Year: 2026
Type: article
Abstract: his study offers an interpretation of several futurist texts by avant-garde poet Sergei Tretyakov that have rarely been subjected to detailed philological analysis. Drawing on materials from Tretyakov's first poetry collection, “Iron Pause,” it demonstrates how the young author’s ideological commitment intensified his lyrical “we” stance, calling for selfless service to all things new and progressive. The dynamics of experimental practices being introduced into the poetry of a so-called moderate member of the literary group “Mezzanine of Poetry” are examined, revealing a sharp inclination toward artistic exploration and poetic playfulness. While previous studies focusing on Tretyakov’s poetry primarily highlighted observations about neologisms and word creation techniques, this work identifies trends in poetic representation characteristic of futurists, such as visual strategies in graphic design and painterly tactics used within the verbal text itself. Within the context of radical Futurist-Gileans' creative output, it is shown that Tretyakov actively incorporated strategies combining verbal and visual elements, emphasizing color usage and shaping the graphic outline of verse (“Fan,” “Road”). It concludes that despite Tretyakov's brief association with the Mezzanine of Poetry group, there is now sufficient evidence to consider him not among egofuturists or centrists but rather among cubo-futurist Gileans.
Source: Nauchnyi Dialog
Author: O. V. Bogdanova
Institution: Russian Christian Humanitarian Academy
Language: Russian
Subfield: Literature and Literary Theory
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: gold
Estimated APC paid: $247
Funder: Russian Science Foundation
OpenAlex ID: W7128485170