DOI: 10.25136/2409-8698.2024.4.70584

Abstract: The subject of the article is the peculiarities in the formation of genre trends in the work of Valery Bryusov. Author pays attention to Bryusov's appeal to supercycles-catalogs, which occur when the evolution or transformation of the genre is carried out in several collections. Among such genre supercycles-catalogs, the genre of the poem-"monument", or historical and mythological medallion, stands out. This genre can take different forms from Bryusov (lyrical ecphrasis, the poem -"glory", which combined various types of genres). In this context is also considered the issue of continuity and transformation of the lyrical genres of World and Russian literature in the Bryusov's work. In the proposed article, the author aims to identify the features and nature of the interaction of traditional and non-traditional genre formations in Bryusov's poetry. The author uses systematic-typological and structural-semiotic, as well as comparative-historical and cultural-historical methods and focuses on the works of M. L. Gasparov and L. G. Kikhney as a methodological base. The novelty of the research lies in the study of the genre in Bryusov's lyrics as a changeable category that undergoes changes and transformations in the poet's work. The article draws following conclusions: 1) the formation of sections of Bryusov's lyrics was carried out not only on the content side, but also on genre affiliation; 2) large-volume supercycles-catalogs created by Bryusov was almost a new phenomenon for the Russian literary tradition; 3) the poem-"monument" as a genre of the supercycle -catalog often takes different forms in Bryusov's work; 4) mythological and historical portraits reflected in the poems-"monuments" originate in sculptural images of great people; 5) poems-"glory", in turn, includes various genre types (for example, requiem and testament).

DOI: 10.25136/2409-8698.2023.7.43618

Abstract: The object of this article is the poetic correspondence of Valery Bryusov and Andrei Bely in the 1900s. The analysis allowed us to draw a number of conclusions about the communicative strategies of Russian modernism. Firstly, in the structure of the correspondence, the dominant genre setting for dialogue with the addressee is identified, which allows identifying these poems as messages. This, on the one hand, makes it possible to fit the messages of Bryusov and Bely into the all-symbolist poetological and communicative context of the early twentieth century, when this genre was a kind of mainstream. On the other hand, the analysis of genre dominants allows us to identify their genre renewal associated with the formation of an original metastructural cycle resembling a "novel in letters", the heroes of which are Bryusov and Bely, simultaneously combining the roles of author and addressee. Secondly, in the titles of the poems under consideration ("Balder Loki", "Balder II", "Ancient Enemy", "Magician"), mythological codes are revealed, genetic links are established with Christian apocrypha and Scandinavian legends, in which the author's "I" and "you" of the addressee are associated with images of light and dark forces rooted in religious and pagan traditions. Thirdly, with the help of the biographical method, the parallels of the lyrical plots of the poems with the life and creative relationships of the poets are established. As a result, the poetic correspondence of the masters of symbolism is interpreted as a philosophical duel implicitly realizing dramatic situations of personal and "workshop" relationships, with a clear separation of aesthetic and ethical roles, these roles structure the plot of an epistolary "novel", the vicissitudes of which are reduced to binary oppositions of "light" and "darkness", heavenly and earthly, divine and demonic principles. However, at the same time, this exchange of messages appears as a dialogue about the poet's role in symbolist discourse, a dialogue reflecting different vectors of creative aspirations of symbolists and, consequently, the ambivalent tendencies of the current towards both consolidation and separation.

DOI: 10.25136/2409-8698.2023.4.40532

Abstract: The subject of the study is a literary game with the genre tradition of urban romance and factory (working) songs in the poetry of the poet of the Silver Age Valery Bryusov. The object of the study is Bryusov's genre palette and his creative searches in relation to the extensive development of genres of domestic and foreign literature, as well as folklore. The authors consider in detail such aspects of the topic as Bryusov's genre strategies, his playing with genre constants and the deliberate distortion of the genre "grid" of the working song with the involvement of features of another, related genre of violent urban romance. Special attention is paid to the catamnesis of Bryusov's texts: their further embodiment in music as songs, both purposeful and spontaneous.   The main conclusions of the study are observations on the stylization of folklore in the literature of the Silver Age and reflections on the genre nature of the works of one of the most significant collections of poems by Bryusov, “Urbi et orbi” (1903). A special contribution of the authors to the study of the topic is their consistent tracing in Bryusov's "songs" of the presence of references to specific realities included in the apperceptive base of the reader and the author himself. The novelty of the research lies in the appeal to the genre of urban romance and factory song in Bryusov's work and in the expansion of the evidence base of observations on the genre diversity of the work of this poet and prose writer.