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The author analyses Kharms's 1937 “Self-portrait at the Window”. It is demonstrated by adducing the writer's notes on Flemish painters that Jan van Eyck's, and other fifteenth-century masters', innovative work served as point of orientation for Kharms's drawing.In the second part of the paper Kharms's pseudonyms are discussed and linked with the Kabbala, the Jewish mystical and Biblical tradition.
There are many pictures of Kharms, the differences between them dependent on the way other people saw him and, in Kharms's self-portraits, on the various functions and roles the poet ascribed to himself. In the iconography of Kharms the self-portraits have a special place. They concentrate on the face (en face and in profile) and on the costume. Functional elements in them are the principle of the...
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