Abstract
The current publication presents a translation of the 1929 essay ‘Nomina Omina’ by Maik Iohansen, a remarkable Ukrainian modernist writer from the 1920s. The introduction offers an overview of the author’s oeuvre and situates it within the broader context of the Russian and Ukrainian artistic avant-gardes, both pre-World War I and in the 1920s. A focal point of the analysis involves an exploration of the phenomenon of signage within Cubist painting, Futurist poetry, and modernist prose of the 1920s.
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