Literary criticism

The article studies the history of N. V. Gogol and I. A. Krylov’s acquaintance in St. Petersburg. Based on a wide range of literary sources it is attempted to identify their relationship in 1830–1835.

The article discusses how Pushkin studies emerged in 1851–1855, their Moscow and St. Petersburg schools, P. I. Bartenev and P. V. Annenkov’s work on the materials for A. S. Pushkin’s biography. The article reveals the underpinning of the two Pushkin scholars’ creative ‘competition’ (Bartenev was ahead of Annenkov in publishing his scientific work and making O. S. Pavlischeva’s information about the poet public) in writing an ‘exemplary biography’ of Pushkin.

The article is devoted to the analysis of the structural features of the poetic text of one of the most specific literary trends - melodrama. The aesthetics of the melodrama industry changes the ideas about the form and content of the poetic work.

The article reviews the estimates of A.P. Chekhov "In the Ravine" writers of the twentieth century. (L. Tolstoy, M. Gorky, E. Zamyatin, V. Nabokov, I. Bunin, B. Zaitsev, K. Chukovsky, A. Solzhenitsyn). Writers are primarily interested in the artistic nature of the story, pay attention to the close and important features of poetics. As a result, the conclusion is drawn about the versatility of the story of A.P. Chekhov, as 

V. Nabokov's visual aesthetics is considered in the article as a reflection of the writer's philosophical indeterminism and is analyzed in the context of the optical experiments of the twentieth century art. A comparison is made of the visibility of Nabokov's prose with the aesthetics of photography.

V. Nabokov's visual aesthetics is considered in the article as a reflection of the writer's philosophical indeterminism and is analyzed in the context of the optical experiments of the twentieth century art. A comparison is made of the visibility of Nabokov's prose with the aesthetics of photography.

In this article, symbolism as a whole is viewed as a logical manifestation of the evolution of world culture and, at the same time, as a unique direction of a new world view and its embodiment in new artistic forms. In the crisis era of the turn of the XIX-XX centuries. both Western and Russian symbolists fell into the epicenter of the struggle of dual spiritual morality. The fate and work of the famous Russian symbolist V.Ya. Bryusova - a vivid confirmation of this. "Borrowing" the basic principles of the aesthetics of Western symbolism, V.Ya.

The article deals with the symbolic meaning of the medieval novel and its genre nomination. The word "romanz" and the genre of the novel itself refers to Rome and the prestigious, legitimizing tradition, one way or another connected with Rome. in this sense, a medieval novel can be considered as a specific secular and literary analogy of the strategy of "empire transfer".

On the material of two essays by John Fowles dedicated to the great English late Victorian novelist Thomas Hardy, features and evolution of the creative manner of the Fowles-essayist are considered.

The article deals with the specific character of the genre of the English writer's autobiography of the turn of the 20th-21st century. by the example of Julian Barnes's autobiography "Nothing to be Afraid".