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DOI 10.52172/2587-6945_2022_22_4_129


The article is devoted to the study of the specifics of videopoetic clips in the work of the Ural poet Janis Grants. The phenomenon of video poetry became actual in the literary process of modern Russia in the late 1990s and early 2000s. In the Southern Urals, the key authors working with this synthetic art form were Vitaly Kalpidi (one of the main ideologists for creating video poetry clips), Vadim Balaban, Konstantin Rubinsky and Janis Grants.

Considering the videopoetic work of Janis Grants in this article, we, first, pay attention to literary devices, the author's strategy, which is harmoniously transferred from the field of verbal creativity to videopoetic clips. For example, the autobiographical myth and the personification of the figure of the author are dominant in the literary Janis Grants’ strategy, which is also reflected in the poetry clips: each of them necessarily contains the figure of J. Grants, the poet is the main character of the clips. It is also important to note that all clips were created by directors (A. Bogomolova, K. Medvedev and others). This indicates the phenomenon of co-creation (of a poet and director) when creating a video poetic work.

Video poetry has gained immense popularity in the Internet space, primarily due to the boom of visuality in modern culture. In the 1990s, the visual becomes total: cinema, television, mass media far from exhaust the scope of the visual. All spheres of human life are exposed to visualization. That is why such a synthetic form of a work of art becomes comfortable for the modern reader/viewer and is easily perceived by him.


Ural poetry, video poetry, poetry clip, Janis Grants, contemporary poetry, media poetry.