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UDC 821.161.1-1
DOI 10.20339/PhS.2-26.048
Bogdanova Olga V.,
Doctor of Philology, Professor
Russian Christian Humanitarian Academy named after Fyodor Dostoevsky
e-mail: olgabogdanova03@mail.ru
The article examines various practices of avant-garde poetry of the Silver Age, their diversity and variability in the poetic heritage of symbolists, acmeists, futurists. Using the example of poetic texts of different nature, the features of the linear and nonlinear structure of combinatorial poetry are comprehended, the ways and functions of merging the verbal and visual experience of avant-garde poetry are revealed. It is shown that in the ‘opuses’ of the early twentieth century, various techniques and techniques, dynamic ways of creative experimentation are widely represented both in the field of the form of the verse paradigm and its semantic content. It is demonstrated that the most ‘simple’ variants of the visible verse are represented by linear forms of letter visualization, such as acrostic, anagram, homogram, lipogram, tautogram, palindrome, cryptogram, etc. It has been established that in the practice of the alphanumeric-linear organization of the ‘supertext’, the artistic task of the author, as a rule, acquired a dedicatory character and served as a playful explication or coded concealment of the expression of friendly gratitude, love recognition, congratulations, or an important concept or judgment for the poet. In any case, the linear form of the transcription assumed the most important role. It is shown that the futuristic intention of updating the word and the traditional form of verse led to the fact that the linear text turned out to be displaced by the graphic and figurative text, when the semantic plan of the verse was read out in the horizontal and vertical lines of the crossword (forward and reverse) text, the cryptogram text. Using the example of the poems of the Futurist-Gileists, it is shown how the linear text gradually transformed and acquired the graphic outline of a certain visualized object or an unconstructed philosophical abstraction. It is established that the most complex visual forms were demonstrated at the beginning of the twentieth century by the ‘iron-concrete poems’ of the cubofuturist V. Kamensky, who compiled the book “Tango with Cows” (1914). The analysis of the poem “Skating Ring” revealed that such poetic paintings are not endowed with semantic uniqueness, the perception of the text is based on guessing, associations and speculation. It is traced that by the mid-1910s the sphere of graphic experiments of the Russian avant-garde had expanded and radicalized, and the codes of perception of visual text had multiplied. It is concluded that the dynamics of the development and complication of combinatorial verse practices in the poetry of the Silver Age was not consistent, but was simultaneous, due to the powerful creative explosion of the turning point.
Keywords: poetry of the Silver Age, combinatorial poetry, techniques and methods of text visualization, linear and nonlinear script, aesthetic explosion of the era
The research was funded by a grant from the Russian Science Foundation (RSF, project No. 25-18-00764, https://rscf.ru/project/25-18-00764/); Russian Christian Humanitarian Academy named after F.M. Dostoevsky
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