First Wave Of Russian Emigration Research Articles

Russian ballet on the pages of the magazine “Zhar-ptitsa” (1921–1926)

INTRODUCTION. Monthly literary and artistic illustrated magazine “Zhar-ptitsa”, published from 1921 to 1925. in Berlin, in 1926 – in Paris, is a successor to the traditions of such magazines of the early twentieth century as “World of Art”, “Golden Fleece”, and is of scientific value as an additional source of information on the study of the theatrical life of the Russian Abroad. The purpose of the study is to conduct a detailed analysis of the magazine’s articles related to the creative activities of representatives of Russian ballet in exile.MATERIALS AND METHODS. The basis is taken from digitized versions of the magazine, posted in the public domain on the website “Presidential Library named after B.N. Yeltsin”. All 14 “Zhar-ptitsa” magazines were analyzed. Both articles related to the activities of representatives of Russian ballet in emigration, as well as various types of illustrations: photographs, drawings, reproductions, etc., were studied in detail.RESULTS AND DISCUSSION. It was revealed that in many issues of the magazine there are no articles devoted to Russian ballet, but there are photographs of ballet dancers in stage costumes and images, drawings related to ballet art, reproductions of sketches for ballet performances, which are also of scientific value in the reconstruction of ballet scenography, the study of this period of history. Four issues of the magazine “Zhar-ptitsa”, no. 1, no. 2, no. 10, no. 11, contain articles dedicated to the art of ballet: the work of M.M. Fokina, A.M. Pavlova, E.P. Eduardova, as well as B.G. Romanov and his choreographic group “Russian Romantic Ballet”.CONCLUSION. Despite the abundance of scientific articles devoted to the periodicals of the first wave of Russian emigration, information related to the history of Russian ballet remains poorly studied. The co nducted research introduces into scientific circulation materials dedicated to Russian ballet, and placed on the pages of the periodical of Russian emigration – “Zhar-ptitsa”. It seems promising to further study the journals of Russian emigration for the analysis of articles related to the history of Russian ballet.

A.S. Pushkin in the perception of “Russian Harbin”

The purpose of the work is to give an idea of the criticism and journalism of “Russian Harbin”, dedicated to Pushkin, as well as to determine the place that the poet’s personality and work occupied in the spiritual culture of emigrants. Russian emigrants regularly spoke out on the topic of Pushkin and for decades held a Day of Russian Culture associated exclusively with the name of the classic. A significant result of the study is the discovery of not only professional, but also journalistic and reader criticism, previously unknown. The conclusion that the author comes to is that, as A.P. Grigoriev once said (“Pushkin is our everything”), for the Russian residents of Harbin the “idea of existence” in a foreign land really mattered. Based on methods of description, as well as philosophical phenomenology, the cultural, historical, aesthetic and literary parameters of the works are comprehended. The Russian emigration has a serious tradition of studying the artistic and aesthetic heritage of the first wave of Russian emigration, but the aesthetic thought of the “Russian Harbin” is not convincingly integrated into this tradition. Russian literary scholars and foreign Slavists paid attention mainly to Pushkin studies of Russian emigration to Europe. The eastern line of Pushkin studies is considered as part of the literary heritage of the entire Russian diaspora. Critics of “Russian Harbin” saw in Pushkin an indisputable symbol of cultural Russia; The emigration considered Pushkin's Russia to be a true historical reality. The existing stereotype of the “secondary nature” of literary criticism on the part of eastern immigrants is being overcome. The bibliographic list of works about Pushkin is expanding. The article analyzes articles, including Western emigrants, known only from Harbin periodicals.

СУДЬБА И СВОБОДА НАТАШИ КАЛЫМОВОЙ: ТРАГЕДИЯ ЭСЕРОВ-МАКСИМАЛИСТОВ В РОМАНЕ М.А. ОСОРГИНА "СВИДЕТЕЛЬ ИСТОРИИ"

The article is devoted to the study ofM.A. Osorgin's understanding and comprehension of the problem of terrorism in the Russian liberation movement of the early 20th century on the material of the novel «Witness of History»; consideration of the image of the main character of the novel Natasha Kalymova and the evolution of her understanding of the problem of freedom; the study of the artistic expression of the idea of denying terrorism as an inhuman means of solving social and political problems. The relevance of the work is determined both by the subject of study itself (the phenomenon of freedom), which generates the alleged plurality of meanings and reflections, and by the search for new aspects of the study of the artistic space of the prose of the first wave of Russian emigration, the experience of solving the problem of freedom in Russian socio-political and literary thought of the early 20th century. The study is based on an integrated approach, including the use of historical-literary, biographical, cultural-historical, descriptive-analytical methods. It was established that M.A. Osorgin, well aware of the history of revolutionary terrorism in the Russian Empire and the fate of the prototypes of the heroes of his novel, rethought their life stories in accordance with his artistic goals. The evolution of the consciousness of the main character, her understanding of the phenomenon offreedom was studied and described. It was shown that the position of the author-narrator is convincingly expressed in the plot and compositional organization of the work, in the dynamics of circumstances, characters, searches of heroes and actualizes the axiological aspect of the perception of a literary text. It was proved that the novel clearly expresses the denial of both terror and violence, which bring neither solutions to social problems, nor personal happiness, and terrorism as an ideology.

«Я унес с собой Россию»: журнал «Современные записки» как площадка русской эмиграции в 1920-е годы

The article is devoted to the analysis of the phenomenon of the journal «Modern Notes», which was published in several centers of Russian emigration. Attention is paid to the peculiarities of appearance, structural parts and socio-cultural characteristics of the magazine, which became a unique platform for creativity, work and communication within the first wave of Russian emigration. The author makes an attempt to determine the degree of inclusion of the journal in European culture and to identify features of the Russian cultural code in the journal «Modern Notes». In recent decades, the issue of Russian emigration has become a key aspect of humanitarian research. This is reflected in numerous publications by historians, philosophers, cultural scholars, and philologists. Nevertheless, a sufficient number of research gaps remain out of sight. Therefore, drawing attention to some stories becomes an impetus to search and publish Russian and foreign sources on the topic, revealing new aspects of the phenomenon of Russian emigration. The phenomenon of the magazine is also that it was created by emigrants, in the past, former political activists, who were far from publishing activity and publishing. Therefore, the degree of success of the journal was in direct dependence on what copyrights will be placed on its pages, who can attract authors for «promotion» of the journal. «Modern notes» for twenty years (1920–1940) labor-intensive and difficult work produces seventy books. The editorial staff moved to the European capitals: Paris, Berlin, Prague. Forming a certain axis of cultural influence, the magazine becomes a kind of collective place of creativity, a kind of literary monument that is formed in interwar time.

Автобиографическая повесть С. А. Зайцевой «Детскими глазами на мир» в контексте литературной традиции Л. Н. Толстого («Детство»)

The article examines The World Through the Child’s Eyes, a novel being the first work of the autobiographical trilogy by Sophia Zaitseva, a writer belonging to the first wave of Russian emigration. The novel is discussed in the context of the literary tradition of Leo Tolstoy (the story Childhood). It is argued that the structure of the trilogy correlates with the structure of Tolstoy’s trilogy Childhood, Adolescence, Youth. In the story by Zaitseva, there are such characteristic features of the ‘tale of childhood’ as a child hero discovering the world, the space of the house as the organizing space of the character’s life, the image of the family way of life, the development of the principles of depicting the inner world of a child. The study draws parallels with the Tolstoy’s work on the figurative, motivational, spatial, plot levels of the artistic system of the story The World Through the Child’s Eyes. Special attention is paid to the comparison of the images of Nikolenka and Sonya, to the principles of analyzing the inner world of the characters; the paper identifies the similarities and differences in using the method of psychologism, as well as the role of the principle of detachment in the creation of images of the heroes. The article examines the organization of space in The World Through the Child’s Eyes, the relationship of one’s own and another’s in the artistic structure of the works, analyzes the interaction of cultures in Zaitseva’s story. The comparison of the works provides a better understanding of the historical and cultural context of the story by Zaitseva and the role of the tradition of Russian classics in her work.

Reflection of the Artistic Search for Literature of the Early Twentieth Century in the Work of Ivan Boldyrev-Shkott

The article analyzes the work of Ivan BoldyrevShkott who was the writer of the first wave of Russian emigration. The materials of the research are the novella “Boys and Girls”, as well as the previously unexplored stories “Ivan Stepanovich’s Pies”, “Anyuta”, the manuscript of the story “Wisdom of the Forest”, which was not published during the writer’s lifetime. The connections of Boldyrev’s works with different artistic trends of literature of the beginning of the XX century are highlighted. The stylistic features of the story “Boys and Girls” are analyzed and the connection of the work with the tradition of ornamental prose by A. M. Remizov is revealed. Published in the emigrant periodicals “Ivan Stepanovich’s Pies”, “Anyuta” are compared with “The Stories of Nazar Ilyich Mr. Sinebryukhov” by M. M. Zoshchenko. The plot structure and vocabulary of the story “Wisdom of the Forest” are considered, as well as the influence on the stylistic manner of the author in this story of the romantic legends of A. M. Gorky, A. I. Kuprin, V. V. Veresaev. Based on the writer’s letters, an assumption is made about the possible time of the creation of the story.

One Page from the Diaries of Alexandra Schmemann: about (not)the Possibility of a Golden Age

The subject of the study is the reflections of prot. Alexander Schmeman on the fate of Russia and the Church in exile. The image of pre-revolutionary Russia, having survived the processes of recommoration, takes on the features of the golden age, becoming an ideal space in memory, the story of which is based on "memory points" - oral and written speech, traditions, a narrative about the lost homeland. It is impossible to ignore the image of the Russian Church, which is also being idealized, becoming a universal Church from a strictly national Church, which leads to the substitution of the foundations of Christianity and Orthodoxy. With the beginning of emigration, there is a transfer of space (translatio imperii) – and this is accompanied by a decrease in the amount of space and a rupture of history, which just provokes the priority of the national, since the national becomes borders, a house with its walls, a promise of inviolability, an appeal to history, in particular to the history of the Church, can be understood as a work that results in the liberation of a person from incessant looking back at the past as the only true and lasting "place". With the help of the work of understanding, one can achieve the removal of time and, having passed this path, go out to the timeless, infinite, in order to see the true Church. The problem of understanding the concept of the lost Homeland in the historical consciousness of the first wave of Russian emigration is extremely important, since the choice of a certain mode creates a particular narrative in which the paths leading from the "transcendent" golden age to the fate of the real space - Russia today are revealed.

<Авторская исповедь> Н. В. Гоголя в критической рецепции первой волны русской эмиграции

The aim of the study is to determine the features of reception of N. V. Gogol’s creative work of the 1840s, primarily <The Author’s Confession>, by religious philosophers and literary critics of the first wave of Russian emigration. Scientific originality of the study lies in conducting a systematic analysis of critical articles by the representatives of the Russian émigré community in which <The Author’s Confession> is mentioned and in identifying the main conceptual lines along which the interpretation of Gogol’s creative work in Russian emigration was carried out. The paper presents the statements about <The Author’s Confession> by B. K. Zaitsev, Archpriest Vasily Zenkovsky, Archpriest Georgy Florovsky, S. L. Frank, K. V. Mochulsky. As a result, the two lines of perception of Gogol’s later works in the Russian émigré community have been identified: the aesthetic one, which emphasised the change in the quality of Gogol’s 1840s writings, and the religious-ethical one, which comprehended the significance of Gogol’s religious conversion as a writer for Russian culture and the Russian Church. It has been proved that the assessments of <The Author’s Confession> were directly dependent not only on the aesthetic and religious views of its critics, but also on those specific church schools and movements to which they belonged. For V. V. Zenkovsky, Gogol was a prophet and a pioneer of Orthodox culture, while G. V. Florovsky focused on the fact that the striving for the public good had obscured both artistic and ascetic tasks for the writer.

The Cultural Heritage of the White Russian Emigration in Istanbul

The civil war in Russia caused one and a half million people to leave their homeland. The most massive exodus from Russia was across the Black Sea. Istanbul (at that time Constantinople) became almost the only possible port of destination for dozens of overloaded ships. From 1919 to 1921, the city sheltered about 200,000 civil and military refugees. Consequently, it became a very special, iconic place of memory in the history of the first wave of Russian emigration. Some White Russians immigrated to other countries immediately, others left as soon as they got their visas, and the rest – years later. In this respect, Istanbul forever acquired the status of the first vital point of the “dispersal” of Russian white emigrants to all corners of the world. This paper provides a comprehensive overview of the social and cultural life of the Russian civilians who took refuge in Istanbul from 1919 to 1930. Emphasis is placed on their self-organization and diligence in the arrangement of their new life according to their cultural traditions. Attention is paid to the changes they brought to the city’s life, such as the opening of many offices, trade, and entertainment establishments. The transformation of Istanbul into a motley center of Russian culture is discussed. A series of artistic events, such as Russian ballet, operetta, and concerts, were often attended by residents of Istanbul, who admired the musical and artistic talent of the Russians. The reader is informed about the activities of film actors, artists, and writers, who, by the whims of fate, found themselves here. The life and work of creative individuals who chose Turkey as their second homeland is emphasized. Revealing the contribution of Russian refugees to the cultural enrichment of Istanbul, it is concluded that as a result of their stay in the 1920s, Istanbul became irreversibly connected with the West. Publications of that period, state and private archives (such as press archives and archives of the Russian associations operating in Istanbul), and the memoirs of dozens of White Russians served as the main sources of the research.

Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination

Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination

Неопубликованные письма А. Д. Билимовича из Королевства сербов, хорватов и словенцев В. В. Шульгину как исторический источник. 1921-1926 гг.

While the history of the first wave of Russian emigration remains a significant research topic, many subjects remain poorly studied. It is important to use new sources, among which epistolary heritage of the Russian emigrants occupies an important place. The role of correspondence as a valuable historical source has been repeatedly assessed in scholarship. For the history of emigration with its limited range of sources, letters are especially valuable. However, in recent years, special attention has been drawn to the analysis not so much of individual letters, but of epistolary complexes with great informational value. The article is to analyze the letters of A. D. Bilimovich, famous economist, professor at the University of Ljubljana (1920s–40s), to his son-in-law, famous politician and journalist V.V. Shulgin . The Shulgin fond in the State Archive of the Russian Federation has preserved 18 letters for January 1921 - April 1926 (fond R-5974, series 1, file 88). Analysis of the letters has showed that they raised three main issues. Firstly, the author informed his addressee in detail about the beginning of his life and work in Slovenian Ljubljana, described how he had learned the Slovenian language and begun teaching at the local university. He characterized the pros and cons of incorporation of the Russian emigrants into the Yugoslavian environment. The second most important subject was Bilimovich’s attempt to organize a Russian publishing house in Belgrade undertaken in 1923–24. Among possible organizers-shareholders were the well-known ?migr? scholars E. V. Spektorsky, F. V. Taranovsky, An. D. Bilimovich, and others. The first book, which the publishing house hoped to publish, was Spektorsky's “Christianity and Culture.” The book was mentioned as completed in December 1923, which is an important fact in the history of creation of this well-known theological and cultural work of the Russian emigration. Previously, the chronological frameworks for its writing were quite unclear. Further publication of educational and scientific literature and fiction was planned. The publishing plans remained unrealized due to lack of funding. The third subject of the Bilimovich's letters was his organizing of “Russian Matica” – later, one of the most important public organizations of emigration in the Balkans. The emigration of many thousands of the Russians to Europe was an incentive for the organization of the “Russian Matica.” It follows from the letters that one of the main reasons for the Matica was Bilimovich's failure in the publishing field. The letters tell about Bilimovich's practical work on organizing the "Russian Matica" activities in 1924–26, on informing the public of this new organization, and on the emergence of its four branches in Yugoslav cities. Thus, the epistolary complex (letters from A. D. Bilimovich to V.V. Shulgin), which the article introduces in the scientific use for the first time, makes it possible to clarify a number of important points in the history of the Russian emigration of the first wave of the 1920s.

Pavel Tchelishchev's theatrical work in the context of artistic life in the first wave of Russian emigration

Pavel Tchelishchev's theatrical work in the context of artistic life in the first wave of Russian emigration

“A WONDERFUL CORNER OF THE EARTH”. LA FAVIÈRE AS LOCUS AMOENUS IN THE LITERATURE OF THE RUSSIAN EMIGRATION

The article is dedicated to representations of the southern French village of La Favière in the literature of the first wave of Russian emigration. It aims to examine the representations of a colony founded on the Côte d’Azur by Russian refugees, scholars, writers and artists, which existed until the outbreak of World War II. The objects of study include Favière-inspired poetry by Sasha Chernyi, published in the Poslednie novosti journal between 1927 and 1932, Aleksandr Kuprin’s series of essays entitled Huron Headland (1929), and Marina Tsvetaeva’s poems written in the summer of 1935. Emphasis is also placed on the epistolography and memoirs of Russian emigrants visiting the “Russian village”: letters by Georgi Griebenshchikov, memoirs by Ludmila Wrangel, Ksenia Kuprina, and Galina Rodionova. The La Favière phenomenon in the works of Russian emigrants has not been discussed before, which is what makes this article timely. The analysis of the above-mentioned works covers primarily their subject matter, but their connections with composition, stylistics and the question of genre affiliation are also discussed. Research demonstrates that despite the different ways in which the countryside is portrayed (its idealization in the poetry of Chernyi, comparison with Crimea — a true but lost paradise in Kuprin’s prose, rejection of Provence in Tsvetaeva’s poems), the tendency in Russian expatriate literature to interpret La Favière as locus amoenus persisted. In the works of Russian emigrants, the countryside evokes positive connotations, enchants with its landscape and tranquility, the naturalness of life replete with manual labor and close contact with nature. As a result, in the system of local texts of Russian emigration, bound together by the motif of foreignness as locus horribilis, La Favière holds a unique place, representing a rare example of Arcadia found in exile.

A. M. REMIZOV’S “THEORY OF RUSSIAN LITERARY STYLE” (1930S‒1950S)

The article analyzes the stages of development of A. M. Remizov’s “theory of Russian literary style” (“teoriya russkogo lada”) in the 1930s–1950s. In the 1930s, the opportunities for the writer to present his aesthetic views in an open journalistic form narrowed down significantly. Remizov was forced to popularize his theory and the name of its “founder” — protopope Avvakum in works devoted to other topics (Knigopisets i shtanba, Po sledam protopopa Avvakuma v SSSR, etc.). In these years, the conceptual apparatus of the theory has taken shape, the semantics of the term “theory of Russian literary style” was detailed. In 1946, Remizov made the last, unsuccessful attempt to publish an introduction to his theory in the form of a manifesto (Na russkiy lad, 1946). The exposition of this theory’s postulates was an indispensable part of most of Remizov’s works of the late 1940s-1950s. Plyashuschiy Demon (The Dancing Demon), an avant-garde book, reveals the ongoing confrontation between the supporters and opponents of the “theory of Russian literary style” up to the 20th century through a historical kaleidoscope of characters from different periods of Russian history. Related novels. i. e. Uchitel muzyki (The Music Teacher) and Podstrizhennymi glazami (By Cropped Eyes) are devoted to examining the mystery of the formation of a writer's personality, and reflect the Russian art life in the 19th-20th centuries and in the first wave of Russian emigration. The writer's emerging personality, the formation of its aesthetic foundation is historically and culturally justified in both books. The writer in question is a follower of “theory of Russian literary style.” This very theme is one of the central topics in Remizov's latest work — his book about himself Litso pisatelya (The Face of a Writer).

Motive of cossack mode of life in the works of Sandzhi Balykov (on the material of the novel “Zalamdzha”)

The article analyzes the motive of the Cossack mode of life in the works of an outstanding representative of Kalmyk literary Diaspora, a publicist, a journalist, a public figure, an officer of the Cossack regiment of the Don army, a participant of the Civil War in Russia, a bearer of living history belonging to the first wave of Russian emigration. As a result of an objective study of definite specific features of the traditional way of life of Don Kalmyks-Cossacks in the works of S.Balykov, the pattern of the writer's appeal to the realities of the traditional Cossack mode of life of Don Kalmyks is examined, the principles of its representation on the material of the novel “Zalamdzha” are revealed, a variety of phenomena related to the the most important concepts of everyday life, mode of life and foundations of the Don Cossacks-Kalmyks are analyzed. The realities of the national mode of life and the foundations of Kalmyk Cossacks are fully reflected in the writer's works. The consideration of preceding events having made an impact on the writer's works and his interaction with common-literary process gives us reasons to presume the extreme importance of historical cultural phenomena, the reflection of which has become the result of S. Balykov's immediate flashbacks.

Recollections of the Future in the Italian Text of Andrei Beloborodov

This article explores the work of Andrei Yakovlevich Beloborodov (1886–1965), an architect, graphic artist, and memoirist. An outstanding representative of Russian emigration, he has long been ranked among the names of the highest order abroad. Beloborodov gained great fame in Italy, where he settled down in 1934 and where his gift as an architect and graphic artist flourished. Beloborodov was an author of the iconic architectural and publishing projects of the early twentieth century; however, his name has been forgotten in his homeland. The article tracks the biographical background of the artist’s work and the pre-revolutionary period of their formation, later described by Beloborodov in his Memoirs. The author examines the place of the Palladian architect in the architectural tradition of the early twentieth century, which revived great Italian classicism in St Petersburg. Beloborodov’s work is explored comprehensively: his memoir heritage is interpreted as part of a single discourse of a retrospective architect, while his outstanding long-term graphic cycle The Great Island (Grande Isola, 1939–1953) is considered part of the general mnemonic tradition of Russian abroad, which was especially clearly manifested in the literature of the first wave of Russian emigration. Special attention is paid to the image of the city as a model of the world in the artist’s graphic design. Beloborodov’s philosophy of the city and fantasy urban cycles are considered as part of the émigré “post-Petersburg” text. At the same time, the island symbolism and metaphorical architectural images in the cycle Great Island are compared with the “architectural” code of the later projects of the Russian abroad in the interwar years (Chisla and Novy Grad magazines). The article’s author employs historical, hermeneutic, and comparative research methods. The purpose of the work is to actualise Beloborodov’s artistic heritage. One of the main results of the study is to provide a multidimensional reception of this outstanding architect/idiosyncratic memoirist and help study his urban metaphysics as a close interweaving of Italian and Russian architectural traditions, a vivid illustration of the relevant sociopolitical and cultural dialogue of the 1930s around the international place of the Russian abroad.

The Problem of the Preservation and Dissemination of Domestic Musical and Educational Traditions in the United States during the First Wave of Russian Emigration in the Works of Modern Researchers

The purpose of the study is to update and historiographically summarize publications devoted to the study of the characteristics of the pedagogical and educational activities of Russian emigrant musicians in the United States during the first wave of Russian emigration (1918 - late 1930s), as well as its consequences. The sources of this work were a variety of scientific publications - dissertations, monographs, articles, essays. The scientific novelty of this article lies in the fact that, to date, no attempt has been made in the domestic and foreign science of their historiographic generalization. In the course of the study, the following scientific methods were used: theoretical interdisciplinary analysis and synthesis, systemic and structural-functional analysis, comparative-historical, comparative historiographic analysis, historical-typological, etc. In the work, a historiographic generalization of publications by domestic and foreign authors on the problem of the preservation and dissemination of Russian (Soviet) musical and educational traditions in the United States during the first wave of Russian emigration was carried out. As a result of the study, the following modern scientific trends on this topic were highlighted: publications affecting the problem of preserving and disseminating domestic traditions of church singing education; works devoted to the development of Russian traditions of musical enlightenment and general musical education; studies aimed at studying the pedagogical heritage of graduates of domestic conservatories (violinists, composers, pianists).

КОНЦЕПТ «СЧАСТЬЕ» В АВТОБИОГРАФИЧЕСКОЙ ПРОЗЕ В.В. НАБОКОВА

«Happiness» is one of the most significant cultural universals, semantically related to the concepts of the spiritual life of a man, the most important element performing meaning-forming and plot-forming role in an artistic work. The study of the reflection of notions about happiness in the autobiographical prose of V. Nabokov in the context of the literary and cultural situation of the first wave of Russian emigration is defined by the specifics of autobiography as a text that is created at the end of life and involves its recognition from the point of view of a person summing up intermediate or final results. The article analyzes the artistic concept «happiness» in the autobiographical prose of V. Nabokov; it determines its individual author’s content that is correlated with the general cultural content of the concept. The article is devoted to the study of the concept «happiness» as a complex emotional and value formation which reflects the universal artistic experience, recorded in the cultural memory, expresses the individual author’s understanding of the essence of objects and phenomena. The conceptual component of the word «happiness» in the creativity of V. Nabokov includes the harmonious fullness of life, freedom, the gift of creativity, the happiness of childhood, family, the hearth, the happiness of love and marriage, the enjoyment of life and its joys, a reflection of the personal history of upbringing and testing. The concept «happiness» implements not only semantic, but also axiological possibilities, reflecting both the own characteristics of the subject of the artistic image and the features of idiostyle of the writer.

Lev Shestov and the ‘Paris Note’

The article seeks to explore the mindset of young emigre poets of the 1920s–1930s, to identify possible ideological influences on the literature and literary criticism of the first wave of Russian emigration and to determine the spiritual origins of the ‘Paris Note.’ Among many other influences on the young emigre poetry (Henri Bergson, Nikolai Berdyaev, Vasily Rozanov, Nikolai Fedorov and others) the influence of Lev Shestov’s philosophy is particularly evident. However, it manifested itself not directly but indirectly, mainly through the Parisian critic Georgy Adamovich, who, unlike young poets, read Shestov carefully and appreciated him very highly. The philosophy of Adamovich’s poetry, which brought to life the phenomenon of the ‘Paris Note,’ had many parallels with Shestov’s thoughts. Hence the unexpected concordance between the central issues and artistic practice of the participants of the ‘Paris Note’ and Existentialism emerging in the 1930s in the literature of France.

«И несем в чужие страны / чувство русское тоски»: образ России в мемуарах Александра Вертинского

A well-known Russian bard, Alexander Vertinsky, like many other representatives of the first wave of Russian emigration, left behind his unfinished memoirs in which he writes of over two decades of homeless wandering around the world (1920-1943). During that time he stayed, among others, in many European countries, the USA and China. And it was in Shanghai in the early 1940s that the singer began to write down his reminiscences. After returning to his homeland, Vertinsky continued his literary work, which undoubtedly left its mark on the content of memoirs. Nevertheless, the leitmotif of Vertinsky’s memoirs is both the image of old Russia scented with nostalgic feelings, and of Russian emigrants embodying his homeland.