Journal articles: 'Ivan Bunin'

1

Kaun, Alexander. "Ivan Bunin [1934]." World Literature Today 63, no. 2 (1989): 183. http://dx.doi.org/10.2307/40144806.

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Marullo, Thomas Gaiton, and Iu Mal'tsev. "Ivan Bunin (1870-1953)." Slavic and East European Journal 40, no. 2 (1996): 390. http://dx.doi.org/10.2307/309488.

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Deotto, Patrizia. "Ivan Bunin: Three autobiographical notes." Literary Fact, no. 11 (March 2019): 357–68. http://dx.doi.org/10.22455/2541-8297-2019-11-357-368.

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4

Mann, T. "IVAN BUNIN AND THOMAS MANN." Forum for Modern Language Studies XXXVI, no. 4 (October 1, 2000): 357–67. http://dx.doi.org/10.1093/fmls/xxxvi.4.357.

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5

F. D. Reeve. "The Achievement of Ivan Bunin." Sewanee Review 116, no. 4 (2008): 654–60. http://dx.doi.org/10.1353/sew.0.0072.

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Motorina, A. "IVAN BUNIN IN NIKITA MIHALKOV’S VISION." Bulletin of the Moscow State Regional University (Russian philology), no. 3 (2016): 86–93. http://dx.doi.org/10.18384/2310-7278-2016-3-86-93.

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Rischin, Ruth, and Thomas Gaiton Marullo. "Ivan Bunin: Russian Requiem, 1885-1920." Russian Review 53, no. 4 (October 1994): 565. http://dx.doi.org/10.2307/130972.

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Bakuntsev, Anton. "Anti-Bunin pamphlet by Ivan Nazhivin." Literary Fact, no. 16 (2020): 93–118. http://dx.doi.org/10.22455/2541-8297-2020-16-93-118.

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This publication continues the theme “I.F. Nazhivin vs I.A. Bunin” which was brought up earlier in one of the issues of “Literaturnyi fact”. Ivan Fedorovich Nazhivin (1874– 1940), a writer and publicist well-known in the Russian émigré circles, a follower of Leo Tolstoy, knew Bunin personally and corresponded with him for many years. The publication introduces into scientific circulation Nazhivin’s article-pamphlet “The County Moncher” (1934), the autograph of which (an unauthorized typescript) is stored in I.A. Bunin’s collection in the Russian State Archive of Literature and Art. Presumably, it is this text that the author intended to publish in the émigré press. The introductory article gives a brief description of the autograph, and also argues the choice of a more completed version of the text for publication. The basic principles of editing and commenting the material for publication are outlined.

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Novikova, Elena A. "MOSCOW IN THE WORKS OF IVAN BUNIN." Bulletin of the Moscow State Regional University (Russian philology), no. 4 (2020): 109–15. http://dx.doi.org/10.18384/2310-7278-2020-4-109-115.

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Shrayer, Maxim D. "Vladimir Nabokov and Ivan Bunin: A Reconstruction." Russian Literature 43, no. 3 (April 1998): 339–411. http://dx.doi.org/10.1016/s0304-3479(98)80006-9.

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11

Karshan, Thomas. "Between Tolstoy and Nabokov: Ivan Bunin Revisited." Modernism/modernity 14, no. 4 (2007): 763–69. http://dx.doi.org/10.1353/mod.2007.0091.

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Dvinyatina, Tatiana Mikhailovna. "IVAN BUNIN AND HIS TIME INTERNATIONAL CONFERENCE." Russkaya literatura 2 (2021): 274–77. http://dx.doi.org/10.31860/0131-6095-2021-2-274-277.

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13

Do, Thi Huong. "The Perception of I.A. Bunin’s Work in Vietnam." Russian Journal of Vietnamese Studies 5, no. 4 (December 15, 2021): 131–47. http://dx.doi.org/10.54631/vs.2021.54-131-147.

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Ivan Bunin was the first Russian writer, who won the Nobel Prize in literature. However, Vietnamese readers knew him rather late: it was in 1987 that stories by the famous master of artistic language were translated into Vietnamese for the first time. So, as compared with other Russian classics, the history of perception of Bunin's work in Vietnam is not very long. His works are still little-known to a broad readership, but at the same time, the writer managed to gain recognition by elitist Vietnamese reader. This article analyses the features of perception of Ivan Bunins work (on the whole, his stories) in the elitist Vietnamese readership, from the time of publication of his stories in Vietnamese up to 2019. The basis of the analyses are articles and researches on the writers work, including senior theses and masters theses by graduates of higher education institutes, as well as Bunins works translations into Vietnamese.

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14

Stroev, Alexandre. "On the French perception of Ivan Bunin in 1933." Literary Fact, no. 16 (2020): 200–228. http://dx.doi.org/10.22455/2541-8297-2020-16-200-228.

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The receipt of the Nobel Prize in Literature by Ivan Bunin (the first of the Russian authors) in 1933 not only became an important event in the writer’s fate and Russian émigré life, but also was widely responded in the European (primarily French) press. This issue has long been the subject of research attention, but has not been fully studied yet due to the active discussion of the Nobel campaign, possible candidates for the prize and, finally, the figure of the winner in the contemporary press. In French literary circles, Bunin was not considered a favorite from major Russian writers, being inferior in popularity to M. Gorky and D.S. Merezhkovsky; reporters began to seek meetings and interviews with great interest. The article is supplied with the most revealing newspaper articles and Bunin’s interviews, and, by contrast, two Merezhkovsky’s interviews, previously not translated into Russian. They show the main paradox — the magical transformation of the author, unknown to French journalists and readers before, into an international celebrity and equally rapid psychological change of Bunin himself.

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15

Maksimova, Elena. "Artistic Space in the Prose of Ivan Bunin." Recherches sémiotiques 35, no. 1 (August 20, 2018): 27–40. http://dx.doi.org/10.7202/1050985ar.

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Ivan Bunin occupies a unique place in the context of Russian literature. The following article demonstrates the relevance of Juri Lotman’s work on defining semiotic artistic space by examining Bunin’s modeling of the world and his construction of artistic space in his prose works. Special attention is paid to the semiosphere, its central mechanisms, and their realization in several of Bunin’s works, and especially the short story entitled “Horror Story”.

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Bakuntsev, Anton V., and Sergey N. Morozov. "Ivan Bunin and Evgeny Spektorsky: Сorrespondence (1928–1933)." Studia Litterarum 3, no. 4 (2018): 298–315. http://dx.doi.org/10.22455/2500-4247-2018-3-4-298-315.

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17

Anisimov, K. V. "The cruel romance by Ivan Bunin: “A Beauty”." Sibirskiy filologicheskiy zhurnal, no. 1 (2020): 159–69. http://dx.doi.org/10.17223/18137083/70/12.

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18

Selemeneva, O. A. "System of Mythonyms in Poetry of Ivan Bunin." Nauchnyi dialog, no. 6 (June 24, 2021): 136–50. http://dx.doi.org/10.24224/2227-1295-2021-6-136-150.

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The article is devoted to one of the problems of literary onomastics — an inventory of onomastic units of literary texts as an integral part of the vocabulary of the language of a particular writer. The relevance of the chosen topic is due to the poorly studied issue of the mythonymicon of poetry and prose by I. A. Bunin. The novelty of the work is associated with the description of the mythological names of Bunin the poet as an integral system. The classification of mythonyms is based on five principles: the source from which the name was used (there were three such sources: etiological, anthropogonic, heroic, cult and other types of myths; religious and philosophical literature; multi-genre works of Slavic folklore); the nominated image of a fantastic object (eleven semantic groups are recorded: mythoanthroponyms, theonyms, demononyms, mythotonyms, mythohydronyms, mythoornithonyms, etc.); etymology (otonymic, otapellative and special contextual mythological names are marked); structural type (simple or oneword mythonyms, complex, represented by a bilexeme, and compound mythonyms, two-word and three-word ones are fixed); the presence of connotations in semantics (names with negative and positive connotative backgrounds were found). The author comes to the conclusion that mythonyms in I.A.Bunin's poetry become those stable linguistic signs that carry a huge amount of historical and cultural information and have a rich associative potential, accumulating the specifics of the writer's worldview, they contribute to the modeling of the text space.

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19

Chernysheva, Veronika I. "Fyodor Batyushkov and Ivan Bunin. An unknown autograph." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 21, no. 3 (August 25, 2021): 296–301. http://dx.doi.org/10.18500/1817-7115-2021-21-3-296-301.

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In the Manuscripts and Rare Books Division of the Regional Scientific Library of Saratov State University, an early autograph of Ivan Bunin, which has not yet been introduced in scientific circulation, has been discovered. This is a signed copy of the translation of G. G. Byron’s Manfred published by the “Znanie” Partnership. It is known that Fyodor Batyushkov, holding the post of the editor-in-chief of the magazine Mir Bojiy (The World of God), wrote reviews of the works of authors nominated for the Pushkin Prize.

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Chernysheva, Veronika I. "Fyodor Batyushkov and Ivan Bunin. An unknown autograph." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 21, no. 3 (August 25, 2021): 296–301. http://dx.doi.org/10.18500/1817-7115-2021-21-3-296-301.

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In the Manuscripts and Rare Books Division of the Regional Scientific Library of Saratov State University, an early autograph of Ivan Bunin, which has not yet been introduced in scientific circulation, has been discovered. This is a signed copy of the translation of G. G. Byron’s Manfred published by the “Znanie” Partnership. It is known that Fyodor Batyushkov, holding the post of the editor-in-chief of the magazine Mir Bojiy (The World of God), wrote reviews of the works of authors nominated for the Pushkin Prize.

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21

Brintlinger, Angela. "Fiction as Mapmaking: Moscow as Ivan Bunin's Russian Memory Palace." Slavic Review 73, no. 01 (2014): 36–61. http://dx.doi.org/10.5612/slavicreview.73.1.0036.

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In his fiction written from the 1920s through 1940s Ivan Bunin set a number of stories in Moscow, naming specific places, many of which were closed or destroyed after the 1917 Revolution by the Soviet regime or by Nazi bombing during World War II. In so doing, Bunin used Moscow to map the cultural memory of the Russian emigration, with the ancient city of Moscow standing as its “memory palace” while contributing to the “Moscow text.“ In his 1944 story “Cleansing Monday,” in particular, Bunin conducted this mnemonic project on three levels: historical, spiritual, and didactic. He did so for both a Russian readership—his compatriots abroad and potential (future) readers back home—and a foreign audience increasingly interested in Russia. Through close reading of the story, diary entries, and Bunin's biography, this article explores the idea of a memory palace and four specific memory images, comparing Bunin's depiction of Russia to a 1915 depiction by English traveler Stephen Graham.

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22

Yurchenko, Tatiana. "THE OLFACTORY SPACE OF RUSSIAN LITERATURE AS A RESEARCH PROBLEM. PART 2. PROSE AND DRAMA." RZ-Literaturovedenie, no. 4 (2021): 7–21. http://dx.doi.org/10.31249/lit/2021.04.01.

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This essay deals with the studies of olfactory imagery in literature - a new trend in literary criticism intensively developed from the beginning of the twenty first century. It concerns different ways of representation of odor perception in Russian prose and drama, particularly in the writings of Ivan Turgenev, Dmitrii Grigorovich, Ivan Goncharov, Fedor Dostoyevsky, Anton Chekhov, Ivan Bunin and Aleksandr Sukhovo-Kobylin. The essay traces the significance of odors and smells in the description of psychological portrait of the characters as well as in the plot.

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23

Žemberová, Viera. "Ruská literatúra v emigrácii: Ivan Bunin a Vladimir Nabokov." Slavica litteraria, no. 1 (2018): 140–42. http://dx.doi.org/10.5817/sl2018-1-16.

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24

Žemberová, Viera. "Ruská literatúra v emigrácii : Ivan Bunin a Vladimír Nabokov." Opera Slavica, no. 3 (2019): 52–56. http://dx.doi.org/10.5817/os2019-3-9.

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25

Николаев, Дмитрий. "Образ писателя в публицистике Ивана Бунина 1920 г." Acta Polono-Ruthenica 1, no. XXIV (March 31, 2019): 75–94. http://dx.doi.org/10.31648/apr.4401.

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The image of the writer plays an important role in the publicist works of Ivan Bunin in 1920. It is the image of the author struggling against the Bolsheviks, and the image of those writers who helped the Bolsheviks propaganda as well as “new Soviet writers”. In 1920 Bunin as the most signif-icant writer of the Russian Diaspora focuses on the most famous writer among those who, according to Bunin, supports the Bolsheviks – Maxim Gorky. Bunin also pays close attention to the contro-versy with H.G. Wells: this is due to the role that the English writer played in the context of Soviet Russia. Bunin’s works in 1920 are written as a reaction of the Russian writer to the various texts published in the press, and the discussion with the works of his main opponents – Gorky and Wells.

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26

Razumovskaya, Aida G. "Distinctive National Traits as Highlighted in the Dark Avenues by Ivan A. Bunin." Studia Litterarum 6, no. 3 (2021): 184–203. http://dx.doi.org/10.22455/2500-4247-2021-6-3-184-203.

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The essay highlights traditions, customs, relationships, morals and manners of the Asians and the Europeans as represented in Ivan Bunin’s famous collection Dark Avenues. This article is an attempt to demonstrate the specificity of Bunin’s vision of national mentality shaped both by national identity and by the place where a person belongs to, be it a civilized urban space or a countryside. Russian mentality reveals itself to the fullest when explored against the background of the Russian estate house that became a spiritual home for Bunin in emigration. Bunin discloses the ambiguity of the Russian national character that combines spirituality with vulgarity, empathy and compassion with unrestrained craving for living life to its fullest each day and lack of discipline. The impetuous nature of the Russians is opposed to the more reserved character of other nations. Different attitudes to life and death disclose different cultural codes affected by Catholic and Orthodox traditions. In his ontology of love, Bunin explores, with deep interest, the dark avenues of the human soul, beamed through the national mentality.

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27

Sharova, Veronika L. "Philosophical Comprehension of Space in the Prose of Ivan Bunin." Russian Journal of Philosophical Sciences 63, no. 6 (September 1, 2020): 133–45. http://dx.doi.org/10.30727/0235-1188-2020-63-6-133-145.

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Bogdanova, Olga V. "Ideas-Heroes in the Story Pure Monday by Ivan Bunin." Journal of Siberian Federal University. Humanities & Social Sciences 10, no. 5 (May 2017): 642–53. http://dx.doi.org/10.17516/1997-1370-0072.

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Bakuntsev, Anton. "Ivan Bunin — an editor manque of the newspaper «Yuzhnoye obozreniye»." Literary fact, no. 4 (June 2017): 124–42. http://dx.doi.org/10.22455/2541-8297-2017-4-124-142.

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30

Kantor, V. K. "Ivan Alexeevich Bunin, or the Completion of the Russian Classics." Philosophical Letters. Russian and European Dialogue 3, no. 4 (December 2020): 12–29. http://dx.doi.org/10.17323/2658-5413-2020-3-4-12-29.

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The article substantiates the general conclusion that a retreat in the field of mind is fraught with the death of the state. Th at was Pushkin and Bunin, as noted by the post-revolutionary Russian thinkers-exiles, following Lomonosov and Derzhavin, and to an infinitely greater degree than they continued the work of Europeanizing Russia, the work of Peter I and Catherine the Great.

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31

Korostelev, Oleg A., and Ekaterina V. Kuznetsova. "Ivan Bunin and Georgy Ivanov: A lifetime dispute on poetry." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 56 (December 1, 2018): 226–47. http://dx.doi.org/10.17223/19986645/56/12.

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32

Lomakina, S. A. "Russia in "Watercolor Tones" of Ivan Bunin And Boris Zaitsev." Philologos 47, no. 4 (2020): 57–62. http://dx.doi.org/10.24888/2079-2638-2020-47-4-57-62.

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33

Matevosyan, E. R. "Ivan Bunin and Alexander Cheremnov: to the History of Relationships." Philologos 47, no. 4 (2020): 63–67. http://dx.doi.org/10.24888/2079-2638-2020-47-4-63-67.

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34

Lee, Sang Chul. "The East Theme in the Creative world of Ivan Bunin." Institute for Russian and Altaic Studies Chungbuk University 24 (February 28, 2022): 141–69. http://dx.doi.org/10.24958/rh.2022.24.141.

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35

Molodiakov, Vassili Molodiakov. "“He didn’t want to admit the peculiar nature of two centuries’ boundary period”: Leonid Dolgopolov’s unpublished notes on Ivan Bunin." Literary Fact, no. 16 (2020): 182–99. http://dx.doi.org/10.22455/2541-8297-2020-16-182-199.

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Russian Modernism scholar Leonid Konstantinovich Dolgolopov (1928– 1995) authored only a couple of research articles concerning Ivan Bunin, but these papers were important in the process of Bunin’s interpretation in the 1970s. Dolgopolov’s unpublished notes on Bunin from his archive, preserved by the author and donated to the Pushkin House in 2019, add a lot to his known works. Applying Tynianov’s formula “archaists and innovators”, Dolgopolov described Bunin as a “man of the nineteenth century” totally alien to the twentieth century’s literature, not only modernist one. Bunin’s rejection of contemporary literature and its subjects related to his attitude to Russian revolution, which he did not expect and which he perceived as a spontaneous revolt, not as a global social shift. Also, polemicizing with O. Mikhailov’s interpretation, Dolgopolov defined “Cornet Yelagin’s Case” (1925) as an experimental novel mainly influenced by Dostoevsky, a novelist profoundly alien to Bunin. According to Dolgopolov, it is because of Dostoevsky’s influence that artistic discoveries, made in this novel, were not further developed in the writer's work.

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36

Dvinyatina, Tatiana Mikhailovna. "WHAT IS POETRY? OBSERVATIONS ON THE TOPIC «I. A. BUNIN AND E. A. BARATYNSKY»." Russkaya literatura 4 (2021): 191–201. http://dx.doi.org/10.31860/0131-6095-2021-4-191-201.

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The article outlines the parallels between the artistic systems of Ivan Bunin and Evgenii Baratynsky. They shared the same view concerning their role in the literary world, the connections between creativity and reminiscences, the way they treated their familial memory as a guarantor of immortality, their awareness of the unbreakable link between the contrasting states of soul and existence. Baratynsky’s influence grew after Bunin’s departure from Russia: only once he had found support in the elegiac tradition, Bunin managed to recreate both his own artistic world and the fi gurative system of his art. The stories Bunin wrote in the fi rst half of the 1920s absorbed a significant body of motifs and direct quotes from Baratynsky’s poetry. The latter’s Fragments from the Poem: Recollections (1819) can be read as a meta-description of the world of Bunin’s émigré years.

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37

Marchenko, Tatiana V. "Bouquet of Violets, or Being a Bit Nervous: Finishing Touches to the 1933 Nobel Days." Studia Litterarum 5, no. 4 (2020): 472–505. http://dx.doi.org/10.22455/2500-4247-2020-5-4-472-505.

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In 1933, Ivan Bunin was the first Russian author to be awarded the Nobel Prize in literature. This article bears on the materials held in Moscow archives that contribute to the Bunin “Nobeliade” that researchers have reconstructed relying on foreign collections. The ego-documents of direct participants and first-hand witnesses of the events that took place between November 9 (the announcement of the Swedish Academy) and December 3 (Bunin’s departure from Paris to Stockholm) add touching details to this historical moment and also demonstrate different attempts to manipulate the laureate. Dozens of telegrams and some letters to the laureate are stored in the Russian archive of art and literature. They overlap with the letters of the abovementioned Bunin’s correspondents to other persons held in the House of Russia Abroad. They latter archive also includes a handwritten note of Bunin. This is the first publication of the mentioned archive materials.

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38

Huttunen, Tomi. "«In the Shadow of the Last Coulisse…»: Antti Tittanen — Translator of A. A. Blok and Mediator between Russian and Finnish Literatures." Russkaya literatura 4 (2020): 128–35. http://dx.doi.org/10.31860/0131-6095-2020-4-128-135.

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The article discusses a previously unknown passage in the history of the translations of Modernist Russian literature in Finland: the fate of an Ingrian Finnish writer, playwright, journalist and translator Antti Tiittanen. His literary icons were Alexander Blok, Ivan Bunin and Nikolay Evreinov, and during the 1920s he presented their oeuvre to the Finnish reader through articles and translations.

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Bakuntsev, Anton. "“The most bitter black-hundredist and bullhead, he’s putrefied completely...”: Ivan Nazhivin on Ivan Bunin (1930s)." Literary Fact, no. 11 (March 2019): 254–75. http://dx.doi.org/10.22455/2541-8297-2019-11-254-275.

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Павелева, Юлия. "Воспоминания, ставшие памятью: композиционная специфика рассказа И.А. Бунина Поздний час." Acta Polono-Ruthenica 4, no. XXIV (December 30, 2019): 77–84. http://dx.doi.org/10.31648/apr.4874.

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The theme of Russia occupies a special place in the works of Ivan Bunin. He turns to Russia throughout his literary activity. In exile, his forsaken homeland becomes a source of special inspiration for the author, and a main subject for the book of his stories Dark Alleys, where Bunin included his Late Hour. In this short story, the author recalls lost places in his native land. The motive of the journey is plot-forming and connects two layers, which interact in the narrative: the journey that happened in the real past, and an imaginary journey. Bunin describes this imaginary journey as if it is happening in reality. The routes of these two journeys include new loci as Suez Canal, Nile, Paris..., which indicates the importance of the idea of geo-poetics for the author. Recollections in Bunin’s story Late Hour come up to the Memory, which tramples death. It proves the resurrectional power of art.

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41

Белова, Татьяна Викторовна, and Ольга Владимировна Четверикова. "MOTIF «YOUTH / OLD AGE» IN THE POETIC SPEECH OF IVAN BUNIN." Вестник Тверского государственного университета. Серия: Филология, no. 3(66) (November 6, 2020): 14–19. http://dx.doi.org/10.26456/vtfilol/2020.3.014.

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В статье рассматриваются способы языкового означивания мотива «молодость / старость» в поэтической речи Ивана Бунина. Отмечается, что личность художника структурирует в тексте особое чувственно-ментальное пространство, где через описание мира человека и отношения человека к миру формируется выраженная средствами языка авторская модель отношения к действительности. The article considers the ways of verbal signification of the motif «youth / old age» in the poetic speech of Ivan Bunin. It is noted that the artist’s personality structures a special sensory-mental space in the text, where through the description of the human world and the relationship of a person to the world, the author’s model of attitude to reality, expressed by verbal means, is formed.

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42

최진희. "Ivan Bunin and Russian Revolution: From Russian Soul to Eternal Presence." Russian Language and Literature ll, no. 52 (February 2016): 37–62. http://dx.doi.org/10.24066/russia.2016..52.002.

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43

Abolina, Margarita. "Ivan Bunin and publishing activities of the Russian émigrés (1920–1955)." Literary Fact, no. 11 (March 2019): 234–53. http://dx.doi.org/10.22455/2541-8297-2019-11-234-253.

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44

Tsareva-Brauner, Vera. "Previously unknown autographs of Ivan Bunin: Exhibition at Cambridge University (UK)." Literary Fact, no. 11 (March 2019): 369–83. http://dx.doi.org/10.22455/2541-8297-2019-11-369-383.

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45

Cioni, Paola. "“Cursed Days” by I. A. Bunin in Their Historical Context: Between Realism and Hyperrealism." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 80, no. 5 (2021): 46. http://dx.doi.org/10.31857/s241377150017127-2.

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The article proposes to re-read “Cursed Days” by I. Bunin as an important junction between nineteenth-century realism and contemporary hyperrealism. The author focuses attention primarily on how the writer uses documents not only to capture a photographic image of reality, by inserting those documents into the narrative, but also to make his point of view abundantly clear. After all, it is the writer himself who declares his intention to wield public opinion by offering the truth proven by hard facts. Thereby Bunin paves ground for contemporary hyper-realistic literature. Theoretically, the article draws on the critical works by Raffaele Donnarumma, particularly his book “Ipermodernità. Dove va la narrativa contemporanea” (2014), where the concept of hyperrealism, previously applied to painting and sculpture, is used for the analysis of contemporary literature. Buninʼs political commitment, which back then was representative of opponents of the revolution, is also a typical feature of contemporary hypermodern writers. From this perspective, the work of Ivan Bunin is reconsidered in all its modernity, as a form of realism that precedes contemporary hypermodern fiction by more than a century.

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Ndiaye, Iwona Anna. "Bunin in the Interwar Poland. A Failed Tour." Studia Litterarum 5, no. 3 (2020): 270–89. http://dx.doi.org/10.22455/2500-4247-2020-5-3-270-289.

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The following paper explores the reception of Ivan Bunin’s literary legacy in the interwar Poland. The question of how The Nobel Prize in Literature influenced the writer’s popularity in Poland. The main aim of this article is to analyze and characterize those circumstances, which became the reason for Bunin’s failure to visit Poland during his literary tour to the Baltic countries in 1938. Selected materials were taken from traditional card and online catalogues in the National Library of Poland and the University of Warsaw Library. They embrace the period from 1920 to 1940. The analysis, on the one hand, shows the problem of political relationships between the revived Polish state and young Soviet Russia and its role in the development of literary contacts in the interwar period. On the other hand, it allows us to draw conclusions about the political and literary dimensions of I. Bunin’s failed tour to Poland.

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Poštić, Svetozar. "The Meaning of Memory in Bunin and Hippius." Literatūra 63, no. 2 (November 22, 2021): 41–53. http://dx.doi.org/10.15388/litera.2021.63.2.3.

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This paper illustrates the meaning of memory by the fate and change in spiritual orientation of Ivan Bunin and Zinaida Hippius, two prominent literary figures of the late tsarist Russia and interbellum émigré Paris. Most importantly, it examines the post-revolutionary transformation of values and reconciliation with external circumstances and internal afflictions of these two writers. The significance of memory becomes prominent in Bunin after his realization of the tragic and frightening consequences of the revolution, which results in his turn to the past as the source of tranquility and comfort. Hippius’s diaries and poetry, especially after her husband’s death, also show her turn toward eternal values and away from the hitherto paramount terrestrial, fleeting aspirations. The oeuvres of both writers are placed in the context of pre-revolutionary orientation towards the past that is contrary to the modernist shift to the future, which announced and precipitated the Russian Revolution of 1917.

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Shadursky, Vladimir. "IVAN BUNIN, MARK ALDANOV, VLADIMIR NABOKOV: DIFFERENT VIEWS ON THE SAME TOPIC." Bulletin of the Moscow State Regional University (Russian philology), no. 5 (2016): 287–300. http://dx.doi.org/10.18384/2310-7278-2016-5-288-300.

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Gorobets, Аnastasia. "On both sides of the iron curtain: Ivan Bunin and Antonin Ladinsky." Literary Fact, no. 11 (March 2019): 330–43. http://dx.doi.org/10.22455/2541-8297-2019-11-330-343.

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Scherr, Barry P., and Thomas Gaiton Marullo. "If You See the Buddha: Studies in the Fiction of Ivan Bunin." Slavic and East European Journal 43, no. 4 (1999): 721. http://dx.doi.org/10.2307/309433.

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Journal articles on the topic 'Ivan Bunin'

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