The article analyzes Velimir Khlebnikov's poetological views scattered throughout his literary, journalistic, and theoretical texts. The study aims to systematize the author's ideas about the nature of poetry, the role of the poet, and the tasks of creative work; moreover, it seeks to theoretically substantiate the concept of "poetologeme" ("poetologism") as a methodological construct for literary analysis of the key units of the author's poetics. The material consists of Khlebnikov's literary, theoretical, and autodocumentary texts presented in the six-volume collected works. As a result, the study identifies the key principles of the Budetlyanin's poetology: word creation as the revelation of hidden linguistic resources, mathematical interpretation of history, rejection of strict syllabo-tonic meters, emphasis on reader participation, exposure of the word's ambiguity, orientation toward the future, and elimination of the "intelligibility" criterion applied to the evaluation of poetic texts. Consequently, the study introduces the concept of "poetologeme" defined as a regularly reproduced figurative-terminological unit with a stable semantic core that functions simultaneously in artistic and non-artistic discourses. For example, the following major (macro)poetologemes of Khlebnikov are identified: "laws of time", "linguistry" (yazykovedstvo), "Budetlyanism", "thought-soil" (myslez’om), "I-World", "thinking furnace", and "imaginariness". The study concludes that Khlebnikov's poetology constitutes a cognitive-creative project in which mathematics, linguistics, history, and art serve as mutually complementary tools for understanding and transforming reality. The methodological construct developed in the article ("poetologeme") can be applied in the study of works of other authors, in whose poetics the boundary between artistic, philosophical and/or scientific discourse also turns out to be permeable.
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