Antique signs in paratextual elements of the Russian poetry of the second half of 20th century

The article is devoted to exploration of antique signs in paratextual elementsof the Russian poetry of the second half of the 20th century. There have been identified the types of poems frame texts, in whichan antique pretext is used. The paper explores the functions of the following paratext types: From…, Imitation, subject nomination,headlines enclosing a subject and its extensions (a predicate, attributes), titles of antique literary texts included into frame texts. The aimof the paper is to examine the functioning of antique pretext in paratextual elements (frame text of a poem collection, cyclus, a poem).The use of a borrowed word in a frame text creates the effect of a twofold intertextuality: as relations of a text and paratext and also asinterrelation of a text and a pretext. The heading comprises the program of the literary work and the key to its understanding. Frameelements placed to the strong position of the text (the heading, the first line, the first passage, the ending and etc.), create the horizon ofexpectations (H.R. Jauss), the perception attitude of a literary work, the key to its interpretation (U. Eco). The poems of various poets ofdifferent generations and trends in literature are examined; the choice of the material is grounded not by the unity of aesthetics and notby similarity of poetic worlds, but by the type of headings. It is not important how the antique elements functioning mechanisms in intertexualpoems headings are determined by different aesthetics. What is important for us is how the horizons of expectations of varioustypes are created for readers of a new text. The relations of a basic text and paratext, as well as preferences in the choice of that or othertype of intertextual heading, are sure to depend on a poets aesthetics, but this task is a research perspective. The headings marking,from the first sight, a translation, or imitation in a modern Russian poetry, serve as a rule as a starting point of a meditation, and suchpoems embody a general, condensed image of the poetic world of an antique master of letters, or - wider - a group of antique pretexts,up to the colligated image of antique poetry in general. The subject heading is necessary for a readers attitude formation towards thewhole context of all the myths, connected with the personage in the heading. The headings comprising the subject and its extensionsnarrow the horizons of expectations of a poem, modelling a condensed lyric subject-matter in a frame text. At that, the predication canrelate to the pretext (Mscheniye Akhilla) as well as to the new text (Frontovye amury). The similar function is fulfilled by the use ofantique texts headings in frame texts. In this case the role of the subject is taken by the antique heading as such, which can be used bothwith a predicate and without it. The difference is that a literary work becomes a pretext, and this literary work, embodies a definite conceptionof the original author, his understanding of the world, the peculiarity of his imaging, which has become a part of readers culturalconsciousness, therefore the heading itself refers to this whole, bringing into readers perception focus particular aspects of contentsand form. Therefore, in such heading there lies an obligatory juxtaposition or contraposition of artistic conceptions of a quoted anda new literary works. These relations can have an explicit or an implicit character in the text itself.

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