Fallacy of the Silver Age in Twentieth-Century Russian by Omry Ronen

By Omry Ronen

During this research, Ronen significantly examines the time period "Silver Age", which through the years has won such large foreign money between historians and connoisseurs of twentieth century Russian tradition. the writer strains the starting place and the debatable improvement of what he condemns as an influential misnomer. Ronen units out to debunk the parable that attributes invention of the time period to Nikolai Berdiaev, and in flip lines this commonly used catchword within the serious idiom from an abscure, avante-garde manifesto to the current day. He lays to relaxation using the time period which he sees because the so much deceptive constituent of Russia's modern cultural self-awareness and self-assessment.

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Extra resources for Fallacy of the Silver Age in Twentieth-Century Russian Literature (Sign Text Culture: Studies in Slavic and Comparative Semioti)

Sample text

Unlike Tsvetaeva, however, Akhmatova was quite indifferent, it seems, to the synecdochic silver in “l’Age d’argent,” and never used the image of the thirty pieces of silver, although the theme of betrayal is very prominent in her poetry, her literary-historical prose, and in her recollections of the treacherous “Parnassus of the Silver Age,” in particular (see, for example, Akhmatova 1989b: 12). Her artistic and moral concerns are elsewhere. She juxtaposes, on the one hand, the “poetic age” and the “historical age,” and, on the other, the abstract, chronological twentieth century and the historical age as a distinct moral entity, saecu lum.

Toporov (1981:133) registered the parallel between Akhmatova’s “weather vane singing in a thin voice” (V Letnem tonko pela fliugarka) and Blok’s lines written in July 1905: Tol’ko fliugarka na kryshe Sladko poet o griadushchem [“Only the weather vane on the roof Sweetly sings about the future”]. This parallel, for our purposes, requires further analysis because of the significance of Blok’s subtext for Akhmatova’s theme of atonement. Blok’s poem “Moei materi” [“To My Mother”] reads: Tikho. I budet vse tishe.

The philosophical and artistic renaissance, the significance and depth of the religious problems it had raised, were not accompanied by a strong and determined religious movement. There was no genuine religious renaissance. (Berdiaev 1928:56) These ideas are expressed in similar terms in Berdiaev’s article “The Russian Spiritual Renaissance of the Beginning of the Twentieth Century and the Journal “Put’” (originally published in 1935): One can definitely say now that the beginning of the twentieth century was marked in Russia by a renaissance of spiritual culture, a philosophical and literary-aesthetical renaissance, an exacerbation of religious and mystical sensitivity.

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