“Literatura Fakta” of the 1920s: Historical Avant-Garde or the “Post-Revolutionary” Politicization of Art

Literaturа Factа, the Soviet literary movement of the 1920s, is commonly classifi ed as one of the avant-garde currents; however, for a more precise analysis within the framework of theory of literature, its characterization requires reconsideration. The primary objective of this study is to refi ne the defi nition of the “historical avant-garde”, Literaturа Factа, and their interrelation. The paper examines discussions on the nature of artistic avant-garde, revealing that avantgarde movements are generally characterized by a rejection of autonomy of art and the concept of the work as a coherent whole. However, this raises the question of whether all avant-garde currents in early Soviet Russia can be reduced exclusively to these characteristics. The methodological features of the avant-garde must be critically reexamined, as the historical avant-garde, which saw its mission in engaging people in the revolution – that is, in returning art to real life (primarily to the political sphere) – diff ers in its objectives from the Soviet avant-garde “after” the revolution. In other words, the “avant-garde” in the post-revolutionary context fi nds itself compelled to redefi ne its purpose. Literaturа Factа, in particular, belongs to this new tendency. This movement can be characterized by features traditionally not considered “avant-garde,” namely, a tendency toward the integration of the literary whole. In relation to this issue, the paper analyzes the works of W. Benjamin and B. Groys.