No Foreign Sky: Censorship and poetry in the Soviet Union and Northern Ireland

本项目研究审查，监视，暴力和艺术之间的关系，使用北方爱尔兰，波兰和罗马尼亚在20世纪80年代的模式，以建立一种方法来评估审查制度对诗歌的影响和语言来讨论这些影响，以及解决现有的差距，在这些文化的研究。关键部分将评估来自所有三个国家的诗歌，阐明诗歌中公共和私人之间的相互作用，读者和叙述者之间的距离，文本和形式上的遗漏和秘密的使用，以及监视及其伴随的暴力的迫在眉睫的威胁。我评估了其他文本和背景，包括从档案馆和画廊中提取的材料，以及从多种语言翻译的诗歌，可以用来扩展和发展我的创造性项目的范围和范围的方式。此外，我分析如何正式的设备，如戏剧独白，声音，音乐性和句法，以及总体主题，跨文化翻译。我也考虑审查的各种形式，自我审查，政治审查，媒体审查，例如，为了评估当前的审查问题。批评部分在很大程度上影响了创作部分，这是一部以苏联后期为背景的诗歌集，在一个融合的城市中使用各种斯拉夫语言的翻译和语言特征。通过题词和典故对麻烦的诗歌的点头艺术地弥合了地点之间的文化差距。在整部作品中，叙述者从怀疑和疏远读者的立场转变为与读者共谋，鼓励读者对审查、监视和永远存在的威胁的不适感感同身受。由于压制和审查存在于许多文化和时期，本作品集渴望调查历史时刻，以引起人们对当今不公正的关注，并将审查的批评语言扩展为创造性语言。为了确保真实性，我的研究将由贝尔法斯特的亚麻厅图书馆的档案提供信息，其中包括350，000件印刷材料，如书籍，传单，宣言，以及亚麻厅工作人员在整个20世纪80年代收集的报纸，他们“在麻烦的高峰期......实际上是爬过路障去取回”档案馆的物品“（麦库姆）。我还将在乌克兰基辅的国家艺术学院进行研究，分析审查工作艺术家的右翼准军事团体的兴起，并评估乌克兰作为实行媒体审查的顶级国家之一的评级，以便更好地理解和创造性地撰写政治动荡对各种形式艺术的影响。

This project examines the relationship between censorship, surveillance, violence, and art using the models of Northern Ireland, Poland, and Romania in the 1980s to establish a means for evaluating the effects of censorship on poetry and a language to discuss those effects, as well as to address the existing gap in research regarding these cultures. The critical component will assess poetry from all three countries, illuminating the interplay between the public and private in poetry, the distance between the reader and narrator, the use of omissions and secrets both textually and formally, and the looming threat of surveillance and its accompanying violence. I appraise the ways in which other texts and contexts, including materials drawn from archives and galleries, and poems in translation from a number of languages, can be employed to extend and develop the scope and range of my creative project. Additionally, I analyse how formal devices such as dramatic monologue, voice, musicality, and syntax, as well as overarching themes, translate cross-culturally. I also consider the various forms that censorship can take-self-censorship, political censorship, and media censorship, for example-in order to assess current censorship issues. The critical component largely influences the creative component, a poetry collection set in the late days of the Soviet Union in an amalgamated city using translation and linguistic features of various Slavic languages. Nods to the poetry of the Troubles via epigraphs and allusions artistically bridge the cultural gap between locations. Throughout the collection, the narrator moves from a stance of suspicion and distance toward the reader to becoming a conspirator with the reader, to encourage the reader to enact and empathise with the discomfort of censorship, surveillance, and ever-present threat. Because suppression and censorship exist across many cultures and time periods, this collection aspires to investigate historical moments to draw attention to present-day injustices and to expand the critical language of censorship into a creative one. To ensure authenticity, my research will be informed by the archives at Belfast's Linen Hall Library, which include 350,000 pieces of printed materials such as books, leaflets, manifestos, and newspapers collected throughout the 1980s by Linen Hall staff who, "during the height of the Troubles...literally climbed over barricades to retrieve items" for the archive (McCombe). I will also conduct research at the National Academy of Arts in Kyiv, Ukraine, analysing the rise of right-wing paramilitary groups who censor working artists, and on assessing Ukraine's rating as one of the top countries practising media censorship in order to better understand and creatively write about the effects of political unrest on art of various forms.