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- aggregation classification "C1".
- aggregation creator person.
- aggregation date "2013".
- aggregation format "application/pdf".
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- aggregation language "eng".
- aggregation publisher "KU Leuven".
- aggregation rights "I have transferred the copyright for this publication to the publisher".
- aggregation subject "Cultural Sciences".
- aggregation title "Surrealist messengers of time: Chronotopoi of disruption in Kharms and Artaud".
- aggregation abstract "The Bolshevik revolution and subsequent dramatic events in Russia challenged and reshaped many conventional assumption about time and temporality. Early Russian avant-garde was equally informed by the utopian energies of the Revolution and by the newest developments in European philosophy and art that also questioned and critiqued the traditional understanding of time. The paper examines the hieroglyphics of time as developed by one of the last Russian avantgarde writers Daniil Kharms (1905-1942) and the French playwright and poet Antonin Artaud (1896 – 1948). The Chinari group to which Kharms belonged developed a peculiar system of signs, a mystical semiotics of radical performance that often referred to certain messengers. In Kharms’ texts, an encounter with these is a reminder that time as we know it does not really exist. For Kharms, messengers are in themselves hieroglyphs of temporality, dreadful omens of the imminent end of Chronos. As the last heirs to the “heroic” Russian avant-garde Kharms’ circle of writers brought Futurists’ obsession with the end of history (cf. Mayakovsky with his famous motto “We’ll ride the jade of history to death!”) to its logical conclusion. For Antonin Artaud the concept of a dreamy mystical hieroglyph was very important as well. Drawing on Charles Baudelaire’s concept of hieroglyphical dream from Les paradis artificiels (“Ce reve, que j’appellerai hieroglyphique”), Artaud perceives hieroglyph as an archetype of temporality. As Artaud puts it in “Sur Le Théatre Balinais” and in some later works, hieroglyph stands for the ineffable higher reality of existence and makes it possible to destroy the mundane time-flow of everyday life. In this context, hieroglyph is initially grasped as an unknowable noumenon of a Kantian ding an sich. In both Kharms and Artaud, hieroglyphs are intimately linked to the theatrical. Similar to Kharms’ hieroglyphic messengers, Artaud’s mystical hieroglyph gradually acquires the status of a full-fledged literary character. Literary personae in Artaud become decorated as hieroglyphs; his theatre addresses performers as “moving hieroglyphs” so to speak. The paper considers the two Avant-Garde authors’ mystical temporality of performance in the context of the larger debate on the modern “body,” identity and subjectivity.".
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