AN INTERTEXT AS A RESEARCH EXPERIMENT OF THE POET AND CULTUROLOGIST VADIM RABINOVICH (BASED ON THE EXAMPLE OF THE ANALYSIS OF THE ESSAY «FUTURISTIC DIPTYCH»)

Abstract

The article deals with the intertextual discourse in the works by a Russian poet, essayist, philosopher and culturologist Vadim Rabinovich (1935–2013). For the first time, his literary and philosophical essay «Futuristic Diptych » is subjected to a detailed analysis. Based on the position of M. Bakhtin, the inter-textual dialogical connections are explored, mainly in the reminiscence of the play «I Want» by V. Khlebnikov and in the poem «Futuristic Landscape» dedicated to A. Kruchyonykh, as well as a roll between the two chapters of the essay. The article defines logic of Rabinovich’s changes made to the dramatic text by Khlebnikov. Found out and described techniques of changing the text by Khlebnikov are included in the comparative table of options for the play «I Want». Quantitative data and literary analysis of the changes in the text confirmed its reminiscent nature. The resulting text is qualified as a lexico-graphic collage including intertexts of various forms and types, simultaneously representing a stylistic self-portrait of the collage artist himself.Entering into a dialogue with the culture of the past, V. Rabinovich recreates this culture in the present and draws his own visual-language portrait in the interior of the epoch. In the works of this contemporary the author tracies the tendencies of the postmodernism, characterized by «mobility» of the word, emergence and development of new style trends against the background of the general literature tendency of semioticism [Anikeyeva, Prokhorova, 2008, 12]. The study of Rabinovich's hermeneutic approach to the texts of Russian futurists led to the conclusion: the intertext in his essay performs a special research function. The non-randomness of the material chosen by Rabinovich is clear, for example, to draw parallels between Khlebnikov's play «I Want» and his poem «The Grasshopper». Attention is drawn to the poorly studied play by Khlebnikov and an assumption is made about the prophetic role of her heroine Ruchini, whose name is associated with the name of the place of the first burial of Khlebnikov, the village of Ruchi in Novgorod Oblast, where the first Velimir Khlebnikov Museum in Russia has been opened.