“Миф моей жизни”: письмо Якова Голосовкера Андрею Белому
Iakov Golosovker developed the theme of the mythologization of autobiography in a manner that was close to the Russian Symbolists (see his My Life Myth). The proof of this is in his unpublished letter to Andrei Bely, which can be dated to 1921, the time when they were both members of the Moscow ‘Vol'fila’. It is possible that their meetings and creative ties in the late 1920s resulted in the image of Christ visiting a modern town in Bely’s Petersburg and Golosovker’s Burned novel.
This article is dedicated to the influence of Heinrich Heine on the poetry of Vladislav Khodasevich. Although for Khodasevich the Russian literary tradition was more important than the European tradition, in his lyric poetry tangible influence of Heine’s poetry can be found. However, links to Heine in Khodasevich’s early poetry can be characterized as superficial and are manifested in either in ironic depictions of love (“Verses about a Cousin”) or for the description of a stylized German city (“In a German Small Town”). In the poetry collection The Heavy Lyre (1922) the assimilation of Heine is deeper. Khodasevich on the one hand develops scathing irony after the fashion of Heine (“Gisele”), and, on the other hand he adopts Heine’s romantic treatment of love themes (“The Wanderer Passed, Leaning on his Staff”). There is a proximity within the framework of the book of a sense of a unity of two thematically similar love poems, which treat the theme of love in opposing ways — ironically and romantically. These are modalities that are probably the result of the influence of Heine. This does not annul the reworking of a range of Heine’s themes in such poems as “To Anyuta,” “Evidence,” and “The Star Shines, the Ether Trembles”. The outlines of a new stage of Khodasevich’s assimilation of Heine’ occur in the former’s emigration. Alongside “Ballad” this trend can be noted in in the poem “The Old Man and the Hunchback Girl,” in which the poetics take on characteristics of German poetry in general, and Heine’s poetry more particularly. Together with this, Heine’s influence here makes complicates the thematic influence of German expressionists. This new satirical and social adoption of the German poet failed to find its development in Khodasevich’s work and in his poetry written in emigration we do not find any more references to Heine. In regards to German expressionists, evidently Khodasevich, to some extent, experienced the influence of their poetry. However one cannot interpret this as fundamental to his work.
The article investigates the literary contecst of the simbolists polemics in 1910 year.
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.
In the nineteenth century the traditional Christian hostility to the Jews evolved into an often arcane system of scientific and historical theories that served as intellectual cover for darker ideological sentiments. Around the turn of the twentieth century, Russia was the scene for one of the more peculiar instances of this phenomenon, whereby politics, mysticism, anti-Semitism, and mathematical theory fused into a distinctive intellectual movement. Through analyses of such seemingly disparate subjects as the philosophy of August Comte, Moscow mathematical circles, and Andreĭ Belyĭ's classic 1913 novel Petersburg, this remarkable interdisciplinary study illuminates a forgotten aspect of Russian cultural and intellectual history
The dissertation investigates the evolution of N. Gumilev's estimations of the main russian symbolists: V. Bryusov, F. Sologub, A. Belyj, Vyach. Ivanov, A. Blok.