By analyzing a number of texts, the article reveals two main text-generating models of poetic work: the first is a glossal one based on the dominance of the sound rather than the metric constructive factor (the classic example of “Bobeoby sang the lips” by Velimir Khlebnikov). At the same time, approaching the “portrait” of the person close in some aspects to the genre of illustration, Khlebnikov’s text preserves the dynamism of the work of verbal creativity, which Tynyanov considered the most important way to avoid descripti art.

The second model, which can be called ontological, is based on a shift in the subject-object relationship that is characteristic of the classical art of the word. Here we put our argumentation of the analysis of Boris Pasternak’s poem. In the article, through analyzing the early poems by B. Pasternak, the specificity of the objectless figurativeness and the possibility of its interpretation are considered.

The paper explores a poetics of the today book of a new type of organization. It shapes an image of a fundamentally ordered universe. The book by Nina Pavlova “Michaelmas day: The notes of an eyewitness” consists of stories, united with the principle of installation (montage). Installation construction corresponds to the vision of the world, marked with diversity and epic breadth. The unifying role is played by a number of motives. The combination of motives shows deep connections of the phenomena. Each of the motives is represented by a set of meanings and senses. That allows to design the picture in its entirety.

Thе paper considers motives of the obedience, disobedience, ignorance. The obedience transforms heroes or becomes a condition for favorable events, including supernatural. The character’s misfortune could be explained by the disobedience, as desire to play someone else’s, not his or her role. The ignorance (non-awareness) leads to a false understanding of the world order, observance of ridiculous customs, and destructive actions. The new book may not meet expectations of an audience focused on the art of the modernism or the postmodernism. It is dominated by the perception of life as priceless gift from above and of any person in his or her all original properties.

The emphasis in the article is on deep levels of perception of Chinese culture by Russian poets and one of such aspects is modeling artistic space by those poets. If surface, fluctuating layers of the motivic field and problematics may be deceptive, artistic space which penetrates the whole piece of work with mental paradigms is informative, authentic and conceptual. Poems of Natalia Azarova and Alexandr Skidan were chosen as material for investigation. The proportion of Chinese influence on the modern Russian poetry may differ from one author to another but in each case of that influence one can observe European-Chinese view, wherein a combination of Russian and Chinese culture predominates a diffusion. Modeling artistic space in the modern Russian poetry under the influence of Chinese culture has a variety of characteristic features; at the heart of it there is the pursuit of an author to create poliocular perception of the depicted matter with the help of a combination of different kinds of perspective, various view points and the presence of several points of focus. Chinese patterns bear the function of a surface layer, embracing this artistic landscape, in creating such space. Modern Russian poets, for the most part, don’t create stylization of the Chinese matter and imitation of the Chinese matter. Chinese culture deeply enters their pieces of work which happened to be under its influence, and in the first instance – thanks to special optics of the author penetrating the chronotope, subject-object relations and other systems of the literary work.

The purpose of the work is to study the review of a poetry book in terms of genre and composition. The novelty, in particular, is the choice of methods (quantitative estimation, empirical generalization, modeling) for the object.

The article for the first time quantifies the multitude of reviews on the collection of poems published in Russia nowadays. It states that the traditional literary-critical (artistic) affiliation of the review – perhaps because of the quantity – is changing: now review of a poetry collection is not only a literary-critical genre, but also a journalistic genre, and partly scientific one, as well as a unit of the information system. If earlier art tasks were a priority for literary critics, now objectivity and accuracy of information are prioritized. For the first time the thesis is revealed that the individualization of the poetic book, bringing it to an individual identity: selfidentity. The purpose goal of the reviewer is an individualization of a poetry book, bringing it to an individual identity: self-identity, identity of oneself. In this regard, the review composition model is proposed: introductory part (header), information about the author, listing the features of his poetry, quotes. Not all those elements are obligatory and not all are equal: literary critic chooses from a set of poetic traits those that he considers important and that can serve his own purpose. Article sums up that the review in literary process is important, and the role of reviewer is still active – but active in a different way.

The article examines the canonization process of Bob Dylan, the 2016 laureate of the Nobel Prize in Literature, as a poet, and thus the process of transition of the art of song into the sphere of literary work. The analysis is based on Ivan Rozanov’s work “Literary Reputations”, which appeared almost 100 years ago. A novelty of the article is that earlier the object (Bob Dylan’s receiving the Nobel Prize in Literature) and the subject (the reputation and canonization in the form in which I.N. Rozanov understood them) were not considered relative to each other in philology. As a result, it is concluded that, if the canonization of Dylan as a poet is not realized, then it is very close to the realization. The inclusion of song in the realm of literature has not yet taken place, but the decision of the Nobel committee confirms that something has happened to literature as we usually think of it: it is acquiring previously unconventional formats, seeking and finding for itself new methods of its realization. The decision to award the prize to Dylan was not a whim on the part of the Nobel Committee, but a simple recognition of a fact in the current literary process.

The subject of the article is a new approach to the understanding of the Great Migration of Peoples as a historical stage in the transition from Antiquity to the Middle Ages. It raises the question of migration processes, which for the first time in history became the part of an interaction of a civilization and the barbaric world. The attention is drawn to the eschatological perception of the consequences of migrations in the written tradition, and to the formation of the “Great Migration of Peoples” concept in the European historiographical tradition.

The article outlines the criteria, factors and causes of mass movements of tribes in 2nd–7th centuries, the direction of the main migration flows. Also the author for the first time raises the question of the relationship between European and Asian models of the Great Migration. The analysis identified three stages of the Great Migration: German, Hun and Slavic. The stages differed in the ethnic composition, type of mobility and nature of the consequences. It is concluded that at the German stage (3d –4th centuries) the movement of migrants took place in the form of the separate squads movement, the professional and business migration, the resettlement of small and then large tribes. At the Hun stage the special world of nomadic migration movements (4th–5th centuries) stimulated the new mass outcome of the tribes of Barbaricum. The Slavic stage of migration (6th –7th centuries) is first-ever included in the context of the Great Migration paradigm. The study of the experience of European migrations of the 2nd–7th centuries helps to understand the processes of interaction of the GrecoRoman Mediterranean civilization and the barbaric world.

The beginning of Rome in Livy’s work covers three centuries in a row. The key events in that process were the foundation of the city by Romulus and the establishment of a political regime of respublica with the Sabins being participants in those events.

The presence of that people in Roman history is reflected in a Sabine named Titus Tatius who shared for a time royal power with Romulus, in the founding a sacerdotal collegia of the sodales Titii and in the resettlement of the Claudian family from the Sabine land to Rome at the beginning of the Republic. When the “Sabine topic” began to penetrate into annalistic tradition? What kind of real historical events were reflected in it? In this article the author tries to answer these questions.