Anatomy of metaphor in Konstantin Kravtsov's poetry

The article attempts to consider the peculiarities of text formation and imagery in Konstantin Kravtsov's (b. 1963) po-etry, based on the specific optics of the lyrical character, from the standpoint of semantic poetics. The poet, whose work is the object of the study, belongs to a special group of poets, representing, according to I. Kukulin, «the new reli-gious poetry». At the same time, evangelical images and a special theological discourse, although defining K. Kravtsov's ideostyle, do not give a complete picture of his artistic method. The antinomy of the author's consciousness, his desire to overcome any form of completeness (the creative act, meaning, image, etc.) are an integrating element in K. Krav-tsov's poems. The author of the article makes an attempt to identify the mechanisms of image creation in K. Krav-tsov's poetry and offers to define its basic property as the enantiotropy of the image. The material for the analysis is the poem «Night» (collection «Arctic Flax»), as well as its variants, considered in the synchronous and diachronic as-pects, and the poem «Assumption». The author concludes that Kravtsov's artistic means are intended to realize the principle of inseparability and non-conflation (including a variant of the Chalcedonian dogma): the leading composi-tional principle of poetics is the hermeneutic circle; liminal topos and motifs (metamorphosis, overcoming/ removing boundaries, transformation); the symbolic meaning of the circumpolar attributes; tropes («metaphor-reflection» (N. Chernykh), double allegory (I. Kukulin)) and even the word-formation models chosen by the poet act as particular ways of overcoming the antinomy of being.