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Доклад  А. Шишкина "Рим и римский локус Вяч. Иванова" 28 апреля 2021 г. 

 https://www.youtube.com/watch?v=geMPV1Ucios&ab_channel=pietrochichkine

 

Андрей Белый в квартире Вяч. Иванова в Риме на Авентинском холме (доклад, видео)

[доступно на:] https://youtu.be/RilWkq0Tm7I?t=9097

1925

1925

1 BLOK, A. Pis’ma Aleksandra Bloka [The letters of Aleksandr Blok]. With introductory essays and notes by S. M. Solov’ev, G. I. Chulkov, A. D.

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Skaldin, and V. N. Kniazhnin. Leningrad: Kolos, 72, 101, 110, 111, 131, 141, 144, 151—53, 157, 159—61, 163, 165—69, 179, 189, 213.

In Russian. The index lists references to Ivanov in the letters of Blok to S. M. Solov’ev and G. I. Chulkov, and in the introductory essays and notes by Chulkov, Skaldin, and Kniazhnin. Chulkov’s notes contain the most detailed references to Ivanov, largely related to the theory of mystical anarchism and the controversy sparked by the article of Semenoff on this subject (Kogan, 1907.17). Kniazhnin gives details of Ivanov’s lecture on Alcaeus and Sappho followed by readings from his translations and of his verse at a meeting of the “Obshchestvo poetov” [Society of poets] organized by Nedobrovo, held on 23 January 1914. For a fuller, later edition of Blok’s letters, see Blok, 1963.5.

2 GIPPIUS, Z. N. Zhivye litsa [Living portraits]. 2 vols. Prague: Plamia, 1: 92—93; 2: 49, 62, 104—05. Reprints. Munich: Centrifuga Russian Reprintings and Printings, Wilhelm Fink, 1971 (with an introduction by Temira Pachmuss). Leningrad: Iskusstvo, 1991. Moscow: Khudozhestvennaia literatura, 1991 (introduced, compiled, and edited by N. A. Bogomolov).

In Russian. Memoirs include a few scattered, fairly slight references to Ivanov, including two incidents connected with Sologub (one of which formed the subject of a humorous poem by Gippius), and a mention of Rozanov’s visit to the tower.

3 GORODETSKII, SERGEI. “Na styke” [At the junction]. In Styk: Pervyi sbornik stikhov Moskovskogo Tsekha Poetov. [The junction: A first anthology of verse from the Moscow Guild of Poets]. Edited by S. Gorodetskii. With a preface by A. V. Lunacharskii and S. M. Gorodetskii. Moscow: Izdanie Moskovskogo Tsekha Poetov, 13—19. Reprint. Tel Aviv: Antiquariat “Aticot,” 1970.

In Russian. In the preface to an anthology of poems by Briusov, Belyi, Gorodetskii, Pasternak, et al., Gorodetskii singles out Ivanov for attack (pp. 14—15). Sees two bases for the development of revolutionary poetry: symbolism and Khlebnikov. Ivanov’s formula that earthly reality leads to a higher reality is condemned as a scholastic trick. The task of contemporary poetry (including the Moscow guild of poets) is to build a material foundation under the edifice of symbolism. Among the leaders of symbolism, only Briusov has taken on the heroic challenge of divesting symbolism of the poison of idealism. Abridged: 1984.12.

4 GORODETSKII, SERGEI. “Valerii Briusov (K godovshchine smerti 1924 g. — 9 oktiabria 1925. g.): Iz vospominanii” [Valerii Briusov (On the anniversary of his death 1924 — 9 October 1925): Extracts from memoirs]. Krasnaia Niva (Moscow), no. 41 (4 October): 979.

In Russian. Describes his first meeting with Briusov in December 1905 at Ivanov’s tower. Evokes the atmosphere and the writers present. Briusov

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and Gorodetskii read some verse. Recalls an argument between Ivanov and Briusov (described as an unfailing “opponent of the tower”), related to Chulkov’s reactionary theory of mystical anarchism. Reprinted with an additional section: 1984.12.

5 GROSSMAN, LEONID. “Poetika soneta” [The poetics of the sonnet]. In Problemy poetiki: Sbornik statei [Problems of poetics: An anthology of essays], edited by V. Ia. Briusov. Moscow and Leningrad: Zemlia i fabrika, 117—40.

In Russian. Brief references (pp. 118—19, 137—38) to Ivanov’s “cult of the sonnet” appear in this general essay on European and Russian masters of the sonnet. Ivanov’s translation of a sonnet by Petrarch is cited, and his sonnet “Sfinksy nad Nevoi” [Sphinxes over the Neva] is quoted in full as an example of his mastery of the genre. Reprinted: 1928.3.

6 MANDEL’sHTAM, R. S., compiler, and PIKSANOV, N. K., ed. Khudozhestvennaia literatura v otsenke russkoi marksistskoi kritiki [Literature in the appraisal of Russian Marxist criticism]. Rossiiskaia akademiia khudozhestvennykh nauk, Bibliograficheskii kabinet. Seriia literaturnykh ukazatelei pod obshchei redaktsiiei N. K. Piksanova. Third revised edition. Moscow: Gosudarstvennoe izdatel’stvo, 36, 43—44, 48, 53, 65, 72, 75, 109.

Revised version of 1923.10.

7 SHESTOV, L. “O vechnoi knige: Pamiati M. O. Gershenzona” [On the eternal book: In memory of M. O. Gershenzon]. Sovremennye zapiski (Paris), no. 24: 237—45.

In Russian. An obituary article on Gershenzon, dated 10 March 1925, with a section on Perepiska iz dvukh uglov [A correspondence from two corners] (pp. 238—40), regarded as a work that clarifies Gershenzon’s later books of 1922 on the Bible and Heraclitus. Shestov takes the side of Gershenzon and defends him from Ivanov’s eloquence and charges. Reprinted: 1964.5. See also Gershenzon, 1988.24.

8 VERKHOVSKII, IURII. “Put poeta: O poezii N. S. Gumileva” [The path of a poet: On the poetry of N. S. Gumilev]. In Sovremennaia literatura: Sbornik statei [Contemporary literature: A collection of essays]. Leningrad: Izdatel’stvo “Mysl’,” 93—143.

In Russian. Argues that Gumilev’s development as a poet culminates in a liberation of the musical element within him and a return to symbolism. Finds an inner strain of Dionysianism linked to Ivanov already latent in Gumilev’s collection of 1910, Zhemchuga [Pearls], with its epigraph to one section from Ivanov’s Prozrachnost’ [Transparency] (pp. 113, 140). Concludes by quoting from Ivanov’s definitions of symbolism in his essays “Zavety simvolizma” [The precepts of symbolism] (1910) and “Mysli o

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simvolizme” [Thoughts on symbolism] (1912) to demonstrate the inherently symbolist nature of Gumilev’s poetics (p. 142).

9 ZNOSKO-BOROVSKII, EVG. A. Russkii teatr nachala XX veka [Russian theatre at the beginning of the twentieth century]. Prague: Plamia, 233—34, 314.

In Russian. Refers to Ivanov’s views on the need to abolish the division between stage and spectator, between the initiated and the unitiated, in the context of the mystical-religious ideal of drama. Also mentions Meierkhol’d’s production of Calderón’s comedy Poklonenie krestu [Worship of the cross] at the tower theatre in 1910. See also Znosko-Borovskii, 1910.19.