Artículos de revistas sobre el tema "Poets, Welsh – 20th century – Biography"

Cemil Kermenchili is one of the brightestCrimean Tatar poets of the 20th century, who played significant role in the development of the national poetic word in Crimea. In the article, on the basis of new materials recently found in the central and in the repositories of regional libraries in Russia, new facets of his work are revealed and many refinements are made to the development of the author`s scientific biography. Attention is paid to the rich journalistic component of his work. The appendix to the article contains unknown poetic works of the author relating to the period of the First World War.

In the present article J. Brodsky’s poetry is analyzed in the context of a particular elegiac tradition associated with some key figures of English-language poetry of the mid-to-late 20th century. These are W.B. Yeats, T.S. Eliot, W.H. Auden and S. Heaney. The aim of the article is to examine the continuity of the 20th century English poetry by the example of a sequence of dedication poems (elegies), in which each subsequent poem alludes to the previous one(s). The comparative method allows us not only to show the features of modern English-language poetry (for instance, the link between elegiac mood and reflection on the purpose of poetry), but also to analyze the influence of poets’ interpersonal contacts on their works. Special emphasis is put on J. Brodsky’s poetry as it may seem extraneous to the English-language tradition in question. The analysis of Brodsky’s personal and creative biography, his particular dedication poems and essays allows us to find the links between the Russian poet and the literary tradition of Great Britain, Ireland and the USA.

Luis de Góngora y Argote, (1561-1627), Spanish poet, is one of the most influential Spanish poets of his era. His Baroque, convoluted style, known as Gongorism was so exaggerated by less gifted imitators that his reputation suffered after his death until it underwent a revaluation in the 20th century.. In his literary works has expressed very well his feelings and emotions perfectly, especially the thought of his time and the themes of criticism and disappointment of the Baroque. His poetic work breaks molds and inaugurates a new language whose virtuality, still unsurpassed, continues to mark the course of contemporary poetry. This investigation is divided in two chapters, the first presnte the biography and style of Gongora besides its works that comprise the satire. The second chapter is concerned Cultism and gonorismo, besides the Architecture of the sonnets of Góngora

The path motif is one of the major dominants in the works of prominent 20thcentury poetsof Finland, both Finnish and Swedishnative speakers. Understanding life as a road is what Eino Leino shares in common with Uuno Kailas, Paavo Haavikko, Risto Ahti, Heli Laaksonen, Edith Södergran, and Ralf Nordgren. Their position coincides with the creative concepts of Alexander Blok and the ideas of pilgrimage in European literature and in Kalevalian poetry. 20th-century Finnish poetry falls into all- European line. But in Finnish poetry, the path motif has existed since the epic songs: Lemminkäinen’s escape, folklore heroes’ journey in search of a bride, and Kalevalians’ quest to recover the Sampo. Furthermore, travelers’ purposes ranged from noble and holy to everyday and mundane. In the early 20th century, Finnish neo-Romanticists, referring to the history of national culture, travelled frequently to Finnish and Russian Karelia. Since the 1920s, poets have been referring to the road image as the “holy road of calling” (Uuno Kailas) a singer has no right to turn away from. In post-World War II poetry, moving in a circle or “back and forth” (Risto Ahti) is, in any case, moving forward. The important thing is not to get stranded, not to run into a wall. The path dominant becomes deeply intertwined with the image of a home, as the path motif does with the image of time, life cycle, and biography. A real, geographical, biographical, and spiritual path become one, and on that path high is combined with low or even vile. In modern Finnish poetry, the path theme found a new life with different, sometimes not matching nuances, while still remaining relevant and arguably primary.

The article deals with mentions of the name of Gavriil Derzhavin in Russian poetry in 1790-2023. In the poems, the singer of Felitsa appears not only as an outstanding original poet, but also as a lover of truth, a statesman, a representative of the Catherine the Great era, and finally, a friend and acquaintance of his peers and the idol of the young Pushkin and Delwig. In later texts, the image of the real Derzhavin, as we know him from sources, including autobiographical Notes, becomes more and more blurred. Some hypostases of Derzhavin attract poets more often (poet and statesman), others are much less common (a friend of some of his contemporaries), some are not mentioned at all (literary theorist or the author of the mentioned Notes). Such a choice also influences the formation of the image of the poet among the general readers (for example, in the 20th century, one of the favorite plots is the description of the meeting between Derzhavin and Pushkin at the Lyceum, which is clearly related to the importance of this episode in Pushkin’s biography, but not in that of “old Derzhavin”), and among other poets. Avant-garde poets represent Derzhavin in their texts in their own way. Very few poets pay attention to the formal features of Derzhavin’s poems. Sometimes voluminous quotes from his work are included in poems by later authors (for example, by K. Ryleev and K. Simonov). A new poem by German Lukomnikov, lines from which are included in the title of this work, is considered separately: Derzhavin’s name is not mentioned in the text, the poet’s unspoken surname is encrypted in a compound rhyme.

The subject of research in this article includes Fyodor Dostoevsky’s image created in works of Russian 19th – 20th century poets (Konstantin Sluchevsky, Dmitry Merezhkovsky, Valery Bryusov, Sasha Chorny, Max Voloshin, Georgy Ivanov, Vladimir Mayakovsky, Nikolai Aseyev, Pavel Antokolsky, Boris Slutsky, Мikhail A. Svetlov, Yevgeny Rein, Yevgeny Yevtushenko, etc.). The genius image has not been examined by scientists in the aforesaid contexts so far. This determines the novelty of this research. Analysis of lyric texts, in which Fyodor Dostoevsky is mentioned, has allowed to identify the aspects of perception of the writer’s personality and works significant for the Russian culture, and to analyse the surname of Dostoevsky as a linguocultureme. The author set an aim to analyse the writer’s image components, to reveal their causes, to separate the stereotypic from the individual. Intertextual analysis, biographic, comparative, hermeneutical, imagological methods and continuous sampling are used in the work. As a result of the research the author comes to the following conclusions; Fyodor Dostoevsky’s image in the Russian lyrics of the 19th – 20th centuries includes the following elements: allusions to his works, references to the writer’s biography, inclusion of Fyodor Dostoevsky into a number of other Russian writers and his perception in the worldwide context, general description of his creative work and stylistic features. Specific traits of Fyodor Dostoevsky’s image in the Russian lyrics include usage of the hodonym Nevsky and epithet резкий (sharp, strongly-worded) as rhymes to the writer’s surname. It is also noteworthy that Fyodor Dostoevsky’s surname is used as a qualitative adjective in some contexts and describes properties of other images.

The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.

The article analyzes Pushkin’s myth as presented in T. Tolstaya’s "The Slynx" (2000), its structure, main components, character specifics, intertextual connections to Russian classics and the author’s own works. The novel enhances the literary tradition of the 20th century and establishes a new artistic paradigm that complements and reinterprets the entire Pushkin mythology. The essential foundations of the Pushkin myth in Tolstaya’s texts were the culture of the Silver Age and Russian traditionalism, which showed interest in the archaic. The author adeptly blends factual and non-factual elements of the poet’s biography, including lines from his texts and allusions, and Pushkin becomes the central reference point justifying the post-apocalyptic city-world. This is achieved by analogy with the Book of Genesis and resembles a primer filled with puppet figures and farce. Despite the various artistic depictions of the poet’s ironic and trickster-like qualities, the image still maintains a sense of mystery that harkens back to ancient times. In the novel, the image of the poet serves as the foundation of the world, representing a sacred point with multiple layers of meaning that ultimately shape the course of history and culture. In her work, T. Tolstaya excludes subjective evaluations and focuses on the archaic need for oral tradition. She conveys the voices of poets by rising above written symbolism, images, and texts.

We consider the system of proper names in the early little-known poem by A.T. Tvardovsky “Exordium” (secondary title “The Journey of Vasily Petrov”), which was written by a young poet as preparation for the creation of the famous “The Land of Muravia”, which brought him all-Russian fame. It is proved that the text published in the journal “Nastupleniye” in 1932 is an authorial poetic text, revealing the difficulties of the first time of collectivization. It is shown how the great master of words worked on naming characters, expressing with the help of onomastic vocabulary his assessment of the characters and events. We reveal the nomination motives, which trace the role of onyms in the implementation of the ideological and thematic plan of the work. Using the analysis of onomastic units and their semantic environment, it is shown how A.T. Tvardovsky developed methods of researching proper names in his creative laboratory, which became a kind of master class for many representatives of the Smolensk Poetry School, highlighted by the famous Soviet critic A.V. Makedonov back in 1960. The principle of biography and chronotopy is substantiated, in the light of which all the work of the great poet developed further. Conclusions are made about the significance of the early poem in the context of further work with proper names. The material of this work deepens the study of the early poetic work of A.T. Tvardovsky, one of the great Russian poets of the 20th century.

The article examines the initial stage in the study of Lesya Ukrainka’s works, where most of the plots and images of her poetry were perceived by contemporaries and the next generation of readers as “exotic.” Not understood by contemporaries, the legacy of Lesya Ukrainka turned out to be in demand in the 1920s, at that time the main directions of research of her work were laid. The main merit in popularizing the poetry of Lesya Ukrainka belongs to a group of “neoclassical” poets and literary critics close to them, who taught readers to “love and understand” her works with “exotic” plots. As a circumstance that influenced the specific imagery of Lesya Ukrainka’s poetry, researchers of that time highlighted the writer’s immersion in world literature. For the second time, a deep interest in the work of Lesya Ukrainka arose at the turn of the 20–21st centuries in connection with the publication and study of the heritage of Ukrainian modernists of the early 20th century. Then some facts of her biography were rediscovered and many aspects of her legacy were rethought. New facets of the writer’s works allow us to explore the “Complete Academic Collection of Works” by Lesya Ukrainka, published in 2021, and dedicated to the 150th anniversary of her birth. It provides an opportunity to analyze the process of her becoming and formation as a creative personality, which took place under the influence of the environment, upbringing and work on literary translations.

Zhu Da (1626–1705) was a famous Chinese artist who lived during the late-Ming Dynasty and early Qing Dynasty. He was born in Nanchang, Jiangxi Province. Zhu Da was related to the imperial house of Ming. After the fall of this dynasty, during the reign of the Manchus, he was forced to hide, became a monk for some time and reached heights in the study of Buddhism, after which he returned to worldly life. Zhu Da and his work were significantly influenced by the classical texts of Confucianism, the philosophy of Cheng-Zhu, Buddhism and Taoism. His poetic captions for paintings and individual poems are extremely symbolic and have a special artistic style. Zhu Da became a reformer of traditional literati painting (wenrenhua) and raised it to new heights. Subsequently, he had a great influence on the painting of representatives of the Four Monks and the Eight Eccentrics from Yangzhou, as well as on the style of such 20th century masters as Qi Baishi and Xu Beihong, who worked at the end of the Qing period and the beginning of the Republican period in China. The last fifty years have become the most fruitful period in the field of studying the work of Zhu Da. The research moved outside of China, publications by foreign scientists appeared about the artist, and the name of Zhu Da (Bada Shanren) gained worldwide fame and recognition. The scientific works and articles devoted to him are conventionally divided into the following three thematic areas. The first one is the study of Zhu Da’s pseudonyms (names), his life and contacts with artists and poets, his contemporaries. The second area is the study of Zhu Da’s creative thought and artistic achievements. The third one is a study of the influence of Zhu Da’s painting style on later artists and related comparisons. The article analyses publications and scientific works devoted to Zhu Da’s creative work, published over the past half century. Among them, those related to clarifying the pseudonyms (names) of Zhu Da, his pedigree and biography are especially highlighted; various approaches of Chinese and foreign scientists to the study of the creative work of the outstanding Chinese master and his artistic heritage are considered.

The last lifetime poetry collection of Vladimir Narbut was published in 1922. Started by the poet in the 1930s, work on the preparation of the book of selected poems Spiral was interrupted by his arrest and, subsequently, tragic death in Kolyma in 1938. Since then, separate editions of Narbut’s works have been published three times: in 1983 the poet Leonid Chertkov compiled a collection Vladimir Narbut. Selected Poems in France; in 1990 N. Panchenko and N. Byalosinskaya published the book Vladimir Narbut. Poems in the USSR; in 2018 the OGI publishing house published the book Vladimir Narbut. Collected Works. Poems, Translations, Prose. The third, latest in nearly a hundred years, reference to the works of one of the most distinctive poets of the era in the context of preparing a separate collection of his oeuvre actualized the issue of developing approaches to be guided by when compiling the forthcoming collection. The key element here seemed to be the comprehension of the experience of preparing the previous separate editions of 1983 and 1990, as well as the scientifically commented publications of Narbut’s works made by researchers in the literary periodicals of the late 20th - early 21st centuries. The closest correlation of the tragic ups and downs of Narbut’s life with the “geological upheaval” of the 1917 Revolution and the Civil War led to the ambiguous dependence of the posthumous fate of the poet’s creative heritage on the context of the era, diametrically opposed and mutually exclusive attitudes in the perception of key events in Russian and world history of the 20th century. The preparation of Narbut’s collected works was planned in the interconnection of two directions: (1) the continuation of work to eliminate the “blank spots” in the poet’s biography, and (2) the formation of the most complete collection of Narbut’s fiction for the first time supplemented, in addition to poetic texts, with prose and translations. In preparation for the publication of Narbut’s literary texts included in the collected works, the issue of using a real commentary as the main approach in preparing notes was updated, taking into account the biographical, historical, literary, folklore, mythological, and linguistic aspects. Directions were set by the thorough work that began in the 1983 edition, and especially in the 1990 edition. The bulk of research on Narbutov’s texts and biographical facts was carried out in the funds of the Odessa Literary Museum and the Odessa National Library named after A.M. Gorky (Odessa periodicals of the 1920s), in state and private archives and funds of Moscow, including the Manuscript Department, the main and newspaper funds of the Russian State Library, in the department of manuscripts of the Russian State Archive of Literature and Arts, in the archives of the Federal Security Service, the Russian State Archive of Socio-Political History, the State Archive of the Russian Federation.

The article tells about one of the brightest religious exponents of Russian thought, “the Ascetic of the Russian Land”, the Orthodox Christian Nikolay Pestov (1892–1982). The integrity of his Christian worldview arouses a genuine interest in him. The theological works by Nikolay Pestov should be undoubtedly considered in inextricable connection with the study of his life journey. Therefore, special attention is paid to the biography of the thinker based on documentary sources and autobiography. The article observes Nikolay Pestov’s spiritual rebirth, his transformation from the external to the internal, “...from Saul to Paul...”. This approach allows to appreciate the significance of his own experience of Orthodox piety and to see the true value of his gift of writing. Focusing on modern readers, who might encounter difficulties in perception and understanding of literary forms typical for the fourth century, Nikolay Pestov managed to “write without saying anything new, but saying everything as if in a new way instead”. All this becomes possible thanks to the amazing bread th in quoting the “source of eternal truth — the Holy Scriptures”, the works by ascetics of piety of the late 19th–20th centuries, writers, philosophers, teachers, poets, as well as examples from the lives of saints. It is quite difficult to find an equally proper niche for Pestov’s guide in religious literature, since spiritual books were created primarily by monastics describing their own experience. Being a layman himself, Nikolay Pestov wrote a book for lay people, for those who are ready to perform a Christian feat in their family, in education, in friendship, at work, during the day, in conversations and in silence. Nikolay Pestov’s two-volume book shows the way to Christ. It would be a mistake to think that Nikolay Pestov only indicates “the way of salvation” for his readers. He himself is a wanderer, a fellow traveler, a companion on the way. He himself continues his spiritual ascent. The theologian called his series of books “a thesis research” on the topic “Experience of Building a Christian Worldview”. Today this work is called The Modern Practice of Orthodox Piety. The author Nikolay Pestov signed his works with ГБР (GBR) abbreviation meaning the Sinful Servant of God in Russian. The article attempts to show the eternity of Christian wisdom by repeated address to theological works by Nikolay Pestov.

In the history of Latvian literature, Aleksandrs Čaks (1901–1950) is better known as a poet-urbanist. There is much less information about his work as a lecturer. In 1924, after entering the Faculty of Medicine of the University of Latvia, Čaks could not pass the necessary exams of the first semester and abandoned his studies. Encouraged by his family, in 1925, he entered the Compulsory School Teacher’s Course in Riga and graduated from it, obtaining practical teaching experience at the Drabeši six-grade boarding school and in the Literary Studio of Rūdolfs Egle (1889–1947). The purpose of the research is to describe and find out what was the importance of Čaks as a lecturer in Egle’s Literary Studio from 1935 to 1939, where Čaks gave lectures on the theory of poetry and the history of Russian poetry, paying special attention to the modernists. The study was carried out using the biographical method, which helps to reveal the relationship between the personality and the environment, using documents and memories of colleagues. This allows us to see Čaks’s personality in specific historical circumstances – his interest in the work of a lecturer, which, in the first decades of the 20th century, taking into account the political and social changes in society after the First World War, forced to re-evaluate the subjects and learning methods so that students acquired new skills through practical training. Teaching by doing was also the main idea of John Dewey (1859–1952), and it formed the basis for Čaks’s interest in the lecturer/student collaboration process. Čaks’s interest in Russian poetry began in the 1930s when he published descriptions of contemporary Russian poets in the press. Čaks’s public introductory articles about Latvian writers and their works were also important. It is difficult to evaluate the period of activity of Egle’s Literary Studio in the biography of Čaks because there are no preserved plans and notes of Čaks’s lectures, which could provide a deeper insight into his opinion as a literary theorist. Čaks’s activity in the Studio is evaluated through his publications, the books on the field in his personal library, and notes on memories of colleagues and the Studio’s students, which confirm the importance of Čaks’s personality in the overall context of the activities of the Egle’s Literary Studio.

Восьмидесятилетний юбилей Ю. П. Кузнецова (1941–2003), одного из наиболее масштабных русских поэтов-философов XX века, побудил авторов проанализировать предпринятые за последние полтора десятилетия исследовательские усилия, направленные на научное освоение его наследия. Использованы материалы научно-просветительских конференций, прошедших за этот период в Москве и Краснодаре. Введены в научный оборот новые находки рукописей и документов, относящихся к раннему периоду творческой биографии поэта. Рассмотрены наиболее важные материалы XV международной научно-практической конференции, тема которой – «Между миром и Богом» – позволила глубже раскрыть вершинный этап становления художественного мира Ю. Кузнецова. Подчеркивается важность использования информационных технологий для популяризации творчества поэта. Сделан вывод о высокой результативности кузнецовских форумов, ежегодно организуемых Институтом мировой литературы, Литературным институтом им. А. М. Горького и Союзом писателей России. The eightieth anniversary of Yuri Polikarpovich Kuznetsov (1941–2003), one of the most ambitious Russian poets and philosophers of the 20th century, prompted the authors to analyze the research efforts undertaken over the past decade and a half aimed at the scientific development of his heritage. Having become a prominent figure in the literary process in the 1970s, the poet subsequently impressed with the power of thought, originality and depth of images. The materials of academic conferences held in Moscow and Krasnodar from 2006 till 2021 were used. Newly discovered manuscripts and documents related to the early stage of the poet’s creative biography are introduced into scholarly discourse. The study comprehensively uses the methods of literary, religious and philosophical, historical and factual, statistical and cultural analysis. The study contributes to the understanding of the factors that favor or hinder the creation of conditions for assessing the creativity of a genius in modern society. It is emphasized that Kuznetsov left a poetic heritage that is relevant and valuable for the self-knowledge of compatriots. The most important events that stimulated the study and popularization of his work after his death are identified. The content of the reports that made up the center of controversy at the 15th International Conference (Moscow) held in 2021 is described in detail. Its theme (“Between the World and God”) allowed revealing the summit – the most difficult to understand – stage of the formation of Kuznetsov’s artistic world. The authors point out the difficulties that hinder the full implementation of the idea of the Kuznetsov Readings in the poet’s homeland, in Krasnodar Krai. The authors come to the conclusion that it is necessary to revive the holding of such conferences in the original form, which involves the organization of an academic forum, as well as a series of meetings of researchers, literary critics, active popularizers of the poet’s work with young people, school teachers and teachers of higher educational institutions, employees of cultural and educational institutions. The importance of using information technologies to popularize the poet’s work is noted. The authors conclude that the annual conferences held in Moscow on the basis of the Gorky Institute of World Literature, the Maxim Gorky Institute of Literature and Creative Writing, and the Writers’ Union of Russia in 2007–2021 are highly effective.

The article investigates the main features of artistic, educational, pedagogical, scientificpublicist and sociopolitical progressive activity of Stanislav Liudkevych that is exceptionally significant for the development of the national culture and, specifically, Ukrainian music, even in the new historical circumstances. It also dwells upon Stanislav Liudkevych’s public activity as the organizer of the musical life in Lviv and other cities of the Western Ukraine that resulted in the organization of the Union of Professional Musicians of Ukraine (1934–1939), the work of which put an end to the professionalization of Halych musicians and started the traditions that exist till now. It also studies the questions from the artist’s report on the First Pedagogical Congress of the Union of Professional Ukrainian Musicians on November 2nd and 3rd, 1935, and from his scientific articles, that still answer the thorny problems of the current development of the Ukrainian culture. The article reveals the aspects of the composer’s biography referring to the creation of vocal chamber music (choirs and solo singing), piano music for the pedagogical repertoire (original works and the translation of the Ukrainian folk songs for the piano), and ensemble works for the piano duets. The paper separately investigates the composer’s input in the pedagogic area and musical schooling as well as teaching music in the public schools that has an immense impact on the esthetic upbringing of the young person. Stanislav Liudkevych started his artistic path on the verge of 19th and 20th century, in the period of essential conflicts in social and cultural life. He soon became an example of the progressive national artist that joined the worldly and artistic aspirations together. He was a highly-qualified musician, a person with wide and comprehensive general education, for whom the fight for the artistic progress and creative professionalism constituted the very basis of his diverse activity. The life and creativity of Stanislav Liudkevych is an example of unique purposefulness and active desire to fulfill the primary ideals of humanity. He responded heartily to the most significant and thrilling social events. The main idea of the composer’s music as well as his multiple publicist and musicological articles is the fight for freedom, for the development of the spiritual and, specifically, musical culture of his people, for the relationship with other progressive cultures, etc. The composer’s diverse activity is characterized by the integrity of the worldview, standpoint of a progressive person formed by the examples of the leading national thought, as well as the ideals of the symbolic poets, such as Taras Shevchenko and Ivan Franko. The composer understood the art as a social phenomenon that is inseparably connected to the life of a community, as a reflection as the whole history of the society. Throughout many decades the composer acted as the leading artist that strives for the life of his native culture and for the improving of the spiritual health of Ukrainian nation. Thus, not only music composition, but also the whole progressive activity of Stanislav Liudkevych, such as sociopolitical, educational, pedagogical and critic, are vital for the development of the Ukrainian art.

Объектом внимания в статье является творчество видного представителя русской литературы 1й половины XX века Сергея Митрофановича Городецкого, чей литературный путь начинается в контексте отечественной литературы конца XIX начала XX в., в сложную, противоречивую эпоху, насыщенную драматическими событиями. Имя Городецкого связывается с явлением, получившим название Серебряного века русской литературы. Он один из тех, кто стал неотъемлемой частью богатейшего культурного процесса первых десятилетий прошлого века, давшего миру А. Ахматову, А. Блока, В. Брюсова, К. Бальмонта, Н. Гумилева, М. Волошина, О. Мандельштама, С. Есенина и многих других. Это время творческих исканий и блестящих открытий, переосмысления идей, старых литературных направлений, методов и стилей и формирования новых. Творчество Городецкого занимает достойное место в этом процессе, но не ограничивается рамками Серебряного века . Его долгая творческая жизнь отличается удивительным разнообразием, многогранностью талантов и интересов. Его перу были подвластны поэзия и романная проза, публицистика и драматургия, поэтические переводы и литературоведческие статьи, оперные либретто и рассказы. Природа не обделила Городецкого и художественными способностями в его наследие вошли портретные зарисовки, дружеские шаржи, книжные и журнальные иллюстрации. Особую страницу составила его просветительская и преподавательская деятельность. В статье представлена та часть творчества Городецкого, которая связана с Осетией, ее фольклором, литературой, этнографией, культурным строительством и просвещением и которая осталась в его творческой биографии почти незамеченной. Знакомство Городецкого с Осетией началось с Нартовского эпоса, который оставил значительный след в его наследии. В статье рассмотрен авторизованный перевод нартовской легенды Ацамаз и Агунда , а также цикл очерков СагатИр , опубликованные Городецким в газете Известия в 1926 г. как результат его путешествия по горной Осетии в качестве корреспондента газеты. Цикл отразил не только журналистский дар поэта, но и его интерес к фольклору, этнографии, истории и языку осетин. С Осетией связана еще одна грань творчества Городецкого его перу принадлежит ряд оперных либретто. Одно из них написано на сюжет Нартовского и Даредзановского эпосов. Городецкий в древних эпических сюжетах выразил созвучные его времени идеи свободного труда, преодоления племенной розни, насилия, тяжелого положения женщиныгорянки. Героем оперы становится осетинский Прометей Амран , в ней также присутствуют Ацамаз, Агунда, Курдалагон. Опера Амран была поставлена на сцене Большого театра, а ее либретто было удостоено премии. Городецкий был знаком с осетинскими писателями и поэтами, портретные зарисовки которых, сделанные во время декады осетинского искусства и литературы в Москве, хранятся в фонде С.М. Городецкого в Научном архиве СОИГСИ. Там же находятся рукописные автографы белового и чернового вариантов стихотворения Городецкого Памяти Коста Хетагурова , жизнь и творчество которого вызывали интерес и восхищение русского поэта. В статье также нашла отражение просветительская деятельность Городецкого, связанная с Северной Осетией. The object of attention in the article is the work of the prominent representative of the Russian literature of the 1st half of the 20th century Sergei Gorodetsky, whose literary way begins in the context of Russian literature of the late 19th and early 20th centuries and into a complex, controversial era, full of dramatic events. Gorodetskys name is associated with the phenomenon known as the Silver Age of the Russian literature. He is one of those who became an integral part of the richest cultural process of the first decades of the last century, alongside with A. Akhmatova, A. Blok, V. Bryusov, K. Balmont, N. Gumilyov, M. Voloshin, O. Mandelstam, S. Yesenin and many others. This is a time of creative searches and brilliant discoveries, reconsidering ideas, old literary trends, methods and styles and the formation of new ones. Gorodetskys work takes significant place in this process, but is not limited to the framework of the Silver Age. His long creative life is remarkable for its amazing diversity, versatility of talents and interests. He was good at poetry and novel prose, journalism and dramaturgy, poetry translations and literary articles, opera librettos and short stories. Нis heritage included portrait sketches, friendly cartoons, book and magazine illustrations. He is also famous for his educational and teaching activities. The article presents that part of S. Gorodetskys work, which is associated with Ossetia, its folklore, literature, ethnography, cultural construction and education, which almost went unnoticed in his creative biography. Gorodetskys acquaintance with Ossetia began with the Narts epic, which left a significant mark on his heritage. The article deals with the authorized translation of the Narts legend Atsamaz and Agunda, as well as the series of essays SagatIr published by S. Gorodetsky in the newspaper Izvestia in 1926 as a result of his travels through mountainous Ossetia as a newspaper correspondent. The cycle reflected not only the journalistic talent of the poet, but also his interest in folklore, ethnography, history and the language of the Ossetians. Another aspect of Gorodetskys work connected with Ossetia is number of opera librettos. One of them is based on the plot of the Narts and Daredzan epics. Gorodetsky expressed the ideas of his time: free labour, overcoming tribal hatred, violence, and the plight of female highlanders in ancient epic plots. The Ossetian Prometheus Amran becomes the hero of the opera Atsamaz, Agunda, and Kurdalagon also taking part in it. The opera was staged at the Bolshoi Theater, and its libretto received an award. Gorodetsky was familiar with Ossetian writers and poets, whose portrait sketches, made during the decade of Ossetian art and literature in Moscow, are stored in the S. Gorodetsky collection in the Scientific Archive of the Institute for Humanitarian and Social Studies. There are manuscript autographs of Gorodetskys poem In Memoriam of KostaKhetagurov, whose life and work the Russian poetadmired. The article also reviews the educational activities of S. Gorodetsky related to North Ossetia.