РЕЦЕПЦИЯ САПФО В СБОРНИКЕ Т. КИБИРОВА «AMOUR, EXIL…»
RECEPTION OF SAPPHO IN THE COLLECTION OF POEMS AMOUR, EXIL... BY TIMUR KIBIROV

Summary/Abstract: The aim of the article is to analyze the reception of Sappho in the collection of poems Amour, Exil… by Timur Kibirov. From 1950 to 2010, Sappho’s poetry underwent extensive research, translation, and critical reflection; to these were added reflections on her work and the mythologems associated with her, which were incorporated into the realm of poetic contemplation. The relevance of this study is determined by the need to examine the persistent trend of modern poetry’s engagement with classical intertext, the reasons for which require explanation within the framework of the latest scientific paradigm. The research employs structural, comparative, and hermeneutic methods. Several levels of perception and interpretation of Sappho were identified in Kibirov’s collection of poems during the course of the study: the use of logaoedics, imitation and interpretation of the Sapphic stanza, the mythologem of Sappho’s legendary biography, her passion for Phaon, her suicide, and, finally, the citation of Sappho’s ode (Sa. 31, Loebel-Page). In the late 1990s, corporeality and physiological details of both one’s own amorous languor and the body of the beloved were perceived as a form of liberation, freedom of private life, and intimacy. The appeal to Sappho introduces the discovery of the bodily and erotic at a new stage of its exploration by the poet into the collection’s plot. It is concluded that the immediate reality of the experienced feeling is lost by Kibirov’s lyrical hero and is always mediated by the signs of the previous culture. This determines the necessity of a game encompassing a multitude of variations of meter, thought, and even the name of Sappho, none of which negates the authenticity of the feeling.

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