• English
  • Русский


This is an open access article distributed under the terms of Creative Commons Attribution 4.0 International License (CC-BY 4.0).
The article considers a special place of the self-presentation genre in the poetry of the Russian futurism; this place was predetermined by the overall style of the epoch and the counterintuitive communicative strategy of the new poetic school, the connection between the self-presentation and advertisement genres is traced. Analyzing the main features of the self-presentation speech genre the images of the author, addressee, time, speech externalization proves that they serve the main communicative goal of the futurist poetry to impress the reader by how exceptional the author’s individuality is as well as the world picture it produces. On the material of the poetry by V. Mayakovsky, V. Khlebnikov, E. Guro, A. Kruchenykh, D. Burlyuk, I. Severyanin, V. Kamensky, K. Olimpov both collective and individual authors’ techniques of self-presentation are singled out and juxtaposed: using one’s name, using the data of the self-presenter’s place of birth, place of living, physical appearance, the declaration of one’s world views, wishes and partialities. The article brings to light the sustained models of the author’s relationships with the world; they fully conform to the neo-romantic canon: I am a stranger, I am crazy, I am a castaway, I am lonely. Equally traditional is the technique of indirect self-presentation comparing oneself with the great. Anti-aesthetic and absurd self-presentation can be acknowledged as specifically futuristic; they are entirely related to the sphere of
artistic communication. The article considers the concept of the addressee, predetermined by the futurists’ communicative strategy; the character of the interaction with the audience is analyzed. A futurist always walks on the brink of success / failure, the latter is not considered a communicative failure, if anything, it facilitates the ultimate victory. The concept of time of
the futuristic self-presentation also serves the assertion of the new art triumph. The factor of the language externalization (occasional word-formation, broadening the bounds of the poetic language, language play, phonetics) confirms the mutual determination of the futuristic poetics and pragmatics. The undertaken analysis allows to refer the self-presentation genre to the core of the futurist artistic system.
  1. Chukovsky К. Sobraniye sochineniy : v 15 t. [Collected works : in 15 vols.]. Moscow, Terra – Knizhniy klub Publ., 2004, vol. 8. 664 p. (in Russian).
  2. Cialdini R., Kenrick D., Neuberg S. Sotsialnaya psikhologiya. Poimi sebya, chtoby ponyat drugih [Social psychology. Goals in interaction]. St. Petersburg, Prime-Euroznak Publ., 2002. 336 p. (in Russian).
  3. Khlebnikov V. Sobraniye sochineniy : v 6 t. [Collected works : in 6 vols.]. Moscow, IMLI RAN, 2006, vol. 6, b. 2. 384 p. (in Russian).
  4. Khlebnikov V. Tvoreniya [Creations]. Moscow, Sov. pisatel Publ., 1986. 736 p. (in Russian).
  5. Korman B. O. Izucheniye teksta khudozhestvennogo proizvedeniya [Studying the text of a work of fiction]. In: Korman B. O. Metodika vuzovskogo prepodavaniya literatury [Methodology of university teaching of literature]. Izhevsk : Udmurt. Uni-t, 2009, pp. 12–134 (in Russian).
  6. Lunacharsky A. V. Futuristy [Futurists]. Kievskaya mysl., 1913, no. 135, May 17 (in Russian).
  7. Mandelstam O. Slovo i kultura [Word and culture]. Moscow, Sov. pisatel’ Publ., 1987. 320 p. (in Russian)
  8. Marinetti F. T. Naslazhdeniye byt osvistannym [The pleasure of being booed]. Marinetti F. T. Futurism. Moscow, Prometey Publ., 1914, pp. 87–91 (in Russian).
  9. Mayakovsky V. V. Polnoye sobraniye sochineniy: v 13 t. [Complete works : in 13 vols.]. Moscow, Khudozh. lit. Publ., 1955–1961 (in Russian).
  10. Myers D. Sotsialnaya psikhologiya [Social psychology]. St. Petersburg, Peter Publ., 2006. 754 p. (in Russian).
  11. Poeziya russkogo futurizma [The poetry of the Russian futurism]. St. Petersburg, Akadem. proyekt Publ., 1999. 752 p. (in Russian).
  12. Russkiy futurism. Teoriya. Praktika. Kritika. Vospominaniya [The Russian futurism. Theory. Practice. Critique. Memories]. Moscow, Naslediye Publ., 1999. 480 p. (in Russian).
  13. Severyanin I. Stikhotvoreniya [Poems]. Moscow, Sov. Rossiya Publ., 1988. 464 p. (in Russian).
  14. Terentyev I. A. Grandiozar. In: Aleksey Kruchenykh. K istorii russkogo futurisma. Vospominaniya i dokumenti [To the history of the Russian futurism. Memories and documents]. Moscow, Gileya Publ., 2006, pp. 321–332 (in Russian)
  15. Tretyakov S. M. Tribuna LEFa [Left Front of the Art Platform]. LEF, 1923, no. 3, pp. 154–164 (in Russian).
  16. Вakhtin M. M. Problema rechevykh zhanrov [The problem of speech genres]. In : Bakhtin M. M. Estetika slovesnogo tvorchestva [The aesthetics of verbal creativity]. Moscow, Iskusstvo Publ., 1979, pp. 237–280 (in Russian).
Full Text (PDF):
(downloads: 266)