Acmeists

Acmeists

(ăk`mēĭsts), school of Russian poets started in 1912 by Sergei M. Gorodetsky and Nikolai Stepanovich GumilevGumilev, Nikolai Stepanovich
, 1886–1921, Russian poet. With his wife, the poet Anna Akhmatova, and Gorodetsky Gumilev, he founded the Acmeist school of poetry in 1912.
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 as a reaction against the mysticism of the symbolists. The school aspired to concreteness of imagery and clarity of expression. The leading Acmeists were Gumilev, Anna AkhmatovaAkhmatova, Anna
, pseud. of Anna Andreyevna Gorenko
, 1888–1966, Russian poet of the Acmeist school. Her brief lyrics, simply and musically written in the tradition of Pushkin, attained great popularity. Her themes were personal, emotional, and often ironic.
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, and Osip MandelstamMandelstam, Osip Emilyevich
, 1892–1938, Russian poet. Mandelstam was a leader of the Acmeist school. He wrote impersonal, fatalistic, meticulously constructed poems, the best of which are collected in Kamen [stone] (1913) and Tristia (1922).
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Bibliography

See L. I. Strakhovsky, Craftsmen of the Word: Three Poets of Modern Russia.

References in periodicals archive ?
Thus, as Mandelstam asserts, "For the Acmeists the conscious sense (soznatel'nyi smyisl) of the word, the Logos, is just as magnificent a form (prekrasnaya forma) as music is for the Symbolists.
During these few years, everyone congregated there--Symbolists, Acmeists, Expressionists, Dadaists, zaurn poets, Futurists, Cubists, Cubo-Futurists.
Together with Mikhail Zenkevich (one of the early acmeists (2)), Kashkin introduced Russian readers to the finest works of T.
The Pushkin heritage, claimed previously by the Symbolists and Acmeists, is explicitly claimed by Nabokov: with its motifs, its themes, and its style, his oeuvre participates in Pushkin's legacy.
See also Clare Cavanagh, 'The Death of the Book a la russe: The Acmeists under Stalin', Slavic Review, 55 (1996),125-35 (P.
So we have no chance to set the Acmeists beside the Imagists, or look at the way Futurism passes into Constructivism.
There is a wonderful, rich panorama of personalities and ideas that includes the late Symbolists, the Acmeists, the Serapion Brothers, excellent portraits of Kaverin and Zoshchenko, Olesha and Babel, the extraordinary Marina Tsvetaeva and the exceptionally brave and steadfast Evgeny Zamyatin as well as of the Formalists and Futurists.
Petersburg, the Acmeists were associated with the review Apollon (1909-17).
It does not do to group together indiscriminately the symbolist and Acmeists, who had very different, even contradictory, programmes for the reform of Russian poetry.
Subsequent chapters deal with Keats's alleged impact primarily on Pushkin, the Symbolists, and the Acmeists.
His first poems were in imitation of the Acmeists, a Russian literary group that advocated a concrete, individualistic realism, stressing visual vividness, emotional intensity, and verbal freshness.
He belonged to several groups of poets, including the Acmeists, the Islanders (Ostrovitiane), and the Association for Real Art, usually known by its Russian acronym OBERIU.