The creative legacy of Vyacheslav Ivanov (1866-1949) includes a large corpus of original and translated poetic works, journalism, philosophical essays, literary and antiquarian monographs. Ivanov created an original version of Russian Symbolism, which combined two general trends of the Silver Age: first, to return Russian culture to the spiritual foundations of Christianity; second, to reinterpret and recreate the artistic archetypes of Antiquity, the Middle Ages, and the Renaissance. In 1900-1920 V. Ivanov actively preached the "choral" beginning of culture. He set the task of overcoming individualism through myth-creative willful art to "sobornost" — to the over-individual religious community of people. These tendencies intensified during World War I and the Russian Revolution of 1917. At the same time, Ivanov was engaged in educational activities, expressed in particular in translations of the tragedies of Aeschylus, the poetry of Dante, Petrarch and Michelangelo. His antiquarian works, devoted mainly to the cult of Dionysus, are closely connected with his spiritual and literary quest.

After his emigration to Italy, Ivanov took a marginal position in European thought, minimizing his communication with Russian emigrants. In 1926, he joined the Catholic Church, without breaking with Orthodoxy, and tried to convey the meaning of Fyodor Dostoyevsky's works to a Western audience. Towards the end of his life, Ivanov wrote the epic "The Story of Svetomir the Tsarevich", which was to summarize his entire work and reflect the complexity of the spiritual life of man as God's creation and the coming resurrection of Russia, "which has gone to the rest of the Lord".

The archival heritage of Vyacheslav Ivanov has been preserved in its entirety, but is concentrated in several research centers in Moscow, St. Petersburg and Rome. The Vyacheslav Ivanov Research Center, which has digitized 95% of all the materials preserved in his apartment museum, is located in the Italian capital. In 1971-1987, thanks to the efforts of his heirs: his son Dmitry Vyacheslavovich (1912-2003) and the poet's last companion Olga Alexandrovna Shor (1894-1978): four volumes of his collected works were published. The publication of Ivanov's extensive correspondence and other materials left by him continues.

Ivanov as a symbolist poet

"Lodestars"

Ivanov's first collection of poems, "Lodestars", was long in preparation: it contained sketches and texts written before leaving for Germany and then in Berlin. The collection, "blessed" by V. S. Solovyov, was dedicated to the memory of Ivanov's mother, who had prophesied a poetic path for him. The book was published by the Suvorin's printing house in 1902, although the title page on the majority of copies is dated 1903. In literary studies, this book is placed on the same level as "Gold in Azure" by Andrei Bely and "Verses on the Beautiful Lady" by A. Blok — it was a transition to the aesthetic contemplation of the highest sphere of the spirit in Russian poetry. The poetic intentions in this book go back to the European quests of the scientist Ivanov, but his own theoretical insights are presented as deeply intimate inner experiences, in which mind and sensual flash are indistinguishable. This is where the fusion of the "native" and the "universal" comes into play. Ivanov lamented the inadequate reception of his first book, the accusations of "bookishness", "deadness", and the difficulties of language. In fact, broadening the range of lyrical experience required new means of poetic expression - a symbolic language capable of conveying religious and aesthetic universals. Ivanov immediately declared: "Poetic language must be distinguished from everyday language and approach the language of the gods - the primordial Logos. As a result, the main images-symbols of "Lodestars" are taken from the cultural baggage of "departed cultures": ancient, medieval and renaissance, while the syntax and lexicon were strongly influenced by the 18th century, and especially by Trediakovsky.^[2]

The German-American researcher Michael Wachtel separately raised the question of when and why Ivanov became a "symbolist".^[3] From the point of view of literary criticism, Ivanov belonged to the "young symbolists" (he was seven years older than Bryusov — the head of the Symbolist movement in Russia), but in the correspondence of Vyacheslav Ivanovich and Lydia Dmitrievna Zinovieva-Annibal this word is almost never found. From this M. Vachtel concluded that the author of "Lodestars" did not consider himself a "Symbolist" and became a Russian Symbolist when he fully defined the meaning of this concept for himself. "Lodestars" (1902-1903) and "Transparency" (1904) (Ivanov's first collections of poems) were created and prepared for publication outside any literary environment against the background of a wandering life.^[4][5] At the same time, the first thinker who pointed out the closeness of Ivanov's poetry to Symbolist movement was its implacable enemy — V. S. Solovyov, who read one of his parodies of Brusov in his presence. Ivanov himself, with undoubted respect for Valery Bryusov, who introduced him to the world of Russian literature and began to print, was rather skeptical of his ideals of the innovator. Ivanov respected Brusov as an enterprising cultural figure. Ivanov also rarely used the term "decadence", and always in the sense of a negative phenomenon. The discrepancy between Ivanov and Brusov in their views on symbolism and art in general was important for the development of Russian culture in the early XX century as a whole. For example, neither Ivanov nor Zinovieva-Annibal were interested in the "new" for the sake of novelty alone. In 1902, when Vyacheslav Ivanovich was introduced to the work of Verlaine, Lydia Dmitrievna emphasized that they were "beautiful poems"; on the same basis Ivanov then praised Minsky and Balmont: he liked them for themselves, not for their "novelty". In creativity, the 30-year-old Ivanov saw (as he did much later, as an 80-year-old emigrant in Rome) the expression of universal truths rather than self-expression.^[6]

"Cor ardens"

Ivanov's two-volume poetry collection "Cor ardens" ("The Flaming Heart") was actually the result of a long journey, uniting five separate poetry books and over 350 poems. It was originally conceived in 1905, but due to a series of circumstances it saw the light of day in "Scorpion" in 1911-1912. "Cor ardens" is the last book for the poet Ivanov; many of the works that comprise it were part of the cycles that preceded it. If one reads the two volumes one after the other, one finds that motivic, rhythmic, and formal overlaps organize a single text with many cross-cutting plots. The title comes from the metaphor of the poem "Praise to the Sun", which opens the inner cycle "Sun-Heart". Ivanov's feelings for Sergei Gorodetsky and Margarita Sabashnikova formed the cycle "Eros", which was preceded by a small collection of the same name. However, the two-volume collection also contained a political layer (the cycle "Arcana", i.e. "Sacrament"), apocalyptically interpreted, which is set by an epigraph of Agrippa of Nettesheim. Agrippa was much favored by Brusov, to whom the cycle is dedicated. According to the German mystic, in 1900 A.D. a new world ruler, Ophiel, will begin to rule the universe. It is not surprising that the main leitmotifs of this cycle were the appearance of a new man in the new century and the characterization of this century; in a deep sense it was close to Brusov's "The Coming Huns".^[7]

The overarching theme of the cycle is the description of the experience of God, the personal mystical experience, and the transformation of the personality that is associated with it. The central image of the "Sun-Heart" belonged to several traditions, of which Nietzsche's symbolism from "Thus Spoke Zarathustra" was the leading one, but the solar theme of Russian modernism was also present.^[8] The poem "Knots of the Serpent" clearly developed Dantean imagery, when the Christian idea of resurrection after suffering is juxtaposed with the Dionysian idea of sin as a path to God (Ivanov perceived sin as suffering), all of which was hinted at in the poem "The Cross of Evil" from the previous book Transparency. In this context, the motif of "The Sun of Emmaus" appears, as well as the phrase "Cor ardens" (a quotation from the Latin Vulgate from the episode of Christ's appearance in Emmaus). The eponymous section is a collection of poems on the unity of mystical experience in Christianity and Dionysianism; most of these poems are dedicated to philosophers, including Sergei Bulgakov and Nikolai Berdyaev.^[9]

The experiences of "Hafiz circle" also found a place in "The Flaming Heart". Poems were written for the meetings, two of which were included in Ivanov's book, forming the small cycle "Hafiz's Tent"; the third poem was included by O. Shor in the notes to the cycle. Shor in the notes to the cycle. Two other poems -"Petronius redivivivus" and "Anachronism"- reflected the names of cycles (Petronius and Reenouveau by W. Nouvel, Antinous by M. Kuzmin). In the poem "Hyperion's Complaint" (Hyperion is one of Ivanov's "Haphysite" names), the lyrical hero denounces his "tormentors" - friends for being preoccupied only with eroticism and drinking wine, while Hyperion himself receives only "evil splinters" and "fierce stings" — "arrows in the inheritance of Erot". The motifs of the previous solar cycle are repeated here, including the martyrdom of the Sun.^[10]

Myth and music. Melopeia "The Man"

Vyacheslav Ivanov's interest in the mystery side of ancient and later world culture was already established during his Berlin years. In E. Zeller's book on Greek philosophy (preserved in Ivanov's library), a large section was devoted to the Pythagoreanism, whose union was defined as "an organization of mysteries" held in the form of an orgy. Zeller emphasized that Pythagoreanism was a variant of theology because its philosophy was based on mysticism and belief in revelation.^[11] This basis was fully realized in Ivanov's anti-Christian works of the 1910-1920s, including the book "The Hellenic Religion of the Suffering God" (1917) and his doctoral dissertation "Dionysus and Pradionysianism" (Baku, 1923); in addition, some of the ideas were expressed as early as 1913 in the article "On Orphic Dionysus". According to F. F. Zelinsky, Ivanov believed that the Dionysian religion revealed the internal logic of Pythagoreanism and transformed Pythagoreanism into Orphism, making it a form of theology (the "whole" was formed from the parts of Dionysus that were torn by the Titans).^[12] In modern culture, Vyach. Ivanov associated the dominance of the Dionysian principle with the ecstatic nature of musical states of the soul, and the Apollonian principle with visionarity. The synthesis of these beginnings is an analog of the harmony of the world reflected in the state of the soul. The dominance of monologism (harpsichord-piano) in European music, which has displaced choral polyphony, must be gradually overcome.^[13]

In his own poetic work, Ivanov reflected these initial positions in accordance with A. N. Veselovsky's theories of the lyric as an alloy of melos, logos, and word. Veselovsky introduced the problem of harmony into this series: poetry, according to him, develops from the choral beginning. It is not surprising that the principle of organizing a lyric text on the basis of dialogical choral parts is highly characteristic of Ivanov. His favorite genres were odes, hymns, psalms, and dithyrambs, which have a melodic basis and use the practice of ecstatic rapture, dialogicity, and the sound of choruses. Ivanov introduced the concept of the symphonic principle, by which he understood the architectonics of the whole, organized by the variation of themes, leitmotifs, sound repetitions, and the creation of rhythmic dynamics with the dominance of the collective choral beginning or the leading "voice" in the dialogue, as in ancient tragedy or lyric.^[14]

Vyacheslav Ivanov's way of connecting and realizing myth and logos is melos-harmony. A related concept is pneumatology, the doctrine of the all-penetrating and all-forming spirit-pneuma (Greek: πνεύμα). In his books on Dionysianism, Ivanov wrote about transcending reality through various forms of ecstasy; the latter allows one to reach a state of divine inspiration, as Euripides and Plato wrote ("Ion": 533e-535a, 542a), "Phaedrus": 244b-e, 245a-b). The idea of melos-pneuma was fully realized in "Lodestars": in the principles of architectonics, rhythmic-melodic laws, and versioning strategies. The further development of these principles was Melopeia, as Ivanov called his philosophical poem "Man", the main part of which was written in 1915. S. Titarenko called Melopeia one of his greatest experimental creations. It is noteworthy that in Ivanov's aesthetics the concept of melopeia never received a definite justification and remained conventional.^[15] This concept comes from ancient musical aesthetics and goes back to the roots of μελοποιία - "composition of songs" and at the same time music to songs. The root μέλος has several meanings: the first is "song, lyric, melody, harmony"; the second is "member". Related is the verb μελíζω, "to dismember, dissect".^[16] Plato and Aristotle used these words in the context of thinking about rhythm and structure.^[15] In Plato's "Pyrus" there is a judgment that the Eros of the muse Urania requires the art of melopeia, and when structure and rhythm have to be conveyed to people, either by composing music or by correctly reproducing harmonies and sizes already composed, this task is also called melopeia, requiring extreme labor and great art (Symposium, 187c). Something similar is treated in the "Republic" (III, 398d).

Vyacheslav Ivanov worked on his melopeia in parallel with his scientific works on Dionysus and Pradionysianism and Orphism. The poem was built on a Pythagorean-Orphic musical basis, which is indicated by the transformation of individual poems into strophes designated by Greek letters, with the allocation of acme (ακμή) according to the principle of sound order, based on rising and falling tones. He wrote about the same to S. K. Makovsky and depicted it in special schemes: two polar rhythmic-melodic lines of verses are organized by correspondence and symmetry according to the principle of strophe-antistrophe (12 verses). The following 17 verses with counterpoint are symbolized by a triangle, and the сrown of sonnets (15 verses) is based on the circle as a principle of return. The circle embodies harmony, wholeness and completeness in the epilogue. The poem "Man" is based on the parallel conduct of the theme, its intertwining, in the second part they unite and reach acme, and in the third and written in 1919 the fourth part of the leitmotif themes "rotate" and lead to a circular epilogue — a chorus that completes the symphony of the whole.^[17]

Winter Sonnets

"Roman Sonnets"

Ivanov's symbolic aesthetics

Publications

• Venceslaus Ivanov. De societatibus vectigalium publicorum populi romani = Общества государственных откупов в Римской республике: [lat.]. — СПб. : Записки Классического отделения Имп. Рус. Археологического Общества, 1910. — V. VI. — [7], 132 p.
• Вячеслав Иванов и М. О. Гершензон. Переписка из двух углов. — Пг. : Алконост, 1921. — 62 p.
• Иванов Вяч., Гершензон М. Переписка из двух углов / Подг. текста, прим., ист.-лит. комм, и иссл. Роберта Бёрда. — М.: Водолей Publishers; Прогресс-Плеяда, 2006. — 208 p. — ISBN 5-902312-60-4.

• Деяния св. Апостолов. Послания св. Апостолов. Откровение св. Иоанна. — Рим : Издание Рим.-Католической семинарии «Руссикум», 1946. — 532 p.
• Иванов Вяч. Собрание сочинений / Под ред. Д. В. Иванова и О. Дешарт; с введ. и примеч. О. Дешарт. — Брюссель : Foyer Oriental Chrétien, 1971. — V. 1. — 872 p.
• Иванов Вяч. Собрание сочинений / Под ред. Д. В. Иванова и О. Дешарт; с введ. и примеч. О. Дешарт. — Брюссель : Foyer Oriental Chrétien, 1974. — V. 2. — 852 p.
• Иванов Вяч. Собрание сочинений / Под ред. Д. В. Иванова и О. Дешарт; с введ. и примеч. О. Дешарт. — Брюссель : Foyer Oriental Chrétien, 1979. — V. 3. — 896 p.
• Иванов Вяч. Собрание сочинений / Под ред. Д. В. Иванова и О. Дешарт; с введ. и примеч. О. Дешарт; при участии А. Б. Шишкина. — Брюссель: Foyer Oriental Chrétien, 1987. — V. 4. — 800 p.
• Из переписки В. И. Иванова с А. Д. Скалдиным / Публ. М. Вахтеля // Минувшее: Ист. альм. — 1990. — № 10. — P. 121—141.
• Иванов Вячеслав. Дионис и прадионисийство. — М. : Алетейя, 1994. — 352 p. — (Античная библиотека. Исследования). — ISBN 5-86557-012-9.
• Иванов В. И. Родное и вселенское / Сост., вступит. ст. и прим. В. М. Толмачёва. — М. : Республика, 1994. — 428 p. — (Мыслители XX века). — ISBN 5-250-02436-X.
• Иванов Вяч. Лик и личины России. Эстетика и литературная теория / Вступ. ст., предисл. С. С. Аверинцева. — М. : Искусство, 1995. — 669 p. — (История эстетики в памятниках и документах). — ISBN 5-210-02056-8.
• Иванов Вячеслав. Стихотворения. Поэмы. Трагедия. В 2-х книгах / Сост. Р. Е. Помирчий; вст. ст. А. Е. Барзах. — СПб. : Академический проект, 1995. — Book 1. — 480 p. — (Новая библиотека поэта. Большая серия). — ISBN 5-7331-0069-9.
• Иванов Вячеслав. Стихотворения. Поэмы. Трагедия. В 2-х книгах / Сост. Р. Е. Помирчий; вст. ст. А. Е. Барзах. — СПб. : Академический проект, 1995. — Book 2. — 432 p. — (Новая библиотека поэта. Большая серия). — ISBN 5-7331-0070-2.
• История и поэзия: Переписка И. М. Гревса и Вяч. Иванова / Изд. текстов, исследование и комментарии Г. М. Бонгард-Левина, Н. В. Котрелёва, Е. В. Ляпустиной. — М.: Российская политическая энциклопедия (РОССПЭН), 2006. — 448 p. — ISBN 5-8243-0650-8.
• Иванов Вячеслав, Зиновьева-Аннибал Лидия. Переписка: 1894—1903 / Подг. текста Д. О. Солодкой и Н. А. Богомолова при участии М. Вахтеля. — М. : Новое литературное обозрение, 2009. — V. 1. — 752 p. — ISBN 978-5-86793-733-1.
• Иванов Вячеслав, Зиновьева-Аннибал Лидия. Переписка: 1894—1903 / Подг. текста Д. О. Солодкой и Н. А. Богомолова при участии М. Вахтеля. — М. : Новое литературное обозрение, 2009. — V. 2. — 568 p. — ISBN 978-5-86793-734-8.
• Иванов В. Повесть о Светомире царевиче / Изд. подготовили А. Л. Топорков, О. Л. Фетисенко, А. Б. Шишкин. — М. : Ладомир, Наука, 2015. — 824 p. — (Литературные памятники). — ISBN 978-5-86218-532-4.
• Эсхил. Трагедии в пер. Вячеслава Иванова / изд. подгот. Н. И. Балашов [и др.]. — М. : Наука, 1989. — 589 p. — (Литературные памятники). — ISBN 5-02-012688-8.

Notes

References

Bibliography

Encyclopedic Sources

• Аверинцев С. С. Ива́нов Вячесла́в Ива́нович // Католическая энциклопедия. — М. : Издательство Францисканцев, 2005. — Т. II. — Стб. 26—31. — 1818 стб. — ISBN 5-89208-054-4.
• Гоготишвили Л. А. Иванов Вячеслав Иванович // Новая философская энциклопедия. В четырёх томах / Научно-ред. совет: В. С. Стёпин, А. А. Гусейнов, Г. Ю. Семигин. — М. : Мысль, 2010. — Т. II. — С. 65—66. — 634 с. — ISBN 978-2-244-01117-3.
• Иванов Вячеслав Иванович [Избранная библиография] // Русская литература конца XIX — начала XX века: библиографический указатель / Сост. Н. В. Котрелёв. — М. : ИМЛИ РАН, 2010. — Т. I: А–М. — С. 607–695. — 953 с. — ISBN 978-5-920-80355-9.
• Искржицкая И. Ю. Ива́нов Вячеслав Иванович // Русские писатели 20 века : Биографический словарь / Гл. ред. П. А. Николаев. — М. : Большая российская энциклопедия, Рандеву-АМ, 2000. — С. 301—303. — 808 с. — ISBN 5-85270-289-7.
• Лексикон русской литературы XX века = Lexikon der russischen Literatur ab 1917 / В. Казак ; [пер. с нем.]. — М. : РИК «Культура», 1996. — XVIII, 491, [1] с. — 5000 экз. — ISBN 5-8334-0019-8.. — С. 161—162.
• Котрелёв Н. В. Ива́нов Вячеслав Иванович // Православная энциклопедия. — М. : Церковно-научный центр «Православная энциклопедия», 2009. — Т. 20. — С. 645—652. — 752 с. — ISBN 978-5-89572-036-3.
• Михайловский Б. Иванов Вячеслав Иванович // Литературная энциклопедия: В 11 т. — М. : Изд-во Ком. Акад., 1930. — Т. 4. — Стб. 404—409.
• Печко Л. П. Ива́нов Вяч. И. // Краткая литературная энциклопедия / Гл. ред. А. А. Сурков. — М. : Сов. энцикл., 1966. — Т. 3: Иаков — Лакснесс. — Стб. 38—39.
• Русские писатели, 1800—1917 : Биографический словарь / гл. ред. П. А. Николаев. — М. : Большая российская энциклопедия, 1992. — Т. 2 : Г—К. — С. 372—377. — 623 с. — (Сер. биогр. словарей: Русские писатели. 11—20 вв.). — 60 000 экз. — ISBN 5-85270-011-8. — ISBN 5-85270-064-9 (т. 2).
• Шруба М. Общество ревнителей художественного слова // Литературные объединения Москвы и Петербурга 1890—1917 годов: Словарь. — М.: Новое литературное обозрение, 2004. — С. 156—159. — 448 с. — ISBN 5-86793-293-1.

Primary Sources

• Archivio italo-russo II = Русско-итальянский архив II / a cura di Cristiano Diddi e Andrei Shishkin. — Salerno, 2001. — Вып. 2. — 344 с. — (Collana di Europa orientalis, ISSN 0392-4580). — ISBN 978-88-6235-021-1.
• Archivio italo-russo III = Русско-итальянский архив III : Vjačeslav Ivanov - Testi inediti / a cura di Daniela Rizzi e Andrei Shishkin. — Salerno, 2001. — 574 с. — (Collana di Europa orientalis, ISSN 0392-4580).
• Альтман М. С. Разговоры с Вячеславом Ивановым / Составление и подготовка текстов В. А. Дымшица и К. Ю. Лаппо-Данилевского. Статья и комментарии К. Ю. Лаппо-Данилевского. — СПб. : Инапресс, 1995. — 384 с. — (Свидетели истории). — ISBN 5-87135-020-8.
• Вячеслав Иванов. Материалы и исследования. — М. : Наследие, 1996. — 392 с. — ISBN 5-86562-027-4.
• Вяч. Иванов: pro et contra, антология / Сост. К. Г. Исупов, А. Б. Шишкин; коммент. Е. В. Глуховой, К. Г. Исупова, С. Д. Титаренко, А. Б. Шишкина и др. — СПб. : РХГА, 2016. — Т. 1. — 996 с. — (Русский путь). — ISBN 978-5-88812-724-7.
• Вяч. Иванов: pro et contra, антология / Сост. К. Г. Исупов, А. Б. Шишкин; коммент. коллектива авт. — СПб. : ЦСО, 2016. — Т. 2. — 960 с. — (Русский путь). — ISBN 978-5-906623-17-1.
• Кузмин М. А. Дневник 1934 года / под ред. со вступ. ст. и примеч. Г. Морева. — СПб. : Издательство Ивана Лимбаха, 1998. — 408 с. — ISBN 978-5-89059-114-2.
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Research in Russian language

• Аверинцев С. С. «Скворешниц вольных гражданин…» Вячеслав Иванов: путь поэта между мирами. — СПб. : Алетейя, 2002. — 167 с. — ISBN 5-89329-452-1.
• Бёрд Р. Вячеслав Иванов за рубежом // Русское зарубежье: история и современность. — 2011. — Вып. 1. — С. 179—206. — ISBN 978-5-248-00613-7.
• Богданова О. А. Вячеслав Иванов и становление науки о Достоевском на рубеже 1910–1920-х годов (М. М. Бахтин, Б. М. Энгельгардт, В. Л. Комарович) // Литературоведческий журнал. — 2016. — № 39: К 200-летию смерти Г. Р. Державина. — С. 143—170.
• Богомолов Н. А. Из итальянских впечатлений Вячеслава Иванова // Europa Orientalis. — 2012. — Vol. 21, no. 2. — P. 105—114.
• Бычков В. В. Русская теургическая эстетика. — М. : Ладомир, 2007. — 743 с. — ISBN 978-5-86218-468-6.
• Венцлова Т. Собеседники на пиру: Литературоведческие работы. — М. : Новое литературное обозрение, 2012. — 624 с. — (Новое литературное обозрение. Литературное приложение. Выпуск CVIII). — ISBN 978-5-86793-953-3.
• Вячеслав Иванов. Архивные материалы и исследования / Отв. ред.: Гоготишвили Л. А., Казарян А. Т. — М. : Русские словари, 1999. — 488 с. — ISBN 5-93259-002-5.
• Вячеслав Иванов. Исследования и материалы / Ответственные редакторы К. Ю. Лаппо-Данилевский, А. Б. Шишкин. — СПб. : Издательство Пушкинского Дома, 2010. — Вып. 1. — 840 с. — ISBN 978-5-87781-015-0.
• Вячеслав Иванов. Исследования и материалы / Отв. редакторы: Н. Ю. Грякалова, А. Б. Шишкин. — СПб. : РХГА, 2016. — Вып. 2. — 512 с. — ISBN 978-5-88812-722-3.
• Вячеслав Иванов и его время : материалы VII Междунар. симп., Вена 1998 / Ред.: Сергей Аверинцев, Роземари Циглер. — Frankfurt am. M. : Lang, 2002. — 585 p. — ISBN 3-631-36768-6.
• Вячеслав Иванов — Петербург — мировая культура: материалы международной научной конференции 9—11 сентября 2002 г. — Томск—М. : Водолей Publishers, 2003. — 328 с. — ISBN 5-902312-04-3.
• Климов А. Вячеслав Иванов в Италии (1924—1949) // Русская литература в эмиграции: Сб. ст. / Под ред. Н. П. Полторацкого. — Питтсбург : Отдел славянских литератур и культур Питтсбургского университета, 1972. — С. 151—165. — VIII, 409, [5] с. — (Slavic series; № 1).
• Литература русского зарубежья (1920–1940) : учебник для высших учебных заведений / отв. ред. Б. В. Аверин, Н. А. Карпов, С. Д. Титаренко. — СПб. : Филологический факультет СПбГУ, 2013. — 848 с. — ISBN 978-5-903549-13-9.
• Литература русского зарубежья (1920—1940): практикум-хрестоматия / сост. С. Д. Титаренко. — СПб. : Филологический факультет СПбГУ, 2010. — 382 с. — (Русский мир: учебники для высшей школы). — ISBN 978-5-8465-1052-4.
• Обатнин Г. В. Штрихи к портрету Вяч. Иванова эпохи революций 1917 года // Русская литература. — 1997. — № 2. — С. 224—230.
• Обатнин Г. Иванов-мистик (Оккультные мотивы в поэзии и прозе Вячеслава Иванова (1907—1919). — М. : Новое литературное обозрение, 2000. — 240 с. — ISBN 5-86793-122-6.
• Павлова Л. В. У каждого за плечами звери: символика животных в лирике Вячеслава Иванова: Монография. — Смоленск : СГПУ, 2004. — 264 с. — ISBN 5-88018-370-X.
• Святополк-Мирский Д. С. История русской литературы с древнейших времён по 1925 год / Пер. с англ. Р. Зерновой. — Новосибирск : Свиньин и сыновья, 2005. — 964 с. — ISBN 5-98502-019-3.
• Русская литература рубежа веков (1890-е—начало 1920-х годов) / Отв. ред. В. А. Келдыш. — М. : ИМЛИ РАН : Наследие, 2000. — Кн. 1. — 958, [2] с. — ISBN 5-9208-0063-1.
• Русская литература рубежа веков (1890-е—начало 1920-х годов) / Отв. ред. В. А. Келдыш. — М. : ИМЛИ РАН : Наследие, 2001. — Кн. 2. — 765, [2] с. — ISBN 5-9208-0090-9.
• Святополк-Мирский Д. С. История русской литературы с древнейших времён по 1925 год / Пер. с англ. Р. Зерновой. — Новосибирск : Свиньин и сыновья, 2005. — 964 с. — ISBN 5-98502-019-3.
• Сегал Д. Вячеслав Иванов и семья Шор (По материалам рукописного отдела Национальной и Университетской Библиотеки в Иерусалиме) // Cahiers du Monde Russe. — 1994. — Vol. 35, no. 1—2. — P. 331—352.
• Селиванов В. В. Вяч. И. Иванов и Н. Я. Марр в жизни и творческой судьбе К. М. Колобовой // МНЕМОН. Исследования и публикации по истории античного мира / Под редакцией профессора Э. Д. Фролова. — 2006. — Вып. 5. — С. 487—510.
• Степанова Г. А. Идея «соборного театра» в поэтической философии Вячеслава Иванова. — М. : ГИТИС, 2005. — 139 с.
• Тернова Т. А. Публицистический цикл Вячеслава Иванова о революции и Первой мировой войне // Научный вестник Воронежского государственного архитектурно-строительного университета: Лингвистика и межкультурная коммуникация. — 2017. — Вып. 2 (25). — С. 29—34.
• Титаренко С. Д. От мелоса — к логосу: миф и музыка в философии искусства Вячеслава Иванова // Вестник Русской христианской гуманитарной академии. — 2014. — Т. 15, № 4. — С. 150—160. — ISSN 1819-2777.
• Топорков А. Л. Источники «Повести о Светомире царевиче» Вяч. Иванова: древняя и средневековая книжность и фольклор. — М. : Индрик, 2012. — 486 с. — ISBN 978-5-91674-234-3.
• Философия. Литература. Искусство: Андрей Белый, Вячеслав Иванов, Александр Скрябин / под ред. К. Г. Исупова. — М. : РОССПЭН, 2013. — 478 с. — (Философия России первой половины XX века). — ISBN 978-5-8243-1746-6.
• Шишкин А. Вячеслав Иванов и Италия // Русско-итальянский архив. — 1997. — С. 503—562.

Research in English language

• Bird R. The Russian Prospero : the creative universe of Viacheslav Ivanov. — Madison : The University of Wisconsin Press, 2006. — 310 p. — ISBN 0-299-21830-9.
• Creating Life: The Aesthetic Utopia of Russian Modernism / Ed. by Irina Paperno and Joan Delaney Grossman. — Stanford : Stanford University Press, 1994. — 300 p. — ISBN 0-8047-2288-9.
• Davidson P. Vyacheslav Ivanov's Translations of Dante // Oxford Slavonic Papers. New Series. — 1982. — Vol. XV. — P. 103—131.
• Davidson P. The poetic imagination of Vyacheslav Ivanov: a Russian symbolist's perception of Dante. — Cambridge University Press, 1989. — 319 p. — (Cambridge studies in Russian literature). — ISBN 0-521-36285-7.
• Davidson P. Viacheslav Ivanov: A reference guide. — N. Y. : G. K. Hall & Co. An Imprint of Simon & Schuster Macmillan, 1996. — xlii, 382 p. — (A Reference Guide to Literature Series). — ISBN 0816118256.
• Kalb J. E. Russia’s Rome : imperial visions, messianic dreams, 1890—1940. — Madison : The University of Wisconsin Press, 2008. — 299 p. — ISBN 978-0-299-22920-7.
• Kleberg L. Theatre as Action. Soviet Russian Avant-Garde Aesthetics / Translated from Swedish by Charles Rougle. — L. : Macmillan, 1993. — 152 p. — ISBN 978-0-333-56817-0.
• Plioukhanova M., Shishkin A. The Museum and the Research Centre Vyacheslav Ivanov Archive in Rome: Literature, music, art, and the city // Literature, Music, and Cultural Heritage Proceedings of the ICLM Annual Conference 2015. — 2016. — P. 90—101. — ISBN 978-5-933-22112 -8.

External link

• Bogomolov N. A. Ivanov, Vyacheslav Ivanovich. Big Russian Encyclopedia. 12 June 2019.
• Vyacheslva Ivanovich Ivanov (1866—1949). Russian Virtual Library. 12 June 2019.
• Russian Geniuses and Villains. Vyacheslav Ivanov: Documentary. TV channel "Russia - Culture". Date of circulation: 12 June 2019.
• Доклад А.Б. Шишкина «Вяч. И. Иванов: русский европеец между Востоком и Западом». «РУССКАЯ МЫСЛЬ»: Историко-методологический семинар в РХГА. Исследовательский центр Вячеслава Иванова в Риме (21 сентября 2012). Дата обращения: 20 июня 2019.
• Творчество Вячеслава Иванова в библиотеке Максима Мошкова
• Иванов Вяч. Эллинская религия страдающего бога. 1917. Факсимильное воспроизведение корректуры книги. Опись 6, картон 1. Электронный архив Вяч. Иванова.
• Исследовательский центр Вячеслава Иванова в Риме. Дата обращения: 12 июня 2019.
• «ОБНИМАЮ ВАС И МАТЕРИНСКИ БЛАГОСЛОВЛЯЮ…» Переписка Вячеслава Иванова и Лидии Зиновьевой-Аннибал с Александрой Васильевной Гольштейн. Публикация, подготовка текста, предисловие и примечания А. Н. Тюрина и А. А. Городницкой. Новый Мир 1997, №6. Журнальный зал. Дата обращения: 12 июня 2019.
• Pellegrini a Roma: Venceslao Ivanov. Il soggiorno romano del poeta russo Ivanov e della figlia del celebre scrittore Tolstoj. Istituto Luce Cinecittà (22 декабря 1948). Дата обращения: 20 июня 2019.