Abstract: The subject of this article is the "floral" symbolism involved in the lyrics of Arseny Tarkovsky (a poet belonging to the "secondary current" of the Silver Age). In particular, the symbolism of roses and lilacs in his works is especially closely examined. The object of painstaking analysis are selected poems by Arseny Tarkovsky, Taffy and Igor Severyanin. The intertextual connections of A. Tarkovsky's lyrics with individual poems by Taffy and I. Severyanin (poets who are dissimilar, but united by the era of modernism in which they had to live and create) are noted. The purpose of this study is to find certain patterns in the references to floral symbols by Arseny Tarkovsky and other poets of the Silver Age, to establish intertextual links between them, and to study individual features characteristic of the mentality of this period. In this article, which explores the "floral" symbolism of Arseny Tarkovsky's lyrics, comparative historical, intertextual and motivic research methods are used. The novelty of the research lies in the establishment of intertextual links between the lyrics of A. Tarkovsky, which mention "floral" symbolism, with the poems of Taffy and I. Severyanin. It is concluded that Tarkovsky's poetry frequently mentions roses and lilacs. They are mentioned in connection with the phenomenon of recollection, sometimes even "false" recollection, traditionally expressing feelings of a loving nature. Roses are usually a symbol of earthly and heavenly love, fullness of life, very rarely witnessing the last farewell of the lyrical hero with his beloved. Lilac by A. Tarkovsky and I. Severyanin is also a guide to the chronotope of the past, while remaining a very specific sensual image, which is revealed in all its splendor, in all its tangibility, as well as a symbol of first love. Among other things, lilac has unexpectedly similar "light" associations in A. Tarkovsky and Taffy. The "floral" references to roses and lilacs have a dual nature in all these authors art: palpably sensual, acmeistic and symbolic.

Keywords: rose, Igor Severyanin, Taffy, flowers, Symbolism, Acmeism, intertextuality, Silver Age, Arseny Tarkovsky, lilac

Abstract: Cassirer develops his own concept of the philosophy of language in the first four chapters of the first volume of his ‘Philosophy of Symbolic Forms’. There he successively views the functioning of the language at the stage of sensual and emotional expression and offers a definition of language at the initial stage of the development of the Russian society as an expression of the movement. Cassirer refers to psychological and esthetical researches carried out by J. Engel already in the 19th century as well as Wundt’s ‘Language’. The concept is based on the idea that the initial movement and the feeling of the movement create the circle of terms defining the content of consciousness and consciousness, in its turn, is only a sum of ‘connections’ and states. In addition, Cassirer appeals to German Kogen’s ideas who also viewed the movement and the feeling of the movement as the element and the main factor in the creation and development of human consciousness. The research methodology is based on the analysis of Ernst Cassirer’s works and critical literature about Cassirer. The author has been carrying out the aforesaid analysis for over 10 years. The author of the article shows that Cassirer reconstructs the evolution of the term ‘language’ from the mimic and analogous stage through the stage of symbolic expression to the language of terms and conceptual thinking up to the abstract forms of the modern scientific language. Due to the fact that Cassirer ‘breaks’ the integral universal of human culture into a number of autonomous spheres including language, he constantly compares language with myth, religion, art and science in order to clarify the role and place of language among all other phenomena of human culture.

Keywords: Ernst Cassirer, language, phenomenology of language, philosophy of language, human, culture, symbol, consciousness, sign, symbolic form.