Kravchenko Oksana Anatolievna - Adjunct Professor, Department of Russian Language, Faculty of Literature, Alzahra University, Tehran, Iran.
Sadeghi Sahlabad Zeinab - Assistant professor, Department of Russian Language, Faculty of Literature, Alzahra University, Tehran, Iran.

The article is devoted to the study of the reception of I. Bunin's work in the collection "Silhouettes of Russian Writers" by Yu. Aikhenval'd. The theoretical principles of Aikhenval'd's critical method and its place in the context of artistic searches of the early twentieth century are comprehended. The system of concentres of Russian literature developed by Aikhenval'd is considered, Bunin's place in it is determined. The article traces the line of succession Pushkin - Bunin; it is shown that traditionalism as the main characteristic of Bunin's style goes back to the harmony of Pushkin's creativity. The key motives of two editions of the feature article "Bunin" are analyzed: restraint and severity of poetic expression, images of nature, village, travel, orientalism. It is suggested that Bunin's high assessment reflects the critic's idea of the poet's mission as a divine "collaborator". It is noted that the spiritual closeness of the writer and critic is reflected in the biographical fact of their exile. It is concluded that in the criticism of Aikhenval'd Bunin appears as a modern bearer of the spiritual categories of Russian literature.Extended abstract:The article is devoted to the study of Bunin's image in the collection "Silhouettes of Russian Writers" by Yu.I. Aikhenval'd (۱۸۷۵–۱۹۲۸). The purpose of the article is to reveal the features of the critical method of Aikhenval'd, for example, his reception of I.A. Bunin. The place of the writer - Nobel laureate in the philosophical and aesthetic system of Aikhenval'd is considered by the authors of the article for the first time, which determines the novelty of the study. Theoretical attitudes of Aikhenval'd, his place in the context of artistic searches and directions of criticism of the early twentieth century are analyzed. The features of the silhouette genre as a modernization of the traditional literary portrait and the tendency of subjectivity and intimacy set by the genre in the evaluation of an artistic phenomenon are comprehended. The system developed by Aikhenval'd concentrators of Russian literature, Bunin's place in it is determined. The research methodology is based on those developed by Aikhenval'd principles of immanent criticism. The article traces the line of succession of A.S. Pushkin - I.A. Bunin; it is shown that traditionalism as the main characteristic of Bunin's style goes back to the harmony of Pushkin's creativity. It is noted that in the work of Bunin, Pushkin's features are clearly accentuated, predetermining the rejection of modernist stylization. The convergence of Bunin with Pushkin explains that, for the critic, Pushkin has always been a model of a real poet. Therefore, in the light of Pushkin's work, Aikhenval'd considers both contemporary poets and all Russian literature. The key motives of the two editions of the essay "Bunin" are analyzed: restraint and severity of poetic expression, images of nature, village, travel, and orientalism. In later editions of the essay, the portrait of Bunin's critic emphasizes features that violate the initially established Pushkin's optics of his perception. It is suggested that Bunin's high assessment reflects the critic's idea of the poet's mission as a divine "collaborator". It is noted that the spiritual closeness of the writer and critic is reflected in the biographical facts of their exile: the emigration of I.A. Bunin and expulsion from Russia Aikhenval'd as a passenger of the "philosophical ship". Furthermore, it is concluded that Aikhenval'd correlates the work of Bunin with the key concentrations of Russian literature, showing him as a modern adept and affirming the spiritual categories of the homeland, wanderings, nature, culture, rural rootedness in being. Bunin, in the criticism of Aikhenval'd appears as a modern bearer of the spiritual categories of Russian literature.The article is devoted to the study of the reception of I. Bunin's work in the collection "Silhouettes of Russian Writers" by Yu. Aikhenval'd. The theoretical principles of Aikhenval'd's critical method and its place in the context of artistic searches of the early twentieth century are comprehended. The system of concentres of Russian literature developed by Aikhenval'd is considered, Bunin's place in it is determined. The article traces the line of succession Pushkin - Bunin; it is shown that traditionalism as the main characteristic of Bunin's style goes back to the harmony of Pushkin's creativity. The key motives of two editions of the feature article "Bunin" are analyzed: restraint and severity of poetic expression, images of nature, village, travel, orientalism. It is suggested that Bunin's high assessment reflects the critic's idea of the poet's mission as a divine "collaborator". It is noted that the spiritual closeness of the writer and critic is reflected in the biographical fact of their exile. It is concluded that in the criticism of Aikhenval'd Bunin appears as a modern bearer of the spiritual categories of Russian literature. Extended abstract: The article is devoted to the study of Bunin's image in the collection "Silhouettes of Russian Writers" by Yu.I. Aikhenval'd (۱۸۷۵–۱۹۲۸). The purpose of the article is to reveal the features of the critical method of Aikhenval'd, for example, his reception of I.A. Bunin. The place of the writer - Nobel laureate in the philosophical and aesthetic system of Aikhenval'd is considered by the authors of the article for the first time, which determines the novelty of the study. Theoretical attitudes of Aikhenval'd, his place in the context of artistic searches and directions of criticism of the early twentieth century are analyzed. The features of the silhouette genre as a modernization of the traditional literary portrait and the tendency of subjectivity and intimacy set by the genre in the evaluation of an artistic phenomenon are comprehended. The system developed by Aikhenval'd concentrators of Russian literature, Bunin's place in it is determined. The research methodology is based on those developed by Aikhenval'd principles of immanent criticism. The article traces the line of succession of A.S. Pushkin - I.A. Bunin; it is shown that traditionalism as the main characteristic of Bunin's style goes back to the harmony of Pushkin's creativity. It is noted that in the work of Bunin, Pushkin's features are clearly accentuated, predetermining the rejection of modernist stylization. The convergence of Bunin with Pushkin explains that, for the critic, Pushkin has always been a model of a real poet. Therefore, in the light of Pushkin's work, Aikhenval'd considers both contemporary poets and all Russian literature. The key motives of the two editions of the essay "Bunin" are analyzed: restraint and severity of poetic expression, images of nature, village, travel, and orientalism. In later editions of the essay, the portrait of Bunin's critic emphasizes features that violate the initially established Pushkin's optics of his perception. It is suggested that Bunin's high assessment reflects the critic's idea of the poet's mission as a divine "collaborator". It is noted that the spiritual closeness of the writer and critic is reflected in the biographical facts of their exile: the emigration of I.A. Bunin and expulsion from Russia Aikhenval'd as a passenger of the "philosophical ship". Furthermore, it is concluded that Aikhenval'd correlates the work of Bunin with the key concentrations of Russian literature, showing him as a modern adept and affirming the spiritual categories of the homeland, wanderings, nature, culture, rural rootedness in being. Bunin, in the criticism of Aikhenval'd appears as a modern bearer of the spiritual categories of Russian literature.

Aikhenval'd, Bunin, Pushkin, Criticism, Classical Tradition