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The article is devoted to the study of the genre of literary epitaph in Tabasaran poetry. In the water part, which has a theoretical character, the difference between the cemetery and literary epitaph is shown, the constitutional signs of two genre varieties are revealed, the degree of mastering of the genre in the literatures of the peoples of Dagestan is stated.
In the main part of the work, the thematic, structural and compositional analysis, as well as the analysis of the subjective organization of the texts of the Tabasaran literary epitaph were carried out on the material of the poetic texts of poets G. Hajiyev and R. Ramazanov. The author comes to the conclusion that the literary epitaph in Tabasaran poetry has an edifying and satirical character; it condemns the actions and qualities of people who contradict the national ideal of a woman, mother, highlander — adultery, violence against people, selfishness and indifference, depravity and perseverance in committing sins. Also in the epitaphs, the problems of retribution for earthly life, gratitude are raised.

The paper is devoted to the late lyrics of E. A. Boratynsky (1800-1844), namely his final book of verses Twilight (1842). The question of how the motif of emptiness functions in this work is considered. The study of this issue uses the philological method of motifs analysis, as well as the possibility of hermeneutic and structural-semantic methods of research. It is shown that one of the functions of the motif of emptiness is that it appears as a property of objects of the immaterial world: emptiness is understood as the absence of value and cognitive meanings. The author considers the question of how these types of values are interrelated. The article demonstrates that the motif of emptiness is involved in the structuring of the artistic space of Boratynsky's book, and analyzes the idea of emptiness as a property of spatial images embodied in the book. It is shown that the image of the desert is one of the most significant in the book, in the article it is considered in relation to the image of the desert. In addition, in "Twilight" the idea of emptiness is embodied as a property of time, emptiness appears as characteristic of the individual-personal being of the sub-ject in the book of poems by Boratynsky, the motif of emptiness is ontological, since emptiness is correlated with the category of non-existence. The author shows that the analysis of the motif of emptiness allows us to better understand the essence of the romantic conflicts reflected in the book: the opposition of the poet and society, and at the same time, the internal conflict of the lyrical hero of Twilight. As a result of the analysis, the author concludes that one of the foundations of the artistic philosophy reflected in the work is the search for ways to overcome the emptiness- meaninglessness of being.

The author examines the inter-connections of subjects and motives in ten poems which Solovyov wrote in the second half of the 1890s. The method of motive analysis shows that those works bear the mark of a verse unity making an uncompleted cycle. It appears that Solovyov's poems during that period can be related not only to his aesthetic and philosophical works but also to the lyrical pieces of earlier poets. Thus, it is shown that ten poems belong to the tradition of A.A. Fet, K.K. Sluchevsky, A.N. Maykov, V.A. Zhukovsky and Ya.P. Polonsky. It is suggested to call this uncompleted cycle "Poetry as theurgy". A brief review is proposed of the aesthetic and philosophical ideas which are important to understand the general theme canvass of the cycle. The common theme and cross-cutting motives of twelve poems forming that cycle are defined. It is suggested to consider that the lyrical mystery theme is common to all the poems of that cycle. It is shown that the prophetic motive and images/symbols of nature and of the poet as prophet can be traced throughout the whole of the cycle. The conclusion is that Solovyov has created a series of poems which, through their themes and motives, prolong and complete each other, thus offering an uncompleted cycle of poetry as theurgy. From the point of view of its structure and content, that cycle is typical of the literary epoch when it was composed, being a continuation of the classical tradition while at the same time creating a new tradition, that of the symbolists.

49 pages ; Akhmetev explores the phenomenon of "deep underground" authors whose work was suppressed by the government because of the nontraditional nature of the form and ideas of their poetry. ; University of Oregon Libraries, Oregon Humanities Center, Office of International A ffairs Global S tudies Institute, and Russian, East European, and Eurasian Studies

The article is devoted to the study of the names of stones in the Altai language and its dialects; the lexical and semantic classification of stones is identified and described; folklore research and interpretation of stones in the literary texts of Altai writers, in particular in the poem by Boris Ukachin, is carried out. Based on the material of his poem, a historical and linguistic analysis of the ethnocultural vocabulary of the Altai language is given. The cult of stones is one of the most ancient in the history of mankind. This problem has been little studied and requires further research. There are about fifty types of stones in the Altai language. All of them have names depending on their purpose, use. In many Altai legends and legends, they play an important role, have magical and medicinal properties. According to the authors, the names of stones are widely and variously represented in the work of B. Ukachin. Many of them are common for the vast majority of Turkic languages, which is quite justified historically and testifies to cultural traditions

В работе рассматриваются тенденции развития современной русской поэзии. Отмечена недостаточная изученность процесса сближения и взаимовлияния поэзии и рекламы, что определяет актуальность исследования. Источниковой базой работы послужили материалы литературных сайтов, интернет-архивов рекламы. В исследовании были применены культурно-исторический, герменевтический и традиционный описательный методы. Дается обзор концептуальных подходов к использованию производителями рекламы поэтических образов и приемов саморекламы мастерами изящной словесности. Анализируются такие культурно-технологические феномены, как симультанность, аллюзии, реминисценции, массовизация культуры. Рассматриваются направления сближения и примеры взаимопроникновения поэзии и рекламы. Выявлена зависимость функционального потенциала используемых поэтических аллюзий от социально-культурных характеристик целевой аудитории, профессионального уровня производителя рекламы и рекламного бюджета. Предложено выделение двух категорий литературных аллюзий - конструктивной и деструктивной. Конструктивные аллюзии ориентированы на уважительное отношение к своим денотатам, сохранение их аутентичности и формирование исключительно положительных ассоциаций и позитивных эмоций у адресата рекламы. Деструктивные - имеют целью повысить авторитет рекламодателя или его продукта за счет искажения или уничижения денотата аллюзии. Качественная реклама с конструктивными поэтическими аллюзиями может служить действенным средством популяризации как классической, так и современной поэзии.
The paper examines the trends in the development of modern Russian poetry; reveals insufficient study of the process of convergence and mutual influence of poetry and advertising, which determines the relevance of the study. The source base of the work was the materials of literary sites, Internet advertising archives. Cultural-historical, hermeneutic, and descriptive methods were used in the study. The paper provides an overview of conceptual approaches to the use of poetic images and self-promotion techniques by masters of fine literature by advertisers; analyzes such cultural and technological phenomena as simultaneity, allusions, reminiscences, and mass culture; considers the directions of convergence and examples of interpenetration of poetry and advertising. There has been revealed the dependence of the functional potential of the poetic allusions used on the socio-cultural characteristics of the target audience, the professional level of the advertising producer and the advertising budget. the author proposes to distinguish two categories of literary allusions - constructive and destructive. Constructive allusions are focused on respect for their denotations, preservation of their authenticity and the formation of exclusively positive associations and positive emotions in the addressee of advertising. Destructive allusions aim to increase the credibility of the advertiser or his product by distorting or disparaging the denotation of the allusion. High-quality advertising with constructive poetic allusions can serve as an effective means of popularizing both classical and modern poetry.

This paper deals with a variety of lyric poetry that was widely cultivated under Catherine II — the poetry of war. This poetry was written almost always as oc- casional court poetry; it flourished in the general context of festivities organized in celebration of the Russian successes in the numerous wars of the period. The analysis takes into account not only the main poets, but also the minor poets in order to receive a fuller picture of the period's mentality. Presenting themselves as loyal subjects, the poets dedicated their texts mostly to Catherine II, congratulating her on her victories and praising her multifarious virtues. This panegyric element sheds a light on the cult of the empress and the specifics of her contemporary image. But the poets addressed their works not only to Catherine, but also to her victorious generals and in some cases also to the armed forces. In practicing this kind of poetry, the authors not only showed their patriotism, but also their poetic virtuosity and their erudition: their poetic task was to translate the well-known military facts into the solemn "language" of the "high style". Writing a victory ode was a celebratory act sui generis: according to a venerable tradition of classical antiquity, the poetic word was able to transcend time, ensuring eternal glory. Remaining close to official doctrine, the poets were nevertheless able to express their own patriotic view on the ongoing wars. This patriotism came in two kinds; each one represented a certain attitude to war. The first was a radical patriotism that advocated the pursuit of national glory by the ruthless use of military power in foreign politics. The second kind was a moderate patriotism that saw war as a necessary evil; it obsessively strove to reconcile Catherine's bellicose politics with the traditional ideal of а "just war". The article closes with a discussion of war poetry in its relation to the peace-loving ideals of European Enlightenment. ; Предлагаемая статья посвящена военной лирике, широко практикуемой русскими поэтами во второй половине ХѴІІІ века. Эта лирика является тематической разновидностью окказиональной придворной поэзии. Она процветала в контексте празднеств, устраиваемых по поводу русских успехов в многочисленных войнах эпохи. Учитывается творчество не только крупных, но и мелких поэтов, чтобы получить более полную картину современного сознания. Рекомендуя себя в качестве лояльных подданных, поэты посвящали свои стихотворения прежде всего Екатерине ІІ, поздравляя ее с победой и восхваляя ее многочисленные добродетели. Этот панегирический элемент военной поэзии проливает свет и на культ монархини, и на конкретные черты ее образа. Поэты обращались со своими текстами также к победоносным генералам, а иногда и к российским войскам. Практикуя этот жанр, они демонстрировали не только свои верноподданнические чувства, но и свою поэтическую виртуозность. Их художественная задача состояла в том, чтобы перевести известные факты военных событий на "язык" высокого стиля, придавая им поэтический, праздничный ореол. Писать победную оду было праздничным актом sui generis: согласно европейской традиции, восходящей к классической античности, поэтическое слово обладало способностью победить время и обеспечить вечную славу. Кроме того, поэты могли при всей близости к позиции официальной политики выразить свой собственный взгляд на военные события. Выделяются две основных точки зрения: для радикальных патриотов среди поэтов война являлась испытанным и позволительным средством для осуществления внешнеполитических претензий, тогда как умеренные патриоты, напротив, видели в войне необходимое зло, которое они стремились всеми силами согласовать с традиционным идеалом "праведной войны". Статья завершается обсуждением вопроса об отношении военной поэзии к миролюбивым идеалам европейского Просвещения.

The article deals with mentions of the name of Gavriil Derzhavin in Russian poetry in 1790-2023. In the poems, the singer of Felitsa appears not only as an outstanding original poet, but also as a lover of truth, a statesman, a representative of the Catherine the Great era, and finally, a friend and acquaintance of his peers and the idol of the young Pushkin and Delwig. In later texts, the image of the real Derzhavin, as we know him from sources, including autobiographical Notes, becomes more and more blurred. Some hypostases of Derzhavin attract poets more often (poet and statesman), others are much less common (a friend of some of his contemporaries), some are not mentioned at all (literary theorist or the author of the mentioned Notes). Such a choice also influences the formation of the image of the poet among the general readers (for example, in the 20th century, one of the favorite plots is the description of the meeting between Derzhavin and Pushkin at the Lyceum, which is clearly related to the importance of this episode in Pushkin's biography, but not in that of "old Derzhavin"), and among other poets. Avant-garde poets represent Derzhavin in their texts in their own way. Very few poets pay attention to the formal features of Derzhavin's poems. Sometimes voluminous quotes from his work are included in poems by later authors (for example, by K. Ryleev and K. Simonov). A new poem by German Lukomnikov, lines from which are included in the title of this work, is considered separately: Derzhavin's name is not mentioned in the text, the poet's unspoken surname is encrypted in a compound rhyme.

This essay examines for the first time the three editions, from 1891, 1895, and 1900, of Solovyov's collected poetry from the point of view of their internal organization and relationship. The task posed is the identification and description of the most important components of the poetry book, which are present in all three editions and contribute to an understanding of the author's conception as it was realized in the books under consideration. To fulfill this task the comparative and descriptive methods of analysis are used. The evolution of the author's artistic consciousness is described on the basis of the collected editions of Solovyov's poetry, his epistolary heritage, and the research of contemporary scholars. The different levels of the author's dialogue with the reader, with critics, as well as with poets and writers are highlighted. The author outlines the ways of researching the examined theme. In particular, the chronological order of the development of Solovyov's lyrical books, as well as the definite recurrence of the separate lyrical components in each of the three books, is shown. We see that the content of the author's three prefaces determines their function in the structure of the poetry books. The special role of critical works, included by the author in the third edition, in shaping the structure of the book of poems, as well as their relation with the foreword, is emphasized. The author concludes with genre renewal of art forms to solve new aesthetic tasks. Solovyov's aspiration to realize the life-creative conception within the framework of work on three lifetime editions is affirmed. In conclusion, the author substantiates the idea that the presented editions in their unity are a transitional genre form, which corresponds to the poet's individual artistic searching and which establishes the literary trends of the turn of XIX–XX centuries.

The article deals with the reception of Arnold Böcklin's pictorial
heritage in the Russian culture and literature of the Silver Age. It has gone through
all the stages from a violent passion to cooling and almost complete oblivion. Th e
focus is on the lyrics of Ivan Bunin and Andrey Bely of the 1900s. The author reveals
the ways of acquaintance of the Russian public with the paintings of the Swiss painter
(foreign travels, reproductions) and the peculiarities of their perception. By means
of comparative analysis, the author reveals the similarities in the plots and images
of some of the poems of two contemporary poets with the most famous paintings of
the artist: The Island of the Dead and Th e Battle of the Centaurs. It is concluded that
the culture of Russian modernism as a whole was characterized by a metaphysical
interpretation of Böcklin. Bunin valued more symbolic lyrical landscapes that convey
a sense of the mystical enigma of being and human life, or allegorical canvases
(Oceanids), impressive because of the beauty of the plastic scene. Bely sought in the
artist's work support for the assertion of the existence of another, otherworldly reality,
the realm of myth and ancient legends, and this was refl ected in his poetry. And in
the symphonies, allusions to Böcklin create a satirical effect. Nevertheless, both in
Bunin's poem and in Bely's works, we fi nd interesting examples of a modernist artistic
synthesis that combines painting and literature and is aimed at spiritualizing reality,
overcoming positivism and materialism. We see how the images of the Swiss artist
become the language for someone else's creative thought, fi t into a different national
culture.

В статье представлен анализ любовной лирики Ивана Елагина, - эмигранта второй волны. Нами рассмотрены две ипостаси любви, четко выделяющиеся в поэзии Ивана Елагина, - духовная и телесная. Достаточно внимания уделено и образам реальных женщин, которые оставили свой след в жизни и поэзии Ивана Елагина, которым посвящены многие стихотворения поэта. Но прежде всего автора статьи интересует соотношение образа лирического героя с биографией поэта, а также раскрытие глубоко личной темы с помощью поэтических образов, заимствованных из военной и насильственной лексики, что является следствием влияния катастрофичности ХХ века на мироощущение поэта. Именно в этом мы усматриваем своеобразие поэзии Ивана Елагина. ; The article presents the analysis of the love poetry of Ivan Elagin, the second immigrant wave's author. We have considered two forms of love, clearly stands out in the poetry of Ivan Elagin, spiritual and bodily. Enough attention paid to images of real women who left their sign on the life and poetry of Ivan Elagin, to whom his many verses dedicated. Above all the author is interested in the relationship of the character of lyric hero with the biography of the poet and the disclosure of deeply personal topics with poetic images borrowed from military and violent language, which is a consequence of the catastrophic twentieth century on the attitude of the poet. In this we see the originality of the poetry of Ivan Elagin.

The article is devoted to the study of special aspects of musical images realization in the creative works of Yury Levitanksy, whose poetry has strong influence of intermedia based on the synthesis of various spheres of art such as cinema, music and pictorial art. The natural connection of Levitansky's poetry and music can be easily observed in the names of a number of his poems named "Tune…" or "Song…". The life of the poet itself is often described as having musical connection. This fact is reflected in such names as "Bossa Nova in an endless day", "The capriccio of a springtime forest…", etc. In Levitansky's works music becomes the embodiment of life itself, a symbol of the natural cycle. In his poems, where human life is compared to a pathway, the poet also uses musical themes and musical images. Even the poems of social and political issues are associated with the theme of music in Levitansky. Music in his poems is one of the basic powers of the universe, material and ethereal aspects, the existence of humanity, separate areas of human lives. It possesses the idea of global inclusion. In some cases the name of a poem can refer to the idea of inseparability of music and nature ("Waltz to the tune of a blizzard").Noting the organic connection of Levitansky's poetry with music, the attention is drawn to the fact that in the creative consciousness of the poet, music becomes a symbol and the very foundation of life, the embodiment of the deepest mystery of being, universal harmony. It is not surprising that Levitansky's music itself is often anthropomorphic, acquiring the qualities and attributes of a living being.Key words: Yury Levitansky's creative work, intermedia, synthesis, lyric poetry, music, musical images. ; Статья посвящена исследованию особенностей воплощения музыкальной темы и музыкальных образов в творчестве Ю. Левитанского, поэзия которого имеет ярко выраженный интермедиальный характер и основана на синтезе различных видов искусства – кино, музыки и живописи. В частности, об органической связи поэзии Левитанского с музыкой красноречиво свидетельствует тот факт, что целый ряд стихотворений поэта получил название «Песенка…» или «Песня…». Сама жизнь у поэта нередко соотносится с музыкальными формами, что находит отражение в таких названиях произведений, как «Босса Нова о нескончаемом дне», «Весеннего леса каприччо…» и др. В творчестве Левитанского музыка становится воплощением самой жизни, символом природного цикла. В стихотворениях, где жизнь человека уподобляется дороге, поэт также не обходится без музыкальной темы, музыкальных образов. Даже стихотворения социально-политической проблематики связываются у Левитанского с темой музыки. Музыка в его творчестве становится одной из основ и мироздания – земных и небесных сфер, человеческого существования, разных аспектов человеческого бытия, обнаруживая идею единства всего сущего и слитности мира. Иногда само название стихотворения указывает на характерную для поэта идею неразрывности природного и музыкального начал («Вальс на мотив метели»). Отмечая органическую связь поэзии Левитанского с музыкой, мы обращаем внимание на то, что в творческом сознании поэта музыка становится символом и самой основой жизни, воплощением глубинной тайны бытия, всеобщей гармонии. Не удивительно, что и сама музыка у Левитанского нередко антропоморфизируется, приобретает свойства, качества живого существа.Ключевые слова: творчество Ю. Левитанского, интермедиальность, синтез, поэзия, музыка, музыкальные образы. ; Статья посвящена исследованию особенностей воплощения музыкальной темы и музыкальных образов в творчестве Ю. Левитанского, поэзия которого имеет ярко выраженный интермедиальный характер и основана на синтезе различных видов искусства – кино, музыки и живописи. В частности, об органической связи поэзии Левитанского с музыкой красноречиво свидетельствует тот факт, что целый ряд стихотворений поэта получил название «Песенка…» или «Песня…». Сама жизнь у поэта нередко соотносится с музыкальными формами, что находит отражение в таких названиях произведений, как «Босса Нова о нескончаемом дне», «Весеннего леса каприччо…» и др. В творчестве Левитанского музыка становится воплощением самой жизни, символом природного цикла. В стихотворениях, где жизнь человека уподобляется дороге, поэт также не обходится без музыкальной темы, музыкальных образов. Даже стихотворения социально-политической проблематики связываются у Левитанского с темой музыки. Музыка в его творчестве становится одной из основ и мироздания – земных и небесных сфер, человеческого существования, разных аспектов человеческого бытия, обнаруживая идею единства всего сущего и слитности мира. Иногда само название стихотворения указывает на характерную для поэта идею неразрывности природного и музыкального начал («Вальс на мотив метели»). Отмечая органическую связь поэзии Левитанского с музыкой, мы обращаем внимание на то, что в творческом сознании поэта музыка становится символом и самой основой жизни, воплощением глубинной тайны бытия, всеобщей гармонии. Не удивительно, что и сама музыка у Левитанского нередко антропоморфизируется, приобретает свойства, качества живого существа.Ключевые слова: творчество Ю. Левитанского, интермедиальность, синтез, поэзия, музыка, музыкальные образы.

Интертекстуальность в современной художественной литературе приобретает новые формы и расширяет спектр функций. Изучение новых литературных практик использования текста предшественника требует специальных методов их интерпретации. Особый интерес представляет исследование русского текста в зарубежной литературе и в поэзии в частности. Анализ стихотворений сборника современных английских поэтов Э. Крофта, В.Н. Герберта, П. Саммерса «Three Men on the Metro / Трое в метро» продемонстрировал, что в нем имеет место инкорпорирование культурно-маркированных элементов русского текста на всех уровнях – структурном, формальном, содержательном. В поэтических произведениях данного сборника содержатся единицы, обозначающие реалии разных сфер жизни российской действительности, в него включены аллюзии на литературные и историко-политические факты, цитаты из произведений, отличающихся жанровым, стилистическим и идейно-тематическим своеобразием. ; Intertextuality in modern fiction demonstrates new forms of realisation and variety of functions. Investigation of new literary practice of intertextual means requires special methods of their analysis. Russian text in foreign fiction and poetry in particular presents a great interest for readers and scholars. Collection of verses by English poets A. Croft, W.N. Herbert, P. Summers Three Men on the Metro has proved to be a bright example of the usage of Russian culture-specific elements on all textual levels – structural, formal, thematic. Poems of the collection are full of units denoting features of different spheres of Russian reality, historic, political and literary allusions, and citation from works of literature of different genres, styles and artistic value.

Nikita Sungatov's poetry is often categorized as postconceptualism-2 or the engaged-conceptualist pole of the [Translit] magazine community. However, it is worth considering that his poetic language is formed at the intersection of various influences, including the analytical poetics of Arkady Dragomoshchenko, the Prize named after whom Sungatov curated and before that was shortlisted for in 2015. Sungatov can consistently reproduce any style of contemporary poetry in his texts, coupled with their problematic analysis thanks to the intertwining of conceptualist metaposition and Dragomoshchenko's linguistic analysis. We can see this in the most famous texts of The Young Poet's Debut Book as well as in the current texts, Imitation of Vl. Khodasevich and [a modern poem]. The author of this article focuses on this latter poem. The role of the letter and its transformation can already be seen in the first part, which is stylized as zaum and alienated language. Here the intertwining of letters, phonetic signs, and pseudo-grammatical categories appeals to the historical avantgarde and its sound poetry. Another role for the letter in the poem is the indefinite article 'a', whose semantics make Sungatov's poem a statement about 'contemporary poetry in general', which, together with the stylization of various poetic languages from the historical avantgarde above to contemporary techniques of direct, neoclassical and opaque statement, turns the poem into a metahistory of contemporary poetry. And if Hayden White's Metahistory was a discursive analysis of historical narratives, then [a modern poem] becomes a discursive analysis of both recent poetry and its languages, and its collision with discourses of violence and big history. To all this corresponds an indeterminate subject, following the letter and the article, 'it', which nomadizes between languages, narratives, and the elusive modernity.

It is difficult to overrate the importance of the panegyric tradition for early modern Russian literature. Between the middle of the 17th to the end of the 18th century, it was practiced in many different genres—almost all Russian poets praised the ruler. This poetry deserves our interest as a specific form of political literature. As such it is not only relevant for the cult of the Russian monarchs, but it also sheds some light on the political mentality of their loyal—and literate—subjects in the age of Russian absolutism. Panegyrical poetry is per definitionem a thoroughly affirmative, noncritical form of political literature. But this did not prevent it from offering a certain scope for the expression of diverse and even contradictory political ideals. This can be exemplified by the panegyrical poems written in the early 1760s in the context of the coup d'état staged by Catherine II and against the backdrop of the Russo-Prussian peace treaty initiated by her predecessor, Peter III. In this situation, a fundamental difference of opinion about the tasks of the monarch and the mission of the Russian state emerged. ; Русская литература раннего Нового времени поражает преобладанием панегирической традиции. С середины XVII до конца XVIII века панегирика представлена во многих жанрах; почти все поэты воспевали правителя. Эта поэзия интересна как специфическая форма политической литературы. Ее изучение проливает свет не только на культ русских монархов, но также и на политический менталитет их лояльных — и грамотных — подданных. Панегирическая поэзия является per definitionem глубоко аффирмативной, некритической разновидностью политической литературы. Тем не менее она предоставляла авторам определенное пространство для выражения различных и даже противоположных политических идеалов. Указанные ее особенности показаны в данной работе на материале панегириков, возникших в начале 1760-х гг. на фоне русско-прусского мирного договора, заключенного ее предшественником Петром ІІІ, и в связи с дворцовым переворотом Екатерины ІІ. В этой ситуации среди панегиристов возникло фундаментальное различие представлений о задачах монарха и о миссии российской государственности.