VELIMIR KHLEBNIKOV’S WORLD LANGUAGE OF THE FUTURE

Abstract

The article is devoted to the analysis of the concept of Velimir Khlebnikov’s “stellar language” or the world language of the future, a unique theoretical and creative project aimed at creating a new world language. The study covers the historical context and theoretical basis of this language, examines its structural features, as well as its connection with Khlebnikov’s theory of time. The article analyzes the relationship of the stellar language with other linguistic concepts of Khlebnikov, such as the transrational language and the language of numbers, as well as its relationship to ancient, primitive language and the language of music, demonstrating its large-scale ambitions and complexity. The aim of the article is also to analyze the word creation of Velimir Khlebnikov. The object of the study is the poems of Velimir Khlebnikov. During the study, the poems of Velimir Khlebnikov are examined and analyzed. The term “stellar language” belongs to the poetic system of Velimir Khlebnikov. It corresponds to the metaphorical concepts of “universal language”, “world language”, “alphabet of the mind”. Very close to it is also the internal declension, together with which this term forms a constitutive characteristic of the broader concept of universal language. Its generic concept is the transrational language or the poetics of naked sonority with the slogans of the self-existent word, the self-containedness of the word, the word as such, the letter as such, characteristic of the early phase of futurist manifestos. Zaum or transrational language is a literary method that consists of a complete or partial rejection of all or some elements of natural language and their replacement with other elements or structures that are analogously perceived as linguistic. In this system of a higher order, the stellar language introduces a significant correction, thanks to which the poetics of naked sonority will very early follow the path of “semasiologizing sounds”. Unlike internal declension, where the semantic valence of the vowel sound of the base is important, in the stellar language the semantic valence of the first consonant is important. It defines the semantic volume of the entire word, turning into a sound expression of the idea embedded in it. Khlebnikov came to this provision in 1913. The construction of a universal language based on the principle of semantic valence of initial consonants is Khlebnikov’s favorite theme. The main idea in the article is that Khlebnikov shifted the center of gravity in poetry from the question of sonority to the question of meaning. Those who talk about Khlebnikov's "nonsense" should reconsider this question. This is not nonsense, but a new semantic system.