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The article discusses the history of the creative dialogue between the great pianist Maria Veniaminovna Yudina and the outstanding poet Nikolay Alekseevich Zabolotsky. The material was not only Yudina’s memories of her joint work with the poet on equirhythmic translations of the collection Schubert’s Songs conceived by the pianist, but also Yudina’s thoughts expressed in various sources about the specific features of Zabolotsky’s work, whose poetry Yudina “ardently” loved.

The article considers the concept of «theological text» in Russian literature in general and in poetry in particular. This concept is defined in the article. The importance of identifying and researching the «theological text» in Russian poetry is shown. Such methodological parameters are outlined which allow most effectively and adequately to reveal deep layers of the spiritual and aesthetic core of one literary piece as well as of the artistic world as a whole.

In the article we single out stylistic peculiarities of dialogue in G. R. Derzhavin’s poetry, the use of stylistically dissimilar speech elements, purposeful slide in style, uncharacteristic of the classic ode genre.

The article reveals problematic and thematic correlation and associative links that appear on the motif level between B. Okudzhava’s prose and poetry within the framework of the Decembrist problem range.

The article presents the point of view of V. F. Savodnik – a leading literary reviewer of Russkiy vestnik (Russian Bulletin) in 1900-1901s – on the issue of the development of contemporary national poetry; it is explained why the reviewer’s opinions were unconventional for the members of the journal writers.

The article analyzes how the concept ‘oeuvre’ functions in K. Pavlova’s poetry. The analysis of the language material within the semantic field ‘oeuvre’ leads to the conclusion that this field is the key one in K. Pavlova’s world-view and outlook. Notion and meaning nucleus of the word ‘oeuvre’ becomes conceptual for K. Pavlova’s poetic practice.

The article substantiates the existence of a corporeal pattern as one of the languages of culture in the poems of Elena Shvartz. Some characteristics of its functioning in the author’s artistic space are considered. The existence of a stable and unique alphabet of the corporeal pattern is shown, its artistic functions are revealed.

The article considers the problem of realization of the sacred sense in verbal and pictorial still lifes. The affinity of the creative method of the 16th–17th century Dutch painters and that of N. Zabolotsky of the Columns period is shown, this method being based on a special spiritual and aesthetic feeling of the world. With the help of this method, a kind of spiritual and semantic metathesis is carried out: the profane becomes sacred, and the sacred is profaned, but the primary meanings shine through the outer shell of the work.

The article deals with the poetic cycle by Alexander Revich Son of man. It is shown that the poet comprehends his own existence through the prism of Evangelical good tidings. The earthly life and suffering of Jesus Christ is the ‘archetype’ for a man who has embarked on the path specified in the New Testament. The meaning of it all is ‘iconically’ revealed as the man’s realization of his godliness: from birth to death and resurrection into eternal life.

The article analyzes a variety of different forms of interaction between Dance and Poetry in Dadaist art and explores the common sources of poetics and dance-theory-transformation in the historical avantgarde. The mutual influence of Dance and Poetry is based on the avant-garde artists’ interest in ‘primitive’ mentalities and a search of syncretic language that combines verbal and corporeal expression. The representation crisis and the reinterpretation of the concept of rhythm caused the invention of intermedial poetic-dancing forms.