The paper suggests that the birth of an artwork (artistic world, image) as an open dynamic system can be described through the axiomatics of the theory of metabolic time. Alexander Levich’s theory of metabolic time and Nikolai Kozyrev’s theory of generated time flows, describing universal laws of the birth of the new, allow for the rethinking of the main categories of literature and aesthetics (time, space, traditions, rhythm, psychology of creativity and perception, etc.). The paper takes the rhythmic fractal as a natural referential unit of time in literature, as well as the analogue of the generating fluent in arts. The first part of the paper introduces Chekhov’s “depth poetics” through a body of research, addressing the problems of artistic creativity and the genesis of an artistic work as a new integral space–time unit. The second part of the paper brings “depth poetics” into a larger theoretical context: the theory of artistic creativity by Gej (Hudozhestvennost’ literatury. Poetika. Stil’. [The artistic quality in literature. Poetics. Style], Nauka Publ., Moscow, 1975) and the theory of metabolic time by Alexander Levich. The final part of the paper, “Rhythmic fractals,” draws the conclusion concerning the perspective of studying the wave nature of “generating fluent.” Using Chekhov’s play The Cherry Orchard as an illustrative example, the rhythmic fractal—“the sound of a burst string”—is considered. In Kozyrev’s formulation, it is the “compression of the flow.” The rhythmic source itself (standard fluent) is beyond the limits of the play and can only be found through an in-depth analysis of the neo-mythological structure of the Hamlet–Macbeth code.

中文翻译：

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契诃夫深层诗学中的时间范畴

该论文认为，艺术品（艺术世界、图像）作为一个开放的动态系统的诞生可以通过代谢时间理论的公理来描述。Alexander Levich 的新陈代谢时间理论和 Nikolai Kozyrev 的生成时间流动理论描述了新事物诞生的普遍规律，允许重新思考文学和美学的主要类别（时间、空间、传统、节奏、创造力和心理学）。感知等）。本文将韵律分形作为文学中自然的时间参照单位，以及艺术中流利的生成的类比。论文的第一部分通过一系列研究介绍了契诃夫的“深度诗学”，解决了艺术创造力的问题以及作为一个新的整体时空单位的艺术作品的起源。论文的第二部分将“深度诗学”带入更大的理论语境：Gej 的艺术创造力理论（Hudozhestvennost' literaturey. Poetika. Stil'. [文学中的艺术品质。诗学。风格]，Nauka Publ.，莫斯科，1975 年）和 Alexander Levich 的代谢时间理论。论文的最后一部分“韵律分形”从研究“产生流利”的波动性的角度得出结论。以契诃夫的戏剧《樱桃园》为例，我们考虑了有节奏的分形——“爆弦的声音”。在 Kozyrev 的表述中，它是“流动的压缩”。节奏源本身（标准流利）超出了剧本的限制，只能通过对哈姆雷特-麦克白代码的新神话结构的深入分析才能找到。