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Osip Maksimovich Brik () (16 January 1888 in Moscow – 22 February 1945 in Moscow), Russian avant garde writer and literary critic, was one of the most important members of the Russian formalist school, though he also identified himself as one of the Futurists. Brik grew up in Moscow, the son of a wealthy Jewish jeweler.〔Gershon David Hundert, ''The YIVO Encyclopedia of Jews in Eastern Europe'', vol. 1 (Yale University Press, 2008: ISBN 0-300-11903-8), p. 237〕〔Francine du Plessix Gray, ''Them'' (Penguin, 2006: ISBN 0-14-303719-6), p. 51.〕 In the university, Brik studied law; his friend Roman Jakobson wrote: "For his doctoral thesis he wanted to write about the sociology and juridical status of prostitutes and would frequent the boulevards. All the prostitutes there knew him, and he always defended them, for free, in all their affairs, in their confrontations with the police and so on."〔Roman Jakobson, ''My Futurist Years'' (Marsilio Publishers, 1997: ISBN 1-56886-049-8), p. 43.〕 But he soon found himself far more interested in poetry and poetics and devoted all his time to it, becoming one of the founders of OPOJAZ and writing one of the first important formalist studies of sounds in poetry, (Zvukovye povtory ) ("Sound repetitions," 1917). He had a strongly anti-author stance, once going so far as to say that if Pushkin had not written ''Eugene Onegin'', somebody else would have; he wrote that "there are no poets or literary figures, there is poetry and literature."〔Graham Roberts, ''The Last Soviet Avant-Garde: OBERIU – Fact, Fiction, Metafiction'' (Cambridge University Press, 2006: ISBN 0-521-02834-5), p. 28.〕 He was also interested in photography and film: "In 1918, Brik was a member of IZO Narkompros (Visual Arts Section of the People's Committee for Education). ... Brik was especially close to Alexander Rodchenko and did much to make his photographic work known."〔Diane Neumaier, ''Beyond Memory: Soviet Nonconformist Photography and Photo-related Works of Art'' (Rutgers University Press, 2004: ISBN 0-8135-3454-2), p. 172.〕 He was also active in films and wrote several screenplays, including one for ''Potomok Cingis-khana'' (''The Descendant of Genghis Khan'') (with Ivan Novokshonov〔Литературная Сибирь / Сост. Трушкин В., Волкова В. – Иркутск: Вост.-Сиб. кн. изд-во, 1986. – С. 262.〕), directed by Vsevolod Pudovkin (1928).〔Jurij Striedter, ''Literary Structure, Evolution, and Value: Russian Formalism and Czech Structuralism Reconsidered'' (Harvard University Press, 1989: ISBN 0-674-53653-3), p. 266.〕 He met his future wife, Lilya Kagan, when he was 17 and she 14; they were married on 26 March 1912. (Her sister Elsa was Louis Aragon's wife and a notable French writer.) Mayakovsky's sexual relationship with Lili lasted from 1917 to 1923, and afterwards he continued to have a close friendship with the couple: "For the rest of his life, 'Osia' Brik remained the poet's most trusted adviser, his most fervent proselytizer, and also a co-founder with him of the most dynamic avant-garde journal of the early Soviet era, ''Left Front of Art'',"〔Francine du Plessix Gray, ''Them'', p. 51.〕 or LEF, which was also an official publication for the group with the same name, and a platform for Russian Constructivist art. (Later the magazine was renamed ''Novyi LEF''.) Brik was not only a literary modernist, he was strongly left-wing in politics, and on 8 June 1920 he joined the Cheka. Jakobson wrote of this period:
After Joseph Stalin's rise to power, the Communist regime openly encouraged exclusively socialist realism methods and initiated a campaign to stamp out all culture the Communist Party perceived as dangerous. Most avant garde artists and thinkers suffered persecution, and Brik did not escape this fate. In the 1930s he eked out a living writing articles on Mayakovsky and book reviews; he died in 1945 of a heart attack while climbing the stairs to his apartment.〔Vahan D. Barooshian, ''Brik and Mayakovsky'' (Mouton, 1978: ISBN 90-279-7826-3), p. 122.〕 His works were not republished in Russia until the mid-1990s. Edward J. Brown summed his career up thus: "He wrote little, but his articles on poetic form ... are brilliant formalist analyses of poetic language... and he was probably the most articulate exponent in Lef of the theories of 'social demand' and 'literature of fact.' A man of surpassing intelligence, he was apparently not strong either in performance or in principle."〔Edward J. Brown in Victor Terras (ed.), ''Handbook of Russian Literature'' (Yale University Press, 1990: ISBN 0-300-04868-8), p. 278.〕 ==References== 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Osip Brik」の詳細全文を読む スポンサード リンク
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