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Motive in the Aspect of Historical Poetics // Tomsk State Pedagogical University Bulletin. 2006. Issue 8 (59). P. 120-126

The article of O.N. Rusanova is devoted to tie history of the alteration of the motive organization principles in the literary works of different epochs - folklore, preliterary cultural forms, first literary works and the «new time» and «the newest times) literature.

The Opportunities of Demonstrating the Author’s Self-Demonstration in the Play “The Shadow” Written by E. Schwarz // Tomsk State Pedagogical University Bulletin. 2007. Issue 8 (71). P. 113-119

The article is devoted to the originality of demonstrating the author's basis in the play “The Shadow” written by E. Schwarz. The material of the play is used to illustrate the artistic potential of the epic drama’s motive organization

НЕТ // Tomsk State Pedagogical University Bulletin. 2008. Issue 2 (76). P. 103-105

НЕТ

Keywords: НЕТ

DRAMA AND THEATRE: ARTISTIC SYSTEMS, AUTHOR’S MODELS AND MEANS OF THEIR INTERPRETATION // Tomsk State Pedagogical University Bulletin. 2009. Issue 4 (82). P. 179-181

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Keywords: .

THE MOTIVE COMPLEX IN THE G. GORIN'S PLAY «TIL» // Tomsk State Pedagogical University Bulletin. 2010. Issue 8 (98). P. 127-132

The Article is dedicated to the problem of motive organization of the epic drama. On a material of the Gorin's play «Til» Illustrate as multiple motives thematicly and functionly are unite in a motive complexes.

Keywords: drama, native epic drama, cultural model, motive, motive complex, author, literature of XX cent

THE MODEL OF THE FAMILY IN THE SHVARTS’ PLAY “A STORY OF A YOUNG COUPLE” // Tomsk State Pedagogical University Bulletin. 2013. Issue 2 (130). P. 35-41

The article deals with the last Shvarts’ play “A Story of a Young Couple”. The Polyphonic structure of the play unfolds various manifestations topics of the family. The affirming pathos of the play is determined by the meaning of family values and by individual responsibility of young lovers.

Keywords: drama, theme of the family, literature of the 20th century

THE CONCEPT OF FAMILY IN THE PARADIGM OF ARTISTIC CONSCIOUSNESS AND THE AUTHOR’S MODEL: RESULTS OF THE 6TH NATIONAL WITH INTERNATIONAL PARTICIPANTS CONFERENCE «RUSSIAN LITERATURE IN THE CONTEMPORARY CULTURAL CONTEXT» (TSPU, 13–14TH SEPTEMBER 2012) // Tomsk State Pedagogical University Bulletin. 2013. Issue 2 (130). P. 223-228

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AUTHOR MODEL OF LITERARY TEXT AS A SYNTHESIS OF THE EXPRESSIVE POSSIBILITIES OF THE KIND OF LITERATURE // Tomsk State Pedagogical University Bulletin. 2014. Issue 7 (148). P. 178-185

The article is dedicated to finding new scientific ideas about the forms of contemporary literature. Noting that instead of differentiating, regulatory paradigm of the genre in the nineteenth – XXI centuries comes looser, synthesizing one, the authors propose to consider non-classical, non-canonical works of the newest forms of literature as author’s models. Such model performs the function of genres, but have a new degree of freedom. New degree of freedom is determined by the authors, firstly, by using the product of the expressive possibilities of different genres of the single ancestral paradigm, and secondly, by the orientation not on the form of the genre but on the well-known plot, motive, the situation of the repertoire of world culture or an event of actual reality. Key concepts: the literary kind, genres, non-classical form, the epic and lyric drama, Pushkin, Blok, Mayakovsky, the author's model, the cultural model.

Keywords: literary genus, genres, non-canonical form, epic and lyric drama, Pushkin, Blok, Mayakovsky, creation as the author’s model of the text, cultural model

ABOUT THE PROBLEM OF CONVENTION IN LITERATURE (THE FIRST ARTICLE: HISTORY OF THE QUESTION) // Tomsk State Pedagogical University Bulletin. 2014. Issue 11 (152). P. 9-15

The examined material allows the authors of the article to believe that convention as a concept has arisen relatively recently and as the phenomenon it showed itself always in different ways and in historically varying creation principles of a work of literature as a whole. Actualisation of the discussion of the latter aspect designated differently occurs, as a rule, in situations of social commotion or during the time of renewal of art language. As regards to Russian history of trying to interpret convention, co-authors attach great importance to Pushkin's reflexion in his polemics with Aristotle's followers. In collected articles about new theatre of 1908 and 1914 years, convention means a category and later avant-gardist in their performances of 1920s developed the ideas of Aristotle's followers.

Keywords: “Poetics” by Aristotle, article «About a national drama and the drama “Marfa-posadnitsa” (Martha the Mayoress)» by A. Pushkin, “The Montage of Attractions” by S. Eisenstein, V. Bryusov, V. Meyerhold, V. Mayakovsky, S. Tretyakov, imitation, realism, natura

THE MOTIVE “LEARNER-TEACHER” IN THE PLAY BY E.L. SHVARTS“A STORY OF A YOUNG COUPLE” // Tomsk State Pedagogical University Bulletin. 2014. Issue 11 (152). P. 78-82

The article is devoted to the one of the last plays by E. L. Shvarts “A Story of a Young Couple”). It is devoted to the problem of mutual understanding of loving people, their readiness to build relationship in a family and accept a compromise. The motive “learner-teacher” plays an essential role in the logic of the play. This motive is developing during the act of the play and is linking plotlines of different characters. This motive is shown on several levels: verbal, situational and on the level of the system of characters. The author of the article has tried to analyse the semantic spectrum of the motive. In the post-war time the loss of kin relations is filled up with family creation that is with clan creation. It distinguishes the work of E. L. Shvarts from the Soviet literature representing a family as the state. An important psychological, social and ontological role is played in this case by “teachers” who are keepers and propagators of life values. The followers are represented by people of young generation who have already created families or who are on the way toward it. The teachers are people of older generation (tutors, fellow workers, casual acquaintances and also come to life toys, the appearance of which attaches fabulousness to the play.

Keywords: drama, motive, act, dramaturgy of Shvarts, literature of XX century

“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

CONTEXTUAL READING OF THE PLAY BY ALEXANDER VAMPILOV “LAST SUMMER IN CHULIMSK” (PART 1) // Tomsk State Pedagogical University Bulletin. 2017. Issue 11 (188). P. 203-210

A comparative analysis of the following plays: Vampilov’s Last summer in Chulimsk and Shakespeare’s Romeo and Juliette is conducted. The relevance of the paper is defined by revealing of contextual connections of works of the domestic playwright with the world literature. This direction is intensively developing in modern literary criticism; on the one hand, it defines continuity of the creative search, on the other hand, it defines the individual creative manner of the writer and his or her creative tasks. The analysis of the transformation of a Shakespearean plot shows the possibilities of polysemantic interpretation of the play of the modern playwright. The author of the article considers mechanisms of change of the subject scheme about a young couple in love, functions of the characters, typology of images of the characters. Unlike the writers underlining the presence of “another’s plot”, Vampilov creates extremely realistic works. Nevertheless, the system of subject motives (confession of love, compelled parting, an intercepted note, undesirable matchmaking, duel of contenders etc.) allows us to reconstruct an initial Shakespearean plot in Vampilov’s play, to reveal literary implied sense. An art strategy of the writer is the refusal of the direct following to the logic of the known plot, the use of recognised plot situations, details, remarks as initial for inversion development of the action and opposite motivation of heroes’ behaviour. It allows us to prove the internal creative reasons of occurrence of the second (final) edition of the play – the play with the new name and change of the tragic ending.

Keywords: domestic drama of 1970-ies, the literary context, Shakespeare, transformation of the plot

CONTEXTUAL READING OF THE PLAY BY ALEXANDER VAMPILOV LAST SUMMER IN CHULIMSK (PART 2) // Tomsk State Pedagogical University Bulletin. 2018. Issue 2 (191). P. 204-210

The second part of the article presented in this publication continues the discussion about the contextual study of the play by Alexander Vampilov Last Summer in Сhulimsk. The study is based on the criticism methodology of studying of the literature that is relevant in contemporary literature and reveals the themes, problems, plots, motives common for the world literary space. The author’s model of the play by Alexander Vampilov, who worked in the tideway of a nonclassical art paradigm, is based on the free variation of elements of known plots (in particular, the above mentioned Romeo and Juliet) which act here as a cultural model. The most attention in the article is given to the devices of disclosing of the semantic potential of images of the main characters – Luka and Yeremeyev, to determination of their functions in the logic of the action and the location in the system of characters. It is noted that its characteristic feature is the multiple-level system of the action consisting of a set of plot lines, each of which has its reference, thus following to the literary model is obviously broken. The systematic displacement of accents in the solution of «another’s» plot allows one to build the author’s original concept of a person and the world.

Keywords: Russian dramatic art of the 1970th, literary context, text structures producing the meaning, system of images, functions of heroes

DIPTYCH BY OSIP MANDELSHTAM “I GOT LOST IN THE SKY …”: MODULATIONS OF THE LYRICAL PLOT // Tomsk State Pedagogical University Bulletin. 2019. Issue 9 (206). P. 136-146

The research contains an immanent analysis of the lyrical microcycle of the late period of work by Mandelshtam “I got lost in the sky – what shall I do?”. The creative world of the diptych is analysed by the authors of the article in dynamic aspect, in connection with the stages of the development of the lyrical plot of search of the true way. Special attention is given to not only poetics (figurative language, prosody aspects), but also to interpretations of intrinsic antinomies reflecting world outlook dominants (sky – earth, life – death, eternal – present and others). Besides, the literary allusions playing an important meaning-forming role in the poems by Mandelshtam are revealed. As a literary pre-text “The Divine Comedy” by Dante Alighieri is considered. As a result of a consecutive comparison of the basic images, verse features and logic of expansion of the plot, the main principle of cyclization – modulation of the meanings within the limits of the key topic is found. A similar creative move reflects the uncertainty of reflexions and moods of the poet caused by complex life circumstances. The lyrical hero has an aspiration to renounce “down-to-earth” problems, to find the true way. Familiarizing with eternal art, service to the people becomes the result of this way. The article is addressed to all interested in Russian poetry of the Silver age, in particular in works by Osip Mandelshtam as well as to the experts-philologists, concerned with poetics of a lyrical text.

Keywords: lyrics by Mandelshtam of 1930s, lyrical plot, Dante, meaning-forming text structures