The poetics of the titles in Ivan Zhdanov's book “Air and wind”

The titles of sections, poems and prosaic miniatures in I. Zhdanov's sixth book “Air and Wind” are considered as a comparatively independent text expressing the semantic unity of the multipart book structure, as well as a key to the poet's artistic world (V.I. Tiupa). The analysis demonstrates that the lexical and grammatical features of the title complex of the poems (48% (51 units) of the total number of texts, 30% of which are genre-related and more than 60% are one-word titles; traditional, common poetic vocabulary) relate I. Zhdanov to such Russian poets of the second half of the 20th century, as A. Tarkovskii, O. Chukhontsev, A. Kushner, O. Sedakova. It has been determined that unlike poems, the poet's prose is practically not entitled (7% of the total number). We suggest that it can be explained by a literary and philosophical tradition which originates in L. Shestov (“Apotheosis of Groundlessness”) and V. Rozanov (“Solitaria”, “Fallen Leaves”, etc.) and is continued by I. Zhdanov. Within the system of text of the book under consideration, the following semantic groups can be distinguished: 1) the world of nature; 2) a person and their spiritual path; 3) art; 4) history and the Christian model of the world. The structure-forming relations between the titles of these groups are determined by the underlying semantic dominants which comprise the author's artistic license. These include the semes of vector dynamics, cyclic return, and statics as continuity, unchangeability, and harmony. The linear seme in the titles is mainly expressed in the images of private and universal history, projected onto a vector of Christian metaphysics (“Baptism” -“Lamentations of Judah” - “Before the Word” - “Transfiguration” - “Ascension” - “Resurrection or Repetition” - “When the Times Pass”). The cyclic seme is embodied in the images of nature and human existence, expressing the author's spiritual experience (marked by a date in the section titles), in which we can trace a mysterious dying-resurrection complex (“On New Year's Day”, “The Return”, “An Ode to the Wind”). The genre titles in the book "Air and Wind", on the one hand, form an image of the world of a big culture where the poet's spiritual experience, on the other hand, on an equal basis with "natural" titles "is broadcast", are allocated with semantics of “mysteriousness”, life harmonization. At last, the figurative system of such titles as “Unchangeable Sky”, “Home”, “Air ”, “Where a Multitude”, expresses the poet's metaphysical ideas of a spiritual fundamental principle of the world, the ideally arranged Space. In conclusion, we suggest that the title system of Zhdanov's book “Air and Wind” embodies his “survey” of the history concept, meaning that a mysterious act of restoration of the spiritual unity of people transcends the eschatologically predetermined outcome of the history. The article justifies that the sources of Zhdanov's mysterious way of thinking originates in the archetypal complex of Siberian folk spirituality.