Antinomy of Tradition and Innovation in Russian Poetic Modernism and the Problem of (post-)

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Classification – name: Literary studies
Author: Mikhail M. Beshimov
Pages: 503-514
Publisher: A.M. Gorky Institute of World Literature of the Russian Academy of Sciences (IWL RAS Publ.)
Rights – description: Creative Commons Attribution-NoDerivatives 4.0 (СС BY-ND)
Rights – URL: Visit Website
Language of the publication: Russian
Type of document: Research Article
Collection: The Antinomic Nature of Russian Modernism Poetics and Modern Humanities Thought
DOI: https://doi.org/10.22455/978-5-9208-0875-2-503-514
EDN:
https://elibrary.ru/FWWNLH
Year of publication: 2026
Place of publication: Moscow
PDF
Beshimov, M.M. “Antinomy of Tradition and Innovation in Russian Poetic Modernism and the Problem of (post-).” Antinomichnost’ poetiki russkogo modernizma i sovremennaia gumanitarnaia mysl’ [The Antinomic Nature of Russian Modernism Poetics and Modern Humanities Thought], ex. ed. Svetlana V. Fedotova. Moscow, IWL RAS Publ., 2026, pp. 503–514. (In Russian) 1 Electronic Optical Disc. Text: Electronic. https://doi.org/10.22455/978-5-9208-0875-2-503-514

Information about the author:

Mikhail M. Beshimov, PhD student, National Research University Higher School of Economics, Griboedov Canal Emb., 123A, 190068 St. Petersburg, Russia.

ORCID ID: https://orcid.org/0009-0004-7600-8663

E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Abstract:

In this article, the conceptualists’ poetic project (along with the poetry of the Leningrad branch of unofficial culture of the 1970s) is examined as a logical development of the antinomy of Russian modernist poetry, as pointed out by M.L. Gasparov. Gasparov’s formal observations are refined and supplemented by a poetological perspective on the antinomy of Russian poetic modernism, namely, the antinomy of tradition and innovation. As a result, the (post-) problem associated with the phenomenon of conceptualism in Russian poetry is reconsidered not as the culmination of a modernist lineage stemming from Symbolism, but as a new (and inevitable) turn in a series of innovative-conservative complications of tradition.