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After 24 February 2022, anti-war songs emerged as a new phenomenon in Russian culture. They cover a variety of genres, from bardic song to rap, from travesty to tragedy. Songs containing clear anti-war stances reflect the shock of war, the tragic death of people, the destruction of culture and society in which the authors lived or with which they were spiritually connected before the attack on Ukraine, the end of an era in the existence of the Russian Federation. Anti-war songs mark a constantly expanding thematic field, and this article is only an early attempt to analyse and survey them. The presented text collection reveals the clear awareness among creative circles that after the war against Ukraine Russians will face the task of rebuilding their country on the wreckage of a failed state.

Since June 2019, systematic surveys carried out in the township of Villemanoche, a village located on the northern edge of France's Yonne department, have led to the discovery of fine engravings similar to the Malmontagne rock art style associated with the Forêt de Fontainebleau. More than 140 engraved shelters exhibiting the traits of what we have called the Puisots style have been found so far in the woods of Villemanoche and adjacent plots in Champigny and Pont-sur-Yonne. The elements of the two ensembles, which seem to be linked to the late Bronze Age, share obvious typological links. In addition to a few shared symbols, the engravings in both groups are usually made in cramped cavities, are about the same size and in the same positions relative to their spaces, exhibit fine neat workmanship, and include representations of anthropomorphous figures, 'fantastic beings', geometric signs and zoomorphs. Some of the more complex compositions appear to be symbolic representations of mythological scenes or stories. These similarities indicate that the Malmontagne and Puisots engravers must have shared some cultural and spiritual traits, which they interpreted according to their region's particular conventions and beliefs. [ABSTRACT FROM AUTHOR]

Active integration of intermedia literary technique results in a paradigm shift as well as in poet’s intention to overcome traditional forms and genres and represent the message by means of other semiotic signs. The incorporation of the visual component into the verbal poetic structure ensures the development of the visual poetry – a new genre of intermediality. The article reviews the most common understandings of the visual poetry and its place in the contemporary literature. It suggests a particular strategy for the interpretation process of the verbal and visual components. The author also presents the analysis of two poetic texts with the dominant visual component within their structure.