This article reconceptualizes Velimir Khlebnikov’s aesthetic temporality not as a lyrical motif but as an epistemic procedure through which poetic language tests the legibility of history. Treating his historico-mathematical “constants” and his avant-garde formal inventions as mutually implicative, it isolates a double regime: time as oscillatory recurrence (wave, cyclic return, numerical periodicity) and time as a higher-order extension in which duration is spatialized, traversable, and re-coordinatizable. Against linear models of influence, this study situates Khlebnikov within a thick interdiscursive atmosphere—folkloric chronotopes, Romantic time–space convertibility (Novalis), non-Euclidean geometry (Lobachevsky, Riemann), Minkowski–Einstein relativity, and the Russian vogue for “hyperspace” mediated by Morozov and Ouspensky (with Hinton as prototype)—and argues that these matrices are metabolized via poetico-fantastic transmutation rather than imported as explanatory doctrine. Close readings show how reverse temporality, historical inversion, palindromic and collage logics, and the super-narrative architecture of autonomous “planes” operationalize a hyperspatial present in which distant epochs collide without recourse to technological “time machines.” The article thereby reframes Khlebnikov’s project as a cognitive technology: an attempt to re-engineer the chronotope so that past and future become navigable coordinates inside an expanded textual now. In this model, number and word converge as homologous instruments for forecasting, montage, and speculative world-construction itself.
Michaela Böhmig (Wed,) studied this question.