The defining feature of contemporary poetry is an increased attention to the pragmatics of the message. The Internet influences the activation of the communication function, and metalinguistic reflection in poetry manifests itself through the violation of grammatical norms, the graphic highlighting of pragmatic markers, and the representation of computer interface elements such as messengers, social networks, etc. At the same time, the media interface creates a multiplicity of addressing and influences the strategies of indirect subjectivation that manifest themselves as a result of several shifts (deictic, functional, etc.), allowing us to deal with the updating of the communication parameters of a poetic utterance. This modification involves bringing the communication channel to the fore. Thus, at the present stage, the poetic message is supplemented by new (linguistic and media) means, including interfaces, pseudo-dialogue models characteristic of online correspondence, conversational patterns, and discourse markers used in online communication. We will examine the formal and functional specifics of the poetic text in the online space and the transformation of the poetic function in connection with the change in the channel of its implementation.

Unlike its understanding in antiquity, poetic ekphrasis among Russian Symbolists and post-Symbolists does not imply a literal description of a work of art. This talk, using the unexamined examples of ekphrasis by Ellis and P. Antokolsky, will demonstrate how certain works of art inspired poets not so much to describe a painting verbatim, but rather to capture the poetic impression of the artwork, its interpretation, and comprehension. This becomes evident when considering the biographical and historical-literary context.