkable with its dedication to open structures including its unconventional, highly individual graphic design, its rich sonority and rhythmical diversity based on uncompromising disregard of canonized meters and rhymes, unpredictabe and ambiguous syntax, paradoxical transformations of common idioms... Above all Azarova’s poems struggle to discover in speech the potentials of its pliability, to sublate the contradiction between avant-garde experience of absolute author's ruling power in the realm of language and postmodern willingness to get rid of authorship in favor of self-deploying powers of discourse. Azarova writes from the first person perspective, sharing her biography and geography with her poems, and in this she manages to make juxtaposed words and superimposed pictures telling far more than the author herself might intend them to say.