CURRENT TRENDS IN MODERN REGIONAL POETRY (BASED ON THE POETRY OF CHELYABINSK)

This article was written within the educational project “The Virtual Museum of Writers of the Southern Urals” of the Federal State Autonomous Educational Institution of Higher Education “South Ural State University (national research university)”. The purpose of the museum is to identify and demonstrate the enormous literary potential of the Southern Urals. This article is based on the material of the creative work of the poets of Chelyabinsk, since they are the key personnel of the virtual museum. The purpose of the article is to investigate current literary tendencies related to the regional text phenomenon (mythologization of urban space, urbanism, autobiography of poetry) in the works of three generations of modern poetry of Chelyabinsk: older, middle and younger. The image of regional climatic features and landscape features is one of the current thematic trends for those older Chelyabinsk poets who continue the traditions of classical and Soviet poetry. At the same time, such emblematic figures of the regional literary process as N.F. Boldyrev, V.O. Kalpidi continue the avant-garde traditions, are engaged in the search for new forms of expression in poetry. So, N.F. Boldyrev experiments with genres of oriental lyrics (haiku), V.O. Kalpidi - with the synthesis of different genres and literature directions. The peculiarity of the poetry of the Chelyabinsk authors of the middle generation is the confession and autobiography associated with a specific locus - Chelyabinsk. Most poets of the middle generation entered the literary life in the 90s, which was reflected in their poetics in the image of chaotic and absurd everyday reality. In the description of the Chelyabinsk space, the authors of the middle generation (A. Samoilov, J. Grants) inherit the Lianozovo school tradition of capturing the life of the suburbs, minimalism and aestheticism of the authors of the Lianozovo group. For the younger generation (A. Manichenko, D. Masharygin, E. Obolikshta, R. Yapishin) the cosmopolitan myth becomes an actual tendency, in which the lyrical hero moves in the intertextual space uniting a multitude of cultural texts