- Тhe Birth of Soviet Underground Culture in the 1930s
- OBERIU and the Conversations of the Lipavsky Circle
- Mikhail Kuzmin and the Underground
- The Soviet Literary Underground during World War II
- Between Modernism and the Underground During the Thaw: A Look at “Transitional Poets”
- Major Events, State Interference, and Resilience: Practices in the Late Soviet Underground
- Infrastructures of Soviet Underground Culture
- The Voices of Samizdat and Magnitizdat
- Tamizdat as a Literary Practice and Political Institution: Late Soviet Underground Abroad
- Khelenuktism and Leningrad’s Unofficial Culture
- Performative Practices and Life-Creation
- Dissident Feminism and Its Place in Soviet Women’s History
- Soviet Rock Carnival: Times and Traditions
- “In-Betweeners”: Navigating Between Official and Nonofficial Cultures
- The Lianozovo School
- Malaya Sadovaya in the History of Leningrad Unofficial Culture
- Brodsky and His Circles
- The Urbanites and the New Existentialism
- The Leningrad School of Neo-Modernism
- The Neo-Futurists
- “Gazanevshchina”: Experimental (Life) Artists of Leningrad
- Moscow Conceptualism
- Arkady Dragomoshchenko and the Leningrad Cultural Underground
- The Circle of Metarealist Poets
- Timur Novikov and the New Artists
- Neo-primitivist Art and Lifestyle: The Mitki and Others
- Theoretical Problems of Soviet Underground Culture
- Unofficial Art Outside Moscow and Leningrad
- The Experimental Sounds of Russian Conceptualism: From Historical Musical Avant-garde to Cultural Underground(s)
- The Ultimate Underground Classic: Venedikt Erofeev and Moscow-Petushki
- The 1950s: A Phase of Polarization
- Jewish Underground Culture in the Soviet Union
- Late-Soviet Occulture: Evgenii Golovin and the Iuzhinskii Circle
Abstract and Keywords
This chapter considers the place in the Leningrad Cultural Underground of the poet Arkady Dragomoshchenko (1946–2012), one of the most important Russian poets of the post-war generation and, arguably, Russia’s most important global poet of the post-Soviet age. Although an essential presence in the Leningrad cultural avant-garde of the 1970s and 1980s, he was never part of any schools or movements. While his work transcended the generic, formal, and thematic boundaries of what was written by his peers at the time, it also transcended the boundaries of the Russian poetic tradition. The chapter examines Dragomoshchenko’s lifelong preoccupation with the groundless foundations of language as it situates his unique poetics in the context of his close engagement with literary, musical, and visual experiments of the Leningrad underground and identifies the roots of his interest in global poetics.
Evgeny Pavlov is Associate Professor of Russian at the University of Canterbury in New Zealand. He is the author of Shok pamiati: avtobiograficheskaia poetika Val’tera Beniamina I Osipa Mandel’shtama (2005), editor and co-editor of a number of scholarly volumes, including a special issue of the Slavic and East European Journal on Arkady Dragomoshchenko (2011) and of numerous articles and chapters. He translated a number of Dragomoshchenko’s prose texts into English, including Kitaiiskoe solntse (Chinese Sun). He co-edits The New Zealand Slavonic Journal.
Dennis Ioffe is Chair of Russian and Associate Professor of Russian Studies at the Université libre de Bruxelles (Belgium). He is co-editor-in-chief of the journal Russian Literature (Elsevier Science). During last fifteen years he edited a dozen of academic volumes and authored over a hundred scholarly articles (in English, French, Dutch, Russian, Hebrew, and German), which appeared in leading academic journals in Western Europe, Russia, and the US. His main field of expertise is history of modern Russian and Eastern European culture, politics, and visual art.
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