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DOI: 10.7256/2454-0749.2019.2.28403

Abstract: The article is devoted to the study of the main trends of development of poetry of Yakutia of the late 20th century: ideological and thematic orientation, genre features, poetics and style, studying the women's lyrics in the gender aspect, examine of Russian-language poetry of Yakutia in the All-Russian context. The subject of the analysis is lyrical works of short and medium forms by poets of 1980-1990: Ivan Glagolev, Petr Toburkov, Savva Tarasov, Natalya Harlampyeva, Olga Koryakina-Ymsuura, Alexey Mikhailov, Aisena Doidu, Sofrona Osipova, and authors of the "White horse" association, and others. The research is based on empirical (observation, comparison) and theoretical (comparative-historical) methods. The methodological basis of the work was based on the works of famous literary critics of Yakutia: N.N. Toburkov, V.B. Okorokova, L.N. Romanova and others. In the process of the analysis of the poetry of Yakutia of the late 20th century, the national peculiarities of perception of the surrounding reality by lyrics of Yakutia were determined, what reflected in their works both in the ideological and thematic terms and the genre (transformation of the forms of the Yakut folklore). In the Russian-language poetry of this period, the main trends of the development of All-Russian literature of the 20 century manifested  - the search for new means of expression and genre forms, the desire for game transformations, elements of avant-garde, absurdity and paradoxical vision of life.

Keywords: poetics, thematics, genre features, style, women's lyrics, poetry of Yakutia, motives, images, bilingualism, literary links

DOI: 10.7256/2454-0749.2020.4.32806

Abstract: This article examines G. R. Derzhavin “uncompiled” cycle of seasons that consists of the chapters “Winter”, “Spring”, “Summer” and “Autumn”. The author clarifies the existing in scientific literature grounds for receptive unification of these texts into an “uncompiled” cycle. Alongside the theme and genre affiliation, the point of view of a lyrical subject should be considered as the key features of cyclization. The article gradually analyzes the peculiarities of four seasons that gave the name to the receptive cycle, as well as determines the unconformity of their function to the canons established in Russian poetry of the XVIII century. The author determines the correlative internal links of the texts within the framework of the receptive cycle, based on the topics of dialogues and images of the addressees. In the process of communication, the autobiographic lyrical subject grasps his views upon the nature of poetic gift, and formulates the own axiological paradigms, consists in epicurean perception of reality, ability to enjoy only most essential goods (health and honesty, obedience to God’s will, acceptance of present times and life events of the past. The novelty of this research lies on the thesis that the trend of cyclization has not previously become the subject of special analysis on this particular material.

Keywords: autobiographical lyrical subject, message genre, seasons cycle, receptive cycle, unassembled cycle, cyclization, lyrics, Derzhavin, addressee, dialogue

DOI: 10.7256/2454-0749.2020.12.33372

Abstract: The subject of this research is the novel by the contemporary author Evgenia Nekrasova “Kalechina-Malechina”. The novel contains the elements of fantasy and mysticism, which can either have purely rational, materialistic explanation or irrational – surrealistic. Therefore, the composition is viewed through the prism of synthesis of the elements of magical, irrational and familiar everyday reality. Such approach allows attributing the novel to “magic realism”, which is interpreted not as a school or direction, but a literary method used by multiple authors of various national literatures. The key characteristics of the methods as follows: system of the two worlds, binary chronotope, duplicity, and mythological implication. The complex methodological approach includes intertextual analysis and mythopoetic commentary. The conducted analysis allowed determining the peculiarities of structuring artistic world in the novel; principles of creating chronotope and conflicts between individual and the society; principles of narrative structure; and motifs. The novel by E. Nekrasova “Kalechina-Malechina” represents an example of the literary method of magic realism, which manifests on the level of system of the two worlds and development of the chronotope. Narrative structure is built on the synthesis of child’s worldview of the heroine and the author’s vision, which leads to an ambivalent perception of the world. The article provides a detailed overview of the storyline, which main theme is the initiation of the main heroine into the adult life assisted by a magical helper – Kikimora.

Keywords: the initiation plot, the conflict, chronotope of the two worlds, novel, marvelous reality, folklore, magical realism, mythology, supernatural, narration

DOI: 10.7256/2454-0749.2020.9.33774

Abstract: This article explores the questions associated with the latter three days in the novels “Princess Mary” saturated with dramatic events: duel with Grushnitsky, breach in friendship with Dr. Werner, Vera’s departure, farewell to Princess Mary. Special attention is given the text, referred to as narrative interlude, which reflects the night and early morning events before the duel. The text is comprised of a lyrical part (from 2 am on June 17 to Pechorin's exclamation “amusing and upsetting”); the story continues in reminiscences of the hero a month and a half later in a different stylistic reflection. The author examines literary motifs underlying the decision of Lermontov to describe the events of the night before duel using different genre and styles – lyrical confession and novel narration, and believes that one of the key factors for understanding Lermontov’s plot lies in replacement of Walter Scott's novels for Pechorin’s night reading (“The Fortunes of Nigel” with “The Scottish Puritans”). According to the author, the novel “Scottish Puritans” is similar to the finale of “Princess Mary”. For substantiating this thesis,, the article focuses on the original title of the novel – “Old Morality”, translated into French as “The Scottish Puritans” and into Russian – “The Puritans”. It is assumed that the meaning of Scottish title was understandable to Lermontov; thus the author suggests a congenial collocation – "the frail dust". Events of the finale should be comprehended as a purifying catastrophe; its artistic idea meets requirement of the time – describe birth of a Christian person as a new stage of spiritual evolution.

Keywords: Old mortality, Fortunes of Nigel, Walter Scott, night before the fight, recollections, diary, Knyazhna Mary, Lermontov, old mortality, dream of love

DOI: 10.7256/2454-0749.2021.1.34812

Abstract: The present research is carried out in line with literary stylistics, focusing on the linguistic and expressive means of artistic representation of reality and the peculiarities of their use by one or another author. The research material was the novel "Decline and Destruction", written by one of the recognized masters of the English satirical novel Evelyn Waugh. The "Decline and Destruction" of twentieth–century England is a cross-cutting theme of the entire work of I. Vo, whose stylistic dominant is the satirical grotesque. The above-mentioned determined the purpose of the study, which consists in explicating the main mechanisms and means of creating a satirical grotesque in the novel, exposing and ridiculing the vices of English society in the 1920s, sharpening and criticizing the shortcomings of the existing education system in privileged educational institutions in England.   In accordance with this goal, the article considers the problem of the emergence of the term "grotesque", its connection with the aesthetic category of the comic is indicated, the role and place of this artistic device in the work of I. Vo are indicated. It is revealed that with the help of a satirical grotesque, Vo creates his own special – secondary to the real – world, violating the boundaries corresponding to our ideas of plausibility, for which any means available to the author are suitable. The study showed that the key mechanisms determining the grotesque beginning of the novel are a combination of mutually exclusive, hyperbolization, reification of characters, etc. A special satirical expressiveness and tragicomism, brought to the point of absurdity, is manifested at various levels of the work's organization (lexical, onomastic, morphological, syntactic, graphic). From this point of view, the novel "Decline and Destruction" is being studied for the first time, which determines the novelty of the research undertaken and outlines further prospects in the field of research devoted to the work of Evelyn Waugh and the satirical grotesque, in particular.

Keywords: absurd, tragicomism, means of creating a grotesque, mechanisms of grotesque creation, artistic reception, unreal, satirical grotesque, Decline and destruction, Evelyn Waugh, grotesque images

DOI: 10.7256/2454-0749.2021.2.35012

Abstract: The object of this research is the early prose of S. S. Kondurushkin (1874-1919), journalist and writer, who served five years as a teacher in the schools of the Middle East, an active participant in Russia’s literary-social life, an employee of the newspaper “Rech”, war correspondent, author of several compilations dedicated to the Middle East, Russian Volga Region, Novaya Zemlya, and Siberia. The subject of this research is the techniques and approaches of creating the Middle East in the essays and stories, which were published for the first time in the journals “Russian Wealth”, “Russian Thought”, and “History Herald”. Reference of the Russian writer to the problems of the Middle East at the turn of the XIX – XX centuries, development of artistic techniques, reconstruction of the flavor and the corresponding elements of the narrative require indicating the methodology used in the article. Along with the traditional for academic literary studies comparative-historical, historical-cultural, imageological and biographical methods, the author turns to the colonial/postcolonial, as well as imperial/post-imperial formats of research, micro-history approach, “deliberate” and "distant” reading, as well as holistic analysis. The article is first to examine the artistic peculiarities of the early prose of S. S. Kondurushkin in the context of his interest in problems of the Middle East. Special attention is given to analysis of the essay “Damascus” (1903) that demonstrates that everyday life of the religion serves for the writer as a part of the Middle Eastern chronotope, within the structure of which there are not only historical time with its transformations, not only historical space and its modern modifications, but also the current events. Such articulation of the problem defines the novelty of this research and outlines its  prospects in further examination of the Middle Eastern chronotope of Russian literature of the turn of the XIX – XX centuries, and academic pursuits dedicated to the creative path of S. S. Kondurushkin

Keywords: Russian journals, stylistic device, writer`s strategy, ethnographic discourse, Middle Eastern chronotope, Stepan Kondurushkin, Damascus, essay, short story, Russian literature

DOI: 10.7256/2454-0749.2021.6.35733

Abstract: The subject of this research is the reception of the image of the Soviet Union in the book “The Muses Are Heard" by the American writer Truman Capote. The perception of the image of “foreign” and “foreign culture” is one of the pressing problems within the modern literary studies. The goal of this work is to determine the peculiarities of literary-documentary resemblance of the image of “foreign” country based on the work “The Muses Are Heard”, which is synthetic in its genre nature. The conclusion is drawn on the genre affiliation of the book and the techniques of depicting the image of “foreign culture” therein. The novelty lies in the fact that the research of this literary work are of synoptic nature, and this article is the first attempt of revealing the specificity of the image of the USSR in this work. The author indicates that the specificity of the image of the Soviet Union in the work “The Muses Are Heard is largely determined by its complex literary-documentary nature. T. Capote sets the goal to debunk the stereotypical representations on the USSR, which have formed in the American national mentality. Moreover, the writer refers to the Soviet material as an aesthetic experiment associated with the creation of a peculiar literary-documentary narrative form. The image of the Soviet Union in the work is structured on the factual documentary basis – Capote directly observes the Soviet realities and interviews the Leningrad residents. At the same time, in creating the image of the USSR, T. Capote applies the artistic and cinematographic techniques: stylization of the narrative on behalf of the “naive narrator”, method of “gradual immersion”, cropping, “pointed camera” effect, retardation, and contrast.

Keywords: the other culture, national stereotypes, contrast, retardation, fact, cross-cutting, literary nonfiction, Capote, the image of Soviet Union, reception

DOI: 10.7256/2454-0749.2022.8.37306

EDN: YFKCTI

Abstract: The object of the study was the work of A. Zhid "The Immoralist" (1902). The work reveals and analyzes the originality of the artistic thought of the French writer, which manifests itself through an oxymoronic combination of the concepts of two philosophers-thinkers – F.M. Dostoevsky and F. Nietzsche. The reading of the work of A. Zhid in the context of a kind of dialogue is used. On the one hand, it is a dialogue with F. Nietzsche, with his idea of the role of a superman who takes the place of God in a world where "God died". On the other hand, with F. M. Dostoevsky, for whom the gospel truths remain indisputable. At the same time, it is a dialogue between F.M. Dostoevsky and F. Nietzsche in the artistic space of the work of the French writer. It is determined that the dialogue, carried out in a kind of triangle, reveals the main moral and philosophical problems of the "Immoralist" – the clash of Christian morality and Nietzschean absolute freedom.   The scientific novelty lies in the fact that the analysis of the little-studied work of A. Zhid "Immoralist" was carried out in the parameters of an exclusive dialogue-polemic with radically opposite thinkers, F. Dostoevsky and F. Nietzsche, who significantly influenced the spiritual climate of the twentieth century. A. The Jew combines two opposing concepts in one artistic space, but no one wins in this struggle. F. Nietzsche and Dostoevsky reinforce the peculiar disturbing reflections of A. Zhid about the moral conflicts of the modern world. The work comprehends a number of general issues essential for the study of the history of literature, in particular, these are questions of philosophy, religion, morality.

Keywords: confessions of a hero, philosophical system, ethical and philosophical problems, symbolism of images, christian morality, the new ideal of man, absolute freedom, existential worldview, symbolic orientation, conflict collisions

DOI: 10.7256/2454-0749.2022.3.37625

Abstract: The object of research in this article is an essay by Fyodor Ivanovich Chudakov (1888-1918) "Towards the Clouds" (1909); the subject of research is the techniques of theatricalization, which was chosen by the author as a narrative strategy. The internal organization of the work (composition, image system, conflict) is based on dramatic principles, which makes the narrative as visualized as possible, and also brings it closer to the reader, who becomes not only a spectator, but also an accomplice of the events described. Descriptive and structural-semantic methods are used in the work. The methodological basis was the research of E. S. Dobin, N. M. Zavarnitsyna, V. E. Khalizeva.   The scientific novelty of the research lies in the fact that this essay is being introduced into scientific circulation for the first time. In addition, the novelty is due to the use of an interdisciplinary approach when referring to the prose work of F. I. Chudakov: the analysis of the work is based on the study of linguistic units of various levels. In the course of the study, the following conclusions were obtained: synthesizing the typological features of the epic and dramatic, F. I. Chudakov solves an important aesthetic task – considers the inner world of a person through fixing its external manifestations. To solve this problem, the writer uses various theatrical techniques that create the so-called presence effect: situational speech of the characters not commented on by the author; detailing the appearance of the characters, landscape elements; endowing descriptions with sound and coloristic details; inappropriate direct speech (the effect of "first-person cinema").

Keywords: the effect of presence, improper-direct speech, landscape, composition, detail, point of view, staging, essay, Towards the clouds, Fyodor Ivanovich Chudakov

DOI: 10.7256/2454-0749.2022.5.37899

Abstract: The subject of the study was the specifics of the image of the funeral rite in the works of Lermontov. The object of research is the novels "Vadim", "Hero of our time", poems "Demon", "Sashka", drama "Masquerade". The author of the article examines in detail the plot-compositional role of the funeral rite, the ways of its inclusion in the work, reveals the problem of the perception of death by the heroes, clarifies the nature of Lermontov's interaction with the folklore tradition. The article uses biographical, comparative-typological methods, the method of theoretical poetics, as well as methods of motivic and mythopoetic analysis of a literary work. The author of the article revealed the reasons for the inclusion of the funeral rite in the works, showed the attitude of Lermontov's heroes to death. The main conclusions of the study are the following: the funeral rite is the most frequent in Lermontov, which is explained biographically by the early loss of his mother. Scenes of funerals and burials are found in works of different genres, this determines the ways of their representation. In prose, the funeral rite is most often given in the form of a memory, while Lermontov is psychologically reliable, takes into account the peculiarities of memory, he places special emphasis on the perception of death by a child. Lermontov's funeral rite is associated with a female character, the funeral rite is often preceded by a wedding ceremony. The death of the heroine is interpreted as a return to her native land ("Bela") or the acquisition of eternal life.

Keywords: autobiography, traditional culture, poetics, Sasha, Demon, Vadim, The hero of our time, folklore, funeral rite, Mikhail Yurievich Lermontov

DOI: 10.7256/2454-0749.2022.6.38074

Abstract: The subject of the study in the article is the concept of meaning presented in one of the main philosophical works of the twentieth century – the book of the German philosopher H.-G. Gadamer "Truth and Method". Gadamer's concept of meaning is considered among those theories of meaning that can be defined as dialogical. In the humanitarian thought of the twentieth century, they oppose both objectivist (first of all, scientific) and subjectivist concepts of meaning. The dialogical concept of the meaning of Gadamer is considered in this work from the perspective of its significance for literary hermeneutics, namely, for comprehending the specifics of the meaning of a literary work. The scientific novelty of the work is determined by the fact that for the first time the author analyzes the characteristics of meaning presented implicitly in Gadamer's "Truth and Method", and also identifies those ideas of Gadamer that are of direct importance for clarifying the specifics of the meaning of a literary work. In the concept of the meaning of Gadamer, we distinguish the following main points: the meaning is intentional; the meaning is always correlated with several intentions; the meaning is eventful; self-identity is inherent in the meaning. For literary hermeneutics, such ideas of Gadamer are of particular importance: 1) the meaning in a work of art is freed from the "obscuring" moments of the semantic future; 2) the "game" is opposed to the "structure"; 3) in a work of art there is an "increase in the visibility" of being.

Keywords: intention, dialogue, structure, game, artistic meaning, hermeneutics, method, truth, Gadamer, event

DOI: 10.7256/2454-0749.2023.1.38574

EDN: ERUKWI

Abstract: The article examines the work of F. Tyutchev in the light of aesthetic phenomena of Russian literature of the XIX century. A comparison of the works of Tyutchev and lyubomudrov is made. The author of the article comes to the conclusion that the generation of creators to which Tyutchev and Lyubomudry belonged has developed a kind of type of Russian philosophy, whose specificity consists in the fact that it is expressed through art, and primarily through literature. Tyutchev's poetry reveals a number of unique existential-philosophical concepts: the prerequisites of the borderline situation described in the existential theories of K. Jaspers in the twentieth century, as well as analogies with reflections on the death of the founder of the religious trend of existentialism – S. Kierkegaard. The author of the article concludes that Russian philosophical thought tends to be expressed through the language of art, in particular, the language of poetry. Tyutchev and the Moscow idealists create a new type of hero – thinker. He is faced with such existential problems as the place of man in the universe, the meaning of human life, understanding of the psyche and human feelings. He asks questions about the higher powers that rule the world. He faces "damned problems" that will worry Russian writers of the second half of the XIX century. It was poetic thought that contributed to the development of such a great psychologism in the second half of the XIX century.

Keywords: aesthetics, lyubomudry, Tyutchev, art, poetry, philosophy, existentialism, fiction, theory of literature, russian literature

DOI: 10.7256/2454-0749.2022.10.38949

EDN: DWTYZH

Abstract: The subject of the study is the onomastic code as a tool for playing with the reader based on the corpus of works by the modern Russian writer B. Akunin and his "author's masks" (Anatoly Brusnikin and Anna Borisova). The object of the research is the use of distortion and change of proper names as a principle of the organization of cycles and supercycles, as well as the vector of the formation of the literary reputation of the author. The authors consider in detail such aspects of the topic as deformation and voluntary change of name / surname, characteristic of the central and secondary characters of the studied corpus of texts. Special attention is paid to the motive of playing with the reader using onomastics as a tool for creating the literary reputation of the author.   The main conclusions of the study are: highlighting the principle of onomastic play as end-to-end for the entire work of the modern writer B. Akunin, as well as substantiating the implicit meanings of using this principle in the framework text of works. A special contribution of the authors to the study of the topic is the formulation of the directions of diversification of the motif of the onomastic game and the description of the "opening of the text" and reaching another level of the game with the reader. The novelty of the research lies in the comparison through the prism of cyclical bonds of several literary universes of the same author, which were previously considered as independent projects and were not considered in a single coordinate system.

Keywords: proper names, intertext, cycle, cycle forming, macrocycle, play with reader, literary reputation, onomastics, pseudonym, motive

DOI: 10.7256/2454-0749.2023.5.40778

EDN: RWELXE

Abstract: This article is devoted to the analysis of the postmodern novel "The Burn" by V. P. Aksenov, a representative of the Russian underground of the twentieth century. The purpose of the study is to identify the peculiarities of the transformation of the mythopoetic image of the "woman-city". A city in the meaning of "fenced place" was necessary for a person to protect himself from danger. Over time, it began to be filled with symbolic meanings, to turn into an archetype — an urban text appears. For V. P. Aksenov, the crossroads where art, history, destinies, friendship, love, creativity converge is Moscow, so it becomes the center of action of many of his works. However, the writer, departing from the tradition of N. M. Karamzin, N. V. Gogol, A. S. Pushkin and L. N. Tolstoy, creates an image of infernal space.   The scientific novelty of the research is seen in the fact that the author analyzes in detail the central image of the practically unexplored novel by V. P. Aksenov, identifies the structure-forming motives for creating the image of the city and the mythopoetic basis, including individual images, situations, characteristics. As a result, the article proves that the mythopoetic image of the "city woman" in the novel "Burn" consists of a sophiological concept (archetype), allegory (fox), metaphor (the whore of Babylon), mythem (Isis, siren, Judas), color painting (eschatological myth of espyrosis) and mythologems (woman-city). In V. P. Aksenov's novel, Moscow is an infernal space, personified by a seductive and dangerous woman — Alice Fokusova.

Keywords: mythologeme, myth, literary tradition, semantic field, archetype, Moscow text, Moscow, Aksenov, image, city ​​woman

DOI: 10.7256/2454-0749.2023.8.40661

EDN: WDQRTX

Abstract: The article analyzes the image of the Chinese werewolf fox, or Huli jing (Chinese: 狐狸精), in Victor Pelevin's novel «The Sacred Book of the Werewolf». The comparison of the main character of Pelevin's work with the images of Huli jing in classical Chinese texts is made. In the center of consideration is the nomination of the heroine, her appearance, habitat, the ability to turn around and impose a hassle, the nature of sexuality, lifestyle. It is established that the image of the werewolf fox in Pelevin is a synthetic image created on the basis of mainly two cultures – Chinese and Russian. At the same time, she was influenced by mystical, religious, cultural and literary Chinese traditions. The writer relies on the components of the image of the Huli jing, borrowed from Chinese books, but offers an expanded and reinterpreted version of them. Pelevin is primarily interested in the desire of the werewolf fox not for bodily, but for spiritual transformation, on the way to which his heroine, relying on eastern philosophy, studies the principles of her mind. The Huli jing of the «Sacred Book of the Werewolf» and the confusion that it induces act as a metaphor for reality as a whole (man, time, space, language, the outside world, etc.). The nature of reality, according to Pelevin's novel, is transformational at its core, and this feature of it is due to its illusory nature. The relevance of the article is determined by the high interest of domestic and foreign literary criticism in the work of Viktor Pelevin and comparative studies (in this case, affecting Russian and Chinese cultures). The novelty of the work is due to the expansion of the concept of werewolf in Pelevin's novel – from the bodily inversivity of the main character to the characteristics of various aspects of reality.

Keywords: mysticism, soteriology, Buddhism, estrangement, transformational nature of reality, modernization, huli jing, Chinese tradition, werewolf fox, Viktor Pelevin

DOI: 10.7256/2454-0749.2023.6.40694

EDN: IOGADA

Abstract: The article is devoted to the changes that took place in the Buryat children's literature at the turn of the Soviet and post-Soviet eras in the context of sociocultural transformations caused by the collapse of the USSR and the formation of new identities in the post-Soviet space. The discourses of identity found in the children's literature of this period, their interaction and dynamics are investigated. The purpose of the study is to determine the specifics of the transformation of the identity of the Buryat children's literature in this transitional period. The material of the study is Buryat children's magazines and plays published in the period from 1985 to 1995. The study is based on a diachronic approach. The main research methods are cultural-historical and discourse analysis methods. As a result, it was established that as a result of the crisis of Soviet culture and the formation of the discourse of national revival in Buryat children's literature, there was a gradual replacement of Soviet identity with a new national identity. Prior to this transformation, Buryat children's literature was aimed at the formation of a Soviet identity associated with the communist ideology, the party and the pioneer movement, the idea of the unity of the Soviet nations, the events of the general Soviet history, such as the October Revolution and the Great Patriotic War. After the changes that took place, Buryat children's literature began to focus primarily on the formation of a national identity based on familiarization with the traditions of Buddhism, the culture of the Mongolian peoples, and the history of the Buryats, out of touch with the Soviet statehood.

Keywords: Russian children's magazines, Buryat children’s dramaturgy, ethnic children's literature, literature of the Mongolian peoples, Buddhist children's literature, literature of the peoples of Russia, modern children's literature, Soviet children's literature, Buryat national revival, Buryat children's magazines

DOI: 10.7256/2454-0749.2023.9.40914

EDN: ZEWMZA

Abstract: Russian and Chinese dystopias have similarities and differences in their genesis. The proximity of the dystopian texts of the two cultures is due to parallel historical and social processes, which are reflected in the plots of the corresponding works. The difference is manifested in the accents that both literature puts. In particular, we can say that there is no Chinese dystopia in the Western and Russian understanding: China sees dystopia more as fiction and satire. Despite this, Russian and Chinese dystopias have similar features. The purpose of this article is to analyze the ideological, plot, and motivational calls between A. Tvardovsky's poem "Terkin in the Next World" and Zhang Tian-yi's novel "Notes from the Spirit World". The scientific novelty of the research is seen in the fact that the author for the first time compares these works, designates genre signs of dystopia in both texts, formulates the specifics of the writer's assessment of the corresponding dystopian regime. The inhabitants of the afterlife, in which Terkin found himself, and the world of spirits are the image of contemporaries of Tvardovsky and Zhang Tian–yi, citizens of the state, which is metaphorically portrayed by writers as the reality of death. This infernal world turns out to be a mortal mirror for the political regime. In the case of "Terkin in the next world" it is an authoritarian regime, in the case of "Notes from the spirit world" it is a pseudo–liberal regime, and but in fact - oligarchic and nationalistic.

Keywords: political satire, sublimation of the sexual, infernal chronotope, mortal motif, motivic roll calls, genre-forming features, comparativism, dystopia, Zhang Tien-yi, Alexander Tvardovsky

DOI: 10.7256/2454-0749.2023.7.43489

EDN: SCEWYO

Abstract: The subject of the research in the article is the peculiarities of the influence of N. V. Gogol's satirical comedy "The Inspector" on the work of the Chinese playwright of the XX century Sha Yesin "If I were real". The methods of comparative and structural-semiotic analysis using elements of cultural analysis are used in the work, the method of interpretation of a separate text, the analysis of individual stylistic elements is also used. In this paper, we will be interested in productive reception, which, unlike reproductive reception, is associated with the entry of N. V. Gogol's satirical works as foreign texts into the work of Chinese writers. The novelty of the research lies in the fact that the name of the famous Chinese playwright and screenwriter Sha Yesin and his comedy "If I were Real" are introduced into scientific circulation for the first time in the aspect of the reception of N. V. Gogol's satirical traditions. The peculiarities of the influence of N. V. Gogol's satirical traditions on Sha Yesin's comedy "If I were Real" are due to the internal political situation in China in the 1970s of the XX century and the influence of national traditions of Chinese literature. In this regard, Sha Yesin followed the traditions of Gogol's satire to the extent that it was necessary to express the main idea of the comedy of the Chinese playwright, in connection with the trends of the time that coincided with the ideological content of the "Auditor" – exposing the vices of officials. To solve the set artistic task, Sha Yesin consciously followed the plot of Gogol's comedy, which explains the borrowing of plot techniques from the "Inspector" ("the deceiver involuntarily", "double exposure", "incriminating letter"). Comparison of N. V. Gogol's comedy "The Inspector" and Sha Yesin's play suggests that the reception of Gogol's satire allowed Sha Yesin to create an original comedy that enriched Chinese literature.

Keywords: Dramaturgy of Sha Yexin, Satirical comedy, literary traditions, reception of creations, Russian literature, comedy "The inspector", satire of Gogol, Chinese literature, creation of N. V. Gogol, satirical reception

DOI: 10.7256/2454-0749.2023.11.69085

EDN: KZMRLE

Abstract: This article analyses the formation and development of the historical novel genre in the national literature in the first post-war period. The object of the study are the works of the Mari writers Nikandr Lekain «On Fire of the Great War» and Veniamin Ivanov «The Windstorm». National patriotic spirit, heroism, the determination of people to fight to the end come to the fore in N. Lekain’s work. The work does not have the main character who unites all the storylines; it presents the multinational face of the Soviet people through the individual actions of people of different generations. In V. Ivanov’s novel, the fate of the individualized personality, his inner experiences, comes to the forefront. The historical and typological method of research made it possible to identify general and specific features in the depiction of dramatic events of the Great Patriotic War in the Mari and Russian literatures. The problem of the formation of this genre in regional literary criticism is being considered for the first time. A comparative study of the literary prose of writers revealed that the expansion and deepening of the problematic and thematic range (the theme of rear everyday life in the countryside, the problem of desertion and betrayal, etc.) of the Mari literature of this period outlined certain shifts in the image of the inner world of the characters. There was a tendency of multifaceted disclosure of socio-historical and ideological factors of the personality formation, psychologically deep explanation of the motives of the heroes’ actions. N. Lekain and V. Ivanov managed to find those life conflicts that made it possible to psychologically accurate portray the dialectics of the human soul in the war, to comprehend the origins of the national-patriotic upsurge, to show the deep processes of their contemporary reality.

Keywords: narrative plot, character's inner world, front-line writer, Great Patriotic War, character system, heroics, pathos, theme, historical novel, Mari literature

DOI: 10.7256/2454-0749.2013.2.9014

Abstract:

DOI: 10.7256/2454-0749.2018.3.26586

Abstract: The subject of the research is the narrative strategies used by Graham Swift as a post-modernist writer. The object of the research is Graman Swift's novel 'Waterland'. The specific content of Swift's novels make him a remarkable and interesting author, especially the narrative techniques and methods used by the author. The aim of this research is to analyze narrative features used by Graham Swift in his novel 'Waterland'. Literary scholars share practically the same opinion that Swift's prose has a very distinguished interest in serious philosophical issues. Quite frequently researchers have emphasized that this interest leads to certain consequences and influences both the topic, personalitiues and style of writing chosen by Swift. Along with other methods, the authors of this article have used such methods as historical genetic analysis and structural-functional analysis. The novelty of the research is caused by the fact that the authors view the novel 'Waterland' from the point of view of its narrative structure and post-modernism features. Conclusions. The novel 'Waterland' presents the trend of 'historization' of prose which makes it comparable to historical novels. The other feature of Graham Swift's style of writing is the subjectivity of his prose evolving around a learning and suffering man. The 'narration' of the novel is also very unique because it is comprised of separate pieces that are often unrelated to one another which makes the aforesaid novel worthy of special attention of both readers and literary critics.   

Keywords: historicizing, point of view, subjectivization of prose, stream of consciousness, narration, objective reality, narrative models, postmodernism, fragmentation, chronological order

Abstract: Where does the irreconcilable divergence between Herzen’s Westernism and Slavophilism start? What would make them united as one? Do they represent the one dual element or two completely different elements? Herzen’s views on communalism, Russia’s mission in history and Western development were quite similar to those introduced by the Slavophiles. However, they did have very different opinions on religious. The author of this article studies Herzen’s unconscious religiosity although he declared himself as an atheist.

Keywords: philosophy, monism, dualism, monodualism, religiousness, faith, organic synthesis, Herzen, Westerners, Slavophiles.

DOI: 10.7256/2454-0749.2014.1.10933

Abstract:

DOI: 10.7256/2454-0749.2018.4.27114

Abstract: Despite being popular with the readers and literary researchers, Pavel Sanaev's novel 'Bury Me Behind the Floor Molding' is still understudied as a literary work with a specifically organised imaginative world. In her research Belikova demonstrates how the concepts of space and time typical for a child are replaced by the 'adult's' worldview as a result of his parents' pressure, and describes the expressive means used by Sanaev to depict a child's worldview. The research methodology used by the author of the article is based on discovering chronotopic coordinates of 'unhappy childhood' (based on the concepts of R. Litvak and M. Duranov). The literary analysis of the novel allows to define specific features of the imaginative time and space where Sanaev's hero lives. Through creating a unique imaginative world in his novel, Sanaev demonstrates how the main hero's mind and perception change when he no longer believes in the existence of 'happy space' or feels the time in a cyclic manner (which is typical for a child). The main hero of the novel perceives the time in a linear manner and tries to 'catch up' with the time and dreams of the time to stop. Psychological and existential problems that dominate in the novel are reflected in the expressive means used by Sanaev and chronotopic coordinates that bring a stronger artistic force to Sanaev's ideas. 

Keywords: psychological novel, modern literature, artistic space, artistic time, chronotopos, growing, Sanaev, childhood, unhappy childhood, russian literature

DOI: 10.7256/2454-0749.2021.5.35501

Abstract: This article attempts to determine the peculiarities of compositional and semantic arrangement of text of the literary-criticism article by Shakir Selim “About Shamil Alyadin, Charyks and the Pocket Knife” in the context of its genre uniqueness. The article employs the approach of methodological pluralism using the key hermeneutical and a range of auxiliary methods. In analyzing the text, the author reviews the criteria of literary work, such as fabula, plotline, chronotope, author’s modality, etc., which allow revealing the peculiarities compositional and semantic arrangement Shakir Selim’s work. The relevance of this article is defined by the lack systematic research dedicated to compositional and semantic arrangement and genre diversity of the literary-criticism texts in the Crimean Tatar literature. The subject of this research is the compositional and semantic arrangement of text on the example of the literary work “About Shamil Alyadin, Charyks and the Pocket Knife”. The author describes the genre diversity alongside the elements of time and space presented in the article, as well as explores the author’s representations  and modality. This article is first to carry out a comprehensive analysis of the peculiarities of compositional and semantic arrangement and genre diversity of the S. Selim’s work “About Shamil Alyadin, Charyks and the Pocket Knife” by means of methodological pluralism in the aspect of various structural components of the composition and content of the text.

Keywords: receptive aesthetics, hermeneutics, methodological pluralism, literary criticism, genre-generic forms, syncretism, structural-genre analysis, compositional-semantic organization, literary genre, literary direction

DOI: 10.7256/2454-0749.2022.10.39038

EDN: EDYZAN

Abstract: The subject of the study is explicit and hidden references to the work of John Keats in the works of Anna Akhmatova "Poem without a hero" and the cycle of poems "From a burnt notebook". The object of the study is the principle of "mirror writing" implemented through references to Keats, which allows using embedded references to various works of world culture located one inside the other. The author examines in detail such aspects of the topic as the use of quotations in the text and in the frame of the text, the roll call of citations among themselves and with other works. Special attention is paid to the motive of meeting with a dead lover formed with the help of allusions, which is present both in Keats' poems and in the "Poem without a Hero", and due to the principle of "mirror writing" is formed in the implicature of the cycle "From a burnt notebook".   The main conclusions of the study are the detailed references to the form and content of John Keats' poems in the works of Anna Akhmatova. A special contribution of the author to the study of the topic is the connection established for the first time between the image of "embalming" mentioned in the Poem without a Hero and in Keats' poem "A Pot of Basil", the epigraph from which is used in the cycle "From a burnt notebook". The novelty of the research lies in clarifying the principle of "mirror writing", the quote "echo", implying the reflection of one quote in another and building a kind of chain of references in the work: Keats refers to Boccaccio, Boccaccio to Virgil, etc.

Keywords: intertext dialogue, akmeism, epigraph, Keats, Akhmatova, mirror writing, allusion, frame text, quotation, intertext

DOI: 10.7256/2454-0749.2014.1.63985

Abstract: The author of the article offers to divide all approaches to studying diegetic actors into the two large groups, hermeneutical and structuralistic approaches. The separate subgroup of hermeneutic approaches related to psychoanalysis and its branches is specially specified. The author describes the history of development and topical issues of the theory of diergetic actors. He analyzes approaches offered by Lev Vygotsky, Sigmund Freud, Carl Jung, Daniel Rancour-Laferriere, Karl Leonhard, Vadim Rudnev and other researchers. The author criticizes the naïvehermeneutic approach that has been preventing researchers from recognizing diegetic actors as a true subject of research. The author uses historical, hermeneutic, semiotic and structure-typological methods as well as combinatory analysis, functional analysis and structural analysis. The author demonstrates that structuralistic approaches have important limitations and prove to be efficient only when combined with certain hermeneutical procedures. Thus, further studies of diegetic actors are associated with overcoming the gap between structuralistic and hermeneutic approaches by creating a unified structural-hermeneutic method based on the complementarity principle.

Keywords: philology, diegetic actor, hermeneutics, character, psychoanalysis of literature, structuralism, structure analysis, personality, artistic discourse, logic.

DOI: 10.7256/2454-0749.2023.10.48494

EDN: ASOELG

Abstract: The research is aimed at analyzing the works of Fyodor Kryukov, in which he describes Cossack life. We explore the dramatic aspects of this topic, including the internal conflicts of the characters, the sociocultural aspects of Cossack life and its influence on the fate of the heroes. The Cossacks have unique values and traditions, which shape the characteristics of dramatic events. The works of F. Kryukov are deeply concerned with the psychology of the characters, which makes the drama more intense. The structure of the works, the author's style and the use of literary means to convey the drama of Cossack life will also be considered. The works of F. Kryukov leave a significant mark on literary history. This study is original in that it attempts a deep analysis of the drama of Cossack life and its expression in the works of F. Kryukov. Previous studies of Cossack folklore and literature have focused on the general features of Cossack culture, but our study focuses on moments of dramatic tension and personal conflict, which represents a new research approach to the work of F. Kryukov and Cossack themes in literature in general. By analyzing specific aspects of drama, we are able to more deeply understand how Kryukov conveyed the complex emotional and moral aspects of Cossack life in his works. In a study on the drama of Cossack life in the works of F. Kryukov, the following conclusions were found: drama occupies a central position in the works.

Keywords: Personalities, Complex personality characteristics, Identity, Social ideals, The tradition of realism, Different conflicts, Anthropocentrism, Dramatism, Don Cossacks, Fyodor Krukov

DOI: 10.7256/2454-0749.2020.7.33323

Abstract: The subject of this article is the key methods of constructing the past applied by Valentin Pikul in chronological novel “The Favorite”: theatricality technique, actualization of male and female beginnings of the main characters, adventurous beginning that includes special chronotope, creation of mystical atmosphere, introduction of the motifs of meeting and partings, and “modernization” of history – the approach of parallel description of the plot of the XVIII century as a storyline of the time of a reader. The goal is to demonstrate the origin of techniques within the depths of Pukil’s writing methods that are in demand by modern cinematography and brought to life in multiple TV series; and how the enlightening content of historical compositions of the XVIII century, particularly the “Memoirs of Catherine the Great” are replaced by the entertaining presentation. The use of cultural-historical, comparative-historical, and structural methods allow determining the main semantic bonds of the novel and genesis of these phenomena, as well as draw parallels with the indicated realias in the modern mass literature. In the course of comprehensive analysis of the novel “The Favorite”, the conclusion is made on the intentional fictionalization of the historical material by V. Pikul: externally –  through convergence of the novel with theatrical staging via using compositional techniques; and internally –  through the techniques of mass literature writing, creation of adventurous chronotope, diminishment of the heroic beginning of historical characters to the behavioral level of typical characters of the romantic novel, introduction of the element of scandal, mystery and adventure. For the first time, the novel is examined through the prism of the time of its creation – the era of post-Perestroika, and the tradition the author leans upon: country-style and “youth” prose. The acquired conclusions directly relate to the modern situation, work of screenwriters on historical material, which was significantly simplified for the mass literature audience.

Keywords: typification, chronotope of the adventure story, reception of a karnavalization, popular literature, Valentin Pikul's creativity, historical novel, author's receptions, Russian literature, theatricality reception, tradition of rural prose

DOI: 10.7256/2454-0749.2022.7.37275

EDN: MBXQWS

Abstract: The subject of the study is the natural images captured in the diaries of the classic Buryat literature of the twentieth century D. Ulzytuev. The object of the study is the work of D. Ulzytuev from the period of the 1950s-1970s. The author examines in detail the genre of the diary in the writer's work, revealing its features. The main attention is paid to the identification of natural images that occupy a significant place. In the diaries, numerous sketches about nature are included in the narrative of the daily course of life, which is presented as an objective environment, based on which reality and subjective nature, reflecting the inner world of the artist, are endowed with psychologism, that is, they perform various functions.   The diaries of D. Ulzytuev are two notebooks – the first one related to the period of the poet's studies in Moscow in 1957-1958, the second – 1969-1970. Descriptive, comparative and comparative methods are used in the work. The novelty of the work lies in the fact that D. Ulzytuev's diaries are a unique phenomenon in the poet's creative heritage, and they have not become the object of scientific research until now. Consequently, the disclosure of images of nature in the diary genre contributes to a deeper understanding of the creative individuality of the author.All this allows us to conclude that the natural images in D. Ulzytuev's diaries bear the stamp of individual perception, are a means of expressing his inner world.

Keywords: inner world, landscape, the image of nature, poetics, documentary and artistic genre, the genre of the diary, the writer's diary, psychologism, creative searches, creative individuality

DOI: 10.7256/2454-0749.2023.9.44076

EDN: ZFFOBJ

Abstract: The subject of the study is the ego-documents (polemical comments in the journal "Son of the Fatherland" in 1818) by V. B. Bronevsky and P. P. Svinyin – the authors of documentary travelogues about the Mediterranean campaign of Admiral D. N. Senyavin, as an example of reflection on the originality of writers' attitudes in travel notes. The purpose of the study is to determine the specifics of the author's problem in a documentary travelogue, to identify individual author's strategies in the structure of the narrative, ways of expressing the author's origin in the text. The theoretical basis of the research was the works of E.G. Mestergazi, O.V. Kublitskaya, N.A. Ermakova, A.E. Kozlov, devoted to the analysis of the narrative structure of the documentary travelogue. To understand the specifics of the ways of author's self-expression in the documentary travelogue, the following research methods are used: biographical, structural-typological, historical-literary. The scientific novelty of the research lies in the special material and the approach used: the works presented in the "thick" magazines of the XIX century rarely fall into the research field, although they often demonstrate to a greater extent both stereotypical, "fashionable" writing trends and individual authorial ones. V. B. Bronevsky insists that the subject of the narrative must absolutely coincide with the biographical author of the text, observe accuracy in the transmission of facts about the journey, describe only what the witness witnessed on a real trip. P. P. Svinyin, on the contrary, argues that the author has the right to describe not only his own impressions, but also to be guided by someone else's opinion, to convey a general impression of significant events. Using the example of the highlighted differences, it is concluded that the authors of documentary travelogues imagined the distance between the biographical author and the subject of the narrative differently, reflecting on the process of text generation.

Keywords: Bronevsky, Son of the Fatherland, journal, controversy, strategy, the subject of the narrative, author, documentary travelogue, ego document, Svinyin

DOI: 10.7256/2454-0749.2023.8.43637

EDN: WDUZZP

Abstract: The object of research in this article was A. Matveeva's novel "Every Hundred Years", published in 2022 and included in the shortlist of the Big Book Award. A novel with a diary." The specificity of this work lies in the fact that the parallel developing life stories of the two heroines are presented in the form of their personal diaries, one of which is fictitious in nature, and the second is a real diary, which was kept throughout her life by A. Matveeva's grandmother, Ksenia Mikhailovna Levshina. In this regard, the question arises not only about the distinction between fiction and nonfiction literature, but also about what happens to the status of a personal diary belonging to the category of non-aesthetic texts when it is included in the context of a work of fiction, the solution of which became the purpose of this study. The scientific novelty of the study consists in the introduction to the theoretical basis of the study were the classical works of M. Riffater, J. Genette and V. Yser, devoted to the nature of fictionality, as well as general provisions concerning the signs of a fictional text, set out in the work of V. Schmid "Narratalogy". In the process of analyzing the novel, it was revealed that when fragments of the text of real diaries are placed in the context of a deliberately fictitious world, not only the relationship of the image of the character Xenichka to the real referent (K. M. Levshina) is lost, but also the text of her personal diaries lose their connection with factuality and acquire the status of an object of comprehension. The narrated event in the novel, therefore, is not only and not so much the life stories of the two characters, but also the interaction of the factual and fictional, intimate ego-document and novel, the very writing of any text, both artistic and documentary, and the understanding of life as an aesthetic object.

Keywords: narrated event, nonfiction, documentary, factuality, fiction, fictionality, ego document, diary, novel, Anna Matveeva

DOI: 10.7256/2454-0749.2019.1.28314

Abstract: The authors of the article analyze the contribution of a Yakut writer Sofron Danilov to the development of prose in general and Yakut literary writing in particular. Sofron Danilov created a unique lyrico-dramatic style. As a writer and master of psychological analysis, he created original images of his contemporaries. Sofron Danilov had a true gift for literary criticism. Insightfully and on a scientific ground Sofron Danilov investigated works of classical Yakut authors and described peculiarity of their creative writing. Sofron Danilov paid much attention to journalism and tried to describe the most nettlesome issues of those times to his contemporaries through his writing, this is why was perceived both as a writer and philosopher. The methodological basis of this research includes fundamental works of M. Bakhtin, M. Lomunova, A.Myreeva, D. Vasilieva, and G. Philippova. To achieve the research targets, the authors of this article has applied methods of empirical and theoretical research (comparative historical and theoretical analysis). The main conclusions of the research are the following:  Sofron Danilov was the first one to introduce the terms 'polyphony' and 'monologue' into the Yakut prose narration. He was the author of the first Yakut socio-psychological novel 'The Heartbeat' in which he depicted the life of the society at the turn of the 1950s - 60s (the so-called thaw period). He was a famous author of novels and short stories. Sofron Danilov was the founder of a new style, new prose and thus had a great impact on the development of the Yakut literature, many writers called him teache. Sofron Danilov's creative works were highly appraised by critics and theorists of literature and he was a famous author in his country.

Keywords: jornalism, image, criticism, character, psychological analysis, style, hero’s inner world, monologue, genre, prose

DOI: 10.7256/2454-0749.2023.1.38608

EDN: DRQTTQ

Abstract: The purpose of the article is to introduce readers to the translation of the article by the French Russianist, publicist and translator N.A. Struve "Dostoevsky and the Gospel of John" (1983), which has not been published in Russian until now. It is through language, first of all, that the reader gets acquainted with the writer, therefore, works that consider stylistic features of biblical texts in their subsequent comparison with Dostoevsky's texts are of particular value to us. In addition to the translation itself, the authors' tasks included comparing N.A. Struve's research with similar works in Russian, as well as compiling a commentary on some quotations, concepts and terms used in N.A. Struve's article. Dostoevistics has accumulated a lot of works devoted to the influence of St. The writings on the life, creativity and spiritual path of F.M. Dostoevsky, however, there are not so many studies among them that raise the question of the influence of the text of Holy Scripture on the writer's idiosyncrasy. For us, the syntax of Dostoevsky is of particular interest, namely, the comparison of the compositional connections of words in his works and the text of the Gospel of John. The proposed translation and commentary allow us to supplement the ideas that have developed in Dostoevistics about the influence of the Gospel of John on the work of F.M. Dostoevsky, taking into account the results of recent research, including the methodology of studying and describing the author's idiostyle and compiling a dictionary of the writer's language.

Keywords: Dudkin, Idiot, poetics, textology, christianity, syntax, dictionary of the writer's language, Dostoevsky, The Gospel of John, Struve

DOI: 10.7256/2454-0749.2023.5.39730

EDN: DWJVPD

Abstract: The subject of the research is the novels of the French writer Andre Gide "The Narrow Gate" and "The Pastoral Symphony". The specificity of the expression of the author's thought in these stories through conceptual antinomies is noted, as a result of which the study of the concepts of BLINDNESS, LOVE, VIRTUE is actualized. The semantic content of the stated concepts is analyzed, which is carried out on the basis of their definitions in dictionaries and biblical texts. Their representatives are observed, creating a semantic field of the concepts of BLINDNESS, LOVE, VIRTUE, introduced by the author into the composition and plot of works and representing the author's interpretation. On the basis of the revealed meanings and antinomy of these basic concepts for every Christian, their function in the stories is revealed. The scientific novelty of the study lies in the fact that the work of A. Zhid from the point of view of the use of concepts is insufficiently studied. The main conclusions of the study are the following. The concepts of BLINDNESS, LOVE, and VIRTUE have a traditional semantic fullness that has developed in centuries-old Christian discourse, but the writer demonstrates the displacement of their evangelical content due to the emergence of new interpretations associated with the spiritual crisis of society. With the help of the introduction of these antinomic concepts into the story, the writer organizes the artistic space of works: they determine the choice of confessional genre, saturation of stories with allusions, reminiscences and intertexts from biblical texts, the use of these concepts to organize the implicitness and explicitness of the narrative. Concepts perform the functions of characterization of heroes, epochs and expression of the author's position.

Keywords: axiological values, Christian concept, confession, intertexteme, interpretation, allusion, nietzscheanism, representations, antinomy, concepts

DOI: 10.7256/2454-0749.2023.7.39742

EDN: TTMQBY

Abstract: The article is devoted to the study of the work of the Tomsk science fiction writer, member of the Union of Writers of the USSR Viktor Dmitrievich Kolupaev (1936-2001). The purpose of the study is to identify the features of the representation of the category of fiction space and time in the poetics of the fiction writer's short prose based on the novella "Dzyapiki" (1989). The theoretical basis of the research was made up of works devoted to the consideration of the spatio-temporal organization of the literary text in science fiction works. The practical significance of the article is that its materials and general conclusions can be used in the study of the history of Russian literature and Soviet fiction, regional literature in the framework of special courses. The scientific novelty of the work lies in the study of the spatio-temporal organization of Kolupaev's short prose, as well as in the involvement of a previously unexplored novella as a research material, which is important for understanding the originality of the author's fiction world. The three-part chronotope system is defined and analyzed, the originality of the time travel plot used for traditional science fiction in order to reveal social issues is revealed. Three chronotopes (the epoch of the Dziapiks, real time and their mixing), the characteristic features of which are represented in the landscapes and characters allow us to depict the shortcomings of the system that negatively affects a person.

Keywords: chronotope, fiction time, fiction space, Dzyapiki, Victor Kolupaev, soft science fiction, Soviet science fiction, Russian literature, time travel, Siberia

Abstract: The article is devoted to the 120th anniversary of the great Russian poet Osip Mandelstam. This article represents the author’s views on Mandelstam’s early lyrics and his overall civic-minded position in the context of ‘intelligentsia-power-people’ issue which remained unchanged till the end of his life. Mandelstam’s creative works are analyzed in comparison with the artistic and social ideals of the ‘silver age’ poets living in the same time. Philosophers’ researches of the poet’s works are mostly focused on the study of his understanding of harmony (from the point of view of both esthetics and society) as a challenging and dramatic struggle between the beautiful and the unkind. Even though it is a tragic struggle, the Beauty united with the Truth and Kindness win this fight.

Keywords: philology, culture, poetics, creative work, reflection, Beauty, Kindness, Truth, intelligentsia, power, people.

DOI: 10.7256/2454-0749.2021.7.35953

Abstract: This article discusses the difficult postwar years of Germany reflected in the works of B. Schlink, as well as assesses the impact of economic circumstances upon the formation of German collective consciousness. The object of this research is the novels “The Justice of Selb”, “The Deceit of Selb”, “The Farewell of Selb” by B. Schlink. The subject of this research is the artistic peculiarities of representation of the “German economic miracle” in the prose of B. Schlink. The writer had a critical attitude on idealizing the results of Germany's rapid economic development. He believes that mythologization of the positive results of economic development is only one side to a coin. A profound analysis of the listed novels by B. Schlink, dedicated to the theme of postwar restoration of Germany, gives a better perspective on the writer’s role in the German literary process during the late XX – early XXI centuries, which defines the relevance of this research. The goal of this article lies in studying the importance of mythological representations associated with the rapid recovery and economic development of Germany in the consciousness of the German nation, as well as their reflection in the works of Bernhard Schlink. In his novels, B. Schlink not only mentions the return of former Nazis to public and civil posts, but also draws the images of the prosperous postwar existence of German industrialists, whose factories used to supply the needs of the Reich. Depicting the conflict between the characters, the writer destroys one of their pleasant elements of the myth of “German economic miracle”. The hero – Detective Selb – reflects on the ethical questions pertinent to economic development. The life-changing event in national history, which allowed Germany to regain its rightful place among the European nations, is linked by the author with a range of negative consequences, such as development of the psychology of “consumerism” in the society, concealment of the German national past, detection of significant environmental problems, and escalation of radical moods among German youth.

Keywords: German nation, German past, psychology, industry, economic miracle, myth, Bernhard Schlink, consciousness, radicalization, youth action

DOI: 10.7256/2454-0749.2022.11.39197

EDN: MCLRUY

Abstract: The purpose of this study is to analyze genre strategies in modern British multicultural literature on the example of A. Mukherjee's novel "A Man with a Great Future". The subject of the study is the genre dominants of the detective and historical novel in the work of A. Mukherjee, in particular elements of the classic English detective literature, as well as detective novels by Scottish writers of the XX century, who paid considerable attention to social issues in their works. The relevance of the article is determined by the relevance in modern humanities of scientific works devoted to the study of genres and genre models, including their transformation in modern world literature. The novelty of the work is determined by the low degree of study of A. Mukherjee's works, mainly from the point of view of genre specificity in the context of the expression of multicultural features of the text under consideration. The main research methods are biographical, comparative-historical and typological. As a result of the analysis, it is concluded that A. Mukherjee refers to the structure of the classical model of both the detective and historical novel, but adds a social and national context to the traditional genre dominants. The strategies of the detective and historical novel allow the author to reflect the patterns of historical determinism that determined the development of modern Britain and India, as well as to identify the origins of British multiculturalism, of which A. Mukherjee himself is a part.

Keywords: english literature, multiculturalism, novel, postcolonial literature, detective, historical novel, genre strategy, genre, Abir Mukherjee, India

DOI: 10.7256/2454-0749.2023.3.39862

EDN: JQBTAD

Abstract: The popularity of Sergey Dovlatov's fiction is unconditional, but his journalistic legacy is a little–studied area. During the study of Sergey Dovlatov's publications published in 1972-1975 in "Soviet Estonia", we came to the conclusion that these texts should be considered not only from the point of view of their thematic and stylistic originality, but also from the perspective of the author's axiology. The article examines an important aspect of Sergey Dovlatov's work – the author's focus is not so much on the formation of new value categories, as on the actualization of existing ones, which presuppose the reader's return to the established generally accepted "norm". The object of the study is the portrait essays of the writer Sergei Dovlatov, published in the newspaper "Soviet Estonia" in the period from 1972 to 1975. The subject of the study is the poetic and axiological features of portrait essays of the Tallinn period. The article pays special attention to the headings "Man and profession" and "Your profession", within which Dovlatov's essays are often published. The content of these essays does not go beyond the ordinary materials of the party periodicals, but a detailed study of the texts allows us to identify some features inherent in all portrait essays of the author. The main conclusions of the article are to define a set of axiological dominants that can be traced in the texts of Sergey Dovlatov, a publicist. In his publications, the writer defines a number of universal values, which include the significance of human life, the possibility of presenting different points of view, empathy and complicity, as well as the harmonious existence of the ordinary and sublime.

Keywords: Aesthetic values, Russian literature, Portrait essay, Ader, Soviet Estonia, Journalism, Poetics, Axiology, Dovlatov, Ethical values

DOI: 10.7256/2454-0749.2022.10.38923

EDN: IOLTFP

Abstract: This article contains a conceptual description of the problematics of "foreign word" in the general literary methodology of analysis by Mikhail Mikhailovich Bakhtin (1895–1975), and a description of its individual theoretical aspects. The subject of the study is Bakhtin's concept of "foreign word". The author examines in detail such aspects of the topic as "alien speech", "alien consciousness" in the context of the ideas of M.M. Bakhtin, as well as his student and colleague in the "Nevelsk-Vitebsk seminar" - Valentin Nikolaevich Voloshinov (1895-1936). Particular attention is paid to the analysis of the centon genre, which in the history of verbal culture has become a source of creative discoveries and innovative techniques for various authors. The analyzed aspects of Bakhtin's theory allow us to draw an important conclusion about the distinctive features of the organization of a literary text in modernist and postmodernist literature. The organization of the artistic text in modern postmodern literature occurs in accordance with the principles of centonicity and quotation, i.e. cultural mediation of most artistic artifacts. The main difference between postmodern works and most reminiscent works of modernism is that allusions and reminiscences cease to perform the function of references to universally valid concepts, but work in the centonal mode (dramatically rethinking the original context - up to its leveling, "dissolution", "spraying" ) organization of a literary text.

Keywords: reminiscence, context, allusion, citation principle, postmodern literature, Bakhtin' theory, modernist literature, author's problem, centon, Alien word

DOI: 10.7256/2454-0749.2017.1.22119

Abstract: The matter of the author's research is the circumstances of the travel conducted by Ivan Turgenev and Lev Tolstoy from Paris to a French provincial town Dijon in March 1857. 'Dijon's episode' was an inspiring trip for both writers. In the capital of Burgundy Tolstoy completed his novel 'The Lost Man' (or 'Albert' in the final version), the novel he had been working on for several months. Turgenev also finished one of his 'hunters' stories' ('The Second Day') from his series 'trips to Polesye' in which he outlined contours of a fundamentally different approach to describing crisis phenomena in the Russian village life. The research method used by the author was the 'philosophical and literary local studies' studying intellectual writings in terms of the cultural, geographical and extralinguistic environments of the authors. In this research Kara-Murza presents new materials about the staying of Turgenev and Tolstoy in Dijon and friendship of those two great figures in the Russian literature. According to the author of the article, the trip to Dijon was a direct prologue of Turgenev's 'escape' from Paris to the Lake of Geneva, the homeland of Russo, in April 1857 as well as Turgenev's trips to England, Germany and Italy which in their turn defined a new stage of his creative writing.  

Keywords: travel, Academy of Dijon, Russo, Russian literature, Dijon, France, Lev Tolstoy, Turgenev, philosophy, literary studies

DOI: 10.7256/2454-0749.2020.11.34056

Abstract: The subject of this research the artistic distinctness of the sonnets by M. Akhmedov in the context of evolution of sonnet genre in modern Avar poetry. The sonnets of M. Akhmedov represent a significant part of his poetic path, and are viewed as a new phenomenon in modern Avar poetry, the origin of which is associated with the works Of R. Gamzatov and M. Abasil. The object of this research is the sonnet genre in Avar literature. The goal consists in determination of the sonnet in multigenre poetry Of Magomed Akhmedov, as well as comprehension of their artistic content and form in conjunction with development of the genre in modern Avar poetry. Special attention is turned to the stages of evolution of the indicated genre in Dagestan, and namely Avar, literature. Emphasis is placed on the artistic distinctness of M. Akhmedov's sonnets, their comparative analysis, imagery structure, and ideological- thematic peculiarities. The scientific novelty lies in the fact that this is first to review M. Akhmedov’s sonnets, which hold a special place in development of the sonnet genre in modern Avar poetry. The acquired results demonstrate that the examination of M. Akhmedov's sonnets allow revealing not only the range of his poetic pursuits, but also richness of the genre system of modern Avar poetry. The sonnets by M. Akhmedov draw attention by synthesizing the old and new traditions of the poet's precursors and contemporaries. The authors’s special contribution is defined by carrying out a comprehensive analysis of the sonnets M. Akhmedov that fill the gap in studying the evolution and development of this genre in particular, and poetry of M. Akhmedov overall.

Keywords: literary process, evolution of the genre, poetic form, classical genres, Avar poetry, sonnets, genre system, figurative sistem, canonical structure, artistic idea

DOI: 10.7256/2454-0749.2021.4.35303

Abstract: The object of this research is the poetics of J. Brodsky's cycle “Part of Speech” as literary unity. The subject of this research is the subjective organization of poems included in the cycle “Part of Speech”. Special attention is given to the nature of value attitude of the lyrical object towards other characters depicted in poems of the cycle. Such attitude is viewed as an aspect of authorial artistic reflection and assessment of depicted reality. Following the footsteps of S. N. Broytman, the author interprets the lyrical object as a speech bearer, as well as the main (encompassing other) perspective on the world in the poem. The lyrical character is a supported character, being assessed by the lyrical object (lyrical characters include a “lyrical addressee” and “lyrical You”). The scientific novelty of this research consists in viewing the nature of value attitude of the lyrical objects towards other lyrical characters in the “Part of Speech” as an aspect of poetics of the cycle as literary unity (previous studies were dedicated only to separate poems of J. Brodsky’s cycle). The analysis of selected texts of the cycle indicates the specific nature of the relationship between lyrical object and other characters depicted in the poems: 1. the relationship of the lyrical object with other characters (the lyrical heroine, “You”, etc.) is built as an anti-dialogue, demonstrating total loneliness of the lyrical object; 2. The theme of loneliness in the cycle also intersects with the artistic images for yourself; 3. in the “Part of Speech”, the forms of indirect representation of the lyric object (when the lyrical subject refers to himself as another) also point at his self-centeredness, loneliness, and disruption of ties with others.

Keywords: artistic image, cyclization, lyric cycle, speaking subject, poem, lyric subject, lyric, non-classical art, lyric plot, poetics

DOI: 10.7256/2454-0749.2022.8.38171

EDN: YGVWDG

Abstract: The article aims to analyze the reception of the personality of J. L. D'Alembert, a French educator, scientist and writer of the XVIII century, to identify the ways of formation of his multifaceted scientific identity. The name of J. L. D'Alembert belongs to science, philosophy and literature, the extraordinary biography of the scientist is considered in the socio-cultural context of the time, in close connection with the development of the humanities in France of the XVIII century. The question of the attitude of J. L. D'Alembert to encyclopedists who did not stand aside from the literary processes of their time is clarified. The appeal to the biographical method helps to identify the role of cultural and social factors in the formation of the personality of J. L. D'Alembert as a writer and creator of a number of literary genres. The scientific novelty of the work consists in a comprehensive analysis of the scientist's contribution to the development of scientific and literary genres of that time - preliminary reasoning, elogies, an encyclopedic article, which became a historical and literary phenomenon of the Enlightenment era. The study of the work of J. L. D'Alembert allows us to identify him as a versatile personality who possessed communicative leadership and encyclopedic dominance. It is interesting to study the reverse impact of the personality of J. L. D'Alembert on the socio-cultural situation of the period of his scientific and literary creativity. The result of the study is the identification of four "passionate phases" of the biography of J. L. D'Alembert, the stages of the formation of the scientist, which contributed to his self-identification as a person: achievements in mathematics and hydrodynamics, inclusion in the circle of the academic scientific elite, the creation of an "Encyclopedia" and cooperation with D. Diderot, literary activity and scientific and artistic understanding of science.

Keywords: memorial speeches, rethinking the term literature, essay, the writer, the encyclopedist, author's name, dynamics of the life path, biography of the scientist, Jean Leron Dalembert, scientific identity

DOI: 10.7256/2454-0749.2017.2.23338

Abstract: In his article Pyrkov studies the process of changing traditional attributes and symbols of a Russian manor in Chekhov's dramaturgical world based on the example of Anton Chekhov's drama 'Three Sisters'. Particular attention is paid to the comparison of a symbolic 'elated' image of columns described by Chekhov in the first remarks to the 'lower' image of the pedestal that appeared in the song sang by one of the heroes. The researcher tries to understand the message that Anton Chekhov wanted to give us through transformation of the 'high' into the 'low'. The researcher also tries to define social and historical grounds for that process. The research is based on the reaccentuation of a classical text and attempt to make a new dimension of reading of the play as a result of multidimensionality of a literary text containing parameanings that play an important role for the text's analysis. By referring to the literary context of that epoch, the author analyzes the dynamics of the development of Chekhov as a playwright. The novelty of the research is caused by the fact that the author draws a parallel between the column and pedestal which leads to quite an unexpected interpretation of Chekhov's play as well as offers a hypothesis that transformation of the manor symbols directly relates to constructing a fundamentally new model of space and time in the artistic world of Anton Chekhov.

Keywords: symbols, anti-space, anti-time, gallery, column and pedestal, spiritual vertical, manor markers, end of century, Three Sisters, Chekhov

DOI: 10.7256/2454-0749.2020.1.29017

Abstract: This article is dedicated to the autobiographical discourse in the compilation of poems “The Empress Life” by the national poet of Buryatia Andrey Rumyantsev.  The subject of research is the key images and motifs of Rumyantsev’s autobiographicallyrics, while the object is the poet’s lyrical biography. The author analyzes Andrey Rumyantsev’s poetry for the purpose of determination of the means of expression of autobiographical images and motifs in the texts created in form of poetic reminiscences. Most careful attention is given to the compositions dedicated to parents, grandparents, and sister of the poet. Methodology leans on the basic principle of biographical method, according to which personality of the writer defines the specificity of his works. The scientific novelty consists in conducting a motif-imagery analysis of Rumyantsev’s poetry from the perspectives of biographical method. The conclusion is formulated that the main motifs of Andrey Rumyantsev’s autobiographical lyrics is “great guilt”, “repentance”, and “responsibility” that encompass all poetic reminiscences of his loved ones – the key images of autobiographical lyrics. The specific approaches in creation of autobiographical images and motifs are revealed. Thus, the common for all images is the stance on labor and possession of physical fortitude. All female images are united by the motif of the hardship of being a woman, as well as righteousness semanticized through the concepts of “patience” and “love”. The mail images resemble bogatyrs (heroes of the Russian epic poems); the author also emphasizes their unity with the native nature.

Keywords: biography analysis, autobiographical poetry, Andrey Rumyantsev’s works, poets of Buryatia, twentieth century poetry, poetry, Russian literature, motif, motif analysis, autobiographical motifs in poetry

DOI: 10.7256/2454-0749.2021.12.37085

Abstract: The subject of this research is the adequacy of translation of Avar poetry into the Russian language on the example of the poem “If They Will Draw My Portrait” by the National Poet of Dagestan Fazu Gamzatovna Aliyeva. The object of this research is the lyrical works of Fazu Aliyeva and other Dagestan poets. Using the method of comparative analysis, the authors draw parallel between the Avar and Russian versions of F. Aliyeva’s poem, which has been translated by the Russian poet-translator Vladimir Turkin. The goal of this article lies in the comparative study of the lyrical poem by the Avar poet and its literary translation into the Russian language. The question of the literary translations of poetic texts from the native languages into the Russian language remains relevant at all times. The degree of accuracy and adequacy of the translation of modern or classic Dagestan poetic texts into the Russian language is yet to be fully researched. The novelty of this work consists in comprehensive analysis of the adequacy of translation of the lyrical texts of the Avar poet Fazu Aliyeva into the Russian language. The adequate professional translation into the Russian language is invaluable for the development of literature of the Caucasian peoples (and all national literatures of the peoples that are part of the Russian Federation). This helps them reach a wider readership. Juxtaposition of the original poetic text and its translation into the Russian language proves that Vladimir Turkin has achieved full adequacy of conveying the Avar text, despite the discrepancy in translating spatial details, which not in the slightest distorts the stylistic and emotional-expressive peculiarities inherent to the poem by the Dagestan poet Fazu Aliyeva.

Keywords: Vladimir Turkin, content and form, Fazu Alieva, adequacy, original, translation, poetry, artistic structure, national texts, expression

DOI: 10.7256/2454-0749.2022.12.39511

EDN: UHYMOB

Abstract: The subject of the study is the image of Hadi the Junkman, coined the modern Iraqi writer Ahmed Saadawi in the novel “Frankenstein in Baghdad” (2013). The author is interested how the residents of the Iraqi capital survive under American invention. The author presents the picture of the 2000-s years using the fate of the Baghdadis as an illustration. He describes numerous explosions in Baghdad and the consequences they had on its citizens future. The novelist compares the living conditions of ordinary people of the Batavia quarter and high-ranking government officials. The figure of a junk dealer Hadi al-Atak, who walks around the city in search of antiques and tells entertaining stories unites the people with different background. Being a trickster, a liar, or buffoon, old man has created an imaginary monster that fights against injustice and avenges the innocent people who died in terrorist attacks. The methods of historical and system analysis allow us to prove that in the era of formation change, the role of the trickster is becoming more important and modified. Shuttling between good and evil, the Junkman helps to smooth out conflicts and resolve disputes peacefully. Due to the breakdown of life paradigms, the trickster has a special function: he becomes the leading hero and saves humanity from evil, performing a Christological role. Taking the blame for the crimes of his brainchild “Whatsitsname” (Arab Frankenstein), sacrificing his life, the Hadi the Junkman brings peace and stability to the tired people of Baghdad.

Keywords: religious tolerance, terrorist attacks, ‘Arabic Booker’, Trickster, Iraqi novel, Frankenstein, Baghdad of the 2000-s, Ahmed Saadawi, Arabic Literature, Christological role

DOI: 10.7256/2454-0749.2023.7.43617

EDN: TTNGLO

Abstract: The purpose of the study is to determine the specifics of the compositional–speech form of E. Grishkovets' monodrama. The subject of the study is the ratio of narrative and anarrative elements in six monodramas by E. Grishkovets - "How I ate a dog", "Simultaneously", "Dreadnoughts", "+1", "Farewell to paper", "Whisper of the heart". To achieve this goal, the following tasks are solved: firstly, to identify and characterize the anarrative elements in the monodramas of E. Grishkovets; secondly, to analyze the communicative situations underlying the action of the studied plays; thirdly, to determine the ratio of narrative and performative elements in the works. The theoretical basis was the work in the field of artistic discourse: the theory of the dialogical nature of art by M. M. Bakhtin, which has already become a classic, and was developed in the research of V. I. Tyupa. The main method of research was the discursive analysis of the literary text, which allows to identify and describe the invariant model of E. Grishkovets' monodrama. The scientific novelty of the research lies in the approach used: the invariant structure of E. Grishkovets' monodramas is revealed by studying the genre through discourse. The analysis of the peculiarities of the discourse of E. Grishkovets' monodramas showed that the event of each of the plays consists in the explication "here and now" before the reader/viewer of complex internal processes occurring in the minds of the characters asking ontological questions related to the self-determination of a person in the world. The human essence in one aspect or another of being becomes a communicative object, while the hero tries to clarify his status for himself and the addressee of his speech. At the same time, in the picture of the hero's world, understanding turns out to be more significant than gaining knowledge. Trying to clarify for himself and the addressee one of the general laws of existence, the hero simultaneously transforms his own consciousness, since he comes to the conclusion that it is impossible to achieve mutual understanding in its entirety.

Keywords: hero, storytelling event, narrative and anarrativity, the communicative situation, performative discourse, anarrativity of the dramatic text, drama, monodrama, Grishkovets, self-identification

DOI: 10.7256/2454-0749.2023.8.43711

EDN: WDVBJA

Abstract: The object of research is the fantasy genre, its artistic world and language. It is noteworthy that, not being satisfied with existing terms such as "occasionalisms", "proper nouns", the authors introduce new concepts. The abovementioned terms are used in the analysis and description of the linguistic features of the fantasy genre, but do not reflect the specifics of fantasy. The subject of the study is mythological sign ("mythoznak") in the fantasy genre. The material for the study is the novel "Neverwhere" by N. Gaiman, from which mythological signs were selected by continuous sampling. They are characterized by the absence of a real denotation and form the denotation space of the pseudo-world in fantasy. The theoretical significance of the work lies in deepening the understanding of the term "mythological sign" (in the context of fantasy). The practical significance of the work consists in the possibility of using the results of the research in the practice of literary translation and for educational purposes. It is revealed that a significant part of the mythological signs are author's nominations, which brings them closer to the occasionalisms. Nevertheless, they are not always created by fantasy authors: conventional language units are also used in the function of mythological signs. In this case, the author changes their structure and semantic content. On the other hand, mythological signs are not always proper names.

Keywords: concept, denotation, Russian language, English language, proper noun, occasionalism, mythological sign, pseudo-world, fantasy, semiotics

DOI: 10.7256/2454-0749.2018.2.26042

Abstract: The article is devoted to the sociocultural aspects of a creative dialogue between Russian and Chinese classiñ authors, Dostoevsky and Mao Dun, in the historical and cultural context, i.e. artistic image of the revolution phenomenon. Analysis of the reception of the Russian literary and philosophical tradition allows to define ideological and psychological particularities of the revolution phenomenon in Chinese literature. In relation thereto, the authors analyze particularities of individual author interpretations of images of the revolution,  political adventurists, bureaucrats, intelligentsia, and representatives from the nation. The authors also focus on Mao Dun's anticipation of Trotsky's concept of The Revolution Betrayed. To analyze means of interpretation and communication of the Russian writer's philosophical views in Chinese literature, the authors have used the methodological tools of comparative studies and reception aesthetics. Cultural and historical difficulties of artistic reception are being viewed on the basis of the material that has never been the matter of literary analysis in this regard before. This causes the novelty of the present research. Transformation and literary interpretation of the revolution image in Dostoevsky's and Mao Dun's prose are determined by the difference in political and religious views of the writers who revealed national specifics of Russian and Chinese revolutions with a maximum force. However, ideological differences of the authors only underline their solidarity in describing the main problem of the revolution, humanism, which implies constant overall self-improvement that makes personality out of an individual, and enables achievement of the brotherhood when all contraditions between freedom and equality are eliminated. 

Keywords: national outlook, ideology, nihilism, political adventurism, The Revolution Betrayed, revolution, cross-cultural dialogue, Mao Dun, Dostoevsky, reception

DOI: 10.7256/2454-0749.2022.4.35414

Abstract: The subject of this study is Dagestan literature. Special attention is paid to the first written works in the republic, which appeared under the influence of Arab-Muslim culture. This article examines the influence of Arabic-language culture on the formation of literary traditions of the peoples of Dagestan. Works in Arabic, Persian and Turkic languages in the spiritual literature of Dagestan testify to the centuries-old impact of Eastern culture. The manuscript gives an overview of the first Arabic-language sources written on the territory of Dagestan in the X-XII centuries. With the integration of the Arabic language in society, there is a creative flourishing of the activities of scientists of various fields of science: ethics, dogmatics, logic, Muslim law, hagiography and many others. The authors note not only the influence of Eastern literature, but also the creativity of the peoples of the Near and Middle East in the fate of Dagestan written literature and literary traditions. The authors of the article note that the spread of writing based on Arabic graphics contributed to the increase in the level of literacy of the Dagestan population, which is reflected in the literature.

Keywords: Arab-Muslim culture, Islamization, Dagestan fiction, spiritual writing of the Kumyks, chronicles, historical development, Sufism, regional historiography, Arabic language, Eastern literature

DOI: 10.7256/2454-0749.2022.3.37684

Abstract: The subject of the study is the category of artistic chronotope. The present study was carried out in the line of literary chronopoetics. Chronopoetics stands out as a separate branch of poetics, a phenomenon to which the methods of temporology are applied. The material for the analysis was the novel "The Way to Grumant", written by one of the marine writers who experienced the catastrophe of ice imprisonment, Konstantin Badigin. The Northern Sea Route is a cross–cutting theme of the entire work of K. S. Badigin, whose style dominant is the description of the nature and culture of the Russian North, the sea element. The above-mentioned determined the purpose of the study, which consists in explication of the main mechanisms and means of modeling the chronotope in a novel recreating the true event of the island stay of the Grumanlans in the XVIII century, episodes of their struggle with the outside world, a description of their life, trade, interpersonal interaction. The main result of the research is the simulation of the chronotope in the legend of Kirik and Olesha. This plug-in genre is highlighted within the novel "The Way to Grumant" by K.S. Badigin. It is established that in the plug–in genre, the author creates a special – secondary to the real - world, violating the boundaries corresponding to our ideas of plausibility, this is the otherworld. The means at the writer's disposal are suitable for his description. From this point of view, the novel "The Way to Grumant" is being studied for the first time, which determines the novelty of the research undertaken and outlines further prospects in the field of research devoted to the work of K. S. Badigin, and the Pomeranian legend about the "Mezen Robinsons", in particular.

Keywords: otherworld, Konstantin Badigin, chronopoetics, chronotope, mezen robinsons, legend, plug - in genre, fairy tale, chronotopic analysis, robinsonade

DOI: 10.7256/2454-0749.2020.7.31632

Abstract: Based on the biographies of the prominent philologists V. S. Baevsky and M. L. Gasparov, this article examines the relationships of the Soviet scholars of humanities in the late XX century, and verifies the facts from the history of prosody. The archive of V. S. Baevsky with collection of 146 letters of M. L. Gasparov is deposited in Smolensk State University. It preserved handwritten and printed documents that tell about their shared scientific interests and sincere relationship. Gasparov’s dedicatory inscriptions on the books resembling the token reverence and friendship also serve as important and informative sources in studying this topic. The library of V. S. Baevsky accounts to 35 such books. There is also extensive memoir literature dedicated to V. S. Baevsky and M. L. Gasparov. The article analyzes peer reviews of V. S. Baevsky on the monographs of M. L. Gasparov, responses to the jubilees of the scholar, and obituary in his memory. The conclusion was made that mutual respectful dialogue established between V. S. Baevsky and M. L. Gasparov contributed to the synergy of efforts on the development of prosody as a research method, integration of university and academic science for the advancement of humanities in Russia. The study of various scientific contacts and relationships between the Soviet philologists allows having a new perspective upon the history of philology in Russia, examine the problem of opposition of Soviet science as a social institution, which was controlled by the government and its founding scholars, as well as clarify important facts in the establishment of prosody.

Keywords: epistrography, semiotics, Smolensk state university, prosody, philology, history of since, Bayevsky, Gasparov, semantic, statistics

DOI: 10.7256/2454-0749.2023.3.39950

EDN: JEYSDG

Abstract: The object of the study is female images in the Alexandre Pushkin's novel in verse by "Eugene Onegin". The archetypal features of the images of Tatiana and Olga are the subject of the study. The author, relying on the works of K.G. Jung and T. Chetwind, characterizes the archetypes of the Bride and the Sister, which are very widely represented in folklore and literary texts. In the novel in verse "Eugene Onegin" Tatiana and Olga carry mainly the features of the archetype of the Bride, which is due to the peculiarities of the plot development. However, the signs of the archetype of the Sister, noted in these images, allow us to understand the specifics of the relationship of the characters more deeply. The novelty of the research lies in the fact that the archetypal approach was first applied to the analysis of female images in the creative heritage of A.S. Pushkin. The author comes to the conclusion that the archetypal features of the characters of the novel in the poems "Eugene Onegin" give the text a special psychological reliability, persuasiveness, realism. The analysis of these features allows us to conclude that in the poet's picture of the world, the bride-woman has enormous influence, disposes of the fate of her chosen one. The image of the bride in Pushkin's mind, apparently, was at that time closely connected with the themes of male self-determination, the search for existential ways, understanding the past and the formation of personal maturity.

Keywords: psychologism, Alexander Pushkin, the image of a bride, the image of a sister, female image, literary image, archetype, Eugene Onegin, fairy tale, archetypal analysis

DOI: 10.7256/2454-0749.2017.3.23776

Abstract: The paper under consideration examines discreditation of paganism in Kheraskov's poem 'Vladimir' as one of the least studied aspects of the epic poem by Mikhail Kheraskov. Kheraskov pays much attention to pagans who opposed to the adoption of Christianity in Russia. Their point of view and arguments against the new religion are important in the context of Vladimir's inner struggle, but the author discredits the pagans, casting doubt on their arguments. The poet accentuates the negative aspects of the cult, relying in general on the testimonies of historians, but thickening colors and speculating a number of details. It should be noted that fantastic elements in the poem are also linked with discrediting pagans. The forces of good and evil, the messengers of Heaven and hell interfere with the affairs of people, supporting Christians or pagans. Paganism in 'Vladimir' is associated with the devil worship, it is evidenced with the identification of Perun with the prince of the world. A comparison of the poem with historical sources makes it possible to reveal in which cases the poet more or less freely interprets the historical material or contributes fictional and fantastic elements to the purpose of emphasizing the priority of Christianity in relation to paganism. The novelty of the research is caused by the fact that there are very few researches devoted to the poem 'Vladimir' and many aspects of the poem are still left understudied including discreditaton of paganism the author of the article talks about. The author concludes that fictional details partly based on chronicles or contradictory thereto interwine with the historical basis of the poem creating the effect of the prism through which historical rather credible historical events are presented in a new light. The old belief is discredited and the author does not leave an opportunity to interpret the choice of the Kiev Knyaz as a destruction of original Russian culture and propagation of alien culture. On the contrary, christianization of Rus' saves the nation that happened to be at the edge of doom. 

Keywords: Lada, Chernobog, Perun, discrediting the pagans, paganism, Christianity, baptism of Russia, Vladimir, Mikhail Matveyevich Kheraskov, pantheon of Prince Vladimir

DOI: 10.7256/2454-0749.2024.1.69685

EDN: KAPBEA

Abstract: The purpose of the work is to give an idea of the criticism and journalism of “Russian Harbin”, dedicated to Pushkin, as well as to determine the place that the poet’s personality and work occupied in the spiritual culture of emigrants. Russian emigrants regularly spoke out on the topic of Pushkin and for decades held a Day of Russian Culture associated exclusively with the name of the classic. A significant result of the study is the discovery of not only professional, but also journalistic and reader criticism, previously unknown. The conclusion that the author comes to is that, as A.P. Grigoriev once said (“Pushkin is our everything”), for the Russian residents of Harbin the “idea of existence” in a foreign land really mattered. Based on methods of description, as well as philosophical phenomenology, the cultural, historical, aesthetic and literary parameters of the works are comprehended. The Russian emigration has a serious tradition of studying the artistic and aesthetic heritage of the first wave of Russian emigration, but the aesthetic thought of the “Russian Harbin” is not convincingly integrated into this tradition. Russian literary scholars and foreign Slavists paid attention mainly to Pushkin studies of Russian emigration to Europe. The eastern line of Pushkin studies is considered as part of the literary heritage of the entire Russian diaspora. Critics of “Russian Harbin” saw in Pushkin an indisputable symbol of cultural Russia; The emigration considered Pushkin's Russia to be a true historical reality. The existing stereotype of the “secondary nature” of literary criticism on the part of eastern immigrants is being overcome. The bibliographic list of works about Pushkin is expanding. The article analyzes articles, including Western emigrants, known only from Harbin periodicals.

Keywords: literary criticism, Pushkin studies, context, national idea, periodicals, Russian emigration, journalism, Russian Harbin, Pushkin, mythologization

DOI: 10.7256/2454-0749.2017.4.24789

Abstract: The article is devoted to the crucial role of a great Kyrgyz writer Chinghiz Aitmatov's  thoughts on the great epos 'Manas' in epic researches. The subject of the research is Chinghiz Aitmatov's articles and speeches about ideological and genre features of the epos 'Manas'. The object of the research is Chinghiz Aitmatov's thoughts about the epos 'Manas' and the influence of the epos 'Manas' on Chinghiz Aitmatov's creative writing. The author of the article examines such aspects of the topic as tragism on Chinghiz Aitmatov's novels that originated from the epos 'Manas'. Tragism is deeply interwined with the ideological message of the epos. The author pays special attention to the question why Chinghiz Aitmatov's heroes had such a sad fate in the era of 'happy socialism'. The research involved analysis of speeches, interviews, articles of Chinghiz Aitmatov and what researchers had to say about them. The main conclusion of the research is that Chinghiz Aitmatov encouraged new researches and studies of the epos 'Manas. In her article Akmatova studied the thoughts of the great writer that were completely different from those typical for the Soviet ideology. The novelty of the research is caused by the fact that Akmatova reveals the intellectual philosophical concept of Chinghiz Aitmatov regarding the epos 'Manas'. 

DOI: 10.7256/2454-0749.2022.2.37385

Abstract: The object of analysis in this article is the first collection of American writer and publicist Ambrose Bierce "The Fiend's Delight", released in England under the pseudonym Dod Grill. The subject of the study is the analysis of female images in the collection in the context of the concept of delusion - "delusion". The need for such an analysis arises because, as the main causes of the decline of morality, the misconceptions in which modern society in the United States finds itself, firstly, the problem of education, the responsibility for which in traditional society lies with a woman, and secondly, the observed destruction of the traditional institution of the family, in which a woman acted as the archetypal guardian of the "home hearth". The scientific novelty of the research is due to the introduction into scientific circulation of the untranslated texts of Ambrose Bierce's first literary publication, as well as the selected perspective of the study of A. Bierce's depiction of female images in relation to the concept of delusion. The article uses descriptive, cultural-historical and sociological methods. It can be concluded that the key concept of delusion for the entire creative heritage of the author - "delusion" - was formulated already within the framework of the collection "The Fiend's Delight", the characters of which are in a painful gap with reality, especially with regard to female images, their inclusion in the circle of social and gender issues. Women are portrayed tragically: they are not capable of independent existence and by their nature personify an irrational principle that does not allow them to find their place in a material rationalistic society. On the other hand, they are unable to serve their nature as a mother and wife, because in marriage a woman becomes a hostage of her position and is suppressed by an aggressive masculine principle.

Keywords: delusion, female image, American literature, narrator, short story, The pleasure of the monster, Ambrose Bierce, Enlightened Motherhood, education, home hearth

DOI: 10.7256/2454-0749.2017.2.22742

Abstract: The object of this research is the ironic modus of artistry in diachronic and comparative aspects. The subject of the research is the realization of the ironic modus of artistry in the novel 'Im Kongo' written by the German-speaking Swiss author Urs Widmer. The methodological approach is based on the V. I. Tjupa’s theoretical concept of modus of artistry and includes elements of linguistic, intertextual and interpretative analysis of a literary text. In terms of the conducted research it was concluded that the ironic discourse in the novel serves the purpose of demythologization as well as construction of a new postmodern mythological discourse through the irony, grotesque and game with trivial myths. The novelty of the research is confirmed by the choice of the literary textual material: though Urs Widmer’s novel 'Im Kongo' is popular with foreign researchers it isn’t well-known in Russia and as far as we know it hasn’t been ever translated into Russian. The results of the research could be used for preparing a course on German-speaking Swiss literature as well as on German-speaking literature as a whole.

Keywords: intertextuality, trivial myths, mythology, demythologization, Urs Widmer, ironic modus of artistry, rhizoma, postmodernism, grotesque, ironic discourse

DOI: 10.7256/2454-0749.2018.4.27328

Abstract: The article is devoted to detail as the means of creation of a female image used by Nadezhda Teffi in her literary works. It is a minimal element of a text that contributes to the formation of the entire image. Useinova focuses on details that describe the inner world of a character. Characterological detail has got benefits as it can be used to express a general impression of an item or phenomenon and conveys the overall psychological tone. Detailed description of portraits and psychological states of characters and what things surround them makes the impression as if the reader could actually see them. The research methodology includes the contensive-structured and comparative typological approaches accompanied with immanent and contextual analysis. The methodological basis includes researches on Nadezhda Teffi's creative writing by L. Chernets, L. Babenko and E. Trubilova. In Nadezhda Teffi's emigree tales details performed a number of important functions such as psychological, distinguishing and symbolic. However, the psychological function of details is more often found there. Detailed description of portraits and psychological states of characters and what things surround them makes the impression as if the reader could actually see them. The results of analyzing the role and functions of a literary detail demonstrate that detail does not only contribute to the development of a certain motif in Nadezhda Teffi's writing but also helps to understand the imaginative world better. 

Keywords: character, sign, characteristic, description, hero, detail, psychologism, the art world, detail function, female image

DOI: 10.7256/2454-0749.2019.6.31477

Abstract: Within the framework of studying axiological paradigm of the Mari national literature, this article examines historical time in this context with regards to Mari dramaturgy of the XX – XXI centuries. The object of this research is the key plays, which analysis allows tracing the dynamics of axiological interpretation of historical time as a whole, and historical theme in Mari dramaturgy of the XX – XXI centuries in particular: S. Chavain “Akpatyr” (1935); A. Volkov “Aldiar” (1981); K. Korshunov “Aksar and Yulavyi” (1979), dramaturgical trilogy of G. Gordeev (1995) “Örtӧmӧ on”, “Boltush”,“Myi om suko sadak”; L. Yandak “Silver People” (2010). Research methodology leans on the historical-typological and structural-semantic analysis of the works that helps to identify the axiological aspects in problematic of Mari dramaturgy of the XX – XXI centuries along with the means of their expression in the indicated historical timeframe. The article proves that since the very first Mari play until the plays of the XXI century, the dramaturgists focus attention on the protection of social and national freedom of the people, heroic self-sacrifice for the sake of this freedom, regarding them as values of historical time. A significant role in the plays of modern authors holds the problem of the unity of nation (G. Gordeev, L. Yandak); the dramaturgists emphasize the idea of faithfulness to the national traditions, including religious, which is common to all difficult historical periods for Mari people.

Keywords: valuable antithesis, historical time, poetics, art time, the drama, axiological paradigm of literature, Mari literature, ethnic values, historical theme, artistic meaning

DOI: 10.7256/2454-0749.2021.10.36635

Abstract: For a long period, the development of Chinese literature is characterized by the continuity of artistic tradition. Chinese poetry of the reform and opening-up era draws profound interest, as it reflects the transformations of modern age and worldview in the Chinese society. This article is dedicated to examination of the traditional images of Chinese literature in the lyrics of prominent Chinese poet of the late XX century Hai Zi (1964–1989). Since old days, the image of grain resembles the world of nature, fertility, cyclicity of life, symbol of ethno-poetic traditions associated with the motif of hard peasant labor. A remarkable representative of the Chinese poetry of “new generation”, whose works embody the spiritual pursuits of the era, is the poet Hai Zi. Along with the traditional motifs and images, he integrates the elements of the original concept. This article is first within the Russian Sinology to analyze the system of artistic images in the lyrics of Hai Zi. The conclusion is made that the artistic uniqueness of the works of Chinese poet, this image acquires the individual authorial content – the bearer of creative energy and active principle, the link between the world of nature and a human.

Keywords: creative work, death, Haizi, artistic image, tradition, contemporary poetry, Chinese literature, lyrics, synthesis, innovation

DOI: 10.7256/2454-0749.2022.4.37743

Abstract: The article examines the existential paradigm in fiction through the prism of the literary theory of the French philosopher and writer Jean-Paul Sartre. The author explores the relationship between the writer and the reader in their social context. It is argued that the task of a literary critic is mainly to study the writer's technique. The task of a philosophical critic can be defined as the study of the metaphysics of a writer. Writers need the freedom of the reader for their work to exist authentically. Without this, they will cease to exist as authors, and their works will be in obscurity. Literature is an ideal means for both the writer and the reader to realize their own freedom and each other's freedom.   The author of the article comes to the conclusion that Sartre's ideas are still relevant today. As the concepts of nationality and belonging are being revised and changed, the process of globalization is underway, Sartre's theories allow critics to contextualize writers beyond such obvious boundaries. Today it seems interesting to find out whether Sartre's ideas about existentialism and literature can be applied to writers and their work in such a way that the "critic" can analyze both the metaphysics of the novelist and his artistic technique, and, moreover, assess his role in society and beyond. In the light of Sartre's theories, literature is the most appropriate way by which a person can realize and change society. The theories of literature and existentialism of Jean Paul Sartre can be applied to identify and analyze existential concepts in a wide variety of works of fiction, including retrospectively, which is demonstrated in this article by the example of Russian writers – M. Y. Lermontov and F. M. Dostoevsky.

Keywords: foreign literature, russian literature, theory of literature, artistic literature, existentialism, artistic consciousness, philosophy, writer, reader, free will

DOI: 10.7256/2454-0749.2024.4.70394

EDN: DDPTGB

Abstract: The research subject of this article is the texts of folklore and literary works of the late 19th to the early 20th centuries, dedicated to the issue of alcohol consumption. The research was conducted using historical-cultural and comparative-historical methods. The scientific novelty of the work lies in the authors’ attempt to comprehensively study the problem of alcohol in folklore and written literary works of the pre-revolutionary period. The study examines the initial instances of critical understanding of alcohol consumption in Yakut society, as expressed in oral and written literary traditions of the people. In their analysis of the texts, the authors explored previously undiscovered archival documents. They conclude that, starting from the late 19th century, “songs about vodka” emerged in Yakut folklore, addressing the issues of alcohol consumption and explaining the harmful effects of alcoholic beverages to the population. The article acknowledges the contribution of folk singers who, alongside intelligentsia, initiated efforts the combat excessive drinking in Yakutia. In the 1910s, A.E. Kulakovsky, the founder of Yakut literature, authored two works addressing the problem of alcoholism. These were the first works in Yakut literature presented in the form of literary genres: a short poem and a narrative poem with a clearly expressed and developing plot, and a well-balanced composition. While folk singers raised awareness of the issue of drinking in their songs and portrayed its harmful effects on individuals, Kulakovsky, recognizing alcoholism as a potential national threat, vividely illustrated the potential consequences of alcohol addiction and its destructive impact on people's lives. A.E. Kulakovsky, as an educator, public figure, and spiritual leader of the nation, endeavored through his creative work to caution his people against excessive alcohol consumption.

Keywords: appeal to the people, Orosin, folk singers, oral literature, written literature, Kulakovsky, alcoholism, the problem of excessive drinking, Yakut folklore, oral tradition

DOI: 10.7256/2454-0749.2020.1.29064

Abstract: The subject of this research is the Russian and Spanish poetry of the XX century, while the object is the symbolization of color terms in Russian and Spanish poetry of the XX century, as well as ways and mechanisms of such symbolization. The author examines the symbolism of color terms associated with the images-symbols of plants, animals, precious stones, heavenly hosts, and natural phenomena in the Russian and Spanish poetry of the XX century. The poems of Federico Garcia Lorca, Joaquín Romero Murube, Antonio Machado. Vyacheslav Ivanov, Andrey Bely, and Irina Odoyevtseva served as the material for this research. Methodology also recalls to the conceptual linguistics (analysis of color terms as the significant elements of the sphere of concepts of Russian and Spanish languages), as well as mythopoetic school of literary studies (mythopoetic analysis). The main conclusions consist in the following statements: the poetry of the prominent Spanish poets of the early XX centuryAntonio Machado and Federico Garcia Lorca is characterized with the heightened symbolization of color terms, associated with the reference to the symbolic “correspondence theory of truth”. The search of correspondence between color terms, natural phenomena, precious gems, etc. is also common to the Russian poetry of the Silver Age. The scientific novelty consists in the profound analysis of multiple symbolically understood colors and color images characteristic to the Russian and Spanish poetry of that time. Both, Russian and Spanish poets of the XX century stayed off the simple colors, sacrificing them for the compound, symbolically understood color terms that require an additional interpretation from the reader.

Keywords: concept sphere, mythopoetics, Spanish Russian poetry, figurative and symbolic series, symbolization of color terms, Word symbolism, symbolism, the motive, form, mythology

DOI: 10.7256/2454-0749.2020.3.32608

Abstract: Oleg Aleksandrovich Okhaphin (1944-2008) is a representative of Leningrad literary underground of 1960’s-1970’s, which explains the fact why the majority of his texts was published on the pages of Samizdat. The peculiarities of the poet’s writings are insufficiently covered in the Russian literary studies, since multiple texts remain unpublished or inaccessible. This article analyzes the unpublished in official press lyrical book “The Staff”. In the course of research, the author applied the hermeneutic, comparative-historical, and intertextual approach towards examination of the literary work in question. It is underlined that holistic representation on his literary legacy is characteristic for Okhaphin, thus his book “The Staff” holds a specific place in his creative path. Lyrical book is a cyclic unity that combines texts of various genres. Each text is viewed in the context of two traditions: literary and Biblical. The book is also a crossover: the first and second parts aligns with poet’s creativity of the previous years; it is the foundation for emergence and development of the poetry of later years that is reflected in the third part.

Keywords: architectonics, lyric poem, lyric book, Nikolay Kozyrev, Viktor Krivulin, Oleg Okhapkin, uncensored literature, Leningrad samizdat, intertextuality, cyclization of artistic works

DOI: 10.7256/2454-0749.2020.10.33050

Abstract: The object of this research is two works of Sukhbat Aflatuni: “Tashkent Novel” and “Balthazar”, as well as the last part of the trilogy “Adoration of the Magi”. The subject of the research is the authorial interpretation of music theme, revealing the uniqueness of musical images in the indicated novels. Special attention is given to the European musical context with emphasis on most significant musical pieces that not just create a background sound in the novels, but also affect their structure. The author examines the functions of musical references, and proves that mentioning of the composers’ names and composition in works of the writer fulfills the function of “other storyline”. The conclusion is made that musical context in works of the writer is diverse and multifunctional. The structure of “Tashkent Novel” directly correlates with the Opera “The Magic Flute” by Mozart. Another significant musical text in the novel is “For Elise” by Beethoven. In the trilogy “Adoration of the Magi”, of special interests from musical perspective is the last novel of the writer “Balthazar”. The protagonist is the avant-garde composer, who seeks for the new forms that allow presenting the entire history of music; from his perspective, music is the highest manifestation of spirit. By this, Sukhbat Aflatuni brings to life Plato's idea of the celestial meaning of musical harmony.

Keywords: intertextuality, music in literature, Mozart's operas, Tashkent novel, Adoration of the Magi, musical references, palimpsest, Sukhbat Aflatuni, dialogue of cultures, synthesis of arts

DOI: 10.7256/2454-0749.2022.8.38666

EDN: WRQYPO

Abstract: The author examines the motive of innocence in the detective novels of Agatha Christie. This motive is being analyzed in detail for the first time. The conceptual basis of the research was the works of W. H. Auden, G. K. Chesterton, D. Cavelty, D. Sayers devoted to the genre of detective literature. Using the example of many novels, the article traces the relationship between the motives of guilt, innocence, paradise lost and others. The motive of love is considered as a motive, in many ways the opposite of the motive of guilt. Special attention is paid in the article to the novel "The Trial of Innocence", on the example of which the motive of innocence and its significance in the motivic structure are revealed. Based on numerous examples, the article shows that the search for truth in Agatha Christie's detectives is essentially equivalent to the defense of innocence. The motive of innocence in Agatha Christie's novels is of great importance and is closely related to the motives of guilt, retribution, justice, good and evil, paradise, trust, and personality formation. The article shows that it is the protection of innocent characters (both victims of crime and those unjustly accused) that is the primary task for those who conduct the investigation. This is due to the idea inherent in the detective genre of restoring the original harmony destroyed as a result of the crime.

Keywords: formulary literature, literary character, Edem, trust, punishment, guilt, novel, innocence, detective story, genre

DOI: 10.7256/2454-0749.2023.5.40855

EDN: CMLUTG

Abstract: The author explores the expositional discourse and its narrative function in the prose of I.S. Turgenev. The analysis of the lyrical beginning is given as the reason for the special Turgenev exposition, which is a manifestation of the horizons and value consciousness of the author-narrator. It is noticed that it is in lyrical descriptions that the subjective space of the narrator is formed. In Turgenev's prose, there are stories in which the exposition is based on similarities with poems in prose. In such texts, the exposition is only indirectly related to the further development of the plot. It often represents a closed system and functions at the level of metatext and meta-discourse. At this level, the lyrical introduction is designed to affect the spiritual space of the reader. The novelty of the study is given by the conclusions made regarding the cycle "Notes of the hunter". According to them, I.S. Turgenev also has such introductions to the main narrative that do not fit into the "canon". In the stories "Bezhin Meadow", "Date" and others, the exposition implements a specific strategy of the author's narrative. It is as if it is not provided for by the further development of the plot and is a pure product of lyrical and philosophical contemplation of nature. It is a reflection of the subjective perception of the hero-narrator. On its basis, an idea of the world and space belonging to the innermost side of the spiritual personality of the writer is formed. The natural images in the exposition part of the stories are artistically comprehended in the categories of "eternity", opposing the "temporary" plan of human existence.

Keywords: subtext, metadiscourse, narrative, discourse, metatext, function, exposition, lyricism, Turgenev, semantics

DOI: 10.7256/2454-0749.2021.8.36119

Abstract: The study of interrelation between folklore and literature is one of the most relevant trends in literary studies. Folk poetic symbols as the genetic memory of the nation infiltrate consciousness not only as artistic material, but also as a emotions that awaken the writer’s imagination, giving rise to various associations. The subject of this research is the creative activity of folklore is in the works of the Crimean Tatar children's writers. Examination of the folklore-mythological context, determination of the peculiarities of transformation of folklore motifs in a literary reveals the creative laboratory, allowing determining the specificities of personal reflection of the writer, as well as tracing the psychological patterns of the creative process, and the evolution of artistic thinking overall. The scientific novelty is defined by the absence within Russian literary studies of monographic and significant critical works on determination of the folklore-mythological context, transformation, functionality, and interpretation of folklore elements in works of the writers. The conclusion is made that folklore as part of the culture of a particular nation, is an organic element of the artistic world of the Crimean Tatar writers, such as E. Amit and T. Khalilov. The novel by E. Amit presents the new comprehension of myths, paroemias, and legends. An example of interaction of the mythological views and modern perspective in the novel “Last Chance” is the folk legend on the “happy and unhappy stars”. It also encompasses such ancient forms of folklore as cursing and benevolence, as well as the elements that take roots in the ancient taboos, the period of totemism. In the psychological prose by T. Khalilov, an important role is played by the symbolism of birds and plants. The ancient legend of the winged horse Duldul organically intertwines with the author's creative idea without losing its specificity.

Keywords: transformation, modifications, poetics, image, symbol, fairy tale, myth, interpretation, literature, folklore

DOI: 10.7256/2454-0749.2019.5.30861

Abstract: The article is devoted to the peculiarities of the Persian avant-garde poetry of the 40-50s of the XXth century. The subject of the research is the most marginal branch of new Persian poetry attributed to Hushang Irani whose works had not been on the list of official Persian literature records for a long tiem and still remain an understudied topic in Irani studies. Based on the analysis of the journal خروس جنگی (Heeler), the authors analyze the phenomenon of a literary journal as an important tool for communicating the ideas of modernism and avant-garde in Iran studies. The authors pay special attention to the second period in the history of the aforesaid journal that was related to the activity of an innovative poet Hushang Irani who wrote and published the manifest of Persian surrealism. Analyzing the manifest, the authors describe the difference between the 'new art' and 'old art'. In order to 'rehabilitate' the author and define his true role in the history of new Iranian poetry, the researchers carry out an integral analysis of Iranian experimental poetry (they analyze goals, grounds, peculiarities of the method, poetical principles and techniques) that imply particular language 'deviations' (at the level of graphics, phonetics, vocabulary, syntaxis, semantics, style, etc.) according to the classification of J. Leech. In addition, the authors make an attempt to analyze Irani's poetry, from the one side, in terms of Russian formalism and, from the other side, in terms of European surrealism. Based on the research of T. Tavusi - Irani the authors conclude that there is a certain similarity between literary manifests of Irani and A. Breton and that Irani's poetry is close to the theoretical and practical ideas of surrealism.

Keywords: linguistic anomalies, experimental poetry, radical avant-garde, manifests of surrealism, European surrealism, The Fighting Cock, Hushang Irani, modern art, Persian avant-garde, Persian poetic

DOI: 10.7256/2454-0749.2020.2.29396

Abstract: This article analyzes the changes pertaining to such level of literary works as a system of characters, category of space and time, phonetic system and composition; as well as changes in epic and dramatic oeuvres in the process of transformation of the text of literary work into an opera libretto. Analysis is conducted on peculiarities of the aforementioned levels of literary text and libretto. As an example of epic work, the author selected the A. S. Pushkin’s verse novel “Eugene Onegin” and the eponymous opera composed by P. I. Tchaikovsky; as an example of dramatic work, the author picked the two poetic dramas from Pushkin’s cycle “The Stone Guest” and “The Miserly Knight” and the eponymous operas by A. Dargomyzhsky and S. V. Rachmaninoff respectively. The following methods were applied in the course of this study: comparative based on juxtaposition of musical-scenic interpretation and precedent literary text; typological for determination of patterns, classification and generalization of the results. The author comes to the conclusion that the transformation of epic and dramatic literary texts into the opera libretto has similarities and differences on all levels of the text. The possible reasons of such phenomenon are discussed. The author answers a question whether or not libretto can be attributed to as a genre of fiction writing.

Keywords: space, plot, transformation, drama, Intermediality, epic, Libretto, time, composition, the Opera

DOI: 10.7256/2454-0749.2018.1.23573

Abstract: The subject of this research is Alexander Pushkin's canonical poem 'Autumn'. The object of the research is the phenomenon of 'creativity of life' as it is revealed in the analyzed text. The article is devoted to the explication of the aesthetic and philosophical moments of creativity in "Autumn" by Alexander Pushkin. The author of the article relies on the conceptual design of Yu.M. Lotman and S.N. Breitman and simultaneously reveals the parallels of the text under consideration with the philosophical ideas of F. Nietzsche as well as M. Heidegger. Special attention is paid in the article to the idea of eternal return. In his research Faritov uses methods of contextual and intertextual analysis of the poetic text and methods of comparative literary studies. The main conclusion of the conducted research is the substantiation of the provision that in his poem 'Autumn' Alexander Pushkin affirms the active, miraculous position of the lyric hero. The novelty of this research is caused by the fact that the author reveals the connection between the phenomenon of creativity and the phenomenon of time and with the idea of eternal return proposed by F. Nietzsche.

Keywords: Nietzsche, eternal resurrection, time, ñreativity of life, Autumn, Pushkin, moment, context, Intertext, border

DOI: 10.7256/2454-0749.2021.4.33695

Abstract: The subject of this research is the images of foreigners in I. S. Shmelyov’s stories of the earlier period “On the Seashore” and "Hassan and His Jeddi". The stories mark a neo-realistic period in the writer’s creative path, oriented towards depicting the social and everyday realities contemporary to the writer. The goal of this article lies in classification of the characters in the context of the theme of childhood. The belonging of the Turk Hassan and the Greek Dimitraki to a different ethnic and confessional culture, on the one hand allows conducting stylistic experiments to create a speech portrait of the Russian-speaking foreigner, while on the other hand figuratively indicates the diversity and unity of the universe. The novelty of this research consists in referring to the previously undeciphered and unpublished draft materials of the stories. The relevance of the selected topic is substantiated by the need for a more in-depth analysis of I. S. Shmelyov’s works of the earlier period, as namely them lay the foundation for the artistic philosophy and development of his writing style. Based on the comparative method and textual analysis, the article reveals the similar features of the foreign characters, which testifies to the fact that Shmelyov sought for the particular traits. The connection of foreign characters with the world of childhood (blood relationship or spiritual closeness with the child-character, retained childishness of perception of the world) resembles in their images the features of the chactachers of a righteous man and mentor, which were most fully described in Shmelyov’s works of the mature period.

Keywords: literature for children, hero righteous, ãåðîé-íàñòàâíèê, childhood theme, image of a foreigner, Shmelev, neorealism, spiritual realism, speech portrait, orthodoxy

DOI: 10.7256/2454-0749.2020.1.31971

Abstract: This article conduct an analysis of ethnocultural stereotypes of the Steppe Crimean Tatars and Dobruja (Romanian) Tatars based on proverbs of the turn of XIX and XX centuries. The subject of this research became the Kipchak Crimean Tatar paremiological fund of that period. The goal consists in an accurate, tolerant elucidation of the topic. Initially, the stereotypes are divided into auto-stereotypes, which is an outlook upon the own ethnic group; and hetero-stereotypes, which is the representations on a neighboring ethnos. The first ones, being an inseparable part of national identity, are prone to exaggeration of merits of their ethnos and carry a complementary character. This fact impedes a realistic assessment of the merits of neighboring ethnos, which is compared to the own in accordance with cultural values. The determined differences serve as a foundation for hetero-stereotypes, which usually belittle the positive sides of the other national portrait. The scientific novelty consists in examination of ethnocultural stereotypes based on proverbs of the turn of XIX and XX centuries. Which contributed to fuller understanding of the mentality of Crimean Tatars and Dobruja (Romanian) Tatars being a diaspora of Crimean Tatar ethnos. Paremiological material allowed dividing the stereotypes into auto-stereotypes and hetero-stereotypes. The research results offered an opportunity to determine and explore the ethnic composition of Crimean Peninsula of the turn of XIX and XX centuries.

Keywords: ethnocultural stereotypes, Dobrogea, Romania, Crimea, ethnos, proverbs of Crimean Tatars, ethnoliterary studies, autostereotypes, heterostereotypes, mentality

DOI: 10.7256/2454-0749.2021.7.35990

Abstract: The subject of this research is the artistic comprehension of life and creative path of A. Akayev in the works of Kumyk writers. The object of this research is the poem “Flame” by the prominent Kumyk poet B. Magomedov. The author explores the place and role of A. Akayev in the history of spiritual culture of the Kumyk people and other peoples of Dagestan; evolution of the traditions of artistic comprehension of life and creative path of the outstanding Kumyk writers (including Abusufyan) in the history of Kumyk literature; and the deleterious influence of the consequences of Stalin's repressions on the spiritual life of the people later on. Particular attention is given to the analysis of the problematic and literary peculiarities of the poem. The main conclusions are as follows: 1) the history of Kumyk literature features such figures, whose life and creative path have become the object of not only literary studies, but also the object of their artistic comprehension; 2) over a dozen Kumyk authors dedicated their works to the artistic comprehension life and creative path of A. Akayev, among which B. Magomedov’s poem “Flame” holds a special place.. The author’s contribution to this research consists in introduction into the scientific discourse of one of the best in ideological and artistic aspect compositions of Kumyk literature of the post-Soviet period. The novelty is defined by the fact that this problem has not previously become the subject of special research.

Keywords: artistic comprehension, poem, Abusufyan Akayev, Badrutdin Magomedov, Kumyk poetry, Dagestan literature, spiritual culture, poetics, problematics of the work, repression

DOI: 10.7256/2454-0749.2021.10.36588

Abstract: The subject of this research is the history of translation the prose works of the remarkable Spanish poet, writer and publicist Antonio Machado into the Russian language. The object of this research is the translations of his prose works into the Russian languages conducted primarily in the last quarter of the XX century. The article employs biographical, descriptive, and cultural-historical methods. Special attention is given to Spanish translators I. Y. Tynyanov and V. S. Stolbov, whose names in the Russian literary space are closely related with the history of translation of the works of the prose writer and publicist Antonio Machado. The scientific novelty lies in the detailed description of A. Machado's prose, as well as detailed chronology of the emergence of translations of his prose into the Russian language. The relevance of this article substantiated by the absence of comprehensive analysis of the translations of A. Machado's prose works in the Russian Spanish studies. The prose works of A. Machado are also poorly studied in the Russian literary studies. The main conclusions consists in determination of the contribution of Russian translators to familiarization of the Russian-speaking audience with prose works of the Spanish author, as well as the need for further fundamental research of the entire literary heritage of Antonio Machado.

Keywords: journalistic prose, essay, folklore, Antonio Machado, Spanish Studies, literary text, translation of a prosaic text, literary translation, philosophy, translation traditions

DOI: 10.7256/2454-0749.2021.9.34547

Abstract: The subject of this research is the creative path of N. D. Neustroev (1895–1929) – one of the first three founders of the Yakut literature. The object of this research is his literary works in the Russian and Yakut languages. The article examines such aspects of the topic as the pioneer of novella and comedy in the Yakut literature, and writing style. Special attention is given to the description of writer's contribution to development of the genres of Yakut literature, in which depicted the Yakut life and revealed the peculiarities of national character. The relevance of this research is substantiated by the fact that the works of N. D. Neustroev are poorly studied. The main results consists in determining the contribution of N. D. Neustroev to the development of Yakut literature; viewing him as the founder of the genres of novella and comedy in the Yakut literature; examining his works as continuation of the traditions of A. Kulakovsky and A. Sofronov in the area of problematic, themes and images. Analysis is conducted on the genre varieties of the novellas of N. D. Neustroev, beginning with the social and routine to the adventurous and philosophical. The novelty of this article consists in introduction of the essays and novellas of N. D. Neustroev into the scientific discourse for the first time.

Keywords: prose, traditions, theme, form, genre, classic writer, Nikolay Neustroev, yakut literature, drama, poetry

DOI: 10.7256/2454-0749.2019.1.28675

Abstract: The author of the article analyzes existential mofits of death, in particular, the 'funny death' motif, in an incomplete novel of Vladimir Nabokov 'The Original of Laura'. The researcher offers a new approach to the interpretation of the novel and description of the problems covered by Vladimir Nabokov therein as a result of a better focus on theoretical and literary surroundings of the writer's creative work. The 'funny death' concept acquires new connotations, thus completing the idea of self-destruction and 'ironic' methods of death. The scientific novelty and purpose of the research is to carry out a conceptual analysis of individual, stylistic and semantic features. The research targets also include a detailed description of Vladimir Nabokov's grotesque motifs and importance of these motifs in modern studies of Nabokov's literature, in particular, intertextual accordances in a text that has been read. The novelty of interpretation is the methodological approach offered by the author. The approach includes structural semiotic and linguopoetical, conceptual and systems approaches. The aim of this article is to trace back the continuity of 'informidable' death motifs and their parodic transformation in Vladimir Nabokov's incomplete novel. The scientific novelty of the research is that the author interprets 'funny death' as a function of incantation, negotiation, self-suggestion in the face of death fear. As the author of the article demonstrates that the keynote idea of the novel is the writer's concept of creativity and immortality. 

Keywords: novel, poetics, parogy, autoreflection, intertext, existence, Vladimir Nabokov, mortal motifs, funny death, Laura

DOI: 10.7256/2454-0749.2019.5.30920

Abstract: The article is devoted to the image of common people (ordinary men, vulgar men) in the creative writing of Gilbert Keith Chesterton based on the analysis of his novels. Opposing to the romantic and realistic literary traditions, Gilbert Keith Chesterton described ordinary people in a positive light. By doing so, he continued the English literary line of Charles Dickens. Gilbert Keith Chesterton opposed ordinary people who kept to traditional values and sophisticate people who lost their belief in life and human. He sees common people as those who can save the world from the catastrophe. Gilbert Keith Chesterton idealizes the moral sense of ordinary people but do not ignore their drawbacks at the same time. This is one of the paradoxes that constitutes the main principle of his creative writing. In this article Porinets carries out a comparative analysis of the imagem of ordinary people in Chesterton's novels and novels written by other writers following romanticism, realism and modernism. The researcher describes significant differences in interpretation of the image of orinary people by different literary movements. The novelty of the research is caused by the fact that the author gives a detailed analysis of the image of common people in Gilbert Keith Chesterton's novels taking into account his creativity in general and showing his peculiarities and role for the European literature of the XIXth - XXth centuries. The author of the article gives full analysis of the image of common people taking into account all contradictions and duality. 

Keywords: common people, novel, idealization, modern, realism, romanticism, paradox, tradition, moral sense, method

DOI: 10.7256/2454-0749.2020.2.32062

Abstract: The subject of this research became the examination of genesis and functions of the motif of initiation within the Crimean Tatar magic tale. The ritual of initiation is an important social institute of pre-class society, which serves as the foundation of folk tradition for the peoples of the world. The archaic forms of this motif are associated with the mythological rituals-initiations. The motif of initiation in a magic tale often become the core of the plot and compositional structure. Special attention deserves the concept of the scholar Kerim Camanaqlı, who underlined the role of mythological images in development of the storyline of Crimean Tatar tales, as well as primeval roots of these images. The methodology and theoretical framework of the study is the compilations of Crimean Tatar tales of the early XX century “Tales and Legends of Crimean Tatars” (1936) and “Tales for Children” (1939), dictionaries, scientific writings of the prominent folklorists and literary historians. The novelty consists in revelation of the fact that Crimean Tatar magic tales, containing various compositional elements in their structure, include the pair “dying – rebirth”. The indicated elements of the composition of a magic tale emerged and formed under the influence of mythological rituals. By the specific attributes, the ritual of initiation in the tales can carry different functions and forms. Poetic transformation of the motif of initiation defines the peculiarities of magic tales. The main conclusion consists in the ethnographic ritualistic archaic, which vividly manifests in the Crimean Tatar magic tale, inherent with the formation of fundamentals of the tale, its initial structure, situations, images, system of poetic language and artistic means. Mythical character somewhat alienates from previous mythologicity and comes closer to a fairy image, being included into a fairy civilization.

Keywords: initiation, composition, rite, images, ritual, myth, plot, poetics, structure, fairy tale

DOI: 10.7256/2454-0749.2024.2.69977

EDN: VQFHSM

Abstract: The object of the study are poems representing such thematic layers as love lyrics; urban lyrics, including poems dedicated to Venice; the theme of death; the theme of Vikings; great figures of the past; apocalyptic themes. The paper actualizes the importance of studying Bryusov's poetry in the aspect of cognitive linguistics, examines the essence of the concepts. The place of the concepts of LIFE and DEATH in the hierarchical structure of the conceptual sphere is analyzed, their meanings are revealed based on the lexicographic material of dictionaries, representing, along with the primary meanings, various associative lexical units, including mythologems that arose on the basis of cognitive metaphorization, which, being representatives of concepts, fill slots, form a frame structure, while the frame qualifies as the core of the concept. The analysis of poems allowing to recreate the linguistic and artistic worldview of the poet, the keys to understanding which are the basic concepts of LIFE and DEATH, and to determine their specificity and role, is carried out. The following methods were used in the research process: the method of discursive analysis, which allowed us to study the interacting denotative and conceptual structures that organize the semantic space of each lyrical work under consideration in the context of Bryusov's poetry; the cultural and historical method, which contributed to the identification of connotative meanings representing the concepts of LIFE and DEATH; the hermeneutic method, which made it possible to analyze the poetics of poems. As a result of the study, the authors came to the following conclusions. Organizing a system of poetic creativity, vividly embodying the main motive, the motive of duality, the concepts of LIFE and DEATH undergo semantic contamination based on the intersection of their frame networks and form a single bipolar concept of LIFE/DEATH. An integral phenomenon, Bryusov's concept of LIFE/DEATH is multifunctional: as a figurative means, this structural unit creates the poet's idiosyncrasy; plays a text-forming role; organizes the main motives that allow Bryusov to carry out a discourse relevant to him and his contemporaries about the problem of the meaning of life and its eternity. The scientific novelty lies in the fact that the work of V. Y. Bryusov, from the point of view of the conceptual sphere and conceptualization, has not been sufficiently studied. For the first time, the comprehension of V.Y. Bryusov's linguistic picture of the world was realized through the concepts of LIFE and DEATH, which are fundamental in his work.

Keywords: the primary meaning, oppositive discourse, the motive of duality, conceptual field, idiostil, connotations, dominance, bipolar concept LIFE-DEATH, ambivalence, frame

DOI: 10.7256/2454-0749.2020.12.34554

Abstract: This article attempts to determine the attributes of the prose poem genre in the works “Herds” by Fazu Aliyeva and “The Old Woman” by Ivan Turgenev on the formal and emotional-semantic levels. Artistic parallels in creation of images by the authors of different generations are drawn. The subject of this research is the images of time, old woman and cliff and intertwinement of their destinies into a single time node. The object of this research is the lyrical narratives “Herds” by Fazu Aliyeva, “The Old Woman” and “How Fair, How Fresh Were the Roses…” by Ivan Turgenev. Special attention is given to analysis of the form and content of artistic images in “Herds”, in the context of prose poem “The Old Woman” by I. S. Turgenev, their conceptual and artistic peculiarities. The author also highlights the category of timely space in the narratives. The novelty of this research consists in drawing an artistic parallel between the lyrical narratives of Fazu Aliyeva and Ivan Turgenev regarding determination of the dominant and conceptual differences in creation of the image of time, description of the flow of time, connection between the past and the future, and interpretation of the theme of life and death. As a result, the identification of poetic beginning, philosophical comprehension and artistic presentation of the topic of life and death in the works of F. Aliyeva and I. Turgenev allows, upon similarity of sounding, tracing conceptual differences of the author's thought. Despite obvious similarity of underlying ideas, the aforementioned topic is described differently. In the works of F. Aliyeva, time is not confined, looks into the future, resembling in the succession of generations; with all the pain and losses, the image is life-affirming. In the works of I. Turgenev, the hero turns to the past, experiences the ultimate fear of death, everything stops in anticipation of the end of existence.

Keywords: Turgenev Ivan, death, loneliness, trails, time, herds, Alieva Phazu, poem in prose, space, lyric hero

DOI: 10.7256/2454-0749.2020.11.34241

Abstract: This article explores the worldview in tales of the Buryat writers. The subject of this research is the role of categories of space and time in the architectonics of artistic image of the world in tales “Call of the Ancestors" by B. Mungonov and “Toonto” by D. Erdyneev. These works have not previously become the object of research in Buryat literary studies from perspective of significance of space-time interrelation. This defines the novelty of this article, and allows revealing other aspects of artistic vision in the works of Buryat writers. The key methods for studying the categories of space and time in a literary text include descriptive, comparative, and mythopoetic. It is demonstrated that the categories of space and time are localized in various artistic images, symbols and meanings, contain the concepts of endlessness, infinity, relativity and discreteness, as well as allow creating a vivid unique palette of artistic vision of the world in tales of the Buryat writers. Analysis is conducted on the artistic architectonics through the prism of correlation between the categories of space and time in tales of B. Mungonov “Call of the Ancestors and Sounds of the Forthcoming” and D. Erdyneev “Toonto”. Peculiarity of the categories of space and time in the artistic picture of Buryat writers is reflected in Eastern outlook upon the world, which is based on the models of cyclicity and substantiality. In the tale of B. Mungonov prevails the category of time. In the artistic worldview, one stems from the other. In the tale of D. Erdyneev “Toonto” dominates the by category of space. Toonto is translated from Buryat as a particular space, birthplace of a man, where him and his ancestors have roots. Tales of B. Mungonov and D. give thoughts on the value of life and chances to repair past mistakes.

Keywords: cyclicity, infinity, discreteness, architectonics, time, space, hero, world, image, metamorphosis

DOI: 10.7256/2454-0749.2022.12.39356

EDN: QHWWVY

Abstract: The subject of the research in this article is the peculiarities of the coverage of the problem of the religious crisis with the United States at the turn of the XIX-XX centuries in the work of one of the most famous realist writers, Theodore Dreiser. He depicted in detail in his works various aspects of the life of Americans of this period, including the religious aspect. The religious crisis in American society is closely connected with the destruction of the ideological ideals of the past. In the artistic heritage of Theodore Dreiser, one can single out a whole system of images, with the help of which he showed the crisis of the religious and moral component of the spiritual life of American society of this period. The scientific novelty of the research is determined by the need to consider the religious aspect in the writer's creative heritage, which for various reasons often fell out of the field of view of earlier critical works. The purpose of the presented work is to study the artistic images in Theodore Dreiser's novel "The Bulwark" in a religious and moral way as a manifestation of the spiritual crisis common to Americans of that time. The following conclusions were presented during the study: 1) Theodore Dreiser is a witness to the crisis in the spiritual and moral life of the USA at the turn of the XIX-XX centuries, which is one of the main themes of the writer's creative heritage; 2) This crisis is connected with the destruction of the fundamental ideological categories of American society (the "great American dream"); 3) In the novel "The Bulwark" T. Dreiser examines the moral and religious picture of American society on the example of the Quaker-Barnes family. He depicts the collapse of religious beliefs in the perception of both the older generation and the younger; 4) The beginning of the XX century was a transitional period. When the forcible imposition of religious norms became a tragedy for many young people; 5) The new age requires new forms of interaction between man and religion.

Keywords: American literature, Solon Barnes, tragedy, religion, moral aspect, Theodore Dreiser, crash, the great American dream, USA, quaker

DOI: 10.7256/2454-0749.2019.4.30449

Abstract: The article is devoted to the analysis of multidimensionality of Fazil Iskander's creative legacy. The subject of the research is works written by Fazil Iskander as well as researches of literary critics on Iskander's creative writing. Glazkova has analyzed Fazil Iskander's world view in works devoted to the analysis of different aspects of the writer's creativity: author's discourse, national specifics of his works, their genre peculiarities, structure of artistic world and author's position. The majority of researchers who studied Fazil Iskander's creative writing focus on the writer's world view which is expressed in description of moral bases of Fazil Iskander's universe, the main principles of world order, peculiarities of Iskander's world, analysis of particular artistic images in his works. The research methods used by the author include problem-analytical and functional approaches combined with comparative historical methods of analysis of a literary work. The methodological and theoretical base of the research is dictionaries, encyclopedias, works of famous experts in literary studies and theory of literature. The scientific novelty of the research is caused by the fact that despite a great number of researches of Fazil Iskander's creative writing, this topic still needs further research while positions of experts in literature and critics do not have a systemic nature. Such important elements of Fazil Iskander's world view as author's concept of universe and concept of history, mythologism as an instrument of explanation of different social phenomena and peculiarities of writer's narration strategies need further research. 

Keywords: moral dominant, mythological logic, world pattern, the state of the world, people's world, representation of the author's position, the concept of peace, decentralization of discourse, the nature of philosophy, polarity of the artistic world

DOI: 10.7256/2454-0749.2019.6.31627

Abstract: The subject of this research is the role of snow in a psychological novel of the modern Jordanian writer Kafa Al-Zoobi “Leila, Snow and Lyudmila” (2010). The author describes the relationship issues between a man and a woman in the East and West; compares the Arab and Russian mentalities; raises a problem of happiness in the era of changes; underlines the problem of loneliness of our contemporary. The snow personifies a rampant, erratic and free male beginning. It is a symbol of the cold northern country, where all the characters of the novel reside. Snow embodies a pure blank page, on which the female characters can write their biographies; it helped them to become independent, liberating them from prejudices and insecurities. The applied methods of historical and systemic analysis demonstrate that snow personifies a mysterious Russian soul, which the foreigners try to understand. Some of them succeed (Leila), and some fail (Rasheed). Thanks to the Russian snow, the young lady from Jordan – Leila toughened up, built her career and found her true love. In the era of globalization, the theme of synthesis of the Eastern and Western culture and mentalities is relevant not only for the Russian and Arab society, but also the entire world.

Keywords: the problem of happiness, the problem of loneliness, freedom of choice, arab woman, Modern Arabic Literature, Jordanian novel, Kafa Al-Zoobi, Islamic society, East and West, feminism

DOI: 10.7256/2454-0749.2021.5.33718

Abstract: This article reviews the role of the theme of memory in the novel “The Buried Giant” by Kazuo Ishiguro. The motives of regeneration and loss of memory are relevant in modern literature as a whole and in works of K. Ishiguro in particular. The research is based on the methods of motivic and culturological analysis. In the novel “The Buried Giant”, the theme of memory has a structural meaning. It manifests through the spatial-temporal arrangement of the text, system of characters, symbolism of the novel, and organizes the core antithesis of the work – cultural memory and “mist” (embodiment of oblivion), which creates with the plotline and images of the characters. In the text of the novel, the people lose memory; the limits between the “native” and “alien”, the past and the future are blurred. The theme of memory is the source of unravelling of the plot. The two storylines are distinguished: external (the path of the characters seeking their son) and internal (regeneration of memory). The theme of memory organizes the system of characters: the protagonists Axl and Beatrice reconstruct the events preceding the beginning of the novel and accept them. Sir Gawain and Wistan remember the past, but they have a different attitude towards collective memory: the first one wants to prolong the oblivion, while the other one wants to restore the people's memories. The research demonstrates the role of the theme of memory within the structure of K. Ishiguro's novel “The Buried Giant”, which reveals the author's idea: nothing can be forgotten completely.

Keywords: mythological hero, ñèìâîëèêà, mythological space, mythological time, myth, motive of oblivion, motive of memory, Ishiguro, The Buried Giant, postmodernism

DOI: 10.7256/2454-0749.2021.12.34853

Abstract: This research is dedicated to the study of supertext in the works of the prominent writer of the white émigré – Ivan Sergeevich Shmelyov. The topic of supertexts is currently one of the most promising interdisciplinary trends in humanities. Despite the fact that literary studies feature quite a number of works dedicated to topological texts, there are virtually no research of supertext, to which Tolstoy's text is attributed to. Active creation of Tolstoy’s text falls on the turn of the XIX – XX centuries. The image of Tolstoy manifests in Shemlyov’s works of the early period, his last novel, diaries and correspondence. In literary texts, the writer creates the “protected” myth about L. Tolstoy, whole the “profane vector” can be observed in diaries and correspondence with the close circle of friends. Mythologemes that comprise Shmelyov’s myth are as follows: “Tolstoy is an outstanding Russian writer”, “Simplification of Tolstoy”, “Tolstoy is the Founder of the New Religion”. The latter is of particular significance, since Shmelyov positions himself, and is subsequently recognized by the readers, as the Orthodox writer irreconcilable with other religious pursuits. Having acknowledge the undisputable authority of L. Tolstoy as a writer, as a model for young authors, the heroes in Shmelyov’s works do not admit the spiritual leader and religious figure in the prominent Russian thinker.

Keywords: mythologized representation, Russian abroad, Silver Age, Ivan Shmelev, myth by Tolstoy, biographical myth, Tolstoyan text, nominal text, supertext, mythologeme

DOI: 10.7256/2454-0749.2020.11.33131

Abstract: The object of this research is the conceptual framework of surrealism as a literary trend. The subject of this research is the specific surrealistic system of concepts and paradigms implemented in literary texts. The author examines such aspects of the topic, as notional tools and the logic of interaction between the concepts of surrealistic theory, possibility for surrealistic system text analysis, specificities of correlation between surrealistic system, text, and surrealistic code as the regulatory structural formation that defines the general principles and rules of functionality of surrealistic system. Special attention is given to one of the types of notions of surrealistic system — incipits, which include such categories that launch the mechanism of inosculating the contradictions, i.e. “initiate” the realization of surrealistic; such categories Desire, Dream, Imagination, Freedom, Utopia, and Unconscious. The main conclusion of conducted research consists in recognition of possibility for description of surrealistic conceptual framework as a relational system, which includes functional interaction of the three types of notions (incipits, routers, and nodes) using the fourth type of notions (mediators). Functionality of similar typological network consists in actualization of the key principles of surrealistic code and their implementation in particular literary texts. The novelty lies in the fact that the combination of concepts of surrealistic theory and feature writing is analyzed as an open, non-regulatory system, which allows carrying out stylistic analysis of the texts that contain surrealistic elements. The research intuitions are corroborated by notional and functional analysis.

Keywords: objective chance, desire, dream, imagination, surrealism, conceptsphere, surrealist code, poetry, topology, relational

DOI: 10.7256/2454-0749.2021.11.36710

Abstract: Leaning on the conceptual analysis, the article describes “Ugric text” as a special cultural phenomenon. Approximately fifty works by Ugric writers (both, poetic and prosaic) were analyzed using the Internet program, “Morpher”. Despite the obvious differences stylistic and thematic differences in their works, both poets and prose writers use a common set of basic concepts that comprise the backbone of cultural space of the region. The conclusion is made on the similarities that unite the texts of Ugric authors into a single cultural phenomenon. The goal of this research lies in the description of Ugric text as a unique cultural phenomenon. The article employs the results of the latest scientific developments in the field of philological regionalism and geopoetics, as well as literary works by the Ugric authors. The main result consists in elucidation of the concept of “Ugric text”, its differentiation with the concept of “literary school”. Having studied the texts of prominent Ugric writers – E. D. Aypin, S. S. Kozlov, O. B. Richter, P. A. Sukhanov, N. V. Sochikhin, Y. Shestalov and others –  the author concludes on the basic concepts that determine the common mental space of Ugra and ensure the semantic integrity of Ugric text as a cultural phenomenon. It is established that due to the common conceptual framework, Ugric text not only exists as a unified whole, but also evolves, remains contemporary, and meets the spiritual needs of the audience. Comprehensive analysis of the literary works indicates that the common concepts in the poetic and prosaic Ugric text evolve and refract within the framework of the authorial linguistic worldview. The scientific novelty consist sin the fact that this article is first to analyze Ugric texts as a cultural phenomenon from the perspective of conceptual approach.

Keywords: conceptosphere, concept, mental space, regionalism, Ugra text, Ugra literature, supertext, power of place, picture of the world, myth

DOI: 10.7256/2454-0749.2024.3.69943

EDN: MXKKSC

Abstract: The article presents the artistic perception of Chinese culture in the Russian literature of the XIX – early XX centuries. The author sets out to show a generalized image of China in the works of Russian prose writers and poets in a given historical period of time. The relevance of the research lies in the increased interest of modern linguistic science in the problems of intercultural dialogue. It is noted that the study of Chinese subjects in Russian literature is of indisputable interest for understanding the peculiarities of intercultural communication between Russia and China. The multifaceted Chinese culture is revealed through the eyes of Russian writers of the past centuries, who were attracted by Chinese images, plots, and motives. The history of Russian-Chinese relations is traced in the mirror of advanced Russian culture of the XIX – early XX centuries. The tendency to understand China as a unique civilization distinct from the European one, which had already emerged at that time, stands out. It is stated that the substantial development of ideas about China in Russian literature, at the time interval of interest to the researcher, is directly related to the emerging socio-political situation in the Russian Empire, the emergence of alternatives, both in terms of determining the further vector of social development, taking into account the problem of "West – Russia – East", i.e. the emerging situation of internal choice, self–determination and awareness by the ruling circles of the urgent need to work out a further path for the development of Russian statehood, taking into account the borrowing, on the one hand, of the Western, on the other – of the eastern model. This, in the author's opinion, explains the interest of representatives of Russian literature in the culture of the East, spiritual and moral values, philosophical reflections on the nature of goodness and justice, which had a centuries-old tradition in China.

Keywords: Russian-Chinese cooperation, Russian symbolism, Eastern culture, Russian culture, Chinese motifs, image of China, Chinese context, Silver Age, Russian literature, sociocultural differences

DOI: 10.7256/2454-0749.2023.12.69433

EDN: GBUJOD

Abstract: The article is devoted to the issue of the system of comparisons used in the language of Even poetry. The paper provides a list of means of expressing comparisons, distinguished from the positions of "subject", "predicate" and "argument". In order to develop a universal comprehensive model for studying the technique of poetic comparison as a component of the poet's style, we conducted observations on the language of poetic works by Even poets Nikolai Tarabukin, Platon Lamutsky, Andrei Krivoshapkin, Evdokia Bokova and Varvara Arkuk. The obtained material allows, first of all, to clarify the list of means of expressing poetic comparison. Analyzing the material on this topic, we came to the conclusion that comparisons help the poet convey the feeling and mood of the lyrical hero, create a poetic text mainly, such an approach performs such an important function as aesthetic.  When classifying examples, we rely on the original Even language and the main research methods are semantic-stylistic, contextual, classification, and also use field methodology. The methodology uses the works of A.N. Veselovsky, A. A. Potebni, B. V. Tomashevsky. The novelty of this article is determined by the fact that Even poetry is one of the young literatures of the national literature of the Russian Federation. The means of enhancing the visual expressiveness of speech, the comparison used by the Even poets, reveal the art of the original culture of the Evens and the wonderful flair of the native Even language. Comparison is a universal cognitive structure where a person learns about the world around them. In Even poetry, the authors, revealing the picture of the world of the North and the Arctic, using a comparison, showed a special artistic perception. The North and the Arctic remain the space that was mastered by the northern peoples and they created a circumpolar culture where the world of people and nature are harmonious. In the poetry of the Even poets, we have identified some noteworthy comparisons that create their own special artistic poetic language.

Keywords: natural phenomena, Even literature, subject, argyment, lyrics, parhs, comparsion, even, North, Arctic

DOI: 10.7256/2454-0749.2020.12.34561

Abstract: The object of this research is women’s lyrics in the Even literature. It is underlined that women's poetry, represented by the Evdokia Nikolaevna Bokova, Maria Amamich, Maria Prokopievna Fedotova-Nulgynet, Varvara Grigorievna Belolyubskaya-Arkuk, Ekaterina Nikolaevna Gerasimova-Aynady is not broadly reflected in literary studies, although the topic was discusses by the writers, literary scholars and critics, such as V. B. Okorokovs, V. Shemetov, V. Sivtsev, A. Burykin and others. The subject of this research is the works of Evdokia Bokova and Varvara Arkuk. The article explores the genre uniqueness of poems, as well as cognitive, educational and aesthetic meaning of lyrics in the works of E. Bokova and V. Arkuk. Relevance of this study is defined by the need for conducting contextual analysis of the Even women’s poetry. The scientific novelty consist in characterization of aesthetic uniqueness of women's poetry in the Even literature, and in analysis of certain aspects of the works of E. Bokova, V. Arkuk as a remarkable hue in description of the images of nature and inner emotions of the people of the North. The poems of E. Bokova and V. Arkuk are familiar to wide audience. The collections of poems that enriched the Even poetry with women’s lyricism were published in the mid-1990s in the Even language.

Keywords: Remembering the summer, Evdokia Bokova, North, Arkuk, sunny flower, female lyrics, Even poetry, soul, favorite land, chanting

DOI: 10.7256/2454-0749.2022.6.36298

EDN: UCFUXS

Abstract: The article is devoted to female images of modern Caucasian women's prose. The author examines in detail the images presented in the novel by the writer and journalist Marina Akhmedova "The Stone. Girl. Water", analyzing a wide range of themes and motifs presented in the novel. The author examines in detail such aspects of the topic as the motive of turning to religion, the confrontation of the city and the village, the motive of love, motherhood, etc. Special attention is paid to the female image – the image of a mother, daughter, teacher. Marina Akhmedova immerses the reader in the atmosphere of everyday life, which allows us to talk about the traditional theme and plot characteristic of Caucasian prose. The novelty of the research lies, first of all, in the choice of the author and the novel for analysis – modern Caucasian women's prose is represented by a rather narrow list of writers. As the main conclusions of the study, the author identifies the following: the heroes of modern Caucasian women's prose are acutely aware of the scrapping of the national matrix. They are disappointed in modern reality and deliberately strive for the international. Despite the traditional nature of the theme and plot, Akhmedova manages to combine the classical literary form with topical journalism, showing the difficult fate of her people through the prism of female characters, showing their evolution according to their social status.

Keywords: the evolution of images, image in literature, the image of a woman, modern women's literature, modern literature, prose about the Caucasus, women 's prose, modern Caucasian prose, caucasian text, modern Caucasian literature

DOI: 10.7256/2454-0749.2021.5.35538

Abstract: The novel “It Never Happened” by L. I. Borodin is analyzed from the perspective of peculiarities of the embodiment of fantastic beginning therein. The author employs the holistic analysis of the text. The goal of this research consists in studying the synthesis of the fantastic and the real alongside determining the nature of the extraordinary in the novel; analysis of its key function and methods of its introduction into the artistic world. It is established that the synthesis of the fantastic and the real is associated with fact that Borodin does not intend  to create an image of some extraordinary world, but seeks to actualize his emotions and find the way to resolve the internal conflict via fantastic means –  journey of the narrator into the past. The relevance and novelty are defined by the fact that the work of L. I. Borodin has not previously become the object of comprehensive literary study, although it is interesting from the perspective of problematic and poetics, reflection of the theme of guilt, which is meaningful in the works of L. Borodin. It is proven the crucial function of the fantastic in the novel “It Never Happened” is associated with psychologism. The extraordinary in the plotline is a “derivative” from the emotional drama of the narrator, the strongest desire to redeem himself, and repair what was done in childhood.

Keywords: a journey into the past, plot, interpenetration, psychologism, extraordinary, fantastic admission, conflict, moral issue, narrator, author’s idea

DOI: 10.7256/2454-0749.2021.7.36066

Abstract: Within the framework of studying the poetics of modern Mari philosophical poetry, this article analyzes the mythopoetic image of silver in the lyrics of Zoya Dudina. Based on the compilation of poems “Kuanyshym, Kuem Ondal...” (joyful to hug a birch tree… (2012), the author determines the semantics and article functions of this image, which represents the philosophical view and perception of the world of the poetess that in a certain way characterizes the lyrical heroine. From such perspective, the lyrics of Zoya Dudina is examines for the first time. The research methodology employs structural-semantic analysis of the literary works, which allowed describing the structural-semantic aspects the image of silver, revealing the authorial concept of the world and man, as well as the character of the lyrical heroine. It is proven that the Mari poetess Zoya Dudina consistently refers to the image of silver in her lyrics. For the poetess, silver is not a precious metal, which attracts people as jewelry, it is a mythopoetic image, the semantics of which is interrelated with the traditional (pagan) culture of the Mari people. Most of the time, this image is depicted within the structure of the natural picture, and reflects the view and perception of the lyrical heroine; it impersonates natural purity, nobility, faithful love, strong friendship, good intentions, unity the of man, nature, and the traditions. It is also underlined that in the mythological context for the lyrical heroine, silver can even resemble the mood.

Keywords: mythopoetics, philosophical problems, semantics of the image, the image-symbo, philosophical lyrics, Zoya Dudina, lyrics, modern mari poetry, mari literature, the lyrical heroi

DOI: 10.7256/2454-0749.2019.1.28798

Abstract: The author of this article discusses the motive of exile from the poetological and culturological points of view based on the example of Valerij Perelesin's poetry of the emigrant period of his creative writing. The researcher focuses on such topics as nostalgia about the first motherland, Russia, accompying his analysis with the analysis of other motives such as pilgrimage, foreign land and enthusiasm or interest towards exotic culture of Perelesin's second and third motherlands, China and Brazil, their everyday life and aesthetics. The aim of this research is to carry out linguopoetical analysis of the 'exile' motive and its lexical equivalents in the lyrical experience of the poet. Perelesin's lyrical hero treats twists and turns of life as the force of destiny. In his research the author describes antitheses and symbols that contribute to the author's spiritual quest and creativity as some semiotic signs. The innovative approach of the author is caused by his synthesis of modern literature methods such as conceptual, semantic, linguopoetical, and culturological approaches. The novelty of the research is caused by the fact that the author discusses the individual expression of the emigration phenomenon as overcoming and continuation. The importance and scientific novelty are also caused by the discussion of the cultural exotic component and its creative transformation in the artistic mind of a poet. The idea of the double and triplicate expulsion reconciles the fates of Valerij Perelesin and Vladimir Nabokov. The conclusions of the research are based on the linguopoetical aspect and symbols of Valerij Perelesin's color expression. 

Keywords: China, cultural component, linguistic poetics, emigration, nostalgia, three motherlands, motive of exile, poetry, Valerij Perelesin, Russia

DOI: 10.7256/2454-0749.2019.6.31161

Abstract: The object of this research is the synthesis of the two seemingly distant from each other phenomena: the Holocaust tragedy and the “notes of naturalist”. A distinctive feature of cinematographic and literary works dedicated to Holocaust is the vital documented basis. The chosen topic by it self substantiates documentalism. Within the framework of mass literature, the reference to such topic is logical and justified. The writers strive for preventing the world from another similar tragedy. The comparison of literary and cinematographic texts allows following the synthesis of documental and fictional, which is the framework for all works in various types of art.  The research traces the path of Diane Ackerman towards writing her novel “The Zookeeper’s Wife”, from the professional interest regarding preservation of animals in the conditions of occupation to referring to the history of Holocaust, resistance and heroism. The authors attempt to reproduce the events in Warsaw through the prism of specificity of the animal world, retaining the scientific view of the naturalist upon the nature of the events. The constant comparison of people and animals leads to a certain dilution of boundaries between these two worlds. The writer continuously puts the readers into a situation of ethical choice.

Keywords: genre, screen version, Holocaust, fictional, animal imagery, naturalist stories, mass literature, nonfiction, collective memory, factional

DOI: 10.7256/2454-0749.2020.11.34320

Abstract: Over the past decades, public consciousness has undergone reconsideration of the spiritual values. This heightened the interest towards the works of the classics of world literature, including Yakut. Among the compositions of Yakut literature, the dramatic poem by P. A. Oyunsky “The Red Shaman” is of definite interest. This work, as an example of high art, continues to heat the imagination and gives food for thoughts. Since its first publication, “The Red Shaman” arouses interest of multiple literary scholars and linguists. There is an urgent need for revising its ideological content through the prism of universal outlook upon the world as demanded by time. An attempt is made to reveal the true content of P. A. Oyunsky’s dramatic poem The Red Shaman” from the perspective of new generation of the audience, by detection of literary techniques applied by the author, examination of conflict situations, interaction between the images that requires axiomatic method, as well as usage of the method of abstraction within the framework of anthropomorphic principle of research that suggests reference to the primary source for ethical-philosophical interpretation based on the new approach. The attention of both, audience and researchers is currently focused on comprehension of the authentic content of P. Oyunsky's compositions outside the influence of traditional interpretations. For the contemporary audience “The Red Shaman” disclosures the new sides of its ideological-literary content. This work contains the author's profound reasoning on the trends of development of modern society, which requires a different approach towards the artistic heritage of the prominent poet.

Keywords: form, human values, ideological meaning, images symbols, red shaman, song-olonkho, dramatic poem, creative heritage, poem, tragedy

DOI: 10.7256/2454-0749.2022.6.38329

EDN: UDJUQF

Abstract: The subject of the research in the article are the principles of literary translation of foreign authors in our country. The object of the research are the works of famous Soviet and Russian translators of foreign literature, as well as the views on the translation art of such outstanding researchers as K. I. Chukovsky, I. A. Kashkin, S. F. Goncharenko, A.V. Fedorov, E. G. Etkind, etc. Special attention is paid to the problem of translating folk speech. As an example, the authors of the article consider translations of the "Poem about One Day" by the Spanish poet and thinker Antonio Machado, made by I. Tynyanova and N. Gorskaya. Biographical, descriptive and cultural-historical methods were used in the work. The scientific novelty of the research is determined by the fact that for the first time a comparative analysis of two versions of the translation of one of the works of A. Machado is carried out. The relevance of this article is due to the importance of the problems of literary translation in Russian culture, the insufficient level of research of A. Machado's creative heritage in Russian Spanish studies and the lack of a detailed analysis of translations of his works into Russian. The main conclusions of the work confirm the refusal of domestic translators of foreign poetry from the "literalist" approach to translation, the desire to convey the spirit, images, and rhythm of the poetic text by means of the native language. This is also confirmed by the comparison of two ways of transmitting live folk colloquial speech in the analyzed translations.

Keywords: translation studies, comparative analysis, foreign literature, poetry, Antonio Machado, Hispanism, artistic text, translation of a poetic text, literary translation, people 's speech

DOI: 10.7256/2454-0749.2024.3.70129

EDN: MHMYXO

Abstract: The subject of the study is the metaphor-personification involved in the creation of V.G. Korolenko's Siberian short stories. The research material was metaphors-personifications extracted by the continuous sampling method from the stories "Makar's Dream", "Sokolinets", included in the Yakut cycle of Siberian stories. The appeal to the metaphor-personification is justified by the fact that it plays a huge role in the construction of an artistic work. V. Korolenko's stories represent a rich material for research, as he developed his own individual author's metaphors based on impersonation. Metaphorization based on personification is a kind of creative handwriting of Korolenko. His works are rich in artistic means of expression, such as metaphor, personification, comparison, metonymy, hyperbole, which gives him a special original author's style.   The methodological and theoretical basis of the research is the work of G.N. Pospelov, A.B. Esin, L.S. Kulik. The work also takes into account the main theoretical works of leading modern Yakut scientists: O.I. Ivanova, K.I. Platonova, I.S. Yemelyanov. Creativity Korolenko is of great interest among modern researchers. Many aspects of his work in literary criticism have already been studied. But in this study, the authors make an attempt to study the functioning of metaphor-personification in his Siberian stories, in particular, in the Siberian stories (Yakut cycle). During the study, it was revealed that V.G. Korolenko skillfully uses the technique of anthropomorphism in his stories. With the help of metaphor, personification and other artistic means of expression, he enlivens and humanizes nature. Korolenko always serves as the personification of the forces of nature to reveal a person’s state of mind, thoughts and feelings. Thanks to metaphor-personification, the world around us comes to life. Thus, the lines between the animate and inanimate world are erased.

Keywords: comparison, metonymy, stylistic tropes, anthropomorphism, personification, metaphor, Siberian stories, Korolenko, russian literature, hyperbola

DOI: 10.7256/2454-0749.2018.4.27745

Abstract: The object of this research is the images of body in non-classical lyrics (late XIX - XX centuries). The subject of the research is the phenomenon of bodily fragmentation as an element of a creative product structure in the lyrics of that period. Rakhmanova focuses on the relationship between bodily fragmentation demonstrated from the view of a lyrical subject (hero) and lyrical plot. The researcher also analyzes the narration methods related to the images of bodily fragmentation used by I. Brodsky, M. Voloshina and Z. Perver. The main research methods used by the author include immanent analysis of the imaginative narration structure to define semantics of particular images, and comparison to describe similarities in poetics of that period. The novelty of the research is caused by the facts that, firstly, literary features of bodily fragmentation in non-classical lyrics are an understudied issue, and secondly, the relationship between the images of bodily fragmentation and lyrical plot is still unclear for that period. As a result of the research, Rakhmanova makes the following conclusion: in the literary works covered by the research, fragments of the body (lyrical subject and/or lyrical hero) are becoming conceptual corner stones of a lyrical plot. Fragments of the body presented through the self-reflection act as conceptual points where lyrical emotions of a hero unfold striving for his or her personal integrity. 

Keywords: historical poetics, character, tendency to integrity, the theme of non-integrity, lyric plot, images of bodily fragmentation, lyric subject, non-classical lyrics, artistic image, author

DOI: 10.7256/2454-0749.2024.4.70313

EDN: PXMXEP

Abstract: The article examines the image of the writer in the novels "The Sunflower Rebellion" by Leonid Rzhevsky and "The Rebellion of Denis Bushuev" by Sergei Maksimov. The subject of the study is the poetics of the image of the writer in the works of major writers of the second wave of Russian emigration. Russian literature is based on the general problems of the novels, the similarity of the destinies of the main characters and the authors belonging to one direction of Russian literature of the XX century – the second wave of Russian emigration. Using the example of the fate of an emigrant writer and a writer of the metropolis, the uprising against the ideological restrictions dictated by the political regime is considered. Special attention is paid to the literary tradition of depicting the hero-creator at the beginning of the 20th century, as well as autobiographical and historical facts that influenced the transformation of the image in question in the work of second-wave emigrants. The methodological basis of the study is an integrated approach that includes biographical, historical, typological and comparative methods. The author's attention is focused on the conflict "artist-power", which is at the center of the novels "The Revolt of Denis Bushuev" and "The Revolt of the Sunflower". The novelty of the study is due to the introduction of previously little-studied material, and for the first time a comparative analysis of novels authored by representatives of the second wave of emigration is presented. As a result of the analysis, the following typological similarities were revealed in the depiction of hero-artists by S.S. Maksimov and L.D. Rzhevsky: the personal experience of the authors lies at the heart of the images of rebellious hero-creators; the main conflict of both works is the aggravation of contradictions between the writer and the authorities; this conflict underlies the creativity of the majority of emigrants of the second wave. Russian literature also proved that the depiction of the literary hero in the works of the second wave of Russian emigration continues the tradition of classical Russian literature in depicting the conflict between the artist and power, but emigrant creativity interprets it in a tragic way.

Keywords: artist and power, writer's image, autobiographical hero, creator hero, writer hero, S.S.Maksimov, L.D.Rzhevsky, second wave of emigration, literature of emigration, politics and art

DOI: 10.7256/2454-0749.2021.7.36067

Abstract: This article gives a brief overview of the life and creative heritage of the figure of Crimean Tatar literature and enlightenment of the early XX century Yahya-Naji Bayburtlu (1876-1943). The author introduces into the scientific discourse the poorly studied biographical and bibliographic archival materials, which include the prewar literary and historiographical texts transliterated from the Arabic script to the Roman script. The article also employs the reminiscences of the relatives and contemporaries of Y. N. Baiburtlu that have been published in modern national press and give a better perspective of the creative path and environment of Y. N. Baiburtlu: the newspaper article of the writer's daughter Niyara Baiburtlu, autobiographical texts of the prominent Crimean Tatar publicistic writer Shamil Alyadinov. The methodological framework is comprised of the biographical, comparative-typological, and meta-critical analysis. The theoretical framework is based on the works of Arslan Krichinsky, Cemil Kermenchikli, Ismail Kerimov, Dmitry Ursu, Natalia Yablonovskaya, Mukhiddin Khairuddinov, Enisa Abibullayeva. Therefore, the overview of the life and literary-enlightenment activity of Y. N. Baiburtlu reveals his creative personality, outlines the prospects for the aspectual research of his biography as a writer and playwright, translator of literary works, public figure, and enlightener of his time. The author believes that the examination of the versatile literary-pedagogical heritage may significantly enrich the scientific representations of the traditions, factors of development and formation of the Crimean Tatar literary elite of the prewar period in Crimea.

Keywords: review of creativity, national press, cultural awakening, educational activities, literary and artistic heritage, Baiburtly, Crimean Tatars, book publishing, literary translation, intercultural relations

DOI: 10.7256/2454-0749.2019.6.31814

Abstract: The subject of this research is examination of the development of Yakut fiction literature on the pages of the magazine “Sakha Sangata – “Voice of the Yakut” (1912-1913). The material for this study became the articles published in this magazine. The goal consists in determination of the role of magazine as an initiator of the Yakut fiction literature. Historiography of the question demonstrates that the magazine played an enormous role in education and growth of national self-consciousness of the Yakuts, as well as development of the sociopolitical and cultural life. The works of the founders of Yakut literature A. Kulakovsky, A. Safronov, V. Nikiforov and A. Gavrilov, who published their first articles in the magazine, had a great impact upon the rebound of public thought, and marked the conception of literary tradition in culture of the ethnos. The theoretical-methodological framework became the cultural-historical method, which views the conception of national culture as a product of social life and cultural-historical conditions in Yakutia of the XX century. As a results of comprehensive analysis of the materials in their genre development, it is determined that the literary principles of original publicistic writing have formed on the pages of first secular magazine, as well as the transition  from the folklore tradition towards the authorial written literature has taken place. The novelty lies in the comprehensive analysis of folklore and literary texts for revealing patterns the development of fiction literature. The conclusion is formulated that the launch of the magazine “Sakha Sangata” indicated the actual history of the Yakut literary lore, the moment that the national literature took the path of progressive development.

Keywords: literary translation, founders, realism, prose, poetry, oral literature, publicism, yakutian literature, national stamp, literary tradition

DOI: 10.7256/2454-0749.2024.3.70207

EDN: LVDBFS

Abstract: The subject of the research in this article is Margaret Atwood's literary game, which includes work with myths, world history and literature. Margaret Atwood (b. 1939) is a well-known modern Canadian writer, poet, literary critic and critic. Her works include the novel The Handmaid's Tale (1985) and its sequel, The Testaments (2019), as well as the fantasy trilogy The Mindless Addam (2003-2013). No matter what M. Atwood writes about, her works are always a story, a complex and multilevel narrative, in the center of which stands the figure of the narrator. Having begun her literary activity in the heyday of postmodernism, M. Atwood combines many features of this trend in her work: literary play, rethinking archetypal images and traditions, deconstruction. Taking as a basis the achievements of foreign and domestic researchers of M. Atwood's work, as well as research in the field of literary studies by M. Atwood herself, we describe how M. Atwood studies, analyzes and recreates well–known patterns on a new basis – in Canadian literature. The main conclusions of the study are: 1) Being a representative of young Canadian literature without a well-formed cultural and literary layer, M. Atwood borrows from the global literary tradition, as well as mythology and folklore, heroes and images that she seeks to "instill" on new Canadian soil. 2) M. Atwood's deconstruction is not the destruction, analysis of an established tradition, but, on the contrary, an attempt to create it through appropriation and assimilation of other people's traditions. 3) M. Atwood, as a rule, takes ancient Greek and European myths and fairy tales as a basis. 4) Working with the characters of wandering plots and textbook works (Shakespeare), M. Atwood often resorts to overturning the established idea of characters, creating doppelgangers and "werewolves".

Keywords: unreliable storyteller, literary character, archetype, folklore, myth, literary game, Canadian identity, Canadian literature, Margaret Atwood, doppelgänger

DOI: 10.7256/2454-0749.2023.12.69111

EDN: OLJGHY

Abstract: The authors examine the poetics of metaphor in the lyrics of V. Lebedev, one of the founders of the Even literary tradition. Vasily Dmitrievich Lebedev is a collector of Even folklore, a linguist who creatively reworked and adapted the spiritual heritage of his people in modern poetic forms, thereby breathing new life into the epic and song oral creativity of the Evens. The peculiarity of the poetic style of V. Lebedev, as a representative of young-written literature, is the orientation to folklore poetics. It is metaphoricity that is a characteristic feature of the poet's individual manner. Metaphors in Lebedev 's poetry have a number of features: the transfer of signs of the external world to the phenomena of mental life; folklore character of the metaphor; metaphors that create its unique poetic style; grammatical construction of the metaphor, poetic syntax of the text. The methodological basis of the study is the individual provisions of the works of A.N. Veselovsky, V.M. Zhirmunsky, V.F. Asmus, used in the work as methodological guidelines and premises for specific textual analysis. The research methods are determined by the nature of the text material. The novelty is due to the understanding of the lyrics of the Even poet V. Lebedev as a representative of young-written literatures. The artistic and visual means used by the poet reveal him as a talented master of words and an expert in his native Even language. On the one hand, the poetics of his works form an idea of the poet's individual style. At the same time, Lebedev is a follower of folklore poetics, focusing on the formulaic language of oral tradition. In this context, the metaphoricity of his poetic texts is of particular importance. Let's consider separately the metaphoricity of Lebedev's lyrics. The poetry of the Even writer is distinguished by the allegorical nature of the word, which is needed for a strong emotional impact, to create a visual image, a vivid artistic impression. In the poetry of Vasily Lebedev, we have identified the most interesting metaphors that create his own special author's style.

Keywords: song, folklore, image, poem, metaphor, lyrics, poetics, Even literature, Lebedev, poetic style

DOI: 10.7256/2454-0749.2019.1.29124

Abstract: The 1980s brought drastic changes not only to the politics and economy of China but also literature where a great variety of new tendencies appeared including the so called 'female outbreak'. The object of this research is the Chinese 'women's poetry' of the 1980s. The subject of the research is the literary and critical reception of the phenomenon of the Chinese women's poetry and specific 'gender' features of a number of the most brightest examples of poems written by female poets of that period. In her research the author has applied the historical comparison and regular comparison as research methods which allowed to trace back the changes in the creative writing of Chinese female poets. For the present time Russian sinology does not have special researches of the phenomenon of the Chinese women's poetry. This research introduces literary and critical researches on the women's poetry made by Chinese literary experts as well as new names and literary works of modern Chinese literature. As a result of the research, the author presents a literary and critical reception of the phenomenon of women's poetry based on the analysis of the poems written by Shu Ting, Yi Lei, Lu Yimin and some others. The researcher describes the following singular features of the Chinese 'women's poetry' of the 1980s: the confession-like narration, special focus on the images of the 'black night' and 'black color', the topics of gender relations, the meaning of woman's existence, loneliness and death. 

Keywords: misty poetry, Shu Ting, gender, women's poetry, new period, Chinese literature, China, Yi Lei, Lu Yimin, third generation poets

DOI: 10.7256/2454-0749.2018.3.27071

Abstract: In this article Spivakovsky analyzes the creative writing of Vladimir Sorokin outside the customary borders of post-modernist paradigm, in terms of the contemporary theory of metamodernism. In particular, the researcher focuses on those works the classical postmodernist theory cannot possibly explain. Thus, the short stories 'Sergey Andreevich' and 'Love' from the series of novels 'The First Saturday Workday' demonstrate such feature as depthiness besides deconstructing postmodernist games, and the novel 'Marina's Thirtieth Love' and the short story 'Avaron' analyze the tragic basis that is so important for these works. The main instruments of the analysis used by Spivakovsky include the key concepts of the metamodernist theory, oscillation and depthiness. The tragic is also an important element of metamodernist approaches to analyzing the creative writing of Vladimir Sorokin. The short stories 'Sergey Andreevich', 'Love', Lonely Accordion' and 'Avaron' as well as the novel 'Marina's Thirtieth Love' are viewed by the researcher as metamodernistic works which allows to see Vladimir Sorokin's creative writing in a new light.   

Keywords: Marina's Thirtieth Love, tragic, depthiness, oscillation, metamodernism, postmodernism, Vladimir Sorokin, The First Saturday Workday, Avaron, The Norm

DOI: 10.7256/2454-0749.2023.12.69342

EDN: OVKGVF

Abstract: The purpose of the study is to consider various definitions and approaches to the concept of idiostyle. To identify and describe the characteristic features of the idiostyle of L.E. Ulitskaya's works "Medea and her Children", "Daniel Stein, translator", as well as to compare the original texts of the novels with their translation and determine whether the idiostyle is preserved when translating these works of L.E. Ulitskaya into English. To analyze which translation techniques were used to convey the idiostyle. The purpose of the study identified the following tasks: firstly, to define the concepts of idiostyle and idiolect; secondly, to consider the difference between the concepts of idiostyle and idiolect; thirdly, to identify the features that form the idiostyle of L.E.Ulitskaya; fourthly, to consider the features of translation, the elements that form the idiostyle. The subject of the study is the idiosyncrasy and the features that form the idiosyncrasy of the works under consideration. The object of the analysis is the semantic means and grammatical structures that form the idiostyle, and the features of their translation into English. The comparative method allows us to determine whether national cultural components are preserved in translation, whether the phrases of greeting and farewell in letters change, whether the realities of Russian culture are conveyed in the texts of translations. The method of contextual analysis consists in the study of fragments of novels, and in the study of the functional specificity of words in the context used. The scientific novelty lies in the identification of idiosyncratic features based on the comparison of L.E. Ulitskaya's novels "Medea and her Children", "Daniel Stein, translator". The theoretical and practical significance is due to the possibility of applying the research results and conclusions in further development of issues of preserving idiostyle in translation, determining the content of lectures and practical classes in stylistics, linguoculturology, as well as in the construction of courses "Linguistic text analysis" and "Theory and practice of translation". As a result of the research, the most striking elements that form the idiosyncrasy of L.E.Ulitskaya were identified, namely: the use of proper names in the titles of novels, as well as letters in the texts of works, the use of phrases of greeting and farewell, rhetorical questions, anthroponyms, metaphors, repetitions.

Keywords: semantics, comparison, anthroponyms, equivalent correspondences, translation losses, translation of realities, translation of metaphors, letters, idiostyle, pragmatic effect

DOI: 10.7256/2454-0749.2018.3.27077

Abstract: The object of the research is the novel 'Little Zacheses' written by E. Chizhova as an example of contemporary school prose. The aim of the research is to analyze psychological conflicts and communication issues faced by an adult and child as the heroes of the novel. In her research Belikova focuses on the personality type of a contemporary teacher as well as the nature of interpersonal and child-and-adult relations. The author pays special attention to the problems of education and moral education that are viewed from the point of view of the phenomenology of the novelistic word, axiological category and chronotopical reality of the theatre stage. The methodology of the research implies analysis of the novel in terms of philosophy and pedagogics. Psychologism of the novel is conditioned by the untypical role of spiritually and profesionally immature personality who creates the quasi existence and calls them 'students'. The philosophical context of the novel is enriched with retrospective images that play a crucial role in the development of the character's personality. The main conclusion of the research is the statement of a non-trivial interpretation of the fathers and sons topic and education issues in a contemporary school novel. The teacher's idea to create the quasi existence demonstrates unusual dominants of the education process and special status of a teacher who does not handle the role of a perfect mentor in the usual school environment. 

Keywords: modern litarature, school prose, school novel, school, phenomenology of the word, phenomenology, psychology of teacher, teacher, irreality, Chizhova

DOI: 10.7256/2454-0749.2019.6.31879

Abstract: The goal of this article lies in examination of the “The Story of Tsarevich Chlor” by Catherine II from the perspective of interaction of the two ideological-stylistic elements – pastorality and courtliness, as well as analysis of context of the tale concentrated around settling the dispute between the old and new authors, which was brought into the mainstream by the French writers of the XVII – XVIII centuries. The subject of this article is the Russian-French relations reflected in the writings of Catherine II; the empress’ attempt to determine the role of the Russian culture and language in the world. Using the comparative-historical method, the author analyzes the The Story of Tsarevich Chlor”, which is compared to the “Map of Tendre” by  Madeleine de Scudéry, and genetically links with some remarks of the empress presented in the “Antidote”. The research results demonstrate that Catherine II not only juxtaposed the Western European and Russian cultures, but also showed the interaction of one with another preserving the peculiarities and distinctness of the Russian lore depicted in its language. The novelty of this study consists in the comparison of the empress’ “The Story of Tsarevich Chlor” with the courtly novel of M. de Scudéry and determination of their genetic link. The conclusion allow to see the interaction of courtly and pastoral elements in the works of Catherine II from a different perspective.

Keywords: The novel with a key, Gallantry, Pastoral, Genre of the literary fairy tale, Catherine II's creativity, French literature, Russian literature, Dispute on authors, Map of the country of Tenderness, Felitsa

DOI: 10.7256/2454-0749.2014.2.10644

Abstract:

DOI: 10.7256/2454-0749.2013.2.62895

Abstract: The article is devoted to one of the most intriguing and frequently discussed topics in creative life of a Great Russian poet Alexander Pushkin. The author continues to describe grounds for and develop his own concept of understanding the nature of Alexander Pushkin’s ‘Hidden Love’ for O. Pototskaya-Naryushkina. When analyzing the primary sources in Pushkin’s creative work (finished and unfinished poems, drafts, drawings, commentary and etc.), the author bases on the results of the most recent studies of text and writings and takes into account different interpretations of this problem in Pushkin studies. It allows the author to offer a new solution of the problem. In its turn, the ‘solution’ allows to discover hidden connections between Pushin’s works at different stages of life. A crucial breakthrough in Pushkin’s anthropoesis appears to be the loss of harmony in the primary mental image of ‘Love and Freedom’. Is that an accident?

Keywords: Alexander Pushkin, poesis, mental image, ‘The Kiss’, love, mystery, friendship, freedom, drawing, mirror.

DOI: 10.7256/2454-0749.2014.2.65033

Abstract: The subject under review of the present research is the images of the devil in classical literature that were, on one hand, obtained from fairylore and science fiction and, on the other hand, created by the human mind. Introduction of the image of the devil into a literary work has become one of the conceptual symptoms of the threat to human life. Appearance of the image of the devil as been usually accompanied with all sorts of incidents and has been making a bold and explosive impression in the drama. These observations have made the author of the present article to study the so-called ‘demonic tradition’ in famous literary works. In order to view this topic, the author of the article uses the method of psychological analysis that is based on the phenomenon of the binary archetype discovered by M. Uvarov and used by the author of the present article as the representation of the ‘twins effect’ of the man and devil. The novelty of the research is in the description of the main source of psychological relations between the man and the devil, in particular, the sale of one’s soul. The author of the article shows that in each case human soul has its own price which, in the end, reveals the degree of the feeling of catastrophism experienced by the man. The author also describes different motives for the sale of one’s soul based on which he shows the moral failure of the man and inevitable physical destruction. The author of the article shows that the images of the devil in literary works are nothing else but the fantasy of the man reveling against the reality. Based on the results of the research of different interpretations of catastrophism expressed in art through depersonalization of human, the author concludes that the history of the humankind is based on his attitude to transcendence and inevitably connected to the moral principles of the humanity. When these moral principles are defied, transcendence in the human mind assumes a particular shape and becomes humanized gaining the force of the catastrophic expectations and achievement of the moral punishment.

Keywords: human, devil, imp, demonic, Mephistopheles and Faust, binary archetype, catastrophe and catastrophism, image, sale f one’s soul, consciousness.

DOI: 10.7256/2454-0749.2016.2.19525

Abstract: The subject of the research is the funeral oration said by Gabriel Buzhinsky for the death of the Field Marshal Boris Sheremetyev. It is an interesting and understudied achievement of oratory prose of the first quarter of the XVIIIth century. The funeral of Boris Sheremetyev and the funeral oration devoted to him vividly demonstrate the process of developing the positive image of the 'Country's Son' in the Russian social thought of the early XVIIIth century. The image was directly associated with the idea of the 'service of the country' which was actively developed by writers, orators and Peter the First himself during that time period. Honourable burial of the Field Marshal and funeral oration filled with th eulogistic and civic pathos were tools for creating new axiology of the society: Boris Sheremetyev's will to be buried next to his son's grave in the Kiev Pechersk Lavra was sacrificed for the sake of the imperor's intention to develop new values and to create grounds for funeral rites of military brass. In her research Paramonova has used the comparative historical and historical genetic research methods as well as the philological analysis of literary texts. Gabriel Buzhinsky's oratory prose is understudied in Russian literary studies. Never before The Speech for the Funeral of the Field Marshal Boris Sheremetyev has been a matter of individual analysis, thus this text is being analyzed in terms of the cultural, literary and social environments of that epoch for the first time in the academic literature. The analysis of Gabriel Buzhinsky's Funeral Oration for Boris Sheremetyev demonstrates the break point in the oratory prose of the XVIIIth century. Rhetoric religious text written by a preaching monk served secular purposes and developed actual political and social ideas. 

Keywords: patriotism, Gabriel Buzhinsky, eulogy, funeral oration, oratory, rhetoric, 18th century, Russian literature, funeral, ceremonial

DOI: 10.7256/2454-0749.2016.2.68039

Abstract: The subject of the research is the funeral oration said by Gabriel Buzhinsky for the death of the Field Marshal Boris Sheremetyev. It is an interesting and understudied achievement of oratory prose of the first quarter of the XVIIIth century. The funeral of Boris Sheremetyev and the funeral oration devoted to him vividly demonstrate the process of developing the positive image of the 'Country's Son' in the Russian social thought of the early XVIIIth century. The image was directly associated with the idea of the 'service of the country' which was actively developed by writers, orators and Peter the First himself during that time period. Honourable burial of the Field Marshal and funeral oration filled with th eulogistic and civic pathos were tools for creating new axiology of the society: Boris Sheremetyev's will to be buried next to his son's grave in the Kiev Pechersk Lavra was sacrificed for the sake of the imperor's intention to develop new values and to create grounds for funeral rites of military brass. In her research Paramonova has used the comparative historical and historical genetic research methods as well as the philological analysis of literary texts. Gabriel Buzhinsky's oratory prose is understudied in Russian literary studies. Never before The Speech for the Funeral of the Field Marshal Boris Sheremetyev has been a matter of individual analysis, thus this text is being analyzed in terms of the cultural, literary and social environments of that epoch for the first time in the academic literature. The analysis of Gabriel Buzhinsky's Funeral Oration for Boris Sheremetyev demonstrates the break point in the oratory prose of the XVIIIth century. Rhetoric religious text written by a preaching monk served secular purposes and developed actual political and social ideas. 

Keywords: patriotism, Gabriel Buzhinsky, eulogy, funeral oration, oratory, rhetoric, 18th century, Russian literature, funeral, ceremonial

DOI: 10.7256/2454-0749.2020.12.34465

Abstract: The subject of this research is the peculiarities of representation of the images of gemstones in lyrics of the prominent poet of the XVII century – Âşık Ömer. The object of this research is his lyrics. The depth and diversity of Âşık Ömer’s poetic system makes his work especially relevant at present. The goal this article consists in the analysis of images pf gemstones, and determination of their role in the lyrics of Âşık Ömer. The images of gemstones and noble metals in his poetry are analyzed in three descriptive aspects: external description of beauty of the beloved; description of suffering of the love mate; description of cruelty of the beloved and pain of the love mate. The research methodology is based on the hermeneutical-interpretational, descriptive method and semiotic analysis of the texts. The relevance is defined by frequency, important semantic charge, and special artistic role of the images of gemstones in the poetry of Âşık Ömer, as well as the need for their consideration and analysis. The scientific novelty consists in the fact that this article is first to carry out the analysis of gemstone images in the lyrics of Âşık Ömer. It was revealed that gemstones and noble metals are more often used for describing the beauty of the beloved, her specialty and sublimity (values). In the image of the love mate, they symbolize pain and suffering. The poet may use the same stone or metal in describing both images, but it conveys a different meaning in each case. Such expressive means are an important component of the poet's lyrics, as they imply multiple meanings.

Keywords: image, lover, sweetheart, precious metals, precious stones, love lyrics, Ashyk Umer, metaphor, ruby, coral

DOI: 10.7256/2454-0749.2019.6.31121

Abstract: Religious discourse is a specific object of linguistic study, because the attention is centered on the worldview questions that are based on belief in the existence of higher power, affiliation with which points to a sacred nature.  The subject of this research is sacredness, analyzed in the context of a religious discourse as its constitutive quality, which has a direct relation to the spiritual afterlife. Particular attention is given to the manifestations of sacred in the context of religious communication, its essential characteristics and functions. Sacred is referred to the category of topics that have always attracted attention of the scholars of various disciplines – sociological, phenomenological, and other. The main conclusion consists in the thesis that sacredness is a constitutive quality of the religious discourse that reflects the transcendent and immanent character of communication, as well as reveals such essential traits as the beauty, luminescence and spirituality. It is the source through which in the process of communication appear the apathetic and cataphatic divine qualities that affect the transformation of human being and unification of society, such as distinctness, eternity, omnipresence, almightiness, holiness and beauty.

Keywords: faith, communication, spirituality, holiness, signs, essential, God, sacredness, religious, discourse

DOI: 10.7256/2454-0749.2019.1.28507

Abstract: The article is devoted to ekphrasis as a verbal description of an artwork in finction and non-fiction. At the present time pretty much is known about the theory and practical use of ekphrasis. However, we can't say that this area lacks methodological gaps. There are still a lot of questions, in particular, about the definition of ekphrasis. Thus, the subject of this research is the correlation of such categories as 'genre' and 'discourse' in relation to ekphrasis. The aim of the research is to trace back the genesis of ekphrasis and describes prerequisites for transformation of an ancient rythoric exercise into an individual device/genre/discourse. The researcher focuses on the role of ekphrasis as a device/genre and the genre-creating function of an English ekphrasis discourse. As a result of the research, the author describes invariant features of ekphrasis writings and outlines the main genre invariants of an English akphrasis discourse. The results of the research make an important contribution to the further development of theoretical issues that relate to the definitions of ekphrasis genre/discourse and demonstrate the degree of the problem development at the modern stage. 

Keywords: plot generating nature of ekphrasis, ekphrasis functioning, ekphrastic discourse, ekphrastic genre, literary device, rhetorical exercise, description, ekphrasis, invariant features, genre invariants

DOI: 10.7256/2454-0749.2020.12.34418

Abstract: This article is dedicated to examination of the process of conception of satire in Yakut literature. The object of this research is the origin and evolution of satire in Yakut poetry. The subject is the satirical compositions of the founders of Yakut literature A. E. Kulakovsky and P. A. Oyunsky. The goal consists in determination of the role of the first writers in conception and development of satire. Yakut literary studies feature research dedicated to particular authors and works, rather than satire as a whole. Therefore, the relevance of this article lies in the holistic review of satire. The theoretical-methodological framework is comprised of the cultural-historical method, within the framework of which the conception of satire is considered a product of social life and cultural-historical conditions of Yakutia of the early XX century. The work also employs the specific-historical and comparative-typological methods of research. The scientific novelty is defined by the fact that the Yakut literary studies currently do not have a comprehensive and systemic research of satirical genre in national poetry. It is established that the pioneer satire in Yakut literature is the founder of Yakut literature A. E. Kulakovsky, who devoted his works to harsh criticism of the conservative traditions of patriarchal-feudal society, rapacity and inhumanity of the new capitalist relations. Kulakovsky was first to create gallery of the satirical portraits of social nature, such as socially classified images of stingy wealthy man, drunken bourgeois, etc. In the 1920s, the pioneer of Yakut Soviet literature P. A. Oyunsky composed works that of socially charged nature. The poet introduced the following new genres into Yakut literature: fable, pamphlet, and parody. Their works surged public thought and marked the birth of satirical genres in Yakut poetry.

Keywords: problematics, satire, Oyunskiy, Kulakovskiy, founder, Yakut literature, genre diversit, image, grotesque, sarcasm

DOI: 10.7256/2454-0749.2019.6.31336

Abstract: The subject of this research is the examination of the literary-publicistic legacy of the prominent figure of the late XIX – early XX century, the reformist of Oriental education, enlightener of the Turkic world, publisher, and publicist Ismail Gaspirali. For thirty years, he issued a newspaper “Tercüman” in Crimea that became the paramount information source of its time, reflecting the relevant questions of the political and socioeconomic character. The author analyzes his publications through the prism of their structuring, use of functionally semantic types of speech, as well as compositional peculiarities.  The following methods were applied in the course of research: comparative-historical, historical-functional, structural-typological, literary-biographical, intertextual and comparative text analysis. The conclusion is made that the compositional and structural specificity of newspaper publications of Ismail Gaspirali – from the concept and idea to turning into a journalistic work – represents a holistic arrangement of text that has all corresponding elements, giving a program tone to Gaspirali’s publicistic works.

Keywords: newspaper, text, structure, composition, plot, journalism, Gasprinsky, press, description, reasoning

DOI: 10.7256/2454-0749.2019.1.28695

Abstract: The subject of the research is the journalism of a famous education reformator of the late XIXth - early XXth centuries, teacher, educator, publisher and journalist Ismail Gasprinsky. The newspaper 'Terdjiman' published by Gasprinsky in Crimea can be viewed as an important informative source of that era. For the purposes of this research, Gasprinsky's essays on political, economic and social issues of his era are of particular interest. To write this article, the author has used such methods as comparative historical analysis, historical function, structural-typological and literary-biographical analysis as well as the methods of intertextual and comparative analysis of texts. The novelty of the research is caused by the fact that the researcher has carried out an analysis of journalistic essays of Gasprinsky who used a great variety of linguistic and stylistic, lexical, morphological, syntax and textual language means and played an important role both for his contemporaries and next generations of readers. 

Keywords: expressiveness, Gasprinsky, analysis, lexemes, author, language, vocabulary, journalism, publicist, poetics

DOI: 10.7256/2454-0749.2018.3.27297

Abstract: The subject of the research is Bakhtin heritage reception in Russian literary studies of the late 1980s - 1990s. That was the period when researchers came close to the problem of so called 'disputed texts' using new approaches of literary studies and other humanities. The object of the research is the polemics about the authorship of Medvedev-Voloshinov corpus of texts. The authors of the article analyze arguments of protagonists and opponents of the point of view that the texts were written by Mikhail Bakhtin. Based on the traditions of academic literary studies, experience in textual analysis, and case studies technique, the authors offer a complex method of viewing the aforesaid problem in the historico-literary and sociocultural terms. Keeping in mind that for many decades there has been a tradition to think of Bakhtin as the author of 'the disputed texts', memoirs published in 1990 and a great number of researches including those that were not so famous allow the authors of the article to conclude that already in late 1990s a Russian expert in Bakhtin studies N. Nikolaev offered a model and text analysis methods that proved the authorship of Mikhail Bakhtin. 

Keywords: the disputed texts, the problem of authorship, Pavel Medvedev, Valentin Voloshinov, Bakhtin heritage reception, Bakhtin studies, Mikhail Bakhtin, Russian intellectual history, authorial mask, textual analysis

DOI: 10.7256/2454-0749.2019.6.31435

Abstract: This article is first to examine the question on gender stereotypes and gender inequality in the proverbs of Steppe Crimean Tatars at the turn of the XIX – XX centuries reflecting family relations. The subject of this research is the Crimean Tatar paroemiological fund of that time. Through the prism of male worldview are revealed the binoms “young man – young lady”, “fiancé – fiancée”, “husband – wife”, etc. The gender proverbs of Steppe Tatars are brought as an example. The main ideology of such proverbs is the threat to future emancipation of women, giving priority to the women, dominance in the family, substitution for androcentric worldview for gynocentric. Methodological and theoretical framework contains the compilations of Crimean Tatar paroemias of the turn of the XIX – XX centuries, dictionaries and scientific writings of the prominent literary scholars. The scientific novelty consists in studying the gender stereotypes and gender inequality within the framework of paremiological fund of the Steppe Crimean Tatars. Their proverbs of that time develop the stereotypes and reflect the standard vision of family relations in third person. The society of Steppe Crimean Tatars of the turn of the XIX – XX centuries supported the positions of androcentrism and masculinity as a defining behavioral type.

Keywords: androcentrism, worldview, family relations, proverbs of Crimean Tatars, gender inequality, gender stereotypes, gender literary criticism, masculinity, gynocentrism, images

DOI: 10.7256/2454-0749.2020.12.34419

Abstract: The goal of this article consists in analysis of the novels of A.V. Ivanov “Community” and “Tobol” from the perspective of using the images of the Apocalypse. Examples of referring to apocalyptic symbolism in the prose A. V. Ivanov are demonstrated. Multiple examples of interpretation of Biblical symbolism of the Apocalypse are featured in popular culture; A. V. Ivanov uses the experience of such interpretations with regard to the genre of horror novel. The article considers the examples of realization of apocalyptic motifs, and their role in the works of A. V. Ivanov, namely motif of the end of the world and related cataclysms (including the phenomena of monsters and demons of the End of Time), spiritual apocalypse, and rise of the dead. The scientific novelty consists in the analysis of the aforementioned imagery as technique of horror literature. It is proven that Ivanov refers to the images of the Apocalypse through the prism of popular culture, as well as resorts to the original strategy of interpretation of the materials, where the images of the End of Time serve as the language of consciousness of the heroes as the people of their era. The conclusion is made that apocalyptic symbolism, on the one hand manifests as the marker of horror in the genre of popular literature, while on the other hand is used by the for articulation of ethical criticism of modernity.

Keywords: thriller, horror, End of the world, horror literature, apocalyptic motifs, Apocalypse, Ivanov, historic novel, demons, pop-literature

DOI: 10.7256/2454-0749.2019.1.28908

Abstract: The subject of the research is the works of the Russian literature of the newest period. In particular, the author analyzes the words of Zakhar Prilepin (the novels 'Sankya' and 'Shelter', 'Vitek' from the series of novels 'The Eight') and Lyudmila Ulitskaya (her novel 'The Green Canvas'). The article is devoted to the analysis of functionality of names and nicknames of the heroes, the meanings of the names of the main and secondary characters in the prose of Prilepin and Ulitskaya that helped to solve many artistic tasks, such as the conveyance of the author's message, determination of the conceptual grounds of the novel, comparison of the main characters, narration structuring, symbolic and motif structures development. The research methods used by the author include problem analytical and functional approaches combined with the comparative historical method of analysis of literary texts. The methodological and theoretical basis of the research involve dictionaries, encyclopedias, researches of famous literary critics and experts. The scientific novelty of the research is caused by the fact that the author analyzes the works of the newest Russian literature written by understudied authors. The main conclusion of the research is that the important element of the prose of the authors is the game of different modifications and forms of anthroponyms. In the prose of Prilepin's and Ulitskaya's prose a name is a textual dominant that conveys the general conceptual meaning and gives an insight into the author's intention, it also allows to compare the heoroes, to include mythological, biblical or other cultural context that makes the image of the hero complex and profound as real people are. 

Keywords: antonomazy, stylistic, aesthetic, expressive, emotional, social, mythological overtones, anthroponyms, intertextual play, conceptual sense

DOI: 10.7256/2454-0749.2019.2.26188

Abstract: The subject of the study is the work of the famous Christian philosopher St. Ephrem the Syrian, through the theological work of whom Old Russian thinkers obtained gospel truth. In the article, St. Ephrem the Syrian's work the Hymn on Paradise is analyzed, which has not yet been the object of special scientific research. Like many other works of the author, it played a special role in the formation of dogmatic consciousness, in the transfer of theological knowledge, and the establishment of doctrinal truths that influenced the process of formation of Christian ideas about the life of believers. Also, the text in poetic form is not only a Christian picture of the world, but also the famous writer-missal introduces humanity to the divine world order and reveals the mystery of salvation through the revelation given to him.  In the article, the comparative method of research is used, which provides a better understanding of Christian views on the afterlife. The principal conclusion of the conducted research is the fact that prayer and liturgical structure, the analysis of which the article is devoted to, makes it possible to trace the connection that exists between the earthly and heavenly world and testifies to the perfect harmony of being, the purpose of which is the stay of humanity in eternal bliss and finding it in constant communion with God.

Keywords: harmony, universe, structure, interrelation, world, bodily, spiritual, the word, life, death

DOI: 10.7256/2454-0749.2019.1.29134

Abstract: The article is devoted to the analysis of motifs in literary works of J. Albakov. This research proble is viewed as part of the 'motif-and-image' system. The researcher describes the main provisions of the event-related and existence-related approaches to the description of motifs and touches upon an associated problem of the relation between a motif and symbol. The subject of the research is the analysis of particular stages of life that reflect the development of poet's personality. The subject under analysis is the lyrical works of Albakov, the main trends of the development of ideological and thematic orientation, genre peculiarities, poetics and style of Ingush environment from the point of view of modern literary studies. The research is based on empirical methods (observation and comparison) and theoretical methods (comparative history analysis). The aim of the research is to describe the most general themes, ideas and motifs in J. Albakov's poetry. In the course of his research the author has used the comparison and description as the main research methods. The methodological basis of the research includes publicatios of a famous literary critic A. Malsagov. When analysing the poetic texts, the researcher has been able to define national peculiarities of Albakov's perception of the surrounding world and reality, the latter being reflected in his poetry through the ideas and themes he chose as well as genres (tranformation of Ingush literary forms). The novelty of the research is caused by the conclusions made by the author. The conclusions say that the poet had his own singular images and motifs and each motif had a stable set of meanings that were partly inherited by him and partly developed as a result of his long life. Albakov's poetry demonstrated the main trends of the development of Ingush literature of the XXth century, in particular, the search for new expressive means and genres, aspiration for transformation and unique perception of existence. 

Keywords: poetics, thematics, form, idea, motive, theme, style, poetry, motives, images

DOI: 10.7256/2454-0749.2019.2.29401

Abstract: The subject of the study is the grotesque reflections of the occupation period in France in first novels Of Boris Vian. The shocking news about the payments of pensions to collaborators of the Nazi regime to the present day makes us turn again to the topic of the occupation of European countries in the Second World War and actualizes the reflection of this period in the literature. These considerations determined the choice of the author by considering the work of Boris Vian. Firstly, the first novels by Vian were created directly during the occupation of France, and secondly, a writer is known for his non-engagement. For this reason, many scholars of Vian's art do not give a proper evaluation of his political views, describing him as a dreamer, cut off from the war by lively parties and jazz. The methodology of the work is determined by the tradition of historical and literary research: the writer's work is examined in connection with the literary and socio-political process of the era. The novelty of the research is due to the decoding of the deep meanings of the civil identity of the writer encoded in comic grotesque, pataphysically constructed world of his first works. The author of the article concludes that such violent desire to make the reader laugh in his first novels, which reaches a grotesque limit, looks like an attempt, if not to laugh in order not to cry, then certainly to laugh in order not to think. It is shown that Vian will carry the awareness of the war through his entire life even being cut off by non-engagement. The rebellious tendencies encoded in his first novels and which have not received the worthy embodiment in real acts, invisibly become the reason of duality of the personality of the writer, and in some cases and are frankly expressed in his creativity.

Keywords: first novels, pataphysics, comic grotesque, non-engagement, collaboration, occupation, France, coding, Second World War, Boris Vian

DOI: 10.7256/2454-0749.2020.12.34464

Abstract: The subject of this research is the theme of the mission of poet and poetry in works of the pioneer of Yakut lyrics A. I. Sofronov-Alampa. The goal of this article consists in comprehensive analysis of the image of poet in his lyrics. The theme of poet and poetry is traced throughout his artistic journey. Alampa’s poetic heritage features 43 compositions on this topic, which is 12.6% of all his poems. It is noted that the aesthetic views and principles of Alampa were formed under the influence of the poetry of A. Pushkin and M. Lermontov. Reminiscences, constant references to the image of Prophet allow concluding that adoption of traditions of the classics led the poet to portraying the image of the Creator – a mediator between the divine powers and a human. However, the poet took a different approach towards this matter, through the “prism of the spiritual heritage of his nation”, and introduced into his native literature the image of Shaman as the higher force possessing the power of healing and word. Reflecting on the genesis of nature and poetic talent, Alampa refers to the founder of Yakut literature Alexey Kulakovsky as the Shaman – a Creator from God. But first of all, the Shaman at Alampa is a benevolent person – Algyschyt, who heals the wounded and lost souls with power of the word, and guides to the path of happiness. Sofronov grants a special mission and higher purpose to the Shaman-poet – “touch the hearts of the people with the word”.  The scientific novelty consists in the attempts to examine the image of poet in the lyrics of Alampa.

Keywords: Alampa, folkloric origins, mythology, Russian literature, Yakut literature, reminiscence, poet, prophet, shaman, blessing

DOI: 10.7256/2454-0749.2018.3.27418

Abstract: The subject of this research is the means of working with Homeric texts that were used by the impress Eudocia in her poem 'Martyrdom of Saint Cyprian' (V century). According to the author, these means provide an insight into the principles of creative writing of not only Eudocia but all poets of the late Ancient period. Generally, Eudocia demonstrated a very good knowledge of Homeric texts and wide erudition. In terms of morphology, the poetess followed the rules of the Homeric dialect but at the same time understood the high variability of the epic langauge and sometimes broke the rules without breaking the Homeric tradition in general. Eudocia's method of versification sometimes neared the cento method that she also often sued. Using the TLG corpus search system, the author discovered over 150 examples of direct textual concurrences (in this research Alexandrova gives only some examples). The results of the research demonstrate that in Eudocia's text epic formulas could be either used in the same metric position as in the referred Homeric text, or transferred into others. In the Homeric formula, one word could be changed to another that sounded alike but had a better meaning. Thus, Homeric vocabulary can be reviewed taking into account new Christian realities. Archaization tendencies could be observed both in metrics, borrowings of Homeric syncopated forms and frequently used elisions (including those in content words). The scientific novelty of the research is caused by the fact that this is the first research devoted to Homeric borrowings used by Eudocia in her creative writing. 

Keywords: late ancient literature, Christian poetry, archaization, epic formulas, homerism, poetic language, Homer, Martyrdom of saint Cyprian, empress Eudocia, Byzantine literature

DOI: 10.7256/2454-0749.2018.4.27225

Abstract: The subject of the research is the representation peculiarities of the literary archetype of 'liver' in the poetry of a Crimean representative of the ashyk lyric poetry of the XVIIth century, Ashyk Umer. The object of the research is the love discourse of Ashyk Umer. The variety and the depth of the poet's creative style make his lyric poetry interesting for contemporary readers. The aim of this research is to study the literary archetype of 'liver' and to analyze what literary means Ashyk Umer uses to express this archetype in the love discourse. In her article Kadyrova analyzes the use of the archetype in different cultures and provides a linguistic analysis of the 'liver' lexeme as well as discusses examples from somatic phraseological units and folk songs of the Crimean Tatars. The researcher analyzes three examples of Ashyk Umer using the archetype of 'liver' in his poetry: description of liver as a suffering organ; explication of state of the liver that has suffered from his love mater's actions; and description of the stae of liver suffering from wine. The research methodology is based on the structural and functional approach that also implied such methods as analysis, generalisation and synthesis. The rationale of the research is caused by frequent researches on the manifestations of unconscious in the modern world (in the general and particular meanings, such as archetypes, national consciousness of the peoples and ethnic groups) and, consequently, the need to study them by the means of linguistics and literary studies (including Crimean Tatar literature). The scientific novelty of the research is caused by the fact that the author defines peculiarities of the representation of the archetype 'liver' in Ashyk Umer's love poetry and makes a conclusion that in the Crimean Tatar culture, folklore and literature liver is synonymously linked to 'soul' and the use of this literary archetype demonstrates that the poet both related to folklore and had the hidden sufism symbols at the same time. 

Keywords: assonanse, alliteration, sufism, in love, beloved, love discourse, ashyk, archetype, ashyk lyric poetry, Ashyk Umer

DOI: 10.7256/2454-0749.2020.12.34706

Abstract: Within the framework of studying the typological varieties of modern Mari philosophical poetry, this article examines the lyrics of the contemporary Mari poet Nadezhda Emykan (Vasilyeva), particularly the poems from the compilation “I am the Daughter of Spring” (2016), which reflect the philosophical worldview and perception of the author, and in a certain way characterize the lyrical heroine. Research methodology contains historical-typological and structural-semantic analysis of the works, which allowed describing the structural-semantic levels of philosophical problematic, as well as revealing the authorial concept of the world and a human, and the type of lyrical heroine in the poetry of Nadezhda Emykan. The article discusses the fundamental philosophical problems of the lyrics of Nadezhda Emykan. In this aspect, the lyrics of this contemporary Mari poet is analyzed for the first time. It is proven that the philosophical problematic in Emykan’s lyric poetry is rich and diverse, demonstrating lateral thinking of the author, mental and emotional activity of the lyrical heroine. It is concluded that in analyzing various aspects of life, looking deeply into the present, the author of the book of poems “I am the Daughter of Spring” appears in two guises – as a romanticist, who refuses to accept many aspects of modern life, and as the “core” of the current “sinful” world; she understands the complexity of being, preserves her life principles, inner freedom and honesty therein.

Keywords: philosophical problems, artistic concept, philosophical lyrics, Nadegda Emykan, lyrics, modern Mari poetry, Mari literature, lyrical hero, poetics, the image-symbol

DOI: 10.7256/2454-0749.2018.3.26509

Abstract: The article is devoted to the military diary genre in Buryat literature of the Great Patriotic War period. Being both a historical document and work of literature, the diary genre takes a special place in documentary and fiction. The aim of the research is to define particular features of the military diary genre, their documental and autobiographical grounds. The subject of the research is the perception of the war by the authors of military diaries. The object of the research is the Buryat military prose. The rationale of the research is caused by the fact that military diary is quite an understudied genre of Buryat literature. The research material involves military diaries of veteran writers Zh. Tumunov and Ts. Nomtoev. Extracts in the Buryat language are accompanied with their translation into Russian. Teh research was carried out using such methods as the biographical analysis, problem typological, comparative analysis. The research expands our views on the diary prose, in particular, military diary genre. The author of the article concludes that the nature and contents of military diaries in Buryat literature were predetermined by the need to preserve the eyewitness observations and memory of the events.

Keywords: autobiography, documentary, documentary beginning, military diary, genre, Buryat literature, publicism, type of narrative, image of the narrator, fragmentation

DOI: 10.7256/2454-0749.2018.3.26870

Abstract: Out of all the works written by Friedrich Maximilian Klinger, the most famous ones are his early dramas of the Sturm und Drang artistic epoch and late novels inspired by late Enlightenment. The 'transitional' period between them that falls on the 1790s is left practically understudied by the Russian theory and history of literature. To fill in this gap at least partially, the author of the article analyzes two comedies written by Klinger in 1780, 'Prince Silkworm, Reformator and Crown Seeker', and 'Dervish'. These comedies mark Klinger's retreatfrom aesthetics and ideology of the Sturm und Drang. In his research Gladilin used the historical typological research method taking into account attribution of a literary work to a certain artistic paradigm. The author of the article concludes that these plays have an eclectic artistic style that combines the features of sentamentalism, rococo and Englightenment satire, the first play also having the conmmedia dell’arte feature. During that period Klinger's worldview had such typical features as retreat from youthful rigorism and acceptance of imperfection of human nature combined with playful orrational attitude to literature.  

Keywords: irrationalism, enlightenment satire, rococo, sentimentalism, evolution, late Enlightenment, Sturm und Drang, Klinger, playfulness, mask comedy

DOI: 10.7256/2454-0749.2015.3.16190

Abstract: The article is devoted to the analysis of all aspects of the graphical image of an eletronic poetic text. The purpose of this research is to define peculiarities of the interaction between graphical and verbal components in a complex multimedia structure of an eletronic poetic text. The subject of the research is the graphical image of an electronic poetic text, the object of the research is the electronic poetic work 'Entre Ville' written by J. Carpenter. Generally speaking, electronic poetic text is a synthetic product of human creative activity that is created in a specific media environment using flash animation and audiovisual components as essential part of the conceptual component of an electronic composition. The methodology of the research involves an integrated linguo-poetical analysis of an eletronic literary text, in particular, analysis of the following aspects of an electronic composition: genres and themes, the main idea and emotional tonation providing that special emphasis is made on the graphic image including integrated analysis of not only verbal components but also the interface of a composition. The novelty of the article is caused by the nature of the problem statement. For the first time in the academic literature the author views electronic poetic texts from the point of view of their integrated synthetic structure (verbal and nonverbal components). As a result of her research, Kuchina makes a conclusion that graphical elements, audio and video files allow to reveal the content of an electronic poetic text and emphasize the semantics of the verbal component. The results of the research can be used for practical classes on theory and history of the literature of the XXIth century. 

Keywords: electronic poetic text, grafical element, interface, animation, audiovisual component, flash, interactive, verbal, media environment, structure

DOI: 10.7256/2454-0749.2015.3.67171

Abstract: The article is devoted to the analysis of all aspects of the graphical image of an eletronic poetic text. The purpose of this research is to define peculiarities of the interaction between graphical and verbal components in a complex multimedia structure of an eletronic poetic text. The subject of the research is the graphical image of an electronic poetic text, the object of the research is the electronic poetic work 'Entre Ville' written by J. Carpenter. Generally speaking, electronic poetic text is a synthetic product of human creative activity that is created in a specific media environment using flash animation and audiovisual components as essential part of the conceptual component of an electronic composition. The methodology of the research involves an integrated linguo-poetical analysis of an eletronic literary text, in particular, analysis of the following aspects of an electronic composition: genres and themes, the main idea and emotional tonation providing that special emphasis is made on the graphic image including integrated analysis of not only verbal components but also the interface of a composition. The novelty of the article is caused by the nature of the problem statement. For the first time in the academic literature the author views electronic poetic texts from the point of view of their integrated synthetic structure (verbal and nonverbal components). As a result of her research, Kuchina makes a conclusion that graphical elements, audio and video files allow to reveal the content of an electronic poetic text and emphasize the semantics of the verbal component. The results of the research can be used for practical classes on theory and history of the literature of the XXIth century. 

Keywords: flash, audiovisual component, animation, interface, grafical element, electronic poetic text, interactive, verbal, media environment, structure

DOI: 10.7256/2454-0749.2014.3.12353

Abstract:

DOI: 10.7256/2454-0749.2014.3.65664

Abstract: According to the popular opinion, the dialogue of a Russian national poet Alexander Pushkin with a Polish national poet Adam Mickiewicz described in The Bronze Horseman was completed in 1834 when Pushkin wrote his poetic message to Mickiewicz ‘He lived among us…’. However, ‘Mickiewicz’ message’ that involved Pushkin’s perception of the anti-Russian cycle ‘Ustęp’ from the poem ‘Dziady III’ could have been found in later works written by Pushkin. The hypothesis that Pushkin continued his dialogue with the Polish poet in 1834 – 1836 gave a better insight into creative work of Pushkin in his late years. The object of the present research article is the poem ‘Imitation of the Italian’ included in the Kammeny Island Cycle under the Roman number III. The emphasis is made on the conceptual interpretation and intertextual analysis of the ‘Mickiewicz’ message’ as the key to interpretation of the poem. The purpose of the research is to show ‘Imitation of the Italian’ as a poem based on the Evangelic legend about Judas’ betrayal was created by Pushkin in the dialogue with Mickiewicz and involved images from such poems written by the Polish poet as ‘Kondrad Wallenrode’, ‘Dziady III’ and ‘Ustep’. The number ‘III’ in the Evangelic cycle allows to make a hypothesis that the main idea of the poem is that the ‘sinner’ chooses the path of repentance and the ‘apostle’ chooses the path of sin.

Keywords: Pushkin, imitation of the Italian, Mickiewicz, message, Dziady, Ustęp, improvisation, traitor, student, environment.

DOI: 10.7256/2454-0749.2016.3.18208

Abstract: The subject of the work is the artistic means used by Samoylov which are understood as a system of principles structurally organizing his texts. The author conducts a study of the "alien speech" in the texts of David Samoilov in terms of semantic, cultural-historical and philosophical aspects. Trepachko also takes into account the poet's addressing to texts, explanations, plotlines, principles, and techniques that exist in Russian classical literature. The researcher traces back patterns that connect the work of the poet with the works of the authors of Russian classical literature. The author also analyses the development of the poetic style of David Samoilov in terms of contemporary culture as well as the poet's formation of new meanings relevant to cultural-historical space of the XXth -XXIth centuries. Using the methods of comparative-historical, structural and semiotic, historical and biographical analysis of functional units in the intertextual poetry of David Samoilov, the author finds out that there were dialogical relations between the poet's creative work and that of the authors of Russian classical literature. The original approach is the author's approach to interpreting elements of the intertext as values as well as the in-depth study of the "alien speech" from the perspective of semantic, philosophical and cultural-historical aspects. The results can be used during lectures and training on the history of Russian literature of the XXth century as well as specialized courses and seminars.

Keywords: archiseme, allusions, dialogical relations, reminiscence, intertextual field, theoretical literary concepts, 'alien speech', intertext, literary studies, Russian classical literature

DOI: 10.7256/2454-0749.2016.3.68240

Abstract: The subject of the work is the artistic means used by Samoylov which are understood as a system of principles structurally organizing his texts. The author conducts a study of the "alien speech" in the texts of David Samoilov in terms of semantic, cultural-historical and philosophical aspects. Trepachko also takes into account the poet's addressing to texts, explanations, plotlines, principles, and techniques that exist in Russian classical literature. The researcher traces back patterns that connect the work of the poet with the works of the authors of Russian classical literature. The author also analyses the development of the poetic style of David Samoilov in terms of contemporary culture as well as the poet's formation of new meanings relevant to cultural-historical space of the XXth -XXIth centuries. Using the methods of comparative-historical, structural and semiotic, historical and biographical analysis of functional units in the intertextual poetry of David Samoilov, the author finds out that there were dialogical relations between the poet's creative work and that of the authors of Russian classical literature. The original approach is the author's approach to interpreting elements of the intertext as values as well as the in-depth study of the "alien speech" from the perspective of semantic, philosophical and cultural-historical aspects. The results can be used during lectures and training on the history of Russian literature of the XXth century as well as specialized courses and seminars.

Keywords: archiseme, allusions, dialogical relations, reminiscence, intertextual field, theoretical literary concepts, intertext, literary studies, Russian classical literature

DOI: 10.7256/2454-0749.2013.3.9189

Abstract:

DOI: 10.7256/2454-0749.2013.3.63571

Abstract: The article is devoted to the problem of 0-personality (or ‘zero personality’) which is usually put in the following way: is there a narrative form which does not express any information about personal qualities of some actors (characters)? There is no such problem in real life because each person expresses a number of qualities and characterological features. But diegetic persons, both fictional and actual, are a completely different case. 0-personality is typical for all actors (characters) who are only mentioned in a plot. Robert Musil’s novel ‘The Man Without Qualities’ can be viewed as a fundamental attempt to create a character with the zero personality. If this is what Musil’s intention was, it eventually turned out to be a failure because Ulrich’s personality is quite evident. However, Musil very well showed that we tend to interpret the character’s behavior and words in a wrong way if we do not know his motives and thoughts. It means that the terms ‘personality’ and ‘type of personality’ cannot be defined behavioristically even with regard to diegetic persons.

Keywords: philology, psychological literary studies, actor, diegetic person, character, Robert Musil, structuralism, characterological feature, personality, The Man Without Qualities.

DOI: 10.7256/2454-0749.2018.4.22382

Abstract: The article is devoted to analysis of the artistic details in the novel of Fedor Dostoevsky "Crime and punishment". As examples, Kladova discusses such details as the staircase, almost always in the dark; the closet of the main character similar to a coffin but associated with the number "fourteen"; water, blood, clean linen, also having ambivalent meaning; the number "four", "eleven", encompassing sustainable biblical connotations; stone; deceptive objects, phenomena, events (brass bell with a tin sound, the pledge of Raskolnikov, an ax, deceptive plot moves). These elements are analyzed from the point of view of the narrative structure of the novel and the structure of the world created in the novel, particularly its unique chronotope,containing two plans of life, real and must-be. The function of the embodiment of this duality is performed by sybmolic details that arefilled with deep philosophical content accumulating the internal drama of the story, and interweaving individual episodes into a single story of the spiritual fall and the spiritual rebirth of man. The study of the role of artistic details in the novel "Crime and punishment" has allowed a deeper understanding of the message of the author and to reflect on features of the structure of the world created in the novel. 

Keywords: blood, ladder, Raskolnikov, chronotope, Crime and punishment, Dostoevsky, novel, artistic detail, fraudulent items, numeric symbolism

DOI: 10.7256/2454-0749.2018.4.27396

Abstract: Over ten years Alexander Ostrovsky had been searching for the ideal artistic form for his historical novel 'Kozma Zakharych Minin, The Withered Arm'. The historical novel 'Kozma Minin Elected by the Russian Land' contained extracts from different compiled chronicles and was written at the time when Alexander Ostrovsky was just starting his work in this direction. Researches often mention the aforesaid writing of Ostrovsky but have never studied it in detail. In his research Vinogradov provides a detailed description of Ostrovsky's writing and compares it to a chronicle in terms of style, composition and structure. The author comes to the conclusion that at the stage of historical material search and processing Ostrovsky suggests to unfold a bigger artistic scene covering all the milestones of the Time of Troubles. Later Ostrovsky used those extracts to write his chronicle 'Kozma Zakharych Minin, The Withered Arm' as well as other historical novels (Vasilisa Melentieva, Tushino, The False Demetrius and Vasily Shuysky). 

Keywords: Vague time, Ostrovsky, author, text, chronicle, drama, manuscript, Minin, style, fragment

DOI: 10.7256/2454-0749.2018.4.28223

Abstract: The article is devoted to the classification of internal dialogues. The aim of the research is to describe verbal means that are used by the heroes in Vladimir Nabokov's shoft novels including that at the emotive level, dialogue. The subject of the research is the internal speech of characters , forms of speech interacvtion and generalisation s a literary category. The researcher also tries to describe modern literary approaches to this situation and to express means of depicting the communication process. In particular, the researcher focuses on such terms as internal dialogue and monologue and replication. The author has applied structure, comparative and formal research methods. Structuralism as a method allows you to make new discoveries in the structure of the story. The formal method helps to reveal the prosaic form and style. This set is relevant, valid, promising. The importance of studying inner speech is determined by both functional and aesthetic principles. The author has analyzed important details of Ivanov’s personal qualities and came to the conclusion that the hero who have a bigger language personality has unique individual qualities and thus transmits the message of the author. The poetics of “words” and “silence” and intermediate forms within these oppositions in the artistic system of V. Nabokov are not sufficiently revealed in the narrative and metaphysical sense. Identification of the techniques and interaction of the forms of external and internal speech in the story "Perfection" allows for a concrete example to consider the problem of the isolation of the world and the magic of the word, the process of communication and understanding of the characters.  

Keywords: thought process, personal communication, consciousness stream, author-narrator, hidden internal dialogue, obvious internal dialogue, personal internal dialogue, replitsirovaniye, internal monologue, internal speech

DOI: 10.7256/2454-0749.2013.4.7477

Abstract:

DOI: 10.7256/2454-0749.2013.4.63724

Abstract: By analyzing Nathalie Sarraute’s fiction and journalistic writings, Susan Sontag suggests that there should be certain progress in art. Unlike other types and forms of art such as poetry, music, sculpture and fine arts, novel writing has been rather slow in development and is still the same as it was during XIX century. As an example, Susan Sontag analyzes novels written by Marcel Proust, James Joyce, Virginia Woolf and other authors of the French “new novel”.

Keywords: philology, art, modern age, evolution, novel, Sarraute, psychological analysis, reality, immersion, style.

DOI: 10.7256/2454-0749.2014.4.13370

Abstract:

DOI: 10.7256/2454-0749.2014.4.65770

Abstract: The research is focused on Mikhail Kheraskov’s ‘Numa Pompilius or the Flourishing Rome’ (1768). The writing is viewed in terms of the legislative policy carried out by Catherine the Great. The Established Commission for creating the project of the New Establishment has become a general topic in the history of novel. Many Russian researchers of the Russian literature of the 18th century underline that (V. Sipovsky, G. Gukovsky and A. Zapadov) as well as foreign Slavicist researchers (S. Bayer). The fact that the writing was devoted to the activity performed by the Commission in 1766 – 1767 could be explained not only by the times when the work was written and ideological orientation of Mikhail Kheraskov (according to L. Kulakova) but also the peculiar genre of the novel (according to G. Gukovsky). However, despite these traditional approaches, the influence of the main document of the legislative campaign, ‘The Great Nakaz of the Empress’ has never been an individual subject of research. Analysis of the novel in term of Catherine’s Nakaz (1767) gave an opportunity to reconsider established scientific views on the ideological and genre peculiarities of the novel. This approach has allowed to interpret Kheraskov’s writing as a panegyric to Catherine’s legislative initiatives and to understand the role of Kheraskov’s ‘Huma Pompilius’ in the process of creating the state mythology of the period of Enlightened absolutism.

Keywords: Enlightened absolutism, Mikhail Kheraskov, Catherine the Great, New Establishment, legislative policy, ‘Instruction’, Big Commission, utopia, political novel, state myth.

DOI: 10.7256/2454-0749.2016.4.20659

Abstract: The object of the present research is the principles and problems of contemporary literary translation based on the analysis of actual Russian-Azerbaijanian translations. The subject of the research is the origin and stages of the development of Soviet translation studies including the translation theory as an independent scientific concept created in Azerbaijanian literary studies during the Soviet period. The author also pays much attention to the analysis of spiritual and aesthetic functions of a literary text aimed at promoting human morals in the globalizing world. The main purpose of the research is to underline a distinguished contribution of translation to achieving mutual understanding, dialogue and better cross-cultural communication of the two nations that are quite close to each other mentally, Russian and Azerbaijanian. The research was carried out using such methods as analytical-cultural, historical and comparative. Important tools of Russian-Azerbaijanian literary translations of the Soviet period usually receive negative comments. The novelty of the present research is caused by the fact that as a result of thorough analysis, the author provides an objective evaluation of literary translations made by Russian and Azerbaijanian authors, and underlines the positive influence of Russian-Azerbaijanian literary relations. In his article Bagirov proves the mutual contributions and emphasizes the need for such translations not only during the Soviet or post-Soviet periods but also today and in the future. 

Keywords: translation studies, translation equivalence, word-for-word translation, nativism (national peculiarities), text adequacy, cultural relations, literary text, translation theory, cross-cultural communication, translation problems

DOI: 10.7256/2454-0749.2016.4.68540

Abstract: The object of the present research is the principles and problems of contemporary literary translation based on the analysis of actual Russian-Azerbaijanian translations. The subject of the research is the origin and stages of the development of Soviet translation studies including the translation theory as an independent scientific concept created in Azerbaijanian literary studies during the Soviet period. The author also pays much attention to the analysis of spiritual and aesthetic functions of a literary text aimed at promoting human morals in the globalizing world. The main purpose of the research is to underline a distinguished contribution of translation to achieving mutual understanding, dialogue and better cross-cultural communication of the two nations that are quite close to each other mentally, Russian and Azerbaijanian. The research was carried out using such methods as analytical-cultural, historical and comparative. Important tools of Russian-Azerbaijanian literary translations of the Soviet period usually receive negative comments. The novelty of the present research is caused by the fact that as a result of thorough analysis, the author provides an objective evaluation of literary translations made by Russian and Azerbaijanian authors, and underlines the positive influence of Russian-Azerbaijanian literary relations. In his article Bagirov proves the mutual contributions and emphasizes the need for such translations not only during the Soviet or post-Soviet periods but also today and in the future. 

Keywords: translation studies, translation equivalence, word-for-word translation, nativism (national peculiarities), text adequacy, cultural relations, literary text, translation theory, cross-cultural communication, translation problems