|ĐÂÁ: Â˙÷. Čâŕíîâ. Áčáëčîăđŕôč˙.||Âĺđńč˙ 1.1 îň 10 ŕďđĺë˙ 2013 ă.|
1 DESCHARTES, O. “Vyacheslav Ivanov.” Oxford Slavonic Papers 5: 41—58.
Describes the main events in Ivanov’s life and the principal stages of his intellectual and spiritual development. Evaluates his contribution to literary history as the leader of religious symbolism, placing particular emphasis on his understanding of the difference between realistic symbolism and “idealistic” symbolism and on his view of the theurgic role of the artist (pp. 41—52). Provides a bibliography of Ivanov’s works, divided into poetry, philosophical, aesthetic and critical studies, and classical philology and translations from Greek (pp. 53—55, reprinted with a few changes in 1962.3). Introduces Ivanov’s sonnets (pp. 56—58), forty-one of which are published immediately after the essay (pp. 59—80). These were to form the sixth part of Svet vechernii [Vespertine light] (1962), currently in preparation, and include eleven sonnets and the cycles “Zimnie sonety” [Winter sonnets], “De profundis amavi,” and “Rimskie sonety” [Roman sonnets]. Comments on the form of the “sonnet-garland” developed by Ivanov (in Cor Ardens based on the earlier poem “Liubov’” [Love] taken from Kormchie zvezdy [Pilot stars], and in Chelovek [Man], the cycle “Dva grada” [Two cities]). Provides dates and notes (some by Ivanov) for the sonnets published. For related essays on Ivanov’s biography and literary work, see Deschartes, 1932.4, 1933.5, 1957.1 and Ivanov, 1971.3. For a review see Terapiano, 1955.8.
2 KHODASEVICH, VLADISLAV. “Belyi koridor” [The white corridor]; “Zdravnitsa” [The sanatorium]. In Lieraturnye stat’ì i vospominaniia [Literary essays and reminiscences]. New York: Izdatel’stvo im. Chekhova, 345—73, 375—85.
In Russian. The first essay, “Belyi koridor” [The white corridor], published in 1925 and 1937, includes brief references to Ivanov’s work for TEO, the theatrical section of Narkompros, and his ability to talk to “both sides” at meetings with Lunacharskii. Reprinted: 1992.8. The second essay, “Zdravnitsa” [The sanatorium], is a reprint of 1929.2.
3 RIPELLINO, ANGELO MARIA, ed. Poesia russa del Novecento. Versioni, saggio introduttivo, profili biobibliografici e note a cura di Angelo Maria
Ripellino. Parma: Ugo Guanda Editore. Reprint. Milan: Feltrinelli Editore, 1960, 1965.
In Italian. The introduction (section 6) contains a few pages on Ivanov, outlining his life in Russia and characterizing his verse compared to Derzhavin’s. In the anthology Ivanov is represented by six poems, translated into Italian by Ripellino. A brief biobibliographical note on Ivanov is also included at the end of the book.
4 WOLOSCHIN, MARGARITA. Die grüne Schlange: Lebenserinnerungen. Stuttgart: Deutsche Verlags-Anstalt, passim. Reprints. Stuttgart: Deutsche Verlags-Anstalt, 1955; Stuttgart: Verlag Freies Geistesleben, 1968; 1982; Frankfurt am Main: Fischer Taschenbuch Verlag, 1985.
In German. The memoirs of Voloshin’s wife, Margarita Sabashnikova, cover various aspects of her relationship with Ivanov, mainly in the period between 1906 and 1909. Ivanov is viewed as marking a stage in the author’s spiritual development toward the anthroposophical teachings of Rudolf Steiner. Key sections occur in the third book, “Wege und Umwege,” and include “Der Turm” (on the tower), “Der Zaubergarten” (on a particular Wednesday evening gathering at the tower), and “Finale” (on the triangular relationship between Mintslova, Ivanov, and Sabashnikova). Characterizes the physical environment of the tower and Zinov’eva-Annibal, records Ivanov reading Faust II and teaching Sabashnikova Greek, and describes the theatre of Komissarzhevskaia reciting choruses from “Tantal” [Tantalus]. For a Russian translation with notes, see 1993.55.
© Ýëĺęňđîííŕ˙ ďóáëčęŕöč˙ ĐÂÁ, 2010.