Idem-forma, metabola, identity. Image structure of the poem by Vladimir Aristov “The dolphinarium”. Article I

Vladimir Aristov is a poet of the Russian metarealism, which is a poetic school, searches of which is poetic metaphysics and complicating the semantics of verbal image. Comprehending the transition period of Russian culture and society in the 1980s, he writes a cycle of poems “The Realizations”, which consists of three long poems (“The Dolphinarium”, “The Film Director”, “The Omega of the Sea”) and two short poems (“The Baltic Reflections” and “The Awakening”). In the poem “The Dolphinarium” he expresses “the space of general likeness” and a common language, a common corporality. This work he named a concept of “idem-forma”, which means both a special technique of creating poems and a method of analysis of artistic texts. This concept correlates with metabola concept, which was created by M.N. Epstein for analysis of image structure and poetic language of metarealism. In V. Aristov's poetics metabola is one of the elements of idem-forma, which express relationships of syncretism, synthesis and identity at the trope level. While that the poet only proposes the term “idem-forma” in early 21st century, image structure of the poem “The Dolphinarium” shows us that V. Aristov searches in this domain all his literary way. The specifics of the use of idem-forma technique in the poem are the synthesis at the levels of chronotope and focalization, the subject neosyncretism and the images-metabolas, which express both resemantization of the details of the Soviet life and the synthesis of the human and the natural, the corporality and the language worlds. In this article the author analyses parts I and II of the poem “the Dolphinarium”.