The article considers origins and genesis of André Gide’s reputation as a “friend of the Soviet Union.” In 1928 Soviet literary press took interest in Gide’s book Travels in the Congo, its author still being regarded as a bourgeois intellectual. Publication of Gide’s journal entries, interpreted as pro-Soviet, in June 1932 marked a border line in his perception both in France and in the USSR. Soviet press declared him a ‘friend of the Soviet Union’ and began to persistently cultivate this image. Opinions of French literary critics and intellectuals also relied on the assumption that Gide had become a follower of the Communist ideology. Russian immigration circles failed to understand Gide’s action. Thus, Dmitry Merezhkovsky wrote an open letter to Gide in the spirit of his own antibolshevist ideas where he accused European intellectuals of sympathizing with the Soviet regime.
The opening night of the play «Dead Souls» in the Art Theater, staged by K.S. Stanislavsky, happened on the 28th November of 1932 and became a start- ing point for discussions in several institutions, including Vserosskomdram. The pub- lication of the transcripts of Andrei Bely's lecture on «Dead Souls» (staged by the Art Theater) and the debate on this report brings to light the peculiarities of relationships within the literary community of the time. The materials presented serve to illustrate the work of the Vserosskomdram, its motives and reasonings.
Lyrics of Russian Symbolism initially has a reflexive nature, which consists not only in the prevalence of philosophical lyricism and in the choice of predecessors, but also in understanding poetic feeling as a kind of cognitive experience, as well as in the process of specific sorting and cyclization, and then combining cycles into the whole of reflexive lyric autobiography. Exploring the lyrics as a form of thinking, Andrei Bely comes to his concept of “rhythmic gesture” and to the practice of calculating the “rhythmic curve”, which he builds not only for individual works, but also for whole lyric biographies, including his own. Nevertheless, the rhythmic curves of his own poems, made by Bely, were not previously published. Perhaps it was during the analysis of his own poems that Bely in the mid-1920s stumbled upon its future analytical method — the “middle line” method.
Article about six lines of Osip Mandelstam
Conceived in a short-lived post-Stalin period of the Khrushchev Thaw [ottepel’], the Concise Literary Encyclopedia (1962-1978) represented its characteristic ambivalent attempt to combine Soviet class ideology with Western humanistic values. The Encyclopedia was instrumental in bringing back to the Soviet readership many names of Russian Modernist and émigré literati whose works and even names were previously censored. My article deals with circumstances of the publication of Leonid Chertkov’s article on Vladislav Khodasevich in the Encyclopedia. Chertkov’s 1975 letter to Nina Berberova, which is preserved in her archive in the Beinecke Rare Book and Manuscript Library, provides first-hand evidence of painful compromises that authors and “liberal” editors of the Encyclopedia were obliged to make in order, as it were, to save from oblivion writers whose literary canonization was hindered in the Soviet Union due to ideological reasons.