Futurist Utopian World in V. Khlevnikov's <Radomir>
DOI : 10.21049/ccs.2009.13.2.33
Publisher : Center for Cross Culture Studies
Research Area : Literature
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This article examines the utopian ideas presented in Russian Futurist poet, V. Khlevnikov and analyzes his most representative poema <Radomir>. As is well known, the poet occupies an exceptional place throughout the history of Russian modernist utopian world. What Khlevnikov seeks for, especially his temporal feature yearns for the overcoming of cleavage between the reality and utopia itself, rather neither relying on the idealized past nor the future. As Khlevnikov went through the First World War and the October Revolution of 1917, the poet's poetic world turned into messianic cosmology, one that is based on his early 'historico-philosophic' utopia as well as the collective identity. The poema, <Radomir> reaches its peak in the poet's much more mature utopian world mentioned above. As an ideal model standing for utopian space, the Radomir itself provides the reader a united world of contradictory features such as between history and cosmos, time and permanence, and the human beings and supersuman, etc. The poema's basic plot runs through destroy of the old world and creation of new ideal cosmos via a world-wide "Sacred Explosion." Yet, this revolutionary explosion does not mean not just dimension of October ideology; rather it represents an apocaplytic one that encompasses all of creatures such as a new heaven and movement into the new space. Through this explosion and emergence of a totally new space, the common linear time process becomes dismantle and thereby appearing a new utopian world, "The Nation of Time" (Государство Времени), which was the dreamy world cherished by the poet. Conceivably enough, this explosion of Radomir is reminiscent of <12> by A. Blok. At the same time one thing should be noted that Blokian revolution has to do with an ethical level and the figure of Jesus Christ in the poem downgrades as the front-guard leading the revolutionaries, while the revolution Khlevnikov has in mind is closer to the cosmic and philosophical dimension. The poet-creator as collective I (in Russian "Ia") not only destroys the ole world, transforms it by means of language, and finally become the status "we" (in Russian "My") in the universal utopian new world. Specifically, after the Sacred Revolution, this new utopian world is described a space in which people put seeds onto the heaven, opulent milk and honey are elsewhere, the equal rights among the human beings and the animals respectively are out there; in addition, it turns to Lobachevkian space of no alienation-of-labor.
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