Творчество В.В. Маяковского.
The article discusses the narrative strategies in Benedikt Livshits’s One and a Half- Eyed Archer, in which one can distinguish, conditionally speaking, a “Gogolian” and a “Tolstoyan” principle. This determines the portraiture, in a more or less positive or negative light, of various major Futurists, such as David Burliuk, Aleksei Kruchenykh, Velimir Khlebnikov, Vladimir Maiakovskii, and other figures, such as Elena Guro, Igor’ Severianin and Nikolai Kul’bin.
The paper is dedicated to the major texts written by Majakovskij in 1929, the year preceding his death: “Razgovor s tovariščem Leninym” (“A talk with Comrade Lenin”), “Rasskaz Chrenova o Kuzneckostroe i o ljudjach Kuznecka” (“The Story of Khrenov about Kuznetskstroj and about people of Kuznetsk”), and “Stichi o sovetskom pasporte” (“Verses on the Soviet Passport”). The official literary criticism of the Soviet era regarded them as pieces of well-behaved, exemplary Soviet poetry. Subsequently, they were perceived as tendentious, which continues to be the received view in contemporary criticism.
The aim of this paper is to show the continuity of Majakovskij’s grotesque technique from his early works up to his latest ideologically driven texts. The shocking imagery of grandiosity sets him off the mainstream imagery of contemporary official Soviet poetry, labeled by Tynjanov as “golaja oda” (lit. “bare ode”). It is shown how Majakovskij’s style progressively comes into collision with the emerging mainstream Soviet discourse, which corresponds with the poet’s crisis of self-consciousness and the emergence of insoluble internal contradictions the year of the “Great Turn”.
The article is a commentary on the poem by Vladimir Mayakovsky's "Emperor".