Modes of Thematic Openness Lyrics by Boris Ryzhy

The end of the ХХ century is not so full of new faces and new authors. In prose, postmodernists enjoy authority, constructive domestic prose disappears, the literary world is replaced by simulacra, a different reality. The social background is not so actively introduced into the fabric of the works, although V. Aksenov, A. Kabakov, V. Makanin, A. Slapovsky remain markers of aesthetic research. In dramaturgy there is also a crisis of thoughts and ideas. This is expressed not so much in the absence of a strict conceptual point of view, but in the insufficiency of the view. The texts of the “new drama”, and these are O. Bogaev, E. Gremina, D. Lipskerov, O. Mukhina, M. Ugarov and others, only form a different living flow of plot development, working on the probable transmission of a new life background. Approximately the same situation is observed in poetry. However, the format of rock poetry is being developed well, the texts of A. Dementiev, B. Kenzheev, D. Novikov, O. Chukhontsev and Boris Ryzhey are read and successfully structured. The lyrics of the latter will interest us within the framework of this article. The purpose of the work is to provide a probable argument for the thematic openness of Boris Ryzhiy’s lyrics. The format of his poems has both a classical and modernist feel. The world of Boris Ryzhiy’s poetry is complex, multidimensional, spatial boundaries are opened due to an explicit reference to the texts of A.S. Pushkina, F.I. Tyutcheva, A.A. Fet, Alexander Blok, Innokenty Annensky, Sergei Yesenin, Georgy Ivanov, Boris Pasternak, Joseph Brodsky. At the same time, B. Ryzhiy does not so much copy the classics as learn from them an obvious openness to the reader. It can be assumed that the modes of thematic openness of Boris Ryzhiy’s poetry are discursive nature, a model of intertextual play, an arrangement of the narrative level, and stylization.