Неснимаемое противоречие как способ ор&#1075...

Paradox as a method of contrasting alternative ideas is one of the crucial principles of the avant-garde. The article proposes to call such a way of organization of artistic reality, which is somewhat similar to Gilles Deleuze's “disjunctive synthesis”, the “irremovable contradiction” principle. The paper analyses the systems of art of two neo-avant-garde poets: Gennadii Aigi and Viktor Sosnora. Their works stand for the two poles of contemporary avant-garde. The various antinomic structural and grammatical categories are present in their art, ranging from bigger bodies of texts (books, strophoids, ultra-long lines) to the smaller language units (discursive interjections, sounds, punctuation marks). The paper argues that the poets' simultaneous immersion into the wholeness of a book and the fragmentarity of a draft raises the issue of “processual” localization of the subject. The subject bridges the gap between word and reality, as well as between body and text. The article sets out the different principles and traditions of creating ultra-long lines in the works of both Aigi and Sosnora. Sosnora was interested in the ancient aesthetics and metrics, whereas Aigi's inclination was towards prosaization. Experiments with ultra-short lines as another pole of non-standard line format constitute a distinctive feature of Aigi's poetics. Sosnora seldom used single lines and preferred to combine them according to the principle of contrast with large text fragments within the borders of poetic cycles. Finally, the article shows the development of this tendency to minimalization, which is expressed in the division of words into verbal atoms. It is common for Sosnora to use minimal discursive words that undergo optional reduction and “indexical and symbolical interjection”, whereas Aigi aims at maximum atomization of the word that revitalizes the primal sound and the process of its creation. [ABSTRACT FROM AUTHOR]