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The works by Ravil Bukharayev (1951-2012) - who created his poetic texts in Russian, Tatar, English, and Hungarian and was involved in the Tatar literature and culture - possess a special art and esthetic nature, which demands evidence-based and adequate esthetic assessment. An attempt to reveal the functioning features of this genre and strophe form is made for the first timein the modern Russianspeaking poetry on the material of A Wreath of Wild - Growing Sonnets , a cycle of poems by R. Bukharayev. The methodical studying system of the works, which are created on a joint of cultures, thus embodying new forms of a “hybrid” identity, relies on the doctrine about the dialogical nature of art creativity and on the theory of a trans-level of culture developed in foreign and domestic literary criticism. The conclusion is drawn that the wreath of sonnets stops being a static form in R. Bukharayev’s lyrics, and its genre semantics is formed only by its composite structure. The art integrity of this genre and strophe system is created not only by a “chained” design of a wreath connecting the end and the beginning of all cyclic context in general, but also by a concentric principle of the main subject development. It is defined that the subjective architectonics of this sonnet cycle is formed by the relations of the lyrical hero and special-type supersubjects - personified images of foreign culture. The main ways of overcoming the border between “own” and “other” are described in the article as follows: to study Hungarian which performs a replaceable function and to study the works. They are allocated with mythological features and find one-to-one correspondences: nature and person, “own” and “other”, silence and a word, lines of a sonnet and flowers in a bouquet. The received results are significant for understanding the art and esthetic nature of the “boundary” phenomena in the modern literary process.

Self-Identification of Ravil Bukharayev’s Lyrical Subject (as seen in A Wreath of Wild-Growing Sonnets)