Abstract: The purpose of this work is to define the semantics of coloratives in the artistic discourse of one of the brightest representatives of the first wave of Russian emigration, Boris Poplavsky. His work is a kind of aesthetic experiment, which is carried out at the level of form, content, and naturally poetic language. The subject area of the study is the lyrical texts of B.Y. Poplavsky, they are concentrated in comparison with the author's prose and have proper color nominations that expand the semantic halo of the author's artistic world. The analysis of the semantics of coloratives makes it possible to identify the stylistic dominants of Boris Poplavsky, to compare his writing style with a number of experimental artistic trends of the early twentieth century. The discursive nature of B.Y. Poplavsky's writing is deliberately associated with the expansion of the semantic boundaries of a literary work. The continuous sampling method is not the main one in the work, because the purpose of the article is not to concretize the statistics of the use of a particular color, but to identify the functional limits of the color palette of B. Poplavsky. This does not contradict scientific research, the content layer is the main one within the framework of cognitive linguistics, sociolinguistics, semiotics. The results of the work can be used in university practice, when studying the poetics of B.Y. Poplavsky's texts, determining the specifics of his artistic orientations. In our opinion, Boris Poplavsky's poetry is the most advantageous for illustrating the color significance, since his texts are focused on visual arts – surrealism, avant-garde, and modernism in general. The novelty of work in building a systematic and holistic hierarchy of color in Poplavsky. At the same time, it can be noted that the functional load of the coloratives is not uniform. We have identified such options as emotional-evaluative, nominative, axiological, receptive, and, of course, visual (figurative). Boris Poplavsky's poetic cosmos is verified due to color combinations, it is important that semantic expansion is not excluded.

Abstract: The subject of research in this article is artistic stylization, which is methodologically considered within the limits of receptive aesthetics and comparative studies. This principle of literary labeling is analyzed on the material of lyrical experiments by Venedikt Yerofeev. The "Anthology of the Poets of REMSTROYTREST", which becomes the illustrative base of the study, has not been subjected to such an assessment in the mass of critical sources. The article provides a comparative analysis of Venedikt Yerofeev's poetic sketches with classical texts of literature of the XIX - XX centuries. The relevance of this work lies in the direct explanation of the formation of a special manner of writing and poetics of the texts of Venedikt Yerofeev. It is productive to use the material for further verification of semantic constants of the works of the specified author. The scientific novelty of the article is determined by the fact that for the first time in it the "Anthology of Poets of REMSTROYTREST" is considered within the boundaries of the alternative of artistic stylization. The literary experiment implemented in the "Anthology ..." is carried out at all major levels of the artistic whole: it is language, genre, form, style, manner, semantic integrity. Embodying the author's idea, Venedikt Yerofeev separates himself from the literal personal "I". It's as if he doesn't want to speak in his own voice, it's better and better to pronounce the evaluation version, according to Yerofeev, with other people's voices, adopting a certain speech mask. This form implements the fractal of double coding, the dynamics of aesthetic play, manipulation of the reader's consciousness. Artistic stylization also implements the attitude of imitation and partial recognition of the pretexts. Semantic limits are not distorted in the course of such variation, within the framework of postmodern poetics they reach the status of rhizome.

Abstract: The work of Venedikt Yerofeyev has been adequately studied and interpreted, however, there are still a number of texts that have not been practically studied in the mass of critical sources. One of the precedent constructs, an original and self-sufficient work is "My Little Leniniana" (1988). Therefore, the expediency of studying this text is motivated, in demand and relevant. The article attempts a holistic perception of "My little Leniniana" Veins. Erofeev from the standpoint of identifying a precedent construct in this work. The citation character, in our opinion, speaks of the author's desire not only to formally combine the text nominations from the writings, letters, diaries of V.I. Lenin, but to achieve the effect of immanent objectification of a new meaning. The main subject of the analysis of the work is the design features of "My little Leniniana" Veins. Erofeev, deciphering the mechanism of artistic writing, evaluation of the semantic facets of the work. The precedent text of the Ven. Erofeev becomes a point of concretization of the main cultural and historical dogmas, while the dynamics of semantic constants is mobile with the passage of historical time. The novelty of the work lies in the fact that "My Little Leniniana" by Venedikt Erofeev is considered as a precedent text formed from quotation constructs, however, having other semantic facets different from the original source. The simulation of the game, the simulation of spatial and temporal landmarks, the simulation of a reliable truth under the influence of what someone has already said levels the image of the author, he becomes a textural scriptwriter, creating a kind of palimpsest. The subjective organization of the Erofeev palimpsest is structured in such a way that the transition from a temporal beginning, a spatial point, a quotation following the "author" is carried out to stronger and immanent propositions. Venedikt Yerofeyev prophetically outlined in his "Little Leniniana" the contours of the changes of the late twentieth century on the textured, precedent material of the late XIX – early XX century.

Abstract: The prose by Leonid Leonov exemplifies the dialogue of the writer with literary and cultural formations of the past. Artistic thinking of the writer is oriented towards the potentiality of discursive combinations, as well as the expression of his authorial position. The object of this research is the novel “Evgenia Ivanovna”, which is structured on the principle of condensation of intertextual references. The subject of this research is the versatile type of narration of the prose writer of the XX century. He implements the plot of the text by means of constructive dialogue with classic literature. Research methodology synthesizes the verges of intertextual, structural, conceptual, hermeneutical, and comparative approaches. Reception of the novel “Evgenia Ivanovna” becomes more complicated with the course of historical time. The philosophy of Leonov’s text consists in relative simplicity. Specificity of the novel lies in finding a compromise solution. The author suggestively intertwines fates of the characters into a single large event, which affects the entire country. The formulated conclusions specify the scale of the persona of Leonid Leonov in literary process of the XX century. This material may be valuable for further research on the specificity of Russian classic literature.

Abstract: Venedikt Yerofeyev is a remarkable and complex figure in Russian literature of the second half of the XX century. He is one of the first to expresses a different perspective on the realities of life and propose a new type of assessment of being. The object of this research is the introductory composition of Venedikt Yerofeyev written in 1961, at the time of joining Vladimir State Pedagogical Institute. The main subject of the analysis is the objectification of V. Yerofeyev’s metacritical assessment of “All Right!” Research methodology is at the edge of conceptual evaluation of the text, hermeneutical interpretation of the composition, structural and comparative approaches. The basis of receptive criticism, which in the author’s opinion was taken by Venedikt Yerofeyev as the principle of interpretation of Mayakovsky’s poetic construct, unites the outlines circle of methods. The novelty and relevance of this work consists in the fact that Yerofeyev’s  introductory composition has not been previously examined and commented upon in of a number of scientific sources. Yerofeyev’s writing has a clearly humanistic and philological connotation. The author creates the text by a unique research pattern: from the emotionally sensible focus of experiences of Vladimir Mayakovsky to verification of the positions of synthesis of personal and social order in the poem “All Right!” Metacricisim of Mayakovsky's style and artistic manner in the composition of Venedikt Yerofeyev is given not only from the perspective of point estimation of text of the futurist poet, but also from the standpoint of intensive reduction of the potentially inherent meaning.

Abstract: The subject of a special study of this article is the eschatological character of the texts of one of the prominent representatives of Russian postmodernism Victor Pelevin. The analysis of short prose is carried out from the standpoint of hermeneutics and receptive aesthetics. In the texts of Victor Pelevin there is a sufficiently large number of signs, similar to the mandatory standard of ideas about the end of life, the final fate of a character / image that is on the verge of a transition from a literal existence in the available reality to a new form of existence. For the author, life on the edge is a way to manifest existence in a new turn of perception. This approach to the evaluation of V. Pelevin's prose has not yet been undertaken in contemporary literary criticism. The methodology of the work is based on the criteria of comparative comparative structural analysis, the principles of comparative studies and receptive aesthetics. Particular attention is paid to the methods of organizing artistic space and time, methods of objectifying the lifeline, and verifying the conditional epistemological finale. The urgency of the issue is explained by the fact that the principles of eschatological poetics are the key to understanding the large narrative forms of the specified author. The paper concludes that the aesthetic effect of small prose consists in the constant increment of connotative series, in references to the world classical literature, in the transformation of plot moves, in the epistemological standard of images, in the verification of values. The style of small prose by Victor Pelevin combines the postmodernist rules for the organization of a literary text and the classical eschatological tradition.

Abstract: The article presents a content analysis of Venedikt Erofeev's poem «Moscow – Petushki» from the standpoint of intermedia poetics. Postmodern construct has a large number of musical inclusions (reminiscences, allusions, inkling, paraphrases, quotations) that create multiple versions of readings and interpretations. Relevance the topic is caused by the fact that the author provides a synthesis of the aesthetic categories that shape a text array. The combination of the poem's Ven. Erofeev with a number of classical music defines the originality of the research. The methodology of work is based on principles of comparative, structural analysis, comparative studies and receptive aesthetics. Functions of intermediality in the «Moscow – Petushki» is focused on the stabilization of the narrative and the variance of signification. The multiplicity reality of the text is achieved by accretion of allusions, reminiscences, paraphrases from the music context. «Moscow – Petushki» by Venedikt Erofeev is a significant phenomenon, which will realize the birth of new principles of perception reality. Consequently, aesthetics of the poem literally in synthesis of linguistic, literary and discourse-intermedia.

Abstract: The subject of the research is the interdependence between the language and verbal communication, language and thinking, language and various types of discourse, assessment and analysis of a discursive writing. The object of the research is the specification of gnoseological mainlines involved in the process of objectivation of both the meaning of an available text, hereinafter - discourse, and decoding the reader's contextual artistic reality. The author of the article examines the  hierarchy of the discourse, the structure of the meaning in the practice of discursive creative writing formed by the combination of diametrical meaning points under conditions of transformational dispositions. Such aspects of the topic as the control over the reader's mind, systematisation of artistic forms, immanent variants, intratextual relations, semantic allocation, structuring and reception of the concept as a unit of the mental frame-based scheme, and registers of discursive practice methodologically complete the research and reveal the topic at the most. The author pays special attention to the analysis of discursive paradigm that is incomplete, tends to have infinite borders and, which is very important, regulated by the social historical environment and individual personal priorities. According to the author, cognitive approach is the most accurate research method providing that the composite research methodology prevails. Interpretation based on the aforesaid approach is close to the ontological correction of the meaning and statement of multiple connotations. Consequently, cognitive reception algorithms of the artistic discourse reversibly reveal possible paths for decoding all the volume of meanings. The novelty of the research is caused by the fact that for the first time in the academic literature the author views artistic discourse as a form of connection of nominative corpus units from the side of the author and the sphere of constant actualisation of meanings from the side of the reader. This allows to conclude that artistic discourse is a hierarchically normalized process. Unlike text, discourse performs the function of the language functional allocation. Communication manifests the model of the special relationship between the author and the reader, the recipient and the person who produces a literary text. The hierarchy of the discourse is not a literal composition but the interplay of paradigm language forms that functionally exist in the reader's mind. Conceptual modification of elements co-organise the matrix of of the cognitive evaluation of reality. The main conclusion fo the research is that artistic discourse should be perceived as a climax of a concretized aesthetic thought, narrative style, mind's marker, and evaluation method, in a word, everything that is axiologically correct for the author and recipient and formally correct at this or that historical stage.