The art as a resurrection procedure of the word: Viktor Shklovsky and the philosophy of the common cause

Having influenced many figures of the Russian avant-garde, including Vladimir Mayakovsky and Velimir Khlebnikov, Pavel Filonov and Andrey Platonov, by the early 1930s the teachings of Fedorov were suppressed, along with the utopianism of early revolutionary culture. It is all the more interesting to encounter the open evocation of his name and ideas in the work of a completely officially recognized author such as Viktor Shklovsky, who had assumed this status from the 1930s and who had emerged most forcefully at the center of cultural life in the era of the Thaw, when his roots in the avant-garde origins of Soviet culture endowed him with additional symbolic weight. Even more striking, one must note that in Shklovsky’s early works, that was enrooted in the avant-guard art, the name of Fedorov was completely absent. However, in perspective of already revealed Fedorovian stratum one may find the echo of Russian cosmism even in these early works.Tendo influenciado muitas figuras da vanguarda russa, como Vladimir Maiakóvski e Velimír Khlébnikov, Pável Filónov e Andrei Platónov, os ensinamentos de Nikolai Fiódorov deixaram de ser citados já nos anos 1930 e foram suprimidos junto com o utopismo da cultura revolucionária inicial. Por isso, é mais interessante ainda encontrar menções abertas ao seu nome e às suas ideias nos trabalhos de um autor como Viktor Chklóvski, tão reconhecido oficialmente a partir dos anos 1930 e sobretudo depois da época do degelo, quando suas origens ligadas à vanguarda da cultura soviética o revestiram de um peso simbólico adicional. E é ainda mais curioso notar que, na obra inicial de Chklóvski, que fincava suas raízes na arte de vanguarda, o nome de Fiódorov está completamente ausente. Entretanto, a partir da camada Fiodoroviana já revelada, pode-se encontrar ecos do cosmismo russo também nos primeiros trabalhos de Chklóvski.Having influenced many figures of the Russian avant-garde, including Vladimir Mayakovsky and Velimir Khlebnikov, Pavel Filonov and Andrey Platonov, by the early 1930s the teachings of Fedorov were suppressed, along with the utopianism of early revolutionary culture. It is all the more interesting to encounter the open evocation of his name and ideas in the work of a completely officially recognized author such as Viktor Shklovsky, who had assumed this status from the 1930s and who had emerged most forcefully at the center of cultural life in the era of the Thaw, when his roots in the avant-garde origins of Soviet culture endowed him with additional symbolic weight. Even more striking, one must note that in Shklovsky’s early works, that was enrooted in the avant-guard art, the name of Fedorov was completely absent. However, in perspective of already revealed Fedorovian stratum one may find the echo of Russian cosmism even in these early works