Slot: 28B-3 Dec. 28, 10:15 a.m. – 12:15 p.m.
Panel: Russian Symbolism: Ideas and Texts
Chair: Michael Pesenson, Swarthmore College
Title: Skorpion and the Instantaneous
Canonization of Russian Symbolism
Author: Jonathan Stone, University of California,
Berkeley
In 1904, Russian Symbolism
found a haven in the journal Vesy (1904-1909).
Russia’s first truly Symbolist journal was founded at a mid-point in the
development of Russian Symbolism and can be seen as a manifestation of one of
the movement’s ongoing projects.
An accessible expression of Symbolism in unified terms was paramount at
this moment in its maturation. I
will discuss the pre-history of Vesy through its publisher’s creation and propagation
of the homogeneity necessary for Russian Symbolism to present itself as a
coherent literary group.
The most ambitious attempts to represent
Symbolism as a single entity in Russia were made under the auspices of the
Skorpion publishing house (1899-1916).
By appropriating an entire group of writers, Skorpion fashioned its
almanacs, Severnye tsvety,
its journal, Vesy, and
the individual books it published into readily identifiable models of
Symbolism. Taken as a whole, the
activities of Skorpion from 1899-1903, the period leading up to the publication
of Vesy, are
consistent with the journal’s self-proclaimed role as the hothouse of Russian
Symbolism. The twenty-four books
Skorpion published in
that period, freely mixing the poetry of established and emerging Russian
Symbolists with exemplars of the new art in Europe, represent an attempt to
form a coherent picture of Symbolism by producing, nearly instantaneously, its
canon. Yet the sizable shelf
conjured up by Skorpion’s 1904 catalogue (prominently appended to the first
issue of Vesy) did
more than just taxonomically describe the state of Russian Symbolism. It also gave Symbolism a prescriptive
face that allowed its poets to read that which was sanctioned as “Symbolism”
and to contribute to that evolving collective.
This
talk will concentrate on Skorpion’s vision of Symbolism’s macrocosm, as
represented by its catalogue of publications from 1899-1903, and of Symbolism’s
microcosm as found in Skorpion’s most intentionally programmatic publication, Severnye
tsvety for 1903. By addressing, in the context of the
foundation of Vesy,
the issues of instantaneous canonization and the dynamics of a poetic almanac I
will provide a picture of the simultaneously descriptive and prescriptive
nature of early Russian Symbolism immediately before Vesy, its paradigmatic journal, appeared.
Title: The Eternal Feminine in Russian Poetry
Author: Lada Panova, University of Southern
California
This presentation is based on the Eternal
Feminine anthology, which I am compiling. It includes poems by Vl. Solov′ev, A.
Blok and A. Belyi, usually mentioned in the Eternal Feminine context, as well
as ten “new” modernist poets, both male and female, from F. Sologub and B.
Livshchits to P. Solov’eva and Z. Gippius. I suggest my own insights into the
European poetics of the Eternal Feminine and its Russian modification revising
the existing scholarship, from S. Cioran’s monograph Vladimir Solov′ev and the Knighthood of the Divine
Sophia (1977) to D.
Borgmeyer’s PhD dissertation Sophia, the Wisdom of God (2004).
Applying
structural methods, I reveal the invariant structures of such texts. For
example, the Eternal Feminine, or Sophia, cannot be viewed as one indivisible
and simple entity (as my predecessors usually oversimplify her). I distinguish
four aspects of her (from an impersonal Soul of the World to the Beautiful
Woman, Sophia’s earthly incarnation). I also demonstrate the invariant Sophian
plot (a first-person narrator relates his mystical contact with Sophia) and the
main discourse strategy (not to let the secret out, i.e. to tell and not to
tell at the same time).
Russian
modernists joined Europeans writing on the Eternal Feminine late, when most of
the themes, images, and models had been fully developed by Goethe, Novalis,
Shelley as well as Flaubert, Villiers de L’Isle-Adam and France. Instead of
engaging in mere imitation, they managed to find their original ways of
treating the theme by converting the Sophian Myth into a religious cult and
forming a brotherhood in Sophia’s name. So, Sophian poetics underwent serious
changes, standardization in particular.
In this talk I will also trace the birth of Russian Sophia poetry, its prime, end (Viacheslav Ivanov’s Rimskii dnevnik) and short revival in Daniil Andreev.