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In the article the main semantic components of the blood motif are revealed in the novel «A Date with Bonaparte» by B. Okudzhava; the peculiarity of the lyrical and philosophical narrative of B. Okudzhava is researched.

Genre defi nition of Timur Kibirov’s The General and His Family caused disagreement among literary critics. The range of opinions concerning the defi nition of the novel’s genre include historical novel, family saga, cento novel, the novel about psychology and morality of the late years of the USSR. This article is concentrated on the novel’s genre defi nition. The genre framework of the text is the epoch-standard local family story depicted against the background of massive Soviet history.

The article analyzes the book by B.K Zaitsev Chekhov (1954) as a novelized biography, a ‘life story’. The author’s concept and composition of the book, consisting of 15 chapters with titles, 54 subchapters / fragments, are given a special emphasis; the artistic meanings and originality of the narrative of a complete biography are considered.

Though the term ‘author’s strategies in literature’ is being widely used, its extended definition has not been coined in literary theory encyclopedias and reference books yet. In an effort to partially fill in this gap, I would like to make an attempt to answer the following questions: What is the meaning of the notion ‘author’s strategies’ in literary studies? How do author’s strategies manifest themselves in the literary process? What is the role of the reader in author’s strategies? How do author’s strategies function in the text?

The article analyzes the structure of B. Pasternak’s novel Doctor Zhivago as a ‘novel about a person’, the composition of the first book is deliberately studied on the level of the parts (seven parts) and chapters (123 chapters), which allows to picture the ‘idea of the whole’ novel more distinctly.

The article deals with the analysis of the author’s artistic and philosophical idea of the European situation of the 1930s and with the forms of its actualisation in the novel «The Beginning of the End».

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 second part of the article is dedicated to the analysis of the key motive and thematic complexes together determining the peculiarity of the ‘soviet’ reality as artistic unity, actualized in the works by A. I. Solzhenitsyn and V. P. Aksyonov (written and published at the turn of the XX–XXIst centuries). The phenomenon of fear is considered in the line of the ideological foundation of the ‘soviet’ system.

The first part of the article deals with the definition and substantiation of the literary criticism task itself –a parallel analysis of the works of two significant writers in the Russian literary process. Another object is to identify the major perspectives of the philological examination in progress. The subject of this research is the texts by A. I. Solzhenitsyn and V. P. Aksyonov, written and published at the turn of the XX–XXI centuries.

In the process of studying drama, direct contacts between characters outlined by the author deserve special attention. Such contacts help to clearly identify the characters’ dispositions, the nature of their relationship, features of the mise-en-scène pattern. The article focuses on the role of such contact motives in A. P. Chekhov’s comedy The Seagull.