Стихотворения В. Маяковского 1920-х годов: дополнения к комментарию
The article about the late Vladimir Mayakovsky
The paper is dealt with theory and practice of screenplay elaborated within the conceptual framework of Russian Formalist School in Humanities, in particular with the legacy of Yuri Tynjanov.
For the Russian uncensored poets of the second half of the 20th century there was an acute problem of building their own creative continuity with respect particularly to the part of the Russian culture, which traditions, according to many of them, were artificially interrupted during the implantation of socialist realism. Thus, according to Lev Losev, a significant figure of his generation, on that moment just entering the world of poetry, was * Павловец Михаил Георгиевич — кандидат филологических наук, доцент, Школа филологии Факультета гуманитарных наук Научно-исследовательского университета «Высшая школа экономики»; firstname.lastname@example.org ** Публикация подготовлена в рамках поддержанного РГНФ научного проекта № 16–04–00413. 270 Vladimir Mayakovsky, whose canonization in the Soviet period afforded an opportunity to join legally the creation of poets of his circle, first and foremost — V elimir Khlebnikov. However, you can see how in the perception of a number of uncensored poets Mayakovsky not gives way, but opposes to Khlebnikov. For example, for Alexander Kondratov, the Leningrad poet-neofuturist, Khlebnikov was among three most significant poets, whereas in his works he gave very critical evaluation to Mayakovsky primarily because of his political involvement. In addition, «transfuturist» Sergei Sigey in his article «The purpose of the “futuristic writing”» categorically denied the Mayakovsky’s right to be considered as a true futurist because of his deficiently aesthetic radicalism.
The book is dedicated to the Leningrad architect Nikolai Alexandrovich Miturich (1891–1973), whose work has so far remained virtually unexplored in Russian historiography. His long and incredibly rich creative career will be a discovery for anyone interested in Russian art of the first half of the 20th century. Miturich took part in the most important events in the history of the Leningrad architectural school during the first post-revolutionary decades. His legacy is very diverse: from park kiosks and sports pavilions to Palaces of Culture and theater buildings. This book contains unique materials from the architect’s personal archive. For the first time, more than 100 documents are published: photographs, architectural projects, furniture sketches, theatrical stage designs, as well as a diary and drawings created during his trip to the battle front during the First World War.
Article written by the poet Nikolay Oleynikov
The present article aims to investigate some vocal effects that came into play in Soviet films of the early 1930s. In the course of the early Soviet experiments with sound recording, performed by broadcast engineers Alexander Shorin (Leningrad) and Pavel Tager (Moscow), the Soviet Union has become able to set up an independent sound film production. It was probably not so highly advanced in Russia as in Hollywood, but still it was sufficient to shoot films with impressive sound effects. During the earliest period, human voices recorded to film simultaneous to the picture, underwent certain distortions, not only due to the shortfalls of sound technology but also for a clear conceptual reason. For example, a voice was being alienated from the body and tended to become a kind of supreme instance that represented the Soviet state existing ‘anywhere and nowhere’. Such films as ‘Alone’ by Grigorij Kozintsev & Leonid Trauberg (1931), ‘Ivan’ by Olexander Dovzhenko (1932) and ‘Deserter’ by Vsevolod Pudovkin (1933) give evidence of how this concept was implemented in the early film. A kind of supernatural voice that belonged to the state was set to be emitted via loudspeakers. It was then gradually getting inside human mind and started ruling it from the inside like a personal voice. The aim of the analysis is to examine how the dominant (transcendent) voice of the state triggers the protagonist’s identity loss while forcing the individual to get his self-adjusted to alien’s voice.
The article deals with the reception of the French poet Francis Jamme's verse in the early Mayakovsky's poetry. It reveals the significance of the dialogue between the two poets for the construction of Mayakovsky's poetical world.