By Ronald E. Peterson
The period of Russian Symbolism (1892-1917) has been known as the Silver Age of Russian tradition, or even the second one Golden Age. Symbolist authors are one of the maximum Russian authors of this century, and their actions helped to foster essentially the most major advances in cultural lifestyles (in poetry, prose, song, theater, and portray) that has ever been obvious there. This publication is designed to function an creation to Symbolism in Russia, as a circulation, a creative procedure, and a global view. the first emphasis is at the historical past of the move itself. cognizance is dedicated to what the Symbolists wrote, acknowledged, and notion, and on how they interacted. during this context, the most actors are the authors of poetry, prose, drama, and feedback, yet house is additionally dedicated to the real connections among literary figures and artists, philosophers, and the intelligentsia often. This large, specific and balanced account of this era will function a customary reference paintings an inspire extra study between students and scholars of literature.
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Additional resources for A History of Russian Symbolism
Mirolyubov, a writer, editor, and philosopher. By the end of 1902, the Merezhkovskys were estranged from the editorship of Mir Iskusstva, and they felt a strong need to have their own journal. So they founded one, called Novyi Puf (The New Path 1903-04), whose main purpose was to serve as an outlet for the reports of the Religious-Philosophical Meetings, though it also proved to be an important periodical for the Symbolist writings, if only for a brief time. Merezhkovsky and Hippius called on an experienced and sympathetic editor, P.
9 A major break in relations took place in 1898 between the Merezhkovskys and their patron at Severnyi Vestnik, Akim Volynsky. 10 This move was prompted by personal motives, however, and it did not seriously affect the Merezhkovskys' careers. 11 The article, "Apollo and Dionysus," was an interpretation of Nietzsche's The Birth of Tragedy; the duality of these two complementary divinities from Greek mythology, each representing opposite notions, was later taken up by other Symbolists and expanded upon, particularly by V.
A. Maslov) maintains that Symbolism is not necessarily "the poetry of the future," but that it can express delicate moods. He distinguishes between Symbolism and Decadence, declaring that Symbolism aspires to "hypnotize" the reader. In his conclusion to this brief introduction, he asks other poets who agree with his views to send in their poetry for future publications. The book was quickly attacked in a newspaper, but Bryusov was singled out for a little praise. 31 Bryusov prefaced this volume with a letter to an imaginary charming female reader and gave a more serious explanation of what Symbolism meant to him.
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