Suchergebnisse

Ternira Pachmuss, Extraits des archives de V.A. Zlobin : le poète A. S. Steiger.
Anatoli j Sergeevič Steiger (1907-1944), qui eut un rôle actif dans La vie Littéraire du "Paris russe", est l'auteur de plusieurs recueils de poésie : Etot den' (Ce jour, Paris, 1928), Eta žizn' (Cette vie, Paris, 1932), Neblagodarnost ' (Ingratitude, Paris, 1936) et 2 x 2 = 4 : stihi 1926-1939 (Deux fois deux quatre: poèmes 1926-1939, Paris, 1950). Il fréquentait les salons dominicaux des Merežkovskie. Zinaida Hippius, qui aimait la personnalité de Steiger et ses dons poétiques, le considérait comme un écrivain séduisant et doué. Les oeuvres de Steiger exprimaient mieux que tout l'essence de la "note parisienne". Le sentiment du temps qui passe et une note prédominante de tristesse élégiaque se conjuguent dans sa poésie à une quête intense d'amour et d'une vérité fondamentale au-delà de la surface, incompréhensible en apparence, de la réalité. La correspondance de Steiger avec V.A. Zlobin révèle son attitude envers divers poètes russes et envers la vie politique, sociale et littéraire des Russes dans le Paris des années 20, ainsi que son désir profond de s'adonner à la poésie. Dans ses premiers poèmes, envoyés à lire à Zlobin, ne se reflètent pas encore cette "note parisienne" ni cette manière d'écrire qu'il fit sienne par la suite.

Temira Pachmuss, Extracts from the archives. Serge Charchoune, a Russian painter and writer.
Serge Charchoune (1888-1976), the first Russian Dadaist poet, was also a modernist painter. In 1921, he authored a long Dadaist work, Foule immobile : poème, and later published several unusual books in Russian, among them Stories unpleasant (1964), Sky à la Bell: a poem 1919-1965 (1965), Lighthouseless: four landscapes (1969), and an artistic portrayal of Charchoune's own alter ego, Mr. Longface: from the epopee "A hero is more fascinating than the novel" (1961). As the unusual titles suggest, the plots are indeed unorthodox. The "freed" contents of the works found curious expressions in Charchoune's equally unusual arrangement of halftone, colors and lines in his painting. An abstract artist, he succeeded in conveying the imperceptible and the inexpressible. His art requires an onlooker's participation, who is expected to complete the painting himself - through his own imagination and understanding of its subtle interplay of colors, lines, and musical notes. As his subject, Charchoune used various symphonies of Bach, Tchaikovsky, and other composers. Charchoune was a frequent visitor at the Merezhkovskys ' Sunday literary salons in Paris, where he came to know Greta Gerell, a Swedish artist and a close friend of Zinaida Hippius. This article is based on their correspondence which reveals Charchoune as a remarkable artist, poet, and man.

Extracts from the Merezhkovsky Archives. Letters of Z. N. Hippius to M. V. Vishniak, presented by Temira Pachmuss.
Hippius' letters to Vishniak recreate vividly the atmosphere of "Russian Paris", in the 1920' s and 1930's. They reveal the complex interrelationships of Russian émigrés, who found themselves abroad in strained financial circumstances. The letters portray the émigrés' many activities, describe the appearance of Russian journals, newspapers and almanacs, and discuss various ideological conflicts and disagreements among the émigrés. The letters also convey Hippius' sense of humor and her keen observation. Moreover, they reveal her personality, as well as her complex Weltanschauung. She was endowed with an alert eye and a profound understanding of the events taking place around her. As Vishniak himself admitted:
"Hippius' letters are extremely interesting. In them, she discussed the topics which were invariably important. Besides, she was an excellent stylist, always writing in a perfect and picturesque Russian..." Her letters "characterize her as a person and a 'politician.' "
" Hippius' correspondence also enables the reader to observe the personality of Vishniak and his role as editor of an influential Russian publication in Western Europe.

Extracts from the Merezhkovskie Archives. I: Letters of Z. N. Hippius to I. A. Bunin ; II: Letters of D. S. Merezhkovskii to I. A. Bunin, presented by Temira Pachmuss.
These letters spread over the years 1921 to 1936, and cover the period when the Merezhkovskii family left Poland to reside first in Germany, then in France. They are sprinkled with autobiographic information that throw a new light on the personality of their authors. Through the medium of these letters it is the cultural life of Russian writers in the emigration that is evoked: the difficulties they come up against, the organization of literary evenings, the important events such as the 1st Congress of Russian writers and journalists in Belgrad, in 1928, and naturally the award to Bunin of the Nobel prize in 1932.

Temira Pachmuss, From the archives of Z. N. Hippius.
The present article includes an original version of two of her early poems, two unpublished humoristic poems and an unpublished poem "To Theresa", filled with the meditations of the poet, on the essence of all-comprising love aimed at harmony, ideal, truth and union in the light of Godly Personnality, of Jesus-Christ. The "Metaphysics of Love" comprises also the meditation of the poet on the androgynous nature of God-the-Father and the-Mother in One; on the artistic creation as an act of Divine Principles in their fusion; on the organic union of the act of love and the artistic act and on the artist, returning to God by his creativity the love which served to create him in the semblance of God.

Ternira Pachmuss, Pologne, 1920.
Le récit « Pologne, 1920 » a été écrit par Z. N. Hippius à l'époque où elle travaillait à ses mémoires intitulés D. S. Merežkovskij. Il a pour trame les événements et les projets auxquels les Merežkovskie furent mêlés en Pologne après leur fuite de Saint-Pétersbourg en 1919. A son arrivée à Varsovie, B. V. Savinkov fut chargé d'organiser la résistance contre les bolcheviks ; D. V. Filosofov, ami de longue date des Merežkovskie, se vit confier la présidence du comité russe et Hippius la section littéraire du journal Svoboda. Pilsudski approuva la constitution d'un détachement russe camouflé en « comité d'évacuation ». Après la chute de l'autocratie russe, Hippius fonda de grands espoirs en Savinkov et Kerenskij, en qui elle voyait les porteurs des idées nouvelles. Elle escomptait le renversement du pouvoir soviétique qu'elle abhorrait. Lorsqu'elle cessa de croire Savinkov capable de diriger la lutte contre les bolcheviks, elle le considéra comme un dictateur et même comme un agent des forces malignes. Ce récit qui montre certains comment et pourquoi de la révolution russe de 1917 est intéressant avant tout en tant que document historique et littéraire.