Summary

This book is a first attempt of a monographic understanding of a literary myth about Taurida as a South Pole created together with Pushkin's St.Peterburgian myth.

The original treatment of Pushkin's perception Crimea will be give the prism «half forgotten but ingenious» author, according to the expression of Yu.Lotman, a poet Semen Bobrov, to whom the present author devotedhis monography «The first poet of Taurida» and a number of articles. As clears up recently, Pushkin «thought» by verses of Bobrov with the reference to the Crimean images, despite of his dislike to the pre-romantic aesthetic Views of his predecessor. Nevetheless, since 1900 nobody formulated the problem «Pushkin and Bobrov». The attention to the image of Taurida in the development of Konstantin Batyushkov's development will be as well. Batyushkov is a representative of an opposite romantic trend closed together will the Sentimentalism. The further evolution of the image of Taurida in the contexts of both Mandelshtam as opposed to the Maxmilian Voloshin's myth of Kymmeria.

As one of the appendices, the unpublished work by the well-known scholars and writers Irina Medvedeva and Nicolay Tomashevsky «While Following Pushkin in Crimea» will also appear.

The new material on literary history involved by the author is treated from the positions of modern philological humanities methodology. Thus, the research niche of the interaction between mythology and Russian literature will be filled.

My theme has the scholary importance as well as the enlightening and the cultural ones. The present ideological vacuum of the Russian society, which became a result of the postmodernists radical aesthetic demythologization, compels to search and understand the positive energetic impulses available in the past (as writes Ernst Bloch in his «Tubinger Introduction to the Philosophy»: «...pure Gestalts of attempts, Gestalts of an Outcome, that is the real models of that which did not turn out well»). Presently, Taurida is a certain Russian another-being and it is not necessary to refuse from this cultural heritage, as one of popular modern philologists does, reducing the Crimes theme in the Russian poetry of the XVIII-th century to «a metaphor of a global Sculptures of the Young Pioneers, probably, with an opposite political extreme another-being of the «Crimea as a Russian ground». The present author hopes to the more serious Crimean identification of modern Russian consciousness, and he is sure that the philology can promote it.