The subject of the study is the onomastic code as a tool for playing with the reader based on the corpus of works by the modern Russian writer B. Akunin and his "author's masks" (Anatoly Brusnikin and Anna Borisova). The object of the research is the use of distortion and change of proper names as a principle of the organization of cycles and supercycles, as well as the vector of the formation of the literary reputation of the author. The authors consider in detail such aspects of the topic as deformation and voluntary change of name / surname, characteristic of the central and secondary characters of the studied corpus of texts. Special attention is paid to the motive of playing with the reader using onomastics as a tool for creating the literary reputation of the author. The main conclusions of the study are: highlighting the principle of onomastic play as end-to-end for the entire work of the modern writer B. Akunin, as well as substantiating the implicit meanings of using this principle in the framework text of works. A special contribution of the authors to the study of the topic is the formulation of the directions of diversification of the motif of the onomastic game and the description of the "opening of the text" and reaching another level of the game with the reader. The novelty of the research lies in the comparison through the prism of cyclical bonds of several literary universes of the same author, which were previously considered as independent projects and were not considered in a single coordinate system.
The subject of the study is the mechanisms of semiotic development of aesthetic systems by acmeists of the "left wing" in the act of literary translation. The main hypothesis of the work is that the poetics of Narbut and Zenkevich seriously influenced the specifics of their translation activities, leading to the projection of semantic motif-figurative structures into the semantic space of translated texts. The work uses a linguosemiotic methodology, which, firstly, assumes an understanding of translation in the pragmatic and communicative aspect as an act of aesthetic communication, and secondly, allows to identify a system of semantic correlations between different texts based on the philosophical and aesthetic base of Acmeist poets. The novelty of the work lies in the fact that the article for the first time analyzes Narbut's translations in projection on the specifics of his military revolutionary poetry and reveals the mechanisms of "semantic narrowing" of the physiological theme in Zenkevich's translations (in comparison with his lyrics). In conclusions of the study the author establishes a number of patterns of translation activity of Narbut and Zenkevich. Thus, the work shows that a semantic pattern is formed in the military revolutionary lyrics of Narbut, which includes an apocalyptic myth, the motive of the ascension /ascension, performative structures, national toponymy. This semantic complex with all its elements is also represented in Narbut translations, which allows us to conclude that Narbut uses a direct projection strategy in his translation activities. Zenkevich's translations, correlated with the theme of war, are based on a fundamentally different model. Zenkevich's aesthetic-poetic system is much more ambitious in its philosophical scope than the translated texts themselves, which leads to a strategy of "semantic narrowing" of physiological "acmeistic" themes.
Grigory Nikolaevich Petnikov (1894-1971) was a Russian and Ukrainian poet, translator, publisher. He actively published as a poet during the futuristic period (1913-1922), when he joined the literary avant-garde, was the Second Chairman of the Globe and one of the founders of the Kharkov publishing house "Liren". Since the mid-20s, Grigory Petnikov has been mainly engaged in translations and is still better known as a translator of myths of Ancient Greece, fairy tales of the brothers Grimm, Ukrainian and Belarusian folk tales, poems by Taras Shevchenko, prose by Ivan Franko, Marko Vovchok, German poetry. The second period of Grigory Petnikov's poetic creativity began with the time of the thaw and lasted until the last years of the poet's life. In 1958, Petnikov moved to the Crimea, wrote a lot and actively published as a poet. The article attempts to analyze the late poems-miniatures of Grigory Petnikov from his last lifetime collection "Lyrics", published in 1969. Special attention is paid to the genre and style features of Petnikov's lyrical miniatures, the cultural and historical context of the poems; an attempt is made to determine whether the poems from the collection "Lyrics" belong to the poetic trends and trends in the lyrics of the Silver Age.
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