Abstract: The subject of the research is the aesthetic discourse in K. Geertz's work "Deep Play," which is examined within the framework and based on the principles of a specific epistemology of anthropological research developed by the author. By characterizing the cockfights that were common on the island of Bali in the 1950s as a work of art, K. Geertz creates a multi-layered aesthetic description of them. He distinguishes the level of expressive means, which includes blood, bets, the crowd, the roosters themselves, projections of status, and fractional struggles; the level of the main experience, "anxiety," to which this diversity is subordinated; and the level at which cockfighting becomes a representation of a universal human event. However, these three levels do not create a unified aesthetics and do not allow for a formulation of the question of what constitutes art in this context. To address the question of the nature of the aesthetic that K. Geertz proposes, we rely primarily on the division of aesthetics into classical and non-classical developed in domestic philosophy. For the analysis of discursive insertions in Geertz's interpretation of the fights, we turn to neo-Kantian philosophy, the interpretation of the Aristotelian concept of mimesis, and phenomenological aesthetics. The scientific novelty of this research lies in the suggestion of a new pathway for the reception and conceptualization of Geertz's interpretative approach, which has not yet been realized. Although the problem of poetics and aesthetics of anthropological writing itself is regarded as significant, and the blending of humanitarian and artistic-literary genres is recognized, with new writing practices being developed, the tools of poetics and aesthetics are not utilized. They are overshadowed by numerous critical approaches. However, as demonstrated by Geertz's work and the reception of his writings by his initial critics, incorporating philosophical aesthetics into the anthropological discourse is necessary. Since reception occurs through the "translation" of the perceived into the register of familiar discourses, this article proposes to turn to non-classical aesthetics as a domestic philosophical development. The concept of non-classics appears useful not only as a "name" but also due to its content, capturing the nature of non-classics not as a system but as a tense meaningful field.

Abstract: The subject of the study is hypertext in literary fiction. The research aims to determine which object is most aligned with the classical definition of hypertext, established in domestic scientific discourse since the 1970s, which implies software for hyperlinks, computer presentation of the resulting system of text integration, interactivity, and user influence on the unfolding structure of hypertext. However, in literary studies, hypertext is interpreted broadly, sometimes as any nonlinear narrative or as a narrative with reading instructions, featuring an oversized scientific-referential apparatus. In our view, such usage of the concept is metaphorical and bears no research value. We systematically distinguish between metaphorical and literal uses of the concept of hypertext and point to a specific example of hypertext in 20th-century literary fiction: the web version of D.E. Galkovsky's novel "Infinite Dead End." In this work, we employed methods from the history of concepts, semantic analysis, media studies, receptive aesthetics, and empirical comparative analysis. The main contribution of this work to domestic scientific discourse is the assertion of the necessity for a strict application of the concept of hypertext in literary analysis. We demonstrated the evolution of the concept in domestic scientific discourse and summarized the work of colleagues in this area. We proposed a strict and expanded version of the definition of the concept and developed an established thesis in domestic science regarding the existence of the metaphor and mythologem of hypertext, alongside actual hypertext. The work also advances a methodological thesis on the necessity of cross-referencing a literary text defined as hypertext with a standard or model. We analyzed "Infinite Dead End" by D.E. Galkovsky from the perspective of its various media presentations and proposed the thesis that the web version of the novel is a benchmark of postmodern artistic hypertext.

Abstract: The subject of the study is the author's metafictional discourse, expressed in a complex of discursive elements, having a different genre and functional nature. In Matvey Komarov's novel Vanka Cain, metraleflexion is a complex that includes metalepsis, digressions, generalizations, glosses, but also elements of paratext, for example, "Forewarning" and metatext, for example, footnotes. All these elements are in a unique configuration, form a single system of the author's discourse, and reflect the general meta-ethics of the work. Therefore, analyzing them as a system, we do not separate individual elements, but two of their complexes reflecting the key opposition of the metapoetics of the work: metafictional commentary and metanarrative commentary. The first one thematizes the work of fiction and fantasy. The second focuses on the reflection of literary and rhetorical forms. In Komarov's novel, they have their own specifics, peculiar to the rhetorical consciousness, modified by the folk tradition of popular literature.  In the study, we use the teleological approach developed in Russian philology by A. Skaftym, in which the emphasis is placed on the total importance of all elements of the work. Also, following Yu. Chumakov, we include the author's notes in the text of the work. Based on postclassical German narratology, we separate the metafictional and metanarrative author's comments. The novelty of the research lies in the consideration of the author's metapoetics in the early work of Matvey Komarov. In the analytical allocation of its explicit, verbalized form by the author, in the commentary, which had not previously been the subject of research. This required a methodologically innovative combination of the perspectives of the immanent analysis of a literary work and the narratological analysis of an author's work, during which it became possible to distinguish two, metanarrative and metafictional, systems of author's judgments in the text. At the same time, due to the specifics of the subject, the identification of the features of Matvey Komarov's literary consciousness became particularly valuable research results. His conceptualization of literature as a quality of form, the rhetorical perception of fiction as a technique. And, on the contrary, relying on evidence and experience in the design of history, understanding its nature as a reflection of reality, an emblematic vision of it as a fragment having didactic value.

Abstract: The subject of this study is the history of the concept of "authorial commentary" in Russian literary criticism of the 1920s and 30s. The moment of the appearance of its actual word form, as well as its equivalent, "auto-commentary", is recorded. The key research method is historical semantics, which provides a methodological framework for combining the semantic, pragmatic analysis of the concept of "author's commentary", as well as the epistemological analysis of the associated representation system. Auxiliary methods are the epistemology of the humanities, which makes it possible to establish the essence of the literary concept. In the course of this study, a sketch of the periodization of the history of the concept of "authorial commentary" was given. The thesis was put forward that the period from 1921 to 1935 is central to its existence in literary discourse, during which the tradition of its dual use was established. This tradition is relevant to this day. An epistemological characteristic of this period was given. It shows the predominance of the psychological understanding of commentary over its understanding as the form of literary study. It was found out that in the context of the formation of textology, this concept denoted the connection of an artistic work with the non-fiction texts of the author accompanying its appearance. The equivalence of the word forms "authorial commentary" and "auto-commentary" was demonstrated, and the thesis was put forward that author's commentary was defined by literary critics of the 20s and 30s as a type of auto-criticism, and the very doctrine of auto-criticism was part of the psychology of creativity. The last was predominant and influential concept of the time due to complex relations between psychoanalysis and psychological criticism, and young soviet literature studies.