The thesis is devoted to the interpretation of Russian literature on the pages of the Parisian weekly «Zvieno» by H. Adamovych, who is the «chief critic» of russian migration in France.
H. Adamovych is one of the most respected critics of the Russian diaspora. His peculiar professional perception of writers' personalities is of great importance for objective reproduction of the history of Russian literature. The articles of the period of work in the Parisian weekly «Zvieno» are of particular value, because in these publications there is no influence of the «Parisian note», they are devoid of political bias and prenotion.
The rethinking of classical literature by H. Adamovych in 1923–1928 in his thesis is considered on the example of articles about A. Pushkin and M. Liermontov, which reflect the individual-personal attitude of the critic towards the works of poets, demonstrates the spiritual, world outlook classics of the nineteenth century. In the article «Na polustankah (zamietki poeta)» a parallel was drawn between A. Pushkin and F. Tiutchev. «Litieraturnyie zamietki» reveal the personal attitude of the critic to A. Pushkin
It is determined that the articles about M. Liermontov demonstrate the proximity of criticism of the works of the great poet. This is clearly seen in H. Adamovych’s articles «Taina Liermontova». In a number of articles, he, like many contemporary researchers, compares the works of A. Pushkin and M. Liermontov, and this is thr evidence of the dominant trends in the literature of the first third of the twentieth century.
H. Adamovych’s literary-critical activity occupies one of the main places in the history of Russian foreign literature. His articles, books, reports, in which the critic spoke with the evaluation of contemporaries, were always in the center of attention, his thoughts were listened to. The authority of H. Adamovych in exile was really great. While working in the Parisian weekly «Zvieno» H. Adamovych updated the work of I. Annienskii, actively popularized his legacy. In the articles «A. A. Blok» and «O stilistikie A. Bloka», the author investigated the lyrics and dramaturgy of A. Blok, focused on his influence on the younger generation of symbolist poets. An important focus in the articles of H. Adamovych's period of Parisian «Zvieno» has been put on the comprehension of personality and creativity of his teacher N. Humilov.
The thesis analyzes the value of personal contacts of the critic for the interpretation of the works of such contemporaries as – D. Mieriezhkovskyi, Z. Hippius, Vl. Khodasevych, I. Bunin, M. Tsvietaieva, Н. Ivanov, Y. Odoievtseva, N. Teffi, N. Otsup, M. Horkyi, M. Voloshyn, V. Maiakovskyi, S. Yesienin. Articles about these authors are characterized by objectivity and reflect the critic’s deep understanding of the evolution of writers’ creativity. Evaluation of poems, books of memories Z. Hippius marked personal, respectful attitude of the critic to the poetess. The works of D. Mieriezhkovskyi allowed H. Adamovych to come to the conclusion about the writer’s loneliness in the Russian diaspora.
In the articles about I. Bunin, H. Adamovych highly appreciates his talent and is one of the first to point out the traditions of I. Turhieniev and L. Tolstoi in the writer’s works. During the entire critical activity H. Adamovych wrote more than sixty reviews about M. Tsvietaieva, most of which were positive. About the poetry of his close friend Н. Ivanov H. Adamovych wrote only two small articles, in which he calls his works talented. In a single article about Y . Odoievtseva, the critic tells in detail about her creative personality, seeking to draw the attention of readers to her works. Emigrant creativity N. Teffi was also in the circle of interests of H. Adamovych. The critic has always supported N. Otsup, carefully observed his evolution, singled out in the author's poetics features that were close to his own artistic method. The characters and realities of the world around the works of M. Horkyi evoke a sense of melancholy in H. Adamovych, since they serve as an illustration of soullessness.
The main criteria for critic’s evaluation was artistic value and originality of works. The creativity of politically engaged authors of the Soviet Union (L. Sieifullina, B. Pilniak, D. Biednyi, V. Inbier and N. Asieiev) H. Adamovych evaluates negatively, since he considers them opportunistic, non-original, subordinate to the ideology of social order.
The peculiarities of H. Adamovych's interpretation of the works of artists from Soviet Russia, written under the canons of an official Soviet ideology, are represented in the pages of the Parisian «Zvieno». The critic's interpretation of the works of writers who did not support the Soviet ideology at the artistic level was also represented (K. Fiedin, V. Ivanov, M. Bulhakov, L. Lieonov, A. Akhmatova, B. Pasternak).
