A. S. Pushkin

The article studies the problem of Petersburg text of the Russian literature in the literary works by Konstantin Vaginov, its correspondence to the classical Petersburg text of A. Pushkin, F. Dostoevsky, N. Gogol.

The article deals with the transformation of Pushkin and Derzhavin myth in two poems by A. M. Gorodnizky; an attempt is made to explain the author’s individual interpretation of the myth (controversial to that established in the mass cultural consciousness) by means of analyzing the autobiographical and autopsychological components of the works under investigation. It is also undertaken to enter those poems in the wider context of the bard’s reflections on the Russian history problems, presented in poetic and memoir texts.

The article considers an important problem of the meaning of biographical facts in artistic texts of A. S. Pushkin from the point of view of different ways of its solution. A singular way of tackling the problem offered by S. L. Frank is specified.

The article discusses how Pushkin studies emerged in 1851–1855, their Moscow and St. Petersburg schools, P. I. Bartenev and P. V. Annenkov’s work on the materials for A. S. Pushkin’s biography. The article reveals the underpinning of the two Pushkin scholars’ creative ‘competition’ (Bartenev was ahead of Annenkov in publishing his scientific work and making O. S. Pavlischeva’s information about the poet public) in writing an ‘exemplary biography’ of Pushkin.

The research focuses on the poetic sub-corpus of the Russian National Corpus in which the precedent name ‘Pushkin’ occurs 1,000 times. Based on the poetic texts of two centuries the author traces the formation of the first Russian poet’s image in the poetic discourse, as well as associations and connotations accompanying his name.

The article proposes a reinterpretation of the title of Pushkin’s novel The Captain’s Daughter, different from the traditionally existing in the domestic science. It is shown that the meaning of the novel’s title The Captain’s Daughter in a small degree is related to the heroine Masha Mironova, but it is based on Pushkin’s play poetics, introducing into the novel its two-dimensional quality and two-part structure.

The article proposes a new version of the cycle-forming organization of “Little Tragedies” by A. S. Pushkin, after a brief excursion through the already existing cycle-forming concepts of a group of scenes and plays united in Russian culture under the non-author’s general name “Little Tragedies”. The intra-textual situation of unexpected, spontaneous inspiration of the central characters of the plays included in the cycle is put forward as a binding compositional element.