Contenu du sommaire : Autour du symbolisme russe 3. (Vjačeslav Ivanov)

Efim Etkind, Beast of cultural burden (Viacheslav Ivanov 's archaistic style). Two trends appear in Russian poetry from the 18th century on: the first that can be termed musical or flowing, and the second one, that of the isolated word, which is anti-musical by nature. The verse of the second kind is faltering, heavy, filled with phonetical, syntaxic, and semantic impediments. V. Ivanov' s poems constitute a contrast to the musical art of A. Blok by this ponderousness to which contribute all the elements of his style: erudition underlined with great arrogance, archaistic language which at times appears to be artificial, copied by the author on long dead models. This archaistic style is paradoxically akin to the avant-garde, the innovations of Khlebnikov and Maiakovskii. The literary system of V. Ivanov is based on his theory of Culture, viewed as a burden that Man is condemned to carry throughout centuries. This burden of memory seems staggering, but it is the very incarnation of spiritual freedom. V. Ivanov' s poetry is a strange union of opposed notions. It blends the most abstract spiritualism with a verbal and versifying form tending towards the most complete materialization of words, sonorities and syntaxical structures.

Georges Nivat, Prospero and Ariel. An outline of the relations between Andrei Belyi and Viacheslav Ivanov. The article endeavors to draw the chronology and to strike up the balance of relations between two poets belonging to Russian symbolism: Viacheslav Ivanov and Andrei Belyi. On basis of memoirs and articles as well as of the correspondence preserved at the Lenin Library and to date unpublished, the author narrates the history of a friendship occasionally broken by sharp polemics (1907-1908), grave misunderstandings (as illustrated by Belyi' s scathing text, Sirin uchenogo varvarstva / The mermaid of learned barbary, 1918), but also enriched with periods of intense brotherly feeling. The unpublished correspondence, largely quoted, allows to throw a new light on the reconciliation of 1909, on Ivanov's ambiguous interest for anthroposophy (1912), and on some other points. Borrowing one of Briusov's formulas, the author suggests that Ivanov played the role of Prospero, and Belyi that of Ariel.

Simon Markish, Viacheslav Ivanov and the Jews. The present article examines the attitude of Viacheslav Ivanov toward the Jewish people, and most particularly toward Russian Jews. (The opinion of Ivanov concerning the Judaism in its religious aspect and as a specific concept of the world is only slightly touched upon from a general point of view.) The author endeavors to appraise the position taken up by Ivanov on the nature of the problem itself within the context of philosemitism of the Silver Age in Russia.

Eridano Bazzarelli, Blok and Ivanov. A few considerations. Until now the problem of relations between Blok and Ivanov was but scantily examined. Through the medium of various writings (letters, intimate diaries, poems) of the two writers, the author of the present article gives us a glimpse of the complexity of their mutual feelings: a mingling of attraction and rejection on Blok's side; admiration, love and attraction with no reservation on the side of Ivanov. It is particularly in the light of the "epistle" addressed by Blok to Viacheslav Ivanov and of the two poems that the latter dedicated to Blok to urge him to return to his quest of the Absolute that the ambiguity of their relations will be made apparent.

Milivoje Jovanović, The myth of "eternal return" in the "Rodina" section of Aleksandr Blok. The aim of the present article is to study Nietzsche's myth of "eternal return", based on the theme of the distance already covered and the constant examination of the once trodden road. It proposes to analyze the problematic and the influence of this myth insofar as the poetic work of Blok is concerned as well as the historiographie and philosophical concepts of the author of The Twelve. This aim constitutes the basic material of the "Rodina" section. Nevertheless, the author of this article found it necessary to examine other sections of "Volume 3" in his endeavor to determine the laws governing the evolution of Blok' s poetry as a whole. This enabled him, in the first place, to discover the influence of the concept of "eternal return" on the phonological level of the structure of Blok' s poetical texts (the presence of the anagram of Styx in volumes 2 and 3 of Blok's poems), implying the idea of a continuous movement toward death in the steps of the "Crucified" (and not the resuscitated) Christ, of the "crucified" Fatherland and the "co-crucified" (soraspinaemyi) tragic artist-poet. The analysis contained in this article projects a new light on Blok' s work. It also underlines its links with a tradition that can be traced from Pushkin to Solov'ev and Annenskii and even to symbolist and acme is t poets, different in this connection from authors of futurist poetry. The latter are dominated by the creative concept bearing on an utopist future and have forsaken the semantization of Styx anagram.