|ĐÂÁ: Â˙÷. Čâŕíîâ. Áčáëčîăđŕôč˙.||Âĺđńč˙ 1.1 îň 10 ŕďđĺë˙ 2013 ă.|
1 BARNSTEAD, JOHN A. “Mikhail Kuzmin’s ‘On Beautiful Clarity’ and Viacheslav Ivanov: A Reconsideration.” Canadian Slavonic Papers 24, no. 1 (March): 1—10.
Relates Kuzmin’s manifesto “O prekrasnoi iasnosti” [On beautiful clarity] (1910) to Ivanov’s aesthetic theories. Considers the polemics between the two writers through a study of textual echoes in Kuzmin’s essay of extracts from several essays by Ivanov. Argues that the form and content of Kuzmin’s essay intertwine to illustrate “the aesthetic credo which through reconsideration of Ivanov’s imagery declared Kuzmin’s independence from him, and had far-reaching consequences in the general reaction against Symbolism.” For further materials on Ivanov and Kuzmin see Malmstad, 1977.6; Cheron, 1986.10; Bogomolov, 1988.6, 1990.8, 1991.2; Lavrov and Timenchik, 1990.35.
2 BLINOV, VALERII. “Mezhdunarodnaia konferentsiia, posviashchennaia Viacheslavu Ivanovu” [An international conference devoted to Viacheslav Ivanov]. Novyi zhurnal (New York), no. 146 (March): 241—49.
In Russian. Provides a detailed report on the first international symposium on Viacheslav Ivanov, organized at Yale University from 3—5 April 1981 by R. L. Jackson. Comments on the current revival of interest in Ivanov and summarizes the papers read (mostly published in the conference proceedings of 1986, see under individual authors). See also Fotiev, 1981.8; Shtein, 1981.18.
3 DAVIDSON, PAMELA. “Vyacheslav Ivanov’s Translations of Dante.” Oxford Slavonic Papers, n.s. 15: 103—31.
Examines Ivanov’s previously unpublished translations from Dante’s Vita Nuova, the Convivio, and the Divina Commedia. An outline of the history of each project based on archival materials is followed by the text of the translation and an analysis of its particular characteristics. The Vita Nuova translation was undertaken for the publisher M. Sabashnikov in 1913; the Convivio was translated in 1914 in collaboration with the philosopher Ern, who undertook the prose parts of the work; the translation from the Divina Commedia was agreed in a contract with the Brokgauz-Efron publishing house in 1920 and involved the collaboration of Briusov. Publishes the surviving texts of these translation projects: two sonnets from the Vita Nuova, the canzone from the second tractate of the Convivio (both from the manuscripts section of the Moscow Russian State Library), and the first canto of the Purgatorio (lines 1—67) (from Ivanov’s archive in Rome). The analysis of the translations demonstrates that through them Ivanov “succeeded in creating a text which reflected many of the features with which he endowed the figure of Dante in his spiritual world-view and Symbolist aesthetics,” thereby assimilating the Italian poet into the Russian symbolist tradition. For revised versions, see the relevant chapters in Davidson, 1983.6 and 1989.15. See also Panina, 1972.15;
Sabashnikov, 1983.25; Davidson, 1984.6, 1986.13; Asoian, 1988.2, 1989.3, 1990.1; Szilard and Baita, 1989.56; Kotrelev, 1990.31; Potthoff, 1991.34.
4 GERASIMOV, Iu. K. “Ob izuchenii russkogo literaturnogo modernizma” [On the study of Russian literary modernism]. Russkaia literatura, no. 2: 83—84.
In Russian. Draws attention to the need to develop research on the links between literary modernism and religion. This area has been largely ignored, but is essential for an understanding of the sources of symbolism. Cites Ivanov’s theories of “bogoborchestvo” [theomachy] and of myth-creating art as the main example and refers to his tragedy Prometei [Prometheus] in this context.
5 HOLTHUSEN, JOHANNES. Vjačeslav Ivanov als symbolistischer Dichter und als russischer Kulturphilosoph. Bayerische Akademie der Wissenschaften, Philosophisch-historische klasse, Sitzungsberichte 1982.2. Munich: Verlag der Bayerischen Akademie der Wissenschaften, In Kommission bei der C. H. Beck’schen Verlagsbuchhandlung, 44 pp.
In German. Comments on “Tvorchestvo” [Creation] from Kormchie zvezdy [Pilot stars] as an artistic manifesto. Discusses several poems from Kormchie zvezdy to Svet vechernii [Vespertine light], providing translations into German and relating them to Ivanov’s essays.
6 IVANOVA, LIDIIA. “Vospominaniia o Viacheslave Ivanove” [Memoirs of Viacheslav Ivanov]. Novyi zhurnal (New York), no. 147 (June): 136—54; no. 148 (September): 136—60; no. 149 (December): 100—26.
In Russian. Publishes the memoirs of the daughter of Ivanov and Zinov’eva-Annibal in three successive issues of the journal (followed by a fourth instalment in 1983.11). The memoirs cover the period from 1900 to 1920, and include sections on life in Geneva, in St. Petersburg at the tower, in Evian and Rome, and in Moscow from 1913 until Ivanov’s move to Kislovodsk in 1920. Ivanov’s relations with a wide circle of friends and literary acquaintances are characterized, the circumstances surrounding the writing of particular poems as well as the personal details of his family life are described. Reprinted with minor changes, an introduction and notes: 1990.28. For a continuation of the memoirs, see Ivanova, 1983.11, 1987.10. For an English translation of the section dealing with the period at the tower in St. Peterburg, see Ivanova, 1986.22.
7 IVANOV, DIMITRI. “Dostoevskij et Vjačeslav Ivanov.” In Actualité de Dostoevskij. A cura dell’Istituto di Slavistica, Istituto Universitario di Bergamo. Genoa: La Quercia Edizioni, n.d., 144—58.
In French. Analyzes Ivanov’s presentation of Dostoevskii in his Russian essays, reworked in the German book of 1932, translated into English in 1952. Dwells on Dostoevskii’s view of crime as a problem of the individual’s
relation to the world. Relates Ivanov’s interpretation of Dostoevskii to his own spiritual path. Develops Ivanov’s ideal of “proniknovenie” [penetration] and self-transcendence, accomplished through the recognition of the other in the self. Illustrates the reflection of these ideas in excerpts from Chelovek [Man] and “Povest’ o Svetomire tsareviche” [The tale of tsarevich Svetomir]. See also Ivanov, 1983.12.
8 IVANOV, DIMITRI. “Gogol’ et Aristophane par Vjačeslav Ivanov.” Revue des Études Slaves (Paris) 54, no. 1—2, Mélanges Pierre Pascal, 97—98.
In French. Provides a brief introduction to the French translation of Ivanov’s essay “‘Revizor’ Gogolia i komediia Aristofana” [Gogol’s “Inspector General” and the comedy of Aristophanes] (pp. 98—104). The essay, dated September 1925, was written for Meierkhol’d (who had visited Ivanov in Rome that summer) and published in 1926 in the first issue of Meierkhol’d’s journal Teatral’nyi oktiabr’. Ivanov subsequently reworked the essay for a German version published in Corona (no. 5, 1932—1933), and corrected the French translation (prepared by D. Ivanov) in 1946. Relates Ivanov’s suggestions for a production of Revizor [The inspector general] to his concept of the chorus. See also the notes to this essay in Ivanov 1987.11 and Smirnova, 1993.51.
9 IVANOV, D. V., ed. “Viacheslav Ivanov i Il’ia Golenishchev-Kutuzov” [Viacheslav Ivanov and Il’ia Golenishchev-Kutuzov]. In Russica — 81: Literaturnyi sbornik [Russica — 81: A literary anthology]. Edited by A. Sumerkin. New York: Russica, 379—87.
In Russian. Reprints the text of the preface written by Ivanov (dated 24 August 1931) for Golenishchev-Kutuzov’s collection of verse, Pamiat’ [Memory] (Paris: Parabola, 1935). Publishes Golenishchev-Kutuzov’s poem “Viacheslavu Ivanovu” [To Viacheslav Ivanov], inscribed by the author on the copy of his book, which he sent to Ivanov, and his accompanying letter, written in Belgrade on 3 February 1935. See also Shishkin, 1988.59, 1989.53; Golenishcheva-Kutuzova, 1993.24.
10 KALBOUSS, GEORGE. The Plays of the Russian Symbolists. East Lansing, MI: Russian Language Journal, 17—18, 22, 33—34, 150 and passim.
Includes passing references (indexed) to Ivanov’s plays and theory of drama, set in the framework of the Russian Symbolist theatre. Discusses “Tantal” [Tantalus] in the context of other similar symbolist dramas, quotes Meierkhol’d on Ivanov (see 1908.9), and comments on the application of Ivanov’s interpretation of Nietzsche and Dionysus to his ideas on theatre as a religious art form.
11 KORETSKAIA, I. V. “Novyi put’. Voprosy zhizni.” In Literaturnyi protsess i russkaia zhurnalistika kontsa XIX — nachala XX veka: 1890—1904. Burzhuazno-liberal’nye i modernistskie izdaniia [The literary process and the
Russian periodical press at the end of the nineteenth century and the beginning of the twentieth century: 1890—1904. Bourgeois-liberal and modernist publications]. Edited by B. A. Bialik, V. A. Keldysh, and V. R. Shcherbina. Moscow: Nauka, 179—233.
In Russian. Includes a section (pp. 190—93) on Ivanov’s work on the religion of Dionysus (published in Noyvi put’ and Voprosy zhizni in 1904 and 1905), considered in the context of other Nietzsche-related publications in the journal. Analyzes the difference of approach between Ivanov’s essays and Sologub’s cycle of poems, “Gimny stradaiushchego Dionisa” [Hymns of the suffering Dionysus], published in the same issue as the first part of Ivanov’s work.
12 KOTRELEV, N. V., and TIMENCHIK, R. D., eds. “Blok v neizdannoi perepiske i dnevnikakh sovremennikov (1898—1921)” [Blok in the unpublished correspondence and diaries of his contemporaries (1898—1921)]. In Literaturnoe nasledstvo [Literary heritage]. Vol. 92: Aleksandr Blok: Novye materialy i issledovaniia [Aleksandr Blok: New materials and studies]. Edited by V. R. Shcherbina. Book 3. Moscow: Nauka, 153—539.
In Russian. An essay by N. V. Kotrelev and Z. G. Mints introduces the publication of an extensive series of extracts from unpublished letters and diaries of Blok’s contemporaries, followed by detailed notes. The extracts include several excerpts from letters both to and from Ivanov and Zinov’eva-Annibal and from various contemporaries; they shed light on Ivanov’s life, on his social and literary circle between 1903 and 1920, and on the Wednesday gatherings at the tower. Correspondents include S. A. Askol’dov, S. Alianskii, N. Berdiaev, E. P. Bezobrazova, V. Briusov, A. Chebotarevskaia, V. Ern, E. Gertsyk, S. Gorodetskii, R. Ivanov-Razumnik, V. N. Ivanovskii, S. Kablukov, V. Komissarzhevskaia, A. Mintslova, N. Nedobrovo, B. Pares, N. Poiarkov, V. Shvarsalon, A. Skaldin, M. Zamiatina. A partial transcript of F. Kogan’s record of the meetings of the poetry circle run by Ivanov in 1920 is published. The volume also contains other essays with details of copies of Blok’s books inscribed to Ivanov (pp. 7, 71—73), of poems addressed by Ivanov to Blok (pp. 554, 579), and of descriptions of Ivanov in the diary of F. F. Fidler (pp. 831, 835—37). Full references to Ivanov are provided in the index in vol. 92, book 5, 1993.
13 KOTRELEV, N. V., ed. “Iz perepiski Aleksandra Bloka s Viach. Ivanovym” [From the correspondence of Aleksandr Blok and Viach. Ivanov]. Izvestiia Akademii nauk SSSR, Seriia literatury i iazyka, 41, no. 2 (March — April): 163—76.
In Russian. Publishes eleven letters from the correspondence of Ivanov and Blok (1907—1911): eight from Ivanov, and three previously published letters from Blok. These are preceded by an introduction on the two poets’ relationship, and followed by detailed notes on the letters. Corrects an error in Alianskii’s memoirs (1967.1) with regard to the publication of “Pesni smutnogo
vremeni” [Songs of the time of troubles]. Draws attention to Ivanov’s comment of 1912 on Blok in the The Russian Review. Ivanov’s letters cover topics such as his response to Blok’s collection Zemlia v snegu [The earth in snow] (1908), his request that Blok should speak on symbolism at the poetic academy (see Blok, 1910.5), and his plans for Blok’s participation in the new journal to be published by Musaget. See also Bel’kind, 1972.3; Superfin, 1972.21; Ermilova, 1975.6, 1984.8, 1989.19; Bazzarelli, 1984.2; Orlov, 1975.11, 1979.14; Gerasimov, 1987.8; Lavrov, 1989.39.
14 MALCOVATI, FAUSTO. “Viačeslav Ivanov e Dioniso: mito e premito.” In Studi di letteratura russa. Università degli studi di Milano. Facoltà di lettere e filosofia. Quaderni di Acme, 1. Milan: Cisalpino-Goliardica, 7—13.
In Italian. Provides a general review of Ivanov’s classical studies and work on Dionysus, with particular emphasis on his discussion of the orgiastic and cathartic aspects of the cult of Dionysus in his book Dionis i pradionisiistvo [Dionysus and predionysianism] (Baku, 1923). See also Malcovati, 1983.21, 1984.18, 1986.33.
15 MINTS, Z. G. “A. Blok i V. Ivanov: Stat’ia I. Gody pervoi russkoi revoliutsii” [A. Blok and V. Ivanov: Essay I. The years of the first Russian revolution]. In Uchenye zapiski Tartuskogo gosudarstvennogo universiteta [Academic proceedings of Tartu state university]. Trudy po russkoi i slavianskoi filologii. Literaturovedenie. Vol. 604: Edinstvo i izmenchivost’ istoriko-literaturnogo protsessa [Unity and change in the historical literary process]. Tartu: Tartuskii gosudarstvennyi universitet, 97—111.
In Russian. Reviews Ivanov’s and Blok’s relations in the light of their comments on each other’s work (see Blok, 1904.2, 1905.3). Comments on the influence of Ivanov on Dionysian motifs in Blok’s poetry with particular reference to Snezhnaia maska [The snow mask] (1907), regarded as the peak period of Blok’s closeness to Ivanov.
16 STEINBERG, ADA. Word and Music in the Novels of Andrey Bely. Cambridge: Cambridge University Press, 19—21, 27—30, 32—33 and passim.
Includes several references (indexed) to the links between Belyi and Ivanov with particular reference to their views of the relationship between music and poetry. Considers Ivanov’s attitude to Baudelaire, Mallarmé, Verlaine, and Huysmans, his view of Wagner and Beethoven, and his theory of the law of poetic language. Notes his influence on Belyi and the sources of their divergence.
17 SZILARD, LENA. “Antichnaia Lenora v XX v.” [Ancient Lenora in the twentieth century]. Studia Slavica (Budapest) 28: 313—31.
In Russian. An expanded and revised version of 1978.17. See also Amiard-Chevrel, 1978.1; Kelly, 1989.30.
© Ýëĺęňđîííŕ˙ ďóáëčęŕöč˙ ĐÂÁ, 2010.