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Journal articles on the topic 'Maximilian voloshin'

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Published: 24 April 2022

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1

Karlovsky, Igor. "Maximilian Voloshin's classical metres." Sign Systems Studies 40, no. 1/2 (September 1, 2012): 211–30. http://dx.doi.org/10.12697/sss.2012.1-2.11.

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Maximilian Voloshin turned to classical metres after he moved to Crimea that in his consciousness had associations with Hellas. Also, his friendship with Vyacheslav Ivanov became an important stimulus. Initially, Voloshin used the same metres that can be found in Ivanov's collection of poems Кормчие звезды. However, their form shows that Voloshin was well familiar with classical poetry.

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2

Kuznetsova, Ekaterina V. "Reception of Henri de Regnier’s Poetry by Maximilian Voloshin and Igor Severyanin." Studia Litterarum 6, no. 1 (2021): 66–87. http://dx.doi.org/10.22455/2500-4247-2021-6-1-66-87.

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The article examines the reception of the poetry by a French poet Henri de Regnier in the works of Maximilian Voloshin and Igor Severyanin. Voloshin was a passionate promoter of Regnier in Russia; he appealed to him in criticism, translated his poems and prose, and considered him to be a forerunner of “neo-realism,” a new stage of development in European and Russian literature. The interest of Severyanin in the work of Regnier develops under the influence of Voloshin’s 1910 article “Henri de Regnier.” The young Severyanin was influenced by this article and used accurate translations of Regner’s two poems included in the article for his own translation experiments: he even made the same mistake as Voloshin when translating one of these poems. Compared to Voloshin’s, Severyanin’s versions are less accurate; they have stylistic shifts and ironic tones absent in the original. Thus, the example of Voloshin’s and Severyanin’s different attitudes to Regnier’s poetry allows me to trace two different tendencies in the reception of Western authors within the culture of the so-called Russian Silver age: enthusiastic discipleship, more typical for Russian symbolists, and stylistic play and ironic distancing, more typical for Russian futurists.

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3

Shevchuk, Veronika Gennadiyevna. "Symbolic-anthroposophic Intentions and interinfluence of literary texts in the works of Maximilian Voloshin." Культура и искусство, no. 10 (October 2021): 1–12. http://dx.doi.org/10.7256/2454-0625.2021.10.36768.

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This article carries out a culturological analysis of the artistic worldview of the poet, artist, art historian, and art critic Maximilian Voloshin (1877–1932) – one of the prominent representatives of the Silver Age. The object of this research is the diversity of artistic space of M. Voloshin, while the subject is the interinfluence of his literary texts. The author aims to determine the symbolic-anthroposophic intentions in the artistic space of M. Voloshin as a complex semiotic formation that comprises the continuum of various texts: visual, verbal, nonverbal, and others. Maximilam Voloshin’s reasoning on the symbolic nature are reflected in his theoretical works and correspondence with cultural figures. In his articles, Voloshin advanced the idea that the artist refers to the spatial form of art by means intuition and inner consciousness. The poem “Rouen Cathedral” by M. Voloshin is vivid example of the synthesis of poetic and picturesque texts. M. Voloshin’s engagement in construction of the Goetheanum in Dornach headed by the German anthroposophist R. Steiner contributed to the development of the new worldview, which is reflected in the original watercolor “Dornach Album”. The novelty of this research lies in the fact that the personality of M. Voloshin is presented as a metatext, complex semiotic space that intertwined visual (iconic), verbal and other texts that embody the symbolic and anthroposophic intentions. It is established that the use of symbolic and anthroposophic intentions by M. Voloshin, as well as the synthesis of visual, verbal and other texts, characterize the diversity and synthetism of his worldview, although he did not fully apprehended the views of the symbolists and anthroposophists. All these principles formed the artistic space of M. Voloshin as metatext in a single guise – poet, artist, and philosopher.

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4

Bielniak, Nel. "„Płótno, piołun, sandały...”. Maksymilian Wołoszyn we wspomnieniach." Acta Polono-Ruthenica 1, no. XXIII (March 30, 2018): 7–18. http://dx.doi.org/10.31648/apr.1466.

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Maximilian Kirienko-Voloshin (known as Maximilian Voloshin), a Russian poet and painter, was a colourful, maverick person; it is not possible to assess him unequivocally. He made a strong impression on people around him, which is reflected in abundant literary memoirs. When the opinions of Ivan Bunin, Marina Tsvetaeva, Eugenia Gertsyk, Nadezhda Teffi and Boris Sadovskoy are analysed, a heterogenetic picture of the artist emerges. His unusual demeanor and clothing, and surprising beliefs - often perceived as iconoclastic - attracted attention or even led to controversy.

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5

Buzhor, Vadim I., and Yevgeniya S. Buzhor. "The ethical conception of Leo Tolstoy in the interpretation of Maximilian Voloshin." SHS Web of Conferences 103 (2021): 01013. http://dx.doi.org/10.1051/shsconf/202110301013.

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The article examines the interpretation of Leo Tolstoy’s ethical conception provided by a Russian poet Maximilian Voloshin. A brief exposition of Tolstoy’s ethical conception position of a person’s concern for their soul is provided. In this regard, the requirements of love and nonviolence are not of value in and of themselves but are subordinate to the main cause of salvation, the improvement of a person’s soul. This is the point on which Voloshin focuses his criticism reproaching Tolstoy for selfishness. Non-resistance to evil by violence is paradoxically interpreted by Voloshin as evasion from evil. Voloshin emphasizes that Tolstoy’s understanding of evil is simplified due to his failure to understand the sinful nature of mankind. Voloshin opposes Tolstoy’s ethics interpreted by him in this manner with his own ethical conception suggesting that it is necessary to not move away from evil in the world but, on the contrary, take it into oneself and strive to transform it with the internal forces of good. In conclusion, it is examined that despite their differences both thinkers agreed that responding with evil to evil is unacceptable from the point of ethics. Both Tolstoy and Voloshin were also characterized by the implementation of their ethical provisions in their personal lives.

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6

Shuneyko, Alexander A., and Olga V. Chibisova. "The Poetic Heritage of Maximilian Voloshin and Buddhism." Current Issues in Philology and Pedagogical Linguistics, no. 4 (2018): 156–63. http://dx.doi.org/10.29025/2079-6021-2018-4(32)-156-163.

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7

Burmistrov, K. Yu. "“The Lord Breathed On The Face Of Underworld”: Maximilian Voloshin and Kabbala." Solov’evskie issledovaniya, no. 1 (March 31, 2021): 125–49. http://dx.doi.org/10.17588/2076-9210.2021.1.125-149.

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The acquaintance of Maximilian Aleksandrovich Voloshin (1877–1932), one of the central figures in the history of Russian culture in the first third of the twentieth century, with the tradition of Western European esotericism, as well as with the concepts of Jewish Kabbalah, is still poorly understood. At the same time, it is known that they played an important role in his worldview and creativity. The article offers an analysis of several topics related to Kabbalah, which had a noticeable impact on the work of Voloshin. Particular attention is paid to the problem of establishing written sources of borrowings and interpretations of Kabbalistic ideas, clarifying concepts, as well as ways of transmitting elements of Kabbalah among European and Russian esotericists. Through the study of various works of Voloshin, his diary entries, drafts and correspondence, the names of esoteric authors who are especially important for the study of this topic have been identified (E.P. Blavatsky, A. Fabre d'Olivet, A. Franck, Eliphas Levi and etc.). Through a thorough analysis of the methods of perception and transmission of the ideas of Kabbalah among European esotericists, it was shown that, strange as it may seem, the result of studying such sources and their interpretation by Voloshin was a fairly accurate and adequate use of Kabbalistic concepts both in theoretical works and in poetry.

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8

Levichev, I. "Memorial Library of Maximilian Voloshin - National Pride of Ukraine." Ukraïnsʹka bìografìstika, no. 15 (April 30, 2018): 326–41. http://dx.doi.org/10.15407/ub.15.326.

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9

Generaliuk, Lesia. "LES NABIS AND MAX VOLOSHIN: GAME MODELS." CONTEMPORARY LITERARY STUDIES, no. 18 (December 13, 2021): 21–29. http://dx.doi.org/10.32589/2411-3883.18.2021.246753.

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The article draws parallels between the variants of the play-drama and the forms of self-representation of the Les Nabis and the «Parisian» Maximilian Voloshin. All of them tested the concepts of play, performance, and artistic transformation of reality, which are organic in the aesthetics of symbolism, based on the tradition of French culture from T. Gauthier, J. Barbey d’Aurevilly to J. Péladan, F. Khnopff. In the stream of theatrical utopia of the late XIX – early XX centuries Les Nabis and Voloshin used the style of symbolism in everyday life and creativity. They were united by an understanding of art as an emanation of the absolute, a perception of phenomena as a «door to eternity», an invisible reality, a specific «sense of the mystery of things pregnant with an event» (Edouard Vuillard). The thesaurus of forms they possessed included signs of self-manifestation. But, although all of them have an increased attention to the synthesis of religions, mysticism, transchronological excursions, their models of life creation, as well as self-realization, have a number of differences in the ways of objectification of the spiritual. The sublime drama of the Nabis – «Language of Nabis», created by P. Sérusier, paraphernalia, clothes in the form of a felony, weekly ritualsin the Temple of Nabis on Boulevard Montparnasse, 25 – shows their commitment to the spiritualist model of thegame. And the semi-humorous atmosphere of the «Order of the Spins» in the house of Voloshin in Koktebel, jokes andhoaxes of the owner tend to laugh culture. Voloshin claimed: «Everything that is not a game is not art». He relied on the reception of art as a game and life as art – the newly created world en variante locale by the artist, the conjurer of things. Together with the fraternity, which arose spontaneously every summer and spontaneously formed its own laws and rituals, the poet realized an improvisational model of the game, close to children’s games. In contrast to the pathos of the Les Nabis, Voloshin’s game was a frontier against society and the then (1905-1924) Russian reality. If the theater of nabis in the manifestations of Art nouveau realized their goal to aestheticize space, then Voloshin’s game, which became his lifestyle, led to the creation of a new person and new relationships. It contributed not only to the creative development of its members, but also to saving lives during the Bolshevik terror and famine. Late Voloshin, with his analysis of the Сainite civilization and the historiosophical conception of Russia, consistent with modern assessments of geopolitical realities, can be positioned as a seer who predicted the course of events for centuries to come.

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10

Soloviev, Erikh Yu. "“Bless Thy Blue Panorama …”: The Cosmopersonalism and Historiosophic Irony of Maximilian Voloshin." Russian Studies in Philosophy 56, no. 4 (July 4, 2018): 346–59. http://dx.doi.org/10.1080/10611967.2018.1473681.

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11

Wachtel, Michael, and Barbara Walker. "Maximilian Voloshin and the Russian Literary Circle: Culture and Survival in Revolutionary Times." Slavic and East European Journal 49, no. 3 (October 1, 2005): 502. http://dx.doi.org/10.2307/20058312.

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12

Basina, Olesya A. ""The Plot of Reading" of the "Burning Bush" Book of Poems by Maximilian Voloshin." Dagestan State Pedagogical University. Journal. Social and Humanitarian Sciences 12, no. 2 (2018): 35–39. http://dx.doi.org/10.31161/1995-0667-2018-12-2-35-39.

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13

Pratt, Sarah. "Maximilian Voloshin and the Russian Literary Circle: Culture and Survival in Revolutionary Times (review)." Modernism/modernity 13, no. 1 (2006): 929–31. http://dx.doi.org/10.1353/mod.2006.0013.

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14

ILICA, Sevgi. "THE HISTORICAL, MYHTOLOGICAL AND CULTURAL CHARACTERISTICS OF SOUTH CRIMEA IN THE POEMS OF MAXIMILIAN VOLOSHIN." SOCIAL MENTALITY AND RESEARCHER THINKERS JOURNAL 7, no. 48 (January 1, 2021): 1840–48. http://dx.doi.org/10.31576/smryj.990.

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15

Dudareva, Marianna A., Nurbek A. Omuraliev, Tatiana V. Shvetsova, and Darya A. Aripova. "Apophatics of artistic culture: raising the issue. Disease, death and sleep ethoses in Alexander Grin’s story “Struggle with Death”." Revista Amazonia Investiga 10, no. 39 (May 5, 2021): 232–37. http://dx.doi.org/10.34069/ai/2021.39.03.23.

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Object of the article: apophatics as a cultural phenomenon. Subject of the article: a method of creating an apophatic reality in a literary work, the apophatic side of the phenomenon of sleep is studied. Material of the article: an early little-known story by Alexander Grin “Struggle with Death” (1918). Research methodology: a holistic analysis of a literary text, which is achieved through the ontohermeneutic method using the semantic research method. Research results: analysis of Grin’s early story, identification of its ontological meaning, ethos of illness, death, sleep allows raising an issue of apophatics of a literary work. The appeal to anthroposophical reflections on the axiological status of sleep by the German philosopher Rudolf Steiner, whose ideas were shared by the representatives of the Silver Age, especially Maximilian Voloshin, Grin’s closest friend, is also productive, since the anthroposophist highlights the apophatic side of sleep associated with day and night human consciousness. The ethos in the article is understood within the framework of Heidegger’s research, which makes it possible to deepen the cultural-philosophical ideas about the phenomenon of death, disease and sleep in the global art culture.

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16

Smagina, E. B. "The ways of the Bible: an interpretation of antique and biblical motives in the works of M.A. Voloshin." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 177–90. http://dx.doi.org/10.17588/2076-9210.2019.4.177-190.

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This article is about the evolution of the poetic work of Maximilian Voloshin in the context of Russian history of the early twentieth century. It reflects the formation of the religious and philosophical worldview of this poet-philosopher. The hypothesis is discussed that under the influence of tragic events, wars and revolutions, the biblical motives increasingly replace the antique ones, and the contemporary historical events are interpreted in terms of biblical history. In this connection a general view of the subject is given, as well as an analysis of the language, metrics, imagery and style of Woloshin's poetry at different moments of his creative work. It appears that if earlier the poet often tended to adapt antique verse and strophe to the Russian syllabo-tonic poetry, in the works of the epoch of wars and revolution he imitates the biblical poetry several times, and then he goes on to an unrhymed tonic verse, with the line divided into two hemistichs. Thereby the antique images, topoi and metaphors give way to biblical allusions, combined with realistic details of the period of terror and mass executions. It is proved that Crimea-Cimmeria, which had previously been an area of the ancient oecumene for the poet, an abode of the ancient gods, appears as an arena of the fulfilled prophetic and apocalyptic visions of the Bible in the post-revolutionary period of his work. It is alleged that history itself, which had previously been depicted as a cycle, according to ancient tradition, turns into a vector of destruction. Concerning the Old Testament history, the poet's attention is mostly attracted to prophetic books, and he chooses the most mystical images from the New Testament, chiefly from St John’s Book of Revelation. Moreover, some Gnostic motifs are combined with the Biblical ones. The cosmic allegory of Christ as the spirit "crucified" in the matter is considered as an example which goes back to the Gnostic teachings of Late Antiquity. It is also concluded that Voloshin’s hope for a future revival of Russia after passing through the crucible of trials also fits into the framework of the biblical tradition.

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17

Dudareva, M. A. "APOPHATIC OF SLEEP IN A. GRIN’S STORY “STRUGGLE WITH DEATH”: ONTOLOGICAL AND CULTURAL ASPECTS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 77 (2021): 65–69. http://dx.doi.org/10.37313/2413-9645-2021-23-77-65-69.

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Subject of the article: apophatic of sleep. The article examines how the apophatic of culture is implemented through a literary work, namely, it considers the apophatic side of the phenomenon of sleep. Object of the article: A. Grin’s early story “Struggle with Death”. If researchers refer to this text, they consider it only immanently, in the context of all the works by the writer. However, this story is of particular value in the cultural-philosophical understanding of the phenomenon of sleep and death in the Russian version of logocentrism, since in this story sleep is a condition for the character’s recovery, the way out of the morbial state. Research methodology: a holistic analysis of a literary text in the ontohermeneutic way with the use of a semantic research method. Research results: the identification of the apophatic nature of sleep in Grin’s story. Sleep is endowed with ontological properties and meaning-generating functions. The appeal to philosophical reflections on the axiological status of sleep by the German philosopher Rudolf Steiner, whose ideas were shared by the representatives of the Silver Age, especially Maximilian Voloshin, is also productive, since the anthroposophist highlights the apophatic side of sleep associated with day and night human consciousness.

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18

Brooks, J. "BARBARA WALKER. Maximilian Voloshin and the Russian Literary Circle: Culture and Survival in Revolutionary Times. Bloomington: Indiana University Press. 2005. Pp. xiv, 235. $39.95." American Historical Review 111, no. 2 (April 1, 2006): 589–90. http://dx.doi.org/10.1086/ahr.111.2.589.

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19

Read, Christopher. "Maximilian Voloshin and the Russian Literary Circle: Culture and Survival in Revolutionary Times. By Barbara Walker. Bloomington: Indiana University Press, 2005. Pp. xiv+235. $39.95." Journal of Modern History 80, no. 1 (March 2008): 208–10. http://dx.doi.org/10.1086/586806.

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20

Rubins, Maria. "Maximilian Voloshin and the Russian Literary Circle: Culture and Survival in Revolutionary Times. By Barbara Walker. Bloomington: Indiana University Press, 2005. xiv, 236 pp. Notes. Bibliography. Index. Photographs. $39.95, hard bound." Slavic Review 65, no. 3 (2006): 603–4. http://dx.doi.org/10.2307/4148697.

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21

Dudareva, M. A., and N. Z. Koltsova. "Life and Death Ethoses in the Short Story The Mystery of Foreseen Death by Aleksandr Grin: Imaginative Apophatic Reality." Concept: philosophy, religion, culture 5, no. 1 (April 1, 2021): 25–33. http://dx.doi.org/10.24833/2541-8831-2021-1-17-25-33.

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The paper is dedicated to the issue of the apophatic component of artistic culture associated with Thanatos that is developed in the literature oeuvre of Aleksandr Grin. Setting Grin’s short story The Mystery of Foreseen Death as the research object, this texts seeks to provide insight into the image of death and the examination of its spiritual and material manifestations that reflected the logocentric approach that was then popular among the Russian thinkers. To pursue this aim, the methodology of this study should allow identifying the ontological perspective of Grin’s story. Thus, the methodological foundations embrace the onto-hermeneutic approach to the analysis of literary work. In revealing the ontological dimension of the story much attention is paid to the ethos of life and death, the protagonist’s artistic imaginative experience of reality. In the story under study death is ambivalent: it is bodily, anthropological, as indicated by the repetitive image of neck on the execution block. At the same time, it is apophatic, as indicated by the darkened end of the story, the bewilderment of skeptical scientists that arose because of the main event of the story, namely the protagonist’s execution. In this regard, it appears to be effective to consider the anthroposophical thought of Rudolf Steiner that was absorbed by a large part of Russian intelligentsia at the beginning of the 20th century. This doctrine stresses the reflections on a person’s experience of death in reality. The imaginative aspect of anthroposophism was developed by Grin’s close friend, a neighbor in Crimean Cimmeria, Maximilian Voloshin, a disciple of the teachings of Steiner. The conclusions that can be drawn from the study are as follows: Grin’s story presents a detailed imaginative death experience, which makes it possible to raise the issue of it being part of the broader anthroposophical teaching. The Mystery of Foreseen Death indirectly expresses the Steinerian ideas and at the same time it fits into the framework of the Russian apophatic artistic tradition. The article also raises the issue of the apophatic component of Russian artistic culture, the thanatological experience of which can help in overcoming crisis situations nowadays. The findings of the research, in this way, can have an effect on better understanding in several fields: in literature studies (philology), in the history of Russian literature, in cultural studies and in philosophy.

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22

KOLTSOVA, DARYA. "Maximilian Voloshin’s japanese print collection in the context of european orientalism." Journal of Education Culture and Society 4, no. 2 (January 10, 2020): 316–24. http://dx.doi.org/10.15503/jecs20132.316.324.

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The paper is concerned with Maksimilian Voloshin’s Japanese woodblock print collec-tion. It starts with a short historical sketch of Orientalism in Europe and Russia, illustrating various highlights and the evolution of the image of the East in the minds of Europeans, and designed so that the emergence of Voloshin’s interest in Japanese art and his activity of collecting Ukiyo-e prints can be considered in the context of European Orientalism.

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23

Generaliuk, L. "Sources of tragedies of 1917 - 1922: Maximilian Voloshin’s sight." Ukraïnsʹka bìografìstika, no. 15 (April 30, 2018): 58–73. http://dx.doi.org/10.15407/ub.15.058.

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24

Depretto, Catherine. "Marianna S. Landa, Maximilian Voloshin’s Poetic Legacy and the Post‑Soviet Russian Identity." Cahiers du monde russe 57, no. 4 (October 1, 2016): 986–90. http://dx.doi.org/10.4000/monderusse.10052.

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25

Michailovich, Sergey. "Balance of Oppositions as a Philosophical Base of Maximilian Voloshin’s Life and Creativity." Issledovatel'skiy zhurnal russkogo yazyka i literatury 08, no. 1 (February 20, 2020): 35–47. http://dx.doi.org/10.29252/iarll.15.35.

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26

Rylkova, Galina S. "Sobranie sochinenii [Collected Works], vol. 7, book 1: Zhurnal puteshestviia: Dnevnik 1901-1903. Istoriia moei dushi [Record of a Journey: Diary, 1901-3. The Story of My Soul], and: O Makse, o Koktebele, o sebe: Vospominaniia. Pis´ma [On Max, Koktebel´, and Myself: Memoirs. Letters], and: Maximilian Voloshin and the Russian Literary Circle: Culture and Survival in Revolutionary Times (review)." Kritika: Explorations in Russian and Eurasian History 8, no. 1 (2007): 201–8. http://dx.doi.org/10.1353/kri.2007.0011.

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27

Landa, Marianna. "Symbolism and Revolution: On Contradictions in Maximilian Voloshin's Poems on Russia and Terror in the Crimea (1917-1920s)." Slavic and East European Journal 58, no. 2 (2014): 217–36. http://dx.doi.org/10.30851/58.2.002.

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28

Hodgson, Katharine. "Maximilian Voloshin's Poetic Legacy and the Post-Soviet Russian Identity. By Marianna S. Landa . Basingstoke: Palgrave Macmillan, 2015. xxiv, 273 pp. Appendix. Notes. Bibliography. Glossary. Index. Photographs. $90.00, hard bound; $69.99, e-book." Slavic Review 76, no. 3 (2017): 829–30. http://dx.doi.org/10.1017/slr.2017.217.

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29

"Maximilian Voloshin and the Russian literary circle: culture and survival in revolutionary times." Choice Reviews Online 43, no. 02 (October 1, 2005): 43–0831. http://dx.doi.org/10.5860/choice.43-0831.

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30

"Maximilian Voloshin’s Lifecreation: a Story in the Parisian Cafe “La Rotonde”." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 78, no. 6 (December 2019). http://dx.doi.org/10.31857/s241377150007803-6.

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