Release:
2016, Vol. 2. №2About the authors:
Elena A. Zemova, Applicant for Cand. Sci. (Philol.), Tyumen State University; elenazemova@gmail.comAbstract:
Printing and publishing experiments of futurists in the beginning of the XX century are becoming more popular among contemporary readers enjoying Russian avant-garde. The impetus for this were personal exhibitions of avant-garde artists (futuristic book appears here in the context of the master’s work, as a means of getting acquainted with his work better), as well as exhibitions of the futuristic book of the Silver Age as a phenomenon, and expositions of contemporary author’s book, where futuristic publications are considered as a stage in the formation of the image of an artist’s book. Today a significant role in promoting and opening of a futuristic book to the world belongs to electronic catalogs of libraries and various internet sites on design, where users can get free access to the digitized samples and lead discussions.
The typology of contemporary projects of a futuristic book, which are the object of our study correlates with the typology of futuristic publications of the early XX century (lithographed and printed books). A futuristic book can be reproduced with the help of facsimile. Yet, there is another way, when is more intellectually difficult (facsimile way is technically difficult and expensive). The “handmade” way of reconstructing a futuristic book will be studied in this article.
This way is becoming more actual within postmodern paradigm because it allows to express the publisher’s attitude towards the published material through intertextuality to the fullest. To prove the fact that the publisher-compiler is included in the game with senses to the full and, as a consequence, with readers, the book “The Egofuturnaliya without death cap” by Vasilisk Gnedov was analyzed in the article. This book was compiled and drawn by Sergey Sigey, whо is a modern avant-garde poet and a theoretician of avant-garde. By resorting to various methods of layout and design (a variety of headsets, size, color, fragments of images) and accompanying the author’s text with his comments and notes, he expresses his attitude towards the published material creating something like a text in a text or a book in a book. So he is becoming a competent co-author.
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