Reception of I.F. Annensky as a translator of Baudelaire in French literature studies (based on A. Vinogradova de La Fortelle's work ''Les aventures du sujet poetique. Le symbolisme russe face a la poesie franjaise: complicite ou opposition?'')

The book of Anastasia Vinogradova de La Fortelle is an important phenomenon for the study of the situation in the 19th-20th century literature. The work is devoted to the study of the little reflected portion of Annensky's creative works, such as his translation work. The subject's implementation is analyzed in translations of Mallarme's and Baudelaire's lyrics by Annensky and Bryusov. This turn-of-the-century Russian translation aspect of the study has not yet been researched in the national literary criticism. The following research is pioneer on this problem, the translation of the book was done by N.M. Alyokhina. French poets' creative works (Baudelaire, Verlaine, Mallarme) differently affect Annensky's poetic consciousness. For example, the position of Mallarme in the works of Russian poet manifests "explicitly", because Annensky admitted his attachment to the works of Mallarme. Baudelaire's lyrics manifest "implicitly" in Annensky's poetic works, because "Baudelaire's motives impregnate his poems''. Discussing the manner of Russian poets translating the researcher uses the word ''denaturation'' (from the verb ''denaturer'', which means "denaturalize, mutilate, deface, pervert''). Translating as an object of study is presented in Vinogradova de La Fortelle's book in another sense and purpose: Annensky's translation activity is understood by the researcher as the discontact or deliberate distortion. Thus, the researcher comes to the following conclusion: Annensky's translations are noted for deep subjectivity, Baudelaire persona's impersonality turns into a brightly subject-colored text; interaction between direct and figurative plans is often graded in Annensky's poems, from the first lines the translation is ''encoded'' into the metaphorical plan; on the semantic level of poetic subject's expression the transition from active, open subject action to its passivity is pointed. Discussing the interaction between Annensky's artistic world and that of French Symbolists, the researcher examines the ''opposition'' of the translation against the original text and speaks about Annensky's ''betrayal'' as a translator in relation against the French lyrics in terms of problematics. Annensky's working with the original lyrics is determined by the fact that he was ''a great metaphysical poet''. Opening the ''mystical abyss'', his poetry sought to transcendence, demonstrable aesthetics streak of Russian Symbolism, which especially connects it with Romanticism. French literature, in turn, beginning with Baudelaire, moves away from Romanticist aesthetics. For example, the lyrics of Mallarme already reject anything transcendent and Baudelaire achieves impersonality. The new findings may be considered as an option for the interpretation of the Russian poet's translation strategies, which may become useful for the analysis of the rest of Annensky's translations from French Symbolism and may discover new aspects of discrepancies in the translation of not only the poetic subject, but also other components of the lyrics.

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