Abstract: This article examines the poetry of O. Sedakova, a representative of the “delayed literature” of 1970’s – 1980’s, through the vector of Plato’s philosophical teaching, which principles – idealism and cosmology – serve to the interpretation and decoding of the artistic imagery, and in a broader sense – poetic world model. The poetry book “Garden Of The Universe” by O. Sedakova archetypically submerges into the context of “Divine Comedy” by Dante, lyrical cycle “Wild Roses In Bloom” by A. Akhmatova, poetry of the Stoic-“Sixtier” A. Kushner. The works of the poet reflect reminiscences of the Golden Age of Russian literature, as well as Biblical and folklore archetypes. The article meticulously differentiates the genre system of creative works of O. Sedakova, as well as traces the specificity of cross-cultural communication of the traditional and “Renaissance” acmeism (neo-acmeism). The scientific novelty consists in the fact that the works of the insufficiently studied poet neo-Acmeist, representative of the “delayed literature” of 1980’s, is examined and analyzed multifacetedly, in light of the mechanism of cultural memory, as the synthesis of form and content, through the prism of philosophy and culturology. Conclusion is made that the works of O. Sedakova is utterly ontological. Platonic idea of the Good as a culmination of his idealism, transforms into the recreated by the poet-Demiurge Cosmos of the new Garden of the Universe. The author analyzes the character of correlation of the author with the created by him Universe (Good, Cosmos) base on the three types of relations: imitation, belonging, and presence. The poetic world model of O. Sedakova is formed as a synthesis of the elements of classical Russian literature, acmeism, neo-acmeism, and the emerging existentialism of the Russian type (“mystery of subconsciousness”). Thus, the generation of the “delayed literature” develops an external “concentric circle” of neo-acmeism, as well as creates the “metaphysical poetry”, the priority of which is given to the continuously realized quotation dialogue with the classical texts and remarkable sense of historicism. O. Sedakova’s book of poems became the so-called imagery-philosophical realization of the Absolute, “The City of God”. The connection between the past and the future from apocalyptic, existential, unembodied present, demiurgical revival of the new Being from the point of no return, bifurcation – will be the crucial creative strategy of the art and philosophical-cultural paradigm of neo-acmeism of the 1980’s – 1990’s.

Abstract: In her article Fetisova analyzes formal content-related and genre innovations of the 'sixties' poets through ontological prerequisites for developing the neoacmeism philosophical platform based on the example of the creative work written by a great representative of that movement, Bella Akhmadulina. The author analyzes particularities of neoacmeism with reference to traditional acmeism and differentiates between literary groups and chronological frameworks of the 'new acmeism' as well as describes ontological dominating ideas in the creative work of the 'esoteric circle' of the sixties neoacmeists. The author also gives a definition of genre innovations and traces back specific features of cross-cultural communication aspects of the traditional and 'Renaissance' acmeism. As a meaning-forming and genre element of the neoacmeism poetic system the author views not only such categories as space and time but also their unique poetic mythology which core is the creative and artistic 'transformation' of the aesthetic 'Akhmatova's myth'. In addition, the researcher also makes an attempt to carry out an integral comparative analysis of acmeism and neoacmeism to their important 'prototext', Dante's The Divine Comedy. The topicality of the present research is caused by the fact that the author applies a comprehensive approach to the analyzed poetic system. The understudied phenomenon of neoacmeism is viewed as an integral 'neoacmeistic text' characterized by the stage-by-stage accretion of genre 'valences' (L. Kikhney's term) and capable of producing identical 'extra-textual' (Yu. Lotman's term) literary artistic system that functions based on the logical of the author's message as Anna Akhmatova offered in her 'The Poem Without a Hero' ('I am writing a mirror letter...'). The integral approach to studying acmeism and neoacmeism also requires the use of all the variety of existing methodological practices as well as integration methods from two or more disciplines. The methodological novelty of the research is caused, first of all, by the fact that the author offers a concept of the integral 'neoacmeistic text' or metatext. For the first time in the academic literature neoacmeism as an art movement (polyphonic system capable of creating the space of interpretations) is being analyzed in terms of the logic of the author's integral message and internal connections between elements of the aforesaid system. The comparative method and the method of semantic reconstruction of a poetic text combined with a hermeneutical circle procedure complete one another in this research. The author makes a conclusion that it is possible to trace back not only the synthesis of literary genres such as epos, lyrics and drama but also gradual complication of cultural 'codes' and genre 'valences' (L. Kikhney's term) that have complex dialogical and mutual substitutive relations in the poetic system and dynamic structure of the integral 'neoacmeistic text'. In the 10th - 11th centuries there was a cyclic transformation of philosophical and ontological paradigms of the past into the semantic discourse of the paradigms of the present. However, neoacmeism (or 'Russian Renaissance' contains some kind of a mental code of the Russian culture in its structure, the code that connects very different poets within one literary movement. 

Abstract: This article reveals the romantic aesthetic of neo-Acmeism as one of the key directions in literature of the XX century, its concept and specific mythology, which in turn, establishes the poetic world model. The author analyzes the worldview and poetic world of generation of the “Sixtiers”, as well as views its spatial-timely continuum, coordinates, artistic space and time as a peculiar aesthetic and verbal phenomenon. The work introduces the notion of synchronic-reminiscent chronotope, shifted towards the boundaries of the real space and time, by the virtue of which the “monologue on the polyphonic basis” is created in mythology. The author examines the works of Brodsky – poetics, chronotope, and composition of the insignificantly studied poem-mystery “The Procession” with reference to the neo-Acmeist paradigm. In the center of comparativist approach is the resemblance of expressive means of the author’s stylistic, from literary approaches, general phrases, quotes, and allusion to the wholeness of the author’s concept of lyrical plot, artistic space and time – the synchronic-reminiscent chronotope that in a similar way is presented in the mystery “The Procession”, “Poem Without A Hero” by A. Akhmatova, “Divine Comedy” by Dante, antique tragedies and plays of H. Ibsen and A. Strindberg. Comparative analysis and the method of semiotic reconstruction, complementing each other contribute into the detailed decoding of e poetic text. The scientific novelty consists in the fact that for the first time the work of Brodsky is subjected to comprehensive interpretation, viewed in light of action of the cultural memory mechanism, and author’s mythology – as the synthesis of form and content. The article analyzes the peculiarities of functionality of neo-Acmeism in external communication with the traditional Acmeism, differentiates the literary groupings and chronological frameworks of the “new Acmeism”, as well as determine the ontological dominants in the works of an “esoteric circle” of the neo-Acmeist “Sixtiers”. This method allows reconstructing the phenomenon of the “Sixtiers”, which comprises the ontological core of neo-Acmeism as a continuous line of post-symbolic and traditionalistic creative work. The author defines the genre innovations and traces the specificity of intercultural communication between the traditional and “Renaissance” Acmeism.

Abstract: This article, based on separate examples, illustrates the distinctive features of I. Lisnyanskaya lyrical perception of the world – a neo-Acmeist “sixtier” – in intertextual communication with the traditional (classical) Acmeism, poetry of A. Akhmatova and M. Tsvetaeva, as well as the culture of European Renaissance. The author determines the foundation, concept, and “semantic poetics” of neo-Acmeism alongside its specific mythology, which in turn, structures a poetic model of the world. The article analyzes the spatial and time continuum, its coordinates, artistic space and time as a peculiar aesthetics and verbal phenomenon. The notion of synchronic-reminiscent chronotope, shifted relatively to the boundaries of the actual space and time, is being introduced; and thanks to this, the “monologue on polyphonic basis” is being formed within mythology. In the center of comparative approach lies the resemblance of expressive means and author’s stylistics – from literary approaches, general phrases, quotes, allusions to the integrity of the author’s concept of lyrical plot, artistic space, and synchronic-reminiscent chronotope, which in a similar way is presented in the poems of I. Lisnyanskaya, “Divine Comedy” of Dante, lyrical cycles of A. Akhmatova, and poetry of A. Tarkovsky. The comparative analysis along with the method of semiotic reconstruction of a poetic text serve as the key towards understanding of the semantics and inner structures of neo-Acmeism paradigm. The author comes to a conceptual conclusion that neo-Acmeism continued the mission of symbolism; it transforms the concept of the world as an “aesthetic phenomenon” (Schopenhauer) into the principle of mystical energetism, cognizing the world through the “mystical elucidation”. The scientific novelty consists in the fact that the works of I. Lisnyanskaya are subjected to comprehensive interpretation, as well as viewed in light of the action of mechanism of the cultural memory – as the synthesis of form and content.

Abstract: The subject of this research is the phenomenon of “Russian Renaissance” as a little-studied cultural paradigm of the XX century, its history and philosophical core – the “Paris Note”. This article illustrates the distinctive features of “Paris Note” and poets, who had similar to it perception of the world. The author analyzes the foundation of the “Paris Note”, as well as concept, poetry of symbolism, neoclassicism, and acmeism. The work also examines the “synchronic-reminiscent chronotope, by the virtue of which was created the genre polyphony alongside the “monologue on polyphonic basis”. For the purpose of revelation of the content of neo-acmeism as an artistic direction of the XX century, the author attracts the peculiarities of its functionality in external communication with symbolism, which transformed into its latent phase in 1934, and neoclassicism. Comparative analysis along with the method of semiotic reconstruction of a poetic text, serve as the key towards understanding of the internal structure of neo-acmeist cultural paradigm. Neo-acmeism in emigration continued the mission of symbolism: “duality of the world”, concept of the world as “aesthetic phenomenon” transforms into the principle of mystical energetism, cognizing the noumenal world through the “mystical revelation”. Emigrant neo-acmeism is determined as the synthesis of elements of modernism and realism: its poetry combines the mystical worlds, “real-irreal” dichotomy, symbolic “doctrine of correspondences”, and clarity, historical specificity inherent from realism. The conclusion is made that neo-acmeism (“Russian Renaissance”) in its structure contains a so-called converging mental code of the Russian culture, which connects the diverse poets within the framework of a single literary movement. Such way of examination of neo-acmeism as the continuous paradigm of post-symbolic traditionalistic creative work, as well as one of the important lines of literary development that combines the domestic and foreign experience, contributes into determination of the inner wholeness of Russian literature, which develops within the dialogue of various artistic systems (symbolism, acmeism, and neoclassicism).

Abstract: The subject of the present research is the philosophy of existentialism (Jean-Paul Sartre and Albert Camus) in the poetic world of the 'man of the sixties', Oleg Chukhontsev. According to the poetry of neoacmeism, Søren Kierkegaard and Russian existential philosophers (Soloviev, Berdyaev and Shestov), time and space, being and existence, conciousness and individuality, world model and 'intellectual intuition', everyday life and oneurosphere (the sphere of poetic dreams) form an integral synthesis. This synthesis corresponds to the idea of existentials in terms of a poet's mystic world view and becomes a metahistorical or apocalyptical event which contributes, in the first place, to the organic unity of the two artistic systems, structural elements of neoacmeism and surrealism of the Russian type (B. Poplavsky's creative work is an example of such synthesis). The author of the article carries out a detailed analysis of Oleg Chukhontsev's system of genres. The methodological basis of the research includes elements of the biographical and comparative approaches, structural semiotic analysis of existentialists' philosophical research and Oleg Chukontsev's works which, in its turn, involves implicit data of a metapoetic commentary. Finally, the author also uses the method of generalization and the procedure of moving around the hermeneutical circle in order to complete the aforesaid approaches. The author concludes that Oleg Chukhontsev's creative work is a priori existential, it is the 'tragedy of a metaphysical insight', 'mystery of the unconciousness' and opposed to the creative work of another 'man of the sixties' A. Kuchner who was oriented at the philosophical teaching of stoics much more. The virtual, latent dialogue between existential philosophres and neoacmeist poet of the 20th century through time and space represents their cultural, in-depth and ontological interation as one of a very important and necessary moments in interpreting a poetic text. 

Abstract: This article is determined to give a universal definition of “semantic poetry” as a philosophical-cultural phenomenon of the XX century and as a “cumulative center” of neo-Acmeist paradigm, trace its conceptually oriented towards the Antiquity origin, dialogues of Socrates and Plato, peculiarities of the chronotope, creative evolution and boundaries, which in turn means classification of methodology and principles of its artistic-historical reconstruction. Thus, this research is an attempt to build a philosophical-cultural paradigm of neo-Acmeism, as well as certain universal methodology of hermeneutic analysis of poetry (W. Dilthey)in the context of synergetic coexistence of philosophy and philology (literary science). The author makes the appropriate conclusion that in “semantic poetry” of neo-Acmeism there are certain stable ontological constants (individualism, anthropocentrism, rebirth of cultural archetypes and mythologems of the past, universalism of poetic innovations, etc.), in other words, an inner mental “code” which considers individuality of the each separate poet-creator, but at the same time does not allow the philosophical-cultural paradigm to diffuse (Y. M. Lotman), but rather at times combine within its boundaries the completely different creators, giving the paradigm longevity and sustainability throughout the XX-XXI centuries. Such “code” becomes its value-conceptual constant, justifying the succession and uniqueness of its development as an integral research strategy, which allows reconstructing the philosophical-cultural paradigm of neo-Acmeism in the constantly updating historical context over and over.

Abstract: This article is dedicated to the examination of mythopoeia of Neoacmeism within the framework of its philosophical and creative platform. Mythology is being viewed as the ontological core of “semantic poetics” of the Renaissance Acmeism, which reconstructs the original philosophy of the adherers of Acmeism and Neoacmeism, oriented at existentialism of N. Berdyaev, dialogism of S. L. Frank, and representatives of the “philosophy of life” (F. Nietzsche, W. Dilthey, G. Simmel, H. Bergson), gnoseological, anthropological, and historiosophical ideas of V. Solovyov. The author gives definition of Neoacmeism as a philosophical-cultural phenomenon of the XX century and an integral paradigm in the context of its mythology and mythopoeia; as well as follows its genesis, historically oriented on Antiquity, dialogues of Socrates and Plato, creative evolution and boundaries, “synchronic-reminiscent chronotope, which in turn supposes the detailed analysis of the poetic texts of Acmeism and Neoacmeism by the virtue of philosophical hermeneutics. This article is an attempt to build a philosophical-cultural paradigm of Neoacmeism, as well as a certain universal methodology of hermeneutic analysis of poetry in the context of synergetic co-existence of philosophy and philology (literary studies) within the space of the unified ontological discourse. The fundamentally open nature of the worldview ideas of Neoacmeism significantly complicates the task of the integral reconstruction of the creative heritage and mythology of its adherers. The author concludes that in Acmeistic works there is an integral philosophical system which could be compared by its importance with the concepts of the great creators of philosophy. Such system, the core of which consists in the specific author’s mythology, becomes a value-conceptual constant of Neoacmeism, justifying the successiveness and uniqueness of its development as an integral research strategy, which again and again allows reconstructing Neoacmeism as a philosophical-cultural paradigm within the constantly changing historical context.

Abstract: The article is devoted to neoacmeism as an understudied cultural paradigm and phenomenon of the Russian Renaissance of the 20th century, its history, grounds, structure and genesis, and the concept of 'semantic poetics' as a traditional ontological 'core' thereof. In her article Fetisova analyzes mythopoetics of neoacmeism in terms of its philosophical-artistic platflorm. Within the framework of the research mythology is viewed as an ontological core of 'semantic poetics'. The given article presents an attempt  to develop a philolosophical and cultural paradigm of neoacmeism as well as to create some universal methodology of hermeneutical anaysis within the framework of synergetic grounds of philosophy and philology (literary studies) through the unified ontological discourse. An independent status of methodology implies that it includes ontology which creates a model of the world. This factor is especially important for analyzing a poetic text because acmeists' creative work is a priori ontological and creates an author's 'world-forming' reality. Methodology has a purpose to provide scientific (including humanitarian) knowledge through using a precise normative system for an approved analysis of a scientific object or phenomena, in this case, a poetic text. This is the reason why the author of the present article uses methodology as a method to study and classify creative work of all neoacmeists and bring neoacmeism as a major philosophical and cultural paradigm to a common standard by analyzing samples, norms and rules of poetic analysis. Herein it is also necessary to take into account that it is philosophy that has the methodological tools which serve as a model for literary research and can be successfully applied in the course of analyzing a poetic text. In terms of philosophical, philological and culturological methodologies literature is described as a single text, or, if you like, a single meta text. Based on the results of her research the author concludes that individual mythology and typology of 'cultural codes' used by acmeism adepts (Nikolay Gumilev and Anna Akhmatova) creates a powerful association area that allows to view neoacmeist writings and world literature within its scope as a part of a single meaning-forming mechanism of the philosophy of culture as well as its grandious ontological phenomenon, 'The Acmeism Project'. The author also proves an important thesis that there are certain ontological constants (anthropocentrism, subjectivism, revival of cultural achetypes, and the memory about the past that 'was not in vain) in the 'semantic poetics' of a single acmeist text. These constants create an internal mental code of Russian culture that takes into account individual traits of each poet, at the same time keeps the entire system (philosophical and cultural paragim of neoacmeism) from falling apart and unites very different artists, thus enabling the paradigm to exist throughout the 20th - 21st centuris. This 'code' becomes an axiological constant of Russian culture and makes it unique. The research strategy allows to reconstruct the aforesaid mental code in a new historical context. The author also classifies 'Akhmatova's myth' and comes to the conclusion that 'synchronous reminiscental chronotope' creates a 'polyphonically based monologue' and specific mythology which forms, first of all, a poetic model of the world. 

Abstract: In article traditions of acmeism and neoacmeism, transformation and art "refraction" of a romantic esthetics of neoacmeism in works of the poet of "front generation" come to light (Yu. Levitansky), and also representatives of "variety poetry" (R. Rozhdestvensky, E. Yevtushenko). Also the problem of space and time are considered, Yu. Levitansky, R. Rozhdestvensky, E. Yevtushenko's poetry is compared with an existential continuum of "The divine comedy" of Dante, "a synchronous and reminiscential chronotope" thanks to which the genre polyphony projecting each concrete work in an infinite context of interpretations and prototexts, and "a monologue on a polyphonic basis" is created. Detailed classification and a typology of genre forms of the specified authors is carried out. The romantic esthetics of neoacmeism which has arisen during art searches of "men of the sixties", building poetic миромодель, the prospect of new opening causing subsequently on the ways of cultural science, philosophy, the domestic and world literature is for the first time analyzed. In article importance for the analysis of temporary category in poetry of "the Renaissance acmeism" of the hermeneutic concept of V. Diltey according to which time is considered as special type of category of inner world having objective value for comprehension of reality in experience is noted. The undertaken analysis convincingly shows that one of the major ontologic constants participating in forming of a picture of the poetic world, and also the art direction of neoacmeism is the specific concept of art time and space. Are established, in addition to subjective time and space, internal space of time and external space of time (V. Vernadsky's terms), and also cyclic, probabilistic causality and conditional meanings, "operators" of time and space. The independent status of methodology implies that it includes the ontology modeling the world. This factor is especially important for the analysis of the poetic text in an akspekta of its mythology, art time and space as creativity of acmeists a priori ontologichno and by means of the specific mythology containing in itself a set of archetypes of different eras and centuries creates authoring miromodeliruyushchy reality. At center of comparative approach – similarity of means of expression and authoring stylistics - from literary receptions, general phrases, quotes, hints up to a community of the authoring concept of a lyrical plot, art space and time - a synchronous and reminiscential chronotope – a similar image provided in A. Akhmadullina, E. Yevtushenko, R. Rozhdestvensky's poems, "The divine comedy" of Dante, lyrical cycles of A. Akhmatova, poetry of Ars. Tarkovsky and R. Rozhdestvensky. The comparative and typological method is added by elements of both structural, and receptive and hermeneutical approaches. The comparative analysis and a method of semiotics reconstruction of the poetic text serve as a key to understanding of semantics and inner patterns of a paradigm of neoacmeism. Novelty of operation is that works of low-probed poets of front generation are exposed to all-round interpretation, is considered in the light of operation of the mechanism of cultural memory as synthesis of form and content. The ciphered reminiscences in poetic texts are connected to authoring reception of polysemanticism, the "politsitatnost" having implicit character. Images archetypes it is associated along with several quotation sources – bible, folklore, different images of domestic and foreign literature thanks to what acquire the status of several potential "prototexts" and interpretations. From the formal point of view it promotes origin of genres on a joint of two and more genre "valences". The conclusion that the neoacmeism (Russian "Renaissance") contains in the structure which center is constituted by "semantic poetics", a certain uniting mental code of the Russian culture which unites external and formally absolutely various poets within a single literary trend is drawn. In this sense it is possible to speak not about akmeistichesky tradition in modern poetry, and about continuous development of "semantic poetics" of acmeism and the neoacmeism inheriting it in creativity of a number of modern poets, that is about formation of poetic practice of acmeism for all XX century, and without basic change not only esthetic, about and semiotics prerequisites which mainly and marks change of poetic systems. Thus, in modern literary criticism constructive dialogue of two art systems – acmeism and neoacmeism – is considered in several aspects: comparative (the analysis of typological communications, reminiscences, hints), gnoseological (similarity of outlooks of poetic systems), intertextual (so, A. Akhmatova's poetry serves as "prototext" of lyrics of Yu. Levitansky, Ars. Tarkovsky, E. Yevtushenko), ontologic (the unity of the mythology creating, in turn, determined миромодель - so "the Akhmatova myth" creates immanent to itself structure of individual author's mythology of neoacmeists), and, at last, at the level of "minitext" of poetics of titles, epigraphs, dedications. Philological and philosophical hermeneutics now in total created the field of an interpretative discourse of modern poetry.

Abstract: In this article Fetisova defines the fundamentals of neoacmeism as one of the main literary schools of the XXth century, its concept and specific mythology that builds the poetic model of the world. The researcher analyzes the space-time continuum and its coordinates. Artistic space and time are viewed as a specific easthetic and verbal phenomenon. The author also introduces the term 'synchronous-reminiscential chronotope' displaced against the borders of the real space and time thus creating the 'polyphony-based monologue' in the mythology. Fetisova analyzes David Samoylov's writing - poetics, mythology and polysemantic genre specifics in terms of the neoacmeism paradigm. The author's comparative approach focuses on similar expressive means and author's style from literary techniques, general phrases, quotations, allusions to the general author's concept of the lyrical plot, artistic space and time (so called synchronous-reminiscential chronotope) that can be found in Anna Akhmatova's poems, Dante's The Divine Comedy and David Samoylov's poetry. The comparative analysis as well as the method of semiotic reconstruction complete each other and promote the detailed recoding of the poetic text. The novelty of the research is caused by the fact that writings of a scantily studied poet from the 'frontline' generation are comprehensively interpreted by the author and viewed in terms of the mechanism of the cultural memory as the synthesis of the form and content. Coded references and reminiscences in neoacmeist texts relate to the author's method of polysemy and polycitationality of the implicit nature. Archetypic images are associated with several citation-containing references - Biblical, folkloric, and images of the Russian and world literature which allows to come up with several potential 'prototexts' and interpretations. On a formal level this approach encourages the origin of genres at the confluence of two or more genre 'valencies'. 

Abstract: The article is devoted to one of the most important but understudied literary phenomena, The Third Poets' Guild that had a tremendous influence on the development of genres, literary schools and literature of the 20th century in general. Based on the analysis of various scientific sources, the author of the article provides the main definitions of the concept, reconstructs the history of the development of The Third Guild, its aesthetic platform and relation to traditional acmeism; and studies creative paths of poets from The Third Guild as well as the role of The Third Guild in the literary process of the 20th century. Within the framework of the traditional acmeism, the author distinguishes Nikolay Gumilev's 'Parnassian' acmeism and Vladimir Narbut's adamism. The author also describes the history of associations which belonged, on the one hand, to the acmeistic or neoclassical school of poetry and, on the other hand, to nontraditional, or alternative movements of the 20th century. Fetisova also considers the relation of the aforesaid phenomenon to other phenomena such as The First and The Second Poets' Guilds and literary and ontological categories. The researcher defines the features of traditional acmeism in the aesthetic program of The Third Poets' Guild. Through a detailed analysis of almanacs and other periodical publications of The Third Poets' Guild, the researcher outlines the main stages of their development, authors, covering, aesthetic views and public response as well as their prehistory and artistic specifics. In order to reveal the contents of acmeism as the artistic movement of the 20th century, the author examines peculiarities of its functioning as part of the internal communication with symbolism (which reached the latent phase in 1934) and neoclassicism. Comparative analysis as well as semiotic reconstruction of a poetic text are the keys to understanding internal structures of the acmeistic cultural paradigm. The author concludes that acmeism of emigrants ('neoacmeism') continued the mission of symbolism: the acmeistic movement transformed the 'bi-worldness' and the concept of the world as the 'aesthetic phenomenon' into the principle of mystical energetics and understanding the noumenal world through the 'mystical insight'. Emigrants' acmeism is described as the synthesis of the elements of modernism and realism: the poetry unites all mystical worlds, the 'real-unreal' dichotomy, the symbolic 'theory of correspondence' and clarity, historical particularities, memory of the 'past-not-in-vain' inherited from realism. This approach to viewing acmeism as the continuous paradigm of post-symbolic traditional creativity as one of the most significant trends of literary (and spiritual) growth based on the experience of Russia (metropolis) and foreign states allows to define the internal integrity of Russian literature which developed through the dialogue and interaction of different artistic systems (in particular, symbolism, acmeism and neoclassicism). Such variety of searches, artistic and stylistic trends and movements creates prospects for new discoveries in the sphere of Russian and world literature.