#Владимир Маяковский

[byterbrodckolbasoi]

Склепала на информатике в фотошопе нагло вдохновившись всеми плакатами с Маяковским😋😋

[cyhsal]

Every year around Christmas time I draw Esenin and Mayakovsky for my literature art account! 🎄 I’ve been doing this for a few years now and wanted to share this year’s one on here too. I’ve enjoyed seeing my art evolve through these posts over the years. (Links below are my lit art pages!)

Merry Christmas to those who celebrate, and happy holidays to everyone — I hope you all have a wonderful festive time! Wishing you a lot of joy in the new year ahead. 🎇

Instagram // Twitter // VK

[winterrupt]

Записки, которые Владимиру Маяковскому передавали зрители во время выступлений.

[my-mare-tenebrarum]

…вот вы, женщина, на вас белила густо, вы смотрите устрицей из раковин вещей.

(с) Владимир Маяковский. «Нате!», 1913

[snakesmall]

Mayakovsky's verse

Иди сюда,

иди на перекресток

моих больших

и неуклюжих рук.

Не хочешь?

Оставайся и зимуй,

и это

оскорбление

на общий счет нанижем.

Я все равно

тебя

когда-нибудь возьму —

одну

или вдвоем с Парижем.

°Vladimir Mayakovsky°

[newssocialite]

Моноспектакль Максима Аверина «Научи меня жить»: погружение в мир поэзии и музыки

Максим Аверин представит свой моноспектакль «Научи меня жить» 14 октября и 21 ноября 2024 года в Театре Эстрады. Этот уникальный театральный проект, который уже увидели более 500 тысяч зрителей в 248 городах 18 стран, представляет собой глубокую и многослойную работу актера, которого многие знают по его ярким ролям в кино и на телевидении. Аверин, заслуженный артист России, в своем спектакле…

[definetorule-blog]

Маяковский и Есенин были гэй любовниками

Mayakovski and Esenin were gay lovers

[tortue-blanche]

Владимир Маяковский (1893-1930)/ Vladimir Mayakovsky (1893-1930).

Послушайте!

Ведь, если звезды зажигают -

значит - это кому-нибудь нужно?

Значит - кто-то хочет, чтобы они были?

Значит - кто-то называет эти плевочки

жемчужиной?

И, надрываясь

в метелях полуденной пыли,

врывается к богу,

боится, что опоздал,

плачет,

целует ему жилистую руку,

просит -

чтоб обязательно была звезда! -

клянется -

��е перенесет эту беззвездную муку!

А после

ходит тревожный,

но спокойный наружно.

Говорит кому-то:

"Ведь теперь тебе ничего?

Не страшно?

Да?!"

Послушайте!

Ведь, если звезды

зажигают -

значит - это кому-нибудь нужно?

Значит - это необходимо,

чтобы каждый вечер

над крышами

загоралась хоть одна звезда?!

Vladimir Mayakovsky (1893-1930)

Listen!

Listen,

if stars are lit

it means - there is someone who needs it.

It means - someone wants them to be,

that someone deems those specks of spit

magnificent.

And overwrought,

in the swirls of afternoon dust,

he bursts in on God,

afraid he might be already late.

In tears,

he kisses God's sinewy hand

and begs him to guarantee

that there will definitely be a star.

He swears

he won't be able to stand that starless ordeal.

Later,

He wanders around, worried,

but outwardly calm.

And to everyone else, he says:

'Now,

it's all right.

You are no longer afraid,

are you?'

Listen,

if stars are lit,

it means - there is someone who needs it.

It means it is essential

that every evening

at least one star should ascend

over the crest of the building.

[la-cosmonauta-extraterrestre]

It's interesting how much Star Trek was influenced by cosmism and the socialist futurism of the 60s, especially when many of the details of the post-scarcity society of Star Trek were only fleshed out in the movies and next generation, which came out in the 80s.

Although the post-scarcity society and lack of hierarchies based on race, gender or class can be seen in the original series, that series is also very cold war, pro-capitalist. A common theme in the original series is that it's better to deal with the harsh realities of existence than to live in a utopia which could go wrong or make people complacent, which I later learned was an American cold war response to communism. Also we do see people using money in the original series, even though they have replicators so it's pointless.

If Wells had been less skeptical of Communism and joined the party, he wouldn’t have been the first sci-fi or futurist thinker to do so. Alexander Bogdanov, an early political rival of Lenin’s, wrote “Red Star,” a utopian novel about a Communist colony on Mars where everything was held in common and life spans were greatly extended through the use of parabiosis, the mutual sharing of blood. Along with Anatoly Lunacharsky and Maxim Gorky, Bogdanov proposed a program of “God Building,” which would replace the rituals and myths of the Orthodox Church through creation of an atheistic religion.

For his part, Gorky was a fan of the Cosmism of Nikolai Fyodorov and Konstantin Tsiolkovsky, a scientific and mystical philosophy proposing space exploration and human immortality. When Lenin died four years after meeting with Wells, the futurist poet Vladimir Mayakovsky’s line “Lenin Lived, Lenin Lives, Lenin Will Live Forever!” became not only a state slogan, but also a scientific goal. These Biocosmist-Immortalists, as they were known, believed that socialist scientists, freed from the constraints of the capitalist profit motive, would discover how to abolish death and bring back their comrades. Lenin’s corpse remains preserved for the occasion.

Bogdanov died in the course of his blood-sharing experiments, and other futurist dreams were sidelined by the industrial and militarist priorities that led up to World War II. In the postwar period, however, scientists inspired by Cosmism launched Sputnik. The satellite’s faint blinking in the night sky signaled an era of immense human potential to escape all limitations natural and political, with the equal probability of destroying everything in a matter of hours.

Feeding on this tension, science fiction and futurism entered their “golden age” by the 1950s and ’60s, both predicting the bright future that would replace the Cold War. Technological advances would automate society; the necessity of work would fade away. Industrial wealth would be distributed as a universal basic income, and an age of leisure and vitality would follow. Humans would continue to voyage into space, creating off-Earth colonies and perhaps making new, extraterrestrial friends in the process. In a rare 1966 collaboration across the Iron Curtain, the astronomer Carl Sagan co-wrote “Intelligent Life in the Universe” with Iosif Shklovosky. This work of astrobiological optimism proposed that humans attempt to contact their galactic neighbors.

Interest in alien life was not just the domain of scientists and fiction writers. U.F.O. flaps worldwide captured pop cultural attention, and many believed that flying saucers were here to warn us, or even save us, from the danger of nuclear weapons. In the midst of the worldwide worker and student uprisings in 1968, the Argentine Trotskyist leader known as J. Posadas wrote an essay proposing solidarity between the working class and the alien visitors. He argued that their technological advancement indicated they would be socialists and could deliver us the technology to free Earth from the grip of Yankee imperialism and the bureaucratic workers’ states.

Such views were less fringe and more influential than you might think. Beginning in 1966, the plot of “Star Trek” closely followed Posadas’s propositions. After a nuclear third world war (which Posadas also believed would lead to socialist revolution), Vulcan aliens visit Earth, welcoming them into a galactic federation and delivering replicator technology that would abolish scarcity. Humans soon unify as a species, formally abolishing money and all hierarchies of race, gender and class.

“A lot has changed in the past 300 years,” Captain Picard explains to a cryogenically unfrozen businessman from the 20th century in an episode of a later “Star Trek” franchise, “The Next Generation.” “People are no longer obsessed with the accumulation of things. We’ve eliminated hunger, want, the need for possessions. We’ve grown out of our infancy.”

For all its continued popularity, such optimism was unusual in the genre. The new wave of sci-fi in the late ’60s, typified by J. G. Ballard and Philip K. Dick in the United States and by the Strugatsky brothers and Stanislaw Lem in the East, presented narratives that undercut this theme of humans’ saving themselves through their own rationality.

The grand proposals of the ’60s futurists also faded away, as the Fordist period of postwar economic growth abruptly about-faced. Instead of automation and guaranteed income, workers got austerity and deregulation. The Marxist theorist Franco Berardi described this period as one in which an inherent optimism for the future, implied by socialism and progressivism, faded into the “no future” nihilism of neoliberalism and Thatcherite economics, which insisted that “there is no alternative.”

[lina-vas-dom]

Всемогущий, ты выдумал пару рук,  Сделал, что у каждого есть своя голова, –  Отчего ты не выдумал,  Чтоб было без мук  Целовать, целовать, целовать?!

/Владимир Маяковский

Almighty, you made up a pair of hands, Made up that everyone has his own head, - Why didn't you make it up, So that there'd be no pain   To kiss, kiss, kiss?!

/Vladimir Mayakovsky

[fabiansteinhauer]

Norderney

Zwei am Strand , 1923. Sitzen da, als ob sie Flussgötter werden wollten, anders als die bisherigen Flussgötter. Das ist das Jahr, in dem Shklovskys Zoo oder Briefe, nicht über die Liebe entsteht, ein Buch, das auch als ein seltsames Spiegelvorbild zu Benjamins Spanischer Reise Moskauer Tagebuch lesbar ist.

[heghogsblog]

Владимир Маяковский, 1929 год. Фото: Фотохроника ТАСС

[yurkov-n]

с плаката смотрел маяковский, а я ему улыбался, я знал, что планета круглая не для веселия нашего. знал, что любовь на сердце томною висит гирей, как же вы были правы, поэт и товарищ владимир! некуда нам направиться, некому нам довериться, а за окном стекольчатым воет и воет метелица о нашей упущенной юности и о глумливой старости, о глупых надеждах не выпавших из задубевшей памяти. в тёмной сидел я комнате, с настежь глазами закрытыми, будто в бездонном омуте с мыслями мною убитыми. мир из-под ног выскакивал, медленно рассыпался, с плаката смотрел маяковский и грустно мне улыбался.

20/2/24

[winterrupt]

Люблю ли я тебя? Я люблю. Люблю, несмотря ни на что и благодаря всему. Любил, люблю и буду любить, будешь ли ты груба со мной или ласкова, моя или чужая. Все равно люблю.

Из письма В. Маяковского к Лиле Брик. 6 февраля 1923 г. 

[my-mare-tenebrarum]

Я сошью себе черные штаны из бархата голоса моего. Желтую кофту из трех аршин заката. По Невскому мира, по лощеным полосам его, профланирую шагом Дон-Жуана и фата.

(с) Владимир Маяковский. «Кофта фата», 1914

[marinakrinicina]

Мир опять цветами оброс,

У мира весенний вид.

И вновь встаёт нерешённый вопрос —

О женщинах и о любви.

  Владимир Владимирович Маяковский