Имажинист Мариенгоф: Денди. Монтаж. Циники

Миллер Дж. (Miller J.) 200

Милюков П. 105, 224

Мурнау Ф. (Murnau F.) 243

Мэкш Э. 234

Наппельбаум М. 140, 159, 242

Никитин Н. 125

Никольская Т. 83

Никритина А. 25, 27, 100, 122, 225, 232, 242, 244

Нильссон Н. (Nilsson N.-A.) 57, 59, 68, 125, 201, 207, 216

Обатнин Г. 7

Оленин А. 195

Олеша Ю. 112, 125–126, 229

Орешин П. 195

Охлопков Н. 98, 100

Оцеп Ф. 98

Пастернак Б. 195

Паунд Э. (Pound E.) 35, 52, 71, 74, 91, 209, 212—213

Песегов А. 110

Песонен П. (Pesonen P.) 7

Петров В. 188

Петров Е. 242

Петроний 133–134, 140, 183, 236

Пильняк Б. 103–104, 106, 108, 125–126, 151, 223, 225, 233

Платонов А. 103

Повицкий Л. 40–41, 214, 243

Поливанов К. 118

Полоцкий С. 86, 184, 199

Потебня А. 59, 69, 204

Протазанов Я. 98

Пудовкин В. 57, 96, 98, 140, 159–160, 242

Пушкин А. 29, 36, 43, 53, 151

Пырьев И. 98

Равдель Е. 189

Радек К. 105

Раппапорт А. 241

Рейсер С. 240

Рексин С. 195

Ричиотти В. 86, 184, 199, 209, 216

Розанов В. 81, 138–139, 237

Розанова О. 18

Ройзман М. 19, 98, 122, 126, 139, 184, 186, 192–193, 217

Сандрар Б. (Sandrar B.) 19

Санников Г. 42

Сарацени К. (Saraceni C.) 219

Светлов С. 187 С

еверянин И. 55, 190

Сигалова А. 110

Сметанич В. 182

Смирнов И. 52, 71, 210, 220

Соколов И. 32, 59–60, 70, 74, 76, 78, 95, 98, 128, 185, 203, 204, 222

Спасский К. 184

Спасский С. 195

Станционе М. (Stanzione M.) 219

Старцев И. 61, 62, 189, 195

Стенберг В. 187

Стенберг Г. 187

Стендаль (Stendahl) 105

Степанова В. 55

Судакова Р. 192

Тарановский К. 137

Тодоровский В. 110

Толстой Л. 53, 85, 100, 116–117, 217–218, 228, 230

Тороп П. 7, 237

Тредиаковский В. 36, 83–84, 216

Третьяков С. 47

Троцкий Л. 105, 197, 224

Тынянов Ю. 56–57, 76, 87, 98, 111, 127, 137, 151, 199, 218, 231, 235–236, 242–243

Тютчев Ф. 32, 236

Уайльд О. (Wilde O.) 9—11, 15, 23–25, 27, 45, 47–48, 55, 88–89, 140, 167–171, 177, 183, 190, 200, 215, 220, 236, 244

Уитмен У. (Whitman W.) 33, 35, 63, 67, 194, 205, 208

Устинов Г. 125, 185

Флобер Г. (Flaubert G.) 116

Фриче В. 228, 243

Хармс Д. 188

Хлебников В. 28, 46, 54, 63, 69, 83, 121, 189, 205

Ходасевич В. 55

Хьюм Т. (Hulme T.) 52, 76, 91, 209, 220

Цветаева М. 55

Цивьян Ю. 7, 57

Чернышевский Н. 100

Шаргородский С. 196

Шершеневич В. 10–36, 44, 46–60, 63–77, 81, 85, 87, 91-8, 111, 121–122, 125–126, 173, 176, 181, 184, 186–187, 192-5, 198–199, 201, 203–204, 207–209, 211–218, 221, 228, 232, 234–235, 244

Шик М. 226

Шкловский В. 57, 59, 76, 98, 127, 139, 144, 202, 204, 227, 242

Шмерельсон Г. 11, 50, 54, 86, 183–184, 199, 204

Шнейдер И. 61–62

Шолохов М. 103, 242

Шрерс М. (Schreurs M.) 233

Шумихин С. 54, 126, 225, 229

Эйзенштейн С. 57, 65, 73–74, 94–96, 201–203, 211–212, 218, 221, 238–239, 241

Эйхенбаум Б. 57, 69, 76, 100, 182, 206, 209, 227, 235

Эллерман А. (Ellerman A.) 203

Эрдман Б. 12, 19, 30, 72, 234

Эрдман Н. 72, 98, 100, 184

Эренбург И. 103

Эрлих В. 86, 184

Якулов Г. 12, 19, 58, 72, 186–187, 203, 214, 244

Ямпольский М. 57, 203, 208, 211–212, 238, 241, 243

SUMMARY

The study is dedicated to the Russian poet and prose writer Anatolii Borisovich Mariengof (1897–1962). Mariengof — „the last dandy of the Republic“ — was one of the leaders and main theoreticians in the poetic group of the Russian Imaginists. For his contemporaries, he was an Imaginist par excellence. His Imaginist principles — in theory and practice — are applied to the study of his first fictional novel, Cynics (1928), which served as an epilogue for his Imaginist period (1918–1928). The novel was not published in the Soviet Union until 1988.

The method used in the study is a conceptual and literary historical reading, making use of the contemporary semiotic understanding of cultural mechanisms and of intertextual analysis. There are three main concepts used throughout the study: dandy, montage and catachresis. In the first chapter, the history, practice and theory of the Russian Imaginism are analyzed from the point of view of dandyism. The Imaginist theatricalisation of life is juxtaposed with the thematic analysis of their poetry, and Imaginist dandyism appears as a catachrestic category in culture.

The second chapter examines the Imaginist poetic theory. It is discussed in the context of the montage principle, defining the post-revolutionary culture in Soviet Russia. The Imaginist montage can be divided into three main theoretical paradigms: S. Yesenin's „technical montage“ (reminiscent of Dadaist collage), V. Shershenevich's „nominative montage“ (catalogues of images) and Anatolii Mariengofs „catachrestic montage“.

The final chapter deals with Mariengofs first fictional novel, Cynics. The study begins with the complex history of publication of the novel, as well as its relation to the Imaginist poetic principles and to the history of the poetic movement. Cynics is, essentially, an Imaginist montage novel. The fragmentary play of the fictional and the documentary material follows the Imaginist montage principle. The chapter concludes in a thematic analysis of the novel, concentrating on the description of the October Revolution in Cynics.