No 1 (2015)

The article dwells on functioning of aesthete archetype in the A. Marienhof’s discourse of narrator and persona in 1920-s, its influence of poet-imaginist’s individual style. A special attention is given to determining the factors of forming A. Marienhof’s aesthetic worldview. The early 1920-s poems from the “Reality” collection, “Blind legs” and “Magdalene” poems etc. are the most representative, and characterized by the presence of the aesthete archetype in different aspects. The persona of A. Mariehof’s poetry reveals features of poet-aesthete who he feels not so much the beauty of the world and the human being as the perfection of the artistic form. As an aesthete, he “separates the aesthetic aspect of the perceptible from its ethical and cognitive aspect”. A. Marienhof beheld the revolution not as a moral but as aesthetic experience. It appears in his artistic works as a fantastic collage composed of incidents. The surrealism of the revolutionaryreality with the feeling of its absurdity neighbored to the surrealism of peculiar beauty of the unexpected and counterintuitive events. The descriptive and prescriptive strategies of discourse creation are prevalent. The corporality, appearance, newsworthiness, realityare perceived through the emphasis of something dreadful and physical.

The article is devoted to the examination of A.A. Ganin’s philosophical and historical ideas, in particular, his concept of revolution. Based on the analysis of Ganin’s lyrics of 1910s-1920s, the “myth” of the revolution, created in his work, is reconstructed, the characteristic of his complex, ambiguous attitude to the revolutionary events is disclosed, its reasons and preconditions are studied. The typical for Ganin’s creativity relationship of the concept of revolution with eschatological motifs is considered. In connection with the analysis of Ganin’s historical views is addressed the question of the relation of his work with some literary phenomena of the turn of the century and the first decades of the twentieth century, in particular, symbolism and expressionism.

The article presents an analysis of the problems associated with the genre renewal of modern poetry, notes the importance of the concepts of “big” and “small” form to determine the boundaries of lyrical and lyric-epic genres. On the material of Maria Stepanova poetry considered “small” and “large” poetic forms (lyric, ballad, cycle, poem, a book of poetry), shows their genre specificity.

The author of the article has attempted to analyse the images of Kalmyks seen through the eyes of two writers - A. Dumas and H. Balzac. The first contact of so distant cultures as French and Kalmyks took place in the period of Napoleonic Wars: in 1814 Russian army including Kalmyk forces marched into Paris. Balzac in the novel “Ursula Mirouet” reflected the perception of images of Kalmyks as absolutely alien and inimical. In 1858-1859 Dumas visited Russia and described his impressions in the travel book, where description of Kalmyk culture took a great place. Dumas presented Kalmyk culture as Buddhistic and expressed his delight with many features of national Kalmyk character. The author of the article believes, that literary images of Kalmyks is one of the forms of cultural dialogue.

The article considers the visit of R.M. Rilke and L. Andreas-Salome to the peasant poet S.D. Drozhzhin in the Tver village Nizovka (1900). Complex analysis of personal documents (Rilke’s letters, Andreas-Salome’s diary, Drozhzhin’s memories) allows to state that although familiarity with Drozhzhin was a reason for the trip, but really travelers studied the culture of the Upper Volga’s province represented in different social and psychological types. Nizovka has been understood by travelers as the ultimate expression of Russianness, “the heart of Russia”, which became the basis for its mythologizing, granting the status of Russian paradise.

This article discusses aspects of the development of information and communication environment in the “global-glocal” paradigm. The main features are a combination of factual and value communication in content as the characteristics of the information channel, television in particular, as well as the audience motive in the consumption information of such channel.

In article the main directions of development of journalism of China on the Internet are investigated, their continuity decides on classical traditions, relevance, the importance, compliance to modern inquiries of audience, essential lines and qualitatively new opportunities come to light and the originality of its formation reveals. The author pays special attention to a modern situation of functioning of journalism in China in which there are new journalistic genres with special polycode convergent characteristics. The author pays attention to a role of the language element «chenyuy» caused by cultural tradition in formation of an original information and publicistic genre «news cartoon».