Lexical microcyclization in Russian rock (“Laziness” by the group “Tequilajazz” and “Not a real man” by the group “Kurara”)

In scholarship it is usual to differentiate the concepts of cycle and cyclization as applied to cultural facts. The term “cycles” is generally understood to mean the authorial contexts in which the elements are correlated in a quite strict system according to a series of parameters including (if one is speaking of cycles in lyrical poetry) the title, the space-time continuum, the hierarchy of subjects, the composition, the isotopy, etc. Cyclization is understood in a much broader sense to mean the very possibility of linking these or those elements to create contexts that might not even be authorial. In Russian rock cyclization permits authorial albums to form, which are by a whole series of parameters analogical to cycles in lyrical poetry, as well as microcycles - dilogies and trilogies. However, the function of cyclization in Russian rock is not limited simply to this: there exists a whole series of cyclizations that are not so traditional for culture, as well as multi-authorial means of cyclization, such as rock concerts, including their visual presentation, and the special cyclization that takes place on the level of the album sleeves, posters, various banners, and finally the overall cyclical context of the rock festival. This article examines an example of multi-authorial lexical macrocyclization in Russian rock, namely the case when the cyclical link between texts by different authors that belong in one direction, but are autonomous vis-a-vis each other, is established through the common lexeme “laziness”. The material analyzed comprises the songs “Laziness” [Len’] from the album “Celluloid” [Tselluloid] (1998) by the group “Tequilajazz” and “Not a real man” [Nenastoyashchiy muzhchina] from the album “Kafka” (2019) by the group “Kurara”. The analysis demonstrates how, when they are placed in a single cyclical system, both these songs enrich each other on the level of meaning.