V. Kozlov, a critic specializing in contemporary poetry, discusses the major issues plaguing this branch of the literary process: such as the ‘synoptic’ quality of modern critical work, vitriolic conflicts between guilds, absence of a publication with a comprehensive overview of the current developments in poetry, etc. The author finds that the biggest problem of modern poetic criticism is that, unlike the Western school of literary criticism, it is unable to take in the big picture of all ongoing developments in modern poetry, and its every attempt to reconstruct it is guided by its subjective perceptions. He suggests that this could be ameliorated if the critics would refer to the philological school and return to universal criteria for the sake of a holistic literary process.

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The article offers a solution to the problem of eventfulness, characteristic for the poetic idyll in Russian poetry of the XIX–XXI centuries. Due to a shift in emphasis in the perception of idyllic heritage, а number of scholars define this genre as “eventless”. In particular, it is the idyll in the non-canonical era that is used by a number of poets as a sign of a “consummate word”, which is usually disintegrated in genre struggle for the right to complete a lyrical whole. In this case poems, using idyllic topoi, as a rule, are completed according to the models of other lyrical genres, such as elegies, epistles, ballads. However, there is a creative strategy for employing idyll, in which the eventfulness characteristic of the genre turns out to be found as a result of genre struggle. In this case, an idyllic event of value fusion, the coincidence of poetic consciousness with the world, passing through the test of the plot of other lyrical genres, is found in the event of a lyrical utterance. The elimination of the boundary between the inner and outer worlds (which is predestined in the canonical idyll and found in the non- canonical one) can be considered as the stem of the genre that survived the canon, unlike other genre conventions that turned out to be optional. At the same time, the non-canonical version of the implementation of the idyllic perspective of the worldview is a short moment of peace, won from the non-idyllic world, which one wants to repeat. Reflection performs a destructive function in a collision with a predetermined “ready-made word” of the genre, but it turns out to be able to pronounce it anew as a proper word, exposing its eventfulness. It is the nakedness of the specific eventfulness of the idyll that becomes a distinctive feature of the genre in the non-canonical era.

«Жизнь» и «музыка» Е. Рейна: жанровый потенциал ключевых образов На примере одного стихотворения Е. Рейна показано, как в его творчестве трансфор-мируются классические лирические жанры. В частности, показано, насколько неклассиче-ски предстает жанр исторической элегии. Исследование мотивов и образов, ритмической основы стихотворения позволяет выделить ярко выраженный идиллический элемент худо-жественного мира Е. Рейна. Важным фактором трансформации традиционных лирических жанров оказываются ключевые образы «жизнь» и «музыка», которые в контексте творче-ства автора дорастают до уровня символов. Отношения между ними определяют лириче-ский сюжет стихотворений поэта. Показано, как данные образы развиваются в последней на момент написания данной статьи поэтической книги поэта «Лабиринт» (2013). Харак-терная для поэзии Е. Рейна сюжетика отношений между указанными символами корректи-рует традиционную жанровую модель исторической элегии.Ключевые слова: русская поэзия, жанровая поэтика, элегия, идиллия, лирический сю-жет, Евгений Рейн.Первая книга Евгения Рейна появилась в 1984 г., когда автору было 49 лет. Между тем его поэзия была частью литературного процесса еще с конца 50-х, а если судить по последним публикациям, то и ранее 1 . Причем, как отмечает В. Куллэ, «популярность Рейна в Питере 50-60-х была феноменальной» [Куллэ, 2016, с. 79], но начало разговора о его творчестве пришлось на совершенно иную эпоху. Поэт выходил на широкую аудиторию в те годы, когда эта аудитория стремительно сокращалась. В результате основными жанрами заметок о Е. Рейне остаются предисловия и рецензии на вышедшие книги. Да и эпоха в поэзии сме-1 Журнал «Новый мир» (2016, № 2) опубликовал считавшуюся утерянной поэму Е. Рейна «Рембо», датированную 1953 г., когда поэту было 18 лет, и ходившую в списках.

In the article considered the common and special approach in different European countries to the definition of populism, traced the evolution of the concept from the ancient period. Thus, we can state that the concept of populism is a multifaceted political construct that performs the integrative-cognitive function of structuring and constructing a complex and controversial political reality with elements of social, discursive and praxeological eclecticism. A characteristic feature of the actualization of populism is the extreme parameters of the functioning of the state-political organism of society and the value projections of its existence. The crisis of society, which generates a conceptual platform of populism, reflects the objective need for democratization of the foundations of social order and social life. In particular, the anti-elite orientation of populism is due to the need to expand the influence of the subject field and instruments of direct democracy and direct democracy. The anthropological optimism of populism contrasts with the static-consensual metaphysics of the elitis.