책으로서의 세계 - 러시아 아방가르드의 시각적 실험과 범기호주의
The World as a Book - The Visual Experiments of Russian Avant-garde and Pansemioticism
0
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
During the first decades of 20th century in Russia appeared various experimental art movements – cubo-futurism, Russian futurism, constructivism, suprematism etc. Then even the verbal art actively introduced graphic elements, that the intersection between verbal and visual resulted in strong ties of distant forms - art and literature. This paper examines the semiotic aspects of the visual as a cultural dominant in the Russian avant-garde period. The introductory chapter of the paper outlines the tradition of Russian visual poetry and examines the aesthetic premises shared by the Russian avant-garde with Baroque. The visual poetry tradition that stands out in both the avant-garde and baroque comes from the awareness of the word’s semiotic duality that is both a medium of meaning and a graphical entity. The question about the relationship between symbol and reality raised by both movements leads to their specific aesthetic practices. This gave rise to the famous Baroque metaphor “world as a book” on the one hand and made possible the romantic expansionism of the Russian avant-garde on the other. In this paper the author analyzes Russian avant-garde’s anti-representational orientation through the concepts of reverse perspective, parergon and catachresis and reveals how creating a new book can be understood as a revolutionary act.
Abstract
During the first decades of 20th century in Russia appeared various experimental art movements – cubo-futurism, Russian futurism, constructivism, suprematism etc. Then even the verbal art actively introduced graphic elements, that the intersection between verbal and visual resulted in strong ties of distant forms - art and literature. This paper examines the semiotic aspects of the visual as a cultural dominant in the Russian avant-garde period. The introductory chapter of the paper outlines the tradition of Russian visual poetry and examines the aesthetic premises shared by the Russian avant-garde with Baroque. The visual poetry tradition that stands out in both the avant-garde and baroque comes from the awareness of the word’s semiotic duality that is both a medium of meaning and a graphical entity. The question about the relationship between symbol and reality raised by both movements leads to their specific aesthetic practices. This gave rise to the famous Baroque metaphor “world as a book” on the one hand and made possible the romantic expansionism of the Russian avant-garde on the other. In this paper the author analyzes Russian avant-garde’s anti-representational orientation through the concepts of reverse perspective, parergon and catachresis and reveals how creating a new book can be understood as a revolutionary act.
참고문헌 (26)
- 이대우, "러시아 입체미래파 예술운동 속에서 시와 미술의 상호성-‘지각의 지연’으로 본 시적 기원", 러시아어문학연구논집, (22), pp.97~118 (2006), 한국러시아문학회
- 이지연, "러시아 아방가르드, 불가능을 그리다 : 탈재현의 예술과 숭고" (2015), Huine : 한국외국어대학교 지식출판원
- 이지연, "이콘과 우상 말레비치의 4차원과 시선의 혁명", 슬라브학보, 32(1), pp.209~244 (2017), 한국슬라브․유라시아학회
- Brooks, Crispin, "On One Ancestor: Vasilisk Gnedov in the Work of Sergej Sigej and Ry Nikonova", Russian Literature, 59(2-4), pp.177~223 (2006)
- Buchloh, Benjamin H. D., "From Faktura to Factograph", October, 30(Autumn) (1984)
- Derrida, Jacques, "The Truth in Painting, tran. by G. Bennington and I. McLeod" (1987), The Univ. of Chicago Press
- Janecek, Gerald, "The Look of Russian Literature. Avant-garde Visual Experiments, 1900-1930" (1984)
- Nazarenko, Tatiana, "East Slavic Visual Writing: The Inception of Tradition", Canadian Slavonic Papers, 43(2, pp.3) (2001), 209~225
- Nazarenko, Tatiana, "Re-Thinking the Value of the Linguistic and Non-Linguistic Sign: Russian Visual Poetry without Verbal Components", The Slavic and East European Journal, 47(3), pp.393~421 (2003)
- Westerhoff, Jan, "World of Signs: Baroque Pansemioticism, the Polyhistor and the Early ModernWunderkammer", Journal of the History of Ideas, 62(4), pp.633~650 (2001)
- Бобринская, Екатерина, "Русский авангард: истоки и метаморфозы" (2003)
- Бобринская, Екатерина, "Русский авангард: границы искусства" (2006)
- Лисицкий, Эль, "Формальный метод:антология русского модернизма. Под ред. С. А. Ушакина, Т. 3", pp.53~66 (2016), Кабинетный ученый
- Лисицкий, Эль, "Формальный метод:антология русского модернизма. Под ред. С. А. Ушакина, Т. 3", pp.92~101 (2016), Кабинетный ученый
- Лотман, Юрий, "Статьи по семиотике культуры и искусства" (2002), Академический проект
- Маяковский, Владимир, "Для голоса. Конструктор книги Эль Лисицкий" (1923)
- Маяковский, Владимир, "Полное собрание сочинений: В 13 томах, Т. 2" (1955), Худож. лит
- Маяковский, Владимир, "Про Это. Факсимильное издание. Статьи. Комментарии. Сост. и науч. ред. А. А. Россомахин" (2014), Издательство европейского университета в Санкт-Петербурге
- Сазонова, Лидия, "Литературная культура России. Раннее Новое время" (2006)
- Силюнас, Видмантас, "Стиль жизни и стили искусства" (2000)
- Смирнов, Игорь, "Славянское барокко. Историко-культурные проблемы эпохи", pp.335~361 (1979)
- Смирнов, Игорь, "Мегаистория: К исторической типологии культуры" (2000), Аграф
- Туфанов, Александр, "К зауми. Фоническая музыка и функции согласныхфонем" (1924)
- Флоренский, Павел, "Обратная перспектива", Соч. в 4-х тт, 3(1), pp.46~98 (1999), Мысль
- Чичерин, Алексей, "Кан-Фун" (1926)
- Якобсон, Роман, "Хрестоматия по теоретическомулитературоведению Т. 1", pp.56~63 (1976)