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6701 | Fear as one of the key basic concepts of culture has repeatedly become the object of researches by Russian and foreign scientists. A.P. Chekhov, throughout his work, repeatedly addressed the problem of human fears. Let us also pay attention to the fact that in the works of A. P. Chekhov there are more than one work with the word “fear” in the title: these are the stories ‘A Thousand and One Passions, A Scary Night’ (1880), ‘A Terrible Night’ (1884), ‘Panic Fears’ (1886), and ‘Terror’ (1892). As we can see, the writer repeatedly came back to the problem of fear and how fear affects people throughout his whole life. In these stories, “fear” is the basis of the entire narrative, this feeling, starting with the title, is embodied at the compositional and metaphorical levels of the text. At the same time, other works were created during this period, in which the feeling of fear and danger is the basis of the entire narrative, for example, ‘On the High Road’ (1884), ‘Night in the Cemetery (Christmas Story)’ (1886). Finally, the story ‘Terror’ (1892) becomes the culmination of Chekhov’s fear of life. The aim is to identify and describe the typology of the author’s position in relation to the theme of fear in the work of A. P. Chekhov in the 1880s and early 1890s. The main material is Chekhov’s works of the early period of creativity in 1880–1887, dedicated to the theme of fear, as well as the story ‘Fear’ (1892) and the writer’s epistolary. The method of comparative analysis, systemic and narratological approaches to works of art and methodological scientific problems of positional style are used. A comparative analysis of Chekhov’s works ‘A Thousand and One Passions, A Scary Night’ (1880), ‘A Terrible Night’ (1884), ‘On the High Road’ (1884), ‘Night in the Cemetery (Christmas Story)’ (1886), ‘Panic Fears’ (1886), and ‘Terror’ (1892) made it possible to identify a common “resonant” space in the writer’s heritage, dedicated to the theme of fear, which allows us to raise the question of a single author’s position in relation to this topic in line with the scientific problems of Chekhov’s positional style. The early stories ‘A Thousand and One Passions, A Scary Night and ‘A Terrible Night’ are determined by a humorous approach to the “terrible”, but already in 1884, in the small-form drama ‘On the High Road’, fear receives a dramatic embodiment. Important in the development of the theme of fear in 1886 is on the one hand, in the story ‘Night in the Cemetery’ Chekhov returns to the humorous depiction of fear, on the other hand, in the story ‘Panic Fears’ this theme acquires existential meanings, which in the story of 1892 ‘Terror’ grow to the notion that existential fear in human life is total. The methodological approach in terms of Chekhov’s positional style made it possible to identify in his works of the 1880s and early 1890s the typology of the author’s position in relation to human fear. The works united by this problem have similar artistic features: this is the motif of the night, bad weather, internal focalization, due to the fact that the narration is organized in the first person. But in general, in these works, a typology of depicting a feeling of fear is revealed: the author’s position in relation to this topic is determined by humorous, dramatic and existential approaches. Keywords: A. P. Chekhov, fear, author’s position, focalization | ||||||
6702 | The research material is two short stories by the classic of Soviet literature for children Y. Ya. Yakovlev, united by the theme of the Great Patriotic War: “Where the Battery Stood” (1967) and “Ivan-Willis” (1982). The analysis revealed the artistic features of understanding this topic. The writer combines two plans in space-time poetics (the post-war and the military world being restored in memories), the presence of two generations in the character system is significant – veterans and schoolchildren who were born already in peacetime. Yu. Yakovlev uses various techniques to show the process of starting the work of the memory of the war. In the story “Where the battery stood” these are symbolic images connecting war and peace (poplars destroyed by the Nazis and a school bell resembling the sound of a siren); in “Ivan-Willis” – a car that was perceived by the owner, and then by a teenager as a comrade, colleague, songs and even the weather, evoking memories of military events. In the poetics of short stories, the techniques of psychologism are significant (the use of various syntactic constructions to convey the inner state of a character, portrait characteristics and behavior showing emotions, feelings, thoughts and their dynamics). The stories have a weakly expressed plot level, the emphasis is on the inner life of the characters, on changing their consciousness, on the formation of values. At the center of the ideological content of the stories is the familiarization of post–war generations of schoolchildren with the memory of past events, the formation of post-memory (in M. Hirsch’s terminology) and the joint experience of different generations through dialogue, friendship, and common cause. Yuri Yakovlev defends the importance of the idea of the continuity of time, that modern peaceful life has been achieved at the cost of the efforts of the front-line generation. Therefore, it is important for new generations to realize their responsibility to contemporaries and descendants for preserving historical memory. In the texts of Yu. Yakovlev on the Great Patriotic War comprehends the way of formation of the child’s personality and the formation of his worldview through familiarization with the memory of the tragic past of the Motherland and the people. Keywords: literature for children, Yu. Yakovlev, The Great Patriotic War, the theme of memory, post-memory, remembrance | ||||||
6703 | The interest to Gogol’s literature heritage in the literature era of the XX–XXI centuries has been noted by many researchers. Literature scholars are actively introducing into scientific circulation the works of modern authors. They allow to raise the question of the place and role of Gogol’s heritage in the aesthetic search of the literature process of the turn of the XX–XXI centuries. The aim of the study is to analyze the functioning principles of the novel “The overcoat” and its system-forming image of a small man in the works of writers of the turn of the XX–XXI centuries. The novelty of the study lies, firstly, in the comprehension of the material that has not been previously analyzed, and secondly, in the reconstruction of the types, methods and function of the reception of the “overcoat text” in the literary era of the XX–XXI centuries. The works of modern authors were used as material: the chapter “Little Man Tetelin” from V. Makanin’s novel “The Underground or the Hero of Our Time” (1998). Makanin’s novel “The Underground, or the Hero of Our Time” (1998), stories by V. Petsukh “To Nikolai Vasilievich. Demonstration of Possibilities” from the collection “Plagiarism” (2001) and O. Slavnikova’s “CHANEL No. 5” (2009). The selected works belong to different aesthetic and genre forms and the point of convergence between them is their dialogical reinterpretation of the stylistic system of the novel “The Overcoat”, built on the combination of two modes of narration – “mimicry of grief” and “mimicry of laughter” (B. Eichenbaum). It is proved that the stylistic organization of the narrative principles of the novel “The overcoat” has a modeling effect on the works. All three selected authors use direct quotation allusion to the text of Gogol’s novel. The “overcoat plot” is projected by V. Makanin and V. Petsukh to comprehend the fate of the Soviet intelligentsia in the post-soviet realities. The writers record and comprehend the spiritual degradation aand grinding f the Soviet intellectual as a social and anthropological type. O. Slavnikova’s principles of transformation of the “overcoat plot” are connected with the reflection on the ontological value and self-sufficiency of the individual, which are lost in the situation of blurring the boundaries between the material and the ideal, man and thing. The human deformation discovered and explored by Slavnikova is thought of as an unmotivated fundamental property of the world. All three authors are characterized by the actualization of Gogol’s laughter, where the comic and the tragic coexist. Keywords: N. V. Gogol, “Overcoat”, little man, V. Makanin, V. Pietsukh, O. Slavnikov | ||||||
6704 | The article is a part of the complex of studies of Komi children’s poetry. The author characterizes landscape poetry, which, like all Komi literature, is moving in a realistic direction, solving the problems of not only the moral education of the younger generation, but also the formation in young readers of love for their small homeland, for their native nature. The main originality of the works is that they mainly show natural phenomena and objects characteristic of the Komi landscape. The poems depict specific signs of the seasons, which are internally close and understandable to the little reader. The analysis revealed that poetic works are not distinguished by a variety of color elements, which corresponds to the image of the discreet beauty of the northern region. However, the restraint of colors is compensated by the thoughtful sound organization of the verse. The study also showed that comparison and personification are common means of creating imagery in texts, with the help of which poets give the child the opportunity to see the world around him through the eyes of living, speaking nature. In addition, it was found that the poetics of many children’s poems in Komi literature is based on oral folk art. Of course, these lyrical texts cannot be called landscape texts in the traditional sense, since in them the poets do not so much depict pictures of their native land, but rather show the little reader the world around them in a playful way. But it is precisely such poetic works that allow a child to feel himself in the context of nature from childhood. Keywords: Komi poetry, poems about nature, children’s folklore, national picture of the world, educational function | ||||||
6705 | The article is dedicated to the 85th anniversary of the publication of the first edition of A. M. Volkov’s fairy tale “The Wizard of the Emerald City” (1939). The work uses for the first time the handwritten collection of the children’s writer A.M. Volkov, stored at Tomsk State Pedagogical University. Manuscripts allow one to penetrate into the writer’s workshop, to trace the formation and development of an idea and the course of the creative process. A comparison of the structure of chapters in the 1936 manuscript and the 1939 edition made it possible to identify changes made to the composition (deletion, introduction of new ones, merging chapters). In addition, the article provides fragments of manuscripts from 1936, with which A. Volkov planned to supplement the text, but did not include them in the printed version of 1939. Analysis of the drafts gave an idea of A. Volkov’s work with character names. It was important for the writer to find equivalents to the names in F. Baum’s fairy tale, so that they would be understandable to the Russian-speaking reader and optimally reveal the character’s image. The writer worked on the largest number of name options for Scarecrow. Of particular interest is the manuscript of fragments of A. M. Volkov’s play “Flight to Fairyland” based on “The Wizard of the Emerald City”. The manuscript is introduced into scientific circulation for the first time and commented on. The diary entries of A. Volkov and the unusual image of Goodwin in fragments of the play (a black slave Uncle Joe who escaped from an exploiter) indicate that the writer tried to submit to circumstances, adapt to the requirements of censorship, inscribing a fairy tale plot into the traditions of social literature of the late 19th – first half XX century. However, the incompleteness of the play’s concept can be explained by both external (the onset of the “thaw”) and internal (unwillingness to obey the political situation) reasons. The manuscript of “Flight to Fairytale Land” is published in full in this issue of the magazine. Keywords: memorial collection of children’s writer A. M. Volkova, manuscripts, “The Wizard of the Emerald City”, versions of the fairy tale, “Flight to Fairyland” |