Russian Decadence and Symbolism, V. Brjusov, Decadent-symbolist Aesthetics, Theory of Pure Art, Teurgy, Mystical and Religious Unity.

Studie je zaměřena na analýzu esejistické tvorby V. Brjusova jako stoupence dekadentně-symbolistické větve ruského modernizmu. Autor studie usiluje o syntetický pohled na esteticko-filozofický systém vytvořený tímto autorem. Do popředí je vyzvednuta Brjusovova cesta od dekadentního estétství k integrálnějšímu chápání moderního umění, které v dějinách ruské literatury počátku 20. století reprezentovala především mladší generace ruského symbolizmu.

In aesthetic theories of Russian followers of decadent-symbolist aesthetics, we can find marks of efforts to overcome clearly decadent approaches to the integral understanding of the problem. However that was fully defined later by next art generation who started understanding art creating in its broader meaning as theurgy. Unlike Merezhovsky V. J. Brjusov was not so strongly oriented on interconnection of art with mystic and religious truths. He had never accepted the idea of heading of art towards a mystical and religious unity. Nevertheless in his artistic development, he often deflected from extreme subjectivism of his early poetic and essayistic works. Even in his famous essay Kljuchi tajn, he sharply opposed the theory of ?pure art?. Therefore in art there is hidden totally different energy that makes it immortal and stable; a work of art becomes beautiful because art gave it the life.