2024

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    Античные и средневековые литературные реминисценции в романе «Огненный ангел» В. Брюсова
    (Лингва, 2024) Арефьева Н.Г.
    The article deals with ancient and medieval literary reminiscences in V. Brusov’s novel «The Fiery Angel», concerning people and events in Germany in the first half of the 16th century. The intentional appeal to texts of Roman poets and Dante in the work of the Russian symbolist helps to reveal the inner world of the main characters and the image of the epoch, called the autumn of the Middle Ages.
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    Античные сюжеты в ранних драматических отрывках В. Брюсова
    (Лингва, 2024) Хачатрян Н.М.
    The article is devoted to the peculiarities of the interpretation of ancient plots in the early dramatic passages by V. Brusov. The author of the article concludes that Brusov is primarily interested in the psychological motives of the characters’ actions; for this purpose, he creates certain, often fictitious situations in which these motives can be manifested. Ancient characters, both historical and literary, are of great interest to Brusov as exceptional individuals in their human manifestations, and this interest can be observed in his further works.
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    Арменизмы в антологии «Поэзия Армении»
    (Лингва, 2024) Гюрджинян Д.С.
    Numerous Armenisms, original and indirect, were used in the translations of the anthology «The Poetry of Armenia». Original Armenisms are defined as purely Armenian words, while the indirect ones are considered to be borrowed, mainly from the Persian language, and adopted by the Armenian language. The untranslated Armenian language units are very thin relative to the atmosphere of Armenian cultural identity and lifestyle, so the Russian translators often preserved the Armenisms. It is noteworthy that Valery Brusov was consistent in giving explanations to Armenisms in the footnotes.
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    «Большую цену придаю я внутренней жизни» («Моя юность» — исповедь Валерия Брюсова)
    (Лингва, 2024) Луцевич Л.Ф.
    Attention is focused on the work «My Youth». As a result of the research, the author came to the conclusion that «My Youth» is an autobiographical confession that allowed the poet to focus on the processes of inner life, and self-knowledge with its possibilities and limitations.
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    Брюсов в «Москве» Андрея Белого (круг чтения злодея Мандро)
    (Лингва, 2024) Одесский М.П. ; Спивак М.Л.
    The main negative character of Andrey Bely’s novel «Moscow», Eduard Mandro, loves the work of early Valery Brusov (the poem «Crazy» and the drama «Earth»). The article explains the reasons for these literary predilections of Mandro. The negative characteristics of the villain Mandro and the ambivalent characteristics of Brusov in Bely’s memoir prose are very similar. In both cases, they serve to describe absolute evil.
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    Брюсов и журнал «Русское богатство»
    (Лингва, 2024) Строганов М.В.
    In reviews of Brusov’s books in the magazine «Russian Wealth», the general concept is clearly maintained: Brusov is an undisputed expert and master, but the motives of his literary behavior are very doubtful. Brusov rejected the literary platform of «Russian Wealth» as unpromising.
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    Брюсовские чтения
    (Лингва, 2024)
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    В.Я. Брюсов и М.С. Сарьян. К истории творческого диалога
    (Лингва, 2024) Сарьян С.Л. ; Орлова М.В.
    The article examines the features that unite the Russian poet V. Brusov and the Armenian artist M. Sarian. In an effort to express their individual experiences, both embarked on the path of updating the artistic language in their youth. Symbolism as a trend in the new art most closely corresponded to their ideas and plans. After the 1917 revolution, both were actively involved in the construction of culture. Brusov did not have long to live; Sarian went through a long, difficult and fruitful creative path, at the end of which he returned to the origins that formed his creative worldview in his youth.
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    Валерий Брюсов и армянская поэзия во французской прессе начала XX века
    (Лингва, 2024) Строев А.Ф.
    In France, V. Brusov has been known as a writer since 1905, but until 1914 he was translated and published very little. During the First World War England, Russia, and France fought against Turkey, supported the aspirations of the Armenian people, and condemned the genocide. Professor F. Macler, in cooperation with Armenian writers and politicians living in Paris and Tiflis (M. Varandian, A. Tchobanian), actively promotes lectures and articles by V. Brusov on the history and poetry of Armenia.
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    Валерий Брюсов и Константин Бальмонт: два метода перевода
    (Лингва, 2024) Иванова А.С.
    The article reveals two translation methods by Russian poets K. Balmont and V. Brusov. The variety of the genres of Balmont's works allows us to say that Balmont's translation method contains the following features: a transformation of the form of Shelley's works, a free attitude to the original, and a retelling of the translated work. Valery Brusov followed the literal method of translation. K. Balmont's method often saved the work's form and content. The difference between the two translation methods by Brusov and Balmont can be seen in the example of translations of P.B. Shelley's sonnet «Ozymandias». The article presents examples showing Balmont's multi-faceted translation method, which doesn't reduce the loose translation of the Ballad.
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    Валерий Брюсов и Федор Корш (К истории русских венков сонетов)
    (Лингва, 2024) Сугай Л.А.
    The article is dedicated to V. Brusov and Academician F. Korsh, their creative contacts and their contribution to the history of Russian and world stefanotvorchestvo (στέφανος, Greek — wreath). The author rejects attempts to deny the influence of Korsh, the creator of the Russian translation of Franz Prešeren’s Sonnet Wreath, on the Symbolists, characterizes the unknown original sonnet wreaths Korsh found with acromagistrales and Brusov’s plan to write a new translation of Prešeren’s Sonnet Wreath.
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    «Жареный гусь» на пути из Азии в Европу (ономастическое пространство романа Ивана Бунина «Жизнь Арсеньева»)
    (Лингва, 2024) Мартиросян К.Г.
    The onomastic analysis of the novel «The Life of Arseniev» by Nobel Prize-winning author Ivan Bunin reveals his polemical sharpness against the leaders of the revolutionary Marxist camp. The choice of the name of the main character — Lika (Лика) — is associated with Bunin’s categorical rejection of Nikolai nekrasov's poetic line, popular in the 19th century, «От ликующих, праздно болтающих...». The novel is based on the dichotomy of Pushkin’s and Nekrasov’s apologists. The author emphasizes the refined aestheticism of Pushkin’s apologists and the anti-aestheticism of those of Nekrasov. Bunin's opposition is not straightforward. His characters are complex and multidimensional. For example, the name and surname of Arseniev’s boss contains a reminiscence — it refers to A. Chekhov’s biography, particularly to «his secret great love» Lydia Avilova, whom Bunin treated with undisguised sympathy. However, Avilova’s name also refers to her namesake from Chekhov’s short story «House with a Mezzanine» — the imperious beauty Lydia Volchaninova, whom critics of the Russian emigration called «the crow» for her primitive populism. The opposition of Pushkin’s and Nekrasov's principles in the novel is part of a more global dichotomy between Europe and Asia, which permeates Bunin’s works of the emigre period.
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    Значение встречи с В.Я. Брюсовым для П.А. Флоренского и А. Белого
    (Лингва, 2024) Павлюченков Н.Н.
    The article examines the relationship between A. Bely and P. Florensky at the stage of their greatest rapprochement. This stage coincided in time with the conflict between A. Bely and V. Brusov. Little-known details of their spiritual search related to self-determination in relation to the Christian religion, magic, and theurgy are given. According to the author, the results of this search were influenced by their meeting and acquaintance with the work of V. Brusov.
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    «Император символизма» и его «Империя»: визуализация творческого наследия В.Я. Брюсова в музейной экспозиции
    (Лингва, 2024) Кряжевских М.Ю. ; Морковникова С.Е.
    The article reveals some methods for visualization of the part of Brusov’s discourse in a literary museum. It demonstrates how to present a complex literary and cultural concept in a small area, with few resources and exhibits.
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    Классик брендинга: В.Я. Брюсов и технологии литературной рекламы
    (Лингва, 2024) Киянская О.И. ; Фельдман Д.М.
    The article considers the problem of formation and evolution of literary advertising technologies of the late nineteenth — early twentieth century. It is proved that Merezhkovsky became the innovator in the field of advertising, but the basic algorithm was created by Brusov, his experience was used by the initiators of modernist literary trends up to the beginning of the First World War.
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    Классики армянской советской литературы и В.Я. БРЮСОВ
    (Лингва, 2024) Амирханян М.Д.
    The article briefly examines V. Brusov’s interactions with Armenian writers, mentioning meetings with the classics of Armenian literature such as H. Hovhannisyan, H. Tumanyan, Al. Shirvanzade, and others. The motives of V. Brusov’s engagement with Armenian history and literature are also touched upon.
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    Лингвостилистические особенности переводов В. Брюсова и армянских переводчиков «На льдистой вершине» Г. Гейне и «Нового Колумба» Ф. Ницше
    (Лингва, 2024) Сарафян Д.Р. ; Сафарян Л.А.
    The article deals with a comparative analysis of translations of «Ein Fichtenbaum» by Heinrich Heine and «Der neue Columbus» by Friedrich Nietzche made by Valery Brusov into Russian and Vahan Teryan and Hakob Movses into Armenian. Comparing the translations of «Ein Fichtenbaum» by Heinrich Heine made by Valery Brusov (in Russian) and Vahan Teryan (in Armenian) the authors of the article conclude that the Armenian translation is closer to the verse by H. Heine. In contrast, the Armenian translation of «Der neue Columbus» by Friedrich Nietzsche differs from the German primary source. Valery Brusov couldn’t convey all the tiniest shades of Nietzsche’s verse.
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    Народная поэзия на страницах «Поэзии Армении» (наблюдения и разыскания
    (Лингва, 2024) Геворкян А.В.
    Folk poetry belongs to the least studied sections of the Anthology The Poetry of Armenia. The difficulty of analyzing the artistic features of the translations of Armenian folklore included in the collection, most of which were made by V. Brusov, lies primarily in the absence of primary sources. One of these sources may be a collection of folk ritual songs collected by A.E. Astvatsatryan (Paris, 1903). Conducted research has made it possible to find a significant number of Armenian texts of jangyulums, which can become the basis for further analysis of Russian translations.
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    Не плачь, не думай, надейся… (по поводу перевода одного стихотворения В.Я. Брюсова на английский язык)
    (Лингва, 2024) Беджанян К.Г.
    This article deals with the translation of V. Brusov’s poem, translated by A. Cigale. The structural and semantic analysis of both the original and the English text showed that the translator ignored the structure of the original: neither the size, nor the rhythm, nor the rhymes were accordingly reflected.
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    О переводах Брюсова из Поля Верлена (1894 г. vs. 1911 г.)
    (Лингва, 2024) Пастернак Е.А.
    The article examines the versification and stylistic features of Brusov’s translations from Paul Verlaine, published in books of 1894 and 1911. The basic principles of translation were formed by Brusov already at the beginning of his work; by 1911 he moved to formalism, but he did it inconsistently.