NONE20260529213505354Immanuel Kant Baltic Federal Universityno-reply@journals.kantiana.ruImmanuel Kant Baltic Federal UniversitySlovo.ru: Baltic accent2225-53462686-898905292026152T. ZolyanSurenV. SokolovaOlgaV. TsvigunTatianaN. ChernyakovAlexei05292026611От теоретика к мыслителю: знакомство с Ю.М. Лотманом под руководством Б.Ф. ЕгороваSoo HwanKimIn this paper, which is largely personal and retrospective, the author shares his memories of his encounters with the works of Yuri Lotman and takes the opportunity for a reconside­ration of his semiotics as a specific reflection on the history of Russia. Beginning with me­mories of the first encounter with Lotman's work more than thirty years ago in Korea, the author describes his experiences studying Lotman in Russia under the supervision of Pro­fessor Boris Fedorovich Egorov and, after returning to his native country, intensively explor­ing Lotman's last years (the so-called ‘Lotmanian explosion’). In particular, the author at­tempts to reconceptualize the intriguing concept of the ‘mechanism of Smuta’ that Lotman developed in his later years in terms of the "unpredictability of the past" and to highlight its profound implications for Lotman, who, the author argues, should be seen not only as a theo­rist but also as a (Russian) thinker.05292026122510.5922/2225-5346-2024-2-1https://journals.kantiana.ru/slovo/5534/47428/Baer, B. J., 2013. Translator’s Preface. In: Ju. M. Lotman, ed. The Unpredictable Workings of Culture. Translated by B. J. Baer. Tallinn, pp. 17—30.Derrida, J., 1994. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. New York.Kim, S. H., 2014. Lotmanian explosion: From peripheral space to dislocated time. Sign Systems Studies, 42 (1), pp. 7—30, https://doi.org/10.12697/SSS.2014.42.1.01.Kracauer, S., 1995. History: The Last Things before the Last. Markus Wiener Publishers, Princeton.Lotman, Ju. M., 2000. Semiosfera [Semiosphere]. St. Petersburg (in Russ.).Lotman, Ju. M., 2002. Istoriya i tipologiya russkoi kul'tury [History and typology of Russian culture]. St. Petersburg (in Russ.).Lotman, Ju. M., Mints, Z. G. and Egorov, B. F., 2018. Perepiska, 1954—1965 [Correspondence, 1954—1965]. St. Petersburg (in Russ.).Lotman, M., 2019. Afterward: (Re)constructing the Drafts of Past. In: M. Tamm, ed. Juri Lotman. Culture, Memory and History. Essays in Cultural Semiotics. Translated by B. J. Baer. Palgrave Macmillan, pp. 245—265, https://doi.org/10.1007/978-3-030- 14710-5.Ryklin, M., ed., 1993. Zhak Derrida v Moskve: dekonstruktsiya puteshestviya [Jacques Derrida in Moscow: Deconstruction of travel]. Moscow (in Russ.).Zolyan, S., 2020. On the unpredictability of the past: Juri Lotman on history and historians. In: Juri Lotman: O smysle, tekste, istorii. Temy i variatsii [Juri Lotman: About the meaning, the text, the history. Themes and variations]. Moscow, pp. 59—95 (in Russ.).로트만 유리 (Lotman Juri). 문화와 폭발 (Culture and Explosion). 김수환 옮김 (Translated by Kim Soo Hwan), 서울: 아카넷 (Seoul: Acanet), 2014.«Пламенный голос из-за края». К вопросу о взаимодействии поэзии и политикиM.Y.MartynovUniversity of Tyumenhttps://orcid.org/0000-0003-0155-2694In contemporary critical literature, there are various perspectives on the relationship be­tween the political and the poetic. Some view poetry as a form of politics, encapsulated in the aphorism ‘the word is a weapon’, while others argue that politics itself should embody the qualities of poetry, as suggested by Andy Merrifield's assertion that "politics should be like poetry." This article seeks to explore the poetic dimensions that underpin the political necessi­ty for poetry, namely, the attributes of poetry that establish a connection with the political sphere. The focus of this exploration is the concept of poetic defamiliarization and its interac­tion with the political within Jacques Rancière's theoretical framework. Rancière posits that the political function of poetry, and art more broadly, lies in its ability to disrupt the estab­lished order of sensory perception, challenging the prevailing system of unquestioned percep­tual facts. This disruptive quality of poetry contrasts with what has been termed "police aes­thetics" by Vatulescu, which reflects the conformity and uniformity inherent in consumer society. The article contends that, within the contemporary cultural landscape, the transform­ative potential of poetic expression risks being co-opted by aestheticizing practices prevalent in consumer culture. As a result, the subversive nature of poetic utterance is somewhat dilut­ed, as it becomes assimilated into commodifying forces. However, the article also suggests that poetry retains the capacity to resist such commodification by transcending the limitations imposed by conventional boundaries, thereby offering a means of resisting capture by com­mercial interests05292026244610.5922/2225-5346-2024-2-2https://journals.kantiana.ru/slovo/5535/47430/Aigi, G., 2001. Razgovor na rasstoyanii: stat'i, esse, besedy, stikhi [Conversation at a Distance: Articles, Essays, Conversations, Poems]. St. Petersburg (in Russ.).Avramidis, K. and Tsilimpounidi, M., eds., 2017. Graffiti and Street Art: Reading, Writing and Representing the City. London.Azarova, N. M., 2015a. Interlingual Interactions in the Poetry of Arkady Dragomoshchenko. Novoe literaturnoe obozrenie [New Literary Review], 131 (1), pp. 280—288(in Russ.).Azarova, N. M., 2015b. On the Length of the Poetic Line, or Is It Possible to Formalize Corporeality in Poetry. Novoe literaturnoe obozrenie [New Literary Review], 135 (5), pp. 28—36 (in Russ.).Azarova, N., 2019a. 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Graffiti and Street Art: Reading, Writing and Representing the City. London, pp. 119—134.Caprioli, C., 2016. Blu in Bologna: Collateral Damages. Interview with Peter Bengtsen. Inchiesta, 1 April. Available at: http://www.inchiestaonline.it/arte-poesia/ peter-bengtsen-blu-a-bologna-danni-collaterali/ [Accessed 30 June 2023].Eagleton, T., 2010. Teoriya literatury: Vvedenie [Literary Theory: An Introduction]. Translated from English by E. Buchkina. Moscow (in Russ.).Gasparov, M., 2004. “The tightness of the verse row”. Semantics and syntax. In: Analysieren als Deuten. Wolf Schmid zum 60. Hamburg, pp. 85—95. Available at: https://hup.sub.uni-hamburg.de/oa-pub/catalog/view/89/chapter-06/393 [Accessed 30 June 2023] (in Russ.).Geraskina, A., 2018. “It is forbidden to forbid!” Novaya Gazeta, 142. Available at: https://novayagazeta.ru/articles/2018/12/21/79009-zaprescheno-zapreschat [Accessed 30 June 2023] (in Russ.).Gibbard, P., 2005. Herbert Read and the Anarchist Aesthetic. In: H. Klaus and S. Knight, eds. To Hell with Culture: Anarchism and Twentieth-Century British Literature. Cardiff, Wales, pp. 97—110.Gorbunova, A., 2017. Poetry, Experience and Knowledge. Logos. Philosophical and Literary Journal, 27 (6), pp. 59—82, https://doi.org/10.22394/0869-5377-2017-6-59-80 (in Russ.).Graeber, D., 2016. Utopiya pravil: o tekhnologiyakh, gluposti i tainom obayanii byurokratii [The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy]. Translated from English by A. L. Dunayev. Moscow (in Russ.).Hakim Bey, 2002. Khaos i anarkhiya. Revolyutsionnaya soteriologiya [Chaos and Anarchy. Revolutionary Soteriology]. Translated from English by O. Barash, D. Zhutaev and D. Kaledin. Moscow (in Russ.).Higgins, N., 2000. The Zapatista Uprising and the Poetics of Cultural Resistance. Alternatives: Global, Local, Political, 25 (3), pp. 359—374, https://doi.org/10.1177/030 437540002500311.Jakobson, R., 1975. Linguistics and poetics. 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Russian Poetry of 2010s: In Search of Solidarity. Internationale Zeitschrift für Kulturkomparatistik, 6, pp. 9—43, https://doi.org/10.25353/ubtr-izfk- 224b-8c68 (in Russ.).Lotman, Ju. M., 1996. Analysis of the Poetic Text. In: Ju. M., Lotman, ed. O poetakh i poezii [On poets and poetry]. St. Petersburg, pp. 17—252 (in Russ.).Mandelstam, O. E., 1928. Lunge. In: O. E. Mandelstam, ed. O poezii [On Poetry]. Leningrad, pp. 12—16 (in Russ.).Mandelstam, O. E., 1994. The Fourth Prose. In: O. E. Mandelstam, ed. Sobranie sochinenii v 4 t. [Collected Works in 4 vol.]. Vol. 3. Moscow, pp. 167—179 (in Russ.).Martynov, M., 2016. Metatextual Characteristics of Repetition in Gennadii Aigi’s Poetical Works. Russian Literature, 79—80, pp. 135—145, https://doi.org/10.1016/j. ruslit.2016.01.011 (in Russ.).Martynov, M., 2019. Poetic Terrorism and the Problem of Community. 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Bakusev. Moscow (in Russ.).Rancière, J., 2007. Le Partage du sensible: Esthétique et politique. In: J. Rancière, ed. Razdelyaya chuvstvennoe [Partager sensuel]. Translated from French by V. Lapitsky. St. Petersburg, pp. 9—46 (in Russ.).Sarkisyants, A., 2016. A Place of the Event: Arrangement of the Political in Theory of Jacques Rancière. Sotsiologiya vlasti [Sociology of Power], 28 (4), pp. 14—34, https://doi.org/10.22394/2074-0492-2016-4-14-34 (in Russ.).Shestakova, M. A., 2014. The Distribution of the Sensible: Jacques Rancière’s Aesthetic Phenomenology. Filosofiya i obshchestvo [Philosophy and society], 3, pp. 120—130 (in Russ.).Shklovsky, V. B., 1990. Art as Device. In: V. B. Shklovsky, ed. Gamburgskii schet: stat'i — vospominaniya — esse (1914—1933) [The Hamburg Score]. Moscow, pp. 58—72 (in Russ.).Sontag, S., 2013. O fotografii [On photography]. Translated from English by V. P. Golyshev. Moscow (in Russ.).Subcomandante Marcos, 2002. Our Word Is Our Weapon: Selected Writings of Subcomandante Insurgente Marcos. New York.Tynyanov, Yu., 1929. Literary fact. In: Yu. Tynyanov, ed. Arkhaisty i novatory [Archaists and Innovators]. Moscow, pp. 5—29 (in Russ.).Vatsulescu, C., 2021. Politseiskaya estetika. Literatura, kino i tainaya politsiya v sovetskuyu epokhu [Police Aesthetics: Literature, Film, and the Secret Police in Soviet Times]. Translated from English by L. Rechnaya. St. Petersburg (in Russ.).Ф.М. Достоевский vs К. Маркс: свобода личности в экзистенциальном и социальном измеренииE.N.SavelievaNational Research Tomsk State UniversityV.E.BudenkovaNational Research Tomsk State UniversityI.O.KraevskayaNational Research Tomsk State UniversityThe paper explores the perspectives of Fyodor Dostoevsky and Karl Marx regarding hu­man freedom, highlighting their relevance amidst the contradictory landscape of social devel­opment in late capitalism. It is well-established that Dostoevsky's ‘orthodox’ socialist stance resonated with Marx's critique of bourgeois society, focusing on themes of materialism, the dominance of wealth, and alienation. Both thinkers grappled with the concept of human free­dom, recognizing it as an intrinsic characteristic and essential aspect of humanity. While they shared similar views on existential and social dimensions of freedom, they diverged in their conceptual approaches to achieving it. The study aims to demonstrate, through a comparative analysis of Dostoevsky's and Marx's perspectives, that despite differences in their under­standing of freedom and its attainment, their positions can be seen as complementary. Dosto­evsky advocated for inner spiritual improvement, while Marx prioritized external structural change. Research indicates that these perspectives can mutually reinforce each other. The au­thors assert and support the thesis that according to Dostoevsky, achieving spiritual freedom is feasible through labour activity, a concept akin to Marx's notion of praxis.05292026476610.5922/2225-5346-2024-2-3https://journals.kantiana.ru/slovo/5535/47433/An, Q., 2017. Fyodor Dostoevsky and Karl Marx. Voprosy Filosofii [Problems of Philosophy], 3, pp. 95—113 (in Russ.).Berdyaev, N. A., 2016. Dostoevsky’s Contemplation of the World. In: N. A. Berdyaev, ed. Russkaya ideya. Mirosozertsanie Dostoevskogo [The Russian Idea. Dostoevsky’s Contemplation of the World]. Moscow, pp. 310—511 (in Russ.).Budenkova, V. E. and Savelieva, E. N., 2016. Identity as a topic of theoretical and methodological analysis: models and approaches. Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie [Tomsk State University Journal of Cultural Studies and Art History], 1 (21), pp. 31—44, https://doi.org/10.17223/222208 36/21/4 (in Russ.).Buzgalin, A. V. and Kolganov, A. 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Dostoevsky's worldview. “Demons” and the Bolshevik Revolution. In: F. A. Stepun, ed. Vstrechi [Meetings]. Munich, pp. 11—57 (in Russ.).Tihanov, G., 2010. Continuities in the Soviet period. In: A History of Russian Thought. Cambridge, pp. 311—339, https://doi.org/10.1017/CBO9780511845598.017.Tikhomirov, B. N., 2019. Sergey Nechaev’s “A Revolutionary’s Catechism”. A Historical Document and Its Role in the Creative History of The Demons. Dostoevsky i mirovaya kul'tura. Filologicheskii zhurnal [Dostoevsky and World Culture. Journal of Philology], 3 (7), pp. 162—178, https://doi.org/10.22455/2619-0311-2019-3-162-178 (in Russ.).Tillich, P., 1995. Izbrannoe: Teologiya kul'tury [Selected: The Theology of Culture]. Moscow (in Russ.).Tulchinskiy, G. L., 2021. Dostoevsky: 20th Century Dystopias and a Warning About the Present. Filosofiya. Zhurnal Vysshey shkoly ekonomiki [Philosophy. Journal of the Higher School of Economics], 5 (3), pp. 56—72, https://doi.org/10.17323/2587- 8719-2021-3-56-72 (in Russ.).Vladiv-Glover, S., 2018. The Dialectic of Capitalism, Socialism, and the Split Subject in the Phenomenology of Crime and Punishment. The Dostoevsky Journal, 19 (1), pp. 74—83, https://doi.org/10.1163/23752122-01901004.V. Kh.GilmanovImmanuel Kant Baltic Federal UniversityA.A.KotilenkovaImmanuel Kant Baltic Federal UniversityThe main purpose of this work is to explore the experience of confronting guilt ‘after Auschwitz’ in the creative dialogue between two significant poets of the twentieth century — Paul Celan and Johannes Bobrowski. Despite their importance, their works remain inade­quately studied, particularly in the context of the interaction between language and existence, or more precisely, poetic semiotics and the ontological foundation of existence. Sander Gil­man, an American Germanist, in his work “Why and How I Study German” aimed at stu­dents of the German language in the United States, notes: “Learning German means under­standing the path that leads from the text to the crematory”. Celan shared a similar senti­ment. Bobrowski, while agreeing with Celan's belief that Auschwitz revealed the infernal nature of the German language, attempted to counter him by suggesting that even within the language of the underworld, a poet could serve as a synergistic participant in the manifesta­tion of Truth from the Light of Truth in the performative "production of the presence" of God. One of those who supported him in this argument was perhaps the most complex author in German history, Hamann, whom Goethe considered to be “the brightest mind of his time” and the future “forefather and teacher” of all Germans. In this context, the poetic dialogue between Celan and Bobrowski concerning the German ‘language after Auschwitz’ could be seen as an effort to prevent its complete deontologization, due to what the philosopher Hei­degger referred to as “the lack of holy names," stemming from “the defining characteristic of the present era of the world being the closed dimension of the Sacred”.05292026678010.59222225-5346-2024-2-4https://journals.kantiana.ru/slovo/5535/47435/Berkovsky, N. Ya., 1973. Romantizm v Germanii [Romanticism in Germany]. Leningrad, 567 p. (in Russ.).Birus, H., 1997. Kommentar zu Paul Celans “Die Niemandsrose”. Heidelberg.Bobrowski, J., 1987. Gesammelte Werke. Hrsg. von E. Haufe. Bde. 1—4. Stuttgart/Berlin.Bobrowski, J., 2016. Tenerech'e [Shadowland]. Translated by S. Moreyno. Izhevsk, 196 p. (in Russ.).Borchmeyer, D., 2017. Was ist deutsch? Die Suche einer Nation nach sich selbst. Berlin.Celan, P., 2021. Stikhotvoreniya. Proza. Pis'ma [Poems. Prose. Letters]. Moscow, 736 p. (in Russ.).Hamann, J. G., 2003. Aesthetica in nuce. In: V. Kh. Gilmanov, ed. Germenevtika “obraza” J. G. Hamanna i Prosveshchenie [The Hermeneutics of the “Image” of J. G. Hamann and the Enlightenment]. Kaliningrad, 569 p. (in Russ.).Goethe, J. W., 1976—1980. Ital'yanskoe puteshestvie. Sobranie sochinenii (v 10 tomakh) [Italian Journey. Collected Works (in 10 vol.)]. Vol. 9. Moscow, pp. 5—240 (in Russ.).Gorsky, A. K. and Setnitsky, N. A., 1995. Sochineniya [Selected Works]. Moscow, 448 p. (in Russ.).Gumbrecht, H. U., 2006. Proizvodstvo prisutstviya: Chego ne mozhet peredat' znachenie [Production of Presence: What Cannot Convey the Meaning]. Moscow, 184 p. (in Russ.).Hamann, J. G., 1949—1957. Sämtliche Werke. Historisch-kritische Ausgabe von J. Nadler. 6 Bde. Wien.Hamann, J. G., 1955—1979. Briefwechsel. 7 Bde. Herausgegeben von W. Ziesemer und A. Henkel. Wiesbaden; Frankfurt a/M.Hamann, J. G., 1987. Eine Auswahl aus seinen Schriften. Entkleidung und Verklärung. Wuppertal.Illarion (Alfeyev), mitropolit, 2021. Svyashchennaya taina Tserkvi. Vvedenie v istoriyu i problemu imyaslavskikh sporov [The Sacred Mystery of the Church. Introduction to the history and problem of the imyaslav disputes]. Moscow, 1072 p. (in Russ.).Ilyin, M. V., 2016. What can give analysis of performatives? Politicheskaya nauka [Political science], 4, pp. 262—270 (in Russ.).Khaydegger, M., 1991. Hölderlin and the essence of poetry. Logos, Vol. 1. Moscow, pp. 37—47 (in Russ.).Khaydegger, M., 1993. Vremya i bytie [Time and Being]. Moscow, 447 p. (in Russ.).Mikhaylova, M. M., 2011. Estetika molchaniya [The aesthetics of silence]. Moscow, 320 p. (in Russ.).Mikhaylova, M. M., 2012. Estetika klassicheskogo teksta [Aesthetics of classical text]. St. Petersburg, 296 p. (in Russ.).Ricœur, P., 2002. Konflikt interpretatsii: Ocherki o germenevtike [Conflict of Interpretations: Essays on Hermeneutics]. Moscow, 624 p. (in Russ.).Tgahrt, R., 1993. Johannes Bobrowski oder Landschaft mit Leuten. Katalog zur Ausstellung des Deutschen Literaturarchivs im Schiller-Nationalmuseum. Marbach am Neckar, 827 p.Zolyan, S. T., 2023. Words and deeds: performatives in political practices and discourses. Politicheskaya nauka [Political science], 3, pp. 97—131, https://doi.org/10. 31249/poln/2023.03.05 (in Russ.).Новые технологии и прагматические техники в современной поэзииO.V.SokolovaInstitute of Linguistics of the Russian Academy of SciencesThe paper examines the linguistic and communication changes taking place in poetic dis­course under the influence of new media. The digital interface (blogs, social networks, applica­tions) affects the transformation of all the parameters of communication, due to the dominance of information channels and codes. The interaction of poetic language with colloquial speech and the influence of digital technologies lead to the creation of new strategies of subjectivation and addressing in contemporary poetry, as well as to an increase in the role of poetic pragmat­ics. In addition, the process of meaning formation in contemporary poetry involves the mech­anism of transcoding, i. e. the transfer of a message from one format to another, which can take place during the conversion from a paper (or analogue) format to a digital one. Transcoding involves a change in the form and content of the message, as well as other communication parameters. The paper classifies and explores in detail the pragmatic parameters that undergo transcoding under the influence of digital technologies, acting as new pragmatic techniques of poetic utterance.05292026819710.5922/2225-5346-2024-2-5https://journals.kantiana.ru/slovo/5536/47437/Akhapkin, D., 2012. Cognitive approach in modern studies of literary texts. Novoe literaturnoe obozrenie [New Literary Review], 114, pp. 298—312 (in Russ.).Androutsopoulos, J., 2006. Introduction: Sociolinguistics andcomputer-mediated communication. Journal of Sociolinguistics, 10/4, pp. 419—438, https://doi.org/10. 1111/j.1467—9841.2006.00286.x.Apresyan, Yu. D., 1986. Deixis in vocabulary and grammar and the naive model of the world. In: Semiotika i informatika [Semiotics and computer science]. Vol. 28. Moscow, pp. 5—33 (in Russ.).Bachmann-Medic, D., 2017. Kul'turnye povoroty. Novye orientiry v naukakh o kul'ture [Cultural turns. New landmarks in the sciences of culture]. Мoscow (in Russ.).Bazzanella, C., 2001. Segnali discorsivi nel parlato e nello scritto. In: M. Dardano, A. Pelo and A. Stefinlongo, eds. Scritto e parlato. Metodi, testi, e contesti. Roma, pp. 79—98.Benveniste, É., 1974. Obshchaya lingvistika [General linguistics]. Yu. S. Stepanov, ed. Moscow (in Russ.).Bergelson, M. B., 2002. Language aspects of virtual communication. Vestnik Moskovskogo universiteta. Seriya 19. Lingvistika i mezhkul'turnaya kommunikatsiya [Moscow University Bulletin. Series 19. Linguistics and Intercultural Communication], 1, pp. 55—67 (in Russ.).Blakemore, D., 2002. Relevance and Linguistic Meaning: The Semantics and Pragmatics of Discourse Markers. Cambridge.Crystal, D., 2001. Language and the Internet. Cambridge.Feshchenko, V. and Sokolova, O., 2023. Visualising Deixis in Avant-Garde and Contemporary Poetry “On and Off the Page”. In: M. E. Korecka and W. Vorrath, eds. Poetry and Contemporary Visual Culture / Lyrik und zeitgenössische Visuelle Kultur. Berlin; Boston, pp. 49—72, https://doi.org/10.1515/9783111299334-003.Feshchenko, V. V., 2022. Yazyk v yazyke. Khudozhestvennyi diskurs i osnovaniya lingvoestetiki [Language within language. Artistic discourse and the foundations of linguistic aesthetics]. Moscow (in Russ.).Jakobson, R., 1975. Linguistics and poetics. In: Strukturalizm: «za» i «protiv»: sbornik statei [Structuralism: “pro” and “contra”: a collection of articles]. Moscow, pp. 193—230 (in Russ.).Kibrik, A. A., 2009. Mode, genre and other parameters of discourse classification. Voprosy Jazykoznanija [Topics in the study of language], 2, pp. 3—21 (in Russ.).Krongauz, M. A., 2013. Samouchitel' olbanskogo [Self-help guide of Olbansky]. Moscow (in Russ.).Lyons, J., 1977. Semantics. Cambridge.Manovich, L., 2018. Yazyk novykh media [The Language of New Media]. Moscow (in Russ.).Ong, W. J., 1982. Orality and Literacy. The Technologizing of the Word. London; New York.Paducheva, E. V., 2009. Interpretation mode as a context that removes ambiguity. In: Lingvistika dlya vsekh. Letnie lingvisticheskie shkoly 2007 i 2008 [Linguistics for everyone. Summer linguistic schools 2007 and 2008]. Moscow, pp. 234—246 (in Russ.).Para, Iu., 2016. Online Communication — Netspeak. In: D. Dejica, G. Hansen, P. Sandrini and Iu. Para, eds. Language in the Digital Era. Challenges and Perspectives. Warsaw, pp. 189—200, https://doi.org/10.1515/9783110472059-017.Radbil, T. B., 2012. Yazykovye anomalii v khudozhestvennom tekste: Andrey Platonov i drugie [Language anomalies in a literary text: Andrey Platonov and others]. Moscow (in Russ.).Sokolova, O. V., 2023. Transcoding in Contemporary Poetry: Visual and Audial Translatability. Novoe literaturnoe obozrenie [New Literary Review], 181, pp. 173—187, https://doi.org/10.53953/08696365_2023_181_3_173 (in Russ.).Tsvigun, T. and Chernyakov, A., 2023. The Neural Poetry of Grammar and the Neural Grammar of Poetry. Novoe literaturnoe obozrenie [New Literary Review], 181, pp. 188—199, https://doi.org/10.53953/08696365_2023_181_3_188 (in Russ.).Zakharkiv, E. V., 2020. Verbal aggression in modern poetry: conventional and unconventional functioning of discourse markers. Slovo.ru: Baltic accent, 11 (4), pp. 15—27, https://doi.org/10.5922/2225-5346-2020-4-2 (in Russ.).Zolyan, S. T., 2014. Semantika i struktura poeticheskogo teksta [Semantics and structure of poetic text]. Moscow (in Russ.).Интерфейсы новейшей поэзии: смена коммуникативного хода и множественная адресацияE.V.ZakharkivInstitute of Linguistics of the Russian Academy of SciencesThe characteristic feature of contemporary poetry is an increased attention to the prag­matics of the message. The Internet influences the activation of the communication function, and metalinguistic reflection in poetry manifests itself through the violation of grammatical norms, the graphic highlighting of pragmatic markers, and the representation of computer interface elements such as messengers, social networks, etc. At the same time, the media inter­face creates a multiplicity of addressing and influences the strategies of indirect subjectivation that manifest themselves as a result of several shifts (deictic, functional, etc.), allowing us to deal with the updating of the communication parameters of a poetic utterance. This modifica­tion involves bringing the communication channel to the fore, as well as explicating the turn-taking indices in its non-conventional function. Thus, at the present stage, the poetic message is supplemented by new (linguistic and media) means, including interfaces, pseudo-dialogue models characteristic of online correspondence, conversational patterns, and discourse mark­ers used in online communication. The article analyzes the peculiarities of the functioning of pragmatic markers as indicators of subjectivity and addressing on the Internet.052920269811110.5922/2225-5346-2024-2-6https://journals.kantiana.ru/slovo/5536/47439/Aarseth, E. J., 1997. Cybertext: perspectives on ergodic literature. Baltimore: John Hopkins University Press.Barthes, R., 1994. Author’s death. In: R. Barthes, ed. Izbrannye raboty: Semiotika. Poetika [Selected works: Semiotics. Poetics]. Moscow, pp. 384—391 (in Russ.).Benthien, C., Lau, J. and Marxsen, M., 2019. The Literariness of Media Art. New York and London: Routledge.Di Rosario, G., 2011. Electronic poetry. Understanding Poetry in the Digital Environment. Jyväskylä.Friedlund, A. J., 1991. Sociality of solitary smiling: Potentiation by an implicit audience. Journal of Personality and Social Psychology, 60 (2), pp. 229—240.Gasparov, B. M., 1996. Yazyk. Pamyat'. Obraz. Lingvistika yazykovogo sushchestvovaniya [Memory. Image. Linguistics of linguistic existence]. Moscow (in Russ.).Gronlund, M., 2014. From Narcissism to the Dialogic: Identity in Art after the Internet. Afterall: A Journal of Art, Context, and Enquiry, 37, pp. 4—13, https://doi.org/ 10.1086/679372.Jakobson, R., 1975. Linguistics and poetics. In: Strukturalizm: «za» i «protiv»: sbornik statei [Structuralism: “pro” and “contra”: a collection of articles]. Moscow, pp. 193—230 (in Russ.).Latur, B., 2014. Peresborka sotsial'nogo: vvedenie v aktorno-setevuyu teoriyu [Reassembling the Social: An Introduction to Actor-Network Theory]. Moscow (in Russ.).Lekhtsier, V., 2020. Poeziya i ee inoe: filosofskie i literaturno-kriticheskie teksty [Poetry and its other: philosophical and literary-critical texts]. Ekaterinburg; Moscow (in Russ.).Ma, M.-Q., 2009. The Sound Shape of the Visual: Toward a Phenomenology of an Interface. In: C. Dworkin and M. Perloff, eds. The Sound of Poetry / The Poetry of Sound. Chicago: University of Chicago Press, pp. 270—284, https://doi.org/10.7208/chicago/ 9780226657448.003.0020.Vygotsky, L. S., 1999. Myshlenie i rech' [Thought and Language]. Moscow (in Russ.).Zolyan, S. T., 1988. “I” of a poetic text: semantics and pragmatics (to the problem of lyrical hero). In: Tynyanovskiĭ sbornik. Tret'i Tynyanovskie chteniya [Tynian collection. The Third Tynian readings]. Riga, pp. 24—28 (in Russ.).Нейропоэзия как баттл поэтических языковT.V.TsvigunImmanuel Kant Baltic Federal UniversityA.N.ChernyakovImmanuel Kant Baltic Federal UniversityThe article develops a view of neural networks as a tool for formulating and verifying philological hypotheses related to various aspects of the generation and reception of a literary text. The principles of aesthetic communication are analyzed, in which, thanks to the development of the modern technological environment, an anthropic author, a neural network and a recipient can participate equally. Neuropoetry is interpreted through the metaphor of a “battle of poetic languages” (in accordance with the conventions of the rap battle genre) — as a communicative field in which anthropic and digital authors interact as equal participants in the creative act, jointly forming new prerequisites for the reader’s perception of a literary text. The ‘co-creation’ of anthropic and digital authors is considered in terms of the actor-network theory of Latour. In interactions between a person and a neural network, the latter transcends its purely instrumental function and assumes features of subjectivity. It becomes an equal agent in generating a collective aesthetic statement. Neuropoetry, as a result of co-creation of this kind, is characterized by a double semiotic nature: one part of it is the result of the creation of an anthropic author, while the second demonstrates ‘secondary poetry’, in which the digital author imitates the procedures of natural speech generation. As a result, a new, complicated model of aesthetic communication is formed, complementing the standard positions of the communicative act (author — text — reader) with the level of communicative interaction of anthropic and digital co-authors. The recipient, in the situation of perceiving a text co-written by a person and a neural network, is involved in a complex interpretative game that activates the mechanisms of aesthetic reception, and the act of ‘neuro-creativity’ itself creates new forms of mimesis, which ceases to be ‘imitation of the world’ and becomes ‘imitation of imitation’.0529202611212310.5922/2225-5346-2024-2-7https://journals.kantiana.ru/slovo/5536/47441/Fadeeva, T., 2023. “Union” of an artist with a non-human agent: Utopia or a working model of artistic production? Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Biomedical Sciences, 25 (1), рp. 108—115, https://doi.org/10.37313/2413-9645-2023-25-88-108-115 (in Russ.).Orekhov, B. and Uspensky, P., 2018. Galvanization of the author, or experiment with neural poetry. Novyi mir [New World], 6. Available at: http://www.nm1925. ru/Archive/Journal6_2018_6/Content/Publication6_6935/Default.aspx [Accessed 10 August 2022] (in Russ.).Pepperstein, P. and Pepperstein Neuro, 2022. Pytayas' prosnut'sya [Trying to wake up]. Moscow (in Russ.).Skorinkin, D., 2023. How to write literary texts with neural networks and not screw it up. In: Pisateli vs. neiroseti — spetsproekt o sovremennykh tekhnologiyakh v literature [Writers vs. neural networks — a special project about modern technologies in literature]. Available at: https://podtext.media/guide-for-writers [Accessed 18 December 2023] (in Russ.).Tsvigun, T. and Chernyakov, A., 2023a. The Neural Poetry of Grammar and the Neural Grammar of Poetry. Novoe literaturnoe obozrenie [New Literary Review], 181, pp. 188—199, https://doi.org/10.53953/08696365_2023_181_3_188 (in Russ.).Tsvigun, T. and Chernyakov, A., 2023b. Kharms vs. Neurokharms: neural network as a narrative laboratory. The New Philological Bulletin, 4 (67), pp. 80—92, https://doi. org/10.54770/20729316-2023-4-76 (in Russ.).Лингвокогнитивные основания интеграции поэтического текста в кинодискурсI.V.ZykovaInstitute of Linguistics of the Russian Academy of SciencesThe article delves into the intricacies of integrating poetic texts into the discourse of au­thorial cinema. It begins by examining the multifaceted interaction between cinema and poet­ry within contemporary artistic culture, framing author cinematography through the lens of the poetic concept. Intermediality and interdiscursivity are explored as intrinsic properties of cinema, serving as tools for shaping the unique style and aesthetics of filmmakers. Two films, “Stalker” by Andrei Tarkovsky and “Ugly Swans” by Konstantin Lopushansky, are selected as primary sources for analysis due to their continuity and innovative qualities. The research employs a comprehensive methodology, including parameterization of linguistic creativity, corpus annotation, and conceptual analysis of verbal and non-verbal elements that contribute to the films’ poetics. Data processing techniques are then applied to interpret the findings. The study uncovers both similarities and differences in the approaches of the two filmmakers to incorporating poetic material into their works. It concludes that the integration of poetic texts into films serves as a mechanism for eliciting a unique psycho-emotional response from viewers, facilitating their engagement with the filmmaker’s ideological concepts.0529202612414310.5922/2225-5346-2024-2-8https://journals.kantiana.ru/slovo/5536/47443/Barkovskaya, N. V., 2021. Video poetry: the problem of subject and context. Philological class, 26 (3), pp. 21—33, https://doi.org/10.51762/1FK-2021-26-03-02 (in Russ.).Boldyrev, N., 2004. Zhertvoprinoshenie Andreya Tarkovskogo [Andrey Tarkovsky’s Sacrifice]. Moscow (in Russ.).Davydov, D., 2011. Video poetry as a phenomenon and as a variety of practices. Video poetry. Available at: http://gulliverus.ru/davydov-1.html?ysclid=lqjpejl0116 25870500 [Accessed 30 November 2023] (in Russ.).Eisenstein, S., 1964. Izbrannye proizvedeniya v shesti tomakh [Selected works in six volumes]. Vol. 1. Moscow (in Russ.).Fomin, V., 2001. Pravda skazki: Kino I traditsii fol’klora [The truth of fairy tales: Cinema and folklore traditions]. Moscow (in Russ.).Godard, J.-L., 1997. Strast’: mezhdu chernym I belym [Passion: between black and white]. Moscow (in Russ.).Golynko-Wolfson, D., 2012. Poetic film: problem statement and materials for examination. Translit, 9. Available at: https://litbook.ru/article/261/?ysclid=lq8abx3 ord83552342 [Accessed 24 December 2023] (in Russ.).Goryachok, K. L., 2021. Poems by Dziga Vertov — a dialogue with oneself. Kinema, 1 (1), pp. 90—99 (in Russ.).Goryachok, K. L., 2022. Avtorskaya estetika Dzigi Vertova (1910—1940-e gody) [Dziga Vertov’s aesthetics of (1910—1940s)]. PhD thesis. Moscow (in Russ.).Heinrichs, J. and Spielmann, Y., 2002. Editorial to the special issue: “What is Intermedia?” Convergence, 8, pp. 5—10.Kanudo, R., 1988. Manifesto of the seven arts. In: M. Iampolsky, ed. Iz istorii frantsuzskoi kinomysli: Nemoe kino 1911—1933 gg. [From the history of French cinema: Silent cinema 1911—1933]. Moscow (in Russ.).Kazansky, B. V., 2016. The nature of cinema (1927). In: Poetika kino. Teoreticheskie raboty 1920-kh gg. [Poetics of cinema. Theoretical works of the 1920s]. Moscow, pp. 105—152 (in Russ.).Kiose, M. I. and Efremov, A. A., 2020. Programma HETEROSTAT kompleksnogo rascheta parametrov diskursa [HETEROSTAT program for complex calculation of discourse parameters]. Registration date: 09/21/2020. State registration number: 20206 61240.Kudryashova, M., 2005. Gadkie lebedi. Kak snimalsya fil’m [Ugly swans. How the film was shot]. Available at: https://yandex.ru/video/preview/1682881179059704 6832 [Accessed 5 December 2023] (in Russ.).Lopushansky, K. S., 2010. Dialogi o kino [Dialogues about cinema]. St. Petersburg (in Russ.).Mayakovsky, V., 1959. Polnoe sobranie sochineniy [The Complete works]. Vol. 12. Moscow (in Russ.).Pethő, Á., 2011. Cinema and Intermediality: The Passion for the In-Between. Cambridge.Pronin, A. A., 2019. Bumazhnyi Vertov. Tselluloidnyi Mayakovsky [Paper Vertov. Celluloid Mayakovsky]. Moscow (in Russ.).Roshal, L. M., 1994. Poems of kinopoet. Kinovedcheskie zapiski [Cinema Essays], 21, pр. 141—155 (in Russ.).Samutina, N. V., 2003. Sovremennoe evropeyskoe kino I ideya kul’tury («proshlogo») [Modern European cinema and the idea of culture (“the past”)]. Preprint WP6/2003/ 05. Moscow (in Russ.).Shevchenko-Roslyakova, A. K., 2022. Introduction. In: Avtorskoe kino: uchebnoe posobie [Author cinema: a textbook (collective edition)]. St. Petersburg, pp. 4—13 (in Russ.).Smirnov, I. P., 2009. Videoryad. Istoricheskaya semantika kino [Video series. Historical semantics of cinema]. St. Petersburg (in Russ.).Sokolova, O. V., 2024. «Shtyk-yazyk ostri I tri!»: yazykovye politiki poeticheskogo avangarda [“Bayonet-tongue of the sharp and three!”: language policies of the poetic avant-garde]. Moscow (in Russ.).Strugatsky, A. N. and Strugatsky, B. N., 2021. Piknik na obochine [Picnic on the roadside]. Moscow (in Russ.).Strugatsky, A. N. and Strugatsky, B. N., 2023. Gadkie lebedi [Ugly Swans]. Moscow (in Russ.).Tarkovsky, A. A., 1993. Uroki rezhissury. Uchebnoe posobie [Directing lessons. Textbook]. Moscow (in Russ.).Tarkovsky, A. A., 2002. Zapechatlennoe vremya. In: Andrey Tarkovsky. Arkhivy, dokumenty, vospominaniya [Andrey Tarkovsky. Archives, documents, memoirs]. Moscow (in Russ.).Tarkovsky, A. A., 2008. Martirolog. Dnevniki 1970—1986 [Martyrology. Diaries 1970—1986]. Moscow (in Russ.).Tarkovsky, A. A., 2019. Andrey Tarkovsky. Kino kak molitva: dokumental’nyi fil’m [Andrey Tarkovsky. Cinema as a prayer: a documentary film]. Moscow (in Russ.).Tugushi, S. A., 2016. Inoskazanie v khudozhestvennoi strukture avtorskogo fil’ma (Na materiale kinoiskusstva vtoroi poloviny XX veka) [Allegory in the artistic structure of the author film (the case study of cinematography of the second half of the XXth century)]. PhD dissertation. Moscow (in Russ.).Wees, W., 1984. Words & Moving Images: Essays on Verbal and Visual Expression in Film and Television. Montreal.Zosich, A. E., 2022. Zhanrovye I stilisticheskie osobennosti avtorskikh fil’mov, sozdannykh na natsional’nykh kinostudiyakh v 1960-e — 1970-e gody [Genre and stylistic features of the author’s films created at the national film studios of the USSR in the 1960s — 1970s]. PhD dissertation. St. Petersburg (in Russ.).Zykova, I. V., 2021a. Interdiscursivity as a linguocreative appropriation of discourses: Andrey Tarkovsky and the avant-garde. Slovo.ru: Baltic accent, 12 (4), pp. 65—85, https://doi.org/10.5922/2225-5346-2021-4-4 (in Russ.).Zykova, I. V., 2021b. Linguistic creativity in cinematic discourse. In: Lingvokreativnost’ v diskursakh raznykh tipov: Predely I vozmozhnosti [Linguistic creativity in discourses of different types]. Moscow, pp. 100—189 (in Russ.).Zykova, I. V., 2022. Intermediality in modeling the poetics of cinematic discourse. Zbornik Matice rpske za slavistiku, 2 (102), pp. 251—268, https://doi.org/10.18485/ ms_zmss.2022.102.16 (in Russ.).Трактат в обличье поэмы: пограничный жанр и особенности его языковой организацииV.V.FeshchenkoInstitute of Linguistics of the Russian Academy of SciencesThe hybrid genre of poetic treatise occupies a somewhat marginal position within the lit­erary genres landscape. Nonetheless, it holds particular interest as a realm of interaction be­tween artistic and scientific discourses, sometimes intertwining with everyday speech. In the twentieth century, the interplay between scientific and poetic texts, as well as between verse and prose, took on new experimental forms. Western literature saw the influence of Ludwig Wittgenstein and his philosophical treatise form on artistic practices, including poetry. Witt­genstein's "Tractatus Logico-Philosophicus" left a significant imprint on poets associated with the ‘language school’ in the USA. Furthermore, Wittgenstein's treatise and its interpre­tation by Arkadii Dragomoshchenko continue to reverberate in contemporary Russophone poetry, particularly within the objectivist line. The research material encompasses texts of poetic treatises from the Russian avant-garde (Ivan Terentyev, Daniil Kharms, and Yakov Druskin), contemporary Russophone objectivist poetry (Arkadii Dragomoshchenko, Ale­ksandr Skidan, and Nikita Safonov), and American ‘language writing’ (Ron Silliman, Lyn Hejinian, Charles Bernstein, and Bob Perelman). The article scrutinizes the linguistic charac­teristics of such discursive interaction within the experimental form of a ‘treatise disguised as a poem’. Specific linguistic traits of the treatise genre, typically found in scientific and philo­sophical works, are transposed onto poetic texts. These include discourse words and expres­sions conveying metatextual deixis and the process of argumentation, a distinct I-We subjec­tivity characteristic of scientific discourse, a pronounced focus on propositionality as a deter­minant of truth or falsity, and a clearly delineated, mathematically ordered division of state­ments.0529202614415910.5922/2225-5346-2024-2-9https://journals.kantiana.ru/slovo/5536/47445/«…Sborishche druzei, ostavlennykh sud'boyu». A. Vvedensky, L. Lipavsky, Ya. Druskin, D. Kharms, N. Oleinikov: «chinari» v tekstakh, dokumentakh i issledovaniyakh: V 2 t. [“...A gathering of friends abandoned by fate.” A. Vvedensky, L. Lipavsky, Y. Druskin, D. Kharms, N. Oleinikov: “chinari” in texts, documents and studies: In 2 vols.]. 2000. Moscow (in Russ.).Bernstein, Ch., 1992. A Poetics. Cambridge, Mass; London, England.Chernyakov, A. N., 2007. Metayazykovaya refleksiya v tekstakh russkogo avangardizma 1910—20-kh gg. [Metalinguistic reflection in the texts of Russian avant-gardeism of the 1910—20s.]. PhD thesis. Kaliningrad (in Russ.).Dragomoshchenko, A., 2011. Tavtologiya: Stikhotvoreniya, esse [Tautology: Poems, Essays]. Moscow (in Russ.).Feshchenko, V. V., 2018. Literaturnyi avangard na lingvisticheskikh povorotakh [The Linguistic Turns of the Literary Avant-Garde]. St. Petersburg (in Russ.).Feshchenko, V. V., 2022. Andrey Bely’s linguistic innovation in terms of theory of linguistic creativity. Proceedings of the V. V. Vinogradov Russian Language Institute, 1, pp. 208—219, https://doi.org/10.31912/pvrli-2022.1.22 (in Russ.).Gorbanevskaya, N., 2012. Moi Milosh [My Milos]. Moscow (in Russ.).Hejinian, L., 2023. Slepki dvizheniya = Masks of Motion: izbrannoe iz raznykh knig [Motion Casts = Masks of Motion: favorites from various books]. Moscow (in Russ.).Ičin, K., 2005. Tractatus Logico-Philosophicus according to Kharms. In: Stoletie Daniila Kharmsa [Daniil Kharms’ 100th anniversary]. St. Petersburg, pp. 91—100 (in Russ.).Korchagin, K., 2011. Propozitsii: Pervaya kniga stikhov [Propositions: The First Book of Poems]. Moscow (in Russ.).Korchagin, K., 2013. Distributed speech: length and fragmentation in Dragomoshchenko’s poetry. Translit, 13, pp. 13—15 (in Russ.).Oparina, O. I., 2015. The treatise genre as a form of knowledge presentation. Voprosy prikladnoi lingvistiki [Issues of Applied Linguistics], 19, pp. 92—99 (in Russ.).Orlitskiy, Yu., 2021. The Characteristics of Arkady Dragomoshchenko’s “Quantum” Writing. Novoe literaturnoe obozrenie [New Literary Review], 4, pp. 219—236 (in Russ.).Pavlov, E., 2015. Dragomoshchenko’s Tautologies. Novoe literaturnoe obozrenie [New Literary Review], 1, рр. 289—301 (in Russ.).Perelman, B., 1996. The Marginalization of Poetry. Princeton.Perloff, M., 2011. Writing Philosophy as Poetry: Literary form in Wittgenstein. In: O. Kuusela and M. McGinn, eds. The Oxford Handbook of Wittgenstein. Oxford, рр. 714—728.Rodin, K. A., 2013. Poet after Wittgenstein. Idei i idealy [Ideas and Ideals], 5 (1—2), pp. 16—22 (in Russ.).Safonov, N., 2010. Simplification Technique. Vozdukh, 4. Available at: http:// www.litkarta.ru/projects/vozdukh/issues/2010-4/safonov/ [Accessed 13 December 2016] (in Russ.).Safonov, N., 2015. Razvorot polem simmetrii [Reversal by symmetry field]. Moscow. Available at: http://iknigi.net/avtor-nikita-safonov/96583-razvorot-polemsim metrii-nikita-safonov/read/page-2.html [Accessed 13 December 2016] (in Russ.).Silliman, R., 2022. From “Chinese Notebook”. In: Ot «Chernoi gory» do «Yazykovogo pis'ma»: Antologiya noveishei poezii SShA [From Black Mountain to Language Writing: An Anthology of New American Poetry]. Moscow, pp. 567—570 (in Russ.).Skidan, A., 2005. Krasnoe smeshchenie [Red Shift]. Moscow; Tver. Available at: http://www.vavilon.ru/texts/skidan10-2.html [Accessed 13 December 2016] (in Russ.).Smith, T., 2023. Odna i pyat' idei: o kontseptual'nom iskusstve i kontseptualizme [One and Five Ideas: On Conceptual Art and Conceptualism]. Moscow (in Russ.).Titus Lucretius Carus, 1983. O prirode veshchei [About the nature of things]. Translated by F. Petrovsky. Moscow (in Russ.).Waldrop, R., 2022. Thinking of Follows. In: Ot «Chernoi gory» do «Yazykovogo pis'ma»: Antologiya noveishei poezii SShA [From Black Mountain to Language Writing: An Anthology of New American Poetry]. Moscow, pp. 411—418 (in Russ.).Wittgenstein, L., 1994. Filosofskie raboty [Philosophical Works]. Part 1. Moscow (in Russ.).Zolyan, S. T., 2014. Semantika i struktura poeticheskogo teksta [Semantics and structure of poetic text]. Moscow (in Russ.).Технологическая метафора и коммуникативные модели в новейшей русскоязычной поэзииE.V.SamostienkoInstitute of Linguistics of the Russian Academy of SciencesThe article investigates the functioning of technological metaphor and communication models in poetic discourse. The aim of the study is to explore contemporary Russian poetry in its relation to digital technologies, employing cognitive-discursive and media-cognitive ap­proaches. Technological metaphor is an implicit property inherent in both technical objects and poetic texts, which manifests itself on two levels: lexical-semantic and cognitive-communicative. The article proposes an approach to the study of technological metaphor in three aspects: the examination of a technical object as containing its own metaphorical sub­strate, the thematization of a technical object in a poetic text and metaphorization strategies, and the implicit functioning of a technological metaphor at the level of the whole text, which affects the communication structure of poetic discourse. The key parameters of the new com­munication models in poetic discourse include the transformation of the prototypical space of the poetic text, changes in the principles of poetic framing, semantic and syntactic compres­sion, multiple integration of mental spaces, referential uncertainty, the functioning of com­puter terms as metaphors in poetic discourse, and their secondary metaphorization/deme­ta­pho­rization. The active interaction of poetry and technology leads to the creation of communi­cation aesthetics, with a key parameter being the formation of hybrid cognitive-communi­ca­tive zones in poetic discourse.0529202616017910.5922/2225-5346-2024-2-10https://journals.kantiana.ru/slovo/5536/47447/Azarova, N. M., 2010. Yazyk filosofii i yazyk poezii — dvizhenie navstrechu (grammatika, leksika, tekst) [The language of philosophy and the language of poetry — a movement towards each other (grammar, vocabulary, text)]. Moscow (in Russ.).Baytov, N., 2003. Stikhotvoreniya 2003 goda [Poems of 2003]. Available at: http:// levin.rinet.ru/FRIENDS/BYTOV/stihi31.html [Accessed 8 July 2023] (in Russ.).Beloglazova, Ye. V., 2010. Polydiscursivity in the context of ideas about discursive heterogeneity. In: Aktual'nye problemy sovremennoi lingvistiki [Actual problems of modern linguistics]. Vol. 2, рр. 105—111 (in Russ.).Bruno, G., 2014. Surfaces matters of aesthetics, materiality, and media. 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