Àííîòàöèÿ:  ñòàòüå äåëàåòñÿ ïîïûòêà ïðîñëåäèòü, êàê ïñèõîàíàëèç ïîâëèÿë íà ñóäüáó ðîìàíà â XX â. Ïðåîáðàæåíèå ðîìàíà êàê æàíðà â íà÷àëå ìèíóâøåãî âåêà òåñíåéøèì îáðàçîì áûëî ñâÿçàíî ñ êîíòðêóëüòóðíûì äâèæåíèåì, êîòîðîå áûëî íàïðàâëåíî ïðîòèâ âèêòîðèàíñêîé ñèñòåìû öåííîñòåé. Âèêòîðèàíñêîìó âðåìåíè áûëè ïðèñóùè åâàíãåëè÷åñêè-ïóðèòàíñêàÿ ýòèêà, óòèëèòàðèçì è ëèáåðàëèçì, õàíæåñòâî, äèêòàò íàä ýðîòè÷åñêèì ïîâåäåíèåì ëþäåé. Îäíàêî âèêòîðèàíñêàÿ ýïîõà ñìåíèëàñü äðóãîé ñèñòåìîé æèçíåííûõ è ïðàêòè÷åñêèõ óñòàíîâîê. Îíà è áûëà íàçâàíà àíòèâèêòîðèàíñêîé. Ñíà÷àëà ýòè öåííîñòè ñëîæèëèñü â ïîâñåäíåâíîì æèòåéñêîì ñîçíàíèè, çàòåì â çíà÷èòåëüíîé ñòåïåíè ñòàëè îïðåäåëÿòü õóäîæåñòâåííóþ ïðàêòèêó. Òàê ïîÿâèëîñü ïåðâîå äâèæåíèå õóäîæíèêîâ-ïðåðàôàýëèòîâ â áðèòàíñêîé êóëüòóðå âèêòîðèàíñêîé ýïîõè. Îäíàêî ñàìûå çíà÷èòåëüíûå ïåðåìåíû ïðîèçîøëè â ñóäüáå ðîìàíà. Àâòîð èñïîëüçîâàë ïðåæäå âñåãî ïðèíöèï èñòîðèçìà, êîòîðûé ïîçâîëèë ñðàâíèòü äâå ýïîõè â èñòîðèè Âåëèêîáðèòàíèè, âûÿâèòü èõ ñõîäñòâî è ðàçëè÷èå. Âïåðâûå â îòå÷åñòâåííîé ëèòåðàòóðå ïðåîáðàæåíèå ðîìàíà â íà÷àëå ìèíóâøåãî ñòîëåòèÿ ñîîòíîñèòñÿ ñ âîçíèêíîâåíèåì ôðåéäèçìà è åãî äîñòàòî÷íî ñèëüíûì âëèÿíèåì ñðåäè õóäîæåñòâåííîé èíòåëëèãåíöèè. Ñàì õóäîæåñòâåííûé ïðîöåññ îêàçàëñÿ ïîä÷èí¸ííûì íîâûì öåííîñòÿì. Áðèòàíñêèé ôèëîñîô Ã. Ñïåíñåð äàë ôèëîñîôñêîå îáîñíîâàíèå íîâîìó ýòè÷åñêîìó ñîçíàíèþ, óòâåðæäàþùåìó çàêîííîñòü ãåäîíèñòè÷åñêèõ óñòàíîâîê. Òàê íà÷àëîñü ïðåîáðàæåíèå ðîìàíà, êîòîðûé îòíûíå áûë íàïðàâëåí ïðîòèâ õàíæåñòâà, ëèöåìåðèÿ. Âìåñòå ñ òåì ïðîèçîøëè èçìåíåíèÿ íå òîëüêî â ñîäåðæàíèè ðîìàíà. Èçìåíèëèñü ìíîãèå òðàäèöèè, îïðåäåëÿâøèå ïîýòèêó ýòîãî æàíðà. Ðîìàí ñòàë íîñèòü îòêðûòûé õàðàêòåð, ÷òî îçíà÷àëî îòñóòñòâèå â ïðîèçâåäåíèÿõ ýòîãî æàíðà ïðåäçàäàííîé ñõåìû.

Êëþ÷åâûå ñëîâà: ðîìàí, ïñèõîàíàëèç, áåññîçíàòåëüíîå, öåííîñòè, èñêóññòâî, ãåðîèçàöèÿ, ïñèõîëîãèÿ, ëèòåðàòóðà, âèêòîðèàíñòâî, ñþæåòíûå ëèíèè

Abstract: In this article Gurevich tries to track back the influence of psychoanalysis on the fate of the novel in the XXth century. The transformation of the novel as a genre at the beginning of the last century was closely related to the countercultural movement against the Victorian system of values. The Victorian era was characterized by the evangelistic-puritan ethics, utilitarianism and liberalism, hypocrasy and dictate over the erotic behavior. However, the Victorian era was replaced by the other system of life and practical attitudes. The new system was called anti-Victorian. In the beginning new values were established in the everyday life and way of thinking but later started to have a significant influence on arts. This is how the first movement of the Pre-Raphaelites appeared in the British culture during the Victorian era. However, the most significant changes happened in the sphere of novel writing. In his research Gurevich used the principle of historicism which allowed him to compare two eras in the history of the Great Britain and describe similarities and differences therein. For the first time in the Russian academic literature the transformation of the novel as a genre that happened at the beginning of the last century is compared to the origin of Freudism and the strong influence of Freudism on artistic intelligentsia. The artistic process itself happened to be influenced and changed by the new values. British philosopher Herbert Spencer described philosophical grounds for the new sense of values towards making hedonistic attitudes 'legal'. This is how the transformation of the novel began and from that moment on the novel was aimed against hypocracy. Changed involved not only the plot. Many traditions that characterised the poetics of the novel changed, too. The novel started to have a more open nature and the novel did not have a previously estabilshed scheme any more.  

Keywords: values, art, heroization, psychology, literature, Victorian era, plotlines, unconscious, psychoanalysis, novel

Àííîòàöèÿ: ßçûê ëèòåðàòóðíûõ ïàìÿòíèêîâ ýïîõè Ñðåäíåâåêîâüÿ èíòåðåñåí äëÿ èçó÷åíèÿ íå òîëüêî â ëèíãâèñòè÷åñêîì, íî è â êóëüòóðîëîãè÷åñêîì àñïåêòå. Ñðåäíåâåêîâûå ïîýìû è ðîìàíû ÿâëÿþòñÿ íåêèì ïîðòàëîì â äàëåêóþ îò ñîâðåìåííîñòè ýïîõó è îòðàæàþò îñíîâíûå çàêîíû îðãàíèçàöèè ìèðà, ãäå îíè áûëè ñîçäàíû.  ñòàòüå íà ìàòåðèàëå ïåðâîãî èç ïÿòè ðîìàíîâ Êðåòüåíà äå Òðóà «Ýðåê è Ýíèäà» (XII â.) ðàññìàòðèâàþòñÿ ñïîñîáû ðåïðåçåíòàöèè îöåíêè â ðå÷è, èññëåäóåòñÿ õàðàêòåð îòíîøåíèé ñóáúåêòà è äåéñòâèòåëüíîñòè â îïðåäåëåííûõ èñòîðè÷åñêèõ óñëîâèÿõ, çàäàííûõ ñîöèóìîì è ðàçëè÷íûìè ôàêòîðàìè åãî ðàçâèòèÿ. Ìíîãîàñïåêòíûé ôóíêöèîíàëüíî-ñåìàíòè÷åñêèé àíàëèç îöåíî÷íûõ ïðèëàãàòåëüíûõ, ïðåäñòàâëåííûõ â òåêñòå ðîìàíà, ïîìîãàåò âûÿâèòü íåêîòîðûå îñîáåííîñòè ñðåäíåâåêîâîãî ìåíòàëèòåòà. Ïðîàíàëèçèðîâàâ ñåìàíòèêó îöåíêè, ìåõàíèçìû åå ôîðìèðîâàíèÿ è ôóíêöèîíèðîâàíèÿ â ñðåäíåâåêîâîì òåêñòå, ìîæíî ñäåëàòü âûâîä îá îáúåìàõ îöåíî÷íîé êàðòèíû ìèðà è âûáîðå ñðåäñòâ äëÿ åå ðåïðåçåíòàöèè: ñðåäíåâåêîâûé àâòîð íàñûùàåò ïëîòíî óêîðåíèâøèåñÿ â ÿçûêå ëåêñåìû íîâûìè ñìûñëàìè, ÷òî ñâèäåòåëüñòâóåò î íåïðåñòàííîì ðîñòå ÷åëîâå÷åñêîãî ñîçíàíèÿ è ðàñøèðåíèè åãî ïðåäñòàâëåíèé îá îêðóæàþùåé äåéñòâèòåëüíîñòè. Íåêîòîðàÿ çàìêíóòîñòü îöåíî÷íîãî ñëîâàðÿ è óâåëè÷åíèå åãî ôóíêöèîíàëüíîãî ïîòåíöèàëà âèäèòñÿ íåîáõîäèìûì ýòàïîì â ðàçâèòèè ÿçûêà.

Êëþ÷åâûå ñëîâà: ÿçûêîâàÿ êàðòèíà ìèðà, îöåíêà, îöåíî÷íûå ïðèëàãàòåëüíûå, ìåíòàëèòåò, Ñðåäíåâåêîâüå, «Ýðåê è Ýíèäà», ÿçêîçíàíèå, Êðåòüåí äå Òðóà, ôóíêöèîíàëüíî-ñåìàíòè÷åñêèé àíàëèç, ñòàðîôðàíöóçñêèé

Abstract: The language medieval literary monuments are written in is interesting not only from the linguistic but also from the cultural point of view. Medieval novels and poems are some kind of a portal to the remote epoch and reflects the main laws of the world and the time when they were written. In this article Petrenko chooses one of the five Chretien de Troyes’ novels ‘Erec and Enine’ (the XIIth century) and analyzes the means of evaluative representation in the language, as well as studies the relationship between a subject and reality in certain historical conditions set by the society and development factors. Multi-aspect functional semantic analysis of evaluative adjectives that can be found in the novel allows the author to define certain peculiarities of the medieval mentality. Having analyzed the semantics of evaluation, mechanism of its development and functioning in the medieval text, the author makes a conclusion about the volumes of the evaluative world image and means of its representations. According to the author, a medieval author enriched established lexical units with new meanings which proves the continuous growth of the human mind and development of the human understanding of the world. Certain restraint of the evaluative vocabulary and a need to increase its functional potential are seen by the author as a necessary stage in the language development.

Keywords: linguistic world-image, evaluation, evaluative adjectives, mentality, Middle Ages, ‘Erec and Enide’, language studies, Chretien de Troyes, functional semantic analysis, Old French.

Àííîòàöèÿ: Îáúåêòîì íàó÷íîãî èññëåäîâàíèÿ â äàííîé ñòàòüå ÿâëÿåòñÿ îáðàçíàÿ ñòðóêòóðà ðîìàíà àìåðèêàíñêîé ïèñàòåëüíèöû Àéí Ðýíä «Àòëàíò ðàñïðàâèë ïëå÷è». Ïðåäìåò èññëåäîâàíèÿ – ðåïðåçåíòàöèÿ â ñòðóêòóðå öåíòðàëüíûõ æåíñêèõ îáðàçîâ ðîìàíà òî÷êè çðåíèÿ Àéí Ðýíä êàñàòåëüíî æåíñêîãî âîïðîñà. Òàêæå àâòîð óäåëÿåò áîëüøîå âíèìàíèå òîìó, êàêèå îòêëèêè òâîð÷åñòâî Ðýíä íàõîäèëî â ñðåäå ïðåäñòàâèòåëåé ôåìèíèñòñêîãî íàïðàâëåíèÿ àìåðèêàíñêîé ëèòåðàòóðíîé êðèòèêè XX â. Ãëàâíàÿ öåëü èññëåäîâàíèÿ ñîñòîèò â òîì, ÷òîáû îïðåäåëèòü òèï âçàèìîñâÿçè ìåæäó ìèðîâîççðåíèåì Àéí Ðýíä è ôåìèíèçìîì. Èññëåäîâàíèå, ðåçóëüòàòû êîòîðîãî ïðåäñòàâëåíû â äàííîé ñòàòüå, ïðîâîäèëîñü ñ èñïîëüçîâàíèåì òàêèõ ìåòîäîâ, êàê êóëüòóðíî-èñòîðè÷åñêèé, áèîãðàôè÷åñêèé, ñîöèîëîãè÷åñêèé è ñðàâíèòåëüíî-ñîïîñòàâèòåëüíûé. Íàó÷íàÿ íîâèçíà ðàáîòû çàêëþ÷àåòñÿ â òîì, ÷òî âçãëÿäû Àéí Ðýíä íà âîïðîñ ïîëîæåíèÿ æåíùèíû â îáùåñòâå ïðèíÿòî ñ÷èòàòü àíòèôåìèíèñòñêèìè (íà òàêîé òðàêòîâêå âñåãäà íàñòàèâàëà è ñàìà ïèñàòåëüíèöà). Îäíàêî â äàííîé ñòàòüå äîêàçûâàåòñÿ òåçèñ î òîì, ÷òî ó ôèëîñîôèè ðàöèîíàëüíîãî èíäèâèäóàëèçìà, êîòîðóþ ïðîïîâåäîâàëà Ðýíä â ñâîèõ õóäîæåñòâåííûõ ïðîèçâåäåíèÿõ, è áàçîâûõ èäåé ôåìèíèñòñêîãî äâèæåíèÿ åñòü îáùåå îñíîâàíèå.  ñòàòüå ïîëó÷àåò îáîñíîâàíèå òî÷êà çðåíèÿ, ñîãëàñíî êîòîðîé âçãëÿäû Àéí Ðýíä ïî ðÿäó ïðèçíàêîâ ñáëèæàþòñÿ ñ èäåÿìè àìåðèêàíñêîãî ôåìèíèçìà òðåòüåé âîëíû. Àêòóàëüíîñòü äàííîãî èññëåäîâàíèÿ çàêëþ÷àåòñÿ â òîì, ÷òî îíî âíîñèò âêëàä â ðåøåíèå äî ñèõ ïîð îòêðûòîãî âîïðîñà: ñòîèò ëè ïðè÷èñëÿòü Àéí Ðýíä ê ñòîðîííèêàì ôåìèíèçìà èëè ê åãî ïðîòèâíèêàì.

Êëþ÷åâûå ñëîâà: Àéí Ðýíä, Àòëàíò ðàñïðàâèë ïëå÷è, æåíñêèå îáðàçû, ôåìèíèçì, òðè âîëíû ôåìèíèçìà, èíäèâèäóàëèçì, ïðàâà æåíùèí, Ýëèçàáåò Êýéäè Ñòåíòîí, Áåòòè Ôðèäàí, Êëýð Ñíàéäåð

Abstract: The object of the present research is the structure of images in the novel written by an American author Ayn Rand ‘Atlas Shrugged’. The subject of the research is the representation of Ayn Rand’s on women and their role in the society through the central female characters of the novel. Nazarenko also pays much attention to the response of the feminist movement to Rand’s writing in the American literary criticism of the 20th century. The main purpose of the article is to define what kind of relationship there is between Ayn Rand’s views and feminism. The research which results are presented in the article has been carried out using such methods as the cultural-historical, biographical, sociological and comparative methods. The scientific novelty of the research is caused by the fact that Ayn Rand’s views on the role of women in the society are usually regarded as anti-feminist (Ayn Rand herself insisted on that). However, in this article Nazarenko proves the thesis that the philosophy of the rational individualism followed by Rand in her novels and the basic ideas of the feminist movement actually have mutual grounds. The researcher presents the point of view according to which Ayn Rand’s views have a number of similar features with the ideas of the third-wave American feminism movement. The urgency of the present research is caused by the fact that it makes a contribution to the solution of the question which still remains open. It is the question whether Ayn Rand should be considered to be an adherent or opponent of feminism.

Keywords: Ayn Rand, ‘Atlas Shrugged’, female images, feminism, three waves of the feminism movement, individualism, women’s rights, Elizabeth Cady Stanton, Betty Friedan, Clare Snider.

Àííîòàöèÿ: Òðàãåäèÿ Îñêàðà Óàéëüäà «Ãåðöîãèíÿ Ïàäóàíñêàÿ» è åå ïåðåâîä íà ðóññêèé ÿçûê, âûïîëíåííûé âûäàþùèìñÿ ïîýòîì Ñåðåáðÿíîãî âåêà Â.ß. Áðþñîâûì, èíòåðåñíû äëÿ èçó÷åíèÿ íå òîëüêî â ëèòåðàòóðîâåä÷åñêîì, íî è â êóëüòóðîëîãè÷åñêîì àñïåêòå. Ýòà òðàãåäèÿ îòðàæàåò óàéëüäîâñêóþ óâëå÷åííîñòü êóëüòóðîé è ëèòåðàòóðîé èòàëüÿíñêîãî Âîçðîæäåíèÿ. Óâëå÷åííîñòü êóëüòóðîé èòàëüÿíñêîãî Ðåíåññàíñà è òâîð÷åñòâîì âåëèêîãî ôëîðåíòèéöà Äàíòå Àëèãüåðè áûëà õàðàêòåðíà òàêæå äëÿ Â.ß. Áðþñîâà.  ñòàòüå íà ìàòåðèàëå áðþñîâñêîãî ïåðåâîäà òðàãåäèè Óàéëüäà «Ãåðöîãèíÿ Ïàäóàíñêàÿ» ðàññìàòðèâàþòñÿ èäåè, ìîòèâû è îáðàçû, õàðàêòåðíûå äëÿ òâîð÷åñòâà Î. Óàéëüäà è îêàçàâøèå âëèÿíèå íà ïîýçèþ Â. Áðþñîâà. Ìîòèâíî-îáðàçíûé àíàëèç ïîçâîëÿåò âûÿâèòü âàæíûå äëÿ òðàãåäèè èäåîëîãåìû, îñîáåííî â ïëàíå öâåòîâîé îáðàçíîñòè è ñèìâîëèêè. Ïðîàíàëèçèðîâàâ âëèÿíèå îáðàçíîñòè è ñèìâîëèêè «Ãåðöîãèíè Ïàäóàíñêîé» íà ïîýçèþ Â.ß. Áðþñîâà, ìîæíî ïðèéòè ê âûâîäó î âàæíîñòè ýñòåòèêè Î. Óàéëüäà äëÿ òâîð÷åñòâà ðóññêèõ ñòàðøèõ ñèìâîëèñòîâ. Äëÿ ïîýçèè ñòàðøèõ ñèìâîëèñòîâ î÷åíü âàæíà òàêæå ýñòåòèêà è ðåëèãèîçíàÿ ôèëîñîôèÿ èòàëüÿíñêîãî Âîçðîæäåíèÿ. È â ïîýçèè ñòàðøèõ ñèìâîëèñòîâ, è â äðàìàòóðãèè Î. Óàéëüäà ïðèñóòñòâóþò äàíòîâñêèå ìîòèâû è îáðàçû.

Êëþ÷åâûå ñëîâà: Ñåðåáðÿíûé âåê, ëèòåðàòóðíûé ïåðåâîä, èòàëüÿíñêîå Âîçðîæäåíèå, àíãëèéñêèé ìîäåðíèçì, ðóññêàÿ ëèòåðàòóðà, Âàëåðèé Áðþñîâ, öâåòîâàÿ ñèìâîëèêà òðàãåäèè, Íèêîëàé Ãóìèëåâ, Îñêàð Óàéëüä, Òåîôèëü Ãîòüå

Abstract: Oscar Wilde’s tragedy ‘The Duchess of Padua’ and its Russian translation made by a distinguished poet of the Silver Age Valery Bryusov are interesting from the point of view of not only literary but also cultural research. The tragedy reflects Wilde’s passion for Italian Renaissance culture and literature. The same passion for Italian Renaissance culture and creative work of a famous Florentine Dante Alighieri were typical for Valery Bryusov, too. In this article based on the example of Bryusov’s translation of Wilde’s tragedy ‘The Duchess of Padua’ Sushko analyzes ideas, motives and images that were typical for Oscar Wilde’s writing and had an influence on Valery Bryusov’s poetry. Analysis of motives and images allows to define important ideologemes important for the tragedy, especially in terms of color images and symbolism. Having analyzed the influence of images and symbols of ‘The Duchess of Padua’ on Valery Bryusov’s poetry, the author concludes that Oscar Wilde’s aesthetics played an important role in creative writing of Russian senior generation of symbolists. Italian Renaissance aesthetics and religious philosophy were also very important for the senior generation of symbolists. Both the poetry of the senior generation of symbolists and Oscar Wilde’s plays had Dante’s motives and images

Keywords: Silver Age, literary translation, Italian Renaissance, English modernism, Russian literature, Valery Bryusov, color symbolism of tragedies, Nikolay Gumilev, Oscar Wilde, Theofile Gautier.

Àííîòàöèÿ: Ïðåäìåòîì ðàáîòû ÿâëÿþòñÿ õóäîæåñòâåííûå ñðåäñòâà, èñïîëüçóåìûå Ñàìîéëîâûì, êîòîðûå ïîíèìàþòñÿ êàê ñèñòåìà ïðèíöèïîâ, ñòðóêòóðíî îðãàíèçóþùèõ åãî òåêñòû. Ïðîâîäèòñÿ èññëåäîâàíèå «÷óæîé ðå÷è» â òåêñòàõ Ä. Ñàìîéëîâà ñ òî÷êè çðåíèÿ ñìûñëîâîãî, êóëüòóðíî-èñòîðè÷åñêîãî è ôèëîñîôñêîãî àñïåêòîâ. Ó÷èòûâàåòñÿ îáðàùåíèå ïîýòà ê òåêñòàì, ìîòèâàì, ñþæåòíûì ëèíèÿì, ïðèíöèïàì, ïðèåìàì, ñóùåñòâóþùèì â êëàññè÷åñêîé ðóññêîé ëèòåðàòóðå. Ïðîñëåæèâàþòñÿ çàêîíîìåðíîñòè, ñâÿçûâàþùèå òâîð÷åñòâî ïîýòà ñ òâîð÷åñòâîì êëàññèêîâ ðóññêîé ëèòåðàòóðû. Àíàëèçèðóåòñÿ ðàçâèòèå ïîýòè÷åñêîé ëèíèè Ä. Ñàìîéëîâà â êîíòåêñòå ñîâðåìåííîé êóëüòóðû è îáðàçîâàíèå ïîýòîì íîâûõ ñìûñëîâ, àêòóàëüíûõ äëÿ êóëüòóðíî-èñòîðè÷åñêîãî ïðîñòðàíñòâà XX-XXI â. Ïðèìåíÿÿ ìåòîäû ñðàâíèòåëüíî-èñòîðè÷åñêîãî, ñòðóêòóðíî-ñåìèîòè÷åñêîãî, èñòîðèêî-ôóíêöèîíàëüíîãî, áèîãðàôè÷åñêîãî àíàëèçà èíòåðòåêñòóàëüíûõ åäèíèö â òåêñòàõ Ä. Ñàìîéëîâà, àâòîð ïðèõîäèò ê âûâîäó î äèàëîãè÷åñêèõ îòíîøåíèÿõ ïîýòà ñ êëàññèêàìè ðóññêîé ëèòåðàòóðû. Îðèãèíàëüíûì ÿâëÿåòñÿ îñìûñëåíèå è èíòåðïðåòàöèÿ ýëåìåíòîâ èíòåðòåêñòà êàê öåííîñòíûõ îðèåíòèðîâ, à òàêæå óãëóáëåííîå èññëåäîâàíèå «÷óæîé ðå÷è» ñ òî÷êè çðåíèÿ ñìûñëîâîãî, ôèëîñîôñêîãî è êóëüòóðíî-èñòîðè÷åñêîãî àñïåêòîâ. Ðåçóëüòàòû ðàáîòû ìîãóò èñïîëüçîâàòüñÿ â õîäå ëåêöèîííûõ è ïðàêòè÷åñêèõ çàíÿòèé ïî èñòîðèè ðóññêîé ëèòåðàòóðû XX âåêà, ïðè ïðîâåäåíèè ñïåöêóðñîâ è ñåìèíàðîâ.

Êëþ÷åâûå ñëîâà: ðóññêàÿ êëàññè÷åñêàÿ ëèòåðàòóðà, ëèòåðàòóðîâåäåíèå, èíòåðòåêñò, «÷óæàÿ ðå÷ü», òåîðåòèêî-ëèòåðàòóðíûå êîíöåïöèè, èíòåðòåêñòóàëüíîå ïîëå, ðåìèíèñöåíöèÿ, äèàëîãè÷åñêèå îòíîøåíèÿ, àëëþçèè, àðõèñåìà

Abstract: The subject of the work is the artistic means used by Samoylov which are understood as a system of principles structurally organizing his texts. The author conducts a study of the "alien speech" in the texts of David Samoilov in terms of semantic, cultural-historical and philosophical aspects. Trepachko also takes into account the poet's addressing to texts, explanations, plotlines, principles, and techniques that exist in Russian classical literature. The researcher traces back patterns that connect the work of the poet with the works of the authors of Russian classical literature. The author also analyses the development of the poetic style of David Samoilov in terms of contemporary culture as well as the poet's formation of new meanings relevant to cultural-historical space of the XXth -XXIth centuries. Using the methods of comparative-historical, structural and semiotic, historical and biographical analysis of functional units in the intertextual poetry of David Samoilov, the author finds out that there were dialogical relations between the poet's creative work and that of the authors of Russian classical literature. The original approach is the author's approach to interpreting elements of the intertext as values as well as the in-depth study of the "alien speech" from the perspective of semantic, philosophical and cultural-historical aspects. The results can be used during lectures and training on the history of Russian literature of the XXth century as well as specialized courses and seminars.

Keywords: archiseme, allusions, dialogical relations, reminiscence, intertextual field, theoretical literary concepts, intertext, literary studies, Russian classical literature

Àííîòàöèÿ:  äàííîé ñòàòüå âûÿâëÿåòñÿ ôóíäàìåíò íåîàêìåèçìà êàê îäíîãî èç ãëàâíûõ ëèòåðàòóðíûõ íàïðàâëåíèé ÕÕ âåêà, åãî êîíöåïöèÿ, ñïåöèôè÷åñêàÿ ìèôîëîãèÿ, âûñòðàèâàþùàÿ, â ñâîþ î÷åðåäü, ïîýòè÷åñêóþ ìèðîìîäåëü. Àíàëèçèðóåòñÿ ïðîñòðàíñòâåííî-âðåìåííîé êîíòèíóóì, åãî êîîðäèíàòû, õóäîæåñòâåííîå ïðîñòðàíñòâî è âðåìÿ ðàññìàòðèâàþòñÿ êàê îñîáûé ýñòåòè÷åñêèé è âåðáàëüíûé ôåíîìåí; ââîäèòñÿ ïîíÿòèå ñèíõðîííî-ðåìèíèñöåíòíîãî õðîíîòîïà, ñìåùåííîãî îòíîñèòåëüíî ãðàíèö ðåàëüíîãî ïðîñòðàíñòâà è âðåìåíè, áëàãîäàðÿ ÷åìó â ìèôîëîãèè ñîçäàåòñÿ «ìîíîëîã íà ïîëèôîíè÷åñêîé îñíîâå».  ïðåëîìëåíèè ê íåîàêìåèñòè÷åñêîé ïàðàäèãìå ðàññìàòðèâàåòñÿ òâîð÷åñòâî Ä. Ñàìîéëîâà – ïîýòèêà, ìèôîëîãèÿ, ïîëèñåìàíòè÷åñêàÿ æàíðîâàÿ ñïåöèôèêà.  öåíòðå ñîïîñòàâèòåëüíîãî ïîäõîäà – ïîäîáèå âûðàçèòåëüíûõ ñðåäñòâ è àâòîðñêîé ñòèëèñòèêè - îò ëèòåðàòóðîâåä÷åñêèõ ïðèåìîâ, îáùèõ ôðàç, öèòàò, àëëþçèé âïëîòü äî îáùíîñòè àâòîðñêîé êîíöåïöèè ëèðè÷åñêîãî ñþæåòà, õóäîæåñòâåííîãî ïðîñòðàíñòâà è âðåìåíè – ñèíõðîííî-ðåìèíèñöåíòíîãî õðîíîòîïà – ñõîäíûì îáðàçîì ïðåäñòàâëåííîãî â ñòèõîòâîðåíèÿõ À. Àõìàòîâîé, «Áîæåñòâåííîé êîìåäèè» Äàíòå è ëèðè÷åñêèõ öèêëàõ Ä. Ñàìîéëîâà. Ñîïîñòàâèòåëüíûé àíàëèç è ìåòîä ñåìèîòè÷åñêîé ðåêîíñòðóêöèè, äîïîëíÿÿ äðóã äðóãà, ñïîñîáñòâóþò äåòàëüíîé ðàñøèôðîâêå ïîýòè÷åñêîãî òåêñòà. Íîâèçíà ðàáîòû çàêëþ÷àåòñÿ â òîì, ÷òî òâîð÷åñòâî ìàëîèññëåäîâàííîãî ïîýòà ôðîíòîâîãî ïîêîëåíèÿ ïîäâåðãàåòñÿ âñåñòîðîííåé èíòåðïðåòàöèè, ðàññìàòðèâàåòñÿ â ñâåòå äåéñòâèÿ ìåõàíèçìà êóëüòóðíîé ïàìÿòè, - êàê ñèíòåç ôîðìû è ñîäåðæàíèÿ. Çàøèôðîâàííûå îòñûëêè è ðåìèíèñöåíöèè â òåêñòàõ íåàêìåèñòîâ ñâÿçàíû ñ àâòîðñêèì ïðèåìîì ïîëèñåìèè, «ïîëèöèòàòíîñòè», íîñÿùåé èìïëèöèòíûé õàðàêòåð. Àðõåòèïè÷åñêèå îáðàçû àññîöèèðóþòñÿ îäíîâðåìåííî ñ íåñêîëüêèìè öèòàòíûìè èñòî÷íèêàìè - áèáëåéñêèìè, ôîëüêëîðíûìè, ðàçëè÷íûìè îáðàçàìè îòå÷åñòâåííîé è ìèðîâîé ëèòåðàòóðû, áëàãîäàðÿ ÷åìó îáðåòàþò íåñêîëüêî ïîòåíöèàëüíûõ «ïðîòîòåêñòîâ» è èíòåðïðåòàöèé. Ñ ôîðìàëüíîé òî÷êè çðåíèÿ ýòî ñïîñîáñòâóåò âîçíèêíîâåíèþ æàíðîâ íà ñòûêå äâóõ è áîëåå æàíðîâûõ «âàëåíòíîñòåé».

Êëþ÷åâûå ñëîâà: íåîàêìåèçì, Ä. Ñàìîéëîâ, «Áîæåñòâåííàÿ êîìåäèÿ», ñèíõðîííî-ðåìèíèñöåíòíûé õðîíîòîï, ëèðè÷åñêèé ãåðîé, ðåìèíèñöåíöèÿ, ëèòåðàòóðíûé êîíòåêñò, ïðîîáðàç, àðõåòèï, ìèô

Abstract: In this article Fetisova defines the fundamentals of neoacmeism as one of the main literary schools of the XXth century, its concept and specific mythology that builds the poetic model of the world. The researcher analyzes the space-time continuum and its coordinates. Artistic space and time are viewed as a specific easthetic and verbal phenomenon. The author also introduces the term 'synchronous-reminiscential chronotope' displaced against the borders of the real space and time thus creating the 'polyphony-based monologue' in the mythology. Fetisova analyzes David Samoylov's writing - poetics, mythology and polysemantic genre specifics in terms of the neoacmeism paradigm. The author's comparative approach focuses on similar expressive means and author's style from literary techniques, general phrases, quotations, allusions to the general author's concept of the lyrical plot, artistic space and time (so called synchronous-reminiscential chronotope) that can be found in Anna Akhmatova's poems, Dante's The Divine Comedy and David Samoylov's poetry. The comparative analysis as well as the method of semiotic reconstruction complete each other and promote the detailed recoding of the poetic text. The novelty of the research is caused by the fact that writings of a scantily studied poet from the 'frontline' generation are comprehensively interpreted by the author and viewed in terms of the mechanism of the cultural memory as the synthesis of the form and content. Coded references and reminiscences in neoacmeist texts relate to the author's method of polysemy and polycitationality of the implicit nature. Archetypic images are associated with several citation-containing references - Biblical, folkloric, and images of the Russian and world literature which allows to come up with several potential 'prototexts' and interpretations. On a formal level this approach encourages the origin of genres at the confluence of two or more genre 'valencies'. 

Keywords: myth, archetype, prototype, literary context, reminiscence, literary hero, synchronous-reminiscential chronotope, The Divine Comedy, David Samoylov, neoacmeism

Àííîòàöèÿ: Ìàòåðèàë ðàññêàçûâàåò î òâîð÷åñòâå èçâåñòíîãî ðîññèéñêîãî ëèòåðàòîðà è êèíîäðàìàòóðãà Âàëåðèÿ Àëåêñàíäðîâè÷à Çàëîòóõè (1954-2015).  ñâî¸ì òâîð÷åñòâå Â.À. Çàëîòóõà ïîäíèìàë îñòðûå ñîöèàëüíûå âîïðîñû. Íàø êîððåñïîíäåíò âñòðåòèëñÿ ñ Åëåíîé Òåîäîðîâíîé Ëîáà÷åâñêîé, ÷òîáû îáñóäèòü òâîð÷åñòâî èçâåñòíîãî ïèñàòåëÿ è îòìåòèòü íåîñïîðèìûå äîñòèæåíèÿ åãî ïðîèçâåäåíèé, â òîì ÷èñëå ðîìàíà «Ñâå÷êà» è ñöåíàðèÿ ê êàðòèíå «Ìóñóëüìàíèí». Ôèëüì «Ìóñóëüìàíèí» ñîõðàíèë ñâîþ àêòóàëüíîñòü íå òîëüêî â ìîìåíò ýêðàíèçàöèè ïðîèçâåäåíèÿ, íî è â ïîñëåäóþùèå ãîäû. Îñòðîòà ïñèõîëîãè÷åñêîãî êîíôëèêòà âûçâàíà òåì, ÷òî ðîññèéñêèé ñîëäàò, ïîïàâøèé â ïëåí ê ìóñóëüìàíàì, âåðíóëñÿ â ðîäíóþ äåðåâíþ. Ïàðàäîêñ ðàññêàçàííîé èñòîðèè çàêëþ÷àåòñÿ â òîì, ÷òî, ñòîëêíóâøèñü ñ ýòîé ðåëèãèåé, ãåðîé ñòàë èíà÷å ñìîòðåòü íà æèçíü. Âîñïðèíÿòûå èì öåííîñòè ïîðàçèòåëüíî ïðîòèâîðå÷èëè äåðåâåíñêèì íðàâàì ñ ïüÿíñòâîì, òóïîñòüþ è æåñòîêîñòüþ ïîâåäåíèÿ.  áåñåäå èñïîëüçîâàëèñü ýëåìåíòû òàêîãî æàíðà, êàê èíòåðâüþ.  ðàçãîâîðå íàøëè îòðàæåíèå îñíîâíûå èäåè ýêçèñòåíöèàëüíîé ôèëîñîôèè, â ÷àñòíîñòè, ðàáîòû Âèêòîðà Ôðàíêëà. Âïåðâûå â îòå÷åñòâåííîé ëèòåðàòóðå èçëàãàåòñÿ èñòîðèÿ íàïèñàíèÿ ðîìàíà «Ñâå÷êà». Îáñóæäàåòñÿ çàðîæäåíèå ñöåíàðèÿ ê êàðòèíå «Ìóñóëüìàíèí», èäåÿ êîòîðîãî âîçíèêëà íà äîêóìåíòàëüíîé îñíîâå. Â.À. Çàëîòóõà óâèäåë â òåëåâèçèîííûõ íîâîñòÿõ âîçâðàùåíèå ñîëäàòà, êîòîðûé ñòàë ìóñóëüìàíèíîì, ê ìàòåðè. Èçëîæåíà òàêæå èñòîðèÿ ïîÿâëåíèÿ äîêóìåíòàëüíîãî ôèëüìà «Àíãåë Ðóññêîé öåðêâè ïðîòèâ Îòöà âñåõ íàðîäîâ». Èäåÿ ôèëüìà ñâÿçàíà ñî ñëîâàìè èç ïóøêèíñêîãî «Áîðèñ Ãîäóíîâà». Þðîäèâûé íà ïðîñüáó öàðÿ ìîëèòüñÿ çà íåãî, îòâå÷àåò: «Íåëüçÿ ìîëèòüñÿ çà öàðÿ èðîäà». Îöåíèâàåòñÿ òàêæå õóäîæåñòâåííûé ôèëüì «Ïîïû». Êðîìå òîãî â áåñåäå çàòðîíóòû òåìû, êîòîðûå âîëíîâàëè Â.À. Çàëîòóõó, íî, ê ñîæàëåíèþ, îíè íå áûëè ðåàëèçîâàíû.

Êëþ÷åâûå ñëîâà: ëèòåðàòóðà, ïîëèòèêà, êèíåìàòîãðàô, òâîð÷åñòâî, ìóñóëüìàíñòâî, âëàñòü, èäåîëîãèÿ, Â. Ôðàíêë, ó÷åíèå î ñìûñëå, õàðàêòåðû

Abstract: The article tells us about the creative life of a famous Russian author and scriptwriter Valery Zalotukha (1954 - 2015). In his creative writing Valery Zalotukha raised nettlesome social issues. Our newsperson had a meeting with Elena Lobachevskaya in order to discuss the creative life of a famous writer and outline unquestionable achievements of his writings including his novel 'The Candle' and his script for the film 'A Moslem'. 'A Moslem' was an important film at the time of its creation and it still remains important today. The psychological conflict in the film was caused by the fact that a Russian soldier who had been captured by Muslims came back to his home village. The values he adopted were startingly contradictory to the village traditions of excessive drinking and blunt and cruel behavior. In his conversation Khayrutinov used such elements of the genre as an interview. The main ideas of existential philosophy, in particular, Viktor Frankl's views were touched upon by the interlocutors. For the first time in the Russian academic sources the history of writing the novel 'The Candle' is presented. The interlocutors also discussed how the idea of the script 'A Moslem' was created which had a documentary basis. Valery Zolotukha saw the TV news telling about the soldier who became a Muslim coming back home to his mother. The interlocutors also discussed the origin of the documentary film 'The Angel of the Russian Church Versus the Father of All Nations'. The idea of the film is closely connected with the words from Alexander Pushkin's 'Boris Godunov' when the tzar asks a fool for Christ to pray for him and the fool answers 'I can't pray for Herod'. The interlocutors also gave their evaluation of the movie 'The Priests'. Moreover, they touched upon the topics Valery Zalotukha was concerned about but unfortunately had no time to reveal. 

Keywords: characters, theory of the life meaning, Viktor Frankl, ideology, power, Islam, creativity, cinematography, politics, literature

Àííîòàöèÿ:  ñòàòüå ðàññìàòðèâàåòñÿ ïîýçèÿ êàê îäíà èç âîçìîæíîñòåé ðàñêðûòèÿ èñòîðè÷íîñòè-âðåìåííîñòè áûòèÿ ïîñðåäñòâîì ìåòàôîðû, àêöåíòèðóþòñÿ ãíîñåîëîãè÷åñêèå ïðåèìóùåñòâà ïîýòè÷åñêîé ìåòàôîðû. Ïîýçèÿ ïðåäñòàåò êàê îòðàæåíèå äóõà íàðîäà, åãî èñòîðèè è âîñïðèÿòèÿ áûòèÿ â öåëîì è ïðèðîäû â ÷àñòíîñòè. Ðàñêðûâàþòñÿ îñîáåííîñòè çàïàäíîãî, âîñòî÷íîãî è ðóññêîãî òèïà ïîýòè÷åñêîãî ìèðîâîñïðèÿòèÿ, ïîäíèìàåòñÿ ïðîãíîñòè÷åñêèé àñïåêò ïîýçèè. Ïðîâèä÷åñêàÿ ñòîðîíà ïîýçèè âûñòóïàåò â åäèíñòâå ñ åå îíòîëîãè÷åñêîé ñîñòàâëÿþùåé: ïîýçèÿ åñòü ðàñêðûòèå ñàìîãî áûòèÿ, ïåðåæèâàíèå èñòîðèè áûòèÿ. Âûÿâëÿåòñÿ âçàèìîñâÿçü ìåæäó ïåðåëîìíûìè, êðèçèñíûìè ìîìåíòàìè èñòîðèè è áûòèÿ è ïðîãíîñòè÷åñêèìè âîçìîæíîñòÿìè ïîýçèè è îòðèöàåòñÿ ìèñòèöèçì ïîýçèè. Ïðîãíîñòè÷åñêàÿ ñòîðîíà ïîýçèè íåîòäåëèìà îò åå ãðàæäàíñòâåííîñòè è ãóìàíèçìà. .  êà÷åñòâå ìåòîäîâ èññëåäîâàíèÿ, ïîìîãàþùèõ ðàñêðûòü èñòîðè÷íîñòü ïîýçèè, åå îíòîëîãè÷åñêóþ è ïðîãíîñòè÷åñêóþ ñòîðîíû, èñïîëüçóþòñÿ äèàëåêòè÷åñêèé è ôåíîìåíîëîãè÷åñêèé. Äåëàåòñÿ âûâîä, ÷òî ïîýçèÿ íå ïðîñòî ïåðåäàåò îùóùåíèå âðåìåíè, íî è ëè÷íîñòíóþ ïîçèöèþ ïîýòà, åãî îöåíêó âðåìåíè è èñòîðèè. Îòìå÷àåòñÿ, ÷òî â ãîäû ñòàáèëüíîñòè ïîýçèÿ íàõîäèòñÿ êàê áû â òåíè ëèòåðàòóðû, íà ïåðâîå ìåñòî âûõîäèò ïðîçà, íî âî âðåìåíà ïåðåìåí ïîýçèÿ çàïîëíÿåò ìíîãî÷èñëåííûå àóäèòîðèè îò êàôå äî ñòàäèîíîâ, åå ðèòì ñîçâó÷åí ðèòìó ñëóøàòåëåé è âðåìåíè.

Êëþ÷åâûå ñëîâà: Çàïàä, áûòèå, ïðåäâèäåíèå, ìèðîâîñïðèÿòèå, ãóìàíèçì, ìåòàôîðà, ôèëîñîôèÿ, ïîýçèÿ, Âîñòîê, Ðîññèÿ

Abstract: In this article the poetry is considered as one of opportunities of disclosure of historicity and temporariness of human existence by means of a metaphor and gnoseological advantages of a poetic metaphor. The poetry appears as the reflection of spirit of the people, their history and perception of existence in general and nature in particular. Features of the western, easten and Russian types of poetic attitudes are revealed, the predictive aspect of the poetry is underlined. The predictive aspect of the poetry is studied from the point of the unity of its ontologic component: the poetry is the disclosure of existence and experience of the history of human being. The interrelation between the turning, crisis points of history and existence and predictive opportunities of poetry comes to light and the poetry mysticism is denied. According to the author, the predictive role of the poetry is inseparable from the civic consciousness and humanism. The main research methods used by the author to reveal the historicity of the poetry and to describe the ontological and predictive aspects of the poetry include dialectical and phenomenological methods. The author concludes that the poetry does not simply transfer the feeling of time but also conveys the personal position of the poet, his 9r her evaluation of the time and history. It is noted that in better times the poetry stays in the literature shadow and the prose comes out on top, but at the time of changes the poetry gathers numerous audiences in cafes and stadiums because poetic rhythms are conformable to the rhythms of listeners and time.

Keywords: Russia, East, West, existence, prediction, world perception, humanism, metaphor, philosophy, poetry

Àííîòàöèÿ:  ñòàòüå îïèñûâàþòñÿ îñíîâíûå ñïîñîáû ÿçûêîâîé êàòåãîðèçàöèè êîíöåïòîâ íåáåñíîé ñôåðû â ðóññêîì è ôðàíöóçñêîì ÿçûêàõ, óñòàíàâëèâàþòñÿ íàèáîëåå ïðîäóêòèâíûå ëåêñèêî-ãðàììàòè÷åñêèå ñðåäñòâà, âûðàæàþùèå êàòåãîðèè îöåíêè, âðåìåíè, êîëè÷åñòâà è äèìåíñèîíàëüíîñòè. ßâëåíèå êàòåãîðèçàöèè çàòðàãèâàåò âñå ñôåðû è àñïåêòû ÷åëîâå÷åñêîãî áûòèÿ. Ïðåäìåò ñòàòüè ñîñòàâëÿåò ÿçûêîâàÿ îáúåêòèâàöèÿ êàòåãîðèàëüíûõ ïðèçíàêîâ, ÿâëÿþùèõñÿ îäíèì èç ñïîñîáîâ óïîðÿäî÷èâàíèÿ è îïèñàíèÿ êîíöåïòóàëüíîé êàðòèíû ìèðà. Îáúåêòîì èññëåäîâàíèÿ ïîñëóæèëè êîíöåïòû íåáåñíîé ñôåðû, âåðáàëèçóþùèåñÿ â ëåêñåìàõ ñîëíöå, ëóíà è çâåçäû.  õîäå èññëåäîâàíèÿ èñïîëüçóåòñÿ ìåòîäèêà êîíöåïòóàëüíîãî àíàëèçà, çàêëþ÷àþùàÿñÿ â âûÿâëåíèè è îïèñàíèè êàòåãîðèàëüíûõ ïðèçíàêîâ, âîäÿùèõ â ñòðóêòóðó ðàññìàòðèâàåìûõ êîíöåïòîâ, à òàêæå ìåòîä êîíòåêñòóàëüíîãî àíàëèçà. Íàó÷íàÿ íîâèçíà ðàáîòû çàêëþ÷àåòñÿ â óñòàíîâëåíèè êàòåãîðèàëüíûõ ïðèçíàêîâ êîíöåïòîâ íåáåñíîé ñôåðû â ñîïîñòàâèòåëüíîì àñïåêòå ïðèìåíèòåëüíî ê ðóññêîé è ôðàíöóçñêîé ëèíãâîêóëüòóðàì. Îñíîâíîé âûâîä ïðîâåäåííîãî èññëåäîâàíèÿ ñâîäèòñÿ ê òîìó, ÷òî êàòåãîðèçàöèè ÿâëÿåòñÿ îäíèì èç áàçîâûõ ïîíÿòèé ÷åëîâå÷åñòâà, âûñòóïàÿ îñíîâíûì ñðåäñòâîì ñèñòåìàòèçàöèè îáúåêòîâ è ÿâëåíèé îêðóæàþùåãî ìèðà.

Êëþ÷åâûå ñëîâà: êàòåãîðèÿ, êàòåãîðèçàöèÿ, êîíöåïò, ïðèçíàê, êîãíèòèâíàÿ ñèñòåìà, íåáåñíûå òåëà, îáúåêòèâàöèÿ, êîíöåïòóàëüíûé àíàëèç, ëèíãâîêóëüòóðà, êàðòèíà ìèðà

Abstract: In this article Rolgayzer describes the main means of the language-related categorization of celestial bodies in the Russian and French languages. The researcher also defines the most efficient lexico-grammatical means that express categories of evaluation, time, amount and dimension. The phenomenon of categorization covers all spheres and aspects of human existence. The subject of the research is the language-related objectivation of category features as one of the ways  to order and describe the conceptual picture of the world. The object of the research is celestial bodies concepts verbalized in the form of Sun, Moon and Stars. In the course of the research the author has used the method of the conceptual analysis to define and describe category features constituting the structure of the viewed concepts as well as the method of the contextual analysis. The scientific novelty of the research is caused by the fact that the author defines category features of celestial bodies concepts in terms of Russian and French linguocultures. The main conclusion of the research is that categorization is one of the basic terms of the humanity and the main means of the systematizatino of objects and phenomena in the surrounding world. 

Keywords: linguoculture, conceptual analysis, objectivization, celestial bodies, cognitive system, characteristic, concept, categorization, category, worldview

Àííîòàöèÿ: Ïðåäìåòîì ñòàòüè ÿâëÿåòñÿ ðåøåíèå ïðîáëåìû ñîîòíîøåíèÿ õóäîæåñòâåííîãî âûìûñëà è ðåàëüíîñòè ñ ïîìîùüþ «îïåðàòîðíîãî ïîäõîäà». Àíàëèçèðóþòñÿ ïðè÷èíû, ïîáóäèâøèå èññëåäîâàòåëåé ê ââåäåíèþ â òåîðèþ ëèòåðàòóðû «íàððàòèâíûõ îïåðàòîðîâ» è, â ÷àñòíîñòè, «îïåðàòîðà âûìûñëà» (fiction-operator). Ðàññìàòðèâàþòñÿ àðãóìåíòû Ã.-Í. Êàñòàíåäû ïðîòèâ îïåðàòîðíîãî ïîäõîäà è åãî òåçèñ î òîì, ÷òî ðàçëè÷èå ìåæäó óòâåðæäåíèÿìè î âûìûøëåííîì ìèðå è óòâåðæäåíèÿìè î äåéñòâèòåëüíîñòè çàêëþ÷àåòñÿ â õàðàêòåðå ïðåäèêàöèè. Èññëåäóþòñÿ ñâîéñòâà íàððàòèâíûõ îïåðàòîðîâ, ââîäèòñÿ ïîíÿòèå «íàððàòèâíî-àíàëèòè÷åñêîãî îïåðàòîðà», îáëàäàþùåãî ñâîéñòâîì ëèíåéíîñòè. Îñíîâíîé ìåòîä èññëåäîâàíèÿ — îïåðàòîðíûé ïîäõîä, îñíîâàííûé íà àíàëîãèè ñ îïåðàòîðíûì èñ÷èñëåíèåì â ìàòåìàòèêå è åñòåñòâîçíàíèè. Äåìîíñòðèðóåòñÿ, ÷òî îïåðàòîðíûé ïîäõîä â òåîðèè ëèòåðàòóðû îáëàäàåò áîëüøîé ýâðèñòè÷åñêîé ñèëîé, ïîçâîëÿåò ôîðìàëèçîâàòü íåêîòîðûå ñëîæíûå ïðîáëåìû, äà¸ò ÿñíûå, ñòðîãèå è ýôôåêòèâíûå ðåøåíèÿ. Äîêàçûâàåòñÿ, ÷òî òåîðèÿ Ã.-Í. Êàñòàíåäû îá àìáèâàëåíòíîñòè ñâÿçêè íå ïðîòèâîðå÷èò «îïåðàòîðíîìó ðåøåíèþ», à ñîäåðæèòñÿ â ÷èñëå åãî ëîãè÷åñêèõ ñëåäñòâèé. Êîíñòàòèðóåòñÿ, ÷òî îïåðàòîðíûé ïîäõîä ÿâëÿåòñÿ îäíèì èç ìîùíåéøèõ èíñòðóìåíòîâ â ñîâðåìåííîé òåîðèè ëèòåðàòóðû, è î÷åð÷èâàåòñÿ ðÿä àêòóàëüíûõ ïðîáëåì, äëÿ ðåøåíèÿ êîòîðûõ èñïîëüçîâàíèå îïåðàòîðíîãî ïîäõîäà ìîæåò îêàçàòüñÿ ïëîäîòâîðíûì.

Êëþ÷åâûå ñëîâà: Äýâèä Ëüþèñ, íàððàòèâíûé îïåðàòîð, íàððàòîëîãèÿ, ñåìàíòèêà, ñåìàíòè÷åñêèé îïåðàòîð, ñòðóêòóðàëèçì, òåîðèÿ ëèòåðàòóðû, ôèêöèîíàëüíûé äèñêóðñ, ôîðìàëèçàöèÿ, õóäîæåñòâåííûé âûìûñåë

Abstract: The subject of the research is the solution of the problem regarding the relationship betwen fiction and reailty by using the so called 'operator approach'. Boyko analyzes the reasons that encouraged researchers to introduce 'narrative operators' in the theory of literature, in particular, the 'fiction-operator'. He also analyzes arguments of Hector-Neri Castañeda against the operator approach as well as his thesis that the difference between fictional statements and reality statements is the nature of predication. Boyko analyzes the features of narrative approaches and introduces the term 'narrative-analytical operator' that has the feature of linearity. The main research method used by the author is the operator approach based on the analogy with the operator calculus in mathematics and natural sciences. It is demonstrated that the operator approach to the theory of literature has a great heuristical power and allows to formalize certain complex issues as well as to provide clear, strict and efficient solutions. The author proves that the ambivalency theory of Hector-Neri Castañeda does not oppose to the operator approach but on the contrary constitutes one of its logical consequences. It is stated that the operator approach is one of the most powerful instruments in the modern theory of literature. The author of the article also outlines a range of important issues that can be solved by the operator approach. 

Keywords: fictional discourse, theory of literature, structuralism, semantic operator, semantics, narratology, narrative operator, David Lewis, formalization, fiction

Àííîòàöèÿ: Öåëüþ ñòàòüè ÿâëÿåòñÿ àíàëèç ñòèõîòâîðåíèÿ Ê.Ì. Ñèìîíîâà «Æäè ìåíÿ» ñ ó÷åòîì ñèñòåìû âíóòðåííèõ ñâÿçåé, îáóñëîâëåííûõ ïðèíàäëåæíîñòüþ òåêñòà ê öèêëó «Ñ òîáîé è áåç òåáÿ». Àâòîð ïîäðîáíî ðàññìàòðèâàåò ìåñòî ïðîèçâåäåíèÿ â «ðîìàííîì ñþæåòå» (òåðìèí È. Ôîìåíêî) öèêëà. «Æäè ìåíÿ» ÿâëÿåòñÿ åãî ëîæíîé êóëüìèíàöèåé è ïîñâÿùåíî âðåìåííîé è îáìàí÷èâîé ãàðìîíèçàöèè îòíîøåíèé ëèðè÷åñêîãî ãåðîÿ è ãåðîèíè. Ïðåäìåòîì ðàññìîòðåíèÿ òàêæå ñòàëè êëþ÷åâûå ñëîâà, ìîòèâû è ïðèåìû, îáúåäèíÿþùèå ñòèõîòâîðåíèå ñ îáùèì öåëûì. Ðàáîòà îïèðàåòñÿ íà ñèñòåìíûé ïîäõîä â èññëåäîâàíèè ëèðè÷åñêîãî öèêëà è ñî÷åòàåò èììàíåíòíûé è ñîïîñòàâèòåëüíûé ìåòîäû àíàëèçà.  ðåçóëüòàòå èññëåäîâàíèÿ áûëè âûÿâëåíû «ñêðåïû», ñâÿçûâàþùèå ñòèõîòâîðåíèå ñ öèêëîì: ìîòèâû ëþáâè, îæèäàíèÿ, ÷óäà, ÷óäåñíîãî ñâèäàíèÿ, ïðåîäîëåíèÿ âðåìåíè è ïðèåì ïîñëåäóþùåé íàððàöèè. «Æäè ìåíÿ» ïðî÷èòàíî êàê ïðîèçâåäåíèå î âîïëîùåííîì ÷óäå ëþáâè, î ïîáåäå ÷åëîâåêà íàä âðàæäåáíîé ñèëîé âðåìåíè è ïðîñòðàíñòâà. Óñòàíîâëåíî, ÷òî ñòèõîòâîðåíèå ïðåäñòàâëÿåò èäåàëüíóþ ìîäåëü ìèðà, íà êîòîðóþ ñêðûòî îðèåíòèðîâàíû äðóãèå ïðîèçâåäåíèÿ öèêëà.

Êëþ÷åâûå ñëîâà: Ñèìîíîâ, ëèðè÷åñêèé öèêë, ëèðè÷åñêèé ñþæåò, êóëüìèíàöèÿ, ìîòèâ ÷óäà, ìîòèâ ÷óäåñíîãî ñâèäàíèÿ, êîíôëèêò, ëþáîâíàÿ ëèðèêà, âîåííàÿ ëèðèêà, àìôèáîëèÿ

Abstract: The aim of the article is to analyze Konstantin Siminov’s poem “Wait for me” considering the system of internal connections which are determinate by the fact the poem belongs to Simonov's poetic cycle “With you and without you”. The author examines the place of this work in the “romantic plot” (I. Fomenko’s term) of the cycle. “Wait for me” is a false climax and it is devoted to temporary and deceptive harmonization of relations of the lyrical hero and heroine. Key words, motifs and devices combining the poem with the overall whole become the subject of study. The work is based on the systems approach to the study of Simonov's poetry cycle and combines immanent and comparative analysis methods. The study reveals the “ties” which connect the poem with the cycle: motifs of love, expectation, miracle, miraculous meeting, overcoming of time and the method of subsequent narration. The poem “Wait for me” has been viewed as the poem about the victory over hostile force of time and space. The researcher establishes that other works of the cycle implicitly direct at this poem as at the ideal model of world.

Keywords: motif of miraculous meeting, motif of miracle, climax, lyrical plot, lyrical cycle, Simonov, conflict, love poetry, war poetry, amphibolia

Àííîòàöèÿ: Ïðåäìåòîì èññëåäîâàíèÿ ïðåäëàãàåìîé ñòàòüè ÿâëÿåòñÿ èäåÿ âå÷íîãî âîçâðàùåíèÿ Ô. Íèöøå â ïîýòè÷åñêîì íàñëåäèè À. Áëîêà. Îáúåêòîì èññëåäîâàíèÿ âûñòóïàåò îñóùåñòâëÿþùàÿñÿ â ïîýçèè À. Áëîêà òðàíñôîðìàöèÿ íèöøåâñêîé èäåè âå÷íîãî âîçâðàùåíèÿ òîãî æå ñàìîãî â ïîýòèêó è ýñòåòèêó íåçàâåðøåííîãî âîçâðàùåíèÿ.  ñòàòüå îñóùåñòâëÿåòñÿ ñðàâíèòåëüíûé àíàëèç ôèëîñîôñêèõ âîççðåíèé Ô. Íèöøå è ïîýòè÷åñêîãî ìèðîñîçåðöàíèÿ À. Áëîêà. Àâòîð îïèðàåòñÿ íà ðåçóëüòàòû ñîâðåìåííûõ èññëåäîâàíèé êàê â îáëàñòè ëèòåðàòóðîâåäåíèÿ, òàê è â îáëàñòè ôèëîñîôèè.  ñòàòüå ïðèìåíÿåòñÿ êîìïëåêñíûé ïîäõîä, îñíîâàííûé íà ñèíòåçå ñåìèîýñòåòè÷åñêîãî, äèñêóðñèâíîãî è èíòåðòåêñòîâîãî àíàëèçà. Îáùèé ïîäõîä ìîæåò áûòü îïðåäåëåí êàê ôèëîñîôñêèé àíàëèç õóäîæåñòâåííîãî òåêñòà. Îñíîâíûì âûâîäîì ïðîâåäåííîãî èññëåäîâàíèÿ ÿâëÿåòñÿ ïîëîæåíèå, ÷òî â ïîýòè÷åñêîì ìèðå À. Áëîêà èäåÿ âå÷íîãî âîçâðàùåíèÿ òðàíñôîðìèðóåòñÿ â ôåíîìåí íåçàâåðøåííîãî âîçâðàùåíèÿ. Àâòîð ïîêàçûâàåò, ÷òî Áëîêîì áûë àññèìèëèðîâàí ïðåèìóùåñòâåííî êîñìîëîãè÷åñêèé, íåãàòèâíûé àñïåêò íèöøåâñêîé èäåè. Ïîçèòèâíûé, àíòðîïîëîãè÷åñêèé àñïåêò äàííîé èäåè íå ïîëó÷èë ïîëíîãî âîïëîùåíèÿ â òâîð÷åñêîì íàñëåäèè ïîýòà.

Êëþ÷åâûå ñëîâà: Àëåêñàíäð Áëîê, Íèöøå, âå÷íîå âîçâðàùåíèå, íåçàâåðøåííîå âîçâðàùåíèå, ïîýçèÿ, ýêçèñòåíöèÿ, Ïóøêèí, àíèìà, êîñìîëîãè÷åñêèé àñïåêò, àíòðîïîëîãè÷åñêèé àñïåêò

Abstract: The subject of the study of the proposed article is the idea of eternal return in Nietzsche's poetic heritage of Alexander Blok. The object of the research is carried out in favor of poetry by Alexander Blok transformation of Nietzsche's idea of the eternal return of the same in the poetics and aesthetics of incomplete returns. The article made a comparative analysis of the philosophical views of Nietzsche and poetic outlook Blok. The author draws on the results of current research in the field of literature and in philosophy. This article takes an integrated approach based on a synthesis of semiotic-aesthetic, discursive and intertextual analysis. The general approach can be defined as the philosophical analysis of a literary text. The main conclusion of the research is the situation that in the poetic world of Blok the idea of eternal return is transformed into unfinished return phenomenon. The author shows that the unit has been assimilated largely cosmological, the negative aspect of Nietzsche's ideas. Positive, anthropological aspect of this idea has not received full embodiment in the creative heritage of the poet.

Keywords: anima, Pushkin, existence, poetry, unfinished return, eternal return, Nietzsche, Alexander Blok, cosmological aspect, anthropological aspect