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By J. D. Elsworth

Audrey Bely was once the most cutting edge prose writers in Russian within the 20th century. This booklet strains the improvement of his procedure as a novelist from the early experimental Symphonies (1902-8) to the final novel, mask, released in 1932. within the first chapters of the publication, Dr Elsworth explores Bely's theoretical writings at the aesthetic idea of Symbolism, and his organization, after 1912, with the doctrines of Rudolf Steiner. Bely appeared artwork as an energetic strength for the transformation of the human character and the solution of the drawback that he clinically determined within the tradition of his time. either the subject material and the stylistic peculiarities of his novels have their foundation during this specific philosophy of tradition, and it really is during this context that the novels are tested within the moment 1/2 the ebook. This publication can be crucial analyzing for all these drawn to Bely and the broader topic of Russian Symbolist doctrine and perform.

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Andrey Bely : A Critical Study of the Novels

Audrey Bely was once probably the most leading edge prose writers in Russian within the 20th century. This publication lines the improvement of his procedure as a novelist from the early experimental Symphonies (1902-8) to the final novel, mask, released in 1932. within the first chapters of the e-book, Dr Elsworth explores Bely's theoretical writings at the aesthetic concept of Symbolism, and his organization, after 1912, with the doctrines of Rudolf Steiner.

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Until the end of 1908 Bely was close to Merezhkovsky and Gippius, and in some of his essays adopted Merezhkovsky's view that the Symbolists and the socialists were engaged in fundamentally the same struggle. In the essay 'Social Democracy and Religion', based on a lecture delivered in Paris and dedicated to Merezhkovsky, he argued that while the social democrats founded their plans for constructing an ideal state upon economic statistics, their impulse for wishing to transform existing society was essentially ethical, and therefore religious.

His conviction that nothing need or should be excluded from the realm of thought, and the opposition to Kant that is entailed in that, must have appealed to Bely after his long struggle with Kant and neo-Kantianism. Anthroposophy does not regard itself as a system of dogma. The cosmology that Steiner puts forward, in all essentials identical with 38 Bely and anthroposophy that of other theosophists, is an immensely complex doctrine about spirals of cosmic evolution through seven planets, seven races on each planet, seven sub-races of each root-race, and about the gradual development of individual egos through these stages by way of innumerable incarnations governed by the law of karma.

The basis of his argument, which in large part is derived from Potebnya, is that the difference between epithet, simile, synecdoche, metonymy and metaphor is a difference of degree, not of kind. By taking as examples two objects - the crescent moon and the horn of an animal - and two epithets that may be applied to either - 'white' and 'sharp' - and combining them in a number of different ways, he displays all the gradations from simple adjective by way of compound adjective to metaphor. 91 The creative act accords to this an ontological being, independent of man; the process by which it was created is reversed, and the 32 Bely's theory of Symbolism end-product comes to be regarded as the cause.

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