Features of representation of the Crimea in major genre forms of Russian-language poetry of Mordovia

Introduction: the article is devoted to the study of the specifics of the artistic representation of the image of Crimea in the Russianlanguage poetry of Mordovia and is part of the broader complex of Russian literary studies concerning the functioning of the “Crimean text”. The subject of the study is the methods and techniques for creating the image of the southern peninsula in the major genre forms of poetry by national authors. Objective: to identify the features of the representation of the image of Crimea in the major genre forms of Russian-language poets of Mordovia. Research materials: poetic texts by V. Gadaev, V. Yushkin, K. Smorodin, A. Sharonov. Results and novelty of the research: in Russian literary studies, the “Crimean text” is considered a significant toponymic space with its ancient history. Poetry about Crimea constitutes a vital part of this “Crimean text” to the development of which Mordovian lyric poets also contribute. The image of Crimea in their works is revealed primarily through a synthesis of the “resort”, “antique”, “military”, and “Cimmerian” myths. The scientific novelty of the work is determined by the fact that it is the first in Mordovian literary studies to examine the specifics of the artistic representation of the Crimean image in the major genre forms of poetry by Russian-language authors of Mordovia. The research establishes that the genre form of the travel lyrical cycle allows, on the one hand, for a multifaceted demonstration of the image of Crimea with its iconic geographical topoi, and on the other, for reflecting the diverse palette of impressions of the traveler-hero. In the lyrical cycles of V. Gadaev (“Crimean Paradise” and “Black Sea”), the hero moves away from the enthusiastic gaze of a tourist. For him, conveying the beauty of the southern peninsula is less important than immersion in contemplation about the course of history and the meaning of life. The plot-forming motif of the cycle becomes the “native–foreign” dichotomy, where the poet’s small homeland, Mordovia, acts as a kind of projection onto M. Voloshin’s “Cimmerian” myth. V. Yushkin represents Crimea as a sacred geographical topos, narrowing it down to the space of Koktebel. The magical attributes of “Voloshin’s” places serve as a recurring image in the travel cycle “Koktebel Notes”. The evolution of the artistic image of the southern peninsula becomes the central semantic category of K. Smorodin’s “Crimean Cycle,” where the motif of destruction and schism is actualized through a multi-layered cultural and philosophical context. A. Sharonov’s “Russian Taurida” also becomes a significant poetic text in interpreting the Crimean theme, presenting the image of Crimea as an ideal concept inscribed in the destiny of Russia and embodied through the prism of antique and Slavic mythology, as well as iconic historical figures

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