poetics

The article shows that the journal Podenshchina (Day Labour) published in 1769 is of interest from both formal and information point of view. The peculiarity of its structure lies in the plot unity where the central character is an imaginary journal publisher. The content of Podenshchina magazine is characterized by its educational policy.

The article considers the issue of «futurism and war» in philosophical, cultural, aesthetic aspects. The analysis of the futuristic poetics confirms the fact that this phenomenon was historically determined in national and world culture.

The article presents an integral analysis of a set short story by A. F. Pisemsky «The Comic Actor» in correlation to the writer’s poetics and to the ideological and aesthetic framework of the «young editorial staff» of the Moskvityanin journal.

The article considers the debut novels by A. F. Pisemsky and Ye. E. Driansky, which defined the development direction for the prose department of Moskvityanin journal during the ‘young editorial board’ time under the supervision of A. N. Ostrovskiy. Specific features of the individual styles of both writers and the closeness of their aesthetic positions to the program of the journal have been defined.

Tolstoy’s poetics has never been studied in the combination of the «image of home» with the «thought of family». The relationship between these two categories is clearly visible, especially in the novels War and Peace, Anna Karenina, and Resurrection. Having considered these works by Tolstoy, written in different periods of his creative work, we can unwittingly notice the obvious relationship between the «image of home» and the «thought of family».

The article focuses on one of the little-researched author’s edition of a cycle of poems «Petropolis» and shows that in the form of a triptych it has an inherent artistic value. The analysis demonstrates the birth process of the individual poetic myth and the synthesis of various levels of meaning.

In the article Irish sagas are analyzed as a source defining national originality of the development of the short story genre in Great Britain. Specific aesthetic features of the sagas, allowing to consider them the short story predecessors, are revealed through the prism of oral and written tradition synthesis.