Expressive potential of publicism

The article deals with the specific means and ways of expressiveness and pathos expression of publicism in two publicistic works of A.T. Averchenko – “A Dozen knives in the back of the revolution” and “Twelve portraits (in the format of "boudoir")”. The fixation and analysis of various expression forms of the author`s attitude to people and events, which are described, admissible and possible only in publicism, such as scattered in the text in the form of lapidar comments or lexical characteristics all over its space as well as implications and peculiarities of architectonics, all this gives grounds to introduce a new term. This new term – “publicistem” – would make it possible to define publicistic expressiveness. The introduction of the term will contribute to the economy of lexical means while analyzing publicistic works and will let us find out both similar and different features in the paradigm of such works.The works “A Dozen knives in the back of the revolution” and “Twelve portraits (in the format of "boudoir")” were being created almost simultaneously at the beginning of the 1920-s, in the period when the emigrant-writer, who left Russia, gradually switches from a funny genre, a witty story, to publicism as a from which gives opportunity for the direct, critical expression of your own attitude to the events happening in Motherland. It is well-known that Averchenko had a deeply negative attitude to the revolutionary events, and to the October revolution in particular. These two works are similar not only due to their publicistic tension but also due to the similarity of themes and even some “characters”. However, the first work includes feuilletons, whereas the second contains pamphlets. The stories written by Averchenko after October 1917 may have been considered by the author as those that do not clearly express his civic stand. If this supposition is right, then it is clear why Averchenko works actively in publicism during his last years.The results we want to reach and the ways to reach them are illustrated with the examples from publicistic works written by Averchenko in the 1920-s. They are connected with the projections of the set up theoretic hypothesis onto the specificity of feuilleton texts.