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The paper focuses on the poetic activities of “41º” circle (A. Kruchennykh, I. Zdanevich, I. Terent’ev). Communicative interactions between the author and the reader take center stage. Russian Avant-garde communities are considered to mobilize the creativity of a reader, to turn the reader into a co-author (see Ioffe, Bobrinskaya, Feshchenko), and, as a community, “41º” was no exception to the rule. In the community of “41º,” a particular readerly response (W. Iser) becomes prominent and is foregrounded: an active improvisation on the part of the reader. The author casts himself as a pedagogic persona initiating the contact with the reader, yet it does not appear to be the case that he aspires to take on the role of a poetic authority. Rather, the poet invites the reader to engage with the poetic text, so that the latter is able to actively re-write the text, tp re-create it and to use the text as a foundation for improvisation. Improvisation as a readerly response is analyzed in three communicative interactions involving the presence of three types of readers, the readers being the actual reader, the actual reader aspiring to fill in the role of an ideal reader, the implied reader. In all three cases improvisation is projected as a readerly response. The possibility of such a response is closely linked to an emphasis on marginal, epiphenomenal characteristics of the poetic utterance. This implies an emphasis on the look of the word (font choices, letter size, the combination of these parameters in a word), aspects of poetic performance (the way the text is articulated). These characteristics are considered to be particularly expressive, emotionally charged, so that the experience they convey lays the foundation for the improvisation on the part of the reader.

The paper focuses on the poem-paintings (“stikhokartiny”) by V. Kamensky, verbo-visual texts published in his experimental book “Tango with Cows” (1915). Given that the poems were seen as located halfway between literature and painting, the author tries to account for the hybrid character of the poems by placing them in a wider communicative and aesthetic context. One of the contexts to be taken into consideration is the visual arts background, namely, artistic exhibitions that became a site of meeting for most Futurist poets. Besides providing futurists with publishing and financial resources, visual arts unions and groups exerted conceptual influence on the artists suggesting a new aesthetic orientation. That orientation could be described as stressing the pragmatic dimension of the text over its semantics, choosing an act produced by the words over their literary meaning. Elaborating on that artistic choice, the paper addresses scandal as a PR strategy and asserts that this strategy was promoted by the means of gesture as a device. A few examples and testimonies from Futurist practices are examined as the body of evidence. Then the paper transitions to arguing that gesture as a device for generating an overall pragmatic effect of shock, scandal etc. could be recreated virtually, by material properties of the book. A few examples of Futurist productions are called for to prove the point. Then the paper provides a thorough analysis of one of ferroconcrete poems.

The paper focuses on the poetic community associated with a New York little magazine, Alfred Kreymborg’s Others (that saw its publishing peak at around 1915). The poets in question include E. Pound, A. Lowell, O. Johns, A. Kreymborg, S. Cannell, W.C. Williams. The author concentrates on a peculiar device that is noticeable if we take into account a corpus of published poetry. Namely, it is the expression of an affective state through a reference to an object, a household item. Drawing on late formalism (“the literary everyday” concept proposed by Tynianov and Eykhenbaum, literary sociology avant la lettre) and newer literary trends (mediaand sociologically-oriented approaches to literature, represented by B. Herzogenrath), the author outlines a way of establishing a correspondence between a literary technique and its context. The author suggests that we trace the genesis of a literary structure back to the communicative exchanges and practices embedded in the poetic community, thus factoring out the form-content distinction in favor of media-oriented accounts of literary texts. Here the poetic community is conceived of as a medium, the literary everyday constitutes a force acting upon that medium in order to produce a literary form, and a literary form emerges in the process of tight coupling between the two. Giving an account of the literary everyday of the magazine community and its material and social contexts (apartments, cafés, bars), the author posits that this interaction between the community as a “medium” and its literary everyday had shaped a speech orientation toward friendly, informal communication in which the emphasis is placed on understatements and non-verbalized implications. That led to the emergence of a new poetic technique: using a reference to an object as a vehicle of affective experience., В статье рассматривается творчество группы поэтов, ассоциируемой с малотиражным журналом А. Креймборга «Others» в 1915 г. (включая Э. Паунда, Э. Лоуэлл, О. Джоунза, А. Креймборга, У.К. Уильямса, С. Каннела). В фокусе внимания – приём, заметный на материале корпуса публикуемых в журнале стихов: выражение аффективного состояния посредством указания на вещь, предмет быта. Опираясь на интуиции позднего формализма («литературный быт» Тынянова и Эйхенбаума как протопроект социологии литературы) и новейшие методологические разработки (медиология литературы – Б. Херцогенрот), автор по-новому соотносит прием и его социальный контекст. Возникновение литературной структуры предлагается искать в коммуникативных обменах, происходящих в рамках сообщества, которое укоренено в определенном материально-дискурсивном контексте. Проблематизируя оппозицию «формы и содержания», автор обращается к пересмотру и переопределению понятия «формы» как носителя смысла через призму таких терминов, как медиум, информация, плотное сцепление, речевая установка. Под медиумом предлагается понимать сообщество, обладающее особым «литературным бытом», который сложился вокруг журнала и включал различные материально-дискурсивные контексты бытования (квартиры, бары, кафе). Описывая генезис поэтического сообщества журнала и рассматривая стихи в его контексте, в итоге автор приходит к выводу, что взаимодействие «медиума» сообщества и структур литературного быта подсказали речевую установку на дружескую, интимную коммуникацию, в рамках которой были оправданы недоговоренность, вынесение смысла в подтекст. Это обстоятельство и обусловило появление нового приема: использования референции к вещи как носителя переживания.

Edition trilingue : russe, français, anglais; International audience; This book is a collection of papers dedicated to the French painter, hero of World War II, Guy de Montlaur (1918-1977), and also to abstract expressionism as one of the key art directions of the XXth century, to its history, features, current destinies, as well as to its manifestations in music, literature and other arts. The works of scholars from different countries, collected under the cover of this book, allow the reader to better understand the actual state of researches in the field of theory and history of abstract expressionism, to see this artistic and cultural phenomenon from various viewpoints and also to get acquainted with Guy de Montlaur's heritage.The book is addressed to art critics, art-researches, philosophers, specialists in cultural studies and readers interested in arts and painting, to students, and to representatives of creative professions.; В сборнике представлены статьи, посвященные французскому художнику, участнику французского Сопротивления времен Второй мировой войны Ги де Монлору (1918-1977), а также теории и истории абстрактного экспрессионизма как одного из ключевых художественных направлений ХХ века, сформировавшегося не только в живописи, но и в музыке, литературе и других искусствах. Содранные под обложкой этой книги тексты исследователей из разных стран позволяют читателю понять актуальное состояние теории и истории абстрактного экспрессионизма, увидеть этот художественный и культурный феномен с различных сторон, а также познакомиться с творчеством Ги де Монлора.Издание адресовано искусствоведам, философам, культурологам и широкому кругу читателей, интересующихся вопросами культуры, искусства и живописи, студентам, а также представителям творческих профессий.

In this article, the author analyzes Wallace Stevens’ poem “Peter Quince at the Clavier.” The focus of this paper is on the functional role of narrative in the poem and its poetics. To be more precise, the author offers both a formalistic and a pragmatic account of the plot in the poem (the latter is premised on the social effect the poem produces or is supposed to produce in a social space). The author draws on a formalist distinction “fibula – sjužet” put forward by theorists like B. Eikhenbaum, V. Shklovksy, L. Vygotsky. The author also sketches a the project of a deconstructive revision of formalist conception based on the approach suggested by the American theorist, Peter Brooks. Brooks’ approach, heavily steeped in postmodernist ethos, sees sjužet and fabula not as static constructs but, on the contrary, conceives of each of them as a dynamic impetus in the “field” of the text, as a driving force shaping the readerly “desire.” Instead of binary model “fabula-sjužet,” the author chooses to triangulate three terms: plot – fibula – sjužet. This tripartite model suggests the following: plot, as a dynamic configuration of readerly experience, arises from the workings of fabula on sjužet. The author demonstrates how in this poem 1) plot figures as a dynamic model of structuring the poetic utterance, 2) plot is constituted by the means, specific to poetry (tropes, sonic devices), 3) plot helps bring about a pragmatic intention of the poem: staging a communicative failure, defamiliarizing a common communication script., В статье рассматривается поэма Уоллеса Стивенса «Питер Пигва за клавикордами». Упор делается на функциональную роль сюжета в поэме и его поэтику. Иными словами, речь идет как о формалистическом, так и о прагматическом описании сюжета (с точки зрения производимого им и/или имплицируемого эффекта в социальном пространстве). Автор опирается на формалистское разграничение «фабула-сюжет», рассматриваемое такими теоретиками, как Б. Эйхенбаум, В. Шкловский, Л. Выготский. При этом предлагается деконструктивистское прочтение-ревизия формалистской концепции, основанное на подходе американского теоретика П. Брукса. В рамках этого подхода, вобравшего интуиции постструктуралистских методологий, сюжет и фабула мыслятся не как статичные конструкты, а как динамические импульсы в поле произведения, движущие силы читательского «желания». Вместо двучленной модели «фабула-сюжет» автор вводит терминологический треугольник «сюжетная схема – фабула – сюжет» (plot – sjužet – fabula), в рамках которого происходит следующий процесс: сюжетная схема как динамическая конфигурация читательского переживания возникает в итоге преображения «фабулы» импульсом «сюжета». Автор статьи показывает, как в разбираемой поэме сюжет а) выступает как динамическая модель, посредством которой поэтическое высказывание обретает структуру, б) конституируется формальными средствами, присущими поэзии (тропы и звуковые эффекты), в) работает на специфическую прагматическую интенцию имплицитного автора: разыгрывание коммуникативной неудачи, остранение знакомого коммуникативного сценария.

The aim of this master s thesis is to establish continual program of health care quality improvement in a private multi-specialty medical facility Nebolejka based in Ukrainian city Kharkov. Thesis is divided into several parts. Theoretical part is focused on quality examination from the healthcare system point of view, deals with the analyses of Ukrainian healthcare system actual state. Practical part is focused on health care quali-ty evaluation in a private clinic Nebolejka. With a use of patient satisfaction survey a program of health care quality improvement was established. Its effectiveness was also verified via repeated patient satisfaction survey in short- term time period. This thesis is primarily useful for medical facility Nebolejka, because improvement of health care quality not surprisingly constitute to better competitive market position.

У статті проаналізовано шевченківську тематику в сучасній текстотеці з української мови як іноземної. З’ясовано, що ефективне використання текстів про Т. Шевченка в навчальному процесі можливе за умови комунікативно-діяльнісного підходу. Обґрунтовано обмежене використання Шевченкових творів у навчанні іноземців різних спеціальностей і схарактеризовано специфіку ознайомлення іноземних філологів із поезіями митця.The article analyzes texts about T. Shevchenko and Shevchenko’s texts in the modern training text material on Ukrainian as a foreign language. It determines that the effective using of texts about T. Shevchenko and other cultural texts in the educational process perhaps with communicative-active approach in language teaching. It explains the limited using of Shevchenko’s texts in work with foreign students of different specialties, especially in the beginning. The author identifies some of the poet’s works that can be recommended for students of the preparatory faculty while working on the lexical theme «The Family». The article outlines the specifics of familiarization of foreign philologists with the poet’s creativity, the ways of overcoming the gap between the level of development of their reading competency and complexity of Shevchenko’s works.

The aim of this bachelor thesis is to process a business plan for establishing a company Health Life Inc., which be engaged in salt cave. The thesis is divided into two parts. The first one is focused on a theoretical interpretation of basic terms, which related to busi-ness, and structure of business concept. The second part is practical; it deals with pro-cessing the whole necessary information is needed for establishing a specific company. An output of these parts is a created business plan, which helps to find out whether the project for establishing Health Life Inc. is feasible.