Leonid Andreev as Seen by Zinaida Gippius

1965 ◽  
Vol 9 (2) ◽  
pp. 141 ◽  
Author(s):  
Temira Pachmuss
Keyword(s):  
Zinaida Gippius

Tłumacz wobec przekazu wspomnieniowego (na materiale Dziennika warszawskiego Zinaidy Gippius w tłumaczeniu Henryka Chłystowskiego)

2017 ◽  
Vol 1 (XXII) ◽  
pp. 153-166
Author(s):  
Kinga Perużyńska
Keyword(s):  
Historical Document ◽  
Four Dimensions ◽  
Zinaida Gippius

The aim of the article is to present The Warsaw Diary by Zinaida Gippius, published in 1969 and translated into Polish by Henryk Chłystowski (2010). Based on the analysis of Russian and Polish versions of the book, it can be concluded that Chłystowski retains in his translation four dimensions of the diary as a historical document: facts, opinions, author’s personal feelings and her subjective mentality.

A Difficult Soul: Zinaida Gippius

1981 ◽  
Vol 40 (2) ◽  
pp. 224
Author(s):  
Olga Matich ◽  
Vladimir Zlobin ◽  
Simon Karlinsky
Keyword(s):  
Zinaida Gippius

Reading Zinaida Gippius: Over Her Dead Body

1999 ◽  
Vol 43 (4) ◽  
pp. 621 ◽  
Author(s):  
Jenifer Presto
Keyword(s):  
Dead Body ◽  
Zinaida Gippius

Dekadencka Madonna, Biała Diablica, Lorelei... Zinaida Gippius w egodokumentach współczesnych

2017 ◽  
Vol 10 (0) ◽  
pp. 112-126
Author(s):  
Iwona Krycka-Michnowska
Keyword(s):  
The Other ◽  
Internal Conflict ◽  
Silver Age ◽  
Literary Portraits ◽  
The One ◽  
Significant Figures ◽  
Zinaida Gippius

The paper is devoted to Zinaida Gippius’s literary portraits left on the pages of ego-documents, especially memoirs. She was one of the most significant figures of the Russian Silver Age. At the end of the 19th and the beginning of the 20th centuries, the writer created her own legend and image based on internal conflict, which in turn influenced the diversity of her portraits in memoirs. Their analysis leads to the conclusion that these portraits fit into the stereotyped, ambivalent perception of a woman, and majority of the authors reveal the tendency to mythologize and dehumanize her heroine: on the one hand her divinization, and on the other – reification. It also proves that the memoirist had perpetuated and widened the legend about her.

A Difficult Soul: Zinaida Gippius

1981 ◽  
Vol 55 (3) ◽  
pp. 493
Author(s):  
Olga Prjevalinskaya Ferrer ◽  
Vladimir Zlobin ◽  
Simon Karlinsky
Keyword(s):  
Zinaida Gippius

Paradox in the Religious Poetry of Zinaida Gippius

1974 ◽  
Vol 18 (1) ◽  
pp. 83
Author(s):  
Edward Napier ◽  
Olga Matich ◽  
Zinaida Gippius
Keyword(s):  
Religious Poetry ◽  
Zinaida Gippius

Surrealism in Twentieth-Century Russian Poetry: Churilin, Zabolotskii, Poplavskii

Slavic Review ◽  
1967 ◽  
Vol 26 (4) ◽  
pp. 605-617 ◽  
Author(s):  
Simon Karlinsky
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Young Girl ◽  
Russian Word ◽  
Russian Poetry ◽  
Zinaida Gippius

All her life Zinaida Gippius remembered how startled she was when as a young girl she was told that the Russian word predmet was devised and introduced into the language by Karamzin at the very end of the eighteenth century. The discovery left her wondering how the Russians who lived before that time could discuss all sorts of basic things without a word denoting “object” in the language. We may well be startled in a similar way when we stop to realize that the handy adjective “surrealistic” was coined only in the late 1920s. Furthermore, the word did not initially mean what it came to mean later. When Vladimir Maiakovskii encountered the French Surrealists during his trip to Paris in 1927, he was not sure just what their movement was about but from their behavior concluded that they must be the French equivalent of his own LEF group.

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