혁명기 문학적 삶의 공간으로서의 조지아: 러시아 미래주의 활동을 중심으로 (Georgia as the Space of Literary Life in the Period of Revolution: The Case of Russian Futurism)

서지정보

· 발행기관 : 한국슬라브․유라시아학회
· 수록지 정보 : 슬라브학보 / 30권 / 4호 / 295 ~ 328페이지
· 저자명 : 조규연

초록

The purpose of this study is to observe the cultural significance of Georgia as the place of realization of avant-garde during 1917-1921 under the complex situation of Transcaucasia after the Revolution and to shed light on the introduction of modernism in the capital of Georgia, Tbilisi, as well as, the development and evolvement conditions of Russian Futurism.
Due to the Revolution, the creation of Russian Futurism and the fate of futurists took a new turn. The Russian Futurists during the Revolution scattered among the outer cities free from Bolshevik influence and continued their futurist activities and prepared a new base for creation. Georgia, which was characterized for its unique cultural openness stemming from anti-revolutionary characteristics centered on Mensheviks and Western orientation, became a refuge and shelter from the war for Russian Futurists who were under the repression of Bolshevik regime. The country served as the base of free creative expression of their new lives. After the visit from A. Kruchenykh in 1916, futurism becomes fully active in Georgia. The first futurist group in Georgia, the “Futurists’ Syndicate” was created in 1917. Also, with the joining of Georgian poet and artist, the Zdanevich brothers, the aesthetic orientation becomes even more refined. The group focuses on lectures and publication with the poets native to Georgia and keeps alive “zaum poetry” of futurism stemming from two types of aesthetic orientations called Western cubism and primitivism. On top of such cultural foundation, I. Terentiev joins the group and creates the second and final group “41˚,” which marks the peak of futurist activity. Although the futurist activities in Georgia that continued since the Revolution had declined after the establishment of the Soviet regime, it was not the end of futurism. This is because not only was 41˚ introduced to the French avant-garde in 1920, but also provided an aesthetical foundation for the Russian avant-garde group “OBERIU” in 1920-1930.

영어초록

The purpose of this study is to observe the cultural significance of Georgia as the place of realization of avant-garde during 1917-1921 under the complex situation of Transcaucasia after the Revolution and to shed light on the introduction of modernism in the capital of Georgia, Tbilisi, as well as, the development and evolvement conditions of Russian Futurism.
Due to the Revolution, the creation of Russian Futurism and the fate of futurists took a new turn. The Russian Futurists during the Revolution scattered among the outer cities free from Bolshevik influence and continued their futurist activities and prepared a new base for creation. Georgia, which was characterized for its unique cultural openness stemming from anti-revolutionary characteristics centered on Mensheviks and Western orientation, became a refuge and shelter from the war for Russian Futurists who were under the repression of Bolshevik regime. The country served as the base of free creative expression of their new lives. After the visit from A. Kruchenykh in 1916, futurism becomes fully active in Georgia. The first futurist group in Georgia, the “Futurists’ Syndicate” was created in 1917. Also, with the joining of Georgian poet and artist, the Zdanevich brothers, the aesthetic orientation becomes even more refined. The group focuses on lectures and publication with the poets native to Georgia and keeps alive “zaum poetry” of futurism stemming from two types of aesthetic orientations called Western cubism and primitivism. On top of such cultural foundation, I. Terentiev joins the group and creates the second and final group “41˚,” which marks the peak of futurist activity. Although the futurist activities in Georgia that continued since the Revolution had declined after the establishment of the Soviet regime, it was not the end of futurism. This is because not only was 41˚ introduced to the French avant-garde in 1920, but also provided an aesthetical foundation for the Russian avant-garde group “OBERIU” in 1920-1930.

참고자료

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