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(Russian məjɪˈkɔfskij) or


(Biography) Vladimir Vladimirovich (vlaˈdimir vlaˈdimirəvitʃ). 1893–1930, Russian Futurist poet and dramatist. His poems include 150 000 000 (1921) and At the Top of my Voice (1930); his plays include Vladimir Mayakovsky — a Tragedy (1913) and The Bedbug (1929)
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


or Ma•ya•kov•sky

(ˌmɑ yəˈkɔf ski, -ˈkɒf-)

Vladimir Vladimirovich, 1893–1930, Russian poet.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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Noun1.Mayakovski - Soviet poet; leader of Russian futurism (1893-1930)
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
References in periodicals archive ?
* [ ] notiekoso parvers komegija-buff prieksnesuma (2002a:36) 'transforms the event in a commedia-buffa performance', Russian and also possibly a blend of Vladimir Mayakovski play Mucmepuz-[phrase omitted] and the Russian term [phrase omitted] 'buffoonery, slapstick comedy (originally from Italian);
But it's also international; it's flying over Russia, and Italy, and Spain" or, Ostranenie is "the dream of a new world" just as "Mayakovski's many-colored, belt-free shirt" (cited in Berlina, 2017: 334).
What I like about all these great writers including Art Buchwald was that they were not afraid of what was going to happen to them and were prepared to go to the great beyond, even the great Russian poet Vladimir Mayakovski who killed himself wrote in his suicide note, quite tongue in check I must say, 'I don't recommend this for others!'
In the introduction, for example, she mentions a number of artists and their aesthetics in terms that call for a discussion that goes beyond formalism and philosophy: post--World War I Dada, Vladimir Mayakovski, Andrei Platanov, the composers Arvo Part, John Cage, Keith Jarrett, as well as Mark Rothko, Yves Klein, and Andy Warhol, all seem to open the space for a cultural critique that never materializes.
No es casual que para la primera puesta en escena rusa de El hombre de La Mancha, que se estrena en 1972 en el Teatro Mayakovski de Moscu, el director Andrei Goncharov emplee a Aleksandr Lazarev, un renombrado actor petersburgues "con ojos inteligentes y con maneras no solo de intelligent, sino incluso de aristocrata" (Gordon s.
(12) Kristeva, driving from a variety of examples, primarily Mayakovski's work, and also drawing on Jacobson's bringing out, suggests that two tendencies seem to dominate poetic language.
Thus, in November 1918, on the first anniversary of the October Revolution, there were performances of Mystery-Bouffe by Vladimir Mayakovski, directed by Vsevolod Meyerhold; a pantomime, Great Revolution; and, in Voronezh, The Glorification of Revolution.