Academic literature on the topic 'Mariengof'

This article is both a culturological and literary-critical work. It is devoted to the world and mythology of Anton Zan’kovskiy’s works. Anton Zan’kovskiy is a writer from St. Petersburg. But he was born in Voronezh in 1988. Thus, his work is the world of these two cities and walks into his memory places. It is a solo of a trot, hiking through the forest. He is the author of the novels "Deucalion" (2015) and "Ragwoman" (2016), which were published in the literary magazine "Neva". Anton Zan’kovskiy often mentions Ukrainian culture in his novels, he also uses sometimes Ukrainian language. When a reader is immersed in the world of Anton Zan’kovskiy's novels, he feels the way of Andrei Bely, Osip Mandelshtam, Vladimir Nabokov, Alexander Blok, Anatoly Mariengof vision. These novels destroy the habitual space-time, bringing our perception closer to the primordial singularity, to the irreducibility of the birth moment of the Universe. It can be said, that these works are nostalgic and melancholic, this is an appeal to the golden age of youth and childhood. Anton Zan’kovskiy writes novels – prose works, but his novels are “werewolves”. In fact, prose novels turn out to be poems. The world in these novel-poems is depicted as unevenness, gluing. Life is represented as rhythm, hesitation, confusion. The imagery of Anton Zan’kovskiy’s works appears to be an ontology on-the-scene, thanks to the special sensuality and almost physical sensibility of the text. The author is a collector of sensations and images, after which, however, emptiness and timelessness appear, and memory is replaced by oblivion and silence. However, Anton Zan’kovskiy's works arise from a fall, from "diving for pearls" into pensive – a deep of the past, from the melancholy, from a desire to return to the past. The author wants to return to the past and to go through a phase – to feel the same emotions. It is believed that the world of these werewolf novels is born from the feelings of decadence, from the emotions of decline. That’s why the reader can see despair, disappointment, and lack of surprise: the author has lost his spontaneity, and the world has ceased to be magical. This is the mythology of perpetual motion, "topographic amnesia", flanking, labyrinth, streets, ornaments, arabesques, lines, allusions, past, childhood, nostalgia, regret, anxiety and dream.

The article focuses on a comparative analysis of poems written by Dziga Vertov and Anatoly Marienhof. Despite the fact that the two poets were not acquainted and there is no documentary evidence of their mutual influence, they share a number of similarities in the development of their lives and artistic endeavours, in which the cultural and historical context of their era was reflected. The authors’ early writings share a common cutting technique. Montage became the main technique for describing both the rapidly changing reality of the post-revolutionary era and the fragmentation of the world and consciousness. That explains the duality of the protagonist and the appearance of the image of a buffoon. The similarity between Marienhof’s early poems and Vertov’s ones is also revealed in the predominant tragicomic tone, which is conditioned by the perception of the Revolution as a traumatic experience. Similarity can also be traced in the composition of images: it is cutting again that they use while organizing their metaphors (separate images are combined by thematic or associative links). In later works Marienhof and Vertov reevaluate their personal histories, using the antithesis of “now” and “then”, which shows a tragic turn in the lives of both artists. Apart from that, they turn from avant-garde poetic forms to more traditional ones. Thus, the article explores important stylistic, ideological, and biographical correlations in the work of two Russian avant-gardists.