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1988

1 AKHUMIAN, S. T., and KHACHIKIAN, Ia. I., eds. Briusov i Armeniia [Briusov and Armenia]. 2 vols. Vol. 1: Stikhi, stat’i, ocherki i pis’ma V. Ia. Briusova [Poems, essays, articles and letters by V. Ia. Briusov]. Compiled and annotated by K. V. Aivazian, S. K. Daronian, and G. A. Tatosian. Erevan: Sovetakan grokh, 285—89, 371.

In Russian. Publishes five letters from Briusov to Ivanov, written between 18 July and 26 November 1915, concerning Ivanov’s contributions to the anthology of Armenian poets in Russian translation edited by Briusov and published in 1916. The second volume (1989, p. 109) contains a further letter from Ivanov to Briusov, dated 1 January 1916.

2 ASOIAN, A. A., and SHADRIN, V. “Dante i esteticheskie zavety Viacheslava Ivanova” [Dante and the aesthetic precepts of Viacheslav Ivanov]. In Poetika pisatelia i literaturnyi protsess [The poetics of the writer and the literary process]. Edited by T. V. Zakharova. Tiumenskii gosudarstvennyi universitet. Tiumen’: n.p., 71—79.

In Russian. Considers reflections of Dante in Ivanov’s theurgic aesthetics and view of the process of artistic creation. Draws on several essays and poems for illustration. Reprinted in an extended version: 1989.3, 1990.1. See also Davidson, 1982.3, 1983.6, 1984.6, 1986.13, 1989.15; Szilard and Barta, 1989.56; Potthoff, 1991.34.

3 BALAŠOV, NIKOLAJ. “La taxinomie des sonnets de Pétrarque et leur syntaxe dans les traductions de Vjačeslav Ivanov.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto

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Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 21—36.

In French. Comments on Ivanov’s translations of Petrarch’s canzoniere (1915). Notes the difference between his and Gershenzon’s approaches to Petrarch. Breaks down into groups the sonnets translated by Ivanov, and argues that the choice of sonnets for translation illuminates the principles governing the inner structure of the canzoniere as a whole. Illustrates the argument with regard to the fourth group of sonnets. Highlights certain features of Ivanov’s rendering of Petrarch’s syntax. See also Fisher, 1915.4; Mureddu, 1981.15, 1984.20; Nelson, 1986.36; Tomashevskii, 1989.60; Venclova, 1991.42.

4 BAZZARELLI, ERIDANO. “Gli dèi di Ivanov.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 37—49.

In Italian. Considers the nature of Ivanov’s assimilation of pagan classical antiquity through a survey of his references to classical gods in his early verse. Draws on poems from the “Dionisu” [To Dionysus] and “Gesperidy” [The Hesperides] sections of Kormchie zvezdy [Pilot stars], and comments on “Driady” [The Dryades] from Prozrachnosť [Transparency]. Distinguishes between references of a decorative, ornamental nature and those belonging to an existential, religious category. Sets Ivanov’s approach in the context of the classical revival in European literature, referring to writers such as Hölderlin, Mallarmé, D’Annunzio, and Henri de Régnier.

5 BLINOV, VALERII. “Viacheslav Ivanov i vozniknovenie akmeizma” [Viacheslav Ivanov and the emergence of acmeism]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 13—25.

In Russian. Investigates the personal relations and ideological conflicts between Ivanov and the Acmeists with particular reference to Akhmatova, Mandel’shtam, and Gumilev during the period of the emergence of “Tsekh poetov” [Guild of Poets] in 1911. Considers some of the possible reasons for Akhmatova’s hostile comments on Ivanov. Outlines Ivanov’s favorable comments about Mandel’shtam. Discusses the incident surrounding Gumilev’s reading of his poem “Bludnyi syn” [The prodigal son].

6 BOGOMOLOV, N. A. “Epizod iz peterburgskoi kul’turnoi zhizni 1906—1907 gg.” [An episode from the cultural life of St Petersburg of 1906 to 1907]. In

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Uchenye zapiski Tartuskogo gosudarstvennogo universiteta [Academic proceedings of Tartu state university]. Vol. 813: Al. Blok i revoliutsiia 1905 goda: Blokovskii sbornik VIII [Al. Blok and the revolution of 1905: Blok anthology VIII], edited by Z. G. Mints. Tartu: Tartuskii gosudarstvennyi universitet, 95—111.

In Russian. Describes the meetings of “Kabachok Gafiza” [Hafiz’s tavern], an intimate circle of writers and artists, including Ivanov, Kuzmin, Auslender, Gorodetskii, Somov, Nuvel’, and Bakst, which met in St. Petersburg in 1906—1907. Considers the influence of the group’s ideas on writers and literary movements of the period. Concludes that the movement represented an “aesthetic renunciation of the revolution.” Draws on archival materials, including the correspondence of Ivanov and Zinov’eva-Annibal. For a substantially expanded and revised version of this essay, see Bogomolov, 1993.8. For further materials on Ivanov and Kuzmin, see Malmstad, 1977.6; Barnstead, 1982.1; Cheron, 1986.6; Lavrov and Timenchik, 1990.35; Bogomolov, 1991.2.

7 BOSCHIAN, LAURA SATTA. Dalla santa Russia all’URSS (1905—1924): Un destino voluto da tutti. Rome: Edizioni Studium, 22—25, 138—43, 149—52.

In Italian. Outlines stages of Ivanov’s thought from his early article “Krizis individualizma” [The crisis of individualism] (1905) to later attempts to revive symbolism during the crisis of 1910 and responses to his essay “Zavety simvolizma” [The precepts of symbolism] (1910). Comments on the writers who came under his influence at the tower.

8 BRAGINSKAIA, N. V., ed. “Vozniknovenie tragedii” [The emergence of tragedy], by Viach. Iv. Ivanov; “Tragediia i ritual u Viacheslava Ivanova” [Tragedy and ritual in the works of Viacheslav Ivanov]. In Arkhaicheskii ritual v fol’klornykh i ranneliteraturnykh pamiatnikakh [Archaic ritual in works of folklore and early literature]. Compiled by L. Sh. Rozhanskii. Edited by E. S. Novik. Issledovaniia po fol’kloru i mifologii Vostoka. Moscow: Nauka, 237—93, 294—329.

In Russian. The first item consists of a brief introduction (p. 237) and extensive notes (pp. 275—93), accompanying the publication of “Vozniknovenie tragedii” [The emergence of tragedy], a chapter from Ivanov’s Dionis i pradionisiistvo [Dionysus and predionysianism] (Baku, 1923). The second item consists of an essay commenting in detail on this text. Considers Ivanov’s work from 1903 to 1923 on the religious and ritual sources of tragedy in the context of contemporary scholarship. Offers a critique of his method, pointing out that he subjects academic scholarship to a preexisting ideological scheme and religious view of history; the question of the origin of tragedy is framed by his concept of the Dionysian cult as a primitive form of awareness of God.

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9 CALEBICH CREAZZA, GIOVANNA. “Aspetti della trascendenza nel pensiero ontologico di Vjačeslav Ivanov.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 51—61.

In Italian. Considers Ivanov’s philosophical and religious view of man with reference to the crisis of humanism and its relation to Christianity. Comments on his understanding of the masculine and feminine principles of Animus and Anima. Draws on the essays “Ty esi” [Thou art] (1907), “Anima” (1935) and on the poetic cycle Chelovek [Man] (1939).

10 CARLSON, MARIA. “Ivanov — Belyj — Minclova: The Mystical Triangle.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 63—79.

Investigates biographical and ideological aspects of the “Mystical Triangle” relationship between Ivanov, Belyi, and the theosophist Anna Mintslova during the period 1908—1910, following the death of Zinov’eva-Annibal. Draws on Mintslova’s unpublished letters to Ivanov, on Ivanov’s diaries, and on contemporary memoirs. Examines Ivanov’s interest in occultist theosophy and in the teachings of Rudolf Steiner, the head of the German section of the Theosophical Society and the founder of anthroposophy. Outlines the evidence for Ivanov’s and Belyi’s membership in 1909—1910 of a secret knighthood inspired by the ideas of the Rosicrucians under the influence of Mintslova, and comments on reflections of this involvement in the imagery and concepts of Ivanov’s cycle “Rosarium” and essay “Zavety simvolizma” [The precepts of symbolism] (1910). See also Carlson, 1981.4; Wachtel, 1990.61.

11 CAZZOLA, PIERO. “L’idea di Roma nei ‘Rimskie sonety’ di Vjačeslav Ivanov (con richiami a Gogol’ e a Herzen).” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 81—95.

In Italian. Considers the image of Rome in the nine sonnets of the cycle “Rimskie sonety” [Roman sonnets], following an introductory section on the biographical background to Ivanov’s interest in the eternal city from 1892 onward. Examines the idea of Rome reflected in sonnets 1, 2, 9. Draws a parallel between the description of the sunset in Ivanov’s sonnet 9 and in Gogol’s short story fragment of 1842 “Rim” [Rome]. Studies the significance of fountains and water in sonnets 3—8, and their homage to the architecture and sculpture

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of artists such as Bernini. Links this second group of sonnets to Ottorino Respighi’s musical composition of 1916 on the fountains of Rome (a symphonic poem in four parts). See also Klimoff, 1986.26; Toporov, 1987.25.

12 CLOWES, EDITH W. The Revolution of Moral Consciousness: Nietzsche in Russian Literature, 1890—1914. DeKalb: Northern Illinois University Press, 135—45, 156—57, 170—72.

Chapter five treats the response to Nietzsche of the “mystical” symbolists, and includes a section on Ivanov. Investigates the way in which Nietzsche’s anti—Christian philosophy acted as a positive force in the symbolists’ reconsideration of Christian belief. Outlines the formation of Ivanov’s Christian-Dionysian worldview, his early writings on Dionysus, and Nietzschean view of the creative process. Contrasts his vision with Merezhkovskii’s and analyzes his influence on the Dionysianism of Blok with reference to Blok’s sketch for a drama “Giperboreiskii Dionis” [Hyperborean Dionysus] (1906) and collection of verse Snezhnaia maska [Snow mask] (1907). Comments on Belyi’s response to Ivanov’s Dionysianism in his novels. See also Lane, 1976.8; Rosenthal, 1986.42; Stammler, 1986.47.

13 CRONE, ANNA LISA. “Polyphony in the Prose of Vjačeslav Ivanov: A Preliminary Consideration.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1 : Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 97—109.

Investigates Ivanov’s theoretical statements about polyphony and his practice of it in his prose essays. Considers the influence of his ideas on the theories of Bakhtin. Links Ivanov’s definition of polyphony in which “the differences in the individual voices are to an extent resolved at a higher level through their unified telos — all — Unity” to the idea of “sobornosť” [communality]. Points out some of the misleading aspects of Bakhtin’s critique of Ivanov’s alleged “monologization” of Dostoevskii’s worldview, drawing attention to Ivanov’s clear presentation of the dialogical principle in his essay “Ty esi” [Thou art] (1907) and to his application of this principle in his use of language, tending to engage the reader in a dialogue. Elaborates a “typology of Ivanov’s voices” (scholarly or sober, exalted or elevated) in the light of Bakhtinian theory. Applies Bakhtin’s term “internally dialogized narration” to the type of polyphony encountered in Ivanov’s prose, and identifies Ivanov’s view of “proniknovenie” [penetration] in Dostoevskii as the source of Bakhtin’s concept of the “penetrative word.” On Bakhtin and Ivanov, see Bakhtin, 1929.1, 1963.2, 1979.2; Clark and Holquist, 1984.4; Kotrelev, 1988.35; Igeta, 1989.26; Jackson, 1989.29; Szilard, 1989.55, 1993.52; Salma, 1992.23; Grabar, 1993.26; Iovanovich, 1993.27; Terras, 1993.53.

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14 CYMBORSKA-LEBODA, MARIA. “O prirode dramaticheskikh zhanrov v tvorchestve russkikh simvolistov” [On the nature of dramatic genres in the art of the Russian symbolists]. In Z polskich studiów slawistycznych [Polish Slavic studies]. Seria 7. Literaturoznawstwo, folklorystyka, problematyka historyczna [Litererature, folklore, historical issues]. Warsaw: Wydawnictwo Naukowe, 51—62.

In Russian. Investigates the reflection of artistic tendencies of the period in the aesthetic sphere with reference to three genres and their transformation: mystery, tragedy, and the drama of play. Considers examples of mysteries by Belyi, Blok, and Sologub. Comments on Ivanov’s “Tantal” [Tantalus] as an example of tragedy, underlining the Dionysian motif of sacrifice in the interpretation of the myth and its cosmic dimensions. Concludes with an examination of Blok’s “Balaganchik” [The puppet booth], a “drama of play” marking a polemical departure from the principles of symbolist drama as ritual. See also Cymborska-Leboda, 1983.5, 1984.5, 1986.11, 1986.12, 1987.3, 1990.14, 1992.5, 1992.6,1993.11.

15 DAVIDSON, PAMELA. “Vjačeslav Ivanov’s Cycle of Sonnets ‘De Profundis Amavi’.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1 : Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 111—31.

Considers the question of Ivanov’s development as a poet through a detailed analysis of the composition, themes, and imagery of the cycle of sonnets “De profundis amavi” (1920, 1949), drawing on published and archival versions of the cycle. Identifies the central theme of the cycle as the tension between the flesh and the spirit and between sensual and spiritual love, and highlights three types of imagery used to articulate this tension. Circular images are associated with sensual love resisting spiritualization, representing the old world from which the poet is trying to escape; linear images express the movements of the soul, the forward striving toward a pure spiritual love of God, or the backward line of regression toward the past. Analyzes late revisions and the additional sonnet added to the cycle in 1949 to clarify the nature of Ivanov’s development, and finds that the moral focus of the cycle sharpened over the years. See also Davidson, 1993.13.

16 DEPPERMANN, MARIIA. “Zvuchanie obrazov: Viacheslav Ivanov i Mikolaius Konstantinas Chiurlenis” [The resonance of images: Viacheslav Ivanov and Mikolaius Konstantinas Čiurlonis]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav

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Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 45—52.

In Russian. Outlines the three phases of Čiurlonis’s career as an artist and composer. Suggests that Ivanov’s attraction to Čiurlonis’s work derives from the principle of myth-creation evident in the artistic and musical compositions of the Lithuanian artist. See also Bowlt, 1973.2; West, 1975.15; Bowlt, 1986.9; Rannit, 1986.40; Jackson, 1993.28.

17 DMITRIEV, V. “Viacheslav Ivanov i Platon” [Viacheslav Ivanov and Plato]. Novyi zhurnal (New York), nos. 172—73: 321—30.

In Russian. Investigates the links between Plato’s thought and Ivanov’s aesthetics with reference to the essays of Po zvezdam [By the stars]. Offers a critique of Ivanov’s concept of a “musical paradise” and of his relation to the ideals of humanism and Christianity.

18 DOTSENKO, S. N. “Problema istorizma v tsikle Viach. Ivanova ‘Godina gneva’” [The problem of historicism in Viacheslav Ivanov’s cycle “The time of wrath”] . In Uchenye zapiski Tartuskogo gosudarstvennogo universiteta [Academic proceedings of Tartu state university]. Vol. 813: Al. Blok i revoliutsiia 1905 goda: Blokovskii sbornik VIII [Al. Blok and the revolution of 1905: Blok anthology VIII], edited by Z. G. Mints. Tartu: Tartuskii gosudarstvennyi universitet, 78—87.

In Russian. Analyzes the view of history and of its underlying mechanism reflected in the cycle “Godina gneva” [The time of wrath] and in its treatment of the Russo-Japanese war and revolution of 1905. Interprets poems from the cycle in terms of Ivanov’s understanding of concrete historical events in the light of transcendent purpose and universal historical destiny. Traces the sources of Ivanov’s “medieval” view of history to poems by V. Solov’ev, to the biblical account of Abel and Cain, and to the theme of divine retribution in the Book of Revelation. See also Koretskaia, 1978.6; Magomedova, 1993.34.

19 DOTSENKO, S. “Siuzhet zmeeborchestva u Viach. Ivanova i Gorodetskogo” [The theme of serpent-fighting in the works of Viach. Ivanov and Gorodetskii]. In Tezisy dokladov konferentsii po gumanitarnym i estestvennym naukam studencheskogo nauchnogo obshchestva: Russkaia filologiia. Aprel’ 1988 [Theses of papers given at the conference on the humanities and the natural sciences of the student academic society: Russian philology. April 1988]. Tartu: Tartuskii gosudarstvennyi universitet, 36—38.

In Russian. Contrasts Ivanov’s Christian treatment of the image of serpent-fighting in “Povesť o Svetomire tsareviche” [The tale of tsarevich Svetomir] with Gorodetskii’s pagan approach, derived from folkloric sources.

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Relates Ivanov’s use of the image to the legend of Saint George as depicted in the traditions of spiritual verses and iconographic representation.

20 EBERT, CHRISTA. Symbolismus in Russland: Zur Romanprosa Sologubs, Remisows, Belys. Berlin: Akademie-Verlag, 55—62.

In German. Contains a section on symbolist theatre with some discussion of Ivanov’s theory of drama from its early stages through to its application at the time of the revolution.

21 ETKIND, E. “Poeziia Novalisa: ’Mifologicheskii perevoď Viacheslava Ivanova” [The poetry of Novalis: The “mythological translation” of Viacheslav Ivanov]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 171—85.

In Russian. Considers the general context of Ivanov’s approach to Novalis, comments on his essay on the German poet, and discusses his translations of his verse (carried out in 1909, published in 1987). Finds that Ivanov’s translations are diametrically opposed in style but often close in spirit, meeting Novalis’s definition of a “mythological translation,” intuitively penetrating into the ideal essence of the original. See also Wachtel, 1990.60. Reprinted with the insertion of one additional passage: 1990.20.

22 FERRARI, LAURA, and ROMITI, ALBERTO. “La memoria come anti-destino nella ‘Corrispondenza da un angolo all’altro’.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 133—40.

In Italian. Analyzes the function of memory in Perepiska iz dvukh uglov [A correspondence from two corners] and in the essay “Drevnii uzhas” [Ancient terror] (1909), relating Ivanov’s view of memory as a vital creative force to Plato and Homer, and contrasting it with Gershenzon’s desire for oblivion.

23 FOTIEV, K. “Dionis i pradionisiistvo’ v svete noveishikh izyskanii” [Dionysus and predionysianism in the light of recent research]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 163—70.

Reprint of 1987.5 (without the introductory section).

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24 GERSHENZON, M. O. “Pis’ma k L’vu Shestovu (1920—1925)” [Letters to Lev Shestov (1920—1925)]. Edited by A. d’Amelia and V. Alloi. Minuvshee: Istoricheskii al’manakh (Paris), no. 6: 237—312.

In Russian. Publishes thirty letters from Gershenzon to Shestov (1920—1925) with several references to Ivanov. On 31 July 1920, Gershenzon mentions the interruption of Ivanov’s travel plans by Vera’s serious illness (p. 245). On 26 February 1922 he refers to the possibility of Lundberg arranging a reprint of Perepiska iz dvukh uglov [A correspondence from two corners] and sending American Relief Administration parcels to him and Ivanov by way of royalties (p. 249). On 23 April 1922 he describes Ivanov in Baku drinking wine and giving lectures (pp. 254, 256). On 26 June 1922 he mentions Lundberg’s review of Perepiska iz dvukh uglov (1922.13) and its false picture of conditions in the sanatorium; he describes the writing of the correspondence and complains of the “theatricality” of the entreprise, instigated by Ivanov (pp. 262—63). On 7 August 1922 he describes a letter from Ivanov in Baku with an account of his life and the accident of his son, Dimitrii (p. 265). On 19 September 1922 he complains about Lundberg’s failure to send any parcels or royalties for his reprint of Perepiska iz dvukh uglov (p. 268). On 4 June 1924 he describes his meetings with Ivanov in Moscow and Ivanov’s good spirits (pp. 300—01). On 7 June 1924 he portrays Ivanov’s energy before his departure and “will to live” and mentions Lidiia’s talented compositions (p. 303). On 16 June 1924 he mentions Ivanov’s forthcoming trip abroad, arranged by O. D. Kameneva, and successful lecture followed by ovations in Moscow (p. 302). On 29 July 1924 he describes Ivanov’s change of character and greater humility (p. 305). On 9 January 1925 he mentions a letter from Ivanov in Italy on the latter’s need to earn money, perhaps from Soviet sources (p. 309). A fragment of a letter from Ivanov to Gershenzon is also quoted in the notes (p. 260).

25 GLADKOVA, T. L., and OSORGINA, T. A., eds. L’émigration russe: Revues et recueils, 1920—1980. Index général des articles. Preface by Marc Raeff. Bibliothèque russe de l’Institut d’études slaves, vol. 81. Paris: Institut d’études slaves, 208—09 and passim.

In Russian. Lists writings by Ivanov published in Russian émigré journals and anthologies. References to Ivanov in essays by other writers can be traced through the index. See also Foster, 1970.3.

26 IOVANOVICH, M. “Nekotorye voprosy podtekstual’nogo stroeniia sbornika Prozrachnost” Viach. Ivanova” [Certain aspects of the subtext structure in Viacheslav Ivanov’s collection ‘Transparency’]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 59—81.

In Russian. Identifies and analyzes echoes of five Russian poets in the

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poems of Prozrachnosť [Transparency]. Draws parallels between Ivanov’s worldview and the outlooks of Pushkin, Lermontov, Tiutchev, Fet, and V. Solov’ev, relating these to specific textual echoes. Concludes that Ivanov was able to assimilate many elements from his predecessors, which he adapted for the purposes of his own “myth-creating” art. Examples given include Pushkin’s view of the poet as prophet, Lermontov’s sense of the tragic, Tiutchev’s image of the link between the upper and lower worlds, Fet’s sense of universal harmony, and V. Solov’ev’s awareness of the link between dark and light, death and resurrection.

27 IVANOVA, E. V. “K sporu vokrug staťi A. Bloka ’Krushenie gumanizma’” [On the debate surrounding Blok’s essay “The collapse of humanism”] . In Slavianskie literatury: X mezhdunarodnyi s’ezd slavistov, Sofiia, sentiabr’ 1988 g. Doklady sovetskoi delegatsii [Slavonic literatures: The tenth international slavists’ congress, Sofia, September 1988. Papers given by the Soviet delegation]. Edited by P. A. Nikolaev. Moscow: Nauka, 192—201.

In Russian. Discusses the debate surrounding Blok’s lecture of 1919, “Krushenie gumanizma” [The collapse of humanism]. Comments on the responses of A. Volynskii, M. Gor’kii, Ivanov (in his essay “Kruchi” [Steep slopes]), and F. Batiushkov. Identifies various areas of overlap between the essays of Blok and Ivanov (pp. 199—201). See also Giaquinta, 1989.23; Shcherbakova, 1990.54.

28 IVASK, IURII. “Rai Viacheslava Ivanova” [Viacheslav Ivanov’s paradise]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 53—57.

In Russian. Comments on “Pesnia Otrady” [The Song of Joy] from “Povesť o Svetomire tsareviche” [The tale of tsarevich Svetomir] and discusses Ivanov’s reworking of two sources. The personnification of Paradise is taken from the folkloric source of “dukhovnye stikhi” [spiritual verses] and is related to “Plach Adama” [The lament of Adam]. The linking of the Virgin Mary and Mother Earth comes from Dostoevskii’s The Devils and the vision of Paradise owes much to The Brothers Karamazov. See also Ivask, 1973.7; Banerjee, 1978.2; Stoinich, 1988.61; Terras, 1988.63; Venclova, 1988.65; Łužny, 1989.42, 1990.41.

29 JACKSON, ROBERT L. “Introductory words to the Third Symposium.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di

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lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 19—20.

Comments briefly on the development of Ivanov studies since the first international symposium at Yale University in 1981 and on the value of Ivanov as a representative of “spiritual realism.”

30 KASACK, WOLFGANG. “Ivanov, Viacheslav Ivanovich.” In Entsiklopedicheskii slovar’ russkoi literatury s 1917 goda [An encyclopedic dictionary of Russian literature since 1917]. Translated from German by Elena Wargaftik and Igor Burikhin. London: Overseas Publications Interchange, 314—16.

In Russian. An updated, expanded Russian version of the German entry on Ivanov (1976.7). For a later revised version see Kasack, 1992.7.

31 KASACK, WOLFGANG. “Ivanov, Vyacheslav Ivanovich.” In Dictionary of Russian Literature since 1917. Translated by Maria Carlson and Jane T. Hedges. Bibliographical revision by Rebecca Atack. New York: Columbia University Press, 152—53.

An updated, expanded English version of the German entry on Ivanov (1976.7). For a later revised version see Kasack, 1992.7.

32 KELLY, CATRIONA. “Vjačeslav Ivanov as the ‘Other’: A contribution to the ‘Drugomu’ debate.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1 : Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 151—61.

Considers the relationship between Annenskii and Ivanov and their differing attitudes to the heritage of the classical tradition. Comments on Annenskii’s discussion of Ivanov in his essay “O sovremennom lirizme” [On contemporary lyricism] (see 1909.3) and on the anonymous dialogue “Pchely i osy Apollona” [The bees and wasps of Apollo] (see 1909.18). Focuses on a detailed analysis of Annenskii’s poem “Drugomu” [To the other], interpreted as a reflection of the two poets’ debate on the character of the “Slavonic renaissance.” See also Kelly, 1989.30; Koretskaia, 1988.34, 1989.33.

33 KLIMOFF, ALEXIS. “Dionysos Tamed: Two Examples of Philosophical Revisionism in Vjačeslav Ivanov’s ‘Roman Diary of 1944’.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 163—70.

Investigates the question of continuity in Ivanov’s poetry through an analysis of two late poems from “Rimskii dnevnik” [Roman diary]: “Titan,

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raspiatyi v kolese...” [A Titan crucified upon a wheel...] and “‘Idti, kuda gliadiat glaza...’” [“To go wherever one’s gaze might fall...”] . Relates these poems to earlier verse by Ivanov, and argues that they reflect a significant change of orientation and a reassessment of the poet’s earlier philosophical position.

34 KORETSKAIA, I. “Viacheslav Ivanov i Innokentii Annenskii” [Viacheslav Ivanov and Innokentii Annenskii]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 83—91.

In Russian. Compares the aesthetic views and poetic worlds of Ivanov and Annenskii. Considers the views expressed in their essays about each other (see 1909.3) and their exchange of poems, Ivanov’s “Ultimum vale” and Annenskii’s “Drugomu” [To the other]. Contrasts the characteristic use of time and space imagery in their poems and the two poets’ differing attitudes to Dostoevskii. Reprinted in a revised, expanded version: 1989.33. See also Kelly, 1988.32, 1989.30.

35 KOTRELEV, NIKOLAI. “K probleme dialogicheskogo personazha: M. M. Bakhtin i Viach. Ivanov” [On the problem of the dialogic character: M. M. Bakhtin and Viach. Ivanov]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozìum, posviashchennyì Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Víacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 93—103.

In Russian. Demonstrates the extent of Bakhtin’s debt to Ivanov in his elaboration of the dialogical principle in Dostoevskii’s novels. Cites parallel passages from the works of Ivanov and Bakhtin to illustrate the close affinity between their approaches. Argues that while Bakhtin developed the idea of polyphony as the basic organizing structural principle in Dostoevskii’s novels, the core of this idea can be found in Ivanov’s early essay of 1911, “Dostoevskii i roman-tragediia” [Dostoevskii and the novel-tragedy]. On Bakhtin and Ivanov, see Bakhtin, 1929.1, 1963.2, 1979.2; Clark and Holquist, 1984.4; Crone, 1988.13; Igeta, 1989.26; Jackson, 1989.29; Szilard, 1989.55, 1993.52; Salma, 1992.23; Grabar, 1993.26; Iovanovich, 1993.27; Terras, 1993.53.

36 LENZI, MASSIMO. “Lo Spettacolo Trasfigurato: scena simbolista e scena-simbolo: Appunti sulla teoria dell’arte scenica di Vjačeslav Ivanov.” Il castello di Elsinore, no. 3: 86—107.

In Italian. Discusses Ivanov’s theory of symbolist drama, drawing on

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his essays, “Novye maski” [New masks] (1904) and “Vagner i Dionisovo deistvo” [Wagner and Dionysian action] (1905), both published in the same issue in an Italian translation followed by detailed notes (pp. 69—85).

37 LEPAKHIN, V. “Ikona v poezii i staťiakh Viacheslava Ivanova” [The icon in the poetry and essays of Viacheslav Ivanov]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 105—15.

In Russian. Draws various parallels between Ivanov’s art and the religious symbolism of icon painting. Considers his theory of symbolism and discusses his verse, including specific poems with explicit references to icons. Draws on Chelovek [Man] to illustrate the argument.

38 LOSEV, A. F. “Teoriia stilia u modernistov” [The modernists’ theory of style]. Literaturnaia ucheba (Moscow), no. 5: 153—60.

In Russian. Concludes with a brief examination of Ivanov’s essay “Manera, litso i stil’” [Manner, personality and style] (1912) and with personal comments on Losev’s debt to his influence (pp. 159—60). See also Losev 1989.41.

39 ŁUŻNY, RYSZARD. “Wiaczesława Iwanowa pieśń o Świętej Rusi” [Viacheslav Ivanov’s song about Holy Russia]. W drodze (Poznań), no. 8 (180): 28—31.

In Polish. Comments on the poem “Stikh o Sviatoi Gore” [Verses on the Holy Mount] with reference to its Christian imagery and vision of holy Russia. The author’s translation of the poem into Polish is published in the same issue (pp. 32—33).

40 ŁUŻNY, RYSZARD. “Wiaczesław Iwanow a dziedzictwo kulturowe bizantyńsko-słowiańskiego wschodu” [Viacheslav Ivanov and the cultural legacy of the Byzantine-Slavonic East]. In VIII Musica Antiqua: Kultura bizantyjska, jej poźniejsze słowiańskie wcielenia i kontynuacje. Materiały Sesji bizantyno-słowianoznawczej. Supplementum [VIII Musica Antiqua: Byzantine culture, its late Slavonic incarnation and continuation. Materials from the Byzantine-Slavonic session. Supplement]. Edited by Andrzej Szwalbe. Bydgoszcz: Filharmonia Pomorska im. I. J. Paderewskiego, 5—15.

In Polish. Comments on “Povesť o Svetomire tsareviche” [The tale of tsarevich Svetomir] as an example of the continuation of the Byzantine tradition in Russian literature. The author’s translation of part of “Povesť o Svetomire tsareviche” into Polish is published in the same issue (pp. 16—28).

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41 MALCOVATI, FAUSTO. “Alcune considerazioni su ‘Discorso sugli orientamenti dello spirito moderno.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 171—74.

In Italian. Discusses the significance of Ivanov’s essay ‘Discorso sugli orientamenti dello spirito moderno” (1933), relating it to Ivanov’s letters to Du Bos (1930) and Pellegrini (1934) and considering its religious and philosophical ideas.

42 M[ALCOVATI], F[AUSTO]. “Premessa.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 9—17.

In Italian. Introduces the contents of the two volumes containing the papers given at the third international symposium on Ivanov, held at the University of Pavia in September 1986. Provides a general outline of Ivanov’s biography and literary development.

43 MALCOVATI, FAUSTO. “Un poeta a Roma.” Ottavogiorno, n.s. no. 5 (January — March), // millennio della Russia cristiana, 101—07.

In Italian. Provides a general outline of Ivanov’s biography and development as a writer.

44 MALMSTAD, JOHN E. “‘O, sick children of the world’: ‘Fio, ergo non sum’.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 175—87.

Provides a detailed analysis of “Fio, ergo non sum,” a poem from Prozrachnosť [Transparency] in which Ivanov gives “the most intense and anguished expression in all his verse to the ontological neurosis that has afflicted modern man: the Crisis of Individualism.” Demonstrates that it is the “masterful accomplishment” of a great poet, “a perfect synthesis of every element of poetic structure and larger meaning.” Discusses the source of the poem’s mirror imagery and relates it to verses by V. Solov’ev, to essays by Ivanov including “Ty esi” [Thou art] (1907), and to Ivanov’s central ideas of “reconciliation, synthesis and reciprocity.”

45 MINTS, Z. G., and OBATNIN, G. V. “Simvolika zerkala v rannei poezii Viach. Ivanova: Sborniki “Kormchie zvezdy” i “Prozrachnosť “ [Mirror symbolism in the early poetry of Viach. Ivanov: The collections “Pilot stars” and

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“Transparency”] . In Uchenye zapiski Tartuskogo gosudarstvennogo universiteta [Academic proceedings of Tartu state university]. Vol. 831: Zerkalo: Semiotika zerkal’nosti [The mirror: The semiotics of mirror reflection]. Trudy po znakovym sistemam, no. 22. Tartu: Tartuskii gosudarstvennyi universitet, 59—65.

In Russian. Classifies different types of images of mirror reflection in Ivanov’s first two collections of verse and analyzes their function. Views Ivanov’s use of the metaphor of reflection as an extension of Plato’s duality of essence and appearance, developed into a duality of two aspects of a single whole, longing for synthesis. Comments on the role of the “mirror of Eros” in this context. Relates Ivanov’s mirror imagery to the poetry of Tiutchev, Merezhkovskii, Blok, and Belyi, and contrasts it with the “magical” or aesthetic mirror imagery of the “older symbolists.”

46 MINTS, Z. G. “Russkii simvolizm i revoliutsiia 1905—1907 godov” [Russian symbolism and the revolution of 1905 to 1907]. In Uchenye zapiski Tartuskogo gosudarstvennogo universiteta [Academic proceedings of Tartu state university]. Vol. 813: Al. Blok i revoliutsiia 1905 goda: Blokovskii sbornik VIII [Al. Blok and the revolution of 1905: Blok anthology VIII], edited by Z. G. Mints. Tartu: Tartuskii gosudarstvennyi universitet, 3—21.

In Russian. Considers various aspects of the response of the Russian symbolists to the revolutionary period of 1905—1907 with particular reference to Ivanov, Briusov, Belyi, and Blok. Within a general comparative context, comments on the Dionysian theories and utopian ideals of Ivanov, drawing on his essays on aesthetics and drama.

47 MUELLER-VOLLMER, PATRICIA. “Ivanov on Scrjabin.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 189—99.

Explores Ivanov’s view of Scriabin as a national composer of universal significance. Focuses on his essay “National’noe i vselenskoe v tvorchestve Skriabina” [National and universal elements in the art of Scriabin] (1916). Examines the role of music in Ivanov’s aesthetic philosophy and its close association with religion on the psychological plane. Considers Ivanov’s view of Scriabin as a pioneer of “musical transhumanism,” breaking with tradition and inaugurating a new mystical era in music. See also Engel’, 1916.11; Brown, 1979.3; Matlaw, 1979.11; Myl’nikova, 1985.14; Mazaev, 1992.12; Kluge, 1993.31.

48 NELSON, LOWRY, Jr. “Times and Themes in ‘Roman Diary’.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia

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dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 201—10.

Considers Ivanov’s poetic diary of 1944, the “Rimskii dnevnik” [Roman diary] with reference to its treatment of time, war, personal intimacy, and artistry and to the use of mythical and biblical allusions. Singles out six poems as examples of Ivanov’s poetic mastery at its best, and provides a detailed commentary on them.

49 NICOLESCU, TAT’IANA [Nikolesku]. “Viacheslav Ivanov i Andrei Belyi: Dialog o kul’ture v epokhu revoliutsii” [Viacheslav Ivanov and Andrei Belyi: A dialogue about culture at the time of the revolution]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov], Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian], Florence: La Nuova Italia Editrice, 117—30.

In Russian. Compares the attitudes of Ivanov and Belyi to the crisis of culture at the time of the revolution. Draws on essays and prose works, including Ivanov’s essay “Kruchi” [Steep slopes] and Perepiska iz dvukh uglov [A correspondence from two corners]. Concludes that both writers’ attitudes were complementary; Ivanov placed more emphasis on the Russian national element of the debate and on the role of memory, while Belyi stressed the dynamic, rhythmic aspects of the revolution. See also Nivat, 1984.22; Cymborska-Leboda, 1990.14; Dioletta Siclari, 1993.14.

50 NIKOL’sKAIA, T. L. “Tvorcheskii puť L. D. Zinov’evoi-Annibal” [The creative development of L. D. Zinov’eva-Annibal]. In Uchenye zapiski Tartuskogo gosudarstvennogo universiteta [Academic proceedings of Tartu state university]. Vol. 813: Al. Blok i revoliutsiia 1905 goda: Blokovskii sbornik VIII [Al. Blok and the revolution of 1905: Blok anthology VIII], edited by Z. G. Mints. Tartu: Tartuskii gosudarstvennyi universitet, 123—37.

In Russian. Provides a brief biographical outline of the life of Zinov’eva-Annibal, Ivanov’s second wife, and a discussion of her reviews and main works, the dramas Kol’tsa [Rings] (1904) and “Pevuchii osel” [The singing ass] (1907), the story Tridtsať tri uroda [Thirty-three abominations] (1907), the collections of stories Tragicheskii zverinets [The tragic menagerie] (1907), and “Net!” [No!] (1918). Draws on archival materials, including Zinov’eva-Annibal’s letters to Ivanov, and notes Ivanov’s comments on his wife as a rebellious spirit striving to achieve independence from him. See also Lavrov, 1991.24.

51 OBATNIN, G. V. “K strukture mirovozzreniia Viach. Ivanova v epokhu pervoi russkoi revoliutsii” [Towards a definition of the structure of Viach. Ivanov’s world-view at the time of the first Russian revolution]. In Uchenye

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zapiski Tartuskogo gosudarstvennogo universiteta [Academic proceedings of Tartu state university]. Vol. 813: Al. Blok i revoliutsiia 1905 goda: Blokovskii sbornik VIII [Al. Blok and the revolution of 1905: Blok anthology VIII], edited by Z. G. Mints. Tartu: Tartuskii ogosudarstvennyi universitet, 88—94.

In Russian. Investigates the themes of the synthesis of the artist and the people and of Dionysian rebellion in Ivanov’s essays of 1905—1907. Finds a modification in his position over the idea of “synthesis” after the failure of the revolution of 1905 and the death of Zinov’eva-Annibal in 1907. See also Mints, 1988.46.

52 POLLAK, SEWERYN. “Między mitem a symbolem” [Between myth and symbol]. In Ruchome granice [Unsettled boundaries]. Kraków: Wydawnictwo Literackie, 7—24.

Reprint of 1984.24, 1985.15.

53 PONOMAREVA, G. M. “Kontseptsiia Erosa i ‘sredy’ Viach. Ivanova” [The concept of Eros and Viach. Ivanov’s “Wednesdays”] . In Literaturnyi protsess i problemy literaturnoi kul’tury: Materialy dlia obsuzhdeniia [The literary process and problems of literary culture: Materials for discussion]. Tallin: Tallinskii pedagogicheskii institut im. E. Vil’de, 87—90.

In Russian. Outlines a series of points related to Ivanov’s cult of Eros in theory and in life. Identifies as sources the Dionysian religion and Plato’s Symposium. Relates the concept of Eros to the Wednesday gatherings at the tower and the meetings of the Hafiz circle for men and women, and discusses the idea of “sobornosť “ [communality] in relationships. Links Zinov’eva-Annibal’s story Tridtsať tri uroda [Thirty-three abominations] (1907) to the idea of lesbian erotic love as reflected in Ivanov’s introduction to his translations from Alcaeus and Sappho (1914).

54 PORFIR’eVA, A. L. “Viacheslav Ivanov i nekotorye tendentsii razvitiia uslovnogo teatra v 1905—1915 godakh” [Viacheslav Ivanov and certain tendencies in the development of conventional theatre in the years from 1905 to 1915]. In Russkii teatr i dramaturgiia 1907—1917 godov: Sbornik nauchnykh trudov [Russian theatre and dramatic art of 1907—1917: A collection of academic papers]. Edited by A. A. Ninov. Leningrad: Leningradskii gosudarstvennyi institut teatra, muzyki i kinematografii im. N. K. Cherkasova, 37—53.

In Russian. Considers some of the grounds for the hostility of Ivanov’s contemporaries to his guiding role in literary life and to his theory of the theatre. Focuses on two reasons: the “theatricality” of his own personality and the static character of the worldview expressed in his art. Describes Ivanov’s theatrical experiments of 1906 with reference to an archival source, Meierkhol’d’s “Zametki po povodu ‘Fakelov’” [Notes on “Torches”] , and to Galich’s essay (1906.6). Comments on Ivanov’s dithryramb “Fakely” [Torches]. Describes the production of Calderón’s play at the tower theatre in

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1910. Identifies a change in symbolist drama toward the middle of the 1905—1915 decade, and contrasts the compositional structures of “Tantal” [Tantalus] (spherical and static) and Prometei [Prometheus] (triangular and dynamic) as examples of this change from static to dynamic forms of theatre. Emphasizes the individual personal element underlying and giving life to the abstract philosophical structures of Ivanov’s drama. See Porfir’eva, 1987.18; Bartlett, 1990.3.

55 ROSENTHAL, BERNICE GLATZER. “From Decadence to Religion. Ivanov and Merežkovskij.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1 : Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 141—50.

Compares the paths of Ivanov and Merezhkovskii from decadence to a new interpretation of Christianity, indicating points of difference between their views. Dwells on Ivanov’s and Merezhkovskii’s differing attitudes to the revolution of 1905, the doctrine of mystical anarchism, the First World War and the revolution of 1917. Concludes “that decadence was not simply the first step in their progression from it to new interpretations of Christianity, but that it exerted an abiding influence on them.” For an expanded and revised version, see Rosenthal, 1990.52.

56 RUDICH, VASILII. “Viacheslav Ivanov i antichnyi Rim” [Viacheslav Ivanov and ancient Rome]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 131—41.

In Russian. Investigates two aspects of Ivanov’s interest in ancient Rome as a cultural entity: the psychological aspect (related to his personal experience and interest in ancient religion), and the historical aspect (related to the idea of Rome as a state and to the question of Russian national identity). Analyzes a series of poems from Kormchie zvezdy [Pilot stars] and later collections reflecting images of ancient Rome. Comments on Ivanov’s late essay on Virgil, “Vergils Historiosophie” (1931). See Rudich, 1986.43.

57 RUDNITSKY, KONSTANTIN. “Vyacheslav Ivanov’s Ideas on Theatre.” In Russian and Soviet Theatre: Tradition and the Avant-Garde. Translated by Roxane Permar. Edited by Lesley Milne. London: Thames and Hudson. 9—10.

Summarizes Ivanov’s utopian idea of the theatre as a form of religious ritual, and its transformation in the theatre of the postrevolutionary period.

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58 SHELOGUROVA, G. N. “Antichnyi mif v russkoi dramaturgii nachala veka: I. Annenskii, Viach. Ivanov” [Classical myth in Russian drama of the beginning of the century: I. Annenskii, Viach. Ivanov]. In Iz istorii russkoi literatury kontsa XIX— nachala XX veka [From the history of late nineteenth- and early twentieth-century Russian literature]. Edited by A. G. Sokolov and M. V. Mikhailova. Moscow: Izdatel’stvo Moskovskogo universiteta, 105—22.

In Russian. Considers the treatment of myth in the tragedies of Annenskii and Ivanov. Investigates Dionysian motifs in “Tantal” [Tantalus] and Prometei [Prometheus]. Finds that the distinctive feature of the heroes of Ivanov’s dramas is their relation to the “spark of Dionysus,” unlike Annenskii’s heroes who are characterized by individual, psychological traits. See also Shelogurova, 1986.46.

59 SHISHKIN, ANDREJ. “Vjačeslav Ivanov ed i giovani poeti dell’emigrazione russa: Corrispondenza con I. N. Goleniščev-Kutuzov.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 211—23.

In Italian. Outlines the relationship of Ivanov and Golenishchev-Kutuzov, describing their meetings in Rome in the late 1920s, drawing on their correspondence and on archival materials, and commenting on Golenishev-Kutuzov’s writings about Ivanov (see 1930.4, 1930.5, 1935.4, 1937.5). Concludes with examples of links maintained by Ivanov in emigration with writers such as Boris Poplavskii and Ivan Bunin. See also D. Ivanov, 1982.9; Shishkin, 1989.53; Golenishcheva-Kutuzova, 1993.24.

60 STAKHORSKII, S. V., ed. Iz istorii sovetskoi nauki o teatre. 20—e gody: Sbornik trudov [From the history of Soviet research on the theatre. The 1920s: A collection of essays]. Moscow: Gosudarstvennyi institut teatral’nogo iskusstva im. A. V. Lunacharskogo, 198—206, 300—04 and passim.

In Russian. The anthology opens with three essays of 1919—1920 by Ivanov on the theatre (pp. 15—20), followed by editorial notes (pp. 198—206) and by a brief essay on Ivanov (pp. 300—04). The notes include discussion of Ivanov’s essays and of his contribution to the work of the theatrical section of Narkompros (TEO). Ivanov’s ideas are related to the views of Florenskii, Shpet, Stepun, Kandinskii, Losev, and Piotrovskii (also represented in the anthology). See also Stakhorskii, 1991.38, 1991.39.

61 STOINICH, MILA. “Povesť o Svetomire tsareviche: Popytka opredeleniia zhanra” [The tale of tsarevich Svetomir: An attempt at a definition of genre]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium

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dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 155—61.

In Russian. Discusses various possible definitions of the genre of “Povesť o Svetomire tsareviche” [The tale of tsarevich Svetomir]. Relates it to the genres of “povesť” [long story] and “skazanie” [tale], to biblical and apocryphal texts, to works of Greek and Byzantine literature, and to Russian literary sources, including “Slovo o polku Igoreve” [The tale of Igor’s campaign]. Comments on the erosion of the boundary between prose and poetry. Analyzes the form of the work in terms of Ivanov’s explanation of the relation between form and content (“forma formans” and “forma formata”) in his late essay “Mysli o poezii” [Thoughts on poetry] (1962). Disputes Zaitsev’s impression that the work is concerned with Serbian history (see 1963.14, 1964.9, 1965.8). See also Ivask, 1973.7; Banerjee, 1978.2; Ivask, 1988.28; Terras, 1988.63; Venclova, 1988.65; Łuźny, 1989.42, 1990.41.

62 SZILARD, LENA [Lena Silard]. “Neskol’ko zametok k ucheniiu Viach. Ivanova o katarsise” [A few remarks on Viacheslav Ivanov’s teaching on catharsis]. In Kul’tura i pamiať. Tretii mezhdunarodnyi simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 143—54.

In Russian. The discussion of Ivanov’s theory of catharsis is largely based on the chapter from Dionis i pradionisiistvo [Dionysus and predionysianism] (1923) devoted to this subject. Analyzes Ivanov’s concept of catharsis, dwelling on its relation to the ecstatic experience of epiphany, to orgiastic elements in the cult of Dionysus, to Platonic Eros, and to tragedy. Defines three key aspects of catharsis. Relates Ivanov’s ideas to parallel trends in European thought. See also Balashov, 1993.3.

63 TERRAS, VICTOR. “‘Povesť o Svetomire Careviče’ [The tale of tsarevich Svetomir]: Some Stylistic and Structural Observations.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 225—30.

Discusses the epistle of Presbyter Ioann from “Povesť o Svetomire tsareviche” [The tale of tsarevich Svetomir] by distinguishing four levels of meaning: the literal, the moral, the allegoric, and the anagogic. Identifies biblical and literary sources of the epistle and notes stylistic and linguistic features of the text (“basically Church Slavonic, with a tendency toward Greek syntax and loan translations, occasionally broken by Russian forms”). Relates

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allegoric elements in the work to “godless and godforsaken Soviet Russia,” and its anagogic meaning to the “question of an ‘ideal paradise’ versus an Eden located on Earth. See also Ivask, 1973.7, 1988.28; Banerjee, 1978.2; Stoinich, 1988.61; Venclova, 1988.65; Łuźny, 1989.42, 1990.41.

64 TOTS, G. A. “‘Zarevo bol’shogo goroda...’: Stranitsy iz vospominanii” [“The glow of a great city...”: Extracts from memoirs]. Edited by M. V. Bezrodnyi and R. D. Timenchik. Literaturnoe obozrenie (Moscow), no. 11: 107—12.

In Russian. The memoirs of the poet G. A. Tots include a fragment about Ivanov, describing his visit to the tower on 14 February 1912, accompanied by Belyi. Tots likens Ivanov to Tiutchev, and records Ivanov’s approval of his poems. The brief introduction and notes to the memoirs cite further materials on Tots and Ivanov, including Ivanov’s recommendation to Tots to be wary of literary circles, regarded as a dangerous threat to the independence of young talent (reported by Tots in a letter to his mother).

65 VENCLOVA, TOMAS. “O mifotvorchestve Viacheslava Ivanova: ‘Povesť o Svetomire tsareviche’” [On Viacheslav Ivanov’s myth-creation: ‘The tale of tsarevich Svetomir’]. In Kul’tura i pamiať. Tretii mezhdunarodnyì simpozium, posviashchennyi Viacheslavu Ivanovu [Culture and memory. The third international symposium dedicated to Viacheslav Ivanov]. Edited by Fausto Malcovati. Zapiski fakul’teta literatury i filosofii paviiskogo universiteta, 45. Vol. 2: Doklady na russkom iazyke [Papers in Russian]. Florence: La Nuova Italia Editrice, 27—43.

In Russian. Investigates the structure of “Povesť o Svetomire tsareviche” [The tale of tsarevich Svetomir] with respect to three interrelated formative principles: the reconstruction of ancient Slavonic mythology, the new arrangement of mythological motifs from Russian literature, particularly from Dostoevskii, and the synchronic presentation of Russian history. Comments on the images of the Virgin Mary and Saint George. Likens the tale to postmodernist syncretic works by Tomas Mann and Herman Hesse. Devotes particular attention to the epistle of Presbyter Ioann. See also Ivask, 1973.7, 1988.28; Banerjee, 1978.2; Stoinich, 1988.61; Terras, 1988.63; Łuźny, 1989.42, 1990.41.

66 VOLOSHIN, MAKSIMILIAN. Liki tvorchestva [The countenances of creation]. Edited by V. A. Manuilov, V. P. Kupchenko, and A. V. Lavrov. Seriia “Literaturnye pamiatniki.” Leningrad: Nauka, 477—84, 484—90, 745—47.

In Russian. Reprint of 1906.11, 1907.20 with commentary and notes. The notes on Voloshin’s review of Eros by E. L. Bel’kind relate the collection to its biographical context in the lives of Ivanov, Voloshin and Sabashnikova, and discuss its links with Plato’s Symposium and the concept of Eros as a method of mystical knowledge. Several other references to Ivanov in

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Voloshin’s essays and in the critical apparatus can be traced through the index.

67 WEST, JAMES. “Ty esi...” [Thou art...]. In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1 : Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 231—38.

Explores the complex of ideas at the centre of Ivanov’s philosophy of art, related to the phrase “Ty esi” [Thou art], the title of his essay of 1907 and of the second part of his verse cycle Chelovek [Man]. Provides a synopsis of the essay “Ty esi” and explores the way in which its central ideas reappear in Chelovek. Draws attention to the “peculiar synthetic language” Ivanov developed for his “dense and inherently poetic philosophical essays.”

68 WINTERNITZ DE VITO, ROSELLA. “Il concetto di cultura in Vjačeslav Ivanov.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 239—51.

In Italian. Investigates Ivanov’s view of culture with reference to Perepiska iz dvukh uglov [A correspondence from two corners]. Analyzes the differences between the positions of the two correspondents.

69 WOŽNIAK, ANNA. “Wiaczesław Iwanow i jego stylizacje ludowe” [Viacheslav Ivanov and his folk stylizations]. Slavia Orientalis (Warsaw) 37, no. 1: 111—23.

In Polish. Investigates Ivanov’s stylization of the folklore tradition of “dukhovnye stikhi” [spiritual verses]. Focuses on the analysis of two poems “Son Materi-Pustyni” [The dream of Mother-Wilderness] from Cor Ardens and “Stikh o Sviatoi Gore” [Verses on the Holy Mount] from Kormchie zvezdy [Pilot stars]. Traces their links with examples of folk religious verse and considers their assimilation of these elements within the context of Ivanov’s religious aesthetics. Finds that Ivanov uses a “reconstructive” type of stylization, combining folk elements with other types of symbols.

70 ZANICHELLI, SILVIA. “Problemi di traduzione del Tantalo in lingua italiana.” In Cultura e memoria: Atti del terzo Simposio Internazionale dedicato a Vjačeslav Ivanov. Edited by Fausto Malcovati. Pubblicazioni della Facoltà di lettere e filosofia dell’Università di Pavia, 45. Vol. 1: Testi in italiano, francese, inglese. Florence: La Nuova Italia Editrice, 253—60.

In Italian. Comments on some of the linguistic features of “Tantal” [Tantalus] with reference to the author’s Italian translation of the tragedy (an extract of which is cited). Draws parallels with the technique employed by

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Henry von Heiseler in his German translation of the play (dating from 1908, published in 1930 and 1940).

71 ZELINSKII, VLADIMIR. “‘Na pire Platona vo vremia chumy’” [“At Plato’s symposium in the time of the plague]. Russkaia mysl’ (Paris), no. 3748, 28 October, 9; no. 3749, 4 November, 9; no. 3750, 11 November, 9; no. 3751, 18 November, 9; no. 3752, 25 November, 9; no. 3753, 2 December, 9; no. 3754 9 December, 10—11.

Reprint from 1988.72. Reprinted in a revised version: 1989.66. For a Polish translation of the revised version, see 1990.64.

72 ZELINSKII, VLADIMIR. “‘Na pire Platona vo vremia chumy’” [“At Plato’s symposium in the time of the plague]. Vybor (Moscow), no. 3: 214—57.

In Russian. Comments on the debate on culture in Perepiska iz dvukh uglov [A correspondence from two corners] in the light of the course of postrevolutionary Russian history. Emphasizes biblical and Christian motifs in the work, relates it to the views of Shestov (see 1916.16, 1925.7) and to Ivanov’s verse. Concludes that the book confirms the truth of both correspondents’ positions: the simultaneous presence in culture of an original blessing and potential curse. Reprinted in a slightly abridged version: 1988.71; in a revised version: 1989.66. For a Polish translation of the revised version, see 1990.64.

© Ýëĺęňđîííŕ˙ ďóáëčęŕöč˙ — ĐÂÁ, 2010.
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