El presente trabajo se propone abordar el lenguaje de la vanguardia futurista rusa, en particular, del grupo cubofuturista “Guileia” (Гилея; Hylaea), al que se presentará sucintamente con el fin de ...contextualizar su producción. Se parte de la idea de que la búsqueda de lo nuevo alcanza su auge entre 1912 y 1913 en producciones literarias cuyo lenguaje fusiona imagen y sonoridad de la palabra, quitándole primacía al significado. De allí que las obras en lengua zaum privilegien, por un lado, el aspecto sonoro y musical y, por otro lado, el aspecto visual, la composición gráfica del libro y la puesta en página. Ambos aspectos dislocan el modo habitual de percibir una obra. En esta dirección, se analizarán tanto los manifiestos y textos programáticos de Guileia como algunos poemas y la obra Victoria sobre el Sol.
The article examines the stereoscopic imagery of Il'ia Zdanevich's graphic dramas LidantYu fAram (1923), ZgA Yakaby (1920) and his poem collection, Bustrofedon v zerkale (Boustrophedon in the mirror; ...1971). In his experimental futuristic works, simultaneously verbal and visual, the author focused on setting up a stereoscopic space and constructing a graphic illusion within it. Three-dimensional perception and stereovision arise as a consequence of visualizing a particular image on a book page, as constructed by the poet. These visual images made of letters are intended to refer the reader to the liberating experience of space, as well as to the top of the pyramid of vision – hence the absence of a vanishing point, of a horizon and of a ground line. The image thus represents a plurality of viewpoints. The poet imagines the visible world as the world of optics, with an important role assigned to the mirror motif. The stylistics of a mirrored palindrome provides additional visual capability to the zaum'. The visual look of zaum' words was meant to help make its nature more relevant.
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Članek se osredotoča na literarno delo Alekseja Kručoniha, enega izmed najpomembnejših predstavnikov zgodnje ruske avantgarde, čigar delo je osnovano na principu zvočnega govora (glosolalije) ...mističnih sektaških skupin. V članku želimo predstaviti spoj mističnega in formalnega raziskovanja jezika in glasu pri Kručonihu, ki je pomembno vplival tudi na razvoj formalne literarne vede ruskih formalistov.
In order to provide a general overview of particular aspects of the topic in the title of this article, the author suggests having a look at one specific example from the Komi tradition of ...incantations. In the analytical part of the article, the author makes a hypothesis: Linguistic transformations verified as zaum (beyonsense, educanto) can occur as a result of compression of a source text (pretext, prototext) into a rhythmical matrix of the act of incantation. By the rhythmical matrix we mean a complex fixed structure of rhythmical subsystems: sound-rhythmical, rhythmo-melodic, metrical-rhythmical, and other dimensions. The compression of the prototext into the text of an incantation can have a non-linear character and be the result of a peculiar strategy of the transfer of knowledge pertaining to incantations from a teacher to a student. By virtue of a number of specific psychophysiological attitudes and limitations, the student does not remember the text of the incantation, but reproduces some deeper levels of the magical and ritual performative related to the rhythmical matrix. And it is into the matrix reproduced by his or her consciousness that a new verbal stream made up of the components of the source text, fixed in the short-term memory of the student, is incorporated.
In this article the author discusses Zdanevich's play
Ianko krul' albanskai with a special focus on the graphic and phonetic aspects. These are examined in connection with nineteenth-century ...discussions on the correct pronunciation and graphic representation of Russian, especially in its western dialects. The play is also considered in relation to the general Futurist principle of
zaum' and other sound phenomena.
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In this article the author discusses Khlebnikov's philosophy of language on the basis of an analysis of his statements on the subject in his poetic works. Fundamental are his views on similarity and ...dissimilarity, in connection with his projected ideal Unified and Single Language, that would replace all existing languages. The author confronts these views with other all-encompassing systems, such as Hegel's, and also with Marr's and Stalin's ideas about language.
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