VISUAL IN THE WORKS OF POETS OF THE LENINGRAD UNDERGROUND: LEONID ARONZON, VIKTOR KRIVULIN AND VLADIMIR ERL

The world of the Leningrad literary underground of the 1960s-1970s was heterogeneous: ideological continuators of the traditions of Russian modernism coexisted here with religious philosophical thinkers, outspoken nihilist dissidents and poetic innovators. This article is devoted to the artistic world of Leonid Aronzon, Viktor Krivulin, Vladimir Erl. A significant part of their poems were written in compliance with all the norms of traditional syllabic tonics. But at the same time, they actively practiced in form and word creation: they made intentional or spontaneous mistakes, came up with new words and sentences without a semantic layer, introduced foreign-language borrowings, ready-made quotations from other literary works, abusive vocabulary, and also periodically tried themselves in the field of visual poetry, continuing the traditions laid down in their own way the author of the texts “Spring goose” and “Holes bulbul” A. Kruchenykh. The unusual design of the texts for the figures of the Leningrad underground, as well as for theTwisted Ones, was not so much a way to convey the rhythm and intonation of a particular poem, as a claim to create their own poetic “abstruse” language. Studying the idiosyncrasy of the poetic idiolect of all the selected “uncensored” Leningrad authors helped us to better understand how their artistic world was created. As a result, a conclusion is drawn about the distinctive features of their visual poetry: stichograms from sheets or screens appear to be a continuous stream of deconstructed slogans of the Soviet era, specially invented words, stamps and fragments of texts from earlier years. In some of the texts shown, the image may be equal to what was said, letters and words are combined into an illustration: reading the text, we simultaneously hear voices and see a picture moving like a video sequence.