시적 장르로서의 마야콥스키의 책 예술: 미래주의 시기 출판물을 중심으로

초록

Mayakovsky was an artist before the poet. Painting was a source and stimulus of poetic experiment for him, and contemporary art flows were actively reflected in his works. From the collective Futurist anthologies of the 1910s and lubok to the constructivists publications of the 1920s, painting was a means of creating poetry and a place of literary practice through participation for Mayakovsky. In this context, Mayakovsky-poet’s works can be attributed to his interest in the "book" itself, which is an organic combination of poetry and illustration, and to its actual production. Mayakovsky participated in the production of the book in 1913-1914, when the activities of the Futurism were at its height. During this period he partly followed the way of Futurist book and at the same time continued his own experiments that was different from it. In the making of his first poetry book I! he used lithography and self-written forms in collaboration with artists of primitive tendencies in pursuit of a Futurist "anti-book". The peculiar clarity and simplicity of primitivism has also been reflected in the paintings and poetic phrases of the Today’s Lubok as an expanded book. On the other hand, in his second book Vladimir Mayakovsky, published in 1914, Mayakovsky emphasizes the visuality of poetry through typography rather than illustration. Despite its lower proportion than other books, the illustration, in which the influence of the cubist painting is found, corresponds to Mayakovsky’s earlier column(stolbik) and double the visual effect. In this paper, I examine the intertextual relationship between poetry and illustration, text and typography in Mayakovsky’s books produced in the influence of Futurism in the 1910s, and various aspects of succession and repercussions of Futurist book. Through this study I examine the characteristics and development of the early Mayakovsky’s works as a whole.

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