卷 16, 编号 3 (2018)

The researchers of Turgenev’s writings have gained a significant experience while studying and interpreting the semantics of various components of the artistic world of the writer. For a long time the main accent was focused on the problems of identifying the features of the reconstruction of the heroes and characters of Turgenev’s prose. At the same time, in the latter half of the last century considerable efforts were put to determine the place and functions of the space-time structure, its visual segment (including the coloristic one), as well as the peculiarities of the olfaction sphere. However, the role of the sound scores within the boundaries of Turgenev’s poetics was studied only sporadically. Meanwhile, the sound code in the “The Hunting Sketches” cycle is of great importance. The structure of this component of the common picture of the world consists of a few levels; each of them has a certain hierarchy inside. At the natural level the sounds of fauna predominate with the predominance of birds’ voices, that conveys the semantics of the air and freedom. The noise element of the depicted flora is based on pantheistic principles with an emphasis on aesthetics and metaphorization. Within the social sound code the cultural paradigm occupies a special place with a clearly marked musical-vocal series that results in a special plot with the apogee in the story “Singers”. Finally, a number of «mystical» sounds complement the complex picture of the national cosmos, as perceived and portrayed by Turgenev in its prosaic cycle.

The marginalia of readers are an indispensable attribute of book culture. They reflect a critical attitude to the main text, not only to someone else’s, but often to their own. Analysis of marginalia is important for the study of the biography of historical figures and writers: their marginal notes, critical judgments, polemics, comments and additions reveal their identity as readers. Marginalia in a personal handwritten text have a special status. The main part of Dostoevsky’s creative process is a sheet, a page, sometimes a center spread. His manuscripts are mostly dominated by editorial and creative comments. They have different functions in the structure and composition of the text. In their interaction appears a new semantic unity. Field marks enrich the main text with new meanings and nuances. In the marginalia, there is a parallel development of the topic, a methatext is formed in relation to the main text. Modern publishing activities ignore marginalia. It is necessary to keep marginalia published in handwritten works of writers.

The peculiarity of S. Lagerlöf’s artistic concept is the coexistence of myth and literature, folklore and Christian tradition, fiction and reality, mysticism and psychology within one text. The research aims to use the motive analysis to trace the peculiarities of the interrelation between folklore and Christian tradition in The Ring of the Löwenskölds trilogy. The first part of the trilogy (“The Ring of the Löwenskölds”) focuses on the folklore demonological story and at the same time the Gothic novel of the late 18th century; the second part (“Charlotte Löwenskölds”) corresponds to the wedding ritual tradition and at the same time implements the genre and stylistic features of the romantic psychological novel of the first half of the 19th century; the third part (“Anna Svärd”) transforms the folklore fairy tale tradition into a literary neoromantic novel of the second half of the 19th and beginning of the 20th century, taking into account the realistic literary experience. S. Lagerlöf leads her reader through the history of Swedish (and even wider — European) culture and along the way of the Christian Transformation, from the subjugation by the passions in the first part through self-sacrifice and love in the second part to acceptance of the world and humility in the third part.

The given article deals with an important feature of the poetic pattern of Leonov’s literary texts: intertextual intensity, the use of allusive words in the narration. There is an intensive use of the “alien word” in the novel “Russian Forest” (“Russkiy les”). The source of allusions in the novel is quite extensive: the Bible, ancient mythology, history, fairy tales, works of world fiction, etc. While referring to Leonov’s novel “Russian Forest”, it is next to impossible to notice a variety of external and hidden, deep literary reminiscences, allusive and ekphrastic elements bringing the image of Leonov to a certain tradition. The names of famous philosophers and eminent figures of different epochs, associations with the images of Russian writers, references to archipopular and little-known literary works, poetic quotations saturating Leonov’s text reveal spiritual aspirations and strengthen the life philosophy of the characters of the “Russian Forest” and form Leonov’s thoughts into a single and indivisible physical and the spiritual world. The purpose of the article is to analyze the manifestation of allusions in the novel by Leonov “Russian Forest”, to reveal the forms of allusive and ekphrastic elements and to determine their role in the novel. The associative and ekphrastic elements in Leonov’s text fulfill the function of overcoming the one-dimensionality of the novel content. The transformation of the figurative system with the help of ekphrasis fills it up with a philosophical, historical and cultural sense highlighting the writer’s idea of the symbolic. Myth and symbol in the novel “Russian Forest” are the main means of expressing the author’s literary philosophy. Besides, the article in question touches upon a problem of arts fusion in Leonov’s works, in particular synthesis of literature, painting and music as well as a problem of relation between the visual, musical and verbal. It is necessary to note that Leonid Leonov appears as a writer with a clear visualization of the worldview and a poetic word accordingly. As for musical associations, they create a unique musical background that helps the writer reveal characters’ temper and their psychological conditions.

The article contains analysis of E. R. Dombrovskaya’s creation, which the writer classifies as metanovel. The main part of the plot, tied to the story of the character’s personality development as well as his ascetic experience and the comprehension of Chekhov’s phenomena, is unveiled as the “bringing up novel” and the character’s “spiritual wanderings”. “Moving” the reader from the spiritual depths to the sphere of creativity, philosophy and literary criticism, the writer accurately follows the criteria of spiritual experience. Such methodology helps to see Chekhov as a true Christian writer. Author’s thoughts on spiritual wholesomeness of the process of creative exploration of classicist’s artistic heritage, on the gradual increase of his level of understanding is emphasized by the key image of evangelical seed. Eploration of the Chekhov’s creations is completed by combining literary and personal / family realities. Family novel, rich with content, is connected with problematic aspect (the struggle between family as a little chirch and the world) and the aspect of intonation (tenderness) of the book. Including numerous genre types and modelling the situation of the spiritual — artistic process, Domrovskaya’s book is internally wholesome, which is reached by the author’s position and strictly measured evangelical tradition. It is a rare for the modern literature Christian metanovel.