Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka:
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Russian |
| Veröffentlicht: |
Sankt-Peterburg
Filol. Fak. SPbGU
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract Klappentext |
| Beschreibung: | In kyrill. Schr., russ. - Zsfassung in engl. Sprache |
| Beschreibung: | 383 S., [16] Bl. zahlr. Ill. |
| ISBN: | 5846505732 |
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Datensatz im Suchindex
| _version_ | 1804137436950822912 |
|---|---|
| adam_text | СОДЕРЖАНИЕ
Предисловие (А. Б. Шишкин)
.............................................................................................3
Мицкевич Денис (Дькж, США). Высота Башни
................................................................7
Вестбрук Филипп Л. (Амстердам, Нидерланды). Вячеслав Иванов и «новая
мифология»
...................................................................................................................22
Богомолов Н. А. (Москва). Из «башенной» жизни
1908-1910
годов
............................35
Азадовский К. М. (Санкт-Петербург). Две башни
—
два мифа (Стефан Георге
и Вячеслав Иванов)
......................................................................................................53
Лавров А. В. (Санкт-Петербург). Голос с Башни: «Венок из фиговых листьев»
Максимилиана Волошина
...........................................................................................74
Шишкин А. Б. (Рим, Италия). Блок на Башне
.................................................................85
Глухова Е. В. (Москва). Андрей Белый
—
Вячеслав Иванов: концепция
духовного пути
........................................................................................................... 100
Обатнин Г. В. (Хельсинки, Финляндия). К теме «Вячеслав Иванов
и литературные вкусы 1890-х годов»
....................................................................... 133
Иезуитова Л. А. (Санкт-Петербург). Устойчивая архетипическая формула
«восхождение
—
нисхождение
—
восхождение» в творчестве
Вяч. И. Иванова и Л. Н. Андреева
............................................................................ 149
Иванова Л. Н. (Санкт-Петербург). Вячеслав Иванов
—
Борис Зайцев
—
Георгий Чулков (Из архивных разысканий)
............................................................ 161
Лекманов О.
Α.,
Глухова Е. В. (Москва). Осип Мандельштам и Вячеслав Иванов
.......173
МагомедоваД. М. (Москва). Отсроченный ответ: к проблеме «Вяч. Иванов
и Б. Пастернак»
.......................................................................................................... 180
Галанит Ю. Е. (Санкт-Петербург). В. Э. Мейерхольд на Башне Вяч. Иванова
....... 187
Дмитриев П. В. (Санкт-Петербург). Статья Б. А. Зноско-Боровского
«Башенный театр» как театральный манифест «Аполлона»
..................................206
Демиоенко Ю. Б. (Санкт-Петербург). Художники на Башне
.......................................212
Фетисенко О. Л. (Санкт-Петербург). Сон о Башне (По материалам архива
Е.П.Иванова)
.............................................................................................................220
Николаев Н. И, (Санкт-Петербург). Идея Третьего Возрождения и Вяч. Иванов
периода Башни
...........................................................................................................226
Титаренко С. Д. (Санкт-Петербург). От архетипа
—
к мифу:
Башня как символическая форма у Вяч. Иванова и К. Г. Юнга
.............................235
Цимборска-Лебода Мария (Люблин, Польша). После Башни: эхо
«башенного текста» в статьях Н. Бердяева и Вяч. Иванова эпохи
Первой мировой войны (дискурс о России и русской душе)
.................................278
Бобилевич Гражина (Варшава, Польша). Концептуализация домов
у Вячеслава Иванова и их пространственно-временная репрезентация
..............294
383
ИсуповК. Г. (Санкт-Петербург). Эстеты на Башне
......................................................303
Игошева Т. В. (Великий Новгород). Символика драгоценного камня
в поэтической книге Вяч. Иванова «Прозрачность»
...............................................310
Кузнецова О. А. (Санкт-Петербург). Путешествие Вяч. Иванова вокруг Сицилии
.......323
Грякалова Н. Ю. (Санкт-Петербург). В. Н. Княжнин (Ивойлов)
—
историограф
символистского движения
.........................................................................................335
Бёрд Роберт (Чикаго, США). Торфяная Башня
............................................................345
Иезуитова Л. А, (Санкт-Петербург). Хранители огня, искатели света: Башня
Вячеслава Иванова и наши дни
................................................................................352
Богданов С. И. (Санкт-Петербург). Вавилонская башня и ее культурная
семантика (тезисы доклада)
......................................................................................358
Сведения об авторах
........................................................................................................370
Summary
............................................................................................................................378
Научное издание
БАШНЯ ВЯЧЕСЛАВА ИВАНОВА
И КУЛЬТУРА СЕРЕБРЯНОГО ВЕКА
Сборник статей
Ответственный за выпуск О. С. Капполь
Редактор В. С. Кизило
Корректор Л. А. Макеева
Верстка С. В, Кузнецова
Художественное оформление С. В. Лебединского
Лицензия ЛП
№ 000156
от
27.04.99.
Подписано в печать
16.10.2006.
Формат
70x1001/16.
Гарнитура
Times.
Усл. печ. л.
24.
Тираж
1000
экз. Заказ
№ 162.
Отпечатано с готовых диапозитивов в типографии ООО «ИПК Бионт »
199034,
Санкт-Петербург, Средний пр., д.
86.
Тел.
(812)322-68-43
Bayerische
Staatsbibliothek
München
j
SUMMARY
The title of Denis Mickiewicz s article is The Height of the Tower . One way of
determining the heights of a poetry already noted for its complexity is to look at the
selection and arrangement of its pictorial elements. This paper examines the purely
visual and dogmatic properties of iconography in the programmatic sonnet
Apollini.
The exclusive reference to Dante leads to a common incorporation of Biblical and
Classical concepts and, more tellingly, to similar methods of exposing noumenal
insights not registered by one s senses, as seen in
Paradiso
and in Medieval icon
painting. Ivanov s fervently cosmic outlook, in contrast to the increasingly here
and now oriented imagination of his peers and successors emerges, notwithstanding
its starkly condensed diction, as our most solid link with a millennia-old worldwide
tradition of spiritually elevated poetry.
In the essay
V. Ivanov
and new mythology Ph.
Westbroek
proposes the thesis
that Ivanov s conception of myth and his synthetic view on culture can be considered
as a continuation of the romanticist concept of New mythology
( Neue My¬
thologie ).
The basic idea of this concept is the synthesis of philosophy and theology,
knowledge and faith, paganism and Christianity in which art plays a central role. In
this paper it becomes clear that Ivanov s ideas are very close to some fundamental
ideas of the German idealist philosopher
Friedrich
Schelling.
To this theme still
little attention has been paid.
In his essay From the Life of the Tower,
1908-1910 N.
A. Bogomolov presents
new materials from the least-studied period in the history of Ivanov s Tower apartment.
Mostly these materials comprise M. M. Zamiatnina s letters to V. K. Shvarsalon
during the latter s absences from Petersburg. This chronicle of everyday events reveals
the tracings of the intellectual life of
Ivanov
and his contemporaries.
Konstantin Azadovskii s
essay Two Towers, Two Myths: Stefan George and
Viacheslav
Ivanov
studies Ivanov s reception of Stefan George and the similarities
between their
oeuvres.
Both, according to the author, manifested the ideal of a poet-
high priest and a master ; both instituted a particular kind of esoteric community
in their respective milieux (George s
Kreis
and Ivanov s Tower). The two poets
likewise shared common roots in French symbolism and Nietzsche. However by
1904-1905
Ivanov
was already expounding theories of sobornost
and universal art,
whereas George always remained a proponent of aristocratic aestheticism.
A. V. Lavrov focuses on Maksimilian Voloshin s
1907
essay A Crown of Fig
Leaves, which remained unpublished during the writer s lifetime. Voloshin comes
to the defense of the works of two participants in the Tower meetings, Mikhail
Kuzmin s novel Wings and Lidiia Dmitrievna Zinov eva-Annibal s Thirty Three
Monstrosities, both of which elicited a storm of protest for their non-traditional
treatment of erotic themes.
378
Summary
In
Blok
at the Tower A. B. Shishkin examines how the myth which
Blok
created
for himself was perceived by the denizens of the Tower, primarily in the works of
Lidiia Zinov eva-Annibal and Viacheslav
Ivanov. Blok s
myth may be characterized
as the mystery of the feminine within the layers of transitory life and eternal being;
in one sense the feminine is equated to death or Thanatos. Blok s Unknown Woman
is probably linked directly to the discourse on the philosophy of love which took
place at the Tower apartment and is in this sense its supreme poetic expression. The
poem The Unknown Woman was Blok s key text for
Ivanov
and Zinov eva-Annibal
who used it to create their own mythopoetic texts about
Blok.
L. N. Ivanova
s article Viacheslav
Ivanov,
Boris Zaitsev and
Georgii
Chulkov
includes materials from the
Ivanov
Family Archive in Rome and Pushkin House in
Petersburg which recreate episodes in the friendship between these writers in various
periods.
E. V. Glukhova writes on the image of Viacheslav
Ivanov
in Andrei Belyi s essays
and memoirs. She narrates the tense relationship between the two writers in the
years
1913-1918,
culminating in Belyi s unsent letter to
Ivanov
from
1918
and in
the drafts of his essay Viacheslav
Ivanov.
Evaluating Ivanov s work from the point
of view of anthroposophy, Belyi used the metaphor of the blinded Oedipus and
wrote of his threefold nature. Moreover the author remarks on Belyi s schematic
drawings, closely linked to his anthroposophy. Belyi argued that the poetry of both
Blok
and
Ivanov
could be viewed as a path of initiation, but whereas
Blok
completes
this path,
Ivanov
halts at its very beginning.
Gennady Obatnin s work Towards the Problem Vyach.
Ivanov
as a Writer of
Eighties dwells upon two poetic texts. Through
intertextual
analysis author tries to
rise the problem of poetic genesis of Vycheslav
Ivanov.
Being far from the final
conclusions and strict assertions the author offers some clues to define it as a sample
of the early Russian modernism poetic culture.
In her essay The Constant Formula of Ascent
—
Descent
—
Ascent in the Work
of
V. I. Ivanov
and L.
N.
Andreev L. A. Iezuitova discovers a convergence in the
mythopoetic ideas and the means of their realization in the critical writings of the
symbolist
Ivanov
and the artistic prose of the neo-realist Andreev, which she interprets
as a result of their respective aspirations towards the native and the universal .
0.
A. Lekmanov and E. V. Glukhova contribute an encyclopedic note
Mandel
-
shtam and
Ivanov,
which attempts to gather all available knowledge about the two
poets biographical and creative contacts.
Dina Magomedova s
essay Delayed Response. On Viacheslav
Ivanov
and Boris
Pasternak reconstructs the two poets relationship in the 1910 s on the basis of
memoirs and correspondence. In addition the essay reveals
intertextual
links between
Ivanov s essays and Pasternak s poems in the collections When It Gets Going
(1956),
in particular the connection between Ivanov s essay Nietzsche and Dionysus and
Pasternak s poem I always want to get to the very essence.
Iuliia Galanina s essay Vsevolod
Meyerhold
at Viacheslav Ivanov s Tower in
1905-1906
concerns the theatre director s relationship to the hosts of the Tower
apartment and underscores Ivanov s influence on the development of the Russian
theatre.
379
Summary
P. V. Dmitriev devotes his study to Evgenii Znosko-Borovskii s essay The Tower
Theatre, published in the journal
Apollon
in
1910,
which he identifies as a kind of
theatrical manifesto. The critic used the example of the Tower Theatre to show the
main paths of development of the Russian theatre in an epoch of traditionalism.
Thus the ephemeral genre of theatrical criticism gave rise to concepts which contri¬
buted to the rise of the scholarly study of the theatre.
lu. B.
Demidenko s essay Artists at Viach. Ivanov s Tower highlights the fact
that the circle of artists at the Tower was much broader than is commonly recognized,
embracing
Konstantin
Somov, Leon
Bakst, Mstislav
Dobuzhinskii, Evgenii
Lansere,
E.
Zvantseva, and Sergei Sudeikin. In addition, Maksimilian Voloshin, Margarita
Sabashnikova, Z. Grzhebin and Sergei Gorodetskii also considered themselves
professional artists. Moreover, Demidenko analyzes the activity in
1906-1908
both
of E. Zvantseva s school, which was located beneath the Tower apartment, and of
artists whose works were considered emblematic of symbolism and were the subject
of heated discussion at the Tower, such as Vrubel and
Čurlionis.
O. L.
Fetisenko s Dream of the Tower (Based on E. P. Ivanov s Archive) is
devoted to an analysis of a diary notation by Evgenii
Ivanov,
Aleksandr
Blok s closest
friend. His diaries, held at the Manuscript Department of the Pushkin House, are still
awaiting publication, although they present a valuable record of the Silver Age. On
26-27
April
1906,
after his first visit to Ivanov s Wednesday soirees, Evgenii
Ivanov
recorded a dream of the Tower in detail, and not without literary embellishment.
According to Fetisenko, several motifs of Ivanov s dream were reflected in Blok s
poem Balaganchik, written soon thereafter.
In his essay The Idea of the Third Renaissance and Viacheslav
Ivanov
in the
Tower Period
N.
I. Nikolaev attempts to demonstrate a connection between Faddei
Zelinskii s theory of a third, Slavic renaissance and the second, German renaissance
of the late eighteenth and early nineteenth centuries. Nikolaev then traces the reflection
of this link in Russian culture of the early twentieth century, primarily in Zelinskii,
Ivanov,
and I. F. Annenskii.
The essay From Archetype to Myth: The Tower as a Symbolic Form in the
Works of Viacheslav
Ivanov
and Karl
Gustav
Jung by
S. D.
Titarenko is dedicated
to the interpretation of architectural images of the tower and the tower-shaped temple
in Ivanov s work. The images of poetic works such as
Ars Mystica,
the
melopeia
Man, the cycle
Turris
Eburnea,
and The Tale of Svetomir-Tsarevich are analyzed by
the archetypal method. The main principles of this method point to a common basis
in the works of
Ivanov
and Jung, whose tower projects can be viewed in the context
of their creative strategies, which were based on the study of myth and ritual. The
essay includes little-known drawings by Viacheslav
Ivanov
and other previously
unpublished materials
Maria Cimborska-Leboda s essay After the Tower: An Echo of the Tower Text
in Essays by Nikolai Berdiaev and Viacheslav
Ivanov
during World War I demon¬
strates that the cultural and semantic creativity of Ivanov s Tower presupposed the
production of ever new texts, potential new discourses, which retained their relevance
for later socio-cultural situations. The author supports this claim with references to
texts on Russia and the Russian soul created during World War I by Nikolai Berdiaev,
380
__________________________________________
Summary
Viacheslav
Ivanov
and Vladimir Ern, among others. The author traces the roots of
this discourse to Ivanov s essays from the period of the Tower ( On the Russian
Idea, Dionysus and Culture, and others). These sources make it possible to reveal
the authors discursive strategies, including the mythologization of discourse on Russia
and its dependence upon symbolist categories and concepts such as the oppositions
between feminine and masculine, Dionysus and Apollo, and element and form.
Gražyna Bobiliewicz s
essay Conceptualizing the Homes of Viacheslav
Ivanov
and Their
Spatio-Temporal
Representation is devoted to a study of four homes
inhabited by Viacheslav
Ivanov:
the Villa Java in
Châtlene
near Geneva
(1900-
1905);
the flat at Tavricheskaia,
25
in Petersburg, known as the Tower
(1905-1912);
the Moscow flat on Zubovskii bul var,
25 (1913-1918);
and the flat on via
di
Monte
Tarpeo,
61 (1936-1939).
Ivanov s living spaces were all suitably situated and orga¬
nized. Their interior
décor,
surrounding landscapes, and modes of life were intricately
intertwined with the cultural context at the turn of the twentieth century, when artists
tended to mythologize, aestheticize and theatricalize their private lives.
In his essay Aesthetes in the Tower
Konstantin Isupov
establishes a link between
the creative practice of Tower inhabitants and guests and the phenomenon of Silver
Age aestheticism. Isupov remarks on the overwhelmingly negative connotations of
this term in existing studies. However, if aestheticism is taken not only as a device
for transferring qualities of art onto life, but as a means of saving culture, then even
without appealing to concepts of mythopoesis or creating life aestheticism can
be recognized as manifesting an alternative kind of life within culture. However one
also notes the possibility of a playing at aestheticism, which must be distinguished
as a derivative and imitative profanation of the main values of the tragic epoch.
Moreover, aestheticism can be described as the form of cultural self-awareness in
terms of historico-cultural morality and dialogue.
In her essay The Symbolism of Precious Stones in Viacheslav Ivanov s Poetic
Collection Transparency T. V. Igosheva investigates the semantics of the mystical
idea of transfiguration. Through images of precious stones the theme of transfiguration
is systematically unfurled in Ivanov s poetic cycle The Kingdom of Transparency
from his collection Transparency.
In her essay Viacheslav Ivanov s Journey around Sicily
Oľga Kuznetsova
suggests viewing Ivanov s creative process as an ascent from visual impressions,
received during his trip around Sicily in
1892,
to the poetic reality of the poetic
text, in particular the poem On the Road. Her analysis of the poetic text allows her
to discern meaningful departures from the concrete historical and biographical material
at the basis of the poem.
Natal ia Griakalova covers the important topic of V.
N.
Kniazhnin as Historio¬
grapher of the Symbolist Movement. V.
N.
Kniazhnin-Ivoilov was a literary scholar,
critic and neo-classical poet, close to the circle of Viacheslav
Ivanov.
The essay
reconstructs Kniazhnin s conception of literary history, his position in the revo¬
lutionary years and his view of the history of Russian symbolism, all on the basis of
surviving archival materials.
Robert Bird s essay A Tower of Peat unravels the implications behind the curious
mention of Ivanov s Tower in Mikhail Prishvin s epic novel The Chain ofKashchei.
381
Справка об авторах
Не
demonstrates that Prishvin s continued fascination with the Tower reflects the
abiding presence of Russian modernism in Soviet culture of the
1920s.
In particular,
in his novel and other works of the late
1920s
Prishvin finds himself still dedicated
to the modernist ideal of transforming life through art, but his focus shifts to the
ways in which this engagement with the world requires mediation through complex
narrative structures. In Prishvin s own earthy imagery, the release of solar energy
requires the excavation of its deposits in layers of peat.
In her essay Protectors of the Flame, Seekers of the Light: Viacheslav Ivanov s
Tower in Our Day L. A. Iezuitova shows the Tower to be the incarnation of the
search for a universal spiritual vertical axis and as a meaningful phenomenon which
has left a trace in later Russian underground culture.
In the work by S. I. Bogdanov The Babel and its cultural Semantics a task to
display the intrinsic meaning of the tower of Babel symbol and its potential in the
culture is posed. The methods of the analysis are based on a supposition that the
semantic potential of a symbol is a multiple-factor phenomenon, existing and mani¬
fested in the collective (domestic, scientific, religious) consciousness of an individual.
Коллективное монографическое исследование посвящено 100-летнему юбилею со дня
основания знаменитого литературно-художественного салона в Санкт-Петербурге (1905-
1912) — Башни Вяч. Иванова (1866-1949), поэта и теоретика русского символизма. Оно
включает в себя материалы юбилейных конференций, проводившихся сотрудниками
филологического факультета СПбГУ, Музея-квартиры А. Блока (филиала Государствен-
ного музея истории Санкт-Петербурга), ИРЛИ РАН (Пушкинский Дом), Центра исследо-
ваний Вячеслава Иванова в Риме, с привлечением ученых из США, Голландии, Польши,
Финляндии и других стран. Исследования русских и зарубежных ученых посвящены ре-
лигиозно-философским, культурно-историческим, семиотическим и филологическим
проблемам изучения наследия Вяч. Иванова и культуры Серебряного века. Они выполне-
ны с учетом современных научных подходов на основе обобщения материала, накопив-
шегося почти за сто лет, а также архивных источников. Впервые опубликованы тексты и
рисунки Вяч. Иванова, переписка, хроника знаменитых «сред».
Книга иллюстрирована автографами поэта, фотодокументами, репродукциями пор-
третов Вяч. Иванова и его современников и другими материалами, многие из которых
также публикуются впервые,
Для филологов, культурологов, искусствоведов и всех интересующихся литературой
и искусством Серебряного века,
|
| adam_txt |
СОДЕРЖАНИЕ
Предисловие (А. Б. Шишкин)
.3
Мицкевич Денис (Дькж, США). Высота Башни
.7
Вестбрук Филипп Л. (Амстердам, Нидерланды). Вячеслав Иванов и «новая
мифология»
.22
Богомолов Н. А. (Москва). Из «башенной» жизни
1908-1910
годов
.35
Азадовский К. М. (Санкт-Петербург). Две башни
—
два мифа (Стефан Георге
и Вячеслав Иванов)
.53
Лавров А. В. (Санкт-Петербург). Голос с Башни: «Венок из фиговых листьев»
Максимилиана Волошина
.74
Шишкин А. Б. (Рим, Италия). Блок на Башне
.85
Глухова Е. В. (Москва). Андрей Белый
—
Вячеслав Иванов: концепция
духовного пути
. 100
Обатнин Г. В. (Хельсинки, Финляндия). К теме «Вячеслав Иванов
и литературные вкусы 1890-х годов»
. 133
Иезуитова Л. А. (Санкт-Петербург). Устойчивая архетипическая формула
«восхождение
—
нисхождение
—
восхождение» в творчестве
Вяч. И. Иванова и Л. Н. Андреева
. 149
Иванова Л. Н. (Санкт-Петербург). Вячеслав Иванов
—
Борис Зайцев
—
Георгий Чулков (Из архивных разысканий)
. 161
Лекманов О.
Α.,
Глухова Е. В. (Москва). Осип Мандельштам и Вячеслав Иванов
.173
МагомедоваД. М. (Москва). Отсроченный ответ: к проблеме «Вяч. Иванов
и Б. Пастернак»
. 180
Галанит Ю. Е. (Санкт-Петербург). В. Э. Мейерхольд на Башне Вяч. Иванова
. 187
Дмитриев П. В. (Санкт-Петербург). Статья Б. А. Зноско-Боровского
«Башенный театр» как театральный манифест «Аполлона»
.206
Демиоенко Ю. Б. (Санкт-Петербург). Художники на Башне
.212
Фетисенко О. Л. (Санкт-Петербург). Сон о Башне (По материалам архива
Е.П.Иванова)
.220
Николаев Н. И, (Санкт-Петербург). Идея Третьего Возрождения и Вяч. Иванов
периода Башни
.226
Титаренко С. Д. (Санкт-Петербург). От архетипа
—
к мифу:
Башня как символическая форма у Вяч. Иванова и К. Г. Юнга
.235
Цимборска-Лебода Мария (Люблин, Польша). После Башни: эхо
«башенного текста» в статьях Н. Бердяева и Вяч. Иванова эпохи
Первой мировой войны (дискурс о России и русской душе)
.278
Бобилевич Гражина (Варшава, Польша). Концептуализация домов
у Вячеслава Иванова и их пространственно-временная репрезентация
.294
383
ИсуповК. Г. (Санкт-Петербург). Эстеты на Башне
.303
Игошева Т. В. (Великий Новгород). Символика драгоценного камня
в поэтической книге Вяч. Иванова «Прозрачность»
.310
Кузнецова О. А. (Санкт-Петербург). Путешествие Вяч. Иванова вокруг Сицилии
.323
Грякалова Н. Ю. (Санкт-Петербург). В. Н. Княжнин (Ивойлов)
—
историограф
символистского движения
.335
Бёрд Роберт (Чикаго, США). Торфяная Башня
.345
Иезуитова Л. А, (Санкт-Петербург). Хранители огня, искатели света: Башня
Вячеслава Иванова и наши дни
.352
Богданов С. И. (Санкт-Петербург). Вавилонская башня и ее культурная
семантика (тезисы доклада)
.358
Сведения об авторах
.370
Summary
.378
Научное издание
БАШНЯ ВЯЧЕСЛАВА ИВАНОВА
И КУЛЬТУРА СЕРЕБРЯНОГО ВЕКА
Сборник статей
Ответственный за выпуск О. С. Капполь
Редактор В. С. Кизило
Корректор Л. А. Макеева
Верстка С. В, Кузнецова
Художественное оформление С. В. Лебединского
Лицензия ЛП
№ 000156
от
27.04.99.
Подписано в печать
16.10.2006.
Формат
70x1001/16.
Гарнитура
Times.
Усл. печ. л.
24.
Тираж
1000
экз. Заказ
№ 162.
Отпечатано с готовых диапозитивов в типографии ООО «ИПК "Бионт"»
199034,
Санкт-Петербург, Средний пр., д.
86.
Тел.
(812)322-68-43
Bayerische \
Staatsbibliothek
München
j
SUMMARY
The title of Denis Mickiewicz's article is "The Height of the Tower". One way of
determining the heights of a poetry already noted for its complexity is to look at the
selection and arrangement of its pictorial elements. This paper examines the purely
visual and dogmatic properties of iconography in the programmatic sonnet
Apollini.
The exclusive reference to Dante leads to a common incorporation of Biblical and
Classical concepts and, more tellingly, to similar methods of exposing noumenal
insights not registered by one's senses, as seen in
Paradiso
and in Medieval icon
painting. Ivanov's fervently cosmic outlook, in contrast to the increasingly "here
and now" oriented imagination of his peers and successors emerges, notwithstanding
its starkly condensed diction, as our most solid link with a millennia-old worldwide
tradition of spiritually elevated poetry.
In the essay
"V. Ivanov
and new mythology" Ph.
Westbroek
proposes the thesis
that Ivanov's conception of myth and his synthetic view on culture can be considered
as a continuation of the romanticist concept of "New mythology"
("Neue My¬
thologie").
The basic idea of this concept is the synthesis of philosophy and theology,
knowledge and faith, paganism and Christianity in which art plays a central role. In
this paper it becomes clear that Ivanov's ideas are very close to some fundamental
ideas of the German idealist philosopher
Friedrich
Schelling.
To this theme still
little attention has been paid.
In his essay "From the Life of the Tower,
1908-1910" N.
A. Bogomolov presents
new materials from the least-studied period in the history of Ivanov's Tower apartment.
Mostly these materials comprise M. M. Zamiatnina's letters to V. K. Shvarsalon
during the latter's absences from Petersburg. This chronicle of everyday events reveals
the tracings of the intellectual life of
Ivanov
and his contemporaries.
Konstantin Azadovskii's
essay "Two Towers, Two Myths: Stefan George and
Viacheslav
Ivanov"
studies Ivanov's reception of Stefan George and the similarities
between their
oeuvres.
Both, according to the author, manifested the ideal of a "poet-
high priest" and a "master"; both instituted a particular kind of esoteric community
in their respective milieux (George's
Kreis
and Ivanov's Tower). The two poets
likewise shared common roots in French symbolism and Nietzsche. However by
1904-1905
Ivanov
was already expounding theories of sobornost
'
and universal art,
whereas George always remained a proponent of aristocratic aestheticism.
A. V. Lavrov focuses on Maksimilian Voloshin's
1907
essay "A Crown of Fig
Leaves," which remained unpublished during the writer's lifetime. Voloshin comes
to the defense of the works of two participants in the Tower meetings, Mikhail
Kuzmin's novel Wings and Lidiia Dmitrievna Zinov'eva-Annibal's Thirty Three
Monstrosities, both of which elicited a storm of protest for their non-traditional
treatment of "erotic" themes.
378
Summary
In
"Blok
at the Tower" A. B. Shishkin examines how the myth which
Blok
created
for himself was perceived by the denizens of the Tower, primarily in the works of
Lidiia Zinov'eva-Annibal and Viacheslav
Ivanov. Blok's
myth may be characterized
as the mystery of the feminine within the layers of transitory life and eternal being;
in one sense the feminine is equated to death or Thanatos. Blok's "Unknown Woman"
is probably linked directly to the discourse on the philosophy of love which took
place at the Tower apartment and is in this sense its supreme poetic expression. The
poem "The Unknown Woman" was Blok's key text for
Ivanov
and Zinov'eva-Annibal
who used it to create their own mythopoetic texts about
Blok.
L. N. Ivanova
's article "Viacheslav
Ivanov,
Boris Zaitsev and
Georgii
Chulkov"
includes materials from the
Ivanov
Family Archive in Rome and Pushkin House in
Petersburg which recreate episodes in the friendship between these writers in various
periods.
E. V. Glukhova writes on the image of Viacheslav
Ivanov
in Andrei Belyi's essays
and memoirs. She narrates the tense relationship between the two writers in the
years
1913-1918,
culminating in Belyi's unsent letter to
Ivanov
from
1918
and in
the drafts of his essay "Viacheslav
Ivanov."
Evaluating Ivanov's work from the point
of view of anthroposophy, Belyi used the metaphor of the "blinded Oedipus" and
wrote of his "threefold" nature. Moreover the author remarks on Belyi's schematic
drawings, closely linked to his anthroposophy. Belyi argued that the poetry of both
Blok
and
Ivanov
could be viewed as a path of initiation, but whereas
Blok
completes
this path,
Ivanov
halts at its very beginning.
Gennady Obatnin's work "Towards the Problem 'Vyach.
Ivanov
as a Writer of
Eighties'" dwells upon two poetic texts. Through
intertextual
analysis author tries to
rise the problem of poetic genesis of Vycheslav
Ivanov.
Being far from the final
conclusions and strict assertions the author offers some clues to define it as a sample
of the early Russian modernism poetic culture.
In her essay "The Constant Formula of 'Ascent
—
Descent
—
Ascent in the Work
of
V. I. Ivanov
and L.
N.
Andreev" L. A. Iezuitova discovers a convergence in the
mythopoetic ideas and the means of their realization in the critical writings of the
symbolist
Ivanov
and the artistic prose of the neo-realist Andreev, which she interprets
as a result of their respective aspirations towards "the native and the universal".
0.
A. Lekmanov and E. V. Glukhova contribute an encyclopedic note
"Mandel'
-
shtam and
Ivanov,"
which attempts to gather all available knowledge about the two
poets' biographical and creative contacts.
Dina Magomedova's
essay "Delayed Response. On Viacheslav
Ivanov
and Boris
Pasternak" reconstructs the two poets' relationship in the 1910's on the basis of
memoirs and correspondence. In addition the essay reveals
intertextual
links between
Ivanov's essays and Pasternak's poems in the collections When It Gets Going
(1956),
in particular the connection between Ivanov's essay "Nietzsche and Dionysus" and
Pasternak's poem "I always want to get to the very essence."
Iuliia Galanina's essay "Vsevolod
Meyerhold
at Viacheslav Ivanov's Tower in
1905-1906"
concerns the theatre director's relationship to the hosts of the Tower
apartment and underscores Ivanov's influence on the development of the Russian
theatre.
379
Summary
P. V. Dmitriev devotes his study to Evgenii Znosko-Borovskii's essay "The Tower
Theatre," published in the journal
Apollon
in
1910,
which he identifies as a kind of
theatrical manifesto. The critic used the example of the Tower Theatre to show the
main paths of development of the Russian theatre in an "epoch of traditionalism."
Thus the ephemeral genre of theatrical criticism gave rise to concepts which contri¬
buted to the rise of the scholarly study of the theatre.
lu. B.
Demidenko's essay "Artists at Viach. Ivanov's Tower" highlights the fact
that the circle of artists at the Tower was much broader than is commonly recognized,
embracing
Konstantin
Somov, Leon
Bakst, Mstislav
Dobuzhinskii, Evgenii
Lansere,
E.
Zvantseva, and Sergei Sudeikin. In addition, Maksimilian Voloshin, Margarita
Sabashnikova, Z. Grzhebin and Sergei Gorodetskii also considered themselves
professional artists. Moreover, Demidenko analyzes the activity in
1906-1908
both
of E. Zvantseva's school, which was located beneath the Tower apartment, and of
artists whose works were considered emblematic of symbolism and were the subject
of heated discussion at the Tower, such as Vrubel' and
Čurlionis.
O. L.
Fetisenko's "Dream of the Tower (Based on E. P. Ivanov's Archive)" is
devoted to an analysis of a diary notation by Evgenii
Ivanov,
Aleksandr
Blok's closest
friend. His diaries, held at the Manuscript Department of the Pushkin House, are still
awaiting publication, although they present a valuable record of the Silver Age. On
26-27
April
1906,
after his first visit to Ivanov's Wednesday soirees, Evgenii
Ivanov
recorded a dream of the Tower in detail, and not without literary embellishment.
According to Fetisenko, several motifs of Ivanov's dream were reflected in Blok's
poem "Balaganchik," written soon thereafter.
In his essay "The Idea of the Third Renaissance and Viacheslav
Ivanov
in the
Tower Period"
N.
I. Nikolaev attempts to demonstrate a connection between Faddei
Zelinskii's theory of a third, Slavic renaissance and the second, German renaissance
of the late eighteenth and early nineteenth centuries. Nikolaev then traces the reflection
of this link in Russian culture of the early twentieth century, primarily in Zelinskii,
Ivanov,
and I. F. Annenskii.
The essay "From Archetype to Myth: The Tower as a Symbolic Form in the
Works of Viacheslav
Ivanov
and Karl
Gustav
Jung" by
S. D.
Titarenko is dedicated
to the interpretation of architectural images of the tower and the tower-shaped temple
in Ivanov's work. The images of poetic works such as
Ars Mystica,
the
"melopeia"
Man, the cycle
Turris
Eburnea,
and The Tale of Svetomir-Tsarevich are analyzed by
the archetypal method. The main principles of this method point to a common basis
in the works of
Ivanov
and Jung, whose tower projects can be viewed in the context
of their creative strategies, which were based on the study of myth and ritual. The
essay includes little-known drawings by Viacheslav
Ivanov
and other previously
unpublished materials
Maria Cimborska-Leboda's essay "After the Tower: An Echo of the Tower Text
in Essays by Nikolai Berdiaev and Viacheslav
Ivanov
during World War I" demon¬
strates that the cultural and semantic creativity of Ivanov's Tower presupposed the
production of ever new texts, potential new discourses, which retained their relevance
for later socio-cultural situations. The author supports this claim with references to
texts on Russia and the Russian soul created during World War I by Nikolai Berdiaev,
380
_
Summary
Viacheslav
Ivanov
and Vladimir Ern, among others. The author traces the roots of
this discourse to Ivanov's essays from the period of the Tower ("On the Russian
Idea," "Dionysus and Culture," and others). These sources make it possible to reveal
the authors' discursive strategies, including the mythologization of discourse on Russia
and its dependence upon symbolist categories and concepts such as the oppositions
between feminine and masculine, Dionysus and Apollo, and element and form.
Gražyna Bobiliewicz's
essay "Conceptualizing the Homes of Viacheslav
Ivanov
and Their
Spatio-Temporal
Representation" is devoted to a study of four homes
inhabited by Viacheslav
Ivanov:
the "Villa Java" in
Châtlene
near Geneva
(1900-
1905);
the flat at Tavricheskaia,
25
in Petersburg, known as the Tower
(1905-1912);
the Moscow flat on Zubovskii bul'var,
25 (1913-1918);
and the flat on via
di
Monte
Tarpeo,
61 (1936-1939).
Ivanov's living spaces were all suitably situated and orga¬
nized. Their interior
décor,
surrounding landscapes, and modes of life were intricately
intertwined with the cultural context at the turn of the twentieth century, when artists
tended to mythologize, aestheticize and theatricalize their private lives.
In his essay "Aesthetes in the Tower"
Konstantin Isupov
establishes a link between
the creative practice of Tower inhabitants and guests and the phenomenon of Silver
Age aestheticism. Isupov remarks on the overwhelmingly negative connotations of
this term in existing studies. However, if aestheticism is taken not only as a device
for transferring qualities of art onto life, but as a means of saving culture, then even
without appealing to concepts of "mythopoesis" or "creating life" aestheticism can
be recognized as manifesting an alternative kind of life within culture. However one
also notes the possibility of a playing at aestheticism, which must be distinguished
as a derivative and imitative profanation of the main values of the tragic epoch.
Moreover, aestheticism can be described as the form of cultural self-awareness in
terms of historico-cultural morality and dialogue.
In her essay "The Symbolism of Precious Stones in Viacheslav Ivanov's Poetic
Collection Transparency" T. V. Igosheva investigates the semantics of the mystical
idea of transfiguration. Through images of precious stones the theme of transfiguration
is systematically unfurled in Ivanov's poetic cycle "The Kingdom of Transparency"
from his collection Transparency.
In her essay "Viacheslav Ivanov's Journey around Sicily"
Oľga Kuznetsova
suggests viewing Ivanov's creative process as an "ascent" from visual impressions,
received during his trip around Sicily in
1892,
to the poetic "reality" of the poetic
text, in particular the poem "On the Road." Her analysis of the poetic text allows her
to discern meaningful departures from the concrete historical and biographical material
at the basis of the poem.
Natal'ia Griakalova covers the important topic of "V.
N.
Kniazhnin as Historio¬
grapher of the Symbolist Movement." V.
N.
Kniazhnin-Ivoilov was a literary scholar,
critic and "neo-classical" poet, close to the circle of Viacheslav
Ivanov.
The essay
reconstructs Kniazhnin's conception of literary history, his position in the revo¬
lutionary years and his view of the history of Russian symbolism, all on the basis of
surviving archival materials.
Robert Bird's essay "A Tower of Peat" unravels the implications behind the curious
mention of Ivanov's Tower in Mikhail Prishvin's epic novel The Chain ofKashchei.
381
Справка об авторах
Не
demonstrates that Prishvin's continued fascination with the Tower reflects the
abiding presence of Russian modernism in Soviet culture of the
1920s.
In particular,
in his novel and other works of the late
1920s
Prishvin finds himself still dedicated
to the modernist ideal of transforming life through art, but his focus shifts to the
ways in which this engagement with the world requires mediation through complex
narrative structures. In Prishvin's own earthy imagery, the release of solar energy
requires the excavation of its deposits in layers of peat.
In her essay "Protectors of the Flame, Seekers of the Light: Viacheslav Ivanov's
Tower in Our Day" L. A. Iezuitova shows the Tower to be the incarnation of the
search for a universal spiritual vertical axis and as a meaningful phenomenon which
has left a trace in later Russian underground culture.
In the work by S. I. Bogdanov "The Babel and its cultural Semantics" a task to
display the intrinsic meaning of the tower of Babel symbol and its potential in the
culture is posed. The methods of the analysis are based on a supposition that the
semantic potential of a symbol is a multiple-factor phenomenon, existing and mani¬
fested in the collective (domestic, scientific, religious) consciousness of an individual.
Коллективное монографическое исследование посвящено 100-летнему юбилею со дня
основания знаменитого литературно-художественного салона в Санкт-Петербурге (1905-
1912) — Башни Вяч. Иванова (1866-1949), поэта и теоретика русского символизма. Оно
включает в себя материалы юбилейных конференций, проводившихся сотрудниками
филологического факультета СПбГУ, Музея-квартиры А. Блока (филиала Государствен-
ного музея истории Санкт-Петербурга), ИРЛИ РАН (Пушкинский Дом), Центра исследо-
ваний Вячеслава Иванова в Риме, с привлечением ученых из США, Голландии, Польши,
Финляндии и других стран. Исследования русских и зарубежных ученых посвящены ре-
лигиозно-философским, культурно-историческим, семиотическим и филологическим
проблемам изучения наследия Вяч. Иванова и культуры Серебряного века. Они выполне-
ны с учетом современных научных подходов на основе обобщения материала, накопив-
шегося почти за сто лет, а также архивных источников. Впервые опубликованы тексты и
рисунки Вяч. Иванова, переписка, хроника знаменитых «сред».
Книга иллюстрирована автографами поэта, фотодокументами, репродукциями пор-
третов Вяч. Иванова и его современников и другими материалами, многие из которых
также публикуются впервые,
Для филологов, культурологов, искусствоведов и всех интересующихся литературой
и искусством Серебряного века, |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| building | Verbundindex |
| bvnumber | BV023173441 |
| classification_rvk | KI 1320 KI 1490 KI 4076 |
| ctrlnum | (OCoLC)229896540 (DE-599)BVBBV023173441 |
| discipline | Slavistik |
| discipline_str_mv | Slavistik |
| format | Book |
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| genre | (DE-588)4143413-4 Aufsatzsammlung gnd-content (DE-588)1071861417 Konferenzschrift gnd-content |
| genre_facet | Aufsatzsammlung Konferenzschrift |
| id | DE-604.BV023173441 |
| illustrated | Illustrated |
| index_date | 2024-07-02T19:58:46Z |
| indexdate | 2024-07-09T21:12:16Z |
| institution | BVB |
| isbn | 5846505732 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016360083 |
| oclc_num | 229896540 |
| open_access_boolean | |
| owner | DE-12 DE-19 DE-BY-UBM DE-11 DE-739 |
| owner_facet | DE-12 DE-19 DE-BY-UBM DE-11 DE-739 |
| physical | 383 S., [16] Bl. zahlr. Ill. |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Filol. Fak. SPbGU |
| record_format | marc |
| spelling | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka [red. kollegija: ... A. B. Šiškin (otv. red.)] Sankt-Peterburg Filol. Fak. SPbGU 2006 383 S., [16] Bl. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., russ. - Zsfassung in engl. Sprache Bašnja Vjačeslava Ivanova (DE-588)7605080-4 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content (DE-588)1071861417 Konferenzschrift gnd-content Bašnja Vjačeslava Ivanova (DE-588)7605080-4 b DE-604 Šiškin, Andrej B. Sonstige oth Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016360083&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016360083&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016360083&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka Bašnja Vjačeslava Ivanova (DE-588)7605080-4 gnd |
| subject_GND | (DE-588)7605080-4 (DE-588)4143413-4 (DE-588)1071861417 |
| title | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka |
| title_auth | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka |
| title_exact_search | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka |
| title_exact_search_txtP | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka |
| title_full | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka [red. kollegija: ... A. B. Šiškin (otv. red.)] |
| title_fullStr | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka [red. kollegija: ... A. B. Šiškin (otv. red.)] |
| title_full_unstemmed | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka [red. kollegija: ... A. B. Šiškin (otv. red.)] |
| title_short | Bašnja Vjačeslava Ivanova i kulʹtura serebrjanogo veka |
| title_sort | basnja vjaceslava ivanova i kulʹtura serebrjanogo veka |
| topic | Bašnja Vjačeslava Ivanova (DE-588)7605080-4 gnd |
| topic_facet | Bašnja Vjačeslava Ivanova Aufsatzsammlung Konferenzschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016360083&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016360083&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016360083&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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