The purpose of the publication is to concretize the idea of the artistic speech and style of the language of A.K. Tolstoy (1817–1875) in the verbal embodiment by revealing the specifics of using their own names in one of the early stories of his Gothic dilogy “Meeting in Three Hundred Years”, as well as considering the figurative system of the work through the prism of the name – usage by Tolstoy. The main methods are a historical-literary one, ideological-thematic analysis, observation, continuous sampling, contextual analysis, classification. The results of the study are associated with the disclosure of the distinctive features of the onomastic storytelling space: the specifics in the use of onomastic classes, the participation of names in modeling the chronotope and the formation of a retrospective text, in the creation of the French coloring of the work, the implementation of the author’s picture of the world, determined by aesthetic positions. The features of the figurative system of the story are revealed on a semiological basis, taking into account the leading principle of mirroring (enantiomorphism). The article shows that the parallel mirror-shaped oppositions of anthropoetonyms created by A.K. Tolstoy, along with topopoetonyms and other onomastic classes, serve as the compositional core of the story, determine the originality of the ideological-thematic plan and space-temporal relations, express the motive of duality and the concept of romantic two-worldness. Names and images, respectively, play a key role in the “Meeting in Three Hundred Years”, since they form an idea of the features of Tolstoy’s idiostyle and serve as the basis for the implementation of author’s intentions. The novelty of the study is determined by the results of the study in the use of poetonyms and the construction of a figurative system in Tolstoy early romantic prose.

The article is concerned with an issue of the correlation between the categories of musicality and visuality in poetics on the example of the novel in verse by V. Sumbatov “Russian Power”. The article discusses a new concept – a sound image in poetics, which appeared based on the experience of analyzing the interaction of two categories of poetics: musicality and visuality, that include the sound (auditory) and visual (visual) component. The article considers ways of depicting reality in the novel, based on the interaction of visual-semantic and musical components.

The article analyses some features and variations of the use of various means of poetic language in the work of the Soviet uncensored poet Leonid Aronzon (1939–1970). Even despite the fact that most of his poems were written in accordance with all the norms of traditional syllabic-tonic versification, the author in his texts actively experiments with the use of certain means of language, exercises in the word and form creation, often creates new words and various sentences, devoid of a semantic layer, uses borrowings from foreign languages, ready-made quotations from other literary works, abusive or obscene vocabulary that is not recognized as the norm of the literary language, adapts phrases and other components of syntax to foreign or Russian forms. In some cases, he also experimented with visual poetry, non-standard graphic presentation of the text, trying to achieve, as far as possible, its ideal symmetry in writing. The examples of the use of certain means of poetic language considered in this article, their definition and systematization, allow the reader to better understand how the artistic world of the author works.

The article discusses Egor Letov’s song “Society ‘Memory’ ” that was perceived by many listeners as a real embodiment of the author’s ideas; also, it is substantiated that such a reception is contradicted with the very text structure which is organized as a role-playing lyric, as the author intended.

The article studies the influence of modern trends on the specifics of the subjective organization of rock texts of the musicians generation in the “pro-Western” period, starting from that of the “era” of the emo subculture and ending in 2021. The main purpose of the article is to establish the peculiarity of the subjective organization of texts in rock poetry of the 2000s–2010s, as well as to determine the influence of social events on the change of the lyrical hero. In the course of the study, conclusions are drawn about the importance of the performer in the communicative chain “author-hero-performer-audience”, as well as possible reasons for changing the characteristics of lyrical heroes in the texts of four Russian rock bands of the modern generation (“Tracktor Bowling”, “Louna”, “Amatory”, “Pornofilms”). Using the example of the texts of each of these groups, the conclusion is made about a certain development of the group from the beginning of the creative path to its end or the last album as well as about the importance of the performer’s role for the texts composition of modern performers, as well as about the mutation of the lyrical hero under the influence of extra-textual factors. The article discusses the common features of the subject organization of four groups created at different times and having different communicative goals. Based on the subjective analysis, a conclusion is drawn about the mass character of modern rock music.

The article attempts to analyze the image of the blue flower in the English-language discourse as a transcultural symbol with its own semantics in the English-speaking tradition and at the same time having a stable connection with German literature (Novalis’s novel “Heinrich von Ofterdingen”). Since the image of a blue flower has a pronounced colorativ, it is impossible to deny the influence of the semantics of the lexeme “blue” on it. Consequently, an appeal to phraseological units that have such a lexeme allows revealing the peculiarities of the perception of the transcultural symbol of the blue flower in the English-speaking environment. Analysis of publicistic and literary sources created before the translation of the novel “Heinrich von Ofterdingen” into English shows that the image of the blue flower had previously appeared in English literature. Thanks to the studied works, one can understand what additional connotations the image acquires, why in the English-language discourse the blue flower appears to be an otherworldly phenomenon, and its appearance symbolizes the nearness of death or a journey to distant worlds. This becomes a feature of its perception in the English-speaking environment. The works of the late 20^th – early 21^th century cited as examples let us talk about it as of a transcultural phenomenon.

The album “Diamond Dogs” by British musician David Bowie is analyzed in the article as an experimental poetic cycle. Originally conceived as a musical adaptation of G. Orwell’s “1984”, the album is a science fiction work involving multiple literary allusions. “Diamond Dogs” as a musical album is analyzed from the point of view of a direct analogy with the lyrical cycle, which has internal unity, but combines heterogeneous elements. Fragmentation and understatement are used as a way to expand the artistic universe of the album. In addition to Orwell’s novel, an important role in the narrative of the album “Diamond Dogs” is played by references to A. Burgess’s dystopian “A Clockwork Orange”, which had a great influence on Bowie’s image system of that time, as well as the novel “Wild Boys” by W.S. Burroughs, the plot and the imagery of which are woven into the artistic fabric of the album. The plots and zongs from B. Brecht and K. Weill’s “The Threepenny Opera” also give the album a special aesthetics, particularly if one bears in mind the broader context of the musical theater media in which Bowie sought to place his work.

The proposed review is dedicated to the recent International Scientific and Practical Conference “Pier Paolo Pasolini: person, works, perception. On his 100^th birthday”, which was held on March 01–02, 2022 at the Russian University for the Humanities and at the Gorky Institute of Word Literature of Russian Academy of Science (Moscow). The conference organized by the Department of Classical Literature of the West and Comparative Literature of the IW and the Department of European Languages of the IL RSUH, saw a large participation of literary scholars from universities in Russia, Italy, the Czech Republic and Germany, film critics, translators of fiction and poetry, etc. The purpose of the conference was to honor the memory of the great Italian poet, writer, thinker and director on the eve of a memorable date – the centenary of his birth (March 5, 2022).
The reports made concerned both the literary and cinematic heritage of Pasolini, as well as the reception of his work in the contemporary culture.

The essay explores the question of the relationship between sex and power in the era of neocapitalism’s triumph and the formation of the consumeristic society in Pasolini’s two last works – the film Salò, or the 120 Days of Sodom, and the novel Oil (Petrolio). The likening of sex to the total consumeristic power is Pasolini’s contribution to the modern sociology and psychology, while his discovery of sex as a category of political power supports the same thesis Michel Foucault made a year later in his History of Sexuality: The Will to Knowledge, 1976.
The 1970s were the years of crisis and destruction of the traditional culture, replaced by the new models of consumerism, stimulated by sex. Stylistically and generically different, the film and the novel interact with each other, as both deal with power and sex. The essay considers the texts, paramount to understanding the “late-period Pasolini”: Tetis, Abdication of the Trilogy of Life, and Sex as a Metaphor for Power.

An object of Pasolini’s interest was not only Rome or Friuli, the connection with which can be explained by his biography, but also remote regions of the south of the country. The latter in the 1950s–1960s were under scrutiny not only of the institutional anthropologists, religious scholars and folklorists, but also of the general public of intellectuals. A surge of such interest arose due in large part to the work of the religious historian Ernesto De Martino, who wrote several monographs focused on Lucania, Sicily, and the Salentine Peninsula. The paper focuses on the work of Pasolini in the field of documentary filmmaking on the Salentine Peninsula in 1955–1974 in the context of the theoretical ideas of that time, as well as on the influence that such an experience had on Pasolini’s further cinema works.

The article is concerned with the perception of Pasolini’s works and ideas in the contemporary Italian literature. Many modern writers mention or refer to Pasolini in their works. For some of them he is a brilliant rebel of the 1970s (Elena Ferrante), others are still shocked by his death (Andrea Baiani), some turn to his literary heritage, borrowing individual ideas and images (the idea of Post-history cited by Antonio Scurati, the theme of duplicity by Sandro Veronesi, the theme of consumerism in modern society by Walter City) or echo by the very structure of their works (Giuseppe Genna). Pasolini becomes an example or a beacon for many modern writers, he is seen as a man who is undividedly devoted to the word and at the same time has a clear ideological position, who put above all the needs of his neighbors and who took on himself the role of the national conscience revealing the ills of modern society.

The review considers the book “Anton Chekhov’s ‘The Seagull’. Poetics. Problematics. Literary and Theatrical Context” by A.G. Golovacheva. It states that the monograph represents a complete work on the study of Chekhov’s “The Seagull”; the points outlined by the author provide a perspective for future research of the Chekhov’s play.