символизм

The article deals with the study of the futuristic poetics features in the novel by A. Bely «Petersburg»; common points of A. Bely and the Russian literary avant-guarde are revealed; the research of different layers of artistic methods making A. Bely akin to futurists is conducted.

In the article Blok’s tradition is revealed in the image of the Beautiful Lady in Bulat Okudzhava’s poetry (an early poem by Okudzhava “You’re Not Drunkards, You’re Not Vagrants…” is taken as an example). Kipling’s motives in the poem also add to the recognition of Blok’s tradition.

The article analyzes the title poetics and the structure of the poetry book by K. D. Balmont Sonnets of Sun, Honey and Moon (1917) as a book of sonnets, a book of symbols, a ‘chamber’ book.

The article deals with the problem of scientific research method as applied to the early 20th century Russian literary criticism and literary science. Deep links between Gershenzon’s works and the cultural and historical school heritage are shown. The author touches upon some unsolved questions of methodological attribution of M. O. Gershenzon.

The article deals with the symbolist strategy of naming Vyacheslav Ivanov’s poetic texts. The analysis of his poems with the titles including liturgical formulas confirms the deliberateness of the liturgical discourse created by the author to solve religious and aesthetic problems.

In this article, symbolism as a whole is viewed as a logical manifestation of the evolution of world culture and, at the same time, as a unique direction of a new world view and its embodiment in new artistic forms. In the crisis era of the turn of the XIX-XX centuries. both Western and Russian symbolists fell into the epicenter of the struggle of dual spiritual morality. The fate and work of the famous Russian symbolist V.Ya. Bryusova - a vivid confirmation of this. "Borrowing" the basic principles of the aesthetics of Western symbolism, V.Ya.

The article analyses poetics and sources of the novel Jim’s Date by V. Yemelyanov. The author comes to the conclusion that the high-principled artistic framework of the novel is based on the aesthetic and philosophical concepts of the Russian symbolism and on the mystic premises of the Masonic doctrine.