All three substantial articles in this issue of Russian Studies in Literature consider the connection of art (verbal or pictorial) with politics, and with leftist politics in particular. All three are concerned with the interactions of literature and visual arts, which typified the activities of the Russian Futurists as well as the scholars who studied them and subsequent generations of avant-garde artists and writers who learned from or continued their strategies. The Futurists (especially Khlebnikov and Mayakovsky, each in his own way) have exerted an enduring attraction for writers and scholars abroad, as well as for generations of creative artists working in Russia or in Russian. Evgenii Demenok’s “Graphic Symbols: Khlebnikov, Burliuk, and Kruchenykh” focuses primarily on the Futurist poet Velimit Khlebnikov (1885-1922) as a visual artist. Biographical and bibliographic data are drawn from various memoirists, especially David Burliuk but with copious citations from Roman Jakobson, Aleksei Kruchenykh, Benedikt Livshits, and Vladimir Mayakovsky. Anyone who wants to know more about Khlebnikov’s life and personality, and especially anyone interested in the interactions of visual art and poetry in Futurist practice, will find a wealth of information here. Demenok draws especially on material from David and Mariia Burliuk’s journal Color and Rhyme, published in both English and Russian in New York City through the 1970s. Anatolii Rykov’s article is entitled “Between a Conservative Revolution and Bolshevism: Nikolai Punin’s Total Aesthetic Mobilization.” Art historian Nikolai Punin (1888-1953) may be best known to readers of this journal Russian Studies in Literature, vol. 53, no. 2, 2017, pp. 103–104. © 2017 Taylor & Francis Group ISSN: 1061-1975 (print)/ISSN 1944-7167 (online) DOI: https://doi.org/10.1080/10611975.2017.1424434

中文翻译：

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俄罗斯未来主义和前卫作品与美学

本期《俄罗斯文学研究》的所有三篇重要文章都考虑了艺术（言语或绘画）与政治，特别是与左派政治的联系。这三者都关注文学与视觉艺术的互动，这代表了俄罗斯未来主义者以及对其进行研究的学者以及后代从其策略中学习或延续的前卫艺术家和作家的活动。未来主义者（特别是赫列布尼科夫和玛雅科夫斯基，各自以自己的方式）对国外的作家和学者，以及在俄罗斯或俄罗斯工作的几代创意艺术家产生了持久的吸引力。叶夫根尼·德梅诺克（Evgenii Demenok）的“图形符号：Khlebnikov，Burliuk和Kruchenykh”主要关注作为视觉艺术家的未来主义诗人Velimit Khlebnikov（1885-1922）。传记和书目数据来自各种回忆录，特别是戴维·伯留克（David Burliuk），但引用了罗马·雅各布森，阿列克谢·克鲁兴尼赫，贝内迪克特·利夫什蒂斯和弗拉基米尔·玛雅科夫斯基的大量文献。任何想了解Khlebnikov的生活和个性的人，尤其是对未来主义实践中的视觉艺术和诗歌互动感兴趣的人，都会在这里找到很多信息。Demenok特别借鉴了David和Mariia Burliuk于1970年代在纽约市以英文和俄文出版的《色彩与韵》杂志的内容。阿纳托利·里科夫（Anatolii Rykov）的文章标题为“在保守革命与布尔什维克主义之间：尼古拉·普宁的整体审美动员”。美术史学家尼古拉·普宁（Nikolai Punin，1888-1953年）可能是该杂志《俄罗斯文学研究》第一卷的读者所熟知的。53号 2017年2月 第103–104页。©2017泰勒与弗朗西斯集团ISSN：1061-1975（印刷）/ ISSN 1944-7167（在线）DOI：https://doi.org/10.1080/10611975.2017.1424434