Аннотация:This article explores Sergey Zavyalov’s book “Melic” (2003) under the aspect of Viktor Turner’s liminality theory that reveals the particular structure of the “liminal subject” in the situations of transition and interaction of monodic and choral, individual and collective subjectivity. The transitional structure of the subject is determined by the poet's appeal to melic lyric poetry (VII-VI centuries BC) when the lyric poetry stood out from syncretic art and the lyric subject separated in relation to the collective author. Different deictic and referential markers express the liminality of Zavyalov’s subject such as referential shifts, leading to the formation of a special multiple, or “intertextual”, reference of one nominative group to two objects such as congenial poets belonging to different historical and cultural epochs.Zavyalov’s poetic reference features are a combination of different aspects, including 1) the self-reference of a name to an object in art reality; 2) the “syncretic” reference of mythological mentality; 3) the reference type for the Ancient lyrics, and 4) the multiple, or “intertextual” reference.Zavyalov’s attempt to restore the lost syncretic unity of the text, divided into elements, to find the connection between verbal and musical codes, to make up the loss of parts of the text as “lacunae”, enables us to compare such architectonics to a “body without organs”, or a decentered text by Gilles Deleuze. Based on the concept of Deleuze, such a form of transition between the choral and monodic entity may be designated as ongoing subject, which is in constant dynamics and formation.