The article describes the phenomenon of describing a country estate in the literature of Russian ... more The article describes the phenomenon of describing a country estate in the literature of Russian modernism as a heterotopy. The estate narrative of Russian literature of the 19th century demonstrates that the most significant events in the hero's life take place in the noble estate, and consequently, the duration of the action and the plot are maximally compressed, and at the same time extended in time. We should not forget that in fact the noble estate served as a repository of intellectual and cultural memory. After the destruction of the landowner estate in Soviet times, the most important signs of the manor heterotopy are preserved: this is the memory of a geographical place, a memory of the manor topos. The heterotopic model of the Russian estate demonstrated exceptional stability for a long time, having functionally transformed, on the one hand, into a summer residence (dacha); on the other hand, the function of the cultural memory is taken over by the modern museum-estate...
The article is a study on the relationship between the writer Andrei Bely and the young poetess a... more The article is a study on the relationship between the writer Andrei Bely and the young poetess and translator Vera Stanevich thanks to the study of their personal correspondence. Female correspondence is here considered as an autobiographical set of texts which, in their sub-generic characteristics, can be compared to the genre of the confession letter.
В статье рассматриваются различные аспекты влияния философии Владимира Соловьева на «Повесть о Св... more В статье рассматриваются различные аспекты влияния философии Владимира Соловьева на «Повесть о Светомире Царевиче» Вячеслава Иванова. Среди этих аспектов – не только его концепция теократической утопии и Вселенской Церкви, но прежде всего метафизика гностической Софии. В работе показано, что гностический слой повести Иванова восходит к статьям Соловьева, посвященным истории гностицизма. Предполагается, что следы гностических идей присутствуют в повести в форме сюжетной линии о Симеоне Маге/Симоне Хорсе и Зое/Елене. В характеристике главных персонажей (Светомир, Отрада, Горислава, Симон Хорс) обнаруживается библейско-гностическая оппозиция свет/тьма как ресурс для переживаемой героями духовной трансформации. Кроме того, рассматривается семантическая категория гностической андрогинности, которая проявилась в неосуществленном замысле окончания повести. Один из главных персонажей, Светомир-царевич, должен был претерпеть телесную и духовную трансмутацию, превратившись в андрогинную Царь-...
Abstract This is an introduction to the intimate correspondence between the head of the publishin... more Abstract This is an introduction to the intimate correspondence between the head of the publishing house “Musaget” E. Medtner and artist, anthroposophist M. Sabashnikovaa, published in the present issue. Ideas that lived within the publishing house “Musaget”, including that of the Rosicrucian brotherhood, which A. Mintslova wished to establish, based on Steiner's theosophy, are briefly discussed. Mintslova had acquainted Sabashnikova with Medtner in 1910 and promised him that Steiner would heal his psychological and physical ailments. Later Medtner found his healing in Jungian psychoanalysis. The correspondence covers the period of 1911–1913, which passed for them under the sign of Steiner's Theosophy.
... II отдел < > 1) история эстетических учений 2) история поэзии 3) теория поэзии 4) [стих... more ... II отдел < > 1) история эстетических учений 2) история поэзии 3) теория поэзии 4) [стиховедение и прозоведение] теория художественного слова 5) история музыки 6) история танца 7) история [живописи] изобразит.<ельных> искусств 8) история архитектуры III ...
The article discusses the modification of the “estate topos” of Russian symbolism in Andrei Bely’... more The article discusses the modification of the “estate topos” of Russian symbolism in Andrei Bely’s memoir prose. The estates Shakhmatovo, Dedovo, Serebrianyj Kolodez played a key role in the cultural history of Russian symbolism. The peculiarity of Bely’s “estate text”, on the one hand, is that he found an original neo-mythological mode in the image of these estates, on the other hand, gave them heterotopic properties. The article shows how the tonality of his memoirs about Alexander Blok changes from the first edition in journal “Notes of Dreamers” (1922) to the last part of his memorial trilogy “The Beginning of the Century” (1932). If in the first version “Shakhmatovo” appears in neo-mythological meaning and a number of significant symbolic universals are realized, then in the latter version this way of representing the estate is practically erased. The image of Alexander Blok as a spiritual and symbolic center of estate culture is changing: if originally he had the folklore features of Ivan Tsarevich, the ideal symbolist poet on a background of nature, and his wife was Tsarevna, the embodiment of Sophia the Wisdom of God, then later Blok appears as a Lord, carried away only by the issues of managing the estate, and his wife gets the features of an ordinary woman. The estate Serebrianyj Kolodez appears as a heterotopic space, and the features of the estate Dedovo are recognizable in the novel “The Silver Dove”.
В статье описывается феномен изображения усадьбы как гетеротопии в литературе русского модернизма... more В статье описывается феномен изображения усадьбы как гетеротопии в литературе русского модернизма. Усадебный нарратив русской литературы XIX века демонстрирует, что в дворянской усадьбе происходят наиболее значительные события в жизни героя, а следовательно, время действия и сюжет оказываются максимально сжатыми и одновременно протяженными во времени. Фактически усадьба выполняла функцию хранилища интеллектуальной и культурной памяти. После уничтожения помещичьей усадьбы в советское время, сохраняются важнейшая примета усадебной гетеротопии: это память географического места, воспоминание об усадебном топосе. Гетеротопная модель русской усадьбы продемонстрировала исключительную устойчивость на протяжении длительного времени, функционально трансформировавшись, с одной стороны, в дачное хозяйство; с другой стороны, функцию хранилища памяти культуры принимает на себя современный музей-усадьба. В статье проанализированы рассказы З.Н. Гиппиус «Ведьма», «Двое – один», «Вне времени». Семиосфера усадебного мира в рассказах Гиппиус демонстрирует перемещение героя в функционально иное пространство по сравнению с привычным ему миром, где реальные события могут получать фантастическое объяснение (рассказ «Ведьма»), а время течет по своим законам, оказываясь застывшей капсулой времени (рассказ «Вне времени»). Фактические события происходят как в метафорическом (память и ожившее воспоминание), так и мифологическом (ложная синхронизация) временном срезе (рассказы «Вне времени» и «Двое – один»); движение же собственно исторического времени предельно замедленно и вовсе замирает («Вне времени»).
В статье исследуется функциональная роль чужого слова в прозе Андрея Белого послереволюционного п... more В статье исследуется функциональная роль чужого слова в прозе Андрея Белого послереволюционного периода. Вокальный цикл Шуберта «Winterreise» претерпевает значительную трансформацию в автобиографической мифологии писателя. Мотив зимнего странствия и вся мотивно-образная система цикла (странник, странствие, ворон) типологически соотносятся с посвятительным мифом и играют смыслообразующую роль.
Вячеслав Иванов: Материалы и исследования. Вып. III, 2018
The article examines one of the little-known episodes of the biography of Vyacheslav Ivanov — his... more The article examines one of the little-known episodes of the biography of Vyacheslav Ivanov — his participation in one of the cultural projects of the early years of Soviet power — the creative club «Red Rooster» (1918-1919), organized by the Theater Department of the People’s Commissariat for Education. Ivanov read there in January-February 1919 a series of lectures on Ancient Theater, and also took part in discussions on the ways of developing a new theater, offering his idea of the theater as a nationwide act; He also participated in music evenings dedicated to A. Skryabin. The article considers the history of the Club, which was organized on the initiative of Olga Kameneva, the head of the Theater Department of the People’s Commissariat for Education, on the site of the modern musical and literary cafe Pittoresque (prominent artists G. Yakulov, K. Malevich, A. Rodchenko, V. Khodasevich participated in the design of the interiors). In the Club, there were many productions of Meyerhold and Tairov; among the regular visitors were the famous poets Vas. Kamensky, D. Burliuk, V. Mayakovsky, V. Khlebnikov, S. Yesenin, A. Marienhof and representatives of the literary and artistic Moscow bohemia. For the first time, a shorthand record of Ivanov’s lecture at the Red Rooster Club is published.
The article offers consideration of the archetypical motif of the birth of a miraculous child as ... more The article offers consideration of the archetypical motif of the birth of a miraculous child as variations of the Gospel plot of Christmas in the work of Andrei Bely — from his early “Symphonies” up to his articles of the revolutionary years. A semantic shift of the traditional spatial-temporal model of the archaic narrative came to play a key role in the culture of Russian symbolism, which implies that the events of the Gospel history are perceived as synchronous modernity. As the paper revealed the eschatological motif of the waiting for a miraculous baby, borrowed from the Revelation of John the Theologian, occurs in the early works of the writer most frequently, but at the same time this motif is supplanted by its travesty variant — the appearance of a false / other baby. Then, using the example of journalistic articles by Andrei Bely and his memoir-autobiographical documents from the period of the First World War and Revolution, the author proves that during the anthroposophical period of his work, the motif of the birth of a miraculous child is replaced by the esoteric motif of the birth as death, or resurrection. The study presumes that this motif is not only metaphorically reinterpreted as the birth of an “inner”, spiritual person, but has also a systemic frequency in the context of the writer's autobiographical mythology. As the author notes the story of the birth of a miraculous child is transformed into semantically similar mythological scenes of a dying/resurgent deity. The study concluded that the motif of the birth of a miraculous child in the context of the autobiographical mythopoetics of Andrei Bely was replaced by a closely related esoteric plot of spiritual transmutation.
The paper offers a detailed analysis of Andrey Bely’s
(melo)declamatory style in the context of ... more The paper offers a detailed analysis of Andrey Bely’s (melo)declamatory style in the context of his poetic and theoretical experimentations. Bely’s contemporaries described his recitals as adhering to the typically ‘decadent’ manner of declamation: with the poem’s meter emphasized by monotonous melodization. On examining the written mentions of his recitals, one is moved to agree with Bernstein’s statement that the poet had undergone a change in his declamatory manner, confirmed by Bely himself. And indeed, a first-ever digital analysis of the audio recordings made by Bernstein in chronological order sheds light on the inner causes of Bely’s poetic experimentation (‘melodism’) in his later years, and, together with the printed version of the poetry, points to the connection between the poet’s declamatory style and the general direction in which he went with his work as a poet and a theorist. Bely’s later poetry called for two distinctive manners of recital: one, relatively stable in terms of pauses and melodization, for traditional meters, and the other, more elaborate, for his ‘melodic’ verses. The latter is more in affinity with the poet’s manner of reciting his rhythmical prose. The two declamatory styles originate in the voiceless recital during composition, as described by Bely to Bernstein.
В статье впервые на материале архивных и публицистических документов реконструируется история уча... more В статье впервые на материале архивных и публицистических документов реконструируется история участия писателя Андрея Белого в одном из крупнейших культурных начинаний Советской эпохи — «Дворце Искусств». В приложениях к статье впервые публикуются архивные источники: программы заседаний Археологического отдела, списки членов Литературного отдела, отчет о деятельности за 1919–1920 гг., составленный И.С. Рукавишниковым, корректуры неизвестной статьи-отчета Андрея Белого о митингах «Дворца Искусств». The article reconstructs the story of Andrej Bely’s participation in one of the largest cultural undertakings of the Soviet era — the “Palace of Arts”. In appendixes some archival sources are published for the first time: the programs of the Archaeological Department meetings, compiled by Andrej Bely; report on the activities for 1919–1920, compiled by I.S. Rukavishnikov; proofs of an unknown article-report by Andrei Bely on meetings of the “Palace of Arts”.
The article describes the phenomenon of describing a country estate in the literature of Russian ... more The article describes the phenomenon of describing a country estate in the literature of Russian modernism as a heterotopy. The estate narrative of Russian literature of the 19th century demonstrates that the most significant events in the hero's life take place in the noble estate, and consequently, the duration of the action and the plot are maximally compressed, and at the same time extended in time. We should not forget that in fact the noble estate served as a repository of intellectual and cultural memory. After the destruction of the landowner estate in Soviet times, the most important signs of the manor heterotopy are preserved: this is the memory of a geographical place, a memory of the manor topos. The heterotopic model of the Russian estate demonstrated exceptional stability for a long time, having functionally transformed, on the one hand, into a summer residence (dacha); on the other hand, the function of the cultural memory is taken over by the modern museum-estate...
The article is a study on the relationship between the writer Andrei Bely and the young poetess a... more The article is a study on the relationship between the writer Andrei Bely and the young poetess and translator Vera Stanevich thanks to the study of their personal correspondence. Female correspondence is here considered as an autobiographical set of texts which, in their sub-generic characteristics, can be compared to the genre of the confession letter.
В статье рассматриваются различные аспекты влияния философии Владимира Соловьева на «Повесть о Св... more В статье рассматриваются различные аспекты влияния философии Владимира Соловьева на «Повесть о Светомире Царевиче» Вячеслава Иванова. Среди этих аспектов – не только его концепция теократической утопии и Вселенской Церкви, но прежде всего метафизика гностической Софии. В работе показано, что гностический слой повести Иванова восходит к статьям Соловьева, посвященным истории гностицизма. Предполагается, что следы гностических идей присутствуют в повести в форме сюжетной линии о Симеоне Маге/Симоне Хорсе и Зое/Елене. В характеристике главных персонажей (Светомир, Отрада, Горислава, Симон Хорс) обнаруживается библейско-гностическая оппозиция свет/тьма как ресурс для переживаемой героями духовной трансформации. Кроме того, рассматривается семантическая категория гностической андрогинности, которая проявилась в неосуществленном замысле окончания повести. Один из главных персонажей, Светомир-царевич, должен был претерпеть телесную и духовную трансмутацию, превратившись в андрогинную Царь-...
Abstract This is an introduction to the intimate correspondence between the head of the publishin... more Abstract This is an introduction to the intimate correspondence between the head of the publishing house “Musaget” E. Medtner and artist, anthroposophist M. Sabashnikovaa, published in the present issue. Ideas that lived within the publishing house “Musaget”, including that of the Rosicrucian brotherhood, which A. Mintslova wished to establish, based on Steiner's theosophy, are briefly discussed. Mintslova had acquainted Sabashnikova with Medtner in 1910 and promised him that Steiner would heal his psychological and physical ailments. Later Medtner found his healing in Jungian psychoanalysis. The correspondence covers the period of 1911–1913, which passed for them under the sign of Steiner's Theosophy.
... II отдел < > 1) история эстетических учений 2) история поэзии 3) теория поэзии 4) [стих... more ... II отдел < > 1) история эстетических учений 2) история поэзии 3) теория поэзии 4) [стиховедение и прозоведение] теория художественного слова 5) история музыки 6) история танца 7) история [живописи] изобразит.<ельных> искусств 8) история архитектуры III ...
The article discusses the modification of the “estate topos” of Russian symbolism in Andrei Bely’... more The article discusses the modification of the “estate topos” of Russian symbolism in Andrei Bely’s memoir prose. The estates Shakhmatovo, Dedovo, Serebrianyj Kolodez played a key role in the cultural history of Russian symbolism. The peculiarity of Bely’s “estate text”, on the one hand, is that he found an original neo-mythological mode in the image of these estates, on the other hand, gave them heterotopic properties. The article shows how the tonality of his memoirs about Alexander Blok changes from the first edition in journal “Notes of Dreamers” (1922) to the last part of his memorial trilogy “The Beginning of the Century” (1932). If in the first version “Shakhmatovo” appears in neo-mythological meaning and a number of significant symbolic universals are realized, then in the latter version this way of representing the estate is practically erased. The image of Alexander Blok as a spiritual and symbolic center of estate culture is changing: if originally he had the folklore features of Ivan Tsarevich, the ideal symbolist poet on a background of nature, and his wife was Tsarevna, the embodiment of Sophia the Wisdom of God, then later Blok appears as a Lord, carried away only by the issues of managing the estate, and his wife gets the features of an ordinary woman. The estate Serebrianyj Kolodez appears as a heterotopic space, and the features of the estate Dedovo are recognizable in the novel “The Silver Dove”.
В статье описывается феномен изображения усадьбы как гетеротопии в литературе русского модернизма... more В статье описывается феномен изображения усадьбы как гетеротопии в литературе русского модернизма. Усадебный нарратив русской литературы XIX века демонстрирует, что в дворянской усадьбе происходят наиболее значительные события в жизни героя, а следовательно, время действия и сюжет оказываются максимально сжатыми и одновременно протяженными во времени. Фактически усадьба выполняла функцию хранилища интеллектуальной и культурной памяти. После уничтожения помещичьей усадьбы в советское время, сохраняются важнейшая примета усадебной гетеротопии: это память географического места, воспоминание об усадебном топосе. Гетеротопная модель русской усадьбы продемонстрировала исключительную устойчивость на протяжении длительного времени, функционально трансформировавшись, с одной стороны, в дачное хозяйство; с другой стороны, функцию хранилища памяти культуры принимает на себя современный музей-усадьба. В статье проанализированы рассказы З.Н. Гиппиус «Ведьма», «Двое – один», «Вне времени». Семиосфера усадебного мира в рассказах Гиппиус демонстрирует перемещение героя в функционально иное пространство по сравнению с привычным ему миром, где реальные события могут получать фантастическое объяснение (рассказ «Ведьма»), а время течет по своим законам, оказываясь застывшей капсулой времени (рассказ «Вне времени»). Фактические события происходят как в метафорическом (память и ожившее воспоминание), так и мифологическом (ложная синхронизация) временном срезе (рассказы «Вне времени» и «Двое – один»); движение же собственно исторического времени предельно замедленно и вовсе замирает («Вне времени»).
В статье исследуется функциональная роль чужого слова в прозе Андрея Белого послереволюционного п... more В статье исследуется функциональная роль чужого слова в прозе Андрея Белого послереволюционного периода. Вокальный цикл Шуберта «Winterreise» претерпевает значительную трансформацию в автобиографической мифологии писателя. Мотив зимнего странствия и вся мотивно-образная система цикла (странник, странствие, ворон) типологически соотносятся с посвятительным мифом и играют смыслообразующую роль.
Вячеслав Иванов: Материалы и исследования. Вып. III, 2018
The article examines one of the little-known episodes of the biography of Vyacheslav Ivanov — his... more The article examines one of the little-known episodes of the biography of Vyacheslav Ivanov — his participation in one of the cultural projects of the early years of Soviet power — the creative club «Red Rooster» (1918-1919), organized by the Theater Department of the People’s Commissariat for Education. Ivanov read there in January-February 1919 a series of lectures on Ancient Theater, and also took part in discussions on the ways of developing a new theater, offering his idea of the theater as a nationwide act; He also participated in music evenings dedicated to A. Skryabin. The article considers the history of the Club, which was organized on the initiative of Olga Kameneva, the head of the Theater Department of the People’s Commissariat for Education, on the site of the modern musical and literary cafe Pittoresque (prominent artists G. Yakulov, K. Malevich, A. Rodchenko, V. Khodasevich participated in the design of the interiors). In the Club, there were many productions of Meyerhold and Tairov; among the regular visitors were the famous poets Vas. Kamensky, D. Burliuk, V. Mayakovsky, V. Khlebnikov, S. Yesenin, A. Marienhof and representatives of the literary and artistic Moscow bohemia. For the first time, a shorthand record of Ivanov’s lecture at the Red Rooster Club is published.
The article offers consideration of the archetypical motif of the birth of a miraculous child as ... more The article offers consideration of the archetypical motif of the birth of a miraculous child as variations of the Gospel plot of Christmas in the work of Andrei Bely — from his early “Symphonies” up to his articles of the revolutionary years. A semantic shift of the traditional spatial-temporal model of the archaic narrative came to play a key role in the culture of Russian symbolism, which implies that the events of the Gospel history are perceived as synchronous modernity. As the paper revealed the eschatological motif of the waiting for a miraculous baby, borrowed from the Revelation of John the Theologian, occurs in the early works of the writer most frequently, but at the same time this motif is supplanted by its travesty variant — the appearance of a false / other baby. Then, using the example of journalistic articles by Andrei Bely and his memoir-autobiographical documents from the period of the First World War and Revolution, the author proves that during the anthroposophical period of his work, the motif of the birth of a miraculous child is replaced by the esoteric motif of the birth as death, or resurrection. The study presumes that this motif is not only metaphorically reinterpreted as the birth of an “inner”, spiritual person, but has also a systemic frequency in the context of the writer's autobiographical mythology. As the author notes the story of the birth of a miraculous child is transformed into semantically similar mythological scenes of a dying/resurgent deity. The study concluded that the motif of the birth of a miraculous child in the context of the autobiographical mythopoetics of Andrei Bely was replaced by a closely related esoteric plot of spiritual transmutation.
The paper offers a detailed analysis of Andrey Bely’s
(melo)declamatory style in the context of ... more The paper offers a detailed analysis of Andrey Bely’s (melo)declamatory style in the context of his poetic and theoretical experimentations. Bely’s contemporaries described his recitals as adhering to the typically ‘decadent’ manner of declamation: with the poem’s meter emphasized by monotonous melodization. On examining the written mentions of his recitals, one is moved to agree with Bernstein’s statement that the poet had undergone a change in his declamatory manner, confirmed by Bely himself. And indeed, a first-ever digital analysis of the audio recordings made by Bernstein in chronological order sheds light on the inner causes of Bely’s poetic experimentation (‘melodism’) in his later years, and, together with the printed version of the poetry, points to the connection between the poet’s declamatory style and the general direction in which he went with his work as a poet and a theorist. Bely’s later poetry called for two distinctive manners of recital: one, relatively stable in terms of pauses and melodization, for traditional meters, and the other, more elaborate, for his ‘melodic’ verses. The latter is more in affinity with the poet’s manner of reciting his rhythmical prose. The two declamatory styles originate in the voiceless recital during composition, as described by Bely to Bernstein.
В статье впервые на материале архивных и публицистических документов реконструируется история уча... more В статье впервые на материале архивных и публицистических документов реконструируется история участия писателя Андрея Белого в одном из крупнейших культурных начинаний Советской эпохи — «Дворце Искусств». В приложениях к статье впервые публикуются архивные источники: программы заседаний Археологического отдела, списки членов Литературного отдела, отчет о деятельности за 1919–1920 гг., составленный И.С. Рукавишниковым, корректуры неизвестной статьи-отчета Андрея Белого о митингах «Дворца Искусств». The article reconstructs the story of Andrej Bely’s participation in one of the largest cultural undertakings of the Soviet era — the “Palace of Arts”. In appendixes some archival sources are published for the first time: the programs of the Archaeological Department meetings, compiled by Andrej Bely; report on the activities for 1919–1920, compiled by I.S. Rukavishnikov; proofs of an unknown article-report by Andrei Bely on meetings of the “Palace of Arts”.
The report examines the structural components of the epistemological concept of the poetic text,... more The report examines the structural components of the epistemological concept of the poetic text, as formulated in the works of Andrew Bely post-revolutionary period
Uploads
Papers by Elena Glukhova
The article shows how the tonality of his memoirs about Alexander Blok changes from the first edition in journal “Notes of Dreamers” (1922) to the last part of his memorial trilogy “The Beginning of the Century” (1932). If in the first version “Shakhmatovo” appears in neo-mythological meaning and a number of significant symbolic universals are realized, then in the latter version this way of representing the estate is practically
erased. The image of Alexander Blok as a spiritual and symbolic center of estate culture is changing: if originally he had the folklore features of Ivan Tsarevich, the ideal symbolist poet on a background of nature, and his wife was Tsarevna, the embodiment of Sophia the Wisdom of God, then later Blok appears as a Lord, carried away only by the issues of managing the estate, and his wife gets the features of an ordinary woman. The estate Serebrianyj Kolodez appears as a heterotopic space, and the features of the estate Dedovo are recognizable in the novel “The Silver Dove”.
мифом и играют смыслообразующую роль.
of Soviet power — the creative club «Red Rooster» (1918-1919), organized by the Theater Department of the People’s Commissariat for Education. Ivanov read there in January-February 1919 a series of lectures on Ancient Theater, and also took part in discussions on the ways of developing a new theater, offering his idea of the theater as a nationwide act; He also participated in music evenings dedicated to A. Skryabin. The article considers the history of the Club, which was organized on the initiative of Olga Kameneva, the head of the Theater Department of the People’s Commissariat for Education, on the site of the modern musical and literary cafe Pittoresque (prominent artists G. Yakulov, K. Malevich, A. Rodchenko, V. Khodasevich participated in the design of the interiors). In the Club, there were many productions of Meyerhold and Tairov; among the regular visitors were the famous poets Vas. Kamensky, D. Burliuk, V. Mayakovsky, V. Khlebnikov, S. Yesenin, A. Marienhof and representatives of the literary and artistic Moscow bohemia. For the first time, a shorthand record of Ivanov’s lecture at the Red Rooster Club is published.
to play a key role in the culture of Russian symbolism, which implies that the events of the Gospel history are perceived as synchronous modernity. As the paper revealed the eschatological motif of the waiting for a miraculous baby, borrowed from the Revelation of John the Theologian, occurs in the early works of the writer most frequently, but at the same time this motif is supplanted by its travesty variant — the appearance of a
false / other baby. Then, using the example of journalistic articles by Andrei Bely and his memoir-autobiographical documents from the period of the First World War and Revolution, the author proves that during the anthroposophical period of his work, the motif of the birth of a miraculous child is replaced by the esoteric motif of the birth as death, or resurrection. The study presumes that this motif is not only metaphorically
reinterpreted as the birth of an “inner”, spiritual person, but has also a systemic frequency in the context of the writer's autobiographical mythology. As the author notes the story of the birth of a miraculous child is transformed into semantically similar mythological
scenes of a dying/resurgent deity. The study concluded that the motif of the birth of a miraculous child in the context of the autobiographical mythopoetics of Andrei Bely was replaced by a closely related esoteric plot of spiritual transmutation.
(melo)declamatory style in the context of his poetic and theoretical
experimentations. Bely’s contemporaries described his recitals as adhering
to the typically ‘decadent’ manner of declamation: with the poem’s
meter emphasized by monotonous melodization. On examining the
written mentions of his recitals, one is moved to agree with Bernstein’s
statement that the poet had undergone a change in his declamatory
manner, confirmed by Bely himself. And indeed, a first-ever digital analysis
of the audio recordings made by Bernstein in chronological order
sheds light on the inner causes of Bely’s poetic experimentation (‘melodism’)
in his later years, and, together with the printed version of the
poetry, points to the connection between the poet’s declamatory style
and the general direction in which he went with his work as a poet and
a theorist. Bely’s later poetry called for two distinctive manners of recital:
one, relatively stable in terms of pauses and melodization, for traditional
meters, and the other, more elaborate, for his ‘melodic’ verses.
The latter is more in affinity with the poet’s manner of reciting his
rhythmical prose. The two declamatory styles originate in the voiceless
recital during composition, as described by Bely to Bernstein.
впервые публикуются архивные источники: программы заседаний Археологического
отдела, списки членов Литературного отдела, отчет о деятельности за 1919–1920 гг.,
составленный И.С. Рукавишниковым, корректуры неизвестной статьи-отчета Андрея
Белого о митингах «Дворца Искусств».
The article reconstructs the story of Andrej Bely’s participation in one of the largest
cultural undertakings of the Soviet era — the “Palace of Arts”. In appendixes some archival
sources are published for the first time: the programs of the Archaeological Department
meetings, compiled by Andrej Bely; report on the activities for 1919–1920, compiled by
I.S. Rukavishnikov; proofs of an unknown article-report by Andrei Bely on meetings of the
“Palace of Arts”.
The article shows how the tonality of his memoirs about Alexander Blok changes from the first edition in journal “Notes of Dreamers” (1922) to the last part of his memorial trilogy “The Beginning of the Century” (1932). If in the first version “Shakhmatovo” appears in neo-mythological meaning and a number of significant symbolic universals are realized, then in the latter version this way of representing the estate is practically
erased. The image of Alexander Blok as a spiritual and symbolic center of estate culture is changing: if originally he had the folklore features of Ivan Tsarevich, the ideal symbolist poet on a background of nature, and his wife was Tsarevna, the embodiment of Sophia the Wisdom of God, then later Blok appears as a Lord, carried away only by the issues of managing the estate, and his wife gets the features of an ordinary woman. The estate Serebrianyj Kolodez appears as a heterotopic space, and the features of the estate Dedovo are recognizable in the novel “The Silver Dove”.
мифом и играют смыслообразующую роль.
of Soviet power — the creative club «Red Rooster» (1918-1919), organized by the Theater Department of the People’s Commissariat for Education. Ivanov read there in January-February 1919 a series of lectures on Ancient Theater, and also took part in discussions on the ways of developing a new theater, offering his idea of the theater as a nationwide act; He also participated in music evenings dedicated to A. Skryabin. The article considers the history of the Club, which was organized on the initiative of Olga Kameneva, the head of the Theater Department of the People’s Commissariat for Education, on the site of the modern musical and literary cafe Pittoresque (prominent artists G. Yakulov, K. Malevich, A. Rodchenko, V. Khodasevich participated in the design of the interiors). In the Club, there were many productions of Meyerhold and Tairov; among the regular visitors were the famous poets Vas. Kamensky, D. Burliuk, V. Mayakovsky, V. Khlebnikov, S. Yesenin, A. Marienhof and representatives of the literary and artistic Moscow bohemia. For the first time, a shorthand record of Ivanov’s lecture at the Red Rooster Club is published.
to play a key role in the culture of Russian symbolism, which implies that the events of the Gospel history are perceived as synchronous modernity. As the paper revealed the eschatological motif of the waiting for a miraculous baby, borrowed from the Revelation of John the Theologian, occurs in the early works of the writer most frequently, but at the same time this motif is supplanted by its travesty variant — the appearance of a
false / other baby. Then, using the example of journalistic articles by Andrei Bely and his memoir-autobiographical documents from the period of the First World War and Revolution, the author proves that during the anthroposophical period of his work, the motif of the birth of a miraculous child is replaced by the esoteric motif of the birth as death, or resurrection. The study presumes that this motif is not only metaphorically
reinterpreted as the birth of an “inner”, spiritual person, but has also a systemic frequency in the context of the writer's autobiographical mythology. As the author notes the story of the birth of a miraculous child is transformed into semantically similar mythological
scenes of a dying/resurgent deity. The study concluded that the motif of the birth of a miraculous child in the context of the autobiographical mythopoetics of Andrei Bely was replaced by a closely related esoteric plot of spiritual transmutation.
(melo)declamatory style in the context of his poetic and theoretical
experimentations. Bely’s contemporaries described his recitals as adhering
to the typically ‘decadent’ manner of declamation: with the poem’s
meter emphasized by monotonous melodization. On examining the
written mentions of his recitals, one is moved to agree with Bernstein’s
statement that the poet had undergone a change in his declamatory
manner, confirmed by Bely himself. And indeed, a first-ever digital analysis
of the audio recordings made by Bernstein in chronological order
sheds light on the inner causes of Bely’s poetic experimentation (‘melodism’)
in his later years, and, together with the printed version of the
poetry, points to the connection between the poet’s declamatory style
and the general direction in which he went with his work as a poet and
a theorist. Bely’s later poetry called for two distinctive manners of recital:
one, relatively stable in terms of pauses and melodization, for traditional
meters, and the other, more elaborate, for his ‘melodic’ verses.
The latter is more in affinity with the poet’s manner of reciting his
rhythmical prose. The two declamatory styles originate in the voiceless
recital during composition, as described by Bely to Bernstein.
впервые публикуются архивные источники: программы заседаний Археологического
отдела, списки членов Литературного отдела, отчет о деятельности за 1919–1920 гг.,
составленный И.С. Рукавишниковым, корректуры неизвестной статьи-отчета Андрея
Белого о митингах «Дворца Искусств».
The article reconstructs the story of Andrej Bely’s participation in one of the largest
cultural undertakings of the Soviet era — the “Palace of Arts”. In appendixes some archival
sources are published for the first time: the programs of the Archaeological Department
meetings, compiled by Andrej Bely; report on the activities for 1919–1920, compiled by
I.S. Rukavishnikov; proofs of an unknown article-report by Andrei Bely on meetings of the
“Palace of Arts”.