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On the Genre Definition of the Detective Prose by A. Marinina // Tomsk State Pedagogical University Bulletin. 2006. Issue 8 (59). P. 99-105

The article of J.O. Tehernyavskaya presents an attempt to define the genre of A. Marinina's detective prose in terms of typological systems of the Industrial novel, women's (rosy) novel and classical detective novel, which testifies for the renovation of the traditional forms of the classical detective prose.

TRADITION OF THE GENRE IN A DYSTOPIAN NOVEL BY V. PELEVIN “S.N.U.F.F.” // Tomsk State Pedagogical University Bulletin. 2013. Issue 2 (130). P. 64-68

In the novel by V. Pelevin there ironically reinterpreted the genre clichй dystopian novels of the 20th century, played upon their images, plot lines and motifs. For example, the motives of the “old house”, manuscript, struggle based on the confrontation of individual and collective, spatial isolation, etc. are shown. All this evidences the viability of dystopian rootedness and tradition in modern literature.

Keywords: dystopia, utopia, novel, a genre template, the motive of the manuscript, parody, V. Pelevin

THE NOVELLA OF VIL LIPATOV “BACK BEFORE THE WAR”: STORY OF PERSONAL SELF-DETERMINATION IN THE CHRONOTOPE OF A KOLKHOZ VILLAGE // Tomsk State Pedagogical University Bulletin. 2015. Issue 6 (159). P. 201-207

In his novella “Back Before the War” (1971) Vil Lipatov follows the traditions of «kolkhozny novel» and soviet mass culture of 1930s–1950s when creating the image of a taiga village Ulym. Using archaic motifs and images including ones connected with an initiation ceremony such as a house in the forest, a substitution fiancé, an orphan, the prodigal son, the author builds the cyclic model of patriarchal world and combining the idyllic topos simultaneously with the idea of pagan paradise, myth of self-sufficiency of a patriarchal village and soviet mythologems. The myth, which is a fundamental principle of the story, makes the peaceful coexistence of all three layers possible. The main character of the novel – a carrier of the individual conciseness – goes through some kind of initiation, becomes familiar with the natural, eternal forms of objective reality and at the same time she goes out of the borders of the idyllic chronotope while leaving the exclusive world the main goal of which is birth of children.

Keywords: novella, Vil Lipatov, idyll, “Back Before the War”, chronotope, folk motif, initiation, “kolkhozny novella”, a house in the forest, orphan, the prodigal son

“I LIVE UNEASILY…” FOR THE ANNIVERSARY OF PROFESSOR VALENTINA GOLOVCHINER // Tomsk State Pedagogical University Bulletin. 2015. Issue 6 (159). P. 237-243

The article is devoted to the professional pedagogical and scientific work of the Honored cultural worker, Doctor of Philology Professor Valentina Yegorovna Golovchiner. We present the main areas of her work (theory and history of drama, history of Russian literature of 20th century). We reviewed the most important papers in the sphere of study of epic drama in Russian literature of 20th century; cover the research of the works of Alexander Pushkin, Maxim Gorky, Vladimir MayakovskiY, Yevgeny Shvarts, Nikolay Erdman and others. Also we bring out the articles on topical theoretical problems of contemporary study of literature. We mention the merits in the area of theatre critics and also the merits during the many years of teaching at the Tomsk State Pedagogical University. The authors of the article express their thanks the Professor for fruitful collaboration, guidance and friendly attitude to the colleagues and students.

Keywords: anniversary, Doctor of Philology Professor Valentina Yegorovna Golovchiner, theatre critic, scientific works

IMPORTANCE OF FOLKLORE PRACTICE IN THE TRAINING OF BACHELOR STUDENTS OF PEDAGOGY WITH EDUCATIONAL PROGRAM SPECIALIZATION IN LITERATURE // Tomsk State Pedagogical University Bulletin. 2015. Issue 12 (165). P. 125-128

The article analyses the final reports of bachelors of the Faculty of History and Philology of the Tomsk State Pedagogical University on educational folklore practice. The author shows that educational folklore practice develops ability to come into contact with people; teaches to develop any forms of cooperation; brings up respect to folk art. The difference of educational practice for bachelors consists in that the students should draw up the final report representing the analysis of all kinds of activity: methods, ways of achievement of tasks; connection of practice with the theoretical course; conclusions about the results of practice and about the prospect of further work; offers and recommendations about the organization of practice. Works of the majority of students testify to their readiness for independent research work and can become a basis of a scientific article or a course work. As a whole, folklore training of 2015 passed successfully. Students received experience as collectors of folklore, learnt to come into contact with bearers of folklore, deepened their theoretical knowledge in the subject “Oral folk arts”, learnt to make reports according to new requirements of Federal State Education Standards, to search and review the literature on the topic, acquired skills of research work and participating in conferences.

Keywords: folklore practical training, oral folk arts, children folklore, Federal State Education Standards, analysis of folklore

“VILLAGE DETECTIVE” BY VIL LIPATOV AS A PARODY OF A POLICE NOVEL // Tomsk State Pedagogical University Bulletin. 2016. Issue 3 (168). P. 135-139

In the story by V. Lipatov “Village Detective” (1968) used the comic techniques dating back to the tradition of folk culture, especially folk farce performances. V. Lipatov uses theatrical techniques to visualize what is going to make it more clear and visible. The story is written by the laws of drama and the script with a carefully prescribed staging, replicas, author’s remarks. Some comic scenes are a cascade of tricks performed in accordance with the tradition of “clownish actions”. The story consists of comic scenes which represent the cascade of the tricks executed according to the tradition of a comic short story which prominent features are: use of colloquial lexicon, a combination of incongruous words and concepts; paradoxical logic; parodying of traditional detective clichés; theatrical gestures, facial expressions; everyday lowered situations.

Keywords: V. Lipatov, “Village Detective”, popular culture, mass culture

COSMOGONIC MYTH IN ‘THE TALES ABOUT IGNASUIS THE CAT, FEDYA THE CHIMNEY SWEEP AND THE LONELY MOUSE’ BY L. ULITSKAYA // Tomsk State Pedagogical University Bulletin. 2016. Issue 11 (176). P. 143-147

‘The Tales about Ignasuis the Cat, Fedya the Chimney Sweep and the Lonely Mouse’ (2004) by L. Ulitskaya is a book published in a format of a children’s book, but it has implied sense addressing to an adult reader. Intertextual code in ‘The Tales …’ allows us to find out references to cosmogonic myths. The main character acts in the following roles: a demiurge trying to create her own cosmos (organized reality), a lonely woman trying to overcome her loneliness, and at last a recognizable character of folklore fairy tales who does not possess the abilities necessary for a cultural hero which leads to a catastrophe. Man-made demiurgism of the Little Mouse is held in derision. Also, ‘The Tales …’ itself is read as a work about overcoming the loneliness and about finding of the family. At the base of the author’s concept lays the idea about a wise world structure where even annoying accidents help to acquire harmony and happiness.

Keywords: fairy tales of L. Ulitskaya, literature with double addressing, modern children’s literature

FEATURES OF ART SPACE IN S. K. DANILOV’S STORY FAIRY TALE “THE PRINCESS AGASHKA IN THE COUNTRY OF UNKNOWN ANIMALS” // Tomsk State Pedagogical University Bulletin. 2017. Issue 2 (179). P. 102-107

The article is devoted to the research of methods of creation of art space in S.K. Danilov’s story fairy tale. The real space representing a corner under the ladder of the old wooden house is transformed in the character’s imagination into the special fantastic world, in which the fragments of memoirs and unsystematized data on the world around are weaved. Adventures of the character are connected with movement in space, overcoming barriers, that is characteristic of the folklore fairy tale. The character seeks to order the surrounding chaos of the spatial objects which resist ordering: fantastic space is imitative, and its structurization is impossible by the principles of the real world. The space is directly connected with the character creating by means of her imagination of the whole world inhabited by magic beings and having recognizable fantastic topoi (kissel swamps, dairy rivers), realities of the modern world (an old shed, Tverskaya Street). In consciousness of the child they are allocated with fantastic functions. The space of the Country corresponds to archetypical models: the open space is opposed to the closed one. An important role in the spatial model carries out the opposition “top-bottom”. The plot of the magic fairy tale connected with an initiation ceremony receives reconsideration in S. K. Danilov’s fairy tale. Having found the sacral knowledge in a “dark-dark” corner under the ladder connecting different spatial levels, having in parallel experienced imaginary death – initiation in the Ragman’s shed, having received sacral knowledge in an underground cave of kigol, the character breaks a spatial impasse and cheerfully runs up, overcoming the hopelessness of the “lost” place.

Keywords: S. K. Danilov, “Princess Agashka”, children’s literature, story-tale, literary regional studies

IMAGES OF TOYS IN MODERN SIBERIAN PROSE FOR CHILDREN (BY THE WORKS OF S. K. DANILOV “THE PRINCESS AGASHKA IN THE LAND OF UNKNOWN ANIMALS”, V. V. SHKALIKOV “PEGASUS”, Y. S. BURKIN “THE YEAR OF THE PRINCESS OF BUKASHKA”) // Tomsk State Pedagogical University Bulletin. 2017. Issue 11 (188). P. 211-217

The article contains the analysis of the images of toys in the works of Siberian writers of the beginning of the XXI: the story-tale “Princess Agashka in the Land of Unknown Animals” by S. K. Danilov, “Pegasus” by V. V. Shkalikov, “The Year of the Princess Bukashka” by Yu. S. Burkin. A toy, which has the oldest origin and combined ritual sacral, playful, psychological functions, is one of the classic images of children’s literature. All these properties are reflected in different ways in the works of the Siberian authors. In the story-tale by S. K. Danilov the old toys serve as assistants, guides, custodians of knowledge, as a mirror image of the inner world of Agashka, and also personify the state of abandonment and desolation, thereby contributing to the formation of important personal qualities of the main character. Old dolls, personifying true values (kindness, friendship, charity) are contrasted with Cindy dolls, symbolizing the values of the era of consumption. Overcoming the temptations associated with the problem of choosing life ideals, Agashka leaves the Playground of the Land of Unknown Beasts and goes to the real world with a personality. In the “Pegasus” by V. V. Shkalikov in the image of a wooden saltcellar are found the oldest solar images-symbols (winged horse, bird), which have important cultural and historical significance. The act of creating a toy made of natural material leads to the awakening and, in a literal sense, the revitalization of inanimate material, becomes the impetus for inducing heroes to search for the meaning of existence. In the cycle of stories by Yu. S. Burkin “The Year of the Princess Bukashka” the toys perform an important function of the amulet. In addition, references to classical children’s literature-works by L. Carroll, S. K. Lewis, A. N. Tolstoy, Sasha Tcherny, A. Barto, etc. are found in the works of Siberian authors.

Keywords: S. K. Danilov, V. V. Shkalikov, Yu. S. Burkin, “Princess Agashka in the Land of Unknown Animals”, “Pegasus”, “The Year of the Princess Bukashka”, children’s literature, images of toys

ART ORIGINALITY OF “HORROR STORIES” BY RONSHIN // Tomsk State Pedagogical University Bulletin. 2019. Issue 6 (203). P. 77-86

Introduction. Valery Ronshin’s works belong to the phenomenon of the two-address literature, i.e. they are focused on children’s and adult audiences and contain considerable pedagogical potential by actualizing important moral and ethical problems for the education of teenagers and children. On the other hand, the simplified form of narration that does not require reader’s considerable intelligent efforts, as well as the use of devices of the popular literature show the author’s attempt to entertain, amuse the reader. The aim of the work is to analyse Ronshin’s “horror stories” and to prove that his works concern popular literature. Material and methods. The material of the research is the works by Ronshin written in the genre of “horror story” (by the author’s definition). In the paper, the methods of comparative and motive the analysis are used. As a theoretical base, the works of Russian literary critics were used: E. M. Meletinsky, M. A. Chernyak, O. N. Grechina, M. V. Osorina, E. A. Polevaya, A. I. Kulyapin. Results and discussion. Valery Ronshin uses images, motives, genres of traditional folklore (a horror story, a fairy tale, a joke, sadistic rhymes) that are familiar to each reader since childhood. In such a way, the author accomplishes, firstly, the effect of the recognition facilitating the reader perception of similar works, secondly, the task to entertain is realized. In spite of the fact that Ronshin’s books are focused on the children’s audience, which is shown by a colourful cover, illustrations in “naïve” or children’s style, the use of traditional children’s folklore genres, his works are addressed to the adult audience as they contain the elements of black humour, the comic devices that are aimed at adults (alogism, devices of discrepancy of the used means, discrepancies of hero’s behaviour to the circumstances, invectives), elements of physiologism. The central problem of the analyzed works is a pedagogical incapacity of parents, unreadiness to the dialogue with children. Conclusion. Valery Ronshin creates works actualizing important educational problems, uses formulas and devices of folklore genres with the purpose to amuse, entertain the reader. His stories should be attributed to the phenomenon of popular literature that inherently aimed at entertainment, escapism, the use of traditional plots and genres.

Keywords: Valery Ronshin, scary stories, horror stories, literary fairy tale, two-address literature, children’s literature

ARTISTIC AND IDEOLOGICAL-THEMATIC ORIGINALITY OF THE NOVELLA BY EVGENY VODOLAZKIN “CLOSE FRIENDS” // Tomsk State Pedagogical University Bulletin. 2020. Issue 3 (209). P. 63-71

Introduction. The novella by Evgeni Vodolazkin “Close Friends» hasn’t yet attracted close attention of literary critics. In our opinion, an important role in the novella is played by the historic, literary and culturological context which has not become an object of special research. The analysis of intertextuality will allow us to reveal a wider problematics of the work than that shown in plot logic. The aim of the work is to investigate the artistic and thematic originality of the novella “Close Friends”. Material and methods. The paper uses comparative, contrastive, historical and cultural methods. As a theoretical base, works of Russian and foreign literary critics were used. Results and discussion. Intertextuality and historical and cultural context are the basic ways of disclosing the problematics of the novella. The works mentioned in the text (“Death in Venice” by T. Mann, “The Sorrows of Young Werther” by J. W. Goethe, etc.), elements of ceremonial games (initiation) help to understand what is happening in the consciousness of the hero and which experiences become defining for him. Allusion plan of the novella allows us to find deeper sense and to correlate the problematics of “Close Friends” with a certain literary context in the everyday actions of characters. Conclusion. In the work, we can define several levels of narration: symbolical, historical and that of everyday. At the everyday level, Ernestina’s behaviour and actions are illogical and inconsistent: while demanding to keep the oath from the friends, she breaks it, being guided by the not realised desires and physiological requirements. At the symbolical level, Ernestina is the carrier of secret knowledge, and her actions are dictated by the aspiration to preserve the family, procreate, which turns her into the embodiment of creating forces of nature. Ralf is a carrier of historical knowledge and, consequently, comprehension of historical guilt of Germany towards Russian people. The fulfilment of the childhood oath protects him from the chaos of life, fills the life with sense. The final reunion of the dead and alive on the cemetery – on the locus of the sharpest historical and cultural experiences – symbolises the unity and continuity of the generations resisting to the disaster of separation, and, consequently – overcoming the disintegration, destruction.

Keywords: the novella story “Close friends”, Evgeny Vodolazkin, modern Russian literature, literary context

TRANSFORMATION OF FOLKLORE TRADITION IN SMALL PROSE BY SERGEY SILIN // Tomsk State Pedagogical University Bulletin. 2021. Issue 1 (213). P. 104-113

Introduction. Sergey Silin’s small prose has not yet been sufficiently researched by literary critics, but it arouses interest among readers of different ages and can be attributed to dual addressed literature. The study of the writer using the techniques of sadistic poems, horror stories and jokes contributes to a deeper understanding of the main trends in modern Russian prose. The purpose of the article is to reveal the genre originality of small prose by Sergey Silin. Material and methods. Theoretical basis for the study were the works of folklorists E. M. Meletinsky, E. Kurganov, O. N. Grechina, M. V. Osorina and others. The research material is short stories and horror stories by S. Silin (“The Fatal Five”, “The Fatal Four”, “Don’t Drown Five Graders!”, “Sambo Lesson”). Result and discussion. The analysis revealed the characteristic features of Silin’s small prose. In his work the author transforms the techniques of urban folklore genres: scary stories, sadistic poems, jokes. Conclusion. S. Silin’s works are dually addressed: not only to children, but also to adults. In his works, the writer uses techniques typical of urban folklore genres – they reflect the cynical attitude to death which is characteristic of sadistic poems; the use of clericalism; the absence of a clear confrontation between good and evil; the division into «good» and «bad» characters; the catharsis is replaced by a humorous ending; the idea of retribution is replaced by a paradoxical ending which emphasizes the immutability of what is happening. The stories most often have a circular composition, indicating that the main conflict of the work remained unresolved.

Keywords: Sergey Silin, children’s literature, transformation of folklore genres, horror story, sadistic poems, joke

IMAGES OF ELEMENTS IN THE CYCLE OF L. GORALIK ABOUT VENISANA // Tomsk State Pedagogical University Bulletin. 2021. Issue 6 (218). P. 144-151

Introduction. The article reveals the specifics of the archetypal images of earth, water, and air in L. Goralik’s trilogy about Venisana, which, in our opinion, contributes to a deeper understanding of the main trends in the development of modern Russian-language prose. The purpose of the work: to reveal the originality of archetypal images in L. Goralik’s cycle about Venisana. Material and methods. The theoretical basis of the research was the works of Russian structuralists and mythologists. The research material is L. Goralik’s trilogy about Venisana. Results and discussion. The analysis made it possible to identify the characteristic features of archetypal images in the L. Goralik trilogy. The images of stone, earth, water, air reveal their symbolic nature, reflecting the inner movement of the heroine in search of finding the meaning of her existence, at the same time, revealing the deep desire of the individual to change a destructive, unstable society. Conclusion. The author is involved in a postmodern game with the text, plays with meanings, so that the plot that unites the trilogy into a whole can be interpreted as 1) the story of the heroine’s growing up; 2) transformation of the fairy-tale plot of the journey to the afterlife; 3) the struggle of the conscious/unconscious. The text of the trilogy is a step-by-step analysis of the spiritual life of the main character, trying to find her place in a destructive society and her own family, burdened with an analysis of her own frustrations and, first of all, the drama of birth. The heroine is bound by the laws of the stone, unfree world, trying to escape into the space of freedom, relive the euphoria of birth, which ends in disaster – the newfound freedom discourages with its alienation and emptiness. The scenario with some variations is repeated several times throughout all three stories included in the cycle. The lack of freedom associated with the world of the city (stone), depending on the situation, turns out to be hostile (at the beginning of the quest), and desirable at the end. The return to the usual way of life is again replaced by the desire for freedom and leads to the next round of transformation.

Keywords: Linor Goralik, children’s literature, teenage literature, fantasy, “Cold Water of Venisany”

THE PECULIARITY OF THE CHARACTER SYSTEM IN L. GORALIK’S CYCLE ABOUT VENISANA // Tomsk State Pedagogical University Bulletin. 2022. Issue 3 (221). P. 142-150

Introduction. In the analyzed cycle, L. Goralik actualizes complex problems of modern children’s literature, among which the following can be distinguished: the problem of the relationship of generations (“fathers and children”), the attitude to death, the understanding of one’s own identity, ways of knowing the surrounding world. The purpose of the work is to characterize the system of characters in L. Goralik’s cycle about Venisan. Material and methods. The works of Russian structuralists, folklorists, and mythologists were used in the work. Results and discussion. The cycle about Venisan presents a rather complex and diverse system of characters, among which one can distinguish heroes-helpers, pests, mythological characters. Pests, like assistants, serve the purpose of plot development, helping the main character to go beyond the usual existence. Mythological characters contribute to the development of the inner world of the heroine, i.e. they largely determine the inner plot of the main character’s growing up. Conclusion. The cycle about Venisan can be attributed to the fantasy tradition, however, attention to the complex inner world of a child trying to survive in a terrible world complicates the problems of the work. L. Goralik uses mythological images to create the inner world of a girl who intuitively tries to figure out the ontological problems of life and death, the meaning of her existence. If in fantasy literature for this purpose there were heroes-helpers (sages) who give answers to difficult questions, then Agatha finds herself face to face with a hostile and complex world order in which communication with adults only complicates the situation: adults demand help (mother), make them suffer (father), threaten life (smugglers, “merry men”, etc.).In an unhealthy and hostile atmosphere, children try to come up with their own explanation of what is happening (rumors, scary stories), learn to mimic (invent a secret language). Agatha, unlike most children, develops the ability to intuitively comprehend the truth about the world through mythological images that appear to her in dreams, memories, sensations.

Keywords: Linor Goralik, children’s literature, teenage literature, fantasy, “Cold Water of Venisany”, character system