The article considers the features and mechanism of generation of art concepts in the aspect of the cognitive approach - the methodology which is formed in nowadays literary criticism. Introduction of category“concept” to a conceptual framework of cognitive literary criticism is obviously possible and productive. This scientific approach assumes studying of literature as special form of knowledge and mental activity.The specifics of a concept (including the artistic one ) consist in mental nature integrating as individually author’s perception the knowledge and understanding of concrete phenomenon of reality (material or metaphysical), and also “collective” ideas of it.

The article is dedicated to theoretical substantiation for the issue of photography in a fiction text. It focuses primarily on the photography in lyric poetry. The article raises the question of necessity for describing photography not only as an isolated phenomena in individual texts, but as a universal, theoretical and literary concept.

The paper explores the functions and ways of representation of painting in I. Selvinsky’s poems lyrical plot (“In the Picture Gallery”, “To a Paintress”, cycle “Louvre”). It is analyzed how the painting influences the position of the lyric subject, the organization of space and time in the poem, and also conclusions are drawn about the reception of visual arts by the lyric subject and the significance of such theme in the work of I. Selvinsky.

The article is devoted to genre titles in lyrics of the late 20th - early 21st centuries on the example of the Elegy genre. Among the variety of approaches to the study of modern genres, the author expands upon the concept of genre continuity, the idea of transformation of genres.And as the internal measure of the genre involves the variation of genre characteristics, formerly unchanged in the Canon, the “recognition” of the genre depends on direct genre markers. One of the most important markers of the genre today is the genre title that forms preunderstanding of text. In the case where genre characteristics are transformed, replaced by the opposite (as, for example, the emergence of irony in an ode or ridiculing the past in an Elegy), the title becomes the only familiar route for odic tradition.

The author of the article suggests that the “liminality zone” term be used to denote the zone of an explicit transition from the one level to another in the perception of a fiction work, while the “liminality effect”term should denote the result as a consequence of the reception of this transition zone. The scientific issue is presented on the material of Elena Schwarz, Arkady Dragomoshchenko and Olga Sedakova poetry.Creating the liminality zone, the poet primarily uses the internal markers, rather than the external ones. The underlying liminality effect at the boundary of the verbal and the extra-verbal in the perception of a sophisticated reader provides him with an opportunity to approach the author’s intention as close as possible, completing the extra-verbal elements of the literary work.

This article reasons that the literature does not reflect the reality,but uses it for creating a special artistic realm. In the process of such creating, physical reality is aesthetically deformed or deconstructed; real meanings are transformed into aesthetic ones. As a result, the artistic realm of literature is understood as a system of contextual meanings realized through a combination of verbal signifies, in which the primary or direct meanings have been aesthetically deformed. Artistic work thus implies not only the possibility of creating a realm desired by the author, but also the possibility for an author to become there someone who in the real world the author could become not, although probably would wish to. The material examined in this article is the poems of Neznayka in Nikolay Nosov’s “The Adventures of Neznayka and his friends”.

The article is concerned with the money motive in Tolstoy’s works and money and morality relation. Wealth, money is the same sort of power as a political one. It is fatal for a person. Purity, austerity and severity of the film L’Argent by patriarch of the cinema Bresson inspired by Tolstoy’s short story.

The article presents a comparative analysis of the novel by Ivan Turgenev “Asya” and Ivan Bunin story “Rusya”. Revealed likenesses in their texts (the main theme of lost love and homeland, framework composition, similarity of titles, the appearance of the characters, the lyrical mood, the final passages, etc.) give grounds to speak of a deliberate Bunin’s “rewriting” the classical work of Russian realism of the 19^th century. The Turgenev implied sense permits precise identification of the main idea in the story “Rusya”: the nonrealizability of a happy love and repeat ability of human life lots.

This article is devoted to a study of letters exchanged between Aldanov and Nabokov, in respect to their attitudes toward Russian classical literature of the nineteenth century. The themes, content, and style of these two writers’ epistolary opinions on Pushkin, Gogol, and Tolstoy are analyzed. One supposition is that the personal relationship between Aldanov and Nabokov had an influence on the nature of their letters.

The article is devoted to the analysis of the structure-forming principles of Yu. Levitansky’s book of poems “Cinematograph” in the aspect of the fragment poetics. It analyzes how influence the genre of“book of poems” influences reader’s reception, the semiotic tension between linearity and discreteness of the text, the role of the metatextual component, the linguo-poetical braces of a book. The author postulates that the cinematic principle of montage of fragments, revealing the “Cinematograph” title metaphor, serves as a basic text-generating mechanism covering both the “upper” (thematic) and “lower” (poeticlanguage) levels of the text.

In this article, the plot-compositional structure of F. Svarovsky’s text is compared with the narratologic category of fractality, what makes it possible to reveal the character and peculiarities of the lyrical and epic principles interaction in the newest Russian narrative poetry.

The article treats the history of Spain (XIII century A.D) as the text that played a crucial role in the process of the emergence and the development of Spanish prose fiction. In this respect, it focuses upon the elaboration of the language of prose that is analyzed from various points of view: as a particular set of narrative devices, a specific way of plot organization, and as a peculiar technique of adapting Latin sources in order to make the story complete and entertaining. This general picture is achieved by the interpretation of a number of particular cases,namely the history of Hercules and the story of Numancia seizure. In the chronicle these stories are consistently built into traditional epic framework and are elaborated into self-sufficient pieces of heroic narrative.

The interpretation of the image of shoes in the modernist works of V. Van Gogh, K. Hamsun, and also in the philosophy of art of M.Heidegger is considered. For these authors, the thing (shoes as its epiphenomenon) is initially constituted by art, and not vice versa. The artist (in a broad aspect) thereby becomes the “legislator” of the being-sphere itself.

This collection on the creative work of Bella Akhmadulina comprises articles of the researchers from Belarus, Russia, Ukraine. It investigates basic parameters of the artistic world, personal identity creation, peculiarities of metric and strophic repertories, category of theatricality, perception of Akhmadulina’s poetry by Brodsky, principles of poet’s acoustic thought, lyrical diptych Word (1965)and The Midnight Savior (2007), landscape discourse and world view,poetics of the essay Nabokov’s Return, Akhmadulina’s place within the secondary school literature canon. The collection of works is a serious scientific publications dedicated to the creative work of one of the greatest Russian poets of the 20th century second half.