Olga Schor

After the Revolution of 1917, she worked in the People's Commissariat of Education and the State Academy of Arts and met Vyacheslav Ivanov in 1924, on the eve of the poet's departure to Italy.

A. Schor was his official representative in the USSR, responsible for copyright protection, publications, and forwarding the Central Commission for the Improvement of the Welfare of Scientists' grant to Italy, as V. I. Ivanov was considered to be on a business trip abroad.

After his death in 1949 she wrote a continuation of the philosophical poem The Story of Svetomir the Tsarevich, calling it the fulfillment of the poet's will, began to publish the collection of works of V. Ivanov.

During her high school years, Olga Schor , as she put it, "smuggled" (as it was forbidden by the rules of the educational institutions of the Russian Empire), attended lectures by Vyacheslav Ivanov, who gave classes at the Society of Free Aesthetics.

[1][2] Since 1911 she studied at the philosophical faculty of the Higher Women's Courses, where G. Speth taught; in the summer semester of 1912 she attended a series of lectures by Rickert at the University of Freiburg and joined the circle of Russian neo-Kantians (S. Hesse, F. Stepun).

[1][3][4] According to Lydia Ivanova, during the World War I, Olga Schor was acquainted with the Indians who came to Russia, one of whom was even going to marry, nursed from typhoid Suhrawardy, friendship with whom she maintained for many years.

[5] F. Stepun's memoirs mention the "academy" that met at Berdyaev's house in the first post-revolutionary years, and whose meetings were always attended by the "intelligent, versatile, educated and very talented" Olga Alexandrovna Schor.

Until 1927, on behalf of Ivanov Olga Alexandrovna was engaged in publishing his books in the USSR, copyright protection, represented the interests of Vyacheslav Ivanovich in the Central Commission for the Improvement of the Welfare of Scientists and Narkompros (the poet was considered to be on a foreign business trip).

In the early 1930s, Signorelli was working on a book about the actress Eleonora Duse, for whom Olga Schor searched for literature in various languages and consulted on various artistic and scientific innovations.

It was here that Dmitry Merezhkovsky and Zinaida Gippius visited in August 1937; the latter described the poet's apartment in the magazine Illustrated Russia [ru] (January 1, 1938) and, without the author's knowledge, published the poem The garden, and behind it // Your naked relics, Rome!

[17] In the material support of the Ivanovs, a huge role was played by O. Signorelli, who helped Lydia Ivanova to get a job at the Conservatory to Respighi, obtained an award for her, treated all members of the family, and so on.

Apparently, Olga Signorelli repeatedly provided O. Schor with money, and on the occasion of Ivanov's report in Sanremo in March 1933, she even borrowed a dress for a gala banquet.

Its origin was described by L. Ivanova as follows: when Olga Alexandrovna prepared the preface to the Italian edition of Correspondence from Two Corners, she could not sign it with her real surname — her relatives remained in the USSR.

[29] After the outbreak of the World War II, Monte Tarpeo Street was demolished as part of Mussolini's plan to rebuild Rome and give the Capitol a Renaissance appearance.

[32] It came to the point that in the days of the occupation of Rome by German troops, Dmitri, who had managed to come from France, Lydia and the maid Helen (who lived at the Ivanovs in the kitchen) tried to rob a train with food standing on the spare tracks in Ostia.

Between 1954 and 1957, she published in English and French in the Oxford Slavonic Papers a bibliography of Ivanov's major works, a biographical sketch, and commentaries on selected poems of recent years.

Despite her serious illness Olga Alexandrovna remained active until her last days, she was very interested in world events, she was shocked by the kidnapping and murder of Prime Minister Aldo Moro.

According to the newly discovered data, this image needs to be deciphered, since the joint efforts of all the Ivanovs created a domestic myth about the "stupid and foolish and at the same time 'learned' bird 'flamingo'", which was reproduced, including in correspondence.

[2] Olga Schor worked for many years on the preface to the Italian edition of Vyacheslav Ivanov and M. Gershenzon's philosophical treatise Correspondence from Two Corners, written in Moscow in the early 1920s.

O. Signorelli already had experience in translating the Russian philosopher of religion: it was she who produced the Italian version of N. A. Berdyaev's article The Soul of Russia, which made him famous in Italy.

Judging by the fragments that have survived, the early version differed greatly from the published one: for example, Olga Schor wrote extensively about the role of L. D. Zinovieva-Annibal in the poet's formation.

During this time a French translation was published, for which the text of Correspondence... was substantially edited by Vyacheslav Ivanov, who wrote an epilogue describing the development of his spiritual life.

[53] Olga Alexandrovna had mystical moods: a letter of 25 January 1929 describes a vision of L. D. Zinovieva-Annibal who visited her, the feeling of "a sensual connection with the departed", but at the same time O. Schor "painfully could not remember what she said".

[61] In 1929-1930, while working on the commentary and preface to the Italian edition of V. Ivanov and M. Gershenzon's Correspondence from Two Corners, O. Schor made extensive use of the concepts and terminology of her Mnemology.

V. Ivanov himself, in poetic works addressed to O. Schor, called her a "co-questioner", using the mnemological term apanthema ("meeting", "coincidence"), formed contrary to the rules of the Greek language.

Fyodor Augustovich did not realise that the date "1928" referred to the manuscript and not to the poem itself, and formed a false idea about Ivanov's growth as a poet, considering the Man as proof of his "continuous poetic ascence".

His Creation of Adam or Expulsion from Paradise are not perceived "historically", even his Last Judgement is "not yet a point": they express providence and foreboding, tension before an unknown release.

At the same time, she explicitly stated that both philosophy and art "move deliberately towards the banal", a statement that I. Chechot called "scandalous" in the current context of the twenty-first century.

In the treatment of shadows as a breakthrough into the abyss, the emphasis on detachment, loneliness and tragedy, even linguistic moments (the concept of “circumstances of the world”) “allow us to suspect, if not influence, then consonance with Heidegger”.

It is impossible to judge the extent to which the feminine beginning was present in Michelangelo's fate, but his love of the body (sometimes interpreted as homoerotic) can also reach a tragic self-denial.