composition

The article analyses the tragic dialectics of the lives of children from Tiverzin’s yard, who devoted themselves to the revolution and became its victims, as well as those against whom the revolution was conceived. The significance of the locus “Tiverzin’s yard”, which occupies a significant place in the composition due to the way of life of the railway workers living there, who shaped the characters of the future participants of the revolution, is analyzed.

The article is dedicated to the poetics of a historic work by V. Sosnora Derzhavin before Derzhavin. The main focus is on the potential of the genre foundation (a cycle of essays) and composition meaning. Those are viewed as ways of creating a subjective author’s image of a historic figure – a poet and a statesman.

The issue of the point of view in the composition of A. I. Solzhenitsyn’s novel «The First Circle» is regarded in the article by means of the structural analysis of its components based on the methodology by B. A. Uspensky.

The article reveals external and internal factors contributing to the formation of an integrating context of the third book of Shipovnik Publishing House Literary-Artistic Almanac (1908): the design of the book and composition are being examined, the motives of the almanac’s texts are analyzed.

The article deals with the issues of cyclization in Mandelstam’s poetry of the beginning of the 1930s, based on the materials of the «First Moscow notebook». The object of study is the hierarchy of different types of lyrical entities and some tendencies in the formation of the book of poems in the late works of Mandelstam.

The article focuses on the group of Mandelstam’s poems dedicated to Andrey Bely and shows that this group constitutes an uncollected cycle associated with the archaic attributes of the requiem genre. The analysis of the cycle composition leads to the assumption that variability becomes one of the cyclization factors here.

The article is devoted to Mandelstam’s unfinished cycle of goldfinch and its diverse connections to poems of the Second Voronezh Notebook. The author of the article reveals some hidden meanings of the goldfinch poems and connections within the central section of Voronezh Notebooks by analyzing the draft manuscript and the final version.

The article substantiates the conclusion that the basis of the psychological portraits of many characters, as well as of the composition of the novel Doctor Zhivago, contains parallelism and isomorphism; and their compositional unity allows the author to reveal the family and spiritual affinity of the characters, as well as to express his position.

The article substantiates the conclusion that the correspondence of the characters in Pasternak’s novel is a plot-motivated complex multilayered system of written communication based on the family idea, expanded by a system of inter-textual links.

The article considers montage as a major means of developing compositional text structure in the novel by an Irish-English writer E. Bowen (1899–1973) Eva Trout or Changing Scenes. Isolated instances of montage are analyzed as well as its meaning on the scale of the whole novel.