The subject of the study is the concept of "disrupted consciousness" by Nikolai Punin, first presented in his 1919 article "Disrupted Consciousness" (published in the newspaper "Art of the Commune"). The focus of the analysis is on the mechanism of psychological influence of avant-garde art on the viewer, proposed by Punin, which is based on disorientation and the mixing of categories of space, time, and types of art. The object of the study is the content-rich article "Disrupted Consciousness," which consists of two parts, as well as related texts that continue the issues raised by Punin. The evolution of this concept in Punin's subsequent publications is examined, along with its role in justifying the avant-garde as a means of total aesthetic transformation of the individual, as well as a comparison with Wagner's Gesamtkunstwerk theory. The material includes Punin's texts from the 1919-1920s about the works of V. Tatlin, N. Altman, and V. Khlebnikov. The research relies on a historical-hermeneutic method that encompasses the analysis and interpretation of Punin’s texts. It also employs comparative analysis (comparing with Wagner's concept of Gesamtkunstwerk) and a cultural-historical approach that places the material in its historical context. The scientific novelty of this research lies in the fact that it is the first systematic analysis of Nikolai Punin's concept of "disrupted consciousness." It presents a new examination of the psychological aspects of avant-garde art as an independent problem in Punin's work. Unlike existing historiography, where the critic's texts from 1919-1920 have been considered mainly in isolation from context, this study investigates these publications in the broad context of the historical era. Additionally, it identifies the continuity of the concept of "disrupted consciousness" as the psychology of the avant-garde in the context of Punin's evolving views in the 1920s. The study demonstrates that the theory of "disrupted consciousness" constitutes a coherent philosophical concept of consciousness within the framework of avant-garde aesthetics, rather than a collection of separate, disparate observations.
Ivan Gennad'evich Kostin (Fri,) studied this question.