Abstract: The appeal to the cultural space of the Silver Age and the Russian avant-garde allows us to judge the diversity of manifestations of the cultural text, the uniqueness of the dialogue between the cultural worlds of Russia and Europe, East and West. The cultural space of prominent representatives of the Russian avant-garde, including V. Kandinsky and D. Burliuk, was distinguished by a combination of artistic creativity and theoretical views, that is, a variety of synthesis of visual, verbal, auditory and other texts. Accordingly, the object of the study is the creative and theoretical heritage of V. Kandinsky and D. Burliuk, consisting of many texts, the subject is the identification of characteristic features of their cultural worlds, such as dialogicity and textuality. The scientific novelty and purpose of our research consists in the culturol analysis and method of comparing the artistic and theoretical views of the artists-thinkers V. Kandinsky and D. Burliuk, in identifying the inseparable connection of their various texts: artistic, visual, verbal, auditory and others.
It is established that the originality of the national culture is due to the history of Russia and its location between Europe and Asia. The simultaneous coexistence of cultural phenomena of the past, present and future, their continuity and competition among themselves is a non-linear process, which happens in the era of the Silver Age. This "transitional" period at the junction of the XIX-XX centuries is characterized as an "explosion" situation.
The embodiment of the unity of the traditions of Russian and European arts, the interweaving of their artistic achievements and theoretical attitudes in V. Kandinsky's worldview, as well as theoretical views on art problems and the originality of D. Burliuk's artistic text with his passion for Oriental art – all this confirms the similarity of the creative attitudes of artists-thinkers. A comparison of their verbal and artistic texts leads to the conclusion that the features of the cultural worlds of V. Kandinsky and D. Burliuk are dialogic, textual and synthetic.

Abstract: This article carries out a culturological analysis of the artistic worldview of the poet, artist, art historian, and art critic Maximilian Voloshin (1877–1932) – one of the prominent representatives of the Silver Age. The object of this research is the diversity of artistic space of M. Voloshin, while the subject is the interinfluence of his literary texts. The author aims to determine the symbolic-anthroposophic intentions in the artistic space of M. Voloshin as a complex semiotic formation that comprises the continuum of various texts: visual, verbal, nonverbal, and others. Maximilam Voloshin’s reasoning on the symbolic nature are reflected in his theoretical works and correspondence with cultural figures. In his articles, Voloshin advanced the idea that the artist refers to the spatial form of art by means intuition and inner consciousness. The poem “Rouen Cathedral” by M. Voloshin is vivid example of the synthesis of poetic and picturesque texts. M. Voloshin’s engagement in construction of the Goetheanum in Dornach headed by the German anthroposophist R. Steiner contributed to the development of the new worldview, which is reflected in the original watercolor “Dornach Album”. The novelty of this research lies in the fact that the personality of M. Voloshin is presented as a metatext, complex semiotic space that intertwined visual (iconic), verbal and other texts that embody the symbolic and anthroposophic intentions. It is established that the use of symbolic and anthroposophic intentions by M. Voloshin, as well as the synthesis of visual, verbal and other texts, characterize the diversity and synthetism of his worldview, although he did not fully apprehended the views of the symbolists and anthroposophists. All these principles formed the artistic space of M. Voloshin as metatext in a single guise – poet, artist, and philosopher.

Abstract: This article conducts culturological analysis of the diversity of intercultural communications in Russian culture of the early XX century. Cultural space as the text of culture of that time is characterized by a transitional state, synthetic and dialogical focus. The phenomenon of Russian culture consist in the intelligentsia represented by the cultural figures of the Silver Age and avant-garde, who have creative way of thinking and propensity for new achievements in art. The object of this research is the “textuality"”of Russian cultural space of the early XX century, which is comprised of a range of texts and semiotic systems. The subject is the creative minds interpreting as the text of personality. The leading theme became the determination of interaction and mutual influence of the phenomena of culture, dialogue between creative minds, interested in the problems of synthesis of arts, within the cultural-textual space. The novelty of this work is defined by insufficient coverage in culturology of the problem of interrelation between creative personality and text in culture of the Silver Age and the avant-garde. It is established that the cultural space of Russian avant-garde can be viewed as a “meta-semiotic formation”, which includes texts and “metatext”. Personality of the cultural figure as the foundation for classification of texts is referred to as “metatext”. Classification of texts consists of the verbal text (theoretical and literary texts, literature, epistolary) and nonverbal text (texts of behavior, everyday life, era). Literary texts of the cultural figures of the Silver Age contain texts of the works of art: painting, musical, poetic, prosaic, as well as critical reviews on art, manifestos, and others. Nonverbal texts include theatricalization of behavior, creative life, and mythologization of personality, which form the identification code of creative personality of the Silver Age that gravitates towards the synthesis of arts. It is determined that the period of development of Russian cultural space of Russia of the early XX century is characterized by such peculiarities as:  synthetical nature, innovation of artistic language that consists of visual, verbal and audial texts on the basis of synthesis of painting, poetry and music.