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At the extreme poles of this tendency one might locate on the one hand transrational writing such as zaum (nonsense syllables invented by the poet), and on the other truly asemic “pseudowriting” (improvised scrawls and figures that resemble writing but do not adhere to any preset code).
In 1925 he and his high school friend, Iakov Druskin, became friends with the aspiring poet Danill Kharms, who was a student of the Futurist sound poet Alexander Tufanov, himself experimenting with theories of zaum thorough narrative time.
His major poetic education took place at GNKhUK, the State Institute of Artistic Culture, headed by Kazimir Malevich, with researches into zaum sound poetry by Igor Terentiev, for whom Vvedensky worked.
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