ABSTRACT The connection between jazz philosophy, pre-jazz genres and Belyj’s creational method is analyzed in this paper through cultural-historical, comparative and mythopoetic methods. The tunes of jazz predecessors (spirituals, blues, ragtime, working songs) had started to spread in Russian since the beginning of the 20th century. Andrej Belyj also could have become acquainted with jazz culture in Europe during his frequent journeys. The most prominent features of jazz are difficult rhythms originated in African drums playing style, the influence of European musical harmony, but at the same time dedication to dissonances, accents on weak beats, “blue mood,” “call-and-response pattern,” scat, falsetto break from working songs and many others. The novel Kotik Letaev could be called the most jazz-inspiring work of the author. Despite the fact that this novel has been created at the dawn of “jazz era,” there are a lot of features that connect this work to jazz philosophy. Belyj sensed the mood of his time, the jazz pulsation of the century. Returning to the ancient African drums rhythm in jazz has its reflection in Belyj’s novel through the resurrection of the myth, remembering the “inner form” of words which was used by the first speaking man on the Earth, rebirth of the word through the child speech. Kotik Letaev is rhythmically complex text decorated with alliteration – the scat analogy. Every character in Kotik Letaev has their own melody and musical voice. “Blue mood” is also a prominent feature in this novel: fear and anxiety (“blue tonality”) govern the text. It could be attributed to Kotik Letaev’s feeling of dread after the escape from the chaotic pre-existence and his attempts to find his place in new cosmos. The main elements of the novel’s inner structure are dissonance and ambivalence. Improvisation in word, sound and symbol creation is used in the novel, which also reminds us about jazz intention to overcome any previous boundaries in music in order to express inexpressible.

中文翻译：

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Символизм Андрея Белого в эпоху джаза – контрапункты двух философий (на примере «Котика Летае)»

摘要 本文通过文化-历史、比较和神话诗的方法分析了爵士哲学、前爵士流派和别雷吉的创作方法之间的联系。自 20 世纪初以来，爵士乐前辈的曲调（精神、布鲁斯、拉格泰姆、工作歌曲）开始在俄语中传播。Andrej Belyj 也可以在他频繁的旅行中熟悉欧洲的爵士文化。爵士乐最突出的特点是起源于非洲鼓演奏风格的高难度节奏、欧洲音乐和声的影响，但同时致力于不和谐、弱节拍的重音、“蓝色情绪”、“呼唤和回应模式” ” scat、假声从工作歌曲和许多其他歌曲中中断。小说 Kotik Letaev 可以说是作者最能激发爵士乐的作品。尽管这部小说创作于“爵士时代”的黎明时期，但仍有许多特点将这部作品与爵士哲学联系起来。Belyj 感受到了他那个时代的情绪，这个世纪的爵士乐脉动。爵士乐中回归古老的非洲鼓节奏，通过神话的复活，在别雷吉的小说中得到了反映，记住了地球上第一个说话的人使用的词的“内在形式”，通过儿童的言语重生了词. Kotik Letaev 是带有韵律感的复杂文本，并以头韵（scat 类比）装饰。Kotik Letaev 中的每个角色都有自己的旋律和音乐声。“蓝色情绪”也是这部小说的一个突出特点：恐惧和焦虑（“蓝色调”）支配着文本。这可以归因于 Kotik Letaev 在逃离混乱的先存后的恐惧感，并试图在新的宇宙中找到自己的位置。小说内部结构的主要元素是不和谐和矛盾。小说在文字、声音和符号创作上即兴发挥，这也提醒我们爵士乐打破以往音乐界限，以表达无法表达的意图。