Throughout its history the poetics has used models borrowed from music. one of such models may be defined as that of processuality: according to this model, poetical work, as a musical one, is developing intime by means of “dissonances” and their “resolutions”. Idea of processuality of any aesthetic form was formulated by F.K. Griepenkerl, who, however, did not provide specific examples as to application of that idea to poetry. A complement to the formal aesthetics of Griepenkerl may be found in F. Hölderlin’s poetological texts where poetry is considered to be simultaneously a dialectical and a musical process which involves the confrontation of opposite “tones”.

This article represents an attempt of justification for a new theoretical issue in the literature - poetics of the semantic uncertainty.The author shows the beginnings of semantic uncertainty in Russian classic poetry - in lyrics of Pushkin and Tyutchev and demonstrates different types of such poetics. The semantic uncertainty transfers anxieties, perplexity, hesitations, doubts and the search for the meaning of life.

The article is focused on the “suffering” in the world of Mikhail Bakhtin and Fyodor Dostoyevsky. Bakhtin in his work ‘‘Author and Hero in Aesthetic Activity’’ offers an example of the “body of the sufferer”. It helps to explain the nature of the “outsideness” notion and reveals a new connection that can relate Bakhtin to Dostoevsky. For Bakhtin, the “body of the sufferer” presupposes a distance that has never been overcome by anyone and can not awaken consciousness as a subjective being. And in Dostoevsky’s works, suffering as an indicator of one’s own will guarantees the presence of the subject

The article is devoted to the realization of the theoretical and literary views of Andrei Bely in the artistic strategy of the novel “Petersburg”. That had a significant impact on the formation of the formal school and Russian Futurism. Particular attention is paid to the dialogue of Bely - theorist and practician.

The present article analyses the Brjusov’s poem “Architectonics of ancient churches” (1899). It studies in detail the structural features of the visual imagery of the poem and its lyrical plot. Also by the example of this text. the article shows an effectiveness of using visualization as a method for analyzing the lyrical poem .

The article is dedicated to the analysis of the concept of artistic cyclization of lyric poems in the article on “West-East Divan” by Goethe written by A.V. Mikhailov the most prominent Russian Germanist and theorist of literature. This work by Alexander Mikhaylov has not yet been introduced into the stable practice for contemporary studies of literature cycles, though since long it has deserved such an introduction. The originality of Mikhailov’s conception is proved, first of all, in refusing to reduce the importance of cyclization to creation of a continuous series in poetic works expressing successive order of inner experiences for the lyric “Me”. By the example of analysis of a book of poems “West-East Divan” by Goethe Mikhailov convincingly proves that cyclization is first of all an “open set” of intentions and expressions in the presence of a “general idea”.

The story “Autobiography of the Corpse” is one of the most significant works by Sigismund Krzyzanowski. The article examines main features of an anthropological crisis at the event, narrative and receptive levels of the artistic structure. Infection of the recipient notes corpse way of seeing the introduction of it in the area of transgressive perception and recall of history is one of the main tasks of hero-narrator. Instilling in someone else’s visual-mental space, the unnamed notes author, provides another subject with his own eyes, with the sight of corpse. The situation of mental experiment of the hero upon himself and others, test the existential position of Stamm as that of the addressee of the notes are correlated with the mechanisms of “killing” the consciousness of the reader throughout the novel.

The article deals with “the rules” of the British Detective Club as the new critical genre. The author analyses essays of Austin Freeman,G.K. Chesterton and R. Knox. In the essays “the rules” of the writing are primarily determined by the view point of the reader.

The article is about a study of the virtual (possible) of subject in the context of the postverbality and typology of that subject. The subject and object being born in the post-verbality are rightfully called the virtual or possible. The author’s participation in creating postverbality may not be mandatory. Let’s call it active, moderate and delicate.

This article discusses the poetics from one of the central works in Russian literature and historiography of the first half of the 17^th century.The author draws attention to the fact that for all its innovative qualities, Avraamy Palitsyn’s narrative is in keeping with the literary traditions prevailing in Ancient Rus throughout its existence from the 11^th to the 17^th century.

The article examines the Swedish translation of the “Description of the Chinese State” by I. Petlin (1619), which was not drawn to the attention of researchers before. The most significant cases of the interpreter’s digression from the source text are revealed and explained. The attitude of the Swedish author towards the state of Russian literature in the 17^th century is reproduced.

The paper considers Merezhkovsky’s special view on the Reformation that has undergone changes for some decades. For him the Reformation was inscribed in the Russian context and was an alternative to the Revolution. Instead of Reformation he called purifying “religious Revolution”. But by the end of his life he came to a conclusion, that the true Reformation is the Unity of Churches and Christian All-Unity.

The article for the first time fully publishes and analyzes the review of V. B. Shklovsky (1921) on the last play of A. Blok “Ramses” (1919-1921), which Blok wrote for the project of “Historical picture” in the publishing house “World literature”. A special comment is made on the last phrase of the review (“oh, Tartar honour, more evil than the evil”), which is a quote from the Galicia-Volyn chronicle and relates to the story of the treachery of an alien power.

The composition of the novel by E. Sosnovsky “Aglaia’s Apocripha” is analyzed in the article. The composition is the organization of discourses of characters, i. e. the subject structure. The novel consists of four parts, united in pairs; the composition is based on the model of “novel in the novel”. The peculiarity of this model in the “Aglaia’s Apocripha” is the inversion: from the text, which is usually called inset, the work begins, and the compositional role of the inserted text is played by the encompassing work. Two composition sections of the “Aglaia’s Apocripha” are opposed to each other; first of all, by the value of various discourses of the central characters - Adam (in the first section) and Krzyszt of (in the second). All the events depicted in the novel are given in a “multi-centered perspective” (P. Florensky). These main features of the composition are designed to create a special reading position - similar to the one in which the heroes are, not always able to distinguish illusory and true reality.

The article is devoted to the beginnings of literature, which were formed by the early of the 21st century. The stories by L. Zaparina (L. Shoste) circulated as samizdat. They were printed in the 1992.The writer puts extra-literary tasks explicitly: to reveal the truth, to share the experience of overcoming misfortunes, to bring spiritual enlightenment. It makes modern literature closer to that of the Middle Ages.

This article seeks to demonstrate that in stand-up and rap the biographical author gives artistic meaning to and conveys his/herself through the subject in an intentionally syncretic utterance. This is achieved through a clear focus on the coterminous nature of the author and the subject in the reception of the performance, that is to say, through the intentional, even declarative reduction of the artistic element in the “existential truth”. The artistic world is structured and conveyed by its total identification with physical reality and, as a result, through the intentional reduction of the artistic element. This is facilitated by the nature of the subject, since the world of stand-up and rap is nevertheless indeed an imagined artistic world.

Based on the analysis of Sidonius Apollinaris’ letters the article reconstructs the way he saw the appearing barbarous power. Speaking about Theoderic 2^nd civilitas , the author wants to emphasize especially that the Visigothic ruler had already proven his belonging to the Roman world. This first meeting of the civilitas and “barbarous” ruler shows that the rex and royal power are no longer perceived as something totally alien to the Roman tradition and set of values. He saw how the influence of the Visigothic royal power was growing and spreading and left to us proofs of his conception in the form of an idealized portrait of Theoderic 2^nd touched by the Roman political philosophy.