This article examines the phenomenon of collective creative activities by one of the most famous Petersburg “triple unions” at the turn of the nineteenth and twentieth centuries, the Merezhkovsky couple (Zinaida Gippius and Dmitry Merezhkovsky) and Dmitry Filosofov. This “triple union” is represented by three works: the essayistic collections The Tsar and Revolution (Paris, 1907) and Kingdom of the Antichrist (Munich, 1921) and the play Poppy Blossom (1906). My main focus is the Paris collection, the first in the series of the collaborative projects, which was composed in the same vein as the “triumvirate’s” other projects: as a manifestation of the life-creating and religious tendency and also as an embodiment of the key ideas central to their concept of the “new religious community” and an understanding of the Russian revolution as a phenomenon with a religious core. This analysis takes place against a broad background of history and culture, of ideas and philosophy, utilizing a wide range of sources of various kinds: literature, documents, and scholarship, including memoirs, diaries, and epistolary texts by the Merezhkovsky couple and Filosofov.

中文翻译：

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“寻找上帝的城市”：梅列日科夫斯基夫妇和菲洛索夫夫关于革命的宗教理由

本文研究了19世纪和20世纪初最著名的圣彼得堡“三联工会”之一，梅列日科夫斯基夫妇（Zinaida Gippius和德米特里·梅雷日科夫斯基）和德米特里·菲洛索夫的集体创造活动的现象。这种“三联”由三部作品代表：杂文集《沙皇和革命》（巴黎，1907年）和《敌基督王国》（1921年慕尼黑）和剧集《罂粟花》（1906年）。我的主要重点是巴黎系列，这是该系列合作项目中的第一个，它与“三人之家”的其他项目一样构成：作为创造生活和宗教倾向的体现，也是对“新宗教共同体”概念至关重要的关键思想的体现，以及对俄罗斯革命作为一种具有宗教核心现象的理解。这种分析是在广泛的历史和文化背景，思想和哲学背景下进行的，利用了各种各样的资源：文学，文献和奖学金，包括梅列日科夫斯基夫妇和菲洛索夫的回忆录，日记和书信。