NONE20260531182957076Immanuel Kant Baltic Federal Universityno-reply@journals.kantiana.ruImmanuel Kant Baltic Federal UniversitySlovo.ru: Baltic accent2225-53462686-898905312026124O. V.SokolovaV. V.FeshchenkoThe article departs from two non-referential functions of language — the poetic (expres­sive) and conative (appellative) functions — described by many linguists starting from Ro­man Jakobson and Karl Bühler. Their combined effect is shown using examples of linguistic techniques from the two types of discourse — the Russian literary avant-garde and the avant-garde advertising-propagandа — outreach. A discursive analysis of Russian literary (experi­mental) and advertising (avant-garde) texts is carried out from the standpoint of the theory of linguistic creativity. For each of the working subcorpora (artistic and advertising discourses of the 1910—1930s), the authors distinguish macro-discursive, micro-discursive and inter-discursive parameters that affect linguistic innovations at different levels — from phonologi­cal to pragmatic. It is concluded that the strategy of delayed, de-automated perception is im­plemented in the experimental literary discourse. It is achieved by focusing the message on its own form (the implementation of the poetic function). In the avant-garde advertising, the message should be as clear as possible in its form and should be easily perceived by an ad­dressee (the implementation of the conative function) not to focus attention on the text but rather on the action that the reader is expected to perform on the object of reference.0531202611Baldini, M., 2003. Il linguaggio della pubblicità. Roma.Brinker, K., 2003. Linguistische Textanalyse: eine Einführung in Grundbegriffe und Methoden. Berlin.Cook, G., 2006. The Discourse of Advertising. London, New York.Dem'yankov, V. Z., 1996. Stereotype. In: Kratkii slovar' kognitivnykh terminov [Brief Dictionary of Cognitive Terms]. Moscow, pp. 177—179 (in Russ.).Dem'yankov, V. Z., 2009. Linguistic creativity and speech creativity. In: Yazyk kak mediator mezhdu znaniem i iskusstvom: sbornik dokladov Mezhdunarodnogo nauchnogo seminara [Language as a mediator between knowledge and art: Collection of reports of the International Scientific Seminar]. Moscow, pp. 11—19 (in Russ.).Feshchenko, V. V., 2020a. Towards the limitation of the concept of “linguistic creativity” and the delimitation of the spheres of its application. In: Yazyk, kul'tura, tvorchestvo: Mirovye praktiki izucheniya [Language, culture, creativity: World study practices]. Moscow, pp. 152—168 (in Russ.).Feshchenko, V. V., 2020b. From Linguistic Aesthetics to Linguistic Heuristics: Verbal Creativity in Literary and Academic Discourses. Kritika i semiotika [Critique and Semiotics], 1, pp. 92—113 (in Russ.).Galliot, M., 1955. Essai sur la Langue de la Réclame Contemporaine. Toulouse.Grigor'ev, V. P., 1979. Poetika slova [Poetics of the word]. Moscow (in Russ.).Krasnykh, V. V., 2003. “Svoi” sredi “chuzhikh”: mif ili real'nost'? [“Own” among “strangers”: myth or reality?]. Moscow (in Russ.).Mukarzhovskii, J., 1996. Struktural'naya poetika [Structural poetics]. Moscow (in Russ.).Orlova, O. V., 2006. Text of fiction and advertising: principles of regulativity. Vestnik Tomskogo gosudarstvennogo pedagogicheskogo universiteta [Tomsk State Pedagogical University Bulletin], 5, pp. 129—133 (in Russ.).Pil'shchikov, I. A., 2016. Incomplete translatability as a mechanism of cognition and communication. In: Lingvistika i semiotika kul'turnykh transferov: metody, printsipy, tekhnologii [Linguistics and semiotics of cultural transfers: methods, principles, technologies]. Moscow, pp. 203—233 (in Russ.).Shpet, G. G., 2007. Iskusstvo kak vid znaniya. Izbrannye trudy po filosofii kul'tury [Art as a kind of knowledge. Selected Works on the Philosophy of Culture]. Moscow (in Russ.).Silantev, I. V., Shatin, Yu. V., 2014. Discourse and stereotype. Kritika i semiotika [Critique and Semiotics], 1, pp. 10—17 (in Russ.).Sokolova, O. V., 2015. Diskursy aktivnogo vozdeistviya: teoriya i tipologiya. [Active Impact Discourses: Theory and Typology]. PhD thesis. Moscow (in Russ.).Sokolova, O. V., 2020. Discourse-“Logophagus”: The Boundaries of Linguistic Creativity and Stereotypy in Advertising. Kritika i semiotika [Critique and Semiotics], 1, pp. 114—142 (in Russ.).Vinogradov, V., 2006. Socio-linguistic systems and individual-linguistic creativity. Semiotika i Avangard: antologiya [Semiotics and Avant-garde: Anthology]. Moscow, pp. 242—250 (in Russ.).Waugh, L., 1980. The Poetic Function in the Theory of Roman Jakobson. Poetics Today, 2 (1), pp. 57—82.Zolyan, S. T., 2009. On the style of linguistic theory: R. O. Jakobson and V. V. Vinogradov on the poetic function of language. Voprosy yazykoznaniya [Topics in the Study of Language], 1, pp. 3—8 (in Russ.).Zykova, I. V., 2017. Metayazyk lingvokul'turologii: Konstanty i varianty [The Metalanguage of linguoculturology: Constants and variants]. Moscow (in Russ.).Zykova, I. V., Kiose, M. I., 2020. Linguistic creativity parametrization in contrasting discourse types: cinematic discourse vs. Discourse of children’s literature. Voprosy kognitivnoi lingvistiki [Issues of Cognitive Linguistics], 2, pp. 26—40 (in Russ.).A. V.ShvetsThe article deals with a ‘literary scandal’ as a mode and a script of communication within cubo-futurists poetic circles as far as the communication between poets and their addressees during a public performance is concerned. The latter is an essential component of the “literary everyday routine” of the poetic circles analysed. Not only does scandal betray an intention of insulting the recipient but also it is due to the scandal that the avant-garde author could find the addressee, become closer to him and make him more engaged in a poetic happening. The goal of the study (based on the evidence of cubo-futurist public performances) is to describe a scandal as a communicative script, a frame, identify a potential addressee, single out reception profiles and analyse communication orientations underlying those profiles. Drawing on the understanding of a literary scandal suggested by Reitblat, we trace a connection between a scandal and the public (recipients). According to Warner, the public are people actively par­ticipating in an event. Participatory strategies of the cubo-futurists public could be nar­rowed down to three types of reception: a sceptic, a critic, and a potential ally. Using the speech act theory (Austin, Derrida) and the actor-network theory (Callon’s opposition of framing and overflowing), we analyse how the performative utterance functions in a given context. We show how the performative utterances carrying a seed of a potential scandal were construed (or could have been construed). The article analyses the interpretation of a scandal and com­municative strategies chosen by recipients. While the critic prefers to frame the utter­ance in a predictable way by placing it into a fixed context and literally interpreting the ut­terance, the ally, on the contrary, is open to a variety of contexts and is ready to participate in a play of the pragmatic unfolding of an utterance. The latter type of reception underlies the possibility of the recipient’s creative engagement with a communicative experiment of the avant-garde.0531202611Austin, J. L., 1962. How to Do Things with Words. Oxford.Bobrinskaya, E. A., 2015. “The Beauty and Necessity of Violence”. Mythopoetics of early Futurism. Iskusstvoznanie [Art Studies], 1—2, pp. 194—215 (in Russ.).Callon, M., 1998. An Essay on Framing and Overflowing: Economic Externalities Revisited by Sociology. The Sociological Review, 46(1), pp. 244—269.Derrida, J., 1988. Signature, Event, Context. In: J. Derrida, ed. Limited Inc. Evanston, pp. 1—25.Eikhenbaum, B. M., 1987. Literary mode of life. In: B. M. Eikhenbaum, ed. O literature [About literature]. Moscow, pp. 428—436 (in Russ.).Gofman, I., 2003. Analiz freimov: esse ob organizatsii povsednevnogo opyta [Frame Analysis: An Essay on The Organization of Experience]. Moscow (in Russ.).Gur'yanova, N. A., 2006. The Biography of the Wildest. Kruchenykh’s Memories in the Literary Context of the 1920s—1930s. In: N. A. Gur'yanova, ed. K istorii russkogo futurizma: vospominaniya i dokumenty [Towards the History of Russian Futurism: Memories and Documents]. Мoscow, pp. 7—29 (in Russ.).In'shakova, E. Yu., 2001. On the verge of Elite and Mass Cultures (Towards Understanding the “game space” of the Russian avant-garde). Obshchestvennye nauki i sovremennost' [Social Sciences and Contemporary World], 1, pp. 162—174 (in Russ.).Iser, W., 1989. Towards a Literary Anthrolopogy. In: Prospecting: From Reader Response to Literary Anthropology. Baltimore, London, pp. 249—262.Karasik, M. S., 2018. “Read Wallpaper Books!”: “Ferroconcrete Poems” by V. Kamensky. In: Vasilii Kamenskii. Poet. Aviator. Tsirkach. Neopublikovannye teksty. Faksimile. Kommentarii i issledovaniya [Vassily Kamensky. The Poet. The Aviator. The Circus Performer. Unpublished Texts. Facsimile. Comments and research]. Saint-Petersburg, pp. 169—199 (in Russ.).Kazakova, S. A., 2017. Vasily Kamensky’s Tour of Georgia: On Artistic Behaviour. Izvestiya Ural'skogo federal'nogo universiteta [Bulletin of the Ural Federal University], 19(3), pp. 228—236 (in Russ.).Klark, K., 2018. Peterburg, gornilo kul'turnoi revolyutsii [Petersburg: Crucible of Cultural Revolution]. Moscow (in Russ.).Kruchenykh, A. E., 1996. Nash vykhod [Our Turn]. Moscow (in Russ.).Krusanov, A. V., 1996. Russkii avangard. Boevoe desyatiletie [Russian Avant-Garde. The Decade of Battles]. Moscow (in Russ.).Livshits, B. K., 1933. Polutoraglazyi strelets [The One and a Half-Eyed Archer]. Leningrad (in Russ.).Mgebrov, A. A., 1932. Zhizn' v teatre. Tom 2. Starinnyi teatr. Teatral'naya lirika predrevolyutsionnoi epokhi i Meierkhol'd [Life in Theater. Volume 2. The Theater of Old. The Theater Lyrics of Pre-Revolution and Meyerkhold’s Times]. Moscow, Leningrad (in Russ.).Miller, J. H., 2002. Speech Acts in Literature. Stanford.Molok, Yu. A., 1991. Poet-Futurists’ Typographical Experiments. In: Zaumnyi futurizm i dadaizm v russkoi kul'ture [Transrational Futurism and Dadaism in Russian Culture]. Bern, pp. 387—402 (in Russ.).Ostin, Dzh., 1986. How to Do Things with Words. In: Novoe v zarubezhnoi lingvistike. Vypusk XVII [Recent Discoveries in Foreign Linguistics. Issue XVII]. Moscow, pp. 22—129 (in Russ.).Pamyat' teper' mnogoe razvorachivaet. Iz literaturnogo naslediya Kruchenykh [The Memory is Unfolding a Lot. From Kruchenykh’s Literary Legacy], 1999. Berkeley (in Russ.).Reitblat, A. I., 2019. On the sociology of literary scandal. Literaturnyi fakt [Literary Fact], 3, pp. 161—182 (in Russ.).Roman Jakobson. Budetlyanin nauki: vospominaniya, pis'ma, stat'i, stikhi, proza [Roman Jakobson. The budetlyanin of Science: Memories, Letters, Articles, Poems, Prose], 2012. Moscow (in Russ.).Rostislavov, A., 1912. “The Union of Youth” Soirée. Rech' [Speech], 322, 23 November, p. 5 (in Russ.).Rudnev, V. P., 1997. Slovar' kul'tury XX veka. Klyuchevye ponyatiya i teksty [Dictionary of culture of the twentieth century. Key concepts and texts]. Moscow (in Russ.).Shvets, A. V., 2020. Improvisation as a readerly response in Avant-garde poetic practices (group “41º”). Novyi filologicheskii vestnik [New Philological Bulletin], 4, pp. 51—65 (in Russ.).Sirotkin, N. S., 1999. Avant-garde aesthetics: Futurism, Expressionism, Dadaism. Vestnik Chelyabinskogo gosudarstvennogo universiteta [Chelyabinsk State University Bulletin], 2(2), pp. 119—128 (in Russ.).Strigalev, A. A., 1995. Vassily Kamensky’s Paintings, “Poem-Paintings,” and “Ferroconcrete Poems”. Voprosy iskusstvoznaniya [The Matters of Art], 1—2, pp. 505—353 (in Russ.).Terekhina, V. N., 2009. “We are the Only Face of Present Times”. In: V. N. Terekhina, A. P. Zimenkov, eds. Russkii futurizm. Stikhi. Stat'i. Vospominaniya [Russian Futurism. Poetry. Articles. Memories]. Saint-Petersburg, pp. 3—50 (in Russ.).Warner, M., 2002. Publics and Counterpublics. Public culture, 14(1), pp. 49—90.Zdanevich, I. M., 2014. Futurizm i vsechestvo. Tom 2. Stat'i i pis'ma [Futurism and Everythingism. Volume 2. Articles and Letters]. Мoscow (in Russ.).T. V.TsvigunA. N.ChernyakovThe article is devoted to the study of the poetics of reduplication in Alexander Vveden­sky's fiction texts. The aim of this research is to analyse the functional range of reduplications at different textual levels, from the lexical to the thematic. Reduplication is understood as one of the most important tools of Vvedensky's linguopoetic experiment, aimed at the 'revision' of the ability of language to signify and represent the world and its basic semiotic principles. For Vvedensky, the non-normative punctuation of contact lexical reduplications creates prerequi­sites for perceiving repeated word forms as occasional homonyms, distinguishes the signified behind the signifier, and also problematizes the nature of poetic communication. On the grammatical level, reduplication creates tension between repeated grammar patterns and their lexical realisations, which allows Vvedensky to demonstrate the potential extensibility of syn­tactic models and make grammatical semantics a compensatory mechanism that fills the se­mantic void of the poetic utterance. Vvedensky's thematization of reduplication as the "dou­bling of the world" is a mirror, which deforms and transforms reality. Mirror semiosis illus­tra­tes the loss of iconicity by reduplication and, as a consequence, the impossibility to repre­sent the object by its reflection. The authors conclude that on the level of vocabulary and gram­mar, reduplication creates dynamism in the verbal space of the text, activates its inter­pre­tation and thus creates the situation of gnoseological doubt in the adequacy of language as a means of representing the world. In the thematic field, it deprives the world of its self-iden­tity since objects constantly multiply, lose their distinctiveness or, on the contrary, find mea­ning where it does not exist.0531202611Boychuk, E. I., 2014. Distinction of anadiplosis, epanalepsis and reduplication and features of their functioning (based on french novel of 19th century). Vestnik Tambovskogo universiteta. Ser.: Gumanitarnye nauki [Tambov University Review. Series: Humanities], 4 (132), pp. 105—110 (in Russ.).Bukatnikova, S. D., 2017. Funktsionirovanie reduplikatsii v khudozhestvennom tekste: sistemnyi aspekt [Functioning of reduplication in a literary text: a systemic aspect]. PhD Dissertation. Orenburg (in Russ.).Druskin, Ya. S., 2011. Communication in poetry and prose by Alexander Vvedensky. In: A. I. Vvedenskii, ed. Vse [Everything]. Moscow, pp. 360—383 (in Russ.).Dubois, J., Pire, F., Trinon, H., et al. eds., 1986. Obshchaya ritorika [A General Rhetoric]. Moscow (in Russ.).Eko, U., 1999. Mirrors. In: Metafizicheskie issledovaniya: Yazyk [Metaphysical research: Language], 11. Saint-Petersburg, pp. 218—244 (in Russ.).Feshchenko, V. V., 2009. Is it possible to understand without understanding? An Absurdist text as a borderline between meaning and nonsense. Sibirskii filologicheskii zhurnal [The Siberian Journal of Philology], 4, pp. 102—109 (in Russ.).Feshchenko, V. V., 2014. Between the poverty of language and the abyss of speech: the disintegration of the logos as a poetic process. Novoe literaturnoe obozrenie [New Literary Review], 1(125). Available at: https://www.nlobooks.ru/magazines/ novoe_literaturnoe_obozrenie/125_nlo_1_2014/article/10814/ [Accessed: 26 July 2021] (in Russ.).Gerasimova, A., 2011a. About Alexander Vvedensky. In: A. I. Vvedenskii, ed. Vse [Everything]. Moscow, pp. 7—24 (in Russ.).Gerasimova, A., 2011b. Notes. In: A. I. Vvedenskii, ed. Vse [Everything]. Moscow, pp. 269—328 (in Russ.).Gilyarova, K. A., 2010. Such a girl is a girl. Semantics of noun reduplication in Russian Colloquial Speech and Internet language. In: Computational Linguistics and Intellectual Technologies, Po materialam ezhegodnoi mezhdunarodnoi konferentsii «Dialog» (2003) (Bekasovo, 26—30 maya 2010 g.) [Papers from the Annual International Conference “Dialogue” (2003) (Bekasovo, May 26-30, 2010)], 9(16). Moscow, pp. 90—96 (in Russ.).Kiklevich, A., 2016. Why are words repeated? (On the functional-semantic aspect of syntactic reduplication). In: A. Kiklevich, ed. Prityazhenie yazyka. T. 4: Yazykovaya deyatel'nost': semanticheskie i pragmaticheskie aspekty [The attraction of language. Vol. 4: Language activity: semantic and pragmatic aspects]. Olsztyn, pp. 55—74 (in Russ.).Kulik, I. Mertvyi yazyk Aleksandra Vvedenskogo [The Dead Language of Alexander Vvedensky]. Available at: http://poetrylibrary.ru/stixiya/856.html [Accessed 26 July 2021] (in Russ.).Lipavskii, L., 2011. Conversations. In: A. I. Vvedenskii, ed. Vse [Everything]. Moscow, pp. 582—661 (in Russ.).Lotman, Yu. M., 1998. The structure of artistic text. In: Yu. M. Lotman, ed. Ob iskusstve [On art]. Saint-Petersburg, pp. 14—285 (in Russ.).Olesik, A. V., Moiseyeva, L. S., 2014. Repetition functions in addresses. Sotsial'no-ekonomicheskie yavleniya i protsessy [Social-Economic Phenomena and Processes], 1 (59), pp. 168—171 (in Russ.).Rozhanskii, F. I., 2011. Reduplikatsiya: opyt tipologicheskogo issledovaniya [Reduplication: typological research experience]. Мoscow (in Russ.).Rytsel'ska, B., 2018. On quantitative iconicity in a fairy tale by Aleksey Tolstoy The golden key, or The adventures of buratino and its translation into Polish. Acta Universitatis Lodsiensis. Folia Linguistica Rossica, 15, pp. 93—107 (in Russ.).Tsvigun, T. V., Chernyakov, A. N., 2019. Experiences in translation: the text as a pattern, the pattern as a text. Slovo.ru: baltiiskii aktsent [Slovo.ru: baltic accent], 10 (4), pp. 97—108 (in Russ.).Vvedenskii, A. I., 1993. Polnoe sobranie proizvedenii : v 2 t. [Complete collection of works in two volumes] Мoscow (in Russ.).Vvedenskii, A. I., 2011. Vse [Everything]. Moscow (in Russ.).Zolyan, S. T., 1988. “Svet moj, zerkal’tse, skazhi…” (On semiotics of the magic mirror). Trudy po znakovym sistemam. XXII. Zerkalo. Semiotika zerkal'nosti. (Uchebnye zapiski Tartuskogo gosudarstvennogo universiteta. Vyp. 831) [Sign Systems Studies. XXII. Mirror. Semiotics of mirroring. (Scientific notes of the Tartu State University. Issue 831)], pp. 3—44 (in Russ.).I. V.ZykovaThe article explores the category of interdiscursivity from a perspective of its realization in films. As a point of departure, the historical ties of the avant-garde and cinema are ana­lyzed in terms of interdiscursivity. Literary and artistic works of the representatives of the Russian avant-garde are characterized by a number of innovations that are relevant for the understanding of the interdiscursivity in cinematography as art. The established avant-garde foundations of interdiscursivity make it possible to define it as a linguocreative appropriation of discourses and to elaborate a methodology of its study in films. The film “Stalker” is select­ed as an object of research due to the fact that Andrey Tarkovsky’s innovative cinematic ap­proach makes his works akin to the approaches of art innovators of the avant-garde epoch. The specificity of the interdiscursivity of “Stalker” is determined both by a significant degree of transformation of its literary basis and by a varied appropriation of certain types of discourse in the process of making a film as an original artistic-aesthetic object. Elements of different types of discourse act as linguistic and creative means that influence the heuristic potential of the verbal system of a film.0531202611Beloglazova, E. V., 2010. Interdiscursivity. Diskurs-Pi [Discourse-P], 9, pp. 359—360 (in Russ.).Chernyavskaya, V. E., 2009. Lingvistika teksta: Polikodovost', intertekstual'nost', interdiskursivnost' [Linguistics of the text: Polycode, intertextuality, interdiscursivity]. Moscow (in Russ.).Evlampiev, I. I., 2012. Khudozhestvennaya filosofiya Andreya Tarkovskogo [The artistic philosophy of Andrei Tarkovsky]. 2nd ed. Ufa (in Russ.).Fateeva, N. A., 2017. Poeziya kak filologicheskii diskurs [Poetry as a philological discourse]. Moscow (in Russ.).Fedotkin, S., 2019. Leitmotivy “Zerkala” [The leitmotives of “Mirrors”]. Moscow (in Russ.).Feshchenko, V. V., 2009. Laboratoriya logosa. Yazykovoi eksperiment v avangardnom tvorchestve [Logos Laboratory. Language experiment in avant-garde creativity]. Moscow (in Russ.).Freilikh, S. I., 2016. Kinoiskusstvo: teoriya i praktika [Cinematography: theory and practice]. Moscow (in Russ.).Freilikh, S. I., 2018. Teoriya kino: ot Eizenshteina do Tarkovskogo [he Theory of Cinema: from Eisenstein to Tarkovsky]. Moscow (in Russ.).Hansen-Löve, O. A., 2016. Intermedial’nost’ v russkoj kul’ture: Ot simvolizma k avangardu [Intermediality in Russian culture: From symbolism to the avant-garde]. Moscow (in Russ.).Kolobova, K. S., 2017. Interdiscourse character of the work “My Century” by G. Grass. Inostrannye yazyki: lingvisticheskie i metodicheskie aspekty [Foreign languages: linguistic and methodological aspects], 39, pp. 157—162 (in Russ.).Kremneva, A. V., 2017. Intertextuality, interdiscursivity, intermediality: in contact. Filologiya i chelovek [Philology and Human], 2, pp. 57—70 (in Russ.).Likhachev, D. S., 1979. Poetika drevnerusskoi literatury [Poetics of Old Russian Literature]. Moscow (in Russ.).Lipovetskii, M., 2008. Modernism and the avant-garde: kinship and difference. Filologicheskii klass [Philological Class], 20, pp. 24—31 (in Russ.).Oliz'ko, N. S., 2007. Interdiscursivity as a category of postmodern writing. Vestnik Chelyabinskogo gosudarstvennogo universiteta [Bulletin of the Chelyabinsk State University], 15, pp. 95—104 (in Russ.).Pêcheux, M., 1982. Language, semantics, and ideology. New York.Pêcheux, M., 1999. Capital truths. Linguistics, semantics, philosophy. In: P. Sériot, ed. Kvadratura smysla. Frantsuzskaya shkola analiza diskursa [The quadrature of meaning. French school of discourse analysis]. Moscow, pp. 267—268 (in Russ.).Sachava, O. S., 2011. Interdiscursivity: synchrony and diachrony. Yazyk. Tekst. Diskurs [Language. Text. Dicourse], 9, pp. 76—83 (in Russ.).Sériot, P., 1999. How to read texts in France. In: P. Sériot, ed. Kvadratura smysla. Francuzskaya shkola analiza diskursa [The quadrature of meaning. French school of discourse analysis]. Moscow, pp. 12—53 (in Russ.).Silant'ev, I. V., 2006. Gazeta i roman: Ritorika diskursnykh smeshenii [Newspaper and Novel: The Rhetoric of Discursive Confusions], Moscow (in Russ.).Smirnov, I. P., 2009. Videoryad. Istoricheskaya semantika kino [Visuals. Historical semantics of cinema]. Saint Petersburg (in Russ.).Sokolova, O. V., 2014. Tipologiya diskursov aktivnogo vozdeistviya: poeticheskii avangard, reklama i PR [Typology of active influence discourses: poetic avant-garde, advertising and PR]. 2nd ed. Moscow (in Russ.).Surgai, Yu. V., 2008. Interdiskursivnost' kinoteksta v krosskul'turnom aspekte [Interdiscursivity of the film text in a cross-cultural aspect]. PhD Dissertation. Tver (in Russ.).Tarkovsky, A. A., 1989. Lektsii po kinorezhissure [Lectures on film direction]. Leningrad (in Russ.).Tarkovsky, A. A., 2002. Pictured time. In: A. A. Tarkovsky, ed. Arkhivy, dokumenty, vospominaniya [Archives, documents, memoirs]. Moscow (in Russ.).Tarkovsky, A. A., 2008. Martirolog. Dnevniki 1970—1986 (Martyrology. Diaries 1970—1986). Moscow (in Russ.).Turovskaya, M. I., 1991. Sem' s polovinoi, ili Fil'my Andreya Tarkovskogo (Seven and a Half, or The Films of Andrei Tarkovsky). Moscow (in Russ.).Wagner, G., 1975. The novel and the cinema. New Jersey.Yakimovich, A. K., 2018. Film Art Against Avant-Garde? On the Ontology of Artistic Means. Vestnik VGIK [Bulletin of Film Art), 2 (36), pp. 8—26 (in Russ.).P.SteinerThe article is based on a chapter from the author’s book Russian Formalism: A Metapo­etics (1984). It deals with the poetics of Roman Jakobson formulated during his stay in Prague from 1920 to 1938 and treats this subject from an epistemological perspective outlining three incompatible scholarly/artistic trends which informed it: Husserlian Phenomenology, Saus­surian linguistics and Russian Futurism. From Husserl, Jakobson borrowed the concept of “expression” (Ausdruck) — the sign whose self-sameness was absolute. But he departed from the German philosopher by conceiving of this semiotic identity in terms of a Saussurean “so­cial consciousness.” And he further relativized it through the modernist notion of “de-familiarization” — an incessant drive of poetic signs for an aesthetic rejuvenation. To miti­gate the tension between Phenomenological stability and Futurist instability, the essay con­cludes, Jakobson grounded his poetics in phonology: the universal system of distinctive fea­tures common to all languages that is impervious to any violations.0531202611Derrida, J., 1974. Of Grammatology. Translated by Gayatri Chakravorty Spivak. Baltimore.Holenstein, E., 1976a. Roman Jakobson’s Approach to Language: Phenomenological Structuralism. Bloomington, Ind.Holenstein, E., 1976b. Einführung: Linguistische Poetik. In: R. Jakobson, ed. Hölderlin. Klee. Brecht. Frankfurt a/M, pp. 7—25.Husserl, E., 1970. Logical Investigations, Vol. 1. Translated by J. N. Findlay. New York.Ivanov, V., 1909. Sporades. In: V. Ivanov, ed. Po zvezdam. Stat'i i aforizmy [By the stars. Articles and aphorisms]. Saint Petersburg, pp. 338—376 (in Russ.).Jakobson, R. O., 1921. Noveishaya russkaya poeziya: Nabrosok pervyi [The newest Russian poetry: The first sketch]. Prague (in Russ.).Jakobson, R. O., 1922. O cheshskom stikhe preimushchestvenno v sopostavlenii s russkim [About Czech verse mainly in comparison with Russian]. Berlin (in Russ.).Jakobson, R. O., 1931. “About the generation that squandered its poets”. In: Smert' Vladimira Mayakovskogo [The death of Vladimir Mayakovsky]. Berlin, pp. 7—44 (in Russ.).Jakobson, R., 1925. Konec básnického umprumáctví a živnostnictví. Pásmo: Revue internationale modern, 13/14, pp. 1—2.Jakobson, R., 1921. O realismu v umění. Červen IV, 22, pp. 300—304.Jakobson, R., 1927. Dvě staročeské skladby o smrti. In: R. Jakobson, ed. Spor duše s tělem. O nebezpečném času smrti. Prague, pp. 7—36.Jakobson, R., 1929. Remarques sur l’évolution phonologique du russe comparée à celle des autres langues slaves. In: Travaux du cercle linguistique de Prague II. Prague.Jakobson, R., 1969. Kontury Glejtu. In: R. Jakobson, ed. Slovesné umění a umělecké slovo. Prague, pp. 386—39.Jakobson, R., Bogatyrеv, P., 1966. Die Folklore als eine besondere Form des Schaffens. In: R. Jakobson, ed. Selected Writings: Slavic Epic Studies, 4. The Hague, pp. 1—15.Jakobson, R., et al., 1970. Teze předložené Prvému sjezdu slovanských filologů v Praze 1929. In: J. Vachek, ed. U základů pražské jazykovědné školy. Prague, pp. 35—65.Jakobson, R., Fant, G. M., Halle, M., 1952. Preliminaries to Speech Analysis: The Distinctive Features and Their Correlates. 2nd ed. Cambridge.Saussure, F., 1959. Course in General Linguistics. Translated by W. Baskin. New York.L. A.MaltsevThe article investigates a religious and philosophical dialogue of Miłosz and Dostoevsky. The antinomic content of Miłosz's poem “Theological Treatise” is analyzed in the context of Dostoevsky's Christocentric worldview, as well as religious and heretical teachings of early Christianity, which aroused Milosz's interest throughout his career. In their works, Dostoev­sky and Miłosz explored the theological problem of apoсatastasis and offered their interpreta­tion of it. The paper also examines Miłosz’s contribution as an essayist to the comparative study of Dostoevsky's works (Dostoevsky — Mickiewicz and Dostoevsky — Swedenborg). The ideological basis of “Theological Treatise” is the dialectical relationship between faith and truth, which is associated with Miłosz's appeal to Dostoevsky's ‘creed’ from his famous letter to Fonvisina. Like Dostoevsky, Miłosz criticizes the natural-scientific concept of truth in its depersonalized and, therefore, dehumanized version, which seems to the author of “Theologi­cal Treatise” as an instrument of ‘devilish theology’. In a dialogue with the traditions of Rus­sian religious philosophy, and above all with Dostoevsky’s legacy, Miłosz turns to the Apoca­lypse, in which the most aesthetically significant the idea for him is that of ​​restoring paradisi­acal existence. However, unlike Dostoevsky, the concept of life after death in “Theological Treatise” is not free from pessimism and skepticism. Miłosz is inclined towards the ideological paradigm of the West, and the concept of “Theological Treatise” includes the ideas of Dosto­evsky's unbelieving heroes.0531202611Arkhipova, A. V., 1994. Dostoevsky and Adam Mickiewicz. In: Dostoevsky. Materialy i issledovaniya [Dostoevsky. Materials and researches], 11. Saint Petersburg, pp. 13—27 (in Russ.).Balbus, S., 2013. Budowanie przestrzeni “Traktatu teologicznego”. In: Miłosz i Miłosz [Miłosz i Miłosz]. Kraków, pp. 191—205 (in Pol.).Berdyaev, N. A., 1930. From etudes about J. Böhme. Etude 1. Doctrine of Ungrund. Put` [Way], 20, pp. 47—79. Available at: http://www.odinblago.ru/path/20/2/ [Accessed 23 January 2021] (in Russ.).Berdyaev, N. A., 1991. Spirits of the Russian Revolution. In: Vekhi. Iz glubiny [Vekhi. De profundis]. Moscow, pp. 250—289 (in Russ.).Berdyaev, N. A., 1994. Dostoevsky: an interpretation. In: N. A., Berdyaev, ed. Filosofiya tvorchestva, kul'tury i iskusstva : v 2 t. Tom 2 [Philosophy of Creativity, Culture and Art : in 2 vols. Volume 2]. Moscow, pp. 7—145 (in Russ.).Dostoevsky, F. M., 1972—1990. Polnoe sobranie sochinenii : v 30 t. [Complete works : in 30 vols.]. Leningrad (in Russ.).Fiut, A., 2001. Pragnienie wiary. Tygodnik Powszechny [Universal weekly], 11-12 (60-61), p. 9 (in Pol.).Franaszek, A., 2011. Miłosz. Biografia [Miłosz. Biography]. Kraków (in Pol.).Gacheva, A. G., 2007. The problem of the universality of Salvation in the novel “The Brothers Karamazov” (in the context of the eschatological ideas of N. F. Fedorov and V. S. Solovyov) In: Roman F. M. Dostoevskogo “Brat'ya Karamazovy”: sovremennoe sostoyanie izucheniya [Dostoevsky's novel “The brothers Karamazov”: state of the art research]. Moscow, pp. 226—282 (in Russ.).Gorbanevskaya, N., 2012. Moi Milosh [My Miłosz]. Moscow (in Russ.).Iustin (Popovich), prepodobnyi, 2002. Dostoevsky o Evrope i slavyanstve [Dostoevsky on Europe and Slavism]. Mosco, Saint Petersburg (in Russ.).Kaźmierczyk, Z., 2016. Wschodnia świadomość zła według Miłosza. Acta Polono-Ruthenica, XXI, pp. 175—183 (in Pol.).Maltsev, L. A., 2018. “Don Carlos” by F. Schiller in Mickiewicz’s translation and in the context of the legend of The Great Inquisitor by F. Dostoevsky. Vestnik Baltiiskogo federal'nogo universiteta im. I. Kanta. Ser.: Filologiya, pedagogika, psikhologiya [Bulletin of the Baltic Federal University I. Kant. Ser.: Philology, pedagogy, psychology], 1, pp. 79—83 (in Russ.).Mickiewicz, A., 1985. Pan Tadeusz. Warsaw (in Pol.).Mickiewicz, A., 1985. Rozprawa o Jakóbie Boehmem [A work about Jakob Böhme]. Warsaw (in Pol.).Milosh, Ch., 1992. Shestov, or the purity of despair. In Shestov, L. I., ed. Kirkegard i ekzistentsial'naya filosofiya (Glas vopiyushchego v pustyne) [Kierkegaard and Existential Philosophy (The Voice of One Crying in the Desert)]. Translated by S. N. Muravyov, pp. I—XVI. Moscow (in Russ.).Milosh, Ch., 2010. Vtoroe prostranstvo. Orfei i Evridika: Poemy, stikhotvoreniya [The Second Space. Orpheus and Eurydice: poems. Translated by A. Rojtman. Saint. Petersburg (in Russ.).Miłosz, Cz., 1985. Wiersze [Poems], II. Kraków, Wrocław (in Pol.).Miłosz, Cz., 1990. Rodzinna Europa [Native realm]. Warsaw (in Pol.).Miłosz, Cz., 2010—2011. Rosja. Widzenia transoceaniczne [Russia. Transoceanic vision], 1-2. Warsaw (in Pol.).Miłosz, Cz., 2011. Introduction. Tygodnik Powszechny [Universal weekly], 11-12 (60-61), p. 9 (in Pol.).Mnich, R., 2012. Dmitry Chizhevsky and Poland. Studia Rossica XXII: Polska Rosja: dialog kultur [Studia Rossica XXII. Poland — Russia: dialogue of cultures]. Warsaw, pp. 311—320. (in Russ.).Rogalev, A. F., 2013. Svidrigajlov i Svidrigajlo: literary character and Lithuanian prince. Voprosy literatury [Studies in literature], 4, pp. 463—469 (in Russ.).Saraskina, L. I. America as a myth and utopia in Dostoevsky’s works. In: Russkii put’ [Russian way]. Available at: https://www.rp-net.ru/book/OurAutors/saraskina/ amerika.php [Accessed 23 January 2021] (in Russ.).Suzi, V. N., 2016. About apocatastasis and Christian anthropology by Dostoevsky and in patristics (to the question). In: Literatura i istoriya. XIX vek [Literature and history. XIX century]. Moscow, pp. 193—200 (in Russ.).Szymik, J. Apokatastasis w pismach Czesława Miłosza. Teologiczny wymiar sensu [Apocatastasis in Czesław Miłosz’s works. Theological dimension of meaning]. Available at: https://teologiapolityczna.pl/ks-jerzy-szymik-apokatastasis-w-pismach- milosza-teologiczny-wymiar-sensu [Accessed 23 January 2021] (in Pol.).Tikhomirov, B. N., 2016. Dostoevsky and Svedenborg’s book “Heaven and Hell”. Neizvestnyi Dostoevskii [The Unknown Dostoevsky], 3, pp. 92—127 (in Russ.).Toichkina, A. V., 2017. Skovoroda, Comenius, Swedenborg and Dostoevsky in Tchiževskij’s works about mistics. Vestnik Russkoi khristianskoi gumanitarnoi akademii [Review of The Russian Christian Academy for The Humanities], 18, pp. 145—156 (in Russ.).S. S.VaulinaE. V.BulatayaIrony is considered as an evaluative category in literary and artistic discourse. The au­thors point out such typical features of ironic evaluation as implicit character, i. e. the ability of irony to present the evaluative position of the author in a veiled form, subjectivity, which is directly dependent on the author's attitudes and ideological intentions, negative colouring of ironic evaluation and a high degree of its impact on the reader. The authors identify the basic techniques of expressing ironic assessment in Saltykov-Shchedrin's novel “The Golovlyovs”. The peculiarities of ironic evaluation are analyzed, and the forms of expressing irony are iden­tified. The main techniques of expressing irony in the novel are antiphrasis, unexpected ironic inference from a situation, antithesis, the use of inappropriate collocations that do not fit the context, intertextual inclusions, intentionally created absurd situations, and rhetorical ques­tions. The main feature of ironic evaluation in the novel is its satirical basis, its distancing from humour and the focus on the denunciation of human vices and social flaws in the histor­ical period of the domination of the landlord class. Ironic evaluation in Saltykov-Shchedrin's novel is an important component of the Saltykov-Shchedrin's ideostyle and reveals the speci­ficity of his narration and the peculiarities of the writer's worldview.0531202611Aikhenval'd, Yu. I., 1994. Siluety russkikh pisatelei [Silhouettes of Russian writers]. Moscow (in Russ.).Bushmin, A. S., 1971. M. E. Saltykov-Shchedrin. Introductory article. In: Saltykov-Shchedrin M. E. Istoriya odnogo goroda. Gospoda Golovlevy. Skazki [Saltykov-Shchedrin M. E. The history of one city. The Golovlyovs. Fairy tales]. Leningrad, pp. 3—30 (in Russ.).Bushmin, A. S., 1976. Saltykov-Shchedrin. Iskusstvo satiry [Saltykov-Shchedrin. The Art of Satire]. Moscow (in Russ.).Efimov, A. I., 1953. Yazyk satiry Saltykova-Shchedrina [The language of satire by Saltykov-Shchedrin]. Moscow (in Russ.).El'sberg, Ya. E., 1953. Saltykov-Shchedrin: Zhizn' i tvorchestvo [Saltykov-Shchedrin: Life and work]. Moscow (in Russ.).Gagarina, N. N., 2006. The language peculiarities of the idiostyle by Saltykov-Shedrin. Vestnik Udmurtskogo Universiteta. Seriya Istoriya i filologiya [Bulletin of Udmurt University. History and Philology Series], 5 (2), pp. 9—14 (in Russ.).Grossman, L. P., 1929. Saltykov is a storyteller. Russia of Saltykov. In: Bor'ba za stil'. Opyty po kritike i poetike [The struggle for style. Experiments on criticism and poetics]. 2nd ed. Moscow, pp. 154—202 (in Russ.).Hartung, M., 2002. Ironie in der Alltagssprache: eine gesprächsanalytische Untersuchung [Irony in spoken language: discursive analytical research]. Radolfzell.Ivanov-Razumnik, R. V., 1930. M. E. Saltykov-Shchedrin. Zhizn' i tvorchestvo [M. E. Saltykov-Shchedrin. Life and work]. Moscow (in Russ.).Kuznetsova, A. V., 2020. Subjective modality of the literary text: ontological status in author’s conception of the world. Vestnik Baltiiskogo federal'nogo universiteta im. I. Kanta. Ser.: Filologiya, pedagogika, psikhologiya [Bulletin of the Baltic Federal University I. Kant. Ser.: Philology, pedagogy, psychology], 4, pp. 5—14 (in Russ.).Malikova, E. S., Markelova, T. V., 2013. Irony and evaluation. Izvestiya vysshikh uchebnykh zavedenii. Problemy poligrafii i izdatel'skogo dela [Proceedings of higher educational institutions. Problems of printing and publishing], 4, pp. 79—88 (in Russ.).Markelova, T. V., Petrushina, M. V., 2015. Axiological nature of laugh in M. E. Saltykov-Shchedrin’s idiostyle. Vestnik Moskovskogo gosudarstvennogo universiteta pechati imeni Ivana Fedorova [Vestnik MGUP], 4, pp. 71—76 (in Russ.).Nikitin, M. V., 1988. Osnovy lingvisticheskoi teorii znacheniya [Fundamentals of linguistic theory of meaning]. Moscow (in Russ.).Savvina, Yu. V., 2008. Derivation as a way to express estimated picture of the world in the idiostyle of M. E. Saltykov-Shchedrin. Izvestiya vysshikh uchebnykh zavedenii. Problemy poligrafii i izdatel'skogo dela [Proceedings of higher educational institutions. Problems of printing and publishing], 4, pp. 86—92 (in Russ.).Sergienko, A. V., 1994. On the nature of irony as a manifestation of implication (based on the material of G. Heine's prose). In: Semanticheskie protsessy na raznykh urovnyakh yazykovoi sistemy [Semantic processes at different levels of the language system]. Saratov, pp. 156—163 (in Russ.).Shilikhina, K. M., 2014. Semantika i pragmatika verbal'noi ironii [Semantics and pragmatics of verbal irony]. Voronezh (in Russ.).Solodilova, I. A., 2014. Evaluation of irony meaning. Vestnik Orenburgskogo gosudarstvennogo universiteta. Teoriya yazyka. Lingvistika teksta [Bulletin of Orenburg State University. Theory of language. Text linguistics], 11 (172), pp. 121—127 (in Russ.).Stepanov, Yu. S., 2001. In the world of semiotics. In: Yu. S., Stepanov, ed. Semiotika: Antologiya [Semiotics: Anthology]. 2nd ed. Moscow, Ekaterinburg (in Russ.).Trofimov, I. T., 1967. Revolyutsionnaya satira Saltykova-Shchedrina i russkaya literatura [Saltykov-Shchedrin's Revolutionary Satire and Russian Literature]. Moscow (in Russ.).Vaulina, S. S., Bulataja, E. V., 2017. Textual means of explicating irony as a component of author's modality in N. V. Gogol’s works. Mezhdunarodnyi nauchno-issledovatel'skii zhurnal [International Research Journal], 4 (58), pp. 20—23. doi: https:// 10.23670/IRJ.2017.58.045 (in Russ.).Vaulina, S. S., Bulataya, E. V., 2019. Means of Irony Expression in German Translations of Gogol’s Texts. Nauchnyi dialog [Scientific Dialogue], 3, pp. 9—23. doi: https://10.24224/2227-1295-2019-3-9-23 (in Russ.).Vaulina, S. S., Kuksa, I. Yu., 2009. Sentence modality text modalty: topical aspects of studies. Acta Polono-Ruthenica, 14, pp. 513—520 (in Russ.).Zavrumov, Z. A., 2016. The irony implicity in the semantic space of literary text. Vestnik Rossiiskogo universiteta druzhby narodov. Seriya: Teoriya yazyka. Semiotika. Semantika [RUDN Journal of Language Studies, Semiotics and Semantics], 2, pp. 51—55 (in Russ.).Zolyan, S. T., 2020. Discourse: an Object of Research or a Research Construct? Inostrannye yazyki v vysshei shkole [Foreign Languages in Tertiary Education], 2, pp. 7—17 (in Russ.).