The motif of decomposition in G. Ivanov's works: the heritage of symbolism and existentialism

In the article the author tries to find out the genesis of the motif of decomposition of G. Ivanov's works in exile. In the research the author comes to conclusion that the origins of the decomposition's poetics, which was an important part of G. Ivanov's emigrant artistic world, come not from Symbolism, but from F. Dostoevsky and F. Tyutchev's works. It is these writers' heritage in which some scientists reveal those tendencies, which developed in Existentialist philosophy and in the literature, which is often researched from the perspective of Existentialistic categories. Also the author defines a problem of appropriateness of referring G. Ivanov's late works to Symbolism on the whole, although such point of view is rather widespread these days. In this regard the results, which were obtained in the research, make revise that viewpoint. Both G. Ivanov in exile and Symbolists drew upon the same origins, however if Symbolist art appealed to Tyutchev's and Dostoevsky's heritage in the aesthetic sphere basically, G. Ivanov's late works brings ontological problematics to the forefront, so it gives reasons to review his works through the lens of Existentialism. To find out the origins of the motif of decomposition, which was universally represented in G. Ivanov's lyrics and prose in emigration. It seems to be very important for the research of G. Ivanov's poetics, because this motif was reflected not only at the level of his works' problematics, but also at the level of their configuration, so that a piece of poetry acquires the form of a piece of a thought or a snatch of a conversation, which the reader managed to overhear by chance. Such fragmentarity of G. Ivanov's lyrics points out F. Tyutchev's poetry as one of the origins of G. Ivanov's poetics of decomposition either. At the same time it is possible to find out some traces of F. Dostoevsky's poetics in Disintegration of the Atom. The analysis of material demonstrated that the decomposition's poetics of G. Ivanov's emigrant works originates not from Symbolism, but from F. Dostoevsky and F. Tyutchev's compositions, which condition the environment for Russian Symbolism likewise. For example, the image of the abyss, which was an integral part of Tyutchev's poetics, turned out to be solicited in F. Sologub and A. Bely's poetry. Both G. Ivanov in exile and Symbolists appealed to Tyutchev's and Dostoevsky's heritage. This circumstance predetermined their artistic worlds' solidarity. Whereas Symbolists' works tend to reveal some features of the motif of decomposition in the aesthetic sphere, G. Ivanov's late poems regard ontological issues as of paramount importance. This peculiarity makes us review the origins of G. Ivanov's poetics of decomposition from the perspective of Existentialism, whose predecessors in Russian culture contemporary scientists consider to be F. Tyutchev and F. Dostoevsky.