DOI: 10.46726/H.2026.1.2
This article offers a specialized philological analysis of ornithological concepts and imagery in the poetic corpus of Mikhail Yeryomin (1936—2022), a classic figure of unofficial Soviet and contemporary Russian poetry. This second part of the study presents the results of the analysis of the syntagmatic range (areal), which concerns the positional characteristics of textual realizations of bird imagery — determined by their specific combinations with other figurative elements and by their structural position within the verse sequence, stanza, and the work as a whole. The study demonstrates that, despite the outward factuality and detailed articulation of actions, Yeryomin’s artistic reality is characterized predominantly by a counterfactual modality, functioning as a means of constructing alternative, potential, and unrealized narrative branches. In this framework, the syntagm itself is transformed into a paradigm, generating a simultaneity of the real and the imagined, the temporal and the eternal, the past and the present; as a result, the poem operates as a text-paradigm that models several possible life scenarios at once. The identified paradigmatic principle of the range structure makes it possible to reconsider the image of the bird: ornithological subjects are distributed not along a linear syntagmatic sequence but within a system of possible worlds that includes micro- , macro- , and mythic environments. Finally, the article introduces the concept of a distant, transtextual range, in which recurring avian images and scenes form stable “doublets,” revealing an iterative logic and the capacity of Yeryomin’s poetic system to reproduce itself over time.
For citation: Gorelov O.S. Birds in the poetry of Mikhail Yeryomin: the syntagmatic range. Part 2, Ivanovo State University Bulletin, Series: Humanities, 2026, iss. 1, pp. 15—24.