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1 B[UBNOFF], N[ICOLAI] V[ON]. Afterword to Briefwechsel zwischen zwei Zimmerwinkeln, by M. Gerschenson and W. Iwanow. Translated and with an afterword by Nicolai von Bubnoff. Anker-Bücherei Band 17. Stuttgart: Ernst Klett, 69—76.
Abridged version of 1927.3; reprint of 1946.2.
2 CURTIUS, ERNST ROBERT. Europäische literatur und Lateinisches mittelalter. Bern: A. Francke Ag. Verlag, 399—400.
In German. Quotes in the epilogue a brief excerpt from Ivanov’s Perepiska iz dvukh uglov [A correspondence from two corners] to illustrate the idea of culture as initiatory memory. Mnemosyne, the Mother of the Muses, preserves the literary tradition, and thereby the identity and continuity of the European mind. Refers the reader to his earlier work of 1932.3. For an English translation, see 1953.1. For the correspondence of Ivanov and Curtius, see Wachtel, 1992.28.
3 DANILOV, S. S. Ocherki po istorii russkogo dramaticheskogo teatra [Essays on the history of the Russian dramatic theatre]. Moscow and Leningrad: Iskusstvo, 489—90.
In Russian. On Ivanov’s essays on the theatre published in Vesy and collected in Po zvezdam [By the stars], and on echoes of his theories in the essays of Sologub and Belyi included in the anthology “Teatr”: Kniga o novom teatre [“Theatre”: A book about the new theatre] (1908.9).
4 DE SANCTIS, GINO. “Religione e poesia: Il cigno di Mosca.” Il Messaggero (Rome), 11 January, 1.
In Italian. Relates an interview with Ivanov in his Rome flat. He is aged eighty-two, “la signorina Schor” brings him a glass of Marsala, his children, Dimitrii and Lidiia, are present, also a large cat. The conversation touches on the time spent at the sanatorium with Gershenzon as a result of Lunacharskii’s protection, Ivanov’s public verbal “duel” with Lunacharskii, his return to his second homeland, and his chosen religion. See also De Sanctis, 1966.3.
5 GERSHENZON, M. O., and IVANOV, V. I. “A correspondence between two corners.” Translated by Norbert Guterman. Partisan Review (New York), 15, no. 9 (September): 951—52.
A brief editorial note introduces the first full English translation of Perepiska iz dvukh uglov [A correspondence between two corners] (pp. 952—65, 1028—48) with the following comment: “The theme of Western culture and its fate has seldom been explored more keenly and provocatively than in this unique dialogue between two friendly anatagonists... The chief issue which they raise, that of primitivism versus tradition, is not at all peculiar
to Russia, for it has become one of the central conflicts of Western civilisation in our time.”
6 KATANIAN, V. Maiakovskii: Literaturnaia khronika [Maiakovskii: A literary chronology]. Second, expanded edition. Moscow: Sovetskii pisatel’, 53—4.
Reprint of 1945.2.
7 MOCHUL’sKII, K. Aleksandr Blok. Paris: YMCA-PRESS, 188, 190—91, 272, 274—75, 304, 316—17.
In Russian. Touches on a wide variety of topics concerning Blok’s relations with Ivanov at different stages of his life: his disagreement with Ivanov’s and Chulkov’s doctrine of mystical anarchism, polemics with Merezhkovskii (see 1910.15), Gumilev at the tower and his creed of Acmeism, Ivanov’s response to Blok’s reading of “Vozmezdie” [Retribution], as described by Gorodetskii, and Blok’s negative reaction to Ivanov’s attempted revival of symbolism in Trudy i dni in 1912. For an English translation see 1983.22.
8 MÜLLER-GANGLOFF, ERICH. Vorläufer des Antichrist. Berlin: Wedding-Verlag, 40—45, 285—88.
In German. Draws on the German translation of Ivanov’s work on Dostoevskii (1932) and discusses his application of the Lucifer and Ahriman categories of daemonology to the works of Dostoevskii. Extends the application to a discussion of historical events and political revolutions. Reprinted with amendments: 1953.2.
9 PAPINI, GIOVANNI. “I Sette Vecchioni.” In Santi e Poeti. Florence: Libreria Editrice Fiorentina, 243—49.
In Italian. A short essay, dated 1946, dealing with seven “survivors” of the nineteenth century: Bernard Shaw, Knut Hamsun, Maurice Maeterlinck, Ivanov, Paul Claudel, Gandhi, and André Gide. The section on Ivanov (pp. 246—47) describes him as an angelic spirit, the greatest living poet of the Russian language, not as well known as he deserves to be, and a splendid lamp that burns in solitude.
© Ýëåêòðîííàÿ ïóáëèêàöèÿ ÐÂÁ, 2010.