The approaches to ‘thematic motives’ of F. M. Dostoevsky’s novel The Idiot outlined by A. P. Skaftymov in the 1920s unintentionally shed light on how the scientist comprehended the motives of love in A. P. Chekhov’s comedy The Cherry Orchard.
The article is dedicated to the analysis of Vladimir Sorokin’s works of fiction created at the turn of the XX–XXI centuries. The key philological emphasis of the paper is the category of intratextual author and interactive potential of the works of literature created by this contradictory modern writer. The issues of the coexistence of different reader generations in the 1990s and the changes in the literary process of the specified period are given special attention to.
The article presents typological features of ‘feminine writing’ identified in the texts of modern women writers; methodological principles are set up for the identification of the gender element on the level of the work speech organization.
The article considers the text-forming irony as a way to express philosophical ideas, as a psychotherapeutic tool, allowing the author to work out his negative experience and as a means of meta-reflection on the text in ‘Les Mots’ by J.-P. Sartre.
The article considers one ideologeme of the turn of the XIX–XXth centuries that has been reflected in the correspondence between the writer I. A. Goncharov and the lawyer A. F. Koni. This idea is defined in the notion ‘humanity’. According to the opinion of the two authors of the epistolary under analysis this idea is equally important for both culture and legal procedure.
The article deals with the image of Lydia Cheboksarova, the heroine of the play by Alexander Ostrovsky Money to Burn, in the context of the implementation of the game motives in the text. The author focuses on behavioral strategies of the character, its world outlook, stylistic range.
The article considers indirect plot allusions, V. Nabokov’s explicit and disguised references to the topic related to the terrible characters of Dostoyevsky, to the new embodiments of Pushkin’s and Dostoyevsky’s images.
‘Insulted and humiliated’ is one of F. M. Dostoyevsky’s recurrent themes. It remains up-to-date in the last period of his creative work related to Staraya Russa. This town became the prototype of Skotoprigonievsk from The Brothers Karamazov and the small town Afimievsk from the novel The Adolescent. In Dostoyevsky’s letters, in his wife’s memoires, in the reports of the writer’s friends from Staraya Russa there crop up the recollections of the citizens, who can be considered the prototypes of the ‘insulted and humiliated’ in these novels.
The article considers the aspect, heretofore disregarded by the literary critics, of how the road motive functions in prose fragments by Pushkin, as well as determines aesthetic and world view fundamentals of why this motive is included in the text.
