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Résumés / Abstracts
Author(s): M. Dumont and D. Négrel
Source: Cahiers du Monde russe, Vol. 35, No. 1/2, Un maître de sagesse au xxe siècle Vjačeslav
Ivanov et son temps (Jan. - Jun., 1994), pp. 413-425
Published by: EHESS
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R?SUM?S/ABSTRACTS

Andrej SHISHKIN, Le banquet platonicien etsoufi ? la ? Tour ? p?tersbourgeoise :Berdjaev


et VjaCeslav Ivanov.

La ? Tour ? de Ivanov ? Saint-P?tersbourg a ?t? le centre de ce que


VjaCeslav organisateur
HodaseviC a appel? la ? cr?ation collective ? du symbolisme russe. ? partir de 1905 s'y don
naient rendez-vous po?tes, philosophes, peintres. Les ma?tres de jeu et les participants de ces
r?unions les appelaient ? ?, le ? symposion ? ?tait leur mod?le.
banquets platonicien
? l'aide des m?moires et de la correspondance personnelle de l'?poque, l'auteur recons
truit et analyse la succession des ?v?nements et les grands th?mes d?battus ? la ? Tour ? ; il

communique des documents d'archiv? in?dits de VjaCeslav Ivanov, L. Zinov'eva-Annibal,


N. Berdjaev, E. AniCkov, M. Kuzmin, P. Florenskij.
?
Le choix des grands th?mes ?ros, amour, mort, nouvelle naissance ?, l'id?e du dia
logue ?clair? par la r?flexion philosophique et religieuse, et lamani?re de les aborder ?taient
dict?s par les besoins de l'?poque et la volont? de rester fid?le au mod?le du symposion.
L'essai s'applique ? montrer comment les th?mes et les formes du symposion se refl?tent dans
l' uvre ?crite des aux r?unions de la ? Tour ?, chez VjaCeslav Ivanov
participants lui-m?me,
chez L. Zinov'eva-Annibal, N. Berdjaev et M. VoloSin.

"
Andrej SHISHKIN, The Platonic and Sufi symposion at the "Tower in St. Petersburg : Ber
diaev and Viacheslav Ivanov.

Viacheslav Ivanov's "Tower" in St. Petersburg was the organizing center of what
Khodasevich called the "collective" culture of Russian symbolism. From 1905 on poets,
philosophers and painters used to meet there. Participants of the meetings called them
"symposia", Plato's symposion was their model.
With the help of memoirs and personal correspondence of the time, the author reconstructs
and analyses the events and the main themes discussed at the "Tower". He uses unpublished
material from the archives of Viacheslav Ivanov, L. Zinov'eva-Annibal, N. Berdiaev,
E. Anichkov, M. Kuzmin and P. Florenskii.
?
The choice of subjects Eros, love, death, new birth ?, the idea of a dialogue enhanced
by philosophical and religious reflection, and the way of approaching them were an answer to
the needs of the epoch and the concern for being faithful to the symposial model. The author
shows how the symposion in their themes and forms is reflected in the creative work of the

participants, Viacheslav Ivanov himself, L. Zinov'eva-Annibal, N. Berdiaev and M. Voloshin.

Maria-Candida GHIDINI, La notion deforme int?rieure dam la pens?e de VjaCeslav Ivanov.

L'article se propose de mettre en ?vidence de la notion de forme int?rieure


l'importance
dans la pens?e de VjaCeslav Ivanov. Cette notion a ses racines dans l'histoire de la pens?e

Cahiers du Monde russe, XXXV (1-2), janvier-juin 1994, pp. 413-426.

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414 R?SUM?S/ABSTRACTS

philosophique occidentale et Ivanov l'adopte en conformit? avec l'interpr?tation


ontologique
substantielle, platonicienne et aristot?licienne. Dans ses derniers articles, Ivanov aborde la
forme non seulement au regard d'autres arguments, mais il en fait son th?me principal, dans

lequel un grand nombre de ses contradictions semblent trouver une solution.

Maria-Candida GHIDINI, The notion of inner form in Viacheslav Ivanovs thought.

The article aims at emphasizing the notion of inner form in Ivanov's thought. This notion,
rooted in the history of western philosophical thought, is adopted by Ivanov in accordance
with the ontological-substantial, Platonic and Aristotelian interpretation. Not only is the
notion of form tackled with, throughout Ivanov's last articles, in relation to other arguments,
but it becomes the main topic, in which a great many of his contradictions seem to be resolved.

Alexandre BOURMEYSTER, La Correspondance d'un coin ? l'autre :dialogue ou repr?sen


tation ?

La Correspondance d'un ? l'autre ne peut ?tre r?duite ? une confrontation


coin entre deux
th?ses :d?fense d'un et appel ? la tabula rasa...
thesaurus Le dialogue est dramatique car les
interlocuteurs ne parlent pas de lam?me chose. Mais leur d?bat permet d'?clairer de fa?on per
tinente les notions de civilisation et de culture et de r?v?ler de fa?on paradoxale leurs identi
t?s respectives.

Alexandre BOURMEYSTER, The Correspondence across a room ; dialogue or representa


tion ?

The Correspondence across a room cannot be reduced to a confrontation between two


theses : the defense of a thesaurus versus an appeal to a tabula rasa. The is dramatic
dialogue
because the interlocutors do not speak of the same subject. Nevertheless, their debate helps
clarify the notions of civilization and culture and to reveal paradoxically their respective
identities.

Konstantin SIGOV, Au-del? de Vopposition Tabula rasa/Thesaurus. ? propos de la Corres

pondance d'un coin ? l'autre.

L'opposition entre la Russie et l'Occident qui a obs?d? tant de participants du d?bat his

torique est radicalement transform?e dans la Correspondance d'un coin ? Vautre. Apr?s la
Premi?re Guerre mondiale et la r?volution, Gerschenson et Ivanov d?battent dans un sanato
rium bolchevik de la probl?matique de la transmission m?me de l'h?ritage du pass? (tant
oriental qu'occidental). Les analyses des questions de la rupture des traditions, des ?l?ments
de contrainte dans les pratiques politiques et les th?ories scientifiques, du pass? monumental
de la culture et de l'attitude d?cadente ? son ?gard dans le pr?sent s'appuient sur la question
cl? des possibilit?s de justification de l'histoire. En partant pr?cis?ment d'une totale remise en
question ? propos de la v?rit? (pravda) dans l'histoire, on r?-examine l'enjeu du d?bat de la
Correspondance, d?fini dans les interpr?tations ant?rieures par des oppositions binaires :juif
contre hell?ne, nominaliste contre r?aliste, rousseauiste contre platonicien, tabula rasa contre
thesaurus.

Konstantin SIGOV, Beyond the opposition Tabula rasa/Thesaurus. In connection with the Cor

respondence across a room.

The opposition between Russia and the West, that had obsessed so many participants in
the historical debate is completely transformed in the Correspondence across a room. After

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R?SUM?S/ABSTRACTS 415

the First World War and


the Revolution, Gerschenson and Ivanov discuss in a Bolshevik
sanatorium the problematic of the transmission of the legacy of the past (Eastern as well as

Western). The problems of


the break down of traditions, of elements of constraint in political
practices and scientific theories, the monumental past of culture and the decadent attitude in
this respect in the present are being analyzed, on basis of the main of of
question possibilities
justifying history. Taking as a starting point precisely the questioning of the notion of truth
(pravda) in history, it is proceeded to examine anew the objective of the debate of the
Correspondence, defined in former as binary oppositions :Jew versus Hellene,
interpretations
nominalist versus realist, Rousseauist versus Platonist, tabula rasa versus thesaurus.

Angela DIOLETTA SICLARI, Individualit? et cum?nisme ? la lumi?re de l'?thique kan


tienne.

Pendant la premi?re p?riode de sa formation, Ivanov se rapproche de la pens?e ?thique de


Kant et de l'id?alisme de Fichte et Schelling. Mais, en derni?re il ne partage pas r?el
analyse,
lement ces id?es ; il s'en sert plut?t comme de symboles et de proc?d?s pour approfondir per
sonnellement leprobl?me du rapport entre la libert? individuelle et les valeurs.
Dans ? La crise de l'individualisme ? (?Krizis individualizma ?, 1905), Ivanov souligne
deux aspects de lamorale kantienne : lamultiplicit? ind?finie des formes non n?cessaires, dans

lesquelles l'intention morale peut s'incarner, et l'universalisme de la personne, en tant que fin
de l'action morale. Il en conclut que la morale kantienne donne ? l'individu ? une
ampleur
royale ?, c'est-?-dire qu'elle est la base de l' cum?nisme.

Toutefois, du point de vue kantien, cette ampleur royale n'est pas encore cum?nisme ;
celui-ci exige qu'on partage non seulement la dimension de la rationalit? de la volont?, mais
aussi la dimension de l'action et de l'exp?rience concr?te, l? o? r?sident des r?gles concr?tes
? suivre.
C'est qu'Ivanov con?oit encore la libert? comme tous les symbolistes, c'est-?-dire comme
un des deux moments d'une Le monde concret d'un certain point de vue sera
polarit?. toujours
n?gatif, pour la seule raison qu'il est la limitation de la libert?de l'individu ;et c'est ainsi qu'il
doit ?tre afin que la personne se r?v?le. Cela dehors de la r?alisation de la per
signifie qu'en
sonne, il n'existe pas d'autres vraies fins, et que la personne ne se r?alise que par l'opposition
au monde, comme voulait Fichte.

Angela DIOLETTA SICLARI, Individuality and ecumenism in the light of Kantian ethics.
In the course of
the primary stage of his formation, Ivanov comes close to Kant's ethical
ideology and Fichte 's and Schelling's idealism. But, all in all, he does not really share these
ideas ; he rather makes use of them as symbols and as means to study personally, more

thoroughly, the problem of connection between individual liberty and values.


In "Krizis individualizma" (1905), Ivanov underlines two aspects of Kantian ethics : the
indefinite multiplicity of unnecessary forms in which the moral intention can be embodied and
the universalism of the person, as objective of the moral action. He concludes therefrom that
Kantian ethics equips the individual with
dimension", a "royal
in other words that it is the
basis of ecumenism. However, from Kant's point of view, this "royal dimension" is not yet
ecumenism : according to the latter, it is not only the dimension of rationality of will that is to
be shared, but also the dimension of action and of concrete experience, in which the concrete
rules to be followed reside.
? ?
Ivanov like all symbolists views liberty as one of the two elements of polarity. From
a certain point of view, the concrete world will always be negative inasmuch as it constitutes
the limitation of the individual's liberty ; and itmust be such so that the personality might
reveal itself. This means that there are no other true objectives except the materialization of
the person and that the person is realized only by opposition to the world, to Fichte.
according

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416 R?SUM?S/ABSTRACTS

Michel GRABAR, Esquisse d'une th?orie ivanovienne de la culture dans la Correspondance


d'un coin ? l'autre.

R?fugi?s, en 1920, dans une ? maison de repos pour les travailleurs de la science et des
lettres ? des environs de Moscou, VjaCeslav Ivanov et Mihail Gerschenson ?chang?rent douze

lettres, d'un coin ? l'autre d'une chambre qu'ils furent forc?s de partager. Telle est l'origine de
la Correspondance. Par la profondeur du d?bat engag? sur la nature et les fondements de la

culture, o? le radicalisme des Lumi?res sous la plume de Gerschenson heurte l'exigence


humaniste de m?moire chez VjaCeslav Ivanov, ce texte magnifique et ardu m?rite une lecture
attentive. C'est ce qui est tent? ici, dans le respect de la logique d'un texte ?minemment inter

textuel, o? une lettre r?pond ? une autre lettre, o? une r?f?rence, explicite ou implicite, entre
en dialogue avec une autre r?f?rence.

across a
Michel GRABAR, Draft of an Ivanovian theory of culture in the Correspondence
room.

Sheltered, in 1920, in a "convalescent home for scientific and literary workers" in the
outskirts of Moscow, Viacheslav Ivanov and Mikhail Gerschenson a dozen of
exchanged
letters from two corners of a room which they were forced to share. Such is the origin of the
This and arduous text deserves an attentive study because of the in
Correspondence. splendid
depth debate that it constitutes on the nature and the foundation of culture in which the
radicalism of Enlightenment as exposed by Gerschenson clashes with Ivanov's humanist

requirements of memory. This study is endeavoured here with complete respect for the logic
of a highly intertextual text, inwhich one letter replies to another, and an explicit or implicit
reference engages a dialogue with another reference.

Efim ETKIND, VjaCeslav Ivanov et les questions de po?tique. Ann?es 1920.

Ivanov, un des po?tes les plus cons?quents, a beaucoup fait pour


VjaCeslav symbolistes
cr?er une th?orie du vers ; cette activit? le rend proche de ses contemporains, Brjusov, Belyj
et m?me Bal'mont. Ce mariage paradoxal de l'intuitivisme des symbolistes et de leur rationa
lisme scientifique s'explique par les d?couvertes de divers mondes po?tiques, dues aux sym
bolistes cherchaient ? se rendre compte des nouveaux ph?nom?nes esth?tiques encore
qui
enti?rement incompris. En 1921-1922, Ivanov a fait des cours sur la po?tique ? l'Universit? de
Bakou ; ces cours n'ont jamais ?t? publi?s. L'auteur de l'article analyse les id?es d'Ivanov sur
la po?tique (la nature de la langue, les origines de l'image sonore, la structure phon?tique du
vers, etc.) d'apr?s les notes d'un de ses ?tudiants ; il arrive ? la conclusion qu'Ivanov cr?e sa
th?orie en pol?miquant continuellement avec les jeunes formalistes Sklovskij, Brik, Jaku

bovskij, R. Jacobson. Malgr? des divergences ?videntes, on peut affirmer que c'est au d?but
du XXe si?cle que la po?tique moderne fut cr??e gr?ce aux efforts communs des symbolistes,
des acm??stes et des partisans de l'?cole du formalisme russe.

Efim ETKIND, Viacheslav Ivanov and the questions of poetics in the 1920s.

Viacheslav Ivanov was instrumental in creating a theory of poetry. This activity brings
him close to his contemporaries, Briusov, and even Bal'mont. This paradoxical marriage
Belyi
between Symbolists' intuitivism and their scientific rationalism is explained by the discovery
of various worlds, due to Symbolists' attempts at being acquainted with new aesthetic
poetical
still In 1921-1922, Ivanov gave several lectures at Baku
phenomena, indecipherable.
University, the texts of which had never been published. This study, based on the notes of one
of Ivanov's students, analyses his conceptions of poetics (such as the nature of the language,
the origine of sonorous images, the phonetic structure of poetry, etc.). The article concludes
that Ivanov creates his theory through a constant polemics with the young Formalists. In spite

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R?SUM?S/ABSTRACTS 417

of obvious divergencies, it can be stated that it is at the beginning of the twentieth century that
modern poetics was created, thanks to the common efforts of Symbolists, Acmeists and

supporters of the Russian formalist school.

Rolf FIEGUTH, La question de la cat?gorie du ?sublime ? chez VjaCeslav Ivanov.

Nous en tant que th?orie du sublime la conception ivanovienne de l'inspira


interpr?tons
tion du po?te, inspiration qui surmonte l'individualisme d'abord par les extases mystiques du

po?te solitaire, et puis par le retour du po?te inspir? ? la communaut? (sobornost') avec les
autres ?tres humains. La m?me id?e caract?rise les cycles lyriques d'Ivanov : l'individualisme
du po?me individuel par son intertextualit?
est domin? (stylisation antique, vieux-russe, etc.),
et par sa subordination au principe de la composition cyclique ; celui du mot individuel est en

partie sacrifi? ? une m?trique et ? une syntaxte particuli?rement marqu?es (cf. le cycle Hes
p?rides). L'id?al du sublime communautaire (sobornoe vozvySennoe) d'Ivanov doit ?tre lu
dans le contexte d'une histoire du sublime dans la litt?rature russe.

Rolf FIEGUTH, The question of the category of the sublime in Viacheslav Ivanov's poetry.

We interpret as a theory of the sublime Ivanov's view on the poet's which is


inspiration
surmounting individualism, first by the lonely poet's mystic ecstasies, and then by the inspired
poet's return to the community (sobornost') with other human The same idea is
beings.
underlying Ivanov's poetical cycles : the single poem's individualism is dominated by its
intertextuality (stylisation of the antique, theOld Russian, etc.) and by its subordination to the
compositional principle of ordered texts : the single word's individualism is partly sacrificed
to the particularities of Ivanovian metrics and syntax (for instance Hesperides). Ivanov's ideal
of a communitarian sublime (sobornoe vozvyshennoe) should be read in the context of a

history of the sublime in Russian literature.

Leonid HELLER, Le synth?tisme de VjaCeslav Ivanov.

L'id?e d'une ? de la science, de l'art et de la religion ?, celle d'une


grande synth?se syn
th?se de l'art et de l'?tre, celle de la ? synth?se des arts ? ou d'un ? art synth?tique ?, celle
enfin des ? ? dans l'art, toutes ces id?es ponctuent l'?volution du
proc?d?s synth?tiques
modernisme, ? partir des ann?es 1880. Parmi ceux qui, en Russie, les ont pourvues d'une r?elle
consistance critique et philosophique, parmi aussi les d?fricheurs de la voie vers la ? grande

synth?se ?, VjaCeslav Ivanov occupe l'une des premi?res places. Cet article envisage de fa?on
sommaire le ? synth?tisme ? d'Ivanov comme un ?l?ment de son discours dans ses
th?orique,
liens avec le contexte de l'?poque. Nous suivons l'itin?raire d?termin? par les p?les du champ
o? ?volue la notion de ? synth?se ? ; la science, lamystique et l'art, ?l?ments de la grande syn
?
th?se, se manifestent ? travers les tendances et les motifs particuliers ?nerg?tisme-?sot?
?
risme-synth?tisme dont nous examinons le r?le dans la r?flexion d'Ivanov. Nous tentons

?galement de montrer ? quel point ces motifs sont li?s, dans la conscience culturelle de l'?ge

d'Argent et de ses successeurs, autrement dit, ? quel point ils se sont constitu?s en compo
santes du paradigme culturel du modernisme.

Leonid HELLER, Viacheslav Ivanov's synthetism.

From the 1880's on, the evolution of modernism is punctuated with various synthetic
schemes, such as a "great synthesis of science, art and religion", a synthesis of art and being,
a "synthetic art", and finally "synthetic" devices in art. Viacheslav Ivanov occupies one of the
foremost places among those who, in Russia, supplied these ideas with a real critical and

philosophic consistency, and also among those who pioneered the road towards the "great

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418 R?SUM?S/ABSTRACTS

This article examines Ivanov's ? ? as an element of his


synthesis". briefly synthetism
theoretical discourse, on the background of his time. It follows the progression of the notion
of "synthesis" : science, and art, elements of the great manifest
mysticism synthesis,
? ?
themselves through particular tendencies and motives energetism, esoterism, synthetism
and it stresses their influence on Ivanov's thought. It also endeavors to show the close
connection of these motives in the cultural conscience of the Silver Age and of its successors,
that is to say the point up to which they constitute themselves into the cultural paradigm of
modernism.

Maria CYMBORSKA-LEBODA, Le drame, la musique et le th??tre : la conception symbo


liste de l'homme.

Le pr?sent article se propose de d?gager des textes th?oriques des symbolistes (notam
ment ceux de VjaCeslav Ivanov et d'A. Belyj) leurs conceptions de la musique, du drame et
du th??tre. Il examine la part de l'influence directe de la tradition de la culture antique, fami
li?re aux ?crivains de cette ?poque, et celle de la pens?e esth?tique de Nietzsche et deWagner,
qui jouaient un r?le d'interm?diaires dans l'assimilation de l'Antiquit? (cat?gorie du retour,
d?sir de faire rena?tre les ?l?ments primitifs du drame : le ch ur et l'?l?ment musical, diony
siaque).
Ont ?t? analys?s le programme symboliste d'archa?sation du drame (pr?sentant des ana

logies avec
la conception du genre chez Bahtin) et la hi?rarchie des arts et des genres, ainsi
que la typologie du drame : Ivanov opposant le drame-spectacle au drame choral, d'origine
dionysiaque. L'article pr?sente enfin la conception philosophique de l'homme et de la culture
chez Ivanov.

Maria CYMBORSKA-LEBODA, Drama, music and theater : the symbolist conception of


man.

This article attempts to extract from the theoretical writings of symbolists (such as
Viacheslav Ivanov and A. Belyi), their views on music, drama and theater. It traces the
influence exercised directly by the traditions of ancient culture, familiar with the writers of this

period, and the part of Nietzschean


and Wagnerian aesthetics, as intermediary in the
assimilation of
antiquity (for instance, the eternal recurrence, the revival of the pristine
elements in drama ; its chorus and its musical, Dionysiac element). The article examines

symbolist views on the archaization of drama (partly similar to Bahtin's notion of genre) and
the hierarchy of arts and genres, together with the typology of drama : Ivanov contrasts drama

performance with choral drama, of Dionysiac origin. Finally, the article presents Ivanov's

philosophical views on man and culture.

Grazyna BOBILEWICZ-BRYS, La peinture des ma?tres de la Renaissance italienne dans


l' uvre de VjaCeslav Ivanov.

On a examin? dans cet article l'influence de la peinture des ma?tres de la Renaissance ita
lienne (Sandro Botticelli, Rapha?l Santi, L?onard de Vinci, Michel-Ange) sur l' uvre et sur
la conception de la vie de VjaCeslav Ivanov. L'auteur de Cor ardens adopte ou r?interpr?te le

programme esth?tique, philosophique et religieux des peintres italiens. Il se r?f?re aux proc?
d?s iconographiques de leurs uvres, ? leurs solutions stylistiques, formelles (la cr?ation des
personnages, le paysage, la mise en sc?ne de la composition, les formes du dessin, la th?orie
de la perspective, etc.). Les ma?tres de la Renaissance, sources d'inspiration po?tique, et leurs
uvres sont pour Ivanov le symbole du monde de l'art, ?ternel, o? la beaut?, prot?g?e,
aux ravages du temps.
?chappe

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R?SUM?S/ABSTRACTS 419

Grazyna BOBILEWICZ-BRYS, The painting of the masters of Italian Renaissance in


Viacheslav Ivanov's work.

This article examines the influence of the painting of the masters of Italian Renaissance

(Sandro Botticelli, Santi, Leonardo da Vinci, Michelangelo) on Viacheslav Ivanov's


Raphael
work and conception of life. The author of Cor ardens adopts and re-interprets the aesthetic,

philosophical and religious program of Italian painters. He refers to their iconographie devices
and resorts to their stylistic and formal solutions (in the creation of figures, landscape, scenery,
of perspective, etc.). The Renaissance masters, sources of poetical
drawing, conception
inspiration, as well as their work are for Ivanov symbols of the everlasting world of art, in
which beauty is thus immune to the ravages of time.

Aleksandr ETKIND, VjaCeslav Ivanov et la psychanalyse.

Le symbolisme russe et la psychanalyse avaient quelques traits en commun et ils


s'influenc?rent mutuellement. On examine dans cet article les ressemblances et les diff?rences
entre les id?es de VjaCeslav Ivanov et celles de Freud et de Jung ? lam?me ?poque, ainsi que
certaines interf?rences Sur le plan historique, on pr?sume que Sabine
biographiques. Spielrein
et Emilij Metner ont ?t? les personnalit?s influentes qui ont mis la psychanalyse en rapport
avec le symbolisme dans le contexte russe. Sur le plan on suppose que les figures
th?orique,
d' dipe et de Dionysos ont fourni les sch?mas intellectuels qui ont polaris? les relations entre
la psychanalyse et le symbolisme.

Aleksandr ETKIND, Viacheslav Ivanov and psychoanalysis.

Russian symbolism had certain characteristics in common with psychoanalysis and they
influenced each other. This article examines the resemblances and the differences between the
ideas of Viacheslav Ivanov and those of Freud and of Jung at the same period as well as certain

biographical connections between them. In the historical domain, it is supposed that Sabine
Spielrein and Emilii Metner were the influential personalities that established the link between
psychoanalysis and symbolism in the Russian context. In the theoretical domain, it is supposed
that the figures of dipus and Dionysos had provided the intellectual scheme polarizing the
relationship between psychoanalysis and symbolism.

Aleksandr KUSNER, Les th?mes mythologiques dans la po?sie lyrique de VjaCeslav Ivanov
etd'I. Annenskij.

En d?pit de la communaut? de leurs int?r?ts philologiques li?s ? l'Antiquit?, Ivanov et


Annenskij eurent une attitude tout ? fait diff?rente ? l'?gard du mythe et l'employ?rent dans
leur po?sie lyrique de fa?on diff?rente, cela tenait ? leurs conceptions diff?rentes des objectifs
po?tiques. Pour Ivanov ?tait avant tout un moyen
le th?me mythologique de transporter le dis
cours po?tique dans les sur le plan cosmique ? inconcevable par
sph?res supraterrestres,
l'esprit ?, o? il prenait un sens m?taphysique, orgiaque, dionysiaque ;dans la po?sie d'Ivanov,
les noms et les th?mes mythologiques qui s'encha?naient les uns aux autres devenaient sou
vent un th?mese suffisant ? lui-m?me, et la vie contemporaine en comparaison se r?v?lait pro
et peu digne d'attention. Pour en revanche, le ne contenait pas
sa?que Annenskij, mythe qui
d'? obscurit? ? tout ? coup dans ses vers une couleur actuelle et jouait le r?le de m?ta
prenait
phores frappantes et originales. Annenskij cr?ait dans sa po?sie lyrique un mythe nouveau,
actuel, issu de l'encha?nement douloureux de l'?me avec le monde environnant. Pour lui, la
vie de son ?poque ?tait ? la fois terrible, belle et myst?rieuse, et le ? sublime ?, 1'? inconce
vable ? ne pas d'en haut comme chez Ivanov, ils ?manaient de la vie m?me.
provenaient

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420 R?SUM?S/ABSTRACTS

Aleksandr KUSHNER, The mythological themes in the lyricpoetry of Viacheslav Ivanov and
of I. Annenskii.

In spite of the common characteristics of their philological interests, linked to antiquity,


Ivanov and Annenskii varied greatly in their approach tomyth of which theymade use very
differently in their lyric poetry. This is explained by the variety of their conceptions of poetical
objectives. For Ivanov, the mythological theme was mainly a way to transfer poetical language
a cosmic in which
into supraterrestrial spheres, domain
"inconceivable by the mind", this

language adopted a metaphysical, meaning ; in his poetry, the names and


orgiastic, dionysian
the mythological themes, linked to each other, were transformed often enough into a unique,
self-sufficient theme and, by comparison with it, the contemporary life appeared as prosaic
and of little interest. For Annenskii, on the other hand, the myth of "dimness"
deprived
unexpectedly a present-day aspect in his poetry and played therein only the part of
presented
and original metaphors. Annenskii created in his verses a new, myth,
striking everyday
originating in the painful conjunction of the soul with the surrounding world. He viewed

contemporary life as terrible, as well as beautiful andmysterious, and the "sublime" and the
?
"inconceivable" were not originating from above as in the case of Ivanov
"superpositions"
? but from life itself.

Pamela DAVIDSON, The legacy of difficulty in the Russian poetic tradition : contemporary
critical responses to Ivanov's Cor Ardens.

In reviewing the responses of Ivanov's fellow-poets to his collection of verse Cor Ardens

(1911-1912), the paper focuses on one particular issue : the difficulty of Ivanov's poetry and
the legacy of this aspect of his poetics.
The paper falls into three parts. The first provides an introduction to the concept of

difficulty in poetry, considered in relation to the development of theRussian poetic tradition


and to Ivanov's place within this tradition. The central and most extensive part analyses the

responses to the difficulty of Ivanov's poetry reflected in the reviews of Cor Ardens written by
Valerii Briusov, Mikhail Kuzmin, Georgii Chulkov, and three younger poets of the next

generation, Nikolai Gumilev, Sergei Gorodetskii and Vladislav Khodasevich. The final part
considers Ivanov's innovatory role and legacy as a "difficult" poet, and concludes that it had
a two-fold ? on as Briusov
impact both directly, the level of formal difficulty, and Kuzmin
underline, but also indirectly, as a stimulus to reaction and self-definition, as is particularly
clear from Gumilev's response to Ivanov's ideological complexity.

Pamela DAVIDSON, Le legs de la difficult? dans la tradition po?tique russe : r?actions cri
tiques contemporaines ? Cor Ardens d'Ivanov.

En analysant les comptes rendus du recueil po?tique Cor Ardens (1911-1912) publi?s par
les po?tes de l'entourage d'Ivanov, cet article est centr? sur une question particuli?re : la dif
ficult? de la po?sie d'Ivanov et le legs de cet aspect de sa po?tique.
L'article comprend trois parties. La premi?re introduit la notion de difficult? en po?sie,
dans le contexte de l'?volution de la tradition po?tique russe, et situe Ivanov dans cette tradi
tion. La partie centrale, la plus d?velopp?e, analyse les r?actions suscit?es par la difficult? de
lapo?sie d'Ivanov ? travers les comptes rendus de Cor Ardens de Valerij Brjusov, Mihail Kuz
min, Georgij Culkov et de trois po?tes plus jeunes, appartenant ? la g?n?ration suivante, Niko

lajGumilev, Sergej Gorodeckij et Vladislav HodaseviC. La troisi?me partie examine le r?le


novateur d'Ivanov et son en qualit? de po?te ? difficile ? et conclut a eu un
h?ritage qu'il
double : ? la fois directement au niveau de la difficult? formelle, comme le soulignent
impact
et Kuzmin, mais aussi indirectement, dans la mesure o? il provoque une r?action et
Brjusov
oblige ? s'autod?finir, ainsi qu'il ressort clairement de la r?action de Gumilev ? la complexit?

id?ologique d'Ivanov.

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R?SUM?S/ABSTRACTS 421

Aminadav DYKMAN, Lithica Ivanoviana. Quelques remarques autour du cycle ProzraCnost'.

Cet article traite de la tradition litt?raire qui sert d'arri?re-plan au cycle po?tique de
VjaCeslav Ivanov, ProzraCnost' (Le royaume de la transparence). L'auteur essaie de d?mon
trer le synth?tisme pr?m?dit? dudit cycle, en ?voquant des textes tels les lapidaires gr?co
latins, le c?l?bre lapidaire m?di?val de Marbode, ainsi que plusieurs textes po?tiques de
l'?poque baroque ou des po?tes symbolistes. Cet article se propose de d?fendre la th?se selon
une appr?ciation du texte d'Ivanov ne peut ?tre obtenue qu'en confrontant ses
laquelle globale
diverses sources litt?raires.

Aminadav DYKMAN, Lithica Ivanoviana. Some remarks about the cycle Prozrachnost'.

This article presents the literary tradition that serves as a background to Viacheslav
Ivanov's poetical cycle Prozrachnost' (The kingdom of transparency). The author endeavours
to demonstrate the deliberate synthetism of this cycle, evoking texts of Greek and Latin
the famous medieval Marbode's as well as several texts belonging
lapidaries, lapidary, poetic
to the baroque period or the symbolist poets. This article supports the thesis according to
which a global appreciation of Ivanov's text can be obtained only after confrontation of its
various literary sources.

Aleksandr ARH ANGEL' SKI J, MladenCestvo de VjaCeslav Ivanov et la philosophie de


l'enfance chez Boris Pasternak.

On a tent? dans cet article


de rapprocher l'image mytho-po?tique de la premi?re enfance,
? vue comme une non pas
par Ivanov ?poque de la vie humaine, bucolique et sereine, mais
au contraire de lucidit? d'une proximit? saisissante avec le et l'enfer ?, de
tragique, paradis
la philosophie de l'enfance, v?cue comme une succession de pertes d'?tres
pasternakienne
chers et comme la compr?hension du myst?re de la mort. Gr?ce aux rep?res spirituels conf?
r?s par la notion de succession, de paternit?, la personnalit? en formation est dot?e d'un ? gage
d'immortalit? ?. Chez Ivanov et Pasternak, l'art, en p?n?trant t?t dans l'univers de l'enfant et
en y introduisant ? :
l'harmonie d'un autre ordre tragique ?, constitue le maillon de la cha?ne

premi?re enfance -? paternit? -> mort -> ?ternit?.

Aleksandr ARKHANGEL'SKII, Viacheslav Ivanov's Mladenchestvo and the philosophy of


infancy in Boris Pasternak's work.

?
This article endeavored to link Ivanov's mythopoetical image of infancy, viewed not
as a pastoral, serene period, but instead, as a stage of tragic consciousness, close to paradise
and hell ?, to Pasternak's
philosophy of childhood, lived as an experience of successive
losses
and understanding of the mystery of death. Because of the spiritual supports provided
of fatherhood, a "pledge of immortality" is thus bestowed on the
by the notion of succession,

shaping personality. For Ivanov and Pasternak, art that penetrates early in the child's universe
? ? a link in the chain : ??
and brings the harmony of another tragic order, becomes infancy
fatherhood -> death -? eternity.

Donata GELLI MUREDDU, Memory of thepast, classical motifs and palinody in theRoman
diary of the year 1944.
InDnevnik 1944 goda Viacheslav Ivanov reached thefinal stage of his spiritual quest, the
coherent point of arrival of the linear itinerary of his poetics. Christian anamnesis, which lies

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422 R?SUM?S/ABSTRACTS

the Diary, testifies of inspiration :memory of the past is purified and


throughout continuity
lives in the present. Anamnesis concerns human memory of either great or small events :
flows into, and finds salvation in the all-encompassing Eternal Memory. The
everything
death-rebirth dialectic, linkedwith the relationship between individualmemory and Vechnaia
Pamiat', reclaims another recurrent of Ivanov's : the passage
aspect memory-oriented poetics
from individual to choral memory, flowing into the current of Mnemosyne.

Donata GELLI MUREDDU, La m?moire du pass?, les motifs classiques et lapalinodie dans
le Journal romain de l'ann?e 1944.

Dans Dnevnik 1944 goda VjaCeslav Ivanov atteint le stade final de son itin?raire spirituel.
La continuit? est marqu?e par l'anamn?se chr?tienne, pr?sente tout au long de ce
d'inspiration
intime. L'anamn?se totalement lam?moire humaine du pass?. La M?moire
journal transfigure
?ternelle et vivifie dans le pr?sent les grands ?v?nements aussi bien que les petits. La
r?cup?re
mort-renaissance, centr?e sur la relation entre m?moire individuelle et VeCnaja
dialectique
conduit ? un autre trait caract?ristique de la po?tique ivanovienne de la m?moire : la
Pamjaf,
transformation des souvenirs individuels en m?moire chorale, afin de confluer dans l'eau
vivante de Mn?mosyne.

Roman DOUBROVKINE, La version allemande de la m?lop?e ? Celovek ?. Une tentative


d'interpr?tation.

Cet article se propose d'interpr?ter la version allemande de la premi?re partie du po?me


de VjaCeslav Ivanov, ? Der Mensch ?, dont le manuscrit est conserv? aux archives de la Fon
dation Bodmer ? Gen?ve. Cette traduction allemande, effectu?e par le po?te au d?but des
ann?es 30, ?tait destin?e au suisse Corona. L'original, quant ? lui, ?crit ? Moscou
magazine
avant la r?volution, n'a ?t? publi? qu'en 1939 ? Paris. Or, des diff?rences, dues entre autres ?
des de entre l'original et la version allemande qui, pour des
particularit?s style, apparaissent
raisons n'a jamais ?t? publi?e. 11 ressort de la comparaison de cette traduction avec
inconnues,
les commentaires, ?crits par Ivanov pour le livre parisien de 1939 que le texte allemand doit
?tre consid?r? comme une variante nouvelle, et plus approfondie de cet ouvrage ardu. Les
lettres du po?te, retrouv?es confirment cette Si ? Der Mensch ?
r?cemment, hypoth?se. peut
effectivement ?tre consid?r? comme une traduction, en fait seul l'auteur peut s'arroger les
libert?s avec le texte.
prises

Roman DOUBROVKINE, The German version of the threnody "Chelovek". An attempt of


interpretation.

The of the article


aim is to interpret the German version of the first part of Viacheslav
Ivanov's poem "Der Mensch", the manuscript of which is preserved at the Geneva archive
"Fondation Bodmer". this translation, made at the beginning of the 1930's and
Stylistically,
planned to be published in a Swiss magazine Corona, differs greatly from theRussian original.
"Chelovek" was written before the Revolution, but was printed only in 1939 in Paris. For
reasons unknown the German translation was never published. Comparing the German
Ivanov to the Paris edition, the author
translation with the commentaries made by Viacheslav
of this article comes to the conclusion that the German text should be regarded as a new and
more mature of this most elaborate work. Ivanov's letters, discovered recently, have
rendering
confirmed this hypothesis. If "Der Mensch" can be considered a translation, then the right to

translate in this way belongs solely to the author.

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R?SUM?S/ABSTRACTS 423

Dimitri SEGAL, VjaCeslav Ivanov et lafamille Sor (Chor).

Au cours des ann?es 1920-1930, Ivanov a eu des contacts intensifs avec le jeune
VjaCeslav
philosophe ?migr? Evsej (Yehoshua) Sor ? Tel Aviv. Ces relations ?taient principalement
consacr?es aux activit?s d'E. Sor en
sa qualit? de traducteur d'Ivanov en allemand. Nous

publions ici une s?lection de lettres d'Ivanov et de Sor, centr?es pour la plupart autour de la
tentative de Sor de reconstituer la conception du monde d'Ivanov.

Dimitri SEGAL, Viacheslav Ivanov and the Shorfamily.

During the 1920-1930's Viacheslav Ivanov had intensive contacts with the young emigre
Evsei (Yehoshua) Shor in Tel-Aviv. These contacts were mostly devoted to
philosopher
E. Shor's activities as Ivanov's translator into German. A selection of letters written by Ivanov
and Shor is published, mostly around Shor's attempt to reconstruct Ivanov's Weltanschauung.

Michael WACHTEL, VjaCeslav Ivanov, ?tudiant ? l'Universit? de Berlin.

Les ?tudes de VjaCeslav Ivanov ? Berlin et ? Rome sont devenues mati?re ? l?gende plu
t?t qu'? ?rudite. Le pr?sent article, reposant sur des documents d'archives de
investigation
Berlin et de Moscou, s'efforce de corriger de nombreuses id?es fausses ? propos de ces ann?es
de formation. Dans un essai introductif, l'auteur retrace le cheminement des ?tudes d'Ivanov
(en particulier le chemin tortueux de la progression de sa th?se) et examine ses relations avec
ses mentors, les professeurs Otto Hirschfeld et Theodor Mommsen. L'essai est suivi de la

publication annot?e de mat?riaux pertinents :d'abord la liste des cours suivis par Ivanov pen
dant ses ann?es berlinoises (compil?e par Ivanov lui-m?me en 1895), puis la correspondance
d'Ivanov avec Hirschfeld.

Michael WACHTEL, Viacheslav Ivanov, a student at Berlin University.

Viacheslav Ivanov's studies in Berlin and Rome have become the stuff of legend rather
than of scholarly investigation. The present paper, based on archival documents from Berlin
and Moscow, seeks to correct numerous about these formative
misconceptions years. In an

introductory essay, the author charts the course of Ivanov's studies (in particular, the tortuous
path of his dissertation progress) and examines his relationship to his mentors, Professors Otto
Hirschfeld and Theodor Mommsen. The essay is followed by annotated publications of
relevant material ; first, a list of Ivanov's course the years in Berlin (as compiled
during by
Ivanov himself in 1895) and second, Ivanov's correspondence with Hirschfeld.

Vera PROSKURINA, VjaCeslav Ivanov et Mihail Gerschenson. Sur la voie de la Correspon


dance d'un coin ? l'autre.

Le pr?sent article examine l'histoire des relations personnelles et ? professionnelles ? de

VjaCeslav Ivanov avec l'historien du mouvement intellectuel russe, ?crivain et penseur Mihail
Gerschenson. Sur la base des mat?riaux in?dits de leur correspondance et de la revue manus
crite ? Bul'var i pereulok ? (1915), se compose le pr?lude de la Correspondance d'un coin ?
l'autre dont les racines remontent au milieu des ann?es 1910, p?riode de travaux de traduction
en commun et de discussions amicales au sein du cercle des interlocuteurs moscovites d'Iva
nov. L'article ? ? (Th?orie
de Gerschenson publi? en annexe, Teorija slovesnosti de la litt?ra
ture), est extrait du journal humoristique ? Bul'var i pereulok ?. Truff? d'?sot?risme domes
tique il donne un mod?le, fait avec art, de 1'? univers d'Ivanov ?. Les accents
ironiques mis
par Gerschenson pr?figurent la pol?mique future et ?clairent ses origines.

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424 R?SUM?S/ABSTRACTS

Vera PROSKURINA, Viacheslav Ivanov and Mikhail Gerschenson on the way to the Corres

pondence across a room.

The present article traces the history of personal and "professional" relations of
Viacheslav Ivanov with the historian of the Russian intellectual movement, writer and thinker,
Mikhail Gerschenson. Based on the unpublished materials of their correspondence and the
review "Bul'var i pereulok" (1915), the prelude to the Correspondence across a
manuscript
room looms up, the roots of which go back to the mid-1910's, a time of joint translation work
and of friendly discussions among Ivanov's Muscovite interlocutors. Gerschenson's article,
"Teoriia slovesnosti", annexed herewith, is extracted from the humoristic review "Bul'var i
Filled with domestic esoterism, it gives a skilful of "Ivanov's
pereulok". representation
universe". Interspersed with Gerschenson's ironical accents, it foreshadows their future

polemics and throws a light on its origin.

Michel GRABAR, VjaCeslav Ivanov et Vladimir Solov 'ev.

et po?te, Vladimir Solov'ev a eu une influence d?terminante sur la constitu


Philosophe
tion de la ? nouvelle conscience religieuse ?, ? l'?ge d'Argent. VjaCeslav Ivanov, faisant
uvre ici d'historien de la culture russe, analyse dans un texte datant de 1911 ce r?le jou? par
Solov'ev. Le philosophe russe a, nous dit Ivanov, donn? forme au nouveau sentiment reli
encore ou un Tolstoj a mis en sc?ne dans ses romans. Il a
gieux, amorphe, qu'un Dostoevskij
port? la foi russe, exclusive et nationale, ? un degr? d'universalit? inconnu jusqu'? lui. Il a per
mis, la divino-humanit? surmontant le surhomme, de sortir de l'aporie de l'individualisme
d?cadent. Mais par del? ce r?le grandiose jou? par Solov'ev dans l'histoire intellectuelle de
d'Argent, un lien intime s'est nou? entre l' uvre de Solov'ev et le destin po?tique et
l'?ge
de VjaCeslav Ivanov : ?clairer ce rapport subtil permettra de mieux com
spirituel peut-?tre
la de l' uvre ivanovienne.
prendre logique profonde

Michel GRABAR, Viacheslav Ivanov and Vladimir Solov'ev.


As a philosopher and a p t, Vladimir Solov'ev exercised a determining influence on the

making of the "new religious conscience" in the Silver Age. Viacheslav Ivanov, acting here as
a historian of Russian culture, analyses, in a text dated from 1911, the part thus played by
Solov'ev in this domain. According to Ivanov, the Russian philosopher shaped the new

feeling, as yet amorphous, that Dostoevskii and Tolstoi portrayed in their novels. He
religious
? ? a degree
endowed Russian faith exclusive and national with of universality unknown
to
prior to his intervention. With the divino-humanity superseding the overman, he managed
find a way out of decaying individualism. Beyond the significant part played by Solov'ev in
the intellectual history of the Silver Age, an intimate bond has been established between his
work and Ivanov's poetical and spiritual path :a light projected on this tenuous connection will
help understand the profound consistency of the latter's work.

Konstantin LAPPO-DANILEVSKIJ, VjaCeslav Ivanov et Aleksej KruCenyh dans un d?bat sur


Nietzsche et Dostoevskij.

Sur la base de documents in?dits, l'article d?crit un ?pisode peu connu de la vie culturelle
? Bakou apr?s la r?volution. Il s'agit d'un d?bat qui eut lieu ? une s?ance de la chaire de litt?
ratures ?trang?res ? l'Universit? de Bakou, le 9 mai 1921. L'argumentation de VjaCeslav Iva
nov un int?r?t particulier car elle contient une analyse des concepts cl?s de la philo
pr?sente
sophie de Dostoevskij. En annexe, sont publi?s plusieurs documents d'archives, parmi
un impromptu en vers d'A. KruCenyh adress? ? VjaCeslav Ivanov.
lesquels

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R?SUM?S/ABSTRACTS 425

Konstantin LAPPO-DANILEVSKII, Viacheslav Ivanov andAleksei Kruchenykh in a debate


on Nietzsche and Dostoevskii.

This article relates, on basis of hitherto documents, a little-known in


unpublished episode
the cultural life of Baku after the Revolution :a debate that took place at a session of the chair
of foreign literatures of the Baku University, on May 9, 1921. Viacheslav Ivanov's

argumentation presents a particular interest because it contains an analysis of the main


concepts of Dostoevskii's Enclosed herewith are several archival
philosophy. published
documents among which an in verse of A. Kruchenykh addressed to Viacheslav
impromptu
Ivanov.

(traduitpar M. DumontetD. N?grel)

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