• Recognizing Sedakova
• Keith Kopka (bio)

Olga Sedakova might not be a household name in contemporary American poetry, but her impact on Russian and European literature, poetry, translation, and poetics makes her one of the most influential global voices of the twentieth century. Sedakova's work has been translated into more than seven different languages, and she has received awards from all over Europe, including Germany, Italy, the Vatican, and in her home country of Russia. Despite all of this international praise, Sedakova remains relatively unknown in the United States. However, there has been a push recently to make her work more available in English and criticism has followed. The essays contained within the anthology The Poetry and Poetics of Olga Sedakova: Origins, Philosophies and Points of Contention are clearly meant as a companion to the work of Sedakova rather than a substitute. Editors Stephanie Sandler, Maria Khotimsky, Margarita Krimmel, and Oleg Novikov have taken the time to painstakingly gather and curate a diverse grouping of significant responses to the catalog of this living master.

This collection of essays is organized thematically. Each of the three sections is dedicated to a different aspect of Sedakova's life and work. Varying essay topics work to contextualize Sedakova's writing in relationship to larger philosophical ideas, such as freedom and phenomenology, as well as ethics, childhood, and even theology. By grouping these essays thematically, the editors are able to create a well-rounded picture of an author and thinker whose poetry and prose that not only has a philosophical impact but also explores the ethical responsibility of that impact.

Although the purpose of this collection seems to be specifically focused on writing in response to Sedakova rather than Sedakova's own [End Page 25] writing, for those readers who are encountering this relatively unknown (to the west) author for the first time, the anthology might have benefited from an appendix dedicated to full text translations of some of the poetry and prose referenced in these essays. Even though most of the contributors do an excellent job of excerpting and translating within their essays in order to contextualize their arguments, as I said before, this book feels very much like a companion to be read alongside the primary source. It certainly would allow for a more in depth understanding if readers could reference the primary texts while reading these wonderfully written secondary ones.

This collection of essays seems to be reaching toward the goal of framing Sedakova's work not only in the context of Soviet Russia but also, more broadly, in the context of her larger contributions to what the editors of this collection call the "modern period." To accomplish this, they rely on intellectual diversity in order to illustrate a well-rounded perspective on Sedakova's art and influence. For example, there seems to be a concerted effort to find intergenerational views of Sedakova's work, as well as interpretations from a diverse series of disciplines. This paints the picture of a writer with a wide reach: a rare Renaissance style thinker who has influenced philosophers as much as poets and literary critics. Although I am, admittedly, still becoming more familiar with Sedakova's work, this contextualization seems to do her justice, rather than the disservice of spreading her contributions too thinly across too many genres. In other words, this collection succeeds in presenting itself as a respectful attempt at honoring a lifetime of incredible work, instead of a mere exercise in hero worship.

One essay that stands out among a consistently strong offering is Henreike Stahl's "The Immanence of Transcendence: Poetic Reflections of the Mystical Aspects of Olga Sedakova's Lyric poetry." In this essay, Stahl argues that Sedakova uses image and rhythm to present readers with a "mystical experience." Although this might sound vague and potentially condescending in the way in which it seems to position Sedakova as a kind of...

• 认识塞达科娃
• 基思·科普卡（生物）

奥尔加·塞达科娃（Olga Sedakova）可能不是当代美国诗歌中的家喻户晓的名字，但她对俄罗斯和欧洲文学，诗歌，翻译和诗学的影响使她成为20世纪最具影响力的全球声音之一。塞达科娃（Sedakova）的作品已被翻译成七种以上不同的语言，她获得了欧洲各地的奖项，包括德国，意大利，梵蒂冈以及她的祖国俄罗斯。尽管获得了所有这些国际赞誉，但塞达科娃在美国仍然相对陌生。但是，最近有人在努力提高她的英语工作水平，批评也随之而来。文集《奥尔加·塞达科娃的诗与诗论：起源，哲学和论点》中的论文显然是作为Sedakova作品的伴侣而不是替代品。斯蒂芬妮·桑德勒（Stephanie Sandler），玛丽亚·霍特姆斯基（Maria Khotimsky），玛格丽塔·克里姆梅尔（Margarita Krimmel）和奥列格·诺维科夫（Oleg Novikov）花费了很多时间，精心收集和策划了对这位现任大师的重要答复。

该论文集是按主题组织的。这三个部分分别致力于Sedakova的生活和工作的不同方面。各种各样的论文主题使塞达科娃的写作与更大的哲学思想（例如自由和现象学以及伦理学，童年甚至神学）相关联。通过按主题对这些文章进行分组，编辑者可以对作者和思想家的作品进行全面的描绘，其诗歌和散文不仅具有哲学影响，而且还探索了这种影响的伦理责任。

尽管此收藏集的目的似乎专门针对于Sedakova的写作，而不是Sedakova自己的[End Page 25]写作，但对于那些第一次遇到这位相对陌生的作者（西方）的读者来说，选集也许可以从附录中受益，这些附录专门用于这些文章中引用的某些诗歌和散文的全文翻译。正如我之前说过的，尽管大多数撰稿人在摘录和翻译论文以使他们的论点语境化方面做得很出色，但我还是觉得这本书很像是同伴随同主要来源一起阅读的书。如果读者在阅读这些写得很好的次要文章时可以参考主要的文章，当然可以对它进行更深入的了解。

这些杂文集似乎正朝着将塞达科娃的作品定为框架的目标迈进，这不仅是在苏维埃俄罗斯的情况下，而且在更广泛的意义上，是因为她对本集的编辑者称之为“现代时期”的贡献更大。为此，他们依靠知识的多样性来说明塞达科娃艺术和影响力的全面观点。例如，似乎在共同努力下，找到了塞达科娃作品的世代相传观点，以及来自一系列不同学科的解释。这描绘了一位具有广泛影响力的作家：一位罕见的文艺复兴时期风格的思想家，对哲学家，诗人和文学评论家的影响都很大。诚然，尽管我仍然对Sedakova的工作更加熟悉，这种情境化似乎是对她的公正，而不是无助于将她的贡献分散在太多流派上的损害。换句话说，这个系列成功地展现了自己的尊敬，以表彰他毕生难忘的工作，而不仅仅是英雄崇拜中的练习。

亨雷克·斯塔尔（Henreike Stahl）的著作《超越的内在：奥尔加·塞达科娃（Olga Sedakova）抒情诗的神秘方面的诗意反映》是一本在始终如一的作品中脱颖而出的。斯塔尔在本文中认为，塞达科娃使用形象和节奏向读者展示“神秘的经历”。尽管这听起来似乎含糊不清，并且可能在让塞达科娃（Sedakova）定位为...的方式上居高临下。