Àííîòàöèÿ: Ïðåäìåòîì èññëåäîâàíèÿ â äàííîé ñòàòüå ÿâëÿåòñÿ íàððàòèâíàÿ ñòðàòåãèÿ æèçíåîïèñàíèÿ â òâîð÷åñòâå Ìàðãàðåò Ýòâóä. Ìàðãàðåò Ýòâóä (ð. 1939) – èçâåñòíàÿ ñîâðåìåííàÿ êàíàäñêàÿ ïèñàòåëüíèöà, ïîýòåññà, ëèòåðàòóðîâåä è êðèòèê. Êàê ïðàâèëî, òâîð÷åñòâî Ì. Ýòâóä ïðèíÿòî ðàññìàòðèâàòü ïî òðåì ìàãèñòðàëüíûì íàïðàâëåíèÿì: ïîèñê Êàíàäñêîé èäåíòè÷íîñòè â ïðîèçâåäåíèÿõ Ì. Ýòâóä; æåíñêèé âîïðîñ è òåîðèè ôåìèíèçìà â òâîð÷åñòâå Ì. Ýòâóä è ñïåêóëÿòèâíàÿ (êîíöåïòóàëüíàÿ) ôàíòàñòèêà â òâîð÷åñòâå Ì. Ýòâóä. Èìåííî ýòèì òðåì íàïðàâëåíèÿì ïîñâÿùåíî íàèáîëüøåå êîëè÷åñòâî íàó÷íûõ ðàáîò î êàíàäñêîé ïèñàòåëüíèöå. Èñõîäÿ èç æèçíåííîãî è òâîð÷åñêîãî ïóòè Ì. Ýòâóä, ýòè òðè ìàãèñòðàëè âïîëíå îïðàâäàíû. Íî çà íèìè òåðÿåòñÿ îñíîâà òâîð÷åñòâà ïèñàòåëüíèöû – íàððàòèâ, íàððàòèâíàÿ ñòðóêòóðà, èññëåäîâàíèþ êîòîðîé Ì. Ýòâóä ïîñâÿòèëà ìíîãèå ñâîè ëèòåðàòóðîâåä÷åñêèå ðàáîòû. Îñíîâûâàÿñü íà íàðàáîòêàõ çàðóáåæíûõ è îòå÷åñòâåííûõ èññëåäîâàòåëåé íàððàòèâà, à òàêæå íà èçûñêàíèÿõ ñàìîé Ì. Ýòâóä, â äàííîé ñòàòüå ìû îïèñûâàåì òî, êàê â õóäîæåñòâåííîé ïðîçå ïèñàòåëüíèöû ðàçâîðà÷èâàåòñÿ ìíîãîóðîâíåâûé íàððàòèâ æèçíåîïèñàíèÿ, ïîäðàçóìåâàþùèé ïîä ñîáîé äåëåíèå íà ïîâåñòâîâàòåëüíûå ïëàñòû. Êàæäûé ïîâåñòâîâàòåëüíûé ïëàñò îòâå÷àåò çà îïðåäåëåííîå âðåìÿ: ïðîøëîå, íàñòîÿùåå è áåçâðåìåíüå. Àêòóàëüíîñòü è íîâèçíà äàííîé ñòàòüè çàêëþ÷àåòñÿ â ïîïûòêå äàòü îïèñàíèå íàððàòèâîâ Ì. Ýòâóä â îòðûâå îò òðåõ ìàãèñòðàëüíûõ ïóòåé è îñâåòèòü îñîáåííîñòè íàððàòèâà æèçíåîïèñàíèÿ, êîòîðûé ÿâëÿåòñÿ êëþ÷åâûì äëÿ ïðîèçâåäåíèé àâòîðà. Áëàãîäàðÿ ñòðàòåãèè æèçíåîïèñàíèÿ êàíàäñêàÿ ïèñàòåëüíèöà èññëåäóåò ïðèðîäó ÷åëîâå÷åñêîé ïàìÿòè, ìûøëåíèÿ, ôàíòàçèè. Ïîñòàâèâ ãëàâíîãî ãåðîÿ-ðàññêàç÷èêà â öåíòð íàððàòèâà, Ì. Ýòâóä ïîçâîëÿåò ñâîèì ïåðñîíàæàì ñàìîñòîÿòåëüíî àíàëèçèðîâàòü ñîáñòâåííûå ïîñòóïêè, ñâîå ïðîøëîå, ÷òî ïðèáëèæàåò åå ãåðîåâ ê ðåàëüíûì ëþäÿì. Ãåðîè ïèñàòåëüíèöû, êàê è ðåàëüíûå ëþäè, èìåþò îáùèå ïðåäñòàâëåíèÿ î òîì, êàê äîëæíà ñòðîèòüñÿ èñòîðèÿ, ðàññêàç è ïîëüçóþòñÿ ëèòåðàòóðíûìè ïðèåìàìè â ðàçãîâîðå î ñåáå. Íî, ïîñòåïåííî ðàñêðûâàÿñü, ãåðîè-ðàññêàç÷èêè Ì. Ýòâóä ïåðåõîäÿò íà îòêðîâåííûé ðàçãîâîð, îòáðàñûâàÿ ëèòåðàòóðíûå óêðàøåíèÿ. Ïîäõîä ê òâîð÷åñòâó Ì. Ýòâóä ñ òî÷êè çðåíèÿ íàððàòèâà, íàððàòîëîãèè ïîìîãàåò îòêðûòü íîâûå ãðàíè â òâîð÷åñòâå èçâåñòíîãî àâòîðà, ïîä÷åðêíóòü è àêòóàëèçèðîâàòü ìíîãèå õóäîæåñòâåííûå îñîáåííîñòè êíèã Ì. Ýòâóä, êîòîðûå îñòàþòñÿ â òåíè ïðè êóëüòóðíî-èäåîëîãè÷åñêîì ïîäõîäå.

Êëþ÷åâûå ñëîâà: ñòðàòåãèÿ æèçíåîïèñàíèÿ, ïîâåñòâîâàòåëüíûé ïëàñò, ïîâåñòâîâàíèå, íåíàäåæíûé ðàññêàç÷èê, íàððàòèâíàÿ ñòðàòåãèÿ, íàððàòîëîãèÿ, íàððàòèâ, Êàíàäñêàÿ ëèòåðàòóðà, Ìàðãàðåò Ýòâóä, ãåðîé-ðàññêàç÷èê

Abstract: The subject of the research in this article is the narrative strategy of life description in the work of Margaret Atwood. Margaret Atwood (b. 1939) is a well–known modern Canadian writer, poet, and literary critic. The work of M. Atwood is considered in three main directions: the search for Canadian identity in the works of M. Atwood; the women's question and theories of feminism in the works of M. Atwood and speculative (conceptual) fiction in the works of M. Atwood. It is these three areas that the largest number of scientific papers about the Canadian writer are devoted to. Based on the life and creative path of M. Atwood, these three highways are justified. But behind them, the basis of the writer's work is lost – the narrative structure, to the study of which M. Atwood devoted many of her literary works. Based on the best practices of foreign and domestic narrative researchers, as well as on the research of M. Atwood herself, in this article we describe how a multi-level narrative of biography unfolds in the writer's fiction, implying a division into narrative layers. Each narrative layer is responsible for a certain time: the past, the present and the timelessness. The relevance and novelty of this article lies in an attempt to describe the narratives of M. Atwood, in isolation from the three main paths, and highlight the features of the narrative of the biography, which is key to the author's works. Thanks to the strategy of biography, the Canadian writer explores the nature of human memory, thinking, and fantasy. By placing the main character, the narrator, at the center of the narrative, M. Atwood allows her characters to independently analyze their own actions, their past, which brings her characters closer to real people. The characters of the writer, like real people, have general ideas about how a story should be built, a story and use literary techniques in talking about themselves. But, gradually opening up, the characters are the narrators of M. Atwood turns to a frank conversation, discarding literary decorations. The approach to the work of M. Atwood from the point of view of narrative, narratology helps to open new facets in the work of the famous author, to emphasize and actualize many artistic features of M. Atwood's books. Atwood, who remain in the shadows with a cultural and ideological approach.

Keywords: hero-storyteller, the strategy of life story, the narrative layer, storytelling, an unreliable storyteller, narrative strategy, narratology, narrative, Canadian literature, Margaret Atwood

Àííîòàöèÿ: Ïðåäìåòîì ïðåäñòàâëåííîãî â ñòàòüå ñèñòåìíîãî èññëåäîâàíèÿ ÿâëÿåòñÿ ìåòàòåêñòîâàÿ ôóíêöèÿ çàãëàâèé ðóññêèõ ìåìóàðîâ XVIII – íà÷àëà XIX ââ. Îáúåêòîì èññëåäîâàíèÿ âûñòóïàþò âñå èçâåñòíûå è îïóáëèêîâàííûå òåêñòû ðóññêèõ ìåìóàðîâ óêàçàííîãî èñòîðè÷åñêîãî ïåðèîäà. Àâòîð ïîäðîáíî àíàëèçèðóåò â óêàçàííîì àñïåêòå ìåìóàðû Â. Â. Ãîëîâèíà, È. Î. Îñòðîæñêîãî-Ëîõâèöêîãî, È. Ã. Àíäðååâà, ß. Ï. Øàõîâñêîãî, È. È. Íåïëþåâà, È. Â. Ëîïóõèíà, Ì. Â. Äàíèëîâà, Ò. Ï. Êàëàøíèêîâà, Ã. È. Äîáðûíèíà, Ï. Ñ. Áàòóðèíà è äð. àâòîðîâ. Îñîáîå âíèìàíèå óäåëÿåòñÿ àíàëèçó ìåìóàðíîãî çàãëàâèÿ êàê ðåçóëüòàòà àâòîðñêîé ðåôëåêñèè è àäðåñîâàííîãî ÷èòàòåëþ àâòîðñêîãî çíàêà, îòðàæàþùåãî òåíäåíöèþ ê èíäèâèäóàëèçàöèè ïîâåñòâîâàíèÿ î ñåáå è ñòðåìëåíèå àâòîðîâ-ìåìóàðèñòîâ ê öåëîñòíîìó îñìûñëåíèþ è ëèòåðàòóðíîé îôîðìëåííîñòè òåêñòà âîñïîìèíàíèé. Ìåòîäîëîãèÿ èññëåäîâàíèÿ áàçèðóåòñÿ íà ïðèíöèïàõ êîìïàðàòèâèñòèêè è ñðàâíèòåëüíî-èñòîðè÷åñêîãî àíàëèçà. Êîðïóñ èññëåäóåìûõ ìåìóàðîâ ïîìåùàåòñÿ â îáùåêóëüòóðíûé êîíòåêñò ýïîõè, ÷òî ïîçâîëÿåò ãîâîðèòü î ïðèíöèïàõ ôîðìèðîâàíèÿ è ðàçâèòèÿ ðóññêîé ìåìóàðèñòèêè â XVIII â. Ìåìóàðíûå çàãëàâèÿ îòðàæàþò íà êàêóþ ýñòåòè÷åñêóþ è öåííîñòíóþ ïàðàäèãìó áûë îðèåíòèðîâàí ìåìóàðèñò. Íîâèçíà èññëåäîâàíèÿ çàêëþ÷àåòñÿ â òîì, ÷òî ìåìóàðíîå çàãëàâèå âïåðâûå ðàññìàòðèâàåòñÿ êàê îñíîâíîé ýëåìåíò ìåòàòåêñòîâîãî àíñàìáëÿ «çàãëàâèå – ïðåäèñëîâèå – ýïèãðàô – ïîñëåñëîâèå». Îáÿçàòåëüíî ïðèñóòñòâóþùàÿ â ìåìóàðíîì çàãëàâèè æàíðîâàÿ íîìèíàöèÿ (çàïèñêè, ëåòîïèñü, ïîâåñòü, æèòèå, æèçíü) ïîíèìàåòñÿ êàê îðèåíòèðîâàííûé íà ïîòåíöèàëüíîãî ÷èòàòåëÿ çíàê êóëüòóðíî-ëèòåðàòóðíîé ñàìîèäåíòèôèêàöèè ìåìóàðèñòà.  ñòàòüå îáîçíà÷àþòñÿ ñëåäóþùèå òåíäåíöèè: îðèåíòàöèÿ íà äðåâíåðóññêóþ êóëüòóðíóþ è æàíðîâóþ òðàäèöèþ, âëèÿíèå ïðîñâåòèòåëüñêî-êëàññèöèñòè÷åñêîé ïàðàäèãìû è óñòàíîâêè, ïðîäèêòîâàííûå âëèÿíèåì ñåíòèìåíòàëèçìà è æàíðà ðîìàíà. Ñèñòåìíûé àíàëèç áîëåå ïÿòèäåñÿòè ïðîèçâåäåíèé ðóññêîé ìåìóàðèñòèêè ïîçâîëÿåò ñäåëàòü âûâîä îá îïðåäåëÿþùåé ðîëè æàíðîâîé íîìèíàöèè â ñîñòàâå ìåìóàðíîãî çàãëàâèÿ äëÿ âûáîðà àâòîðîì ìîäåëè ïîâåñòâîâàíèÿ, ðàêóðñà èçîáðàæåíèÿ ñîáûòèé è õàðàêòåðîâ, ëåéòìîòèâîâ è ïðèíöèïîâ îðãàíèçàöèè ñþæåòà. Ñîñòàâëåíèå è àíàëèç ðåïåðòóàðà çàãëàâèé ìåìóàðíûõ ïðîèçâåäåíèé XVIII – íà÷àëà XIX ââ. ïîçâîëÿþò ñäåëàòü âûâîä î ïðèíöèïàõ ôîðìèðîâàíèÿ è ðàçâèòèÿ ðóññêîé ìåìóàðèñòèêè â öåëîì.

Êëþ÷åâûå ñëîâà: ìåìóàðû, çàãëàâèå, ìåòàòåêñò, äðåâíåðóññêàÿ êóëüòóðíàÿ òðàäèöèÿ, ïðîñâåòèòåëüñêàÿ ïàðàäèãìà, êëàññèöèçì, ñåíòèìåíòàëèçì, ðîìàí, æàíðîâàÿ íîìèíàöèÿ, àâòîðñêèé çíàê

Abstract: The subject of the research presented in the article is the metatextual function of the titles of Russian memoirs of the XVIII – early XIX centuries. The object of the study is all known and published texts of Russian memoirs of the specified historical period. The author analyzes in detail in this aspect the memoirs of V. V. Golovin, I. O. Ostrozhsky-Lokhvitsky, I. G. Andreev, Y. P. Shakhovsky, I. I. Neplyuev, I. V. Lopukhin, M. V. Danilov, T. P. Kalashnikov, G. I. Dobrynin, P. S. Baturin, etc. authors. Special attention is paid to the analysis of the memoir title as a result of the author's reflection and the author's mark addressed to the reader, reflecting the tendency to individualize the narrative about oneself and the desire of the memoirist authors for a holistic understanding and literary formalization of the text of memoirs. The research methodology is based on the principles of comparative studies and comparative historical analysis. The corpus of the memoirs under study is placed in the general cultural context of the epoch, which allows us to talk about the principles of formation and development of Russian memoiristics in the XVIII century. The memoir titles reflect which aesthetic and value paradigm the memoirist was oriented towards when writing about his past. The novelty of the research lies in the fact that for the first time the memoir title is considered as the main element of the meta–text ensemble "title – preface – epigraph - afterword". The genre nomination necessarily present in the memoir title (notes, chronicle, novel, life, life) is understood as a sign of the memoirist's cultural and literary self-identification aimed at a potential reader. The article identifies the following trends: orientation towards the ancient Russian cultural and genre tradition, the influence of the educational and classicist paradigm and attitudes dictated by the influence of sentimentalism and the genre of the novel. A systematic analysis of more than fifty works of Russian memoiristics allows us to conclude that the defining role of the genre nomination in the composition of the memoir title is for the author to choose a narrative model, an angle of the image of events and characters, leitmotifs and principles of plot organization. Compilation and analysis of the repertoire of titles of memoir works of the XVIII – early XIX centuries allow us to conclude about the principles of formation and development of Russian memoiristics as a whole.

Keywords: sentimentalism, classicism, the educational paradigm, ancient Russian cultural tradition, metatext, The title, memoirs, novel, genre nomination, the author's mark

Àííîòàöèÿ: Ñòàòüÿ ïîñâÿùåíà âûÿâëåíèþ è ñòðóêòóðèðîâàíèþ ðåàëèé â òðàâåëîãå íåìåöêîÿçû÷íîãî ïóòåøåñòâåííèêà Ôðàíöà Ðåìè, êîòîðûé ïîñåòèë Êðûìñêèé ïîëóîñòðîâ â XIX âåêå. Ðàññìàòðèâàþòñÿ îñîáåííîñòè ðåàëèé, óïîìÿíóòûõ â òðóäå ïóòåøåñòâåííèêà. Öåëü ðàáîòû – âûÿâèòü, îõàðàêòåðèçîâàòü, à òàêæå óñòàíîâèòü îñîáåííîñòè ðåàëèé Êðûìà íà îñíîâå òðàâåëîãà Ô. Ðåìè. Àêòóàëüíîñòü ðàáîòû îáóñëîâëåíà êàê ïîâûøåííûì èíòåðåñîì ê òðàâåëîãó êàê æàíðó, òàê è ê ëèíãâîêóëüòóðîëîãè÷åñêîìó àñïåêòó èçó÷åíèÿ íåìåöêîÿçû÷íûõ òðàâåëîãîâ. Îñîáûé èíòåðåñ âûçûâàåò è òî, êàê èìåííî íåìåöêîÿçû÷íûé ïóòåøåñòâåííèê âèäåë Êðûì â XIX âåêå.  ñòàòüå óòî÷íÿþòñÿ ïîíÿòèÿ «ðåàëèÿ» è «òðàâåëîã» íà îñíîâå êðèòè÷åñêîãî àíàëèçà òåîðåòè÷åñêèõ èñòî÷íèêîâ. Ïðåäñòàâëåíà êëàññèôèêàöèÿ ðåàëèé. Ïðàêòè÷åñêîå èññëåäîâàíèå áûëî îñíîâàíî íà ìàòåðèàëå òðàâåëîãà Ôðàíöà Ðåìè «Die Krim in ethnographischer, landschaftlicher und hygienischer Beziehung», èçäàííîãî â XIX âåêå. Òåîðåòè÷åñêîé áàçîé äëÿ àíàëèçà òåðìèíà «ðåàëèÿ» ïîñëóæèëè â ïåðâóþ î÷åðåäü ðàáîòû îòå÷åñòâåííûõ ôèëîëîãîâ Ë.Í. Ñîáîëåâà, Ñ.Ï. Âëàõîâà, Ñ. È. Ôëîðèíà, à òàêæå À. À. Êðåòîâà è Í.À. Ôåíåíêî. Ïðàêòè÷åñêàÿ ÷àñòü èññëåäîâàíèÿ áàçèðóåòñÿ íà äàííûõ çàïèñîê è äíåâíèêîâ íåìåöêèõ ïóòåøåñòâåííèêîâ, ïîëó÷åííûõ ïóòåì âûáîðêè èç ôîíäîâ áèáëèîòåê Êðûìà. Àêòóàëüíîñòü äàííîé ðàáîòû îáúÿñíÿåòñÿ íåäîñòàòî÷íîé èññëåäîâàòåëüíîñòüþ òåìû, óâåëè÷èâàåò àêòóàëüíîñòü è òî, ÷òî èññëåäóåìàÿ ðàáîòà íå áûëà ïåðåâåäåíà íà ðóññêèé ÿçûê. Îáúåêòîì èññëåäîâàíèÿ ÿâëÿåòñÿ ðåàëèÿ êàê ëèíãâèñòè÷åñêàÿ åäèíèöà, à ïðåäìåòîì – ãåîãðàôè÷åñêèå è êóëüòóðíûå îñîáåííîñòè, äåìîíñòðèðóåìûå ðåàëèÿìè. Âûáîð òåìû îïðåäåëÿåòñÿ, ñ îäíîé ñòîðîíû, ìàëîèçó÷åííîñòüþ ïðåäìåòà, ñ äðóãîé ñòîðîíû - ïîâûøåííûì èíòåðåñîì ê ðåïðåçåíòàöèè Êðûìà êàê òóðèñòè÷åñêîãî è ïîëèêóëüòóðíîãî îáúåêòà â ðàçëè÷íûõ ëèíãâîêóëüòóðàõ.  òðàâåëîãå Ô. Ðåìè ìû íàáëþäàåì 7 êëàññîâ ñëîâ-ðåàëèé. Ýòî ïðåæäå âñåãî îéêîíèìû, ãèäðîíèìû, îðîíèìû, óðáàíîíèìû, õîðîíèìû, ïåðñîíàëèè è ýòíîãðàôè÷åñêèå ðåàëèè. Íàèáîëåå îáøèðíóþ ãðóïïó çàíèìàþò òîïîíèìû (58 åä). Îáùåå êîëè÷åñòâî âûÿâëåííûõ ðåàëèé – 85 åä. Äîâîëüíî ÷àñòî â íàçâàíèÿõ ìû íàáëþäàåì óïîìèíàíèå íåñêîëüêèõ íàçâàíèé ãîðîäà, ÷òî ñâîéñòâåííî Êðûìñêîìó ïîëóîñòðîâó.

Êëþ÷åâûå ñëîâà: Êðûì, Ðåàëèÿ, ïóòåâûå çàïèñêè, íåìåöêèé ÿçûê, òðàâåëîã, Ôðàíö Ðåìè, ïóòåøåñòâèå, Ðîññèÿ, ïîåçäêà, êóëüòóðà

Abstract: The article is devoted to identifying and structuring realities in the travelogue of the German-speaking traveler Franz Remy, who visited the Crimean peninsula in the 19th century. The features of the realities mentioned in the work of a traveler who visited Crimea in the 19th century are considered. The purpose of the work is to identify, characterize, and establish the features of the realities of Crimea based on the travelogue F. Remy. The relevance of the work is due to both the increased interest in travelogue as a genre, and to the linguocultural aspect of the study of German-speaking travelogues. Of particular interest is how exactly the German-speaking traveler saw Crimea in the 19th century. The methodological basis was the works of S.I. Vlahov, S.P. Florin, L.N. Soboleva, E.R. Ponomareva, A.A. Kretova, N.A. Fenenko. The article clarifies the concepts of “reality” and “travelogue” based on a critical analysis of theoretical sources. A classification of realities is presented. The practical research was based on the material of Franz Remy’s travelogue “Die Krim in ethnographischer, landschaftlicher und hygienischer Beziehung”, published in the 19th century. Particular attention is paid to primary and secondary nominations of the realities of Crimea. The article provides examples of realities from the categories of astyonyms, comonyms, hydronyms, oronyms, urbanonyms, horonyms, highlights personalities, characters for the Crimea of the 19th century, as well as ethnographic realities. The article also discusses the traveler’s use of doublet names of Crimean cities. A conclusion is drawn about which categories of realities were characteristic of the Crimean Peninsula of the 19th century. This article may be of interest to specialists in the field of philology and history.

Keywords: voyage, Russia, travel, Franz Remy, travelogue, travel notes, German language, reality, Crimea, culture

Àííîòàöèÿ:  äàííîé ñòàòüå ïðåäñòàâëåí àíàëèç ðîìàíà «Ïÿðûìàø» («Ñóäüáà») îäíîãî èç òàëàíòëèâûõ ïðîçàèêîâ ìàðèéñêîé ëèòåðàòóðû íà÷àëà XXI âåêà Ìèõàèëà Ïðîêîïüåâè÷à Ïàâëîâà.  1999 ãîäó çà åãî èçäàíèå îí ñòàë ëàóðåàòîì ðåñïóáëèêàíñêîãî ïåðèîäè÷åñêîãî æóðíàëà «Îí÷ûêî». À â 2011 ãîäó Ñîâåò Ïðîãðàììû ðîäñòâåííûõ íàðîäîâ Ýñòîíèè ñîâìåñòíî ñ Àññîöèàöèåé ôèííî-óãîðñêèõ ëèòåðàòóð ïðèñóäèë Ìèõàèëó Ïðîêîïüåâè÷ó Ïàâëîâó Ëèòåðàòóðíóþ ïðåìèþ â êàòåãîðèè õóäîæåñòâåííûå ïðîçàè÷åñêèå ïðîèçâåäåíèÿ çà ñáîðíèê «×åòëûê ÿæàêà» («Ñèëóýò ðåøåòêè»), êóäà âîøåë è äàííûé ðîìàí. Íåñìîòðÿ íà âûñîêóþ îöåíêó òâîð÷åñòâî íàöèîíàëüíîãî ïðîçàèêà îñòàåòñÿ ìàëîèçó÷åííûì. Ïèñàòåëü ðàñêðûâàåò äðàìàòè÷åñêèå ñîáûòèÿ óêàçàííîãî ïåðèîäà: ðåïðåññèè 1937-õ ãã. è òÿæêàÿ äîëÿ ÷ëåíîâ ñåìåé ðåïðåññèðîâàííûõ, æèçíü «çà ðåøåòêîé», òðàãè÷åñêèå ñîáûòèÿ Âåëèêîé Îòå÷åñòâåííîé âîéíû, íåëåãêèå ïîñëåâîåííûå ãîäû è ïåðåñòðîå÷íîå âðåìÿ (1970-1990-å ãã.). Èñïîëüçîâàíèå êóëüòóðíî-èñòîðè÷åñêîãî ìåòîäà èññëåäîâàíèÿ ïîçâîëèëî ïðîàíàëèçèðîâàòü èñòîðèþ ìàðèéñêîãî íàðîäà XX âåêà ÷åðåç ïðèçìó ñóäåá åãî ãåðîåâ. Óáåäèòåëüíî ïîêàçàíà âíåøíÿÿ è âíóòðåííÿÿ áîðüáà ïåðñîíàæåé çà ñâîáîäíóþ è ñ÷àñòëèâóþ æèçíü, õîðîøî ðàñêðûòû õàðàêòåðû è îáñòîÿòåëüñòâà, ðîæäåííûå è îáóñëîâëåííûå îïðåäåëåííîé ñîöèàëüíî-èñòîðè÷åñêîé ñèòóàöèåé, ïîêàçàí ìåíòàëèòåò íàðîäà. Ïðîçàèêó óäàëîñü ðàñêðûòü âíóòðåííèå ïåðåæèâàíèÿ ïîëèòçàêëþ÷åííûõ, ñóòü ñàìîé ïðàâîîõðàíèòåëüíîé ñèñòåìû ñòðàíû ñîâåòîâ, îáúÿñíèòü ïðè÷èíó òÿæåëîé æèçíè «âðàãîâ íàðîäà» è èõ ñåìåé.  öåíòðå âíèìàíèÿ ïèñàòåëÿ – èäåéíî-íðàâñòâåííûé ïîèñê ãåðîåì èñòèíû, äîáðà, ñïðàâåäëèâîñòè, ëè÷íîãî ñ÷àñòüÿ è áëàãîïîëó÷èÿ. Ïîýòîìó ïîâåñòâîâàíèå âåñüìà ïñèõîëîãè÷íî. Ïèñàòåëü ïðèâîäèò ê ìûñëè, ÷òî ãëàâíûìè ìåðèëàìè ÷åëîâå÷åñêîé æèçíè è óñòîåâ îáùåñòâà îñòàþòñÿ òàêèå êà÷åñòâà êàê ÷óâñòâî ñïðàâåäëèâîñòè, äîáðîòà, òðóäîëþáèå, âçàèìîâûðó÷êà è âçàèìîïîíèìàíèå, óìåíèå ëþáèòü è æåðòâîâàòü ñîáîé âî èìÿ ýòîãî ÷óâñòâà.

Êëþ÷åâûå ñëîâà: ìàðèéñêàÿ ëèòåðàòóðà, ðîìàí, èäåÿ, òåìàòèêà, ïðîáëåìàòèêà, ñèñòåìà ïåðñîíàæåé, Ìèõàèë Ïàâëîâ, ðåïðåññèè, ññûëêà, Âåëèêàÿ Îòå÷åñòâåííàÿ âîéíà

Abstract: This article presents an analysis of the novel «Fate» by one of the talented prose writers of Mari literature of the beginning of the 21st century Mikhail Prokopyevich Pavlov. In 1999, for his publication, he became the laureate of the republican periodical magazine «Onchyko» prize. And in 2011, the Council of the Program of Related Peoples of Estonia, together with the Association of Finno-Ugric Literatures, awarded Mikhail Prokopyevich Pavlov the Literary Prize in the category of prose fiction for the collection «The silhouette of the lattice», which included this novel. Despite the high estimation, the work of the national prose writer remains poorly studied. The writer reveals the dramatic events of this period: the repressions of the 1937 and the plight of family members of the repressed, life “behind bars”, the tragic events of the Great Patriotic War, the difficult post-war years and the time of socio-economic restructuring period (1970-1990s). The use of the cultural-historical research method made it possible to analyze the history of the Mari people of the 20th century through the prism of the fates of its heroes. The external and internal struggle of the characters for a free and happy life is convincingly shown, the characters and circumstances born and conditioned by a certain socio-historical situation are well revealed, and the mentality of the people is shown. The writer’s focus is on the hero’s ideological and moral search for truth, goodness, justice, personal happiness and well-being. Therefore, the narrative is very psychological. The writer leads to the idea that such qualities as a sense of justice, kindness, hard work, mutual assistance and mutual understanding, the ability to love and sacrifice themselves in the name of this feeling remain the main measures of human life and the foundations of society.

Keywords: repressions, Mikhail Pavlov, characters system, problems, theme, idea, novel, Mari literature, banishment, Great Patriotic War

Àííîòàöèÿ:  ñòàòüå â ðàìêàõ èçó÷åíèÿ òèïîëîãè÷åñêèõ ðàçíîâèäíîñòåé ñîâðåìåííîé ìàðèéñêîé ôèëîñîôñêîé ëèðèêè ðàññìîòðåí îáðàç âåòðà â ëèðèêå ïîýòà Àëüáåðòà Âàñèëüåâà. Íà ìàòåðèàëå ïîýòè÷åñêèõ ïðîèçâåäåíèé, âîøåäøèõ â åãî ñáîðíèê «Îø ëóìûøòî ÷åâåð ïîëàí» («Êðàñíàÿ êàëèíà íà áåëîì ñíåãó», 2017), âûÿâëåíà ðîëü äàííîãî ïðèðîäíîãî îáðàçà â õóäîæåñòâåííî-ýñòåòè÷åñêîé ðåïðåçåíòàöèè ñîöèàëüíî-ôèëîñîôñêèõ âçãëÿäîâ àâòîðà è îñîáåííîñòåé ëè÷íîñòè åãî ëèðè÷åñêîãî ãåðîÿ.  äàííîì àñïåêòå ëèðèêà À. Âàñèëüåâà èññëåäóåòñÿ âïåðâûå. Ìåòîäîëîãè÷åñêóþ áàçó èññëåäîâàíèÿ ñîñòàâëÿåò ñòðóêòóðíî-ñåìàíòè÷åñêèé àíàëèç ïîýòè÷åñêèõ òåêñòîâ, ïîçâîëÿþùèé âûÿâèòü è îïèñàòü ñîäåðæàòåëüíî-ôîðìàëüíûå óðîâíè ïðèðîäíûõ îáðàçîâ, ðàñêðûâàþùèõ àâòîðñêóþ êîíöåïöèþ ìèðà è ÷åëîâåêà, à òàêæå îñîáåííîñòè õàðàêòåðà ëèðè÷åñêîãî ãåðîÿ.  ñòàòüå äîêàçàíî, ÷òî âåòåð â ëèðèêå ìàðèéñêîãî ïîýòà Àëüáåðòà Âàñèëüåâà çàíèìàåò îñîáîå ìåñòî. Âî-ïåðâûõ, îí ïðåäåëüíî àíòðîïîìîðôèçèðîâàí, âî-âòîðûõ, ïî÷òè âñåãäà âñòàâëåí â êîíòåêñò ñîöèàëüíî-ôèëîñîôñêèõ ðàçìûøëåíèé àâòîðà, èñòîêè êîòîðûõ êðîþòñÿ â ñîâðåìåííîì ñîöèóìå, â ñèñòåìå ñîöèàëüíûõ è èíäèâèäóàëüíî-÷åëîâå÷åñêèõ îòíîøåíèé ñîâðåìåííîãî ìèðà. Àâòîðñêèå îöåíêè è ðåôëåêñèè ïî ïîâîäó ñîâðåìåííîãî ñîñòîÿíèÿ îáùåñòâà (óðîâåíü æèçíè íàðîäà, ñîñòîÿíèå äåðåâåíñêîãî ìèðà ìàðè, ýòèêà è äð.), âûðàæåííûå ÷åðåç îáðàç âåòðà, íå òîëüêî ðàñêðûâàþò ñîöèàëüíûå àñïåêòû ÷åëîâå÷åñêîé äåÿòåëüíîñòè, íî è ôîðìèðóþò àêñèîëîãè÷åñêóþ êîíöåïöèþ ëèðèêè Àëüáåðòà Âàñèëüåâà.

Êëþ÷åâûå ñëîâà: ìàðèéñêàÿ ëèòåðàòóðà, ñîâðåìåííàÿ ìàðèéñêàÿ ïîýçèÿ, Àëüáåðò Âàñèëüåâ, ñîöèàëüíî-ôèëîñîôñêàÿ ëèðèêà, àâòîðñêàÿ àêñèîëîãèÿ, ïîýòèêà, ëèðè÷åñêèé ãåðîé, îáðàç âåòðà, ïðèðîäíûå îáðàçû, îáðàç-ñèìâîë

Abstract: In the article, as part of the study of typological varieties of modern Mari philosophical lyrics, the image of the wind in the lyrics of the poet Albert Vasiliev is considered. The role of this natural image in the artistic and aesthetic representation of the author's socio-philosophical views and personality features of his lyrical hero is revealed based on the material of poetic works included in his collection «Osh lumyshto chever polan» («Red Viburnum on white Snow», 2017). In this aspect, the lyrics of A. Vasiliev are studied for the first time. The methodological basis of the research is the structural and semantic analysis of poetic texts, which allows to identify and describe the content-formal levels of natural images that reveal the author's concept of the world and man, as well as the characteristics of the character of the lyrical hero. The article proves that the wind occupies a special place in the lyrics of the Mari poet Albert Vasiliev. Firstly, it is extremely anthropomorphized, and secondly, it is almost always inserted into the context of the author's socio-philosophical reflections, the origins of which lie in modern society, in the system of social and individual-human relations of the modern world. The author's assessments and reflections on the current state of society (the standard of living of the people, the state of the rural world of Mari, ethics, etc.), expressed through the image of the wind, not only reveal the social aspects of human activity, but also form the axiological concept of Albert Vasiliev's lyrics.

Keywords: lyrical hero, poetics, author's axiology, socio-philosophical lyrics, Albert Vasiliev, the image of the wind, modern mari poetry, mari literature, natural images, image-symbol

Àííîòàöèÿ: Ïðåäìåòîì äàííîãî èññëåäîâàíèÿ ÿâëÿåòñÿ ðåàëèçàöèÿ ïðèíöèïîâ æóðíàëèñòêîé ýòèêè â ñîâðåìåííûõ èñïàíñêèõ ãàçåòàõ. Öåëü èññëåäîâàíèÿ çàêëþ÷àåòñÿ â âûÿâëåíèè óðîâíÿ ñîáëþäåíèÿ æóðíàëèñòêîé ýòèêè â ïóáëèêàöèÿõ ãàçåò «ABC», «El Pais», «El Mundo», «La Vanguardia». Àâòîðîì îòìå÷åíî, ÷òî íàèáîëüøåå ñîîòâåòñòâèå ïðèíöèïàì ïðîôåññèîíàëüíîé ýòèêè îòìå÷àåòñÿ ÷èòàòåëÿìè ó ãàçåòû «ABC». Ìåòîäîëîãèÿ èññëåäîâàíèÿ îñíîâàíà íà ñèñòåìíîì ïîäõîäå è âêëþ÷àåò â ñåáÿ ñëåäóþùèå ìåòîäû: àíàëèç íàó÷íîé ëèòåðàòóðû ïî òåìå èññëåäîâàíèÿ; êîíòåíò-àíàëèç ïóáëèêàöèé «ABC», «El Pais», «El Mundo», «La Vanguardia»; ìåòîä ñîöèîëîãè÷åñêîãî àíêåòèðîâàíèÿ (ìèíè-îïðîñ); ìåòîä ñòàòèñòè÷åñêîãî àíàëèçà; ìåòîä ñîïîñòàâèòåëüíîãî àíàëèçà ïîëó÷åííûõ ðåçóëüòàòîâ.   Ïî èòîãó äàííîãî èññëåäîâàíèÿ íàìè áûëè ïîëó÷åíû ñëåäóþùèå ðåçóëüòàòû: âûÿâëåí óðîâåíü ñîáëþäåíèÿ ïðèíöèïîâ æóðíàëèñòêîé ýòèêè êàæäîé ãàçåòû íà îñíîâå ïîëó÷åííûõ äàííûõ ìèíè-îïðîñà ñðåäè èñïàíîÿçû÷íûõ ÷èòàòåëåé. Îáëàñòÿìè ïðèìåíåíèÿ ðåçóëüòàòîâ ìîãóò áûòü òàêèå ñôåðû, êàê «ýòèêà ïðîôåññèîíàëüíîé äåÿòåëüíîñòè», «ïîëèòè÷åñêàÿ æóðíàëèñòèêà», «ìåæäóíàðîäíàÿ æóðíàëèñòèêà». Íîâèçíà íàñòîÿùåãî èññëåäîâàíèÿ çàêëþ÷àåòñÿ â ïðåäëîæåííîé àâòîðîì ìåòîäèêå àíàëèçà óðîâíÿ ñîáëþäåíèÿ ïðèíöèïîâ æóðíàëèñòêîé ýòèêè. Àâòîð ñòàòüè ïðèøåë ê ñëåäóþùèì âûâîäàì: äëÿ ñîâðåìåííûõ èñïàíñêèõ ãàçåò õàðàêòåðåí âûñîêèé óðîâåíü ñîáëþäåíèÿ æóðíàëèñòêîé ýòèêè, êðîìå ãàçåòû «La Vanguardia» (ñðåäíèé óðîâåíü ïî îöåíêå ÷èòàòåëåé).

Êëþ÷åâûå ñëîâà: ñðåäñòâà ìàññîâîé èíôîðìàöèè, ïðîôåññèîíàëüíàÿ ýòèêà, ãàçåòà Ýëü Ìóíäî, èñïàíñêèé ñîöèóì, Èñïàíèÿ, öåëåâàÿ àóäèòîðèÿ, êîíòåíò-àíàëèç, ìèíè-îïðîñ, ïîëèòè÷åñêàÿ æóðíàëèñòèêà, èñïàíñêèå ãàçåòû

Abstract: The subject of this study is the implementation of the principles of journalistic ethics in modern Spanish newspapers. The purpose of the study is to identify the level of compliance with journalistic ethics in the publications of the newspapers "ABC", "El Pais", "El Mundo", "La Vanguardia". The author notes that the greatest compliance with the principles of professional ethics is noted by readers of the newspaper "ABC". The research methodology is based on a systematic approach and includes the following methods: analysis of scientific literature on the research topic; content analysis of publications "ABC", "El Pais", "El Mundo", "La Vanguardia"; method of sociological questioning (mini-survey); method of statistical analysis; method of comparative analysis of the obtained results.   As a result of this study, we obtained the following results: the level of compliance with the principles of journalistic ethics of each newspaper was revealed based on the data obtained from a mini-survey among Spanish-speaking readers. The areas of application of the results can be such as "ethics of professional activity", "political journalism", "international journalism". The novelty of this study lies in the methodology proposed by the author for analyzing the level of compliance with the principles of journalistic ethics. The author of the article came to the following conclusions: modern Spanish newspapers are characterized by a high level of compliance with journalistic ethics, except for the newspaper "La Vanguardia" (average level according to readers).

Keywords: Spanish newspapers, political journalism, mini-survey, content analysis, target audience, Spain, spanish society, El Mundo newspaper, mass media, professional ethics

Àííîòàöèÿ: Îáðàç ìàëåíüêîãî ÷åëîâåêà êàê ñáëèæàþùèé ôàêòîð òâîð÷åñêèõ áèîãðàôèé äâóõ ïèñàòåëåé-ñîâðåìåííèêîâ Í. Â. Ãîãîëÿ è Â. È. Äàëÿ ñòàë ïðåäìåòîì èçó÷åíèÿ â äàííîé ñòàòüå. Îñîáîå âíèìàíèå óäåëÿåòñÿ êëþ÷åâîìó îáðàçó äëÿ íàòóðàëüíîé øêîëû ðóññêîé ëèòåðàòóðû, êîòîðûé îáëàäàåò ñâîèìè îïðåäåëåííûìè êà÷åñòâàìè è õàðàêòåðèñòèêàìè, ïðåäñòàâëåííûìè â ïðîèçâåäåíèÿõ ìíîãèõ àâòîðîâ òîãî âðåìåíè. Îáúåêòîì èññëåäîâàíèÿ ñëóæàò äâà ïðîèçâåäåíèÿ ïèñàòåëåé: «Øèíåëü» Ãîãîëÿ è «Æèçíü ÷åëîâåêà, èëè Ïðîãóëêà ïî Íåâñêîìó ïðîñïåêòó» Äàëÿ. Àâòîð ïîäðîáíî èçó÷àåò, êàê â òåêñòàõ Ãîãîëÿ è Äàëÿ «ìàëåíüêèé ÷åëîâåê» ïîëó÷àåò âìåñòå ñ òèïè÷íûìè õàðàêòåðèñòèêàìè, îñîáåííûå äåòàëè, ïîä÷åðêèâàþùèå âçàèìîâëèÿíèå àâòîðîâ.    Îñîáûì âêëàäîì àâòîðà â èññëåäîâàíèå òåìû ÿâëÿåòñÿ òî, ÷òî â ñòàòüå àêöåíò äåëàåòñÿ, ïðåæäå âñåãî, íà òåêñòå Â. È. Äàëÿ, â åãî äåòàëüíîì ñîïîñòàâëåíèè ñ ãîãîëåâñêîé «Øèíåëüþ». Êîìïàðàòèâíûé ìåòîä ïîçâîëÿåò ñîïîñòàâèòü îáà ïðîèçâåäåíèÿ, íàéòè ïåðåñå÷åíèÿ â ñþæåòå, îáðàçàõ ãåðîåâ. Îñíîâíûìè âûâîäàìè ïðîâåäåííîãî èññëåäîâàíèÿ ÿâëÿþòñÿ óòâåðæäåíèå çàêîíîìåðíîñòè îáùåëèòåðàòóðíûõ òåíäåíöèé â ñîçäàíèè îáðàçà ìàëåíüêîãî ÷åëîâåêà, à òàêæå îáîçíà÷åíèå îòëè÷èòåëüíûõ îñîáåííîñòÿõ òèïè÷íîãî äëÿ 30-40ûõ ãîäîâ XIX âåêà îáðàçå ãëàâíîãî ãåðîÿ, îòðàçèâøèåñÿ â òåêñòàõ äâóõ ïèñàòåëåé-ñîâðåìåííèêîâ . Íàó÷íàÿ íîâèçíà èññëåäîâàíèÿ çàêëþ÷àåòñÿ â íàèáîëåå äåòàëüíîì èññëåäîâàíèè îäíîé èç âàæíûõ òâîð÷åñêèõ ïàðàëëåëåé òâîð÷åñòâà äâóõ ïèñàòåëåé.

Êëþ÷åâûå ñëîâà: ìàëåíüêèé ÷åëîâåê, Ãîãîëü, Äàëü, Øèíåëü, Æèçíü ÷åëîâåêà, íàòóðàëüíàÿ øêîëà, îáðàç, êîìïàðàòèâíûé àíàëèç, òâîð÷åñêèå ïàðàëëåëè, ïîýòèêà

Abstract: The image of a «little man» as a converging factor in the creative biographies of two contemporaries N. V. Gogol and V. I. Dahl has become the subject of study in this article. The key image for the natural school of Russian literature has its own specific qualities and characteristics, presented in the works of many authors of that time. The study is based upon the two works of the writers: «The Overcoat» by Gogol and «The Life of a Man, or a Walking along the Nevskiy Avenue» by Dahl. In the texts of both Gogol and Dahl, the «little man» receives, along with typical characteristics, special details that emphasize the mutual influence of the authors. The scientific novelty of the article lies in the most detailed study of one of the most important creative parallels of two writers. Conclusions are drawn about the distinctive features of the image of the main character typical for the 30-40s of the XIX century, reflected in the stories of two contemporary writers, the similarities between them are emphasized, as well as significant differences.

Keywords: image, comparative analysis, natural school, Life of Man, Overcoat, Gogol, Dahl, little man, creative parallels, poetics

Àííîòàöèÿ: Ïðåäìåòîì èññëåäîâàíèÿ ÿâëÿåòñÿ ñòèëü ïðîèçâåäåíèÿ Î. Ðóãå «In Zeiten des abnehmenden Lichts», ñîöèîêóëüòóðíàÿ èäåíòè÷íîñòü àâòîðà àíàëèçèðóåìîãî ïðîèçâåäåíèÿ íà îáüåêòèâíî-ïñèõîëîãè÷åñêîì óðîâíå. Îáúåêòîì èññëåäîâàíèÿ ïîñëóæèë ðîìàí Î. Ðóãå „In Zeiten des abnehmenden Lichts“. Îñíîâíîå âíèìàíèå â ñòàòüå àêöåíòèðóåòñÿ íà âûÿâëåíèè ñâÿçè ìåæäó îñîáåííîñòÿìè ñòèëÿ õóäîæåñòâåííîãî ïðîèçâåäåíèÿ è ýòíîêóëüòóðíîé èäåíòè÷íîñòüþ åãî àâòîðà ïóòåì ïðîâåäåíèÿ ëèíãâîñòèëèñòè÷åñêîãî àíàëèçà. Ìàòåðèàëîì äëÿ èññëåäîâàíèÿ ïîñëóæèëî õóäîæåñòâåííîå ïðîèçâåäåíèå Î. Ðóãå „In Zeiten des abnehmenden Lichts“. Òåîðåòè÷åñêè îáîñíîâàíà ñâÿçü ýòíîêóëüòóðíîé èäåíòè÷íîñòè àâòîðà õóäîæåñòâåííîãî ïðîèçâåäåíèÿ ñ îñîáåííîñòÿìè ñòèëÿ ïðîèçâåäåíèÿ. Ïðîâåäåí àíàëèç îñîáåííîñòåé ýòíîêóëüòóðíîé èäåíòè÷íîñòè ïèñàòåëÿ Î. Ðóãå è ëèíãâîñòèëèñòè÷åñêèé àíàëèç ðîìàíà «In Zeiten des abnehmenden Lichts» íà îáüåêòèâíî-ïñèõîëîãè÷åñêîì óðîâíå. Îñíîâíûìè âûâîäàìè ïðîâåäåííîãî èññëåäîâàíèÿ ÿâëÿåòñÿ âûÿâëåíèå ìíîæåñòâåííîñòè ýòíîêóëüòóðíîé èäåíòè÷íîñòè ïèñàòåëÿ, õàðàêòåðèçóþùàÿñÿ ïðèíàäëåæíîñòüþ ëè÷íîñòè ê äâóì ýòíè÷åñêèì ãðóïïàì, ÷òî îòðàæàåòñÿ â îñîáåííîñòÿõ ñòèëÿ åãî ïðîèçâåäåíèÿ íà îáüåêòèâíî-ïñèõîëîãè÷åñêîì óðîâíå. Íîâèçíà èññëåäîâàíèÿ îáîñíîâàíà òåì, ÷òî ðîìàí Î. Ðóãå «In Zeiten des abnehmenden Lichts» àíàëèçèðóåòñÿ êàê ïðîäóêò òâîð÷åñêîé ðå÷åìûñëèòåëüíîé äåÿòåëüíîñòè ñîâðåìåííîãî íåìåöêîãî ïèñàòåëÿ ðóññêîãî ïðîèñõîæäåíèÿ, ÷òî ïðåäñòàâëÿåò ñîáîé óíèêàëüíûé îïûò èññëåäîâàíèÿ ïðîáëåìû ðîëè ýòíîêóëüòóðíîé èäåíòè÷íîñòè àâòîðà â ïðîöåññå ñîçäàíèÿ òåêñòà õóäîæåñòâåííîãî ïðîèçâåäåíèÿ. Ðåçóëüòàòû èññëåäîâàíèÿ âíîñÿò ïðàêòè÷åñêèé âêëàä â èçó÷åíèå òåîðèè òåêñòà, ëèíãâîêóëüòóðîëîãèè è ëèíãâîñòèëèñòèêè, ýòíîêóëüòóðîëîãèè.

Êëþ÷åâûå ñëîâà: íåìåöêàÿ ëèòåðàòóðà, ñòèëèñòèêà òåêñòà, õóäîæåñòâåííàÿ ðå÷ü, èíäèâèäóàëüíûé ñòèëü ïèñàòåëÿ, îáðàç àâòîðà, èíäèâèäóàëüíîñòü àâòîðà, ýòíîêóëüòóðíàÿ èäåíòè÷íîñòü àâòîðà, ÿçûêîâûå ñðåäñòâà, îáüåêòèâíî-ïñèõîëîãè÷åñêèé óðîâåíü, ñòèëèñòè÷åñêèå îñîáåííîñòè

Abstract: This article examines the peculiarities of the activity of public authorities within the framework of the development of e-government system. The relevance of the selected topic is substantiated by the fact that the process of implementation of e-government in the Russian Federation should take place in the conditions of formatting the existing system of public administration. This requires the modernization of government bodies, i.e. creation of comprehensive electronic system for interaction of the public and municipal authorities with the population. In essence, the e-government represents the system of defined public legal institutions that ensure regulation for rendering government and municipal services to the population in the online format. The subject of this research is the activity of public authorities and local self-governments in the context of the development of e-government system. The conclusion is formulated that first and foremost e-government should consider the needs of society, as well as observe the rights and freedoms of citizens. Therefore, all communication mechanisms must correspond with the norms of international law, the Constitution of the Russian Federation, and Russian legislation. The process of creating e-government in Russia should be holistic and cover all state structures. E-government system must be unified for the entire Russian Federation.

Keywords: language means, ethnocultural identity of the author, individuality of the author, image of the author, individual style of the writer, artistic speech, text stylistics, German literature, objective-psychological level, stylistic features

Àííîòàöèÿ:  ñòàòüå àíàëèçèðóþòñÿ âçãëÿäû ñîâðåìåííîãî þãîðñêîãî ïèñàòåëÿ Ñåðãåÿ Êîçëîâà î ìèññèè æåíùèíû â ïåðåëîìíûé äëÿ ñòðàíû ïåðèîä 1990-2000-õ ãîäîâ. Íà ìàòåðèàëå ðàññêàçà õóäîæíèêà «Ìàìà-Ìàøà» äîêàçûâàåòñÿ, ÷òî èìåííî æåíùèíà ñòàíîâèòñÿ â òåêñòîâîì ïðîñòðàíñòâå ñèìâîëîì ñïðàâåäëèâîñòè õðèñòèàíñêèõ îñíîâ æèçíè, è ýòî íàõîäèò ñâîå âûðàæåíèå â èñêðåííåì ñòðåìëåíèè ãëàâíîé ãåðîèíè ê óñòàíîâëåíèþ â ìèðå äîáðà è ñïðàâåäëèâîñòè.  ðàáîòå ïðåäïðèíÿòà ïîïûòêà îñìûñëèòü èäåéíî-õóäîæåñòâåííûå âîççðåíèÿ Ñ. Ñ. Êîçëîâà íà ðîëü æåíùèíû â ýïîõó êðóïíåéøèõ òðàíñôîðìàöèé â ðîññèéñêîé èñòîðèè. Îáðàùåíèå ê ðàçëè÷íûì âèäàì âûñêàçûâàíèÿ àâòîðà (õóäîæåñòâåííàÿ ïðîçà, äíåâíèêè, èíòåðâüþ) ïîçâîëÿåò âûÿâèòü îñîáåííîñòè àêñèîëîãè÷åñêîé ïîçèöèè ïèñàòåëÿ â êîíòåêñòå ðóññêîé ôèëîñîôèè æåíñòâåííîñòè. Íàó÷íàÿ íîâèçíà èññëåäîâàíèÿ îáóñëîâëåíà ïîòðåáíîñòüþ â ðàçðàáîòêå ïðîáëåìû, ñâÿçàííîé ñ èçó÷åíèåì ñïåöèôèêè æåíñêèõ îáðàçîâ â òâîð÷åñêîì íàñëåäèè ñèáèðñêîãî ïèñàòåëÿ Ñ. Ñ. Êîçëîâà.  ðàáîòå âïåðâûå îñóùåñòâëåí êîìïëåêñíûé àíàëèç ðàññêàçà ïèñàòåëÿ «Ìàìà-Ìàøà», âîøåäøåãî â êíèãó àâòîðà «Äåæóðíûé àíãåë» (2011).  íàó÷íûé îáîðîò àêòèâíî ââîäÿòñÿ èñòî÷íèêè, êîòîðûå ðàíåå ïðàêòè÷åñêè íå ïðèâëåêàëèñü ê èññëåäîâàíèþ òâîð÷åñòâà Ñ. Ñ. Êîçëîâà, – äíåâíèêîâûå çàïèñè ïèñàòåëÿ, ìàòåðèàëû èíòåðâüþ. Àíàëèç ðàññêàçà ïîçâîëÿåò çàêëþ÷èòü, ÷òî ñîòåðèîëîãè÷åñêàÿ ìèññèÿ âîçëîæåíà íà ìàìó-Ìàøó – æåíùèíó, êîòîðàÿ íåñåò ñâåò Áîæåñòâåííûõ çàïîâåäåé â ìèð, àññîöèèðóåìóþ ñ ñèìâîëîì íàöèîíàëüíîãî ñïàñåíèÿ.

Êëþ÷åâûå ñëîâà: Ñåðãåé Êîçëîâ, ñîòåðèîëîãèÿ, õðèñòèàíñòâî, ðåëèãèÿ, ìèññèÿ æåíùèíû, ðóññêàÿ ôèëîñîôèÿ æåíñòâåííîñòè, ñâåðõðåàëüíîå, èäåÿ ñîáîðíîñòè, êàòåãîðèÿ ìîëèòâû, ðàññêàç

Abstract: This article analyzes the views of the contemporary Ugric writer Sergey Kozlov pertaining to mission of the women in 1990s – 2000s, which was the turning period for the country. The novella “Mother-Masha” demonstrates that it textual space, namely the woman becomes the symbol of justice of the Christian fabric of life, and is reflected in the sincere desire of the protagonist to establish good and justice in the world. The author contemplates on S. Kozlov's ideological and artistic views upon the role of the woman at the time of major transformations in the Russian history. Reference to the writer’s fictional prose, diaries, and interviews allows revealing the peculiarities of his axiological position in the context of the Russian philosophy of femininity. The scientific novelty of this research is substantiated by the need for articulation of the problem related to the study of specificity of female images in the creative heritage of Siberian writer Sergey Kozlov. Comprehensive analysis of the writer's novella “Mother-Masha” included into the book “Duty Angel” (2011) is carried out. The article introduces the sources, such as diary notes and interview materials, which have not been previously used in studying the works of S. Kozlov. The conclusion is made that soteriological mission was imposed on Mother Masha – the woman who proliferated the Divine Commandments to the world and is associated with the symbol of national salvation.

Keywords: the super-real, Russian philosophy of femininity, woman's mission, religion, Christianity, soteriology, Sergey Kozlov, the idea of conciliarity, the category of prayer, story

Àííîòàöèÿ: Ñòàòüÿ ïîñâÿùåíà èññëåäîâàíèþ êîììóíèêàòèâíîãî ïëàíà ÷åõîâñêîãî ïðîèçâåäåíèÿ, â ðàáîòå äåëàåòñÿ ïîïûòêà "ðàñêðûòü" "äèàëîãîâûå îêíà" ðàññêàçà À. Ï. ×åõîâà "Äîì ñ ìåçîíèíîì". Ôåíîìåí ìåçîíèíà, îáðåòàþùèé â òâîð÷åñòâå À. Ï. ×åõîâà ñòàòóñ ðàçâ¸ðíóòîé ìåòàôîðû, ñîïðÿãàåòñÿ ñ ìèðîâîççðåí÷åñêîé ýâîëþöèåé àâòîðà, äâèæóùåãîñÿ îò ãàçåòíûõ þìîðåñîê è ôåëüåòîíîâ ê ìàñøòàáíûì õóäîæåñòâåííûì îáîáùåíèÿì, íî ïðè ýòîì íå óïóñêàþùåãî âîçìîæíîñòè âûñêàçàòüñÿ ïî÷òè íàïðÿìóþ ïî ïîâîäó çëîáîäíåâíûõ âîïðîñîâ ñâîåãî âðåìåíè, â ÷èñëå êîòîðûõ íà ïåðâûé ïëàí âûõîäèò âîïðîñ î ïðåîäîëåíèè ñîöèàëüíûõ ïåðåãîðîäîê ìåæäó ëþäüìè.  ñòàòüå îáðàç ìåçîíèíà ðàññìàòðèâàåòñÿ êàê ðàçâ¸ðíóòàÿ ìåòàôîðè÷åñêàÿ ðåïëèêà îòæèâàþùåé ðóññêîé óñàäüáû.  èññëåäîâàíèè èñïîëüçóåòñÿ ìåòîäèêà "ìåäëåííîãî ÷òåíèÿ", â ïðîöåññå êîòîðîãî ïîñòèãàþòñÿ íàõîäÿùèåñÿ íà âòîðîì ïëàíå ÷åõîâñêîãî ïîâåñòâîâàíèÿ, çà äåêîðàòèâíî-èëëþçîðíîé êàíâîé ðàññêàçà, êîíöåïòóàëüíî çíà÷èìûå äëÿ äèàëîãà àâòîðà ñ ÷èòàòåëÿìè ãóìàíèñòè÷åñêèå èäåè. "Òî÷å÷íûé" ðå÷åâåä÷åñêèé àíàëèç ïîçâîëÿåò âåðèôèöèðîâàòü ïðåäïîëîæåíèå îá îñîáîé õóäîæåñòâåííîé ðîëè êîììóíèêàòèâíûõ ñêðåï â ïðîçå À. Ï. ×åõîâà. Íîâóþ òðàêòîâêó â èññëåäîâàíèè ïîëó÷àåò ôèãóðà ãëàâíîé ãåðîèíè "Äîìà ñ ìåçîíèíîì" Ìèñþñü, êîòîðàÿ èíòåðïðåòèðóåòñÿ êàê íàòóðà, íåèçáåæíî óõîäÿùàÿ ñ àâàíñöåíû ðóññêîé èñòîðèè è ëèòåðàòóðû, ðàçìûêàþùàÿ êîììóíèêàòèâíóþ öåïî÷êó âðåìåíè. Ïî-íîâîìó îöåíèâàåòñÿ è îáðàç ìàòåðè ñåñò¸ð Âîë÷àíèíîâûõ, èñ÷åðïàâøåé ñâîþ ðîëü â îáùåíèè ñ âåêîì.

Êëþ÷åâûå ñëîâà: ×åõîâ, ìåçîíèí, äåêîðàòèâíîñòü, ïåéçàæ, ðóññêàÿ óñàäüáà, äîðîãà, ëîêóñ äîìà, ðèòìîïîâòîð, êîììóíèêàöèÿ, áóäóùåå

Abstract: The article is devoted to the communication aspect of Chekhov's works. In his research Pyrkov tries to 'open up' the 'dialog windows' in Anton Chekhov's short story The House with the Mezzanine. The phenomenon of the mezzanine that acquires the status of an extended metaphor in Chekhov's creative writing is associated with the author's worldview evolving from newspaper light verses and satire to broad-scale generalizations when the writer still uses every opportunity to express his opinion regarding nettlesome issues of his time including overcoming social barriers in the first place. In his research Pyrkov views the image of mezzanine as an extended metaphor of the dying Russian manor house. In his research the author has used the method of close reading that allows to reveal the writer's humanistic ideas that play a conceptually important role in his dialog with the readers. These ideas are hidden behind the decorative illusory images of the story. The 'spot analysis' of the writer's speech also allows to verify the researcher's hypothesis about a special artistic role played by communication links used by Anton Chekhov in his prose. The main heroine of The House with the Mezzanine is also interpreted in a new light as a personality type that inevitably has to leave the forefront of Russian history and literature and break the communication chain of the time. The personality of the mother of the Volchaninov sisters is also given a new interpretation as a personality type that had exhausted her role in the communication with that century. 

Keywords: future, communication, rythmic repetition, locus of the house, road, Russian manor house, landscape, decorative value, mezzanine, Chekhov

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: Îáúåêòîì èññëåäîâàíèÿ ÿâëÿåòñÿ Ðîìàí È.Ñ. Òóðãåíåâà «Îòöû è äåòè» è ëèòåðàòóðíûå êðèòè÷åñêèå ñòàòüè, âûñêàçûâàíèÿ, èññëåäîâàòåëüñêèå òðóäû. Ïðåäìåòîì èññëåäîâàíèÿ ÿâëÿþòñÿ îñíîâíûå òåíäåíöèè â èñòîðèè èçó÷åíèÿ ðîìàíà Òóðãåíåâà «Îòöû è äåòè» â ñðàâíèòåëüíî-èñòîðè÷åñêèõ èññëåäîâàíèÿõ (XIX–XX ââ.) Ðîìàí «Îòöû è äåòè», ñ÷èòàþùèéñÿ âåðøèíîé òâîð÷åñòâà È.Ñ. Òóðãåíåâà, ñòàë ïðåäìåòîì áóðíîé êðèòèêè: êàê ñ ïîëîæèòåëüíîé ñòîðîíû, òàê è ñ îòðèöàòåëüíîé. Õîòÿ, íåñìîòðÿ íà òî, ÷òî ìàñøòàáû êðèòèêè ïðåâàëèðóþò ñàìî ïðîèçâåäåíèå ïî îáúåìó, ðîìàí îòîæäåñòâëÿåòñÿ ñî ìíîãèìè äðóãèìè îòå÷åñòâåííûìè è çàðóáåæíûìè ïðîèçâåäåíèÿìè. Àíàëèçèðóÿ äàííûå ñðàâíåíèÿ, îòìå÷àåòñÿ, ÷òî ðîìàí È.Ñ. Òóðãåíåâà ÿâèëñÿ ïëîäîì âïå÷àòëåíèé, ïîëó÷åííûõ îò äðóãèõ ïðîèçâåäåíèé, îñòàâèâøèõ íåèçãëàäèìûé îòïå÷àòîê â ñîçíàíèè ïèñàòåëÿ. Åñëè ðàññìîòðåòü ìíîãèå èç ýòèõ ñðàâíåíèé, ìîæíî ïîíÿòü, ÷òî ðîìàíó «Îòöû è äåòè» ïðèñóùà ïîïóëÿðíîñòü, ïðåâîñõîäÿùàÿ âñå âðåìåííûå ãðàíèöû.  äàííîì íàó÷íîì èññëåäîâàíèè äëÿ àíàëèçà ñðàâíåíèé ðîìàíà «Îòöû è äåòè» ñ äðóãèìè ïðîèçâåäåíèÿìè, ïðîâåäåííûõ äî íàñòîÿùåãî âðåìåíè, áûë ïðèìåíåí èñòîðèêî-ôóíêöèîíàëüíûé ìåòîä. Ðîìàí Òóðãåíåâà «Îòöû è äåòè» áûë ïðîàíàëèçèðîâàí ïðè ïîìîùè ìåòîäà èñòîðèêî-ôóíêöèîíàëüíîãî èçó÷åíèÿ è ïîñëå ñîïîñòàâëåíèÿ ðàçëè÷íûõ ìíåíèé êðèòèêîâ, ïèñàâøèõ î ðîìàíå, áûëè îïðåäåëåíû îòëè÷èÿ â èõ âçãëÿäàõ. Êðîìå ýòîãî, áûëî óñòàíîâëåíî, êàêîé âêëàä ðîìàí «Îòöû è äåòè» ñäåëàë â ðóññêóþ è ìèðîâóþ ëèòåðàòóðó.

Êëþ÷åâûå ñëîâà: Áàçàðîâ, Ïàâåë Ïåòðîâè÷, Ôåíå÷êà, Ïóñòîâöåâ, Ïå÷îðèí, Îáëîìîâ, Åâãåíèé Îíåãèí, Ñàíèí, Ðàéíåð, Ãàìëåò

Abstract: The object of the research is Ivan Turgenev's novel 'Fathers and Sons' and literary critical articles, expressions and researches on the matter. The subject of the research is the main trends in studying Turgenev's novel 'Fathers and Sons' in comparative historical researches of the XIXth - XXth centuries. Ivan Turgenev's novel 'Fathers and Sons' is believed to be the peak of his creative work and thus become the target of temperamental discussions and criticism, both negative and positive. Despite the fact that critical reviews of the novel exceed the novel itself in volume, the novel is often associated with other foreign and Russian literary texts. Analyzing these comparisons, Kamil underlines that Ivan Turgenev wrote his novel being under the impression of other literary works that had left an unforgettable trace in the writer's mind. If we are to analyze most of these comparisons, we can see that the novel 'Fathers and Sons' is popular beyond all time limits. The researcher has used the historical functional method to analyze the comparisons of the novel 'Fathers and Sons' to other literary texts. Turgenev's novel 'Fathers and Sons' is being analyzed using the method of historical functional analysis of comparative researches written by different literary critics who have written about the novel. The researcher outlines differences in their opinions and moreover, focuses on the contribution of the novel 'Fathers and Sons' to the Russian and world literature. 

Keywords: Evgeniy Onegin, Oblomov, Pechorin, Pustovtsev, Fenechka, Pavel Petrovich, Bazarov, Sanin, Rainer, Hamlet

Àííîòàöèÿ: Ñòàòüÿ ïðåäñòàâëÿåò ñîáîé êðàòêèé îáçîð ëèòåðàòóðíîãî òâîð÷åñòâà Ñåðãåÿ Ô¸äîðîâè÷à Øàðàïîâà – ïèñàòåëÿ, ïóáëèöèñòà, ýêîíîìèñòà, îáùåñòâåííîãî äåÿòåëÿ. Êàê ïèñàòåëÿ åãî çíàþò ìàëî: â ìíîãî÷èñëåííûõ ñòàòüÿõ î Øàðàïîâå, ïîÿâèâøèõñÿ â ïîñëåäíèå äåñÿòèëåòèÿ, åãî ëèòåðàòóðíîå òâîð÷åñòâî, êàê ïðàâèëî, óïîìèíàåòñÿ ëèøü âñêîëüçü.  äàííîé ñòàòüå îñîáîå âíèìàíèå óäåëÿåòñÿ ïåðâîìó ýòàïó ëèòåðàòóðíîãî òâîð÷åñòâà Øàðàïîâà, çàâåðøèâøåìóñÿ ïóáëèêàöèåé ðîìàíà «Êðóæíûì ïóòåì» - öåíòðàëüíîãî ïðîèçâåäåíèÿ ïèñàòåëÿ, âåðøèíû åãî òâîð÷åñòâà. Ýòîò ýòàï ëþáîïûòåí ñ òî÷êè çðåíèÿ òâîð÷åñêîé ýâîëþöèè Øàðàïîâà êàê ïèñàòåëÿ è ìûñëèòåëÿ. Àâòîð ñòàòüè èñïîëüçóåò ñðàâíèòåëüíî-èñòîðè÷åñêèé ìåòîä, ðàññìàòðèâàÿ ëèòåðàòóðíûå ïðîèçâåäåíèÿ Øàðàïîâà âî âçàèìîäåéñòâèè ñ êóëüòóðíûì ôîíîì òîãî âðåìåíè. Ïðåäñòàâëåííûé â ñòàòüå ìàòåðèàë äà¸ò âîçìîæíîñòü ðàñøèðèòü ïðåäñòàâëåíèÿ î ëèòåðàòóðíîì ïðîöåññå êîíöà XIX – íà÷àëà XX âåêà.  îñíîâå ñòàòüè ëåæàò àðõèâíûå ìàòåðèàëû. Àâòîð ñòàòüè ðàñêðûâàåò ñàìîáûòíîñòü òâîð÷åñòâà Ñ.Ô. Øàðàïîâà, ïîä÷¸ðêèâàåò àêòóàëüíîñòü ìèðîâîççðåí÷åñêèõ óñòàíîâîê ïèñàòåëÿ, êîòîðûå áàçèðóþòñÿ íà òðàäèöèîííûõ îáùåñòâåííûõ öåííîñòÿõ ðóññêîãî íàðîäà.

Êëþ÷åâûå ñëîâà: ñëàâÿíîôèëû, ðóññêàÿ ëèòåðàòóðà, ðîìàí, ëèòåðàòóðíûé ïðîöåññ, èñòîðèÿ ëèòåðàòóðû, òâîð÷åñêàÿ ýâîëþöèÿ ïèñàòåëÿ, ïîëåìèêà, ðåàëèçì, òðàäèöèîííûå öåííîñòè, îáùåñòâåííàÿ äåÿòåëüíîñòü

Abstract: This article is a short review of Sergey Sharapov’s literary work. Sergey Sharapov is a writer, publicist, economist and public figure. Only few people know him as a writer; his literary work is mentioned casually in numerous articles that have been published over the last decades. Meanwhile, Sharapov’s works are of an indisputable interest in the context of the literary process at the turn of the XIXth -XXtj centuries. Special attention is paid to the first stage of Sharapov’s literary work that culminated in publication of the novel “By Circular Way” – the central work of the writer and the peak of his creative work. This stage is interesting in terms of the creative evolution of Sharapov as a writer and thinker. The author of the article uses the comparative and historical research method to analyse Sharapov’s literary works against the background of that cultural period. In particular, the article describes the polemics of Sharpov with Lev Tolstoy that evoked great public resonance in that time. The material giving in the article makes it possible to enlarge the idea about the literature process of the late XIXth – early XXth centuries. The author shows originality of Sergey Sharapov’s creative work, emphasizes topicality of the writer's world views and approaches that are based on traditional social values of the Russian people.

Keywords: slavophiles, Russian literature, novel, literature process, history of literature, creative evolution of a writer, polemics, realism, traditional values, community work

Àííîòàöèÿ:  ñòàòüå ðàññìàòðèâàåòñÿ îäèí èç âàæíåéøèõ íåèññëåäîâàííûõ â ëèòåðàòóðîâåäåíèè ôåíîìåíîâ – «Òðåòèé Öåõ» ïîýòîâ – âëèÿþùèé íà ðàçâèòèå æàíðîâ, ëèòåðàòóðíûõ øêîë è ëèòåðàòóðû ÕÕ âåêà â öåëîì. Íà îñíîâå àíàëèçà ðàçëè÷íûõ íàó÷íûõ èñòî÷íèêîâ äàþòñÿ ïîíÿòèÿ êîíöåïöèè, ðåêîíñòðóèðóþòñÿ èñòîðèÿ ôîðìèðîâàíèÿ «Òðåòüåãî Öåõà», åãî ýñòåòè÷åñêàÿ ïëàòôîðìà è ñîîòíîøåíèå ñ òðàäèöèîííûì àêìåèçìîì; èññëåäóåòñÿ ñâîåîáðàçèå òâîð÷åñêèõ ïóòåé ïîýòîâ, â íåãî âõîäÿùèõ, è åãî ìåñòî â ëèòåðàòóðíîì ïðîöåññå ÕÕ âåêà. Âíóòðè òðàäèöèîííîãî àêìåèçìà äèôôåðåíöèðóþòñÿ ïàðíàññêè îðèåíòèðîâàííûé àêìåèçì Í. Ãóìèëåâà è àäàìèçì Â. Íàðáóòà. Îïèñûâàåòñÿ èñòîðèÿ îðãàíèçàöèé, ïðèíàäëåæàùèõ, ñ îäíîé ñòîðîíû, ê àêìåèñòè÷åñêîìó è íåîêëàññè÷åñêîìó ðóñëó ðàçâèòèÿ ïîýçèè, à ñ äðóãîé – ê íåòðàäèöèîííûì, àëüòåðíàòèâíûì íàïðàâëåíèÿì â ëèòåðàòóðíîì êîíòåêñòå Õ âåêà; ðàññìàòðèâàþòñÿ îòíîøåíèÿ óêàçàííîãî ÿâëåíèÿ ñ äðóãèìè ôåíîìåíàìè, ñ Ïåðâûì è Âòîðûì Öåõîì ïîýòîâ, ëèòåðàòóðîâåä÷åñêèìè è îíòîëîãè÷åñêèìè êàòåãîðèÿìè. Âûÿâëÿþòñÿ ÷åðòû òðàäèöèîííîãî àêìåèçìà â ýñòåòè÷åñêîé ïðîãðàììå «Òðåòüåãî Öåõà». ×åðåç âïåðâûå ïðåäïðèíÿòûé â ðàáîòå äåòàëüíûé àíàëèç àëüìàíàõîâ è äðóãèõ ïåðèîäè÷åñêèõ èçäàíèé «Òðåòüåãî Öåõà» î÷åð÷èâàþòñÿ îñíîâíûå ýòàïû èõ ôîðìèðîâàíèÿ, êðóã àâòîðîâ, òèðàæ, ýñòåòè÷åñêàÿ ïîçèöèÿ è îáùåñòâåííàÿ ðåàêöèÿ, à òàêæå èõ ïðåäûñòîðèÿ è õóäîæåñòâåííàÿ ñïåöèôèêà. Äëÿ ðàñêðûòèÿ ñîäåðæàíèÿ àêìåèçìà êàê õóäîæåñòâåííîãî íàïðàâëåíèÿ ÕÕ âåêà ïðèâëå÷åíû îñîáåííîñòè åãî ôóíêöèîíèðîâàíèÿ âî âíåøíåé êîììóíèêàöèè ñ ñèìâîëèçìîì, ïåðåøåäøèì â 1934 ãîäó â ñâîþ ëàòåíòíóþ ôàçó, è íåîêëàññèöèçìîì. Ñîïîñòàâèòåëüíûé àíàëèç è ìåòîä ñåìèîòè÷åñêîé ðåêîíñòðóêöèè ïîýòè÷åñêîãî òåêñòà ñëóæàò êëþ÷îì ê ïîíèìàíèþ âíóòðåííèõ ñòðóêòóð àêìåèñòè÷åñêîé êóëüòóðíîé ïàðàäèãìû. Äåëàåòñÿ âûâîä î òîì, ÷òî àêìåèçì â ýìèãðàöèè («ìëàäîàêìåèçì») ïðîäîëæèë ìèññèþ ñèìâîëèçìà: «äâîåìèðèå», êîíöåïò ìèðà êàê «ýñòåòè÷åñêîãî ôåíîìåíà» îí ïðåîáðàçóåò â ïðèíöèï ìèñòè÷åñêîãî ýíåðãåòèçìà, ïîñòèãàÿ ìèð íîóìåíàëüíûé ÷åðåç «ìèñòè÷åñêîå îçàðåíèå». Ýìèãðàíòñêèé àêìåèçì ðàñêðûâàåòñÿ êàê ñèíòåç ýëåìåíòîâ ìîäåðíèçìà è ðåàëèçìà: â åãî ïîýçèè ñîåäèíÿþòñÿ ìèñòè÷åñêèå ìèðû, äèõîòîìèÿ «ðåàëüíîãî-èððåàëüíîãî», ñèìâîëèñòñêàÿ «òåîðèÿ ñîîòâåòñòâèé», - è ÿñíîñòü, èñòîðè÷åñêàÿ êîíêðåòèêà, ïàìÿòü «íåíàïðàñíîãî ïðîøëîãî», óíàñëåäîâàííûå îò ðåàëèçìà. Äàííûé ïóòü ðàññìîòðåíèÿ àêìåèçìà êàê íåïðåðûâíîé ïàðàäèãìû ïîñòñèìâîëèñòñêîãî, òðàäèöèîíàëèñòñêîãî òâîð÷åñòâà, êàê îäíîé èç çíà÷èìûõ ëèíèé ëèòåðàòóðíîãî (è øèðå - äóõîâíîãî) ðàçâèòèÿ, ñîåäèíÿþùåé â ñåáå îïûò Ðîññèè (ìåòðîïîëèè) è çàðóáåæüÿ, ñïîñîáñòâóåò âûÿâëåíèþ âíóòðåííåé öåëîñòíîñòè ðóññêîé ëèòåðàòóðû, ðàçâèâàþùåéñÿ â äèàëîãå è âçàèìîäåéñòâèè ðàçëè÷íûõ õóäîæåñòâåííûõ ñèñòåì (â ÷àñòíîñòè, ñèìâîëèçìà, àêìåèçìà, íåîêëàññèöèçìà). Ýòî ðàçíîîáðàçèå èñêàíèé, õóäîæåñòâåííî-ñòèëåâûõ òåíäåíöèé è òå÷åíèé îáóñëîâëèâàåò ïåðñïåêòèâó íîâûõ îòêðûòèé íà ïóòÿõ îòå÷åñòâåííîé è ìèðîâîé ëèòåðàòóðû.

Êëþ÷åâûå ñëîâà: ôèëîëîãèÿ, ôåíîìåí, àêìåèçì, ëèòåðàòóðíûé êîíòåêñò, «Òðåòèé Öåõ» ïîýòîâ, ëèòåðàòóðíûå øêîëû, «ìëàäøèå» àêìåèñòû, êóëüòóðíàÿ ïàðàäèãìà, ñèìâîëèçì, íåîêëàññèöèçì

Abstract: The article is devoted to one of the most important but understudied literary phenomena, The Third Poets' Guild that had a tremendous influence on the development of genres, literary schools and literature of the 20th century in general. Based on the analysis of various scientific sources, the author of the article provides the main definitions of the concept, reconstructs the history of the development of The Third Guild, its aesthetic platform and relation to traditional acmeism; and studies creative paths of poets from The Third Guild as well as the role of The Third Guild in the literary process of the 20th century. Within the framework of the traditional acmeism, the author distinguishes Nikolay Gumilev's 'Parnassian' acmeism and Vladimir Narbut's adamism. The author also describes the history of associations which belonged, on the one hand, to the acmeistic or neoclassical school of poetry and, on the other hand, to nontraditional, or alternative movements of the 20th century. Fetisova also considers the relation of the aforesaid phenomenon to other phenomena such as The First and The Second Poets' Guilds and literary and ontological categories. The researcher defines the features of traditional acmeism in the aesthetic program of The Third Poets' Guild. Through a detailed analysis of almanacs and other periodical publications of The Third Poets' Guild, the researcher outlines the main stages of their development, authors, covering, aesthetic views and public response as well as their prehistory and artistic specifics. In order to reveal the contents of acmeism as the artistic movement of the 20th century, the author examines peculiarities of its functioning as part of the internal communication with symbolism (which reached the latent phase in 1934) and neoclassicism. Comparative analysis as well as semiotic reconstruction of a poetic text are the keys to understanding internal structures of the acmeistic cultural paradigm. The author concludes that acmeism of emigrants ('neoacmeism') continued the mission of symbolism: the acmeistic movement transformed the 'bi-worldness' and the concept of the world as the 'aesthetic phenomenon' into the principle of mystical energetics and understanding the noumenal world through the 'mystical insight'. Emigrants' acmeism is described as the synthesis of the elements of modernism and realism: the poetry unites all mystical worlds, the 'real-unreal' dichotomy, the symbolic 'theory of correspondence' and clarity, historical particularities, memory of the 'past-not-in-vain' inherited from realism. This approach to viewing acmeism as the continuous paradigm of post-symbolic traditional creativity as one of the most significant trends of literary (and spiritual) growth based on the experience of Russia (metropolis) and foreign states allows to define the internal integrity of Russian literature which developed through the dialogue and interaction of different artistic systems (in particular, symbolism, acmeism and neoclassicism). Such variety of searches, artistic and stylistic trends and movements creates prospects for new discoveries in the sphere of Russian and world literature. 

Keywords: cultural paradigm, philology (language studies), phenomenon, literary context, acmeism, literary schools, symbolism, neoclassicism

Àííîòàöèÿ: Êîíöåïòóàëüíîå ñîäåðæàíèå ïðîèçâåäåíèé Äàíèèëà Àíäðååâà ðàñêðûâàåòñÿ â êîíòåêñòå ñîáîðíîãî ñîòâîð÷åñòâà ðîññèéñêèõ îðãàíèöèñòîâ è êîñìèñòîâ - ôèëîñîôñêîãî íàïðàâëåíèÿ, â êîòîðîì íàèáîëåå ãëóáîêî è ñèñòåìíî îòðåôëåêñèðîâàíû îñîáåííîñòè îòå÷åñòâåííîãî ñàìîñîçíàíèÿ; ïðè ýòîì âûÿâëÿåòñÿ, ÷òî èñòîðè÷åñêàÿ ìîëîäîñòü ðóññêîé êóëüòóðû ïî ñðàâíåíèþ ñ «äðÿõëûìè» Âîñòîêîì è Çàïàäîì îáóñëîâèëà êëþ÷åâîå ñâîåîáðàçèå íàøåé ìåíòàëüíîñòè, ðåàëèçóåìîå â îáùèííîñòè ðóññêîãî äóõà, åãî ñîáîðíîñòè, ñîôèéíîñòè è ãðàæäàíñòâåííîñòè, íåïîñðåäñòâåííî ñîïðÿæ¸ííîé ñ íðàâñòâåííûìè èìïåðàòèâàìè. Èññëåäîâàíèå ñèñòåìíîãî ñîäåðæàíèÿ äóõîâèäåíèÿ Ä.Àíäðååâà ïîêàçûâàåò, ÷òî åãî òâîð÷åñòâî – ýòî êà÷åñòâåííî íîâûé óðîâåíü ðàçâèòèÿ ðóññêîãî êîñìèçìà â òðàãè÷åñêèõ óñëîâèÿõ îòå÷åñòâåííîé èñòîðèè 2-îé ïîëîâèíû XX â., ïðè÷¸ì â åäèíñòâå õóäîæåñòâåííî-ýñòåòè÷åñêîãî, ðåëèãèîçíîãî è íàó÷íîãî ñîäåðæàíèÿ. Ïðîâåä¸ííîå èññëåäîâàíèå îñíîâàíî, ïðåæäå âñåãî, íà ìåòîäîëîãèè ãåðìåíåâòè÷åñêîãî àíàëèçà òåêñòîâ Äàíèèëà Àíäðååâà, à òàêæå ïðîèçâåäåíèé ðîññèéñêèõ îðãàíèöèñòîâ è êîñìèñòîâ, íà÷èíàÿ ñ ðóáåæà XVIII-XIX ââ. è âêëþ÷àÿ ïåðâóþ ïîëîâèíó XX â. Ïëîäîòâîðíûìè èíñòðóìåíòàìè àíàëèçà ÿâëÿþòñÿ ïðèíöèïû äèàëåêòè÷åñêîé ìåòîäîëîãèè: ñàìîðàçâèòèÿ, âíóòðåííåé ïðîòèâîðå÷èâîñòè, âñåîáùåé ñâÿçè, äåòåðìèíèçìà è åäèíñòâà ìèðà. Àâòîðîì ðàñêðûâàåòñÿ ãåíåçèñ ðóññêîãî êîñìèçìà, ïðîèñòåêàþùèé èç îðãàíèöèçìà è îñîáåííîñòåé îòå÷åñòâåííîé ìåíòàëüíîñòè; îáîñíîâûâàåòñÿ íàëè÷èå ñèñòåìû ïðèíöèïîâ: âñåîáùíîñòè æèçíè, öåëîñòíîñòè, äåÿòåëüíîñòíîãî ïîäõîäà ê åäèíîìó ïðèðîäíî-ñîöèàëüíîìó îðãàíèçìó, åñòåñòâåííîñòè, ãàðìîíèè è àíòèíîìè÷íîñòè áûòèÿ è ìûøëåíèÿ, - ñîñòàâëÿþùèõ òåîðåòèêî-ìåòîäîëîãè÷åñêèé è ìèðîâîççðåí÷åñêèé ôóíäàìåíò ïðîåêòà ðàçðåøåíèÿ àïîêàëèïñè÷åñêîé àëüòåðíàòèâû ñîâðåìåííîñòè ìåæäó ñàìîóíè÷òîæåíèåì èëè ñàìîâîçðîæäåíèåì ÷åëîâå÷åñòâà íà êà÷åñòâåííî íîâîì óðîâíå. Ïðîâåä¸ííîå èññëåäîâàíèå ïîçâîëèëî âûÿâèòü íåîáõîäèìîå è äîñòàòî÷íîå óñëîâèÿ ñîçèäàòåëüíîé ðåàëèçàöèè óêàçàííîé àëüòåðíàòèâû, ïî-ñâîåìó âûðàæåííûõ â ðåëèãèîçíî-ôèëîñîôñêîé è íàó÷íîé âåòâÿõ ðóññêîãî êîñìèçìà è íà íîâîì óðîâíå ðàçâèòîå Ä.Àíäðååâûì.

Êëþ÷åâûå ñëîâà: îòå÷åñòâåííîå ñàìîñîçíàíèå, ðîññèéñêèé îðãàíèöèçì, ðóññêèé êîñìèçì, ïðèíöèï âñåîáùíîñòè æèçíè, ïðèíöèï öåëîñòíîñòè, ïðèíöèï åñòåñòâåííîñòè, ïðèíöèï äåÿòåëüíîñòíîãî ïîäõîäà, ïðèíöèï ãàðìîíèè, ïðèíöèï àíòèíîìè÷íîñòè, àïîêàëèïñè÷åñêàÿ àëüòåðíàòèâà

Abstract: The main concepts presented by Daniil Andreev in his works are viewed in terms of the co-creativity of Russian organicists and cosmists as the branch of philosophy that reflects special features of the Russian mind in the better and most comprehensive way. Noteworthy that the historically ‘younger’ age of the Russian culture compared to the ‘older’ East and West caused the main singularity of our mentality including the unity, universal values and the civic consciousness of the Russian spirit. The results of the research undertaken by the author shows that Daniil Andreev’s creativity is a completely new level of the development of Russian cosmism under the tragic conditions of the Russian history in the second half of XXth century. The research is based on the hermeneutic analysis of Daniil Andreev’s texts as well as works written by Russian organicists and cosmists between XVIIIth and XIXth centuries and during the first half of XXth century. Effective analysis tools used by the author are based on the principles of dialectical methodology including the principles of selfdevelopment, self-contradictoriness, general reference, determinism and unity of the world. The author also describes the genesis of the Russian cosmism as the result of organicism and special features of the Russian mentality. She also describes the main principles including the principles of the generality of life, integrity, active approach to the integrated natural and social body, naturality, harmony and antinomicity of existence and cogitation. These principles create the theory and methods of finding the alternative to apocalypse between self-destruction and revival of the mankind at a completely new level of existence. The results of research allow to define necessary and sufficient conditions for implementation of the aforesaid alternative. These conditions are discussed in religious, philosophical and scientific branches of Russian cosmism as well as at the new level developed by Daniil Andreev.

Keywords: Russian mind, Russian organicism, Russian cosmism, the principle of the generality of life, the principle of integrity, the principle of naturality, the principle of the active approach, the principle of harmony, the principle of antinomicity, alternative to apocalypse.

Àííîòàöèÿ: Ïðåäìåòîì èññëåäîâàíèÿ â ñòàòüå âûñòóïàåò ñîöèàëüíîñòü ìûøëåíèÿ, åå ñâÿçü ñ áûòèéíîñòüþ óíèâåðñóìà, ñîðàçìåðíûì êîòîðîìó ÿâëÿåòñÿ ÷åëîâåê êàê óíèâåðñàëüíîå ñóùåñòâî â ñðàâíåíèè ñ æèâîòíûìè îáèòàòåëÿìè òîé èëè èíîé ïðèðîäíîé íèøè. Ðàñêðûò ñìûñë îòðèöàíèÿ ñîöèàëüíîñòè ìûøëåíèÿ. Ïðè ýòîì àâòîð îïèðàåòñÿ íà ìåòîäîëîãèþ åäèíñòâà èñòîðè÷åñêîãî è ëîãè÷åñêîãî. Âîò ïî÷åìó àâòîð îáðàùàåòñÿ íå òîëüêî ê ñîâðåìåííîìó îáñòîÿíèþ äåë â îáùåñòâå, íî è ê èñòîðèè ïðîáëåìû íà ïðèìåðå ìèðîâîççðåí÷åñêîé ìåòàìîðôîçû Í.Â. Ãîãîëÿ. Ýòî ïîçâîëèëî ðàñêðûòü ñêâîçíûå, ñêðûòûå ïðîáëåìû, õàðàêòåðíûå äëÿ èñòîðèè è ñîâðåìåííîñòè.  õîäå èññëåäîâàíèÿ ýêñïëèöèðîâàíà àëüòåðíàòèâíîñòü ðåëèãèîçíîé ïîçèöèè ñ ïðèçíàíèåì è ïðèíÿòèåì ïîëîæåíèÿ î ñîöèàëüíîì õàðàêòåðå ìûøëåíèÿ, óêîðåíåííîãî â ñàìîì áûòèè è åãî ðàçâèòèè êàê ñïîñîáå ñóùåñòâîâàíèÿ áûòèÿ è îáùåñòâà. Íîâûì ÿâëÿåòñÿ íå òîëüêî ôèêñàöèÿ íàëè÷èÿ òàêîé àëüòåðíàòèâû â ñîâðåìåííîñòè, íî è åå îáíàðóæåíèå â ìèðîâîççðåí÷åñêîé ýâîëþöèè Í.Â. Ãîãîëÿ.

Êëþ÷åâûå ñëîâà: áûòèå, ñîöèàëüíîñòü, ýêçèñòåíöèÿ, êðåïîñòíè÷åñòâî, ìîíàñòûðü, ãðåõ(îâíîñòü), ðàçâèòèå, âîñõîæäåíèå, íèñõîæäåíèå, ïåðåèíòåðïðåòàöèÿ

Abstract: The subject matter of research is the social aspect of cogitation and its connection with the existence of the universe that is comparable to human as a universal creature unlike animals inhabiting this or that nature’s niche. The author of the article describes negation of sociality of cogitation based on the concept of the unity between history and logic. Therefore the author appeals not only to the modern situation in the society but also studies the history of the problem through the example of Nikolai Gogol. This approach allows to reveal the hidden issues that are typical both for history and modern age. In the course of his research the author expresses an alternative religious position while admitting and accepting the idea about the social nature of cogitation. The novelty of research is not only the description of this alternative position in modern literature but also discovering the same position in Nikolai Gogol’s work.

Keywords: being, existence, sociality, serfdom, monastery, sin (fullness), development, ascension, degression, reinterpretation.

Àííîòàöèÿ: â ñòàòüå ðàññìàòðèâàåòñÿ ñâîåîáðàçíûé ôåíîìåí «ïîýçèè âëàñòè» â Ðîññèè/ÑÑÑÐ/Ðîññèè, èíûìè ñëîâàìè, ïðè÷èíû, ôîðìû è ñëåäñòâèÿ ñòðàííîé ïðèâåðæåííîñòè ëþäåé âëàñòè ê ïîýçèè, ê ðåìåñëó ñòèõîñëîæåíèÿ. Àâòîð êàñàåòñÿ ñòèõîòâîðíîãî òâîð÷åñòâà Ñòàëèíà, òÿãè ê ïîýòè÷åñêîìó òâîð÷åñòâó Òðîöêîãî, ðîëè ñòèõîñëîæåíèÿ â èíòåëëåêòóàëüíîì ñåãìåíòå ïàðòèéíîé ýëèòû, â ñðåäå êîíñóëüòàíòîâ è ñïè÷ðàéòåðîâ ïåðâûõ ëèö ÊÏÑÑ è ñîâåòñêîãî ãîñóäàðñòâà.  ïîëå çðåíèÿ îêàçûâàåòñÿ òâîð÷åñòâî ðÿäà êðóïíûõ ãîñóäàðñòâåííûõ äåÿòåëåé ñîâåòñêîãî âðåìåíè, îò Åâãåíèÿ Ïðèìàêîâà è Åâãåíèÿ Ñàáóðîâà äî Àíàòîëèÿ Ëóêüÿíîâà. «Êåéñó Ëóêüÿíîâà», êîòîðûé áûë âïîëíå ñîñòîÿâøèìñÿ è ïðîôåññèîíàëüíûì ïîýòîì, â ñòàòüå óäåëÿåòñÿ îñîáîå âíèìàíèå.  ðàáîòå òàêæå ðàññìàòðèâàåòñÿ ýâîëþöèÿ ñòèõîñëîæåíèÿ êàê ñîöèîêóëüòóðíîãî êîäà îò Ïóøêèíà è äåêàáðèñòîâ äî ïîçäíåãî ÑÑÑÐ è íûíåøíèõ âðåìåí òàê íàçûâàåìîãî ãëàìóðà, ãëàìóðèçàöèè êóëüòóðû.  çàêëþ÷åíèå àâòîð êîíñòàòèðóåò, ÷òî â ñîâðåìåííîé Ðîññèè ñëîæèëñÿ òèï âëàñòè, êîòîðûé â ñîñòîÿíèè îáîéòèñü è îáõîäèòñÿ áåç ïîýçèè.

Êëþ÷åâûå ñëîâà: ôèëîëîãèÿ, ïîýçèÿ, âëàñòü, ñîöèîêóëüòóðíûé êîä, ðàçíî÷èíöû, íåâðîòèçàöèÿ, Ñòàëèí, Òðîöêèé, Àíäðîïîâ, Ëóêüÿíîâ.

Abstract: The article is devoted to the unique phenomenon of the ‘poetry of power’ in Russia/USSR, or, in other words, causes, forms and consequences of the government officers’ commitment to poetry and versification. The author of the article touches upon Stalin’s poems, Trotsky’s love for poetry, the role of versification in the intellectual segment of the party elite and among consultants and speech writers of the first persons of the Communist Party of the Soviet Union and Soviet Government. The author also discusses creative works of a number of major public officials during the Soviet time from Eugene Primakov and Eugene Saburov to Anatoly Lukianov. The author pays special attention at the ‘Lukianov’s Case’ underlying that Lukianov was a rather successful and professional poet. The article also considers the evolution of versification as a socio-cultural code from Pushkin and Decembrists to late USSR and present times of so-called glamour and glamorization of culture. In conclusion the author makes a statement that the government of modern Russia is able to do without poetry and so it does.

Keywords: philology, poetry, power, socio-cultural code, commoners, neurotization, Stalin, Trotsky, Andropov, Lukianov.

Àííîòàöèÿ: â ñòàòüå àíàëèçèðóåòñÿ ôèëîñîôñêîå òâîð÷åñòâî Ô.È. Ãèðåíêà. Îáîçíà÷àþòñÿ îñíîâíûå èäåè, êîòîðûå ñîäåðæàòñÿ â åãî êíèãàõ. Îòìå÷àåòñÿ îðèãèíàëüíîñòü ïðèñóùåé åìó ôèëîñîôñêîé ðåôëåêñèè.

Êëþ÷åâûå ñëîâà: ôèëîñîôèÿ, ôèëîñîôñêàÿ àíòðîïîëîãèÿ, ÷åëîâåê, àóòîãðàôèÿ, ÿçûê, ñîçíàíèå, ëè÷íîñòü, îáùåñòâî, èñêóññòâî, ðàçóì.

Abstract: The author of the article analyzes Fedor Girenk’s works in philosophy. The author describes Fedor Girenk’s basic ideas and underlines the original nature of his philosophy and ref lexion.

Keywords: philosophy, philosophical anthropology, human, autoradiography, language, consciousness, personality, society, art, mind.