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The research is performed within the linguistic stylistic approach which allows to determine the pragmatic foundation as existence of the ironic mode. The article is devoted to consideration of travelogue as a special type of text and to the evidence that irony is one of the universal features of travelogue as a text, which helps to define the borders between "own" and "other" and is aimed at perception of these borders. The material for analysis includes the texts of the 19 th and 20 th centuries, which vividly express the author's ironic attitude towards the reality. The functions of ironic mode in the Russian travelogue are revealed. The dominating role of the educating function is demonstrated. It is determined that ironic mode is characterized by polyfunctionality – simultaneous actualization of several functions, including: motivational (the motivation of readers to follow the author's travel as well as accept his ideas), expressive and contact-setting (as combination of contact initiation and harmonization of communication), aesthetic (making an object of description artistic and sensitive) functions. The research might continue with studying the ironic mode in travelogue of different times in a comparative aspect as well as analyzing the ironic mode within the peculiarities of the author's individual style.

The wind is our universal musician and has been recognized as such for millennia. If the wind can play a fence as an aeolian harp, then a violinist armed with a bow could also cause these gigantic structures to sing. Thus, an American woman and an Australian man set out to explore and perform on the giant musical instruments covering the continent of Australia: fences. This presentation excerpts highlights from the voyage, illuminating the range of sounds to be drawn out of a five-wire fence. Playing fences reveals a sound world that is embedded in the physical reality and the psyche of the culture. In pursuit of their instruments, including the Rabbit-Proof Fence and the 5300-kilometre–long Dingo Fence, the duo travels 40,000 kilometres, engaging with a singing dingo, an auctioneer, an Aboriginal gumleaf virtuoso, bush musicians, the first (now ruined) piano in Central Australia, and the School of the Air's distorted, modulating, phasing white and pink electronic noise.

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In 1974 W. G. Sebald wrote a travelogue for the educated German reader, proposing a circular tour of discovery around East Anglia. He recommends places to experience and gives advice on where to stay overnight. For the modern reader, who knows Sebald's literary works, the interesting thing is to work out what motivates his attraction and to note the places to which he will return 20 years later in Die Ringe des Saturn.

This essay examines theoretical arguments surrounding the use of post-colonial theory as a way to fill in the epistemological lacuna in the studies of post-socialism. It reviews the various streams of this theoretical development and employs Edward Said's notion of "traveling theory" to demonstrate that theoretical claims made by proponents and opponents of this particular comparative perspective are historically, socially, and geographically situated, although not fixed. Disciplinary, national, and institutional affiliations, instead of theoretical justifications, are identified as important factors in the propensity to accept or resist the introduction of post-colonial perspective on Central and Eastern Europe and the former Soviet Union. The essay concludes by acknowledging the potential usefulness as well as the limits of post-colonialism in the conceptualization of the post- socialist space.