Andrei Belyi

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Belyi, Andrei


(pseudonym of Boris Nikolaevich Bugaev). Born Oct. 14 (26), 1880, in Moscow; died Jan. 8, 1934, in Moscow. Russian writer; theoretician of symbolism.

Belyi graduated from the mathematics department of Moscow University (1903). His first verses came out in 1901. He belonged to the symbolists of the “younger” generation. His first collection of poems was Gold in Azure (1904). The four “symphonies” written in rhythmical prose (The Heroic, 1900, published in 1903 under the title Northern Symphony; Dramatic Symphony, 1902; Return, 1905; Goblet of Snowstorms, 1908) were marked by decadent features.

The Revolution of 1905–07 aroused Belyi’ s interest in social problems (the collection of poems Ashes, 1909). In the novel Petersburg (1913–14, revised edition, 1922), a harsh satire of reactionary, bureaucratic St. Petersburg emerges through symbolic imagery; however, the revolutionary movement is shown in a distorted light. While abroad in 1912, Belyi was under the influence of the leader of anthroposophy, R. Steiner. In 1916, Belyi returned to Russia. After the October Revolution, from 1919–22, he published the symbolist-oriented journal Notes of Dreamers.

In the postrevolutionary years he wrote primarily prose: the autobiographical novellas Kotik Letaev (1922) and The Baptized Chinaman (1927), and the historical epic Moscow (part 1, The Eccentric of Moscow, 1926; part 2, Moscow Under Attack, 1926; and Masks, 1932). In his prose Belyi remained faithful to the symbolist aesthetic with its fragmented plot, its shifting planes, and its attention to rhythm and the auditory effect of phrasing. He developed a symbolist aesthetic (the collection of articles Symbolism, 1910) and a theory of rhythm in verse and prose in which he was the first to make use of mathematical methods (Rhythm as Dialectic and the “Bronze Horseman,” 1929, and articles in the journal The Furnace in 1919). Belyi’s memoirs On The Border Between Two Centuries (1930), The Beginning of the Century: Memoirs (1933), and Between Two Revolutions (1934) are of great interest.


Sobr. soch., vols. 4, 7. Moscow, 1917.
Masterstvo Gogolia. Moscow-Leningrad, 1934.
Aleksandr Blok i Andrei Belyi: Perepiska. Moscow, 1940.
Stikhotvoreniia i poemy. (With an introductory article by T. Iu. Khmel’nitskaia.) Moscow-Leningrad, 1966.


Briusov, V. Dalekie i blizkie. Moscow, 1912.
Voronskii, A. Literaturnye portrety, vol. 1. Moscow, 1928.
Literaturnoe nasledstvo, vols. 27–28. Moscow, 1937.
Mikhailovskii, B. V. Russkaia literatura XX. v. Moscow, 1939.
Istoriia russkoi literatury, vol. 10. Moscow-Leningrad, 1954.
Denisova, L. Problema dialektiki v sovetskoi estetike 20-kh godov. In Iz istorii sovetskoi esteticheskoi mysli: Sb. st. Moscow, 1967. Pages 407–13.


References in periodicals archive ?
The impact of Skovoroda's life and works has been well documented on major writers in future generations, such as Leo Tolstoy, Andrei Bely and Pavlo Tychyna, to name but a few.
But before we toss the book down and join nationalist-communist revolutions (wreaking havoc upon unpaid wage labor), Zgustova leaves us in a very different Prague, that of the 1930s, brimming with Russian exiles--Vladimir Nabokov, as well as the less fortunate Alexander Blok, Andrei Bely, Osip Mandelstam, Isaac Babel, and Anna Akhmatova--all members of the Association of Artists and Writers.
Born in 1955, he lives in Moscow and has won the People's Booker and Andrei Bely prizes.
In an essay which also touches on Tolstoy, Caroline Hamilton explores turn-of-the-century debates about anarchy and order, and the creative relationship between science, art and destruction, violence and expression, through an examination of the fictional writings of Henry Adams and Andrei Bely.
The poets Aleksandr Blok and Andrei Bely, and their Symbolist movement, represented the kind of work she hoped to produce.
Twelve years before Spengler, Andrei Bely used a much more powerful vision than the German author u the fire at the start of the 20 th century that is beginning to consume the whole world: oEvents here are coming to a C boiling point.
Andrei Bely about Tolstoy ([TEXT NOT REPRODUCIBLE IN ASCII]).
Apart from being an author of seven books in Russian, winner of the prestigious Andrei Bely literary prize, porn star in Bruce LaBruce's queerly acclaimed 1999 Skin Gang (in which he is billed as Tom International), and now performance artist (with Assume Vivid Astro Focus, among others) and photographer, somehow Slava's reluctance to settle down, settle for the norm, jumps out of his multiple personae and trajectories.
Andrei Bely and Velimir Khlebnikov saw the convergence of the qualities of the sign and the referent in the word as a point where the particular and the universal coincided.
Andrei Bely (Boris Nikolaevich Bugaev, 1880-1934), one of the principal writers of the Russian Symbolist movement, produced a novel considered by many literary historians to be one of the greatest of the 20th century.
Its knowledge of non-Yiddish art and literature can be spotty (the Symbolist writers Aleksandr Blok and Andrei Bely never numbered among those Russians who associated radical artistic language with radical politics) and the hidden anti-Soviet subtexts it uncovers can be unconvincing.