romanticism

The article considers the theme of childhood and the specific features of its representation in the Mémoires d’outre-tombe by F. R. de Chateaubriand and Histoire de ma vie by Georges Sand. Childhood is seen as an integral structural element of the self-narrative, the artistic concept of which is formed in the context of the era and the existing literary tradition.

The article analyzes the transformation of a literary work by one of the founders of American Romanticism into a post-modernist film canvas. Materials for the analysis are a short story by Washington Irving, «The Legend of Sleepy Hollow» (1819) and a Tim Burton film, «Sleepy Hollow» (1999).

In the present article it is attempted to substantiate analytically the elements of literary prototypical features of the title characters of M. Yu. Lermontov’s novel «Princess Ligovskaya» and the novel «A Hero of Our Time» as related to the main character of the novel by V. Ropshin «The Pale Horse». George’s individualism, the representative of the 1900s and the head of the terrorist group, goes back to the romantic individualism of Lermontov’s namesake hero and his follower – a «hero of the time».

The article deals with the theme of death in «Les mémoires d’outre-tombe» by F-R. de Chateaubriand in the light of his concept of life, religious beliefs and tradition of autobiographical narrative in French Romantic prose

The article belongs to a series of articles entitled «The portrait of N.A. Polevoy in literary memoirs of the 1850-s – early 1860-s», already published by different scholarly publications. Well-known memoirs from the period, together with criticism by Gerzen, Chernyshevsky, and Druzhinin, constitute a new literary-historical context which enabled a mid-XIX-th century reassessment of the previous thirty years of Russian literary history

The attitude of Chernyshevsky to the work of Lermontov throughout his life is considered. Attention is given to the evolution from the religious and moral context of Chernyshevsky's perception of personality and the poet's works in the student years to prevailing in his assessments of political motives.

The article examines the features of representing the ‘intimate’ in the French novel of the 18th century. The intimate is considered as a historical category characterized by ‘semantic ambiguity’, expanding and deepening its semantics in the course of the novel’s evolution. By means of analyzing representational texts it is proved that the representation of the intimate is predetermined by the distinctive nature of the genre and literary trends.