Успенский П., Федотов А. Изобретение социальной поэзии: от пения цыганок к "Тройке" Некрасова // Складчина: сборник статей к 50-летию проф. М.С. Макеева. М., 2019 (original) (raw)
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«Русская марсельеза»: жестокий романс Петра Лаврова
Антропологический форум, 2018
“The Russian Marseillaise”: a cruel romance of Pyotr Lavrov The article is devoted to reasons for the success of “The Russian Marseillaise” (also known as “The Worker’s Marseillaise”). This song became a hymn of the Russian revolutions of 1905 and 1917 but its form is not typical for the revolutionary tradition. Its text, released by Pyotr Lavrov in 1875 does not come from the French “La Marseillaise”, its tune is different. Songs based on the French prototype had no success in Russia. The article consists of five chapters. The first chapter covers expansion of this song until the Bolshevik October Revolution of 1917 and the origin of its tune in Robert Schumann’s “Die beiden Grenadiere”. A Marxist’s discrimination of “The Rus- sian Marseillaise” is described in the second chapter. The third chapter elucidates the use of the song in the Russian Civil War. Two final chapters contain an analysis of semantic halo of a meter of “The Russian Marseillaise” and of songs based on “La Marseillaise”. Pyotr Lavrov relied on the poetic mainstream and not on the revolutionary tradition. He borrowed the meter, structure and vocabulary of romantic ballad, adapted by Nekrasov and Pleshcheyev to the modernity. The Russian cruel romance, which was the most popular song genre at the turn of the 20th century, has the same basis. A resonance with cruel romance ensured success of “The Russian Marseillaise” in a mass revolutionary movement.
This book is devoted to the poorly studied early poetry of Vladislav Khodasevich (1886–1939), one of the most remarkable poets of the Russian “Silver Age”. The research focuses primarily on early collections of Khodasevich, Molodost’ (Youth, 1908), Schastlivyj domik (The Happy Little House, 1914), and selection of poems from another book, Vetv’ (Branch, 1917). The mentioned texts are regarded as consequent stages of the poet’s development. We took into consideration several aspects of the development of Khodasevich’s poetry. The first question of our interest was which texts of the poets of older generation (V. Bryusov, A. Blok, A. Bely) were adopted and revised by Khodasevich in his early verses. Second, the present thesis analyses Russian poetry of the 19th century in Khodasevich’s treatment. In Molodost’ the references to Pushkin’s epoch were rather conventional and emanated from the influence of Bryusov, who had the reputation of the follower of Pushkin’s tradition. However, over time the presence of Pushkin’s epoch in Khodasevich’s writings was becoming more significant. In the verses written between 1916 and 1917 a new kind of reference to the 19th century literature becomes visible. The poet’s development consisted in gradual disengaging from the influence of Bryusov and other symbolist poets, and in overcoming them through employing the traditions of the 19th century. The third important theme of the study is Khodasevich’s own evolution. In our opinion, the poet, being under the influence of the “younger” symbolists, had adopted their model of evolution as well. For example, the first stage of Khodasevich’s development, i.e. his “thesis”, corresponds to the “antithesis” of Block and Bely. The following stage of his evolution is in contrast to the first one, similarly to how it happened among the “younger” symbolists. Having undertaken the analysis of the poems written between 1915 and 1917, when aesthetic themes were replaced with social and ethical problems, helped us reach the conclusion that the third stage of Khodasevich’s evolution (the “synthesis”) corresponds to the “synthesis” of Blok.
«На пороге как бы двойного бытия…»: О творчестве И. А. Гончарова и его современников. СПб., 2012.
Предлагаемая вниманию читателей книга посвящена творчеству И. А. Гончарова, писателя, двухсотлетие со дня рождения которого будет отмечаться в 2012 году, и его современников. Написанные автором в разное время очерки объединены единой темой. Каждый литературный персонаж (будь то Александр Адуев, Обломов, Лариса Огудалова, герой апухтинской лирики и те, кому довелось жить «под тяжелым петербургским небом») оказывается «на пороге как бы двойного бытия», проходя нелегкий путь вочеловечивания. Автор рассматривает знакомые литературные произведения и привычныхгероев под своим углом зрения, поэтому книга будет интересна и филологам, и школьным учителям, и учащимся, и самому широкому кругу читателей.