The article presents some results of a qualitative study of the phenomenology of perception of art. As the main results, we received an aesthetic preference for the directions of realism and impressionism by most of the subjects. Aesthetic experience can be described in the categories of rational and emotional. The aesthetic evaluation of paintings is dominated by rational categories. The category of emotional is highly differentiated and includes various types of emotions: ethical, aesthetic, hedonistic and everyday.

Contemporary literature is being formed in a difficult situation of polyphony of the modern consumer culture. Mainstream discourses are mixed with subcultural ones, the authors are influenced not only by the literary tradition itself, but also, for example, by rock culture. Thus, the countercultural, subcultural experience, which until recently was considered as peripheral, is actively being introduced into the socio-cultural discourse of modern Russia through the assimilation by authors claiming a place in the center of the country’s literary life. The novel by I. Malyshev “Nomakh” may be considered as an example of such influence. It became a finalist of the literary prize contest “Big Book” in 2017. The novel is clearly influenced by countercultural ideology, in particular by E. Letov, one of the most popular and reputable representatives of the West Siberian counterculture. At the same time, there are no direct references or quotations from the poetry of the Omsk musician in the novel. Rather, one can see some stylistic likenesses, similar figurative complexes. The reception of a historical character from the civil war era is based on the learned principles of poetics and Letov’s worldview. In addition, adopting the intellectual experience of the counterculture, I. Malyshev’s novel not only relays a certain ideology, but also, with the help of artistic means, recreates or completes the images of its hero, historical character, and cultural heroes, which he focuses on.

Political vocabulary is one of the most relevant subjects of study of modern linguistics, constantly updated, it serves as an indicator of the state of the political sphere of society and the political consciousness of a person. The article is devoted to lexemes that have firmly entered the current political vocabulary of our time: democracy, liberal, patriotism, patriot, nationalism, nationalist, opposition, president. Based on the analysis of modern explanatory dictionaries of the Russian language, as well as the dictionary of political terms, it is concluded that terminological, special vocabulary in the modern political language is often used in an unusual meaning. In the article, using the method of contextual analysis, the evaluative connotative element of the meaning of the indicated lexemes is investigated. It is concluded that lexemes acquire a positive or negative evaluative value, first of all, depending on the context, the actual terminological meaning is leveled when used. The revealed meanings are non-systemic, accordingly, they are not fixed in dictionaries, while they are obvious to the carrier and are frequent. This indicates the specific nature of the modern political language, which is influenced by the modern journalistic style. The research results can be used to analyze controversial cases of the use of political vocabulary.

An issue of the subject in contemporary lyrics is widely discussed at the present time, being one of the most relevant in the research of contemporary poetry. One of the issues is the relevance of the term lyrical hero in relation to contemporary poetry, which, following the analyticism path, departs from the actual lyrical utterance. The article expresses an opinion that the idea of a lyrical hero remains relevant in the study of song poetry, in particular rock poetry of the 1980s – 1990s. Based on the classic article by Yu.N. Tynyanov «Block», in which an attempt is made for the first time to qualify the definition under discussion, the article analyzes the work of Russian rock poets, proves the presence of the lyrical hero in the lyrics of K. Kinchev and Yu. Shevchuk. Also, the conclusion is made about the lyrical hero specifics in classical Russian rock poetry. It is connected not only with intratext factors, such as the presence of the self-subject, the possibility for a rock poet of constructing a single plot of the hypertext, which includes biographical motives, but also extratext factors of the existence of a synthetic rock text, including the presence of the image of a lyrical hero in the socio-cultural sphere, the creation of a media image, the formation of a stage image.