Kornei Chukovsky, From Two to Five, trans. Miriam Morton (University of California Press, 1968), 11.
Chukovsky, From Two to Five, 12.
Chukovsky, From Two to Five, xv.
See →.
Translated from the Russian by Alex Anikina, email to author, January 2017.
Alex Anikina, email to author, January 2017.
Lesia Prokopenko, email to author, January 2017.
See Elena F. Hellberg, “Folkloristic Puns” (фольклорные перевертыши), Russian Linguistics 12, no. 3 (1988): 293–301.
Chukovsky, From Two to Five, 96.
Chukovsky, From Two to Five, 115.
Eugene Ostashevsky, “Alexander Vvedensky, An Invitation for Us to Think,” in Alexander Vvedensky, An Invitation for Me to Think, ed. and trans. Eugene Ostashevsky (NYRB Poets, 2013), vii.
Eugene Ostashevsky, “Editor’s Introduction,” in OBERIU: An Anthology of Russian Absurdism, ed. E. Ostashevsky (Northwestern University Press, 2006), xv.
See Alexander Vvedensky, “Slaapliedje,” in Bij mij op de maan: Russische kindergedichten, trans. Robbert-Jan Henkes (Van Oorschot, 2016), 420.
Anna Petrova, message to author, 2019.
“Pseudo-Dionysius the Areopagite,” Stanford Encyclopedia of Philosophy →.
Vvedensky writes “сияние” (siyaniye), literally meaning “shine.” During our class session on Vvedensky at Strelka Institute, Moscow, in 2019, the philosopher Natasha Tyshkevych suggested that an English translation should follow the literal meaning “shine” instead of “glint,” thus emphasizing the religious thematic of the poem.
Vvedensky, “Snow Lies” (1930), in An Invitation for Me to Think, 13–15.
Yolanda Bloemen, “Ik ben net als iedereen, alleen beter,” afterword to Charms: Werken (Van Oorschot, 2019), 619. Translation of this fragment by Metahaven.
Ostashevsky, “Editor’s Introduction,” in OBERIU, xv.
Barbara Kirschenblatt-Gimblett and Joel Scherzer, “Introduction,” in Speech Play: Research and Resources for Studying Linguistic Creativity, ed. B. Kirschenblatt-Gimblett (University of Pennsylvania Press, 1976), 10.
Susan Stewart, Nonsense: Aspects of Intertextuality in Folklore and Literature (Johns Hopkins University Press, 1989), 29.
We have previously written about the Epiminides paradox in Can Jokes Bring Down Governments? (Strelka Press, 2013). That essay also referenced Susan Stewart’s Nonsense. However, our take on the Epiminides paradox in this essay is distinct from its earlier treatment in the context of (political) internet memes.
Douglas R. Hofstadter, Gödel, Escher, Bach: An Eternal Golden Braid (Basic Books, 1999), 17.
Stewart, Nonsense, 29.
See Madsen Pirie, How to Win Every Argument: The Use and Abuse of Logic (Continuum, 2006), 36.
Stewart, Nonsense, 73.
Stewart, Nonsense, 72.
Chukovsky, From Two to Five, 57.
See →.
Ostashevsky, “Editor’s Introduction,” in OBERIU, xviii.
Ostashevsky, “Editor’s Introduction,” in OBERIU, xvi.
Vvedensky, “The Song of the Notebook” (1932–33), in An Invitation for Me to Think, 69.
Vvedensky, “Simple Things” (1932–33), in An Invitation for Me to Think, 74.
Johan Huizinga, The Autumn of the Middle Ages, trans. Rodney J. Payton and Ulrich Mammitzsch (University of Chicago Press, 1997), 257.
Mary Sanches and Barbara Kirshenblatt-Gimblett, “Children’s Traditional Speech Play and Child Language,” in Speech Play, 93.
See Karen Gallas, Sometimes I Can Be Anything: Power, Gender, and Identity in a Primary Classroom (Teachers College Press, 1997), 67.
This ongoing series would not be possible without the invaluable help, guidance, and direction provided, in various forms, by Anna Petrova, Alex Anikina, Lesia Prokopenko, Eugene Ostashevsky, Flavia Dzodan, Anastassia Smirnova, Natasha Tyshkevych, and Anastasia Kubrak. We thank the Institute of Contemporary Arts, London, and especially Richard Birkett, for hosting the poetry seminar “The Way of Comets,” which we organized with them in early 2019 as part of our exhibition “Version History,” and which greatly influenced this work. An earlier version of “Sleep Walks the Street” was presented, at the invitation of Slavs & Tatars, at the 2019 Ljubljana Biennial of Graphic Arts, which they curated. We also thank Strelka Institute, Moscow, which hosted our seminar on Alexander Vvedensky as part of “The New Normal.” We extend special thanks to Tatiana Efrussi as our research collaborator on this series.