The article formulates main questions related to the concept of context. The issue of context is considered as a current-day interdisciplinary field of research. There are many definitions of context in dictionaries and in various humanities (including scientific disciplines). In connection with that issue various methodological approaches arise in the humanities, which can be designated by the umbrella term “contextual”. By the example of one of such approaches to the sociological poetics of the “Bakhtin’s circle”, the author substantiates the possibility of creating an interdisciplinary classification of contextual approaches. That classification may include scientific developments of different years and research fields, including: philosophical hermeneutics, a number of approaches to the Russian and foreign literary theory (M.M. Bakhtin, Yu.M. Lotman, B.M. Eichenbaum, F. Moretti, A. Compagnon, etc.), intellectual history, discourse analysis, etc.

The article is devoted to the analysis of the concept of literary romanticism. The research aims at a refinement of the “romanticism” concept in relation to the history of the literary process. The main research methods include conceptual analysis, textual analysis, comparative historical research. The author analyzes the semantic genesis of the term “romanticism”, various interpretations of the concept, compares the definitions of different periods and cultures. The main results of the study are as follows. The history of the term “romanticism” shows a change in a number of definitions for the same concept in relation to the same literary phenomena. By the end of the 20th century, realizing the existence of significant contradictions in the content of the term “romanticism”, researchers often come to abandon it. At the same time, the steady use of the term “romanticism” testifies to the subject-conceptual component that exists in it, which does not lose its relevance, but just needs a theoretical refinement. Conclusion: one have to revise an approach to romanticism as a theoretical concept, based on the change in the concept of an individual in Europe at the end of the 18th century. It is the newly discovered freedom of an individual predetermines the rethinking for the image of the author as a creator and determines the artistic features of literary romanticism.

The article discusses the response of I.S. Turgenev to the novel by G. Eliot “The Mill on the Floss” in the context of Turgenev’s novel aesthetics. An attempt is made to systematize the writer’s views on the novel genre: giving preference to the social, Dickensian-Georgesandian type of the novel, the writer does not consider it of the same kind and singles out both the indisputable genre peaks (G. Flaubert, L.N. Tolstoy, G. de Maupassant) and indisputable failures (O. de Balzac, E. Zola). From this point of view, Turgenev’s perception of G. Eliot’s novel poetics is analyzed. The author of the article comes to the conclusion that the novel under consideration is the closest one for Turgenev structurally and ideologically. “The Mill on the Floss” appears to be the writer’s least typical novel, with a tragic denouement, predetermined by the love conflict, and the force of nature, and with a heroine who is very different from her environment and therefore doomed under existing circumstances. The fate of Maggie and the structure of her image are consonant with Turgenev’s search for the hero, but later the artistic searches of both writers diverge: G. Eliot becomes interested in a more complex structure, in which there is room for the evolution of the hero, his (or her) overcoming the framework set by his upbringing or environment, and the ability to move on. Here lies the fundamental difference between her poetics and the poetics of Turgenev.

The existing research is primarily dedicated to the reflections of motifs and images from Dostoevskii’s works in V.Ya. Bryusov’s art. This article focuses on Bryusov’s direct quotes about Dostoevskii and his art from the pages of his critical works, correspondence and diary entries, which lead the author to the conclusion that Bryusov was not only an attentive reader of Dostoevskii but also a researcher of his work. Unlike other notable authors of the late 19th and early 20th centuries (I.F. Annenskii, D.S. Merezhkovskii, A. Belyi etc.), Bryusov didn’t write a separate article on Dostoevskii, but he planned to write a monograph, a critical work, based on scientific foundations. However, he never finished it. This analysis leads the author to the conclusion that Dostoevskii held a special place in Bryusov’s artistic conscience. For him Dostoevskii’s literary craft was an art of mystery, capable of lifting the veil from the depths of a human soul. Additionally, the study of the features of Dostoevskii’s art became an important factor in the formation of Bryusov’s own poetics and in his approach to the traditions of poetics of the writers of 19th century.

This article is dedicated to the translation of poems written by the popular and famous Russian poet Vladimir Mayakovsky into Persian, as well as to their features and general trends of the translation of Futurist poems. The work was performed in the technique of comparative research, where one of the most acute issues is formulated as the degree of translatability / untranslatability of the text. The purpose is to find appropriate approaches for its solution and consider the issue of semantic matching.

The article examines the category of visuality on the example of the novel in verse by V. Ivanov “Mladenchestvo” (Infancy). Visuality is organized by the elements of artistic reality, which are the structure-forming principles of architectonics and belong to the deep-laid level of the work. Visuality in the novel is considered in the context of an intermedia analysis, which involves the study of the interaction between the verbal and the visual. The article is about the visuality role in constructing the artistic and semantic field of the work. While researching the representation levels of visuality were identified and the parameters of their embodiment in the verse novel by V. Ivanov “Mladenchestvo” analyzed.

The article analyzes the motives for Mark Aldanov’s appeal to the legacy of Archpriest Avvakum. Aldanov shows the most emotional attitude towards Avvakum in journalism. In the collection “Armageddon” Aldanov creates the image of Avvakum in order to show the reasons for the rejection of the Bolsheviks. In the personalities of Avvakum and Lenin, Aldanov reveals common features: a combination of genius and barbarism. According to Aldanov, Avvakum became an example for the fanatical rebel Lenin, who split Russian society. Aldanov does not show Avvakum as an independent character in the narrative, his image is created from quotes, allusions, comments on actions. The details and motives of the “Avvakum” theme from publicist articles pass into essays, fiction, and the book of philosophical dialogues “Ulm Night”. The image of Avvakum in Aldanov’s prose is revealed in different ways. The journalism of the 1918–1920s. expressively and satirically presented the “genius barbarian”, a kind of prototype of the uncompromising revolutionaries and Bolsheviks, hated by Aldanov . In the 1930–1950s. Aldanov uses Avvakum’s motives in his works of a different pathos, but the methods of portraying characters, methods of building dialogues reveal similarities with those used in the books “Armageddon” and “Fire and Smoke”.

The paper analyzes two works by A. Gorodnitsky – the poem “The Island of Israel” (1993) and the song “The Road to Israel” (2007), from the point of view of spatial and temporal organization, as well as visual imagery, with the help of which the artistic world of works is depicted. Thus, the main purpose of the article is to analyze the visual features of the Israel chronotope in the two designated works. For this, firstly, the space, time and visual imagery in the poem and in the song are analyzed in detail. Then observations and conclusions are systematized and compared with the audiovisual representation of these works in the film by A. Gorodnitsky and N. Kasperovich “Atlantes hold the sky” (episode 14). As a result, conclusions are drawn about the peculiarities of the visual organization of the chronotope of Israel in these poems by A. Gorodnitsky, based on the concept of the chronotope of M.M. Bakhtin. The visual chronotope is primarily made of space through which time is also visible, and therefore the chronotope as a whole. Other features of the chronotope are associated with the cyclical organization of time, the combination of the past and the future, as well as the real and imaginary world of the lyric subject.

The article is dedicated to the late works of Yegor Letov and explores the lyrical subject’s perception of the world in which he himself and people like him will no longer exist. The topic touches on the theme of death which is clearly manifesting itself in all works of the rock poet. It reveals that Letov’s lyrical subject fixes his absence in the world turning to images of nature that remain unchanged, to elements of people’s everyday life that persist without him and to the space of artistic work the contemporary to the poet. In parallel there is the self-reflection of Letov’s lyrical subject as a people’s rock poet who values living life and does not aim for pecuniary well-being. The lyrical subject of Letov when thinking about the life that will continue after the passing of his generation realizes that the world will turn upside down and become uncomfortable and unacceptable for him. The world of a deceased person will separate from the big world and begin a centripetal movement while the reverse of return will no longer be possible. An important motive is the distortion of memory about a real person, which will inevitably occur after an individual leaves the general world. Human himself will not be able to influence his posthumous fate. However shortly before his death Letov comes to a rather optimistic conclusion that he managed to transmit to living humans an undistorted healthy element of his world vision.

The author of the article proposes to introduce into active scientific circulation the theoretical and literary category of power, the effect of which he reveals following the poetry of Alexei Parshchikov (1954–2009). The research is based on the works on energy in a work of art by L. Vygotsky, A. Losev and other scientists. The author of the article considers power to be a special literarytheoretic category, correlating with energy as a particular and general. The power in a lyric work is a theoretical and literary category determining the relationship between the objects and phenomena and directing them to a metaphysical continuum, close to an incomprehensible absence. As a category, power permeates all levels of the work – subject-object, chronotopic, compositional, lexical, intonational-syntactic and others. As a vector quantity, it directs the lyrical plot, develops the motive field forward and upward, creating a painful metamorphosis for the subject / object, leading to silence as a blissful time-space. Form (tense or rarefied rhythm, change in the lyrical plot) and content (depiction of earthly existence), developing in opposite directions, neutralize each other. The presence of the verbal motive “power” is the dominant, and not a constant of the “work about power”, the word “power” can be replaced by contextual synonyms (“stream”, “abyss” etc.) or absent (“Hedgehog”, “Coal Elegy”).

This article explores the role of the discussion “What free verse is not free from”, published in the “Voprosy literatury” magazine in 1972, and in the formation of a discourse about free verse at the stage of the formation and development of the poetic traditions of the Russophone free verse. Special attention is paid to studying the positions of poets the free verse practitioners in order to understand how the poets themselves determined the boundaries of free verse.