Towards a Typology of Russian Modernism: Ivanov
174 SARAH P. BURKE TOWARDS A TYPOLOGY OF RUSSIAN 19. A. M. Remizov, Krug scast}a, Paris, 1957, p. 61. 20. A. M. Remizov, Podstritennymi glazami, Paris, 1951, p. 130. MODERNISM: IVANOV, REMIZOV, XLEBNIKOV 21. A. M. Remizov, Krug scast}a, Paris, 1957, p. 61. 22. N. K. Kodrjanskaja, Remizov, Paris, 1959, pp. 96-97. Henryk Baran 23. Ibid., p. 307. 24. V. Markov, "The Principles of the New Art, 1912," in J . Bowlt, Russian Art of the Avant Garde. Theory and Criticism 1902-1934, New York, 1976, pp. 34-35. 25. Critics normally miss or downplay the "expressive" element in this form of creativity or find "expressive" incompatible with "bearer of tradition." The writings of the current Latin Introduction American authors of Magical Realism have posed a similar problem for critics. The purpose of this paper is to place Aleksej Remizov in a broader liter ary context by drawing some comparisons between his literary practice and ideas about literature and those of Vjaceslav Ivanov and Velimir Xlebnikov authors who were akin to him in certain ways, but who followed their own path in the main thrust of their creative achievement. I shall concentrate on two features of his craft which are particularly prominent in his early col lections, Poso/on' and Limonar': the use of folklore and myth, and the pres ence of annotations (endnotes). Both of these features are discussed in a 1909 open letter by Remizov (see below): their presence in this document helps legitimize my attempt at typology. The result will be to underscore the differences that underlie what from a distance appears to be a rather similar landscape of modernist interest in Slavic folklore and myth and of concern with language, and to clarify the uniqueness of Remizov's literary achievement.
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