Intermediality in the Contemporary Russian Poetry

The paper is dedicated to the analysis of the soviet and contemporary Russian intermedial poetical works, i.e. the works, in which the written text is combined with the features of other media. The examples are taken from the two historical periods, which represent two different cases of the actualization of the intermedial interferences in the Russian poetry of the XX-th and XXI-th centuries. The first period is the timespan between the late 1970-th and the early 1980-th, when the neo-avantgarde magazine “Transponans” was published. The second period is the years 2012 to 2019, when several important mediapoetical works were created (the works by Eugenia Suslova, Rostislav Amelin and Andrey Cherkasov are analyzed among others). The methodology that is used in the paper let historicize and contextualize the intermedial poetical works by revealing their dependency on the material and technical conditions and demonstrating how they reflect the media landscape. In the first chapter of the paper the ways in which the authors that gathered around “Transponans” magazine reformulated the aesthetics of amateurism that they borrow from the works of the Russian futurism are investigated. This reformulation is bound to the reflection on the status of the unofficial poet, who in additions lives far from any centers of the “poetical establishment”. The second chapter traces, how the contemporary intermedial poetry works with issues that are also important for the printed poetry. Such a poetry explores the ways in which the communication among people is impacted by the new media environment. The several examples demonstrate, that the modern poets argue, that the structure of subjectivity is dependent on the communicative practices arranged by the conditions that the new media create. Thus, the necessity for the constant reflection on the conditions of the modern communication with the help of the (media)poetical means is proclaimed.