Viacheslav Ivanov

The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Ivanov, Viacheslav Ivanovich


Born Feb. 16 (28), 1866, in Moscow; died July 16, 1949, in Rome. Russian poet and playwright.

Ivanov published his Hellenistic Religion of a Suffering God in 1904; it dealt with the Hellenistic cult of Dionysus, which was the source of tragic theater. He became known as a poet in 1898. His first volume of lyric poetry, Pilot Stars (1903), was followed by the collection of stories Transparency (1904) and Tantalus (1905), a tragedy with “antique choruses.” After 1905 Ivanov became one of the theorists of the second generation of Russian symbolists. His views were shaped by a passion for Slavophilism, V. Solov’ev’s mystical-religious cult of beauty, and Nietzsche’s voluntaristic philosophy. His dignified, elegant poetry, saturated with archaisms, addressed itself to the ideals of the past (antiquity and the Middle Ages). Ivanov’s philosophical, aesthetic, and critical works expounded the idea that the poet’s highest mission is to uncover the “symbols” at the heart of religious myth.

The years from 1917 to 1924 were devoted to scholarly and cultural-educational activities. Ivanov defended his dissertation in philology (Dionysus and His Forerunners, 1921; published 1923). He emigrated to Italy in 1924. Ivanov translated Dante and Petrarch into Russian; he published his own works infrequently (Roman Sonnets, 1925; Man, 1939).


Po zvezdam. St. Petersburg, 1909.
Borozdy i mezhi. Moscow, 1916.
Rodnoe i Vselenskoe. Moscow, 1918.
Prometei: Tragediia v stikhakh. Petrograd, 1919.
Perepiska iz dvukh uglov. Petrograd, 1921. (With M.O. Gershenzon.)
Svet vechernii. Oxford, 1962.
“Avtobiografiia.” In Russkaia literatura XX veka, vol. 3. Edited by S.A. Vengerov. Moscow, 1916.


Lunacharskii, A. “Zametki filosofa (Nepriemliushchie Mira).” Obrazovanie, 1906, no. 8.
Blok, A. “Tvorchestvo Viacheslava Ivanova.” In Aleksandr Blok o literature. Moscow, 1931.
Charnyi, M. “Neozhidannaia vstrecha (Viacheslav Ivanov v Rime).” Voprosy literatury, 1966, no. 3
Istoria russkoi literatury kontsa XlX-nachala XX veka: Bibliografich. ukazatel’. Moscow-Leningrad, 1963.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Estos trabajos analizan las visiones tanto de filosofos (Vladimir Soloviev, Nikolai Berdiaev, Ivan Il'in), como de teologos (Pavel Florensky, Georgy Fedotov, Vasily Zenkovsky), artistas (Leo Tolstoy, Viacheslav Ivanov, Maria Yudina) o testigos de la fe (Madre MariaSkobtsova).
This study discusses three long poems that employ the Onegin stanza--Pushkins Eugene Onegin, mostly written in 1823-1830; Mikhail Lermontov's Tambov Treasurer's Wife, written in 1838, and Viacheslav Ivanov's Infancy, written in 1913-1918.
is cinematography"; "philosophical poetry is good poetry, while philosophical theater is mostly boring." In important respects Losev reads like a scholastic summa of the symbolist aesthetics of Viacheslav Ivanov, Andrei Belyi and Pavel Florenskii.
The aura that surrounded the poet, critic, and philosopher Viacheslav Ivanov as doyen of St Petersburg's most famous salon of the 1900s and 1910s may appear to be poles apart from the circle that formed around the classical scholar Sir Maurice Bowra as Oxford's greatest wit of the 1920s and 1930s.
The Russian prospero; the creative universe of Viacheslav Ivanov.
IN 1920, AFTER A HARSH WINTER, Viacheslav Ivanov found a temporary refuge in a sanatorium for imperiled writers in Moscow.
The main agents of cross-cultural mediation wer e translators, publishers, critics and scholars, especially the leader of the Symbolists, the scholar poet Viacheslav Ivanov, and the critic Evgenii Anichkov.
Viacheslav Ivanov, for example, avidly explored issues of artistic synthesis, considering the leitmotiv as a "vehicle for remembrance" and a "principal key of primordial myth and national consciousness." The poet Andrei Bely constructed elaborate parallels between his self-image and characters from The Ring.
Some of them are read and studied very widely indeed (Akhmatova, Tsvetaeva, Brodsky, Esenin, Maiakovskii, Pasternak, Mandel'shtam), while the work of others is perhaps less well known (Viacheslav Ivanov, Gumilev, Khodasevich, Boris Poplavskii), and the attention devoted to specific texts by these poets should encourage readers to explore works such as Ivanov's sonnets more fully.
Jackson traces the genesis of his own insight back through Bakhtin and Viacheslav Ivanov, the first major critic to have seen Dostoevskii as a religious writer.
In her pioneering tracking of Anglo-Russian contacts, the importance of the Bodleian and the British Library is established as well as their scholar-poet users such as Viacheslav Ivanov and Bal'mont.

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