Subjekt und Liminalität in der Gegenwartsdichtung. Bd. 8.1.: Grenzen, Schwellen, Liminalität und Subjektivität in der russischen Gegenwartsdichtung / Субъект и лиминальность в современной поэзии. Том 8.1: Границы, пороги, лиминальность и субъективность в современной русскоязычной поэзии
Vsevolod Nekrasov is a poet whose legacy today is viewed in many different contexts such as the poetry of the Lianozovo group, Russian Concrete Poetry, Conceptualism, Minimalism, and others. Since the beginning of the 1960s, during his creative activity period, the poet was working on an ambitious project, whose titles, genre definitions and scope, as seen by the author, were changing with the basic principle, yet were remaining practically the same: the selection of words and their combinations, which were supposed to comprise the poet's "vocabulary", based on their repetition, rhythmic, intonational, paronymic, semantic consonance. The initial purpose of the vocabulary, according to the author, was of utopian character, since it suggested a revision of many the existing words of the Russian language in order to select the words suitable for usage in his poetry, those words which were devalued and discredited by the official poetry and rhetoric of the idiocratic Soviet system. However, Nekrasov slowly came to the realization that a completion of the vocabulary project was not possible. This made him revise the scope of the project and view it as "working material" for creating poetic texts, including those that are polemical with regard to his predecessors, Neo-avantgardists with their aesthetic utopia, and his contemporaries, the post-avantgardists, who, like D.A. Prigov, L. Rubenstein, or A. Monastyrskiy, denied poetic tasks in favor of researching the possibilities of an utterance having artistic value, and thus, in Nekrasov's opinion, went beyond the limits of art.
This article examines works of contemporary Russian poetry whose creation was influenced by modern philological concepts developed to describe various poetic forms as well as processes taking place in poetry and, more broadly, in language at large. The focus is on four different practices of using philological scholarship, along with associated prosodies, tendencies, ideas and methods involved in the creation of poetry – as adopted by Lev Loseff, Aleksandr Kondratov, Sergey Biriukov, and Arkady Shtypel. Such poetic adoption of poetological and philological ideas in poetic practice is defined as “metapoetology.”