The universals of the artistic language are fundamentally different from the universals of other language systems. The artistic language itself is opposed to both the so-called “natural” languages and artificial systems since it acts as a secondary modeling system resulting from the removal of such universals inherent in ordinary speech as automatism in the use of already existing statements, an orientation towards ease of understanding, etc. Secondary modeling systems are immanent, unique, and exclusive in each case. The paradox of the universals of the artistic language is that its code uniqueness is created anew every time and does not depend on the thematic content of the statement. At relatively late stages of development, the artistic language creates specific universals that are fundamentally impossible in other language systems. The most significant universal of artistic language is the presence of two co-opposed speech systems - verse and prose - in their various ratios, depending on the genre and direction. A more complex case can be observed in folklore and early literature, where syncretic forms predominate. The universals of the artistic language, as a rule, turn out to be closely tied to the artistic text. The article identifies five pairs of oppositions that claim to be called universals of a literary text: repetition - contrast, symmetry - asymmetry, background - figure, one’s own - someone else’s, discrete - continuous.

ГРИНБАУМ, О. Н., 2012. Роман А. С. Пушкина «Евгений Онегин»: ритмикосмысловой комментарий. Главы первая, вторая, третья, четвертая. СанктПетербург: СПбГУ. 328 с.;ГРИНБАУМ, О. Н., 2013. Основы математико-гармонического анализа поэтических текстов: Учеб. пособие. Санкт-Петербург: СПбГУ. 172 с.

The problem of the theatrical code has been widely studied in Pasternak’s prose, but it has not received the proper attention from scholars regarding his lyrics. This paper discusses three significant factors having influenced the theatrical code formation. First, the theater is understood as special topos, different from other types of artistic space. Second, the theater becomes a specific semiotic sign, deforming the primary linguistic meaning and endowing it with additional meaning. Third, the theater proves to be a means of creating a universal metonymic discourse extending to other aspects of the lyrical whole. In the lyrical continuum, the theater initially exists as a space presupposing a special eventfulness that cannot be realized in other spheres. Also, the stage becomes a factory of metamorphosis, creating the contours of events related to the lyrical hero. Besides using the topos of the stage, Pasternak, in his lyrics, semiotizes the word, turning it into a vocal gesture. The vocal gesture coming from the stage and the hum of the auditorium form the most crucial counterpoint of theatrical performance, developing the lyrical plot and strengthening the role of the opposition to the stage and life. The focus of this paper is on three types of lyrical plot: 1) the stage play as a tragic sacrifice related to the death of the hero; 2) the lyrical hero endowed with the features of a creator who creates a new world; 3) the hero’s acquisition of the world of freedom, a motive that is significant in the life and work of Pasternak.

The paper studies the Russian ode transformation during the three hundred years of its existence. The author considers that the main mechanisms of ode transformation were not only the result of its evolution but were initially embedded in the deep structure of the genre. In the 1750s, Sumarokov created his “Vzdornye ody,” mocking the principles of Lomonosov’s baroque poetics. Later, in 1782, Derzhavin composed the ode “Felitsa” and filled its content with specific features of the lifestyle of Catherine the Great while preserving some of the features of the solemn ode. After leaving the literary arena as the leading genre of lyric poetry, the ode retained its significance as the genre memory, with the process of disintegration of the unity of the signifier and the signified taking place. The signifier is associated with the traditional scheme of the odic decima - ababccdeed, and the signified retained the main core of the motifs characteristic of the solemn ode of the 18th century. At the same time, the decima itself actively penetrated the speech of large genres - the poem and the poetic story - as a quotation and thus restores the lost unity. In the 20th century, the irony penetrated the depths of nuclear motifs, preserving a secret meaning for the poet’s inner circle, for example, Akhmatova’s verses about Stalin. Thus, the poetic fate of the ode is somewhat similar to that of the novel, combining, to quote Boileau, the bizarre chaos of thoughts with the exceptional verification of its basic artistic parameters.