composition

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.

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.

The article studies the lyrical cycle of poems by the famous children’s poet E. A. Blaginina “Why do you cherish your overcoat?” published in 1975 and understudied by researchers. Comprehending the particular features of the cycle’s poetics (composition, original characteristics of the lyrical hero, the functions of poetic syntax, etc.) allows us to reveal the range of its meanings; to identify the special features of E. A. Blaginina’s creative manner; to consider children’s poetry as a special artistic phenomenon.

The article presents an unknown episode from the biography of the Russian writer, collector and performer of folk pieces, B. V. Shergin. Here is shown a variant of a spiritual poem The Dream of the Mother of God recorded by Shergin in his native Arkhangelsk province in 1917 and published in 1919 in the newspaper Vozrozhdeniye Severa (Revival of the North). The characteristic features of the poem’s composition and stylistic structure and its role in the writer’s establishment are considered.

The principle of uniting stories within a collection of stories is viewed as the composition center. The paper deals with the problems of trespassing the borderlines established by culture, the character’s self-knowledge and poetics of radically broadening the meaningful volume of an image by means of developing the plot and particular motives that create the framework of world culture spiritual values.

The document as a type of text, especially meaningful for Soviet culture, was used by Bulgakov as an expressive means, which organizes to a large extent both the content and composition of the novel The Master and Margarita. In the article these functions of the document are considered in the text of the novel.

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.

The article considers the image of the sky as a key element of the verbal landscape of V. G. Korolenko’s Siberian cycle of stories and essays. Its main functional features defining plot and compositional integrity of the works, folk-mythological origins of components of the figurative system of landscape paintings and artistic potential of ‘celestial’ symbols are identified.

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.