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The article deals with the short story by the English writer Thomas Hardy An Imaginative Woman (1894), which has not been translated into Russian. The author of the article analyzes this work from the point of view of genre features and classifies it as a piece of photoekphrastic prose. The argument in favor of this categorization is photographic ekphrasis, penetrating into such poetological levels of the story as plot-and-composition, character-related, spatiotemporal, narrative, motive-thematic. The perception of photography had a particular impact on the poetics of ekphrasis in the works of the Victorian era: it was not instantaneously perceived as a new and independent art form. Photo ekphrasis viewed through the prism of the Victorian times allows assuming its genre-forming function. It is not surprising that the mysticism of the photographic is reflected in photoekphrastic prose. According to the plot of the story, a photograph of a poet has an inexplicable impact on Ella Marchmill: looking at the photograph, she falls in love with him and commits adultery with him in her imagination and fantasies. After the suicide of the poet, whom she never met in reality, Ella dies. Having accidentally found the photograph in his house, the husband discovers some similarity between the child and the photographic portrait and kicks the child out of the house. The genre of Victorian short story, 'open' and developing, turned out to be the most organic form for photoekphrastic experiments. Thus, the functionality of photo ekphrasis in a short story is very versatile: it creates external and internal eventfulness in the story; reveals the psychology of the characters; serves as an impetus for expanding the historical and cultural context of the Victorian era; acts as a link between two worlds – the real and the ideal, built with the help of the imaginary; embodies the motives of 'meeting' and 'recognizing', as well as the theme of death and identity (personal, social) of the characters. The participation of photo ekphrasis in the organization of all levels of the artistic system of the story allows us to classify it as the genre ofphotoekphrastic short story.

The article deals with phototextuality as a poetological category of the modern English novel. An attempt is made to define the term 'phototextuality'. A brief historiography of the issue is presented. The focus is basically on photographic ecphrasis, which we define as a description of a photograph being the subject of the character's reflection or a result of cooperation of the photographer and the model. The article introduces two differentiating terms: protophotonekphrasis, which has a real photoprototype in the culture, and a notional photoekphrasis, created exclusively by the author's imagination. Each of these photoekphrases is an active structure-forming component of both the issues raised and the poetics of the analyzed novels: Master Georgie (1998) by B. Bainbridge, The Photograph (2003) by P. Lively, The Rain Before It Falls (2007) by J. Coe, The Unseen (2011) by K. Webb. We investigate the functionality of photoekphrasis as a structural-semantic unit of literary text at the following levels: plot and composition, narrative, chronotope, system of images-characters. Photoekphrasis, organically fitting into the postmodern themes and subject matter of the novels, brings to the fore the concepts of memory, identity, fact and fiction, death and others as motives-themes and motives-problems. Basing on the analysis performed, we propose a classification of novels depending on the type of photographs presented in them – staged or random (natural): 1) a novel-photoreconstruction and 2) a novel-photoreflection. Photographic ekphrasis as a type of phototextuality can be considered one of the basic narrative strategies in literary practice of the late 20th – early 21st centuries.

The article attempts to reconstruct the system of ideological implications of the Siberian Notes journal published from 1916 to 1919 in Krasnoyarsk by Vl. M. Krutovsky, a follower of the 'senior' regionalists. One of Krutovsky's main goals was to consolidate the local intelligentsia to solve social and political issues of the Siberian region. Unlike most other Siberian publications of that time, the first issue of Siberian Notes did not contain a program manifesto. That is why the study involves the entire corpus of the journal's materials, considered as a metatext, to reconstruct ideological subtexts. At the beginning of the first issue was published the anonymous poem Yet frost holds mountains in his diamond chains..., which can be considered a metaphorical 'replacement' for a program article. The last stanza of the poem opens with the image of a sower, referring the reader to two classical pretexts: Pushkin's poem As freedom's sower in the wasteland and Nekrasov's To Sowers. However, while Pushkin's sower is unambiguously pessimistic and Nekrasov's dismal picture of the present gives way to an optimistic forecast not localized in a specific time, the work of the author from Siberian Notes expresses confidence that the 'crops' of enlightenment will 'sprout' as soon as in the 'coming spring'. The expectation of imminent socio-cultural changes determines the exploitation of 'spring'-related metaphors – this corpus of images is regularly found in fictional texts. Journal authors believed in the inevitability of reforms, which were expected to improve the life of the region in the near future, but, from the beginning of 1918, significant changes are noted in the opinions expressed in the journal.