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The main semantic components of the motive of the ministry are revealed, its role in the plot and composition of "Selected places from correspondence with friends", the transformation of the image of the author-preacher into the personified, multifaceted image of the "good Christian".

The article is dedicated to “Theatre de la Revolution” of R. Rolland – a cycle of plays about the French revolution of 1789, which is viewed in the aspect of the problem of the synthesis of the arts (in this case – the literary and musical arts). As a result of the analysis of «Theatre de la Revolution» poetics compared to the symphonic quality of Beethoven (who Rolland was guided by), the naturalness and the reasonableness of Rolland’s including the musical symphonic element in his dramaturgic cycle is proved.

The article considers the poetics of the novella The Master of the Jews by I. Ilf first published in 2003. The author considers the image system of the text and the features of the artistic statements, which allow to draw the conclusion about the significance of The Master of the Jews as a praetext of the kind for the works of I. Ilf and E. Petrov.

The article deals with various aspects of interrelation between plot and space structure of Klaus Mann’s émigré novel «The Volcano». The author of the article analyzes the heroine of the novel crossing the symbolic border between the world of the dead and the living, which presupposes crossing the border between different zones of the exile space. In the article it is shown that sacrifice is a necessary condition of the border crossing.

The single sentence by Mikhail Bulgakov about the final of Nikolay Gogol’s play «Revizor» provokes the author of this work to contemplate the finals of Bulgakov’s plays as well. The researcher suggests that Bulgakov considered the Gogol’s final an excellent example of a grotesque («thunderous», as Bulgakov himself called it) end of action. He proves that such type of an unnatural, unexpected denouement distinguishes many Bulgakov’s works.

In the article the time structure of the novel Doctor Zhivago is examined in the context of Pasternak’s idea of imaginative reality. Time in the novel is presented as a row of interlacing mutually defining layers: the author’s time, the time of lyrical affection, the time of the characters, the reader’s time, breakthroughs to the Eternity create a complex unity of the narrative structure.