Vol 23, No 1.2 (2017)

In the article comedy as one of the leading genres of classical enlightenment-absolutist system of Catherine II is viewed. Special giving by the empress of educational purpose of literature was very important for the establishment, on the one hand, of intimate and
friendly, and on the other hand – of a theatrical way of «dialogue»
with the viewer. A basis of comedy action was in plays of the monarchies misunderstanding by her citizens of rules of secular
behavior which brought in the comedy final to the statement of sense of any proverb training noble young people to mutual respect science at recognition of personal and aristocratic advantage. «Gallant dialogue» assisted removal in secular society of the conflict and search of a compromise. Therefore the empress chooses for herself an author’s mask of the servant to show theatrical effect of gallant behavior: courtesy and rationality in behavior of the nobleman will be read by an environment more, than appearance or boasting of the young hero. Thus, the system of characters is built by the author not only on a social feature, but also on moral ethical one.

A content of an autobiographical text can be considered from the viewpoint of narrative psychology. In this case, the content of the text and its elements act as agents of socialization, defining scenarios of life. The contents of autonarrative is preconditioned by the specificity of autobiographical memory, which is characterized by selectivity and mobility. The autobiographical work addresses to the field, where valuable can be updated as memory and then embodied in the form of precedent texts, forming the value imperative.

In the article the issues of interrelation of literature and cinema to which a lot of attention in the 20-ies of the 20th century was payed are investigated. The attempt of Viktor Shklovskiy to use the cinematography for modernization of literary creation is of great interest in the context of this problematics.
In 1925 Viktor Shklovskiy together with Vsevolod Ivanov published the adventure story «Iprit» which was not a success at that moment. In spite of it the novel attracted the attention of present-day explorers who wished to enrich literature using innovations of cinematography.

The category of modality is used for the analysis of stories of Nabokov from the storybook «The Eye». The concept of nonclassical narrative (M. Dymarskii) and change of narrative modality (G. Genette) in the stories by Nabokov. With the help of modality types allocated by M. Epstein – valid / invalid, possible /impossible, random / required – are opposed to the possibility offered by the author, and the choice that makes the hero. Preference by the hero of negative pole of modality leads to the convergence of views of the author and character and vice versa.

In this article the first results of comparison of poetics of V. Khlebnikov and A.L. Khvostenko are presented. The cases of a direct mention of the name of V. Khlebnikov in the poetic texts of A.L. Khvostenko are considered, and also cases of structural overlapping between the poetics of the authors are analyzed on the example of several poems. In conclusion of the article the reasons of the appeal of A.L. Khvostenko to the poetics of V. Khlebnikov are considered.

The article is devoted to urban projects «Live and die in Togliatti» and «Adin», as well as to the plays of U. Gytsareva «Xač» and N. Rudkovsky «Great resettlement of freaks». These works are representative examples of solving problems of social, national and ethical identity of the person in his / someone else’s space in the «new drama» of the turn of the XX–XXI centuries.

The article is devoted to the work of the playwright in the context of understanding the discourse from the moment of the magazine publication until theater and cinema production.

The article is devoted to the artistic features of the novel «Hunting» by B.A. Sadovskoy, due to the folk styling and the author appealing to mythological subjects. In the field of the view of the researcher is the novel, its narrative structure, storyline of one of the characters and the analysis of false stories. The folk element helps the writer to immerse the reader in the era, to give insight into the outlook of the XIX century, living in anticipation of crucial personal and historical events (the war). People’s view on history allows B.A. Sadovskoy to show how life turns into existence.

At the core of the article is the review of functioning of mythologeme
«the Sun» in the play by M. Gorky «Children of the Sun». It is established that cultural and symbolic image of the sun plays a significant role in the drama of Maxim Gorky. Writer actively uses the mythologeme of the «sun», stresses, forces us to pay attention to it. The image of the sun organizes chronotopic system, interacts with the animal motive, organizes vertical
distribution of personalities, brighter «draws» the system of images, helps us to understand and analyze a play by Maxim Gorky on a completely new level.

The article is devoted to the methods of rhetorical art of the «selection of words» used in the variability of world modeling, in particular, the contextual content of negative connotations of the concept of «tolerance» in modern media discourse is viewed.

The article focuses on the relationship between cinema and literature in the 1920-ies using the example of the cyclus of novels «Mess-Mend» by Marietta Shaginyan.

In the article the analysis of narrative and semantic structure of the uncompleted tragedy of V. Erofeev «Fanny Kaplan» is made. The tragedy is interpreted as sacrificing the world taken in by the chaos.

The paper studies «Life of F.V. Ushakov» by A. Radishchev. The novel is a canonical transformation of hagiographic genre. It consists of two stories: the rhetorical and biographical. The consequence of duality becomes a stylistic heterogeneity of the narrative text. The object of the paper is the story of rhetorical language features. The plot is connected with reflections of A. Radishchev, his thoughts about the relationship of power and rights, the role of the individual in society, partnership, friendship,
love, the idea of the Enlightenment. The language features are targeting narrative, associative semantic and sensory field, local and temporal lexical classifiers, complex syntactic whole, aphorisms, lexical repetition, antithesis, paraphrases.

Having formulated the goal of the study as the study of features of modern media consumption, the author draws attention to such phenomenon as the mosaic thinking, justifies its impact on the
inevitability of an intensification of the process of visualization of
the content in modern means of mass communication and consistently leads the reader to the conclusion that the rendering of journalistic content in the media is the most effective way of interaction with modern consumer of media products.

«Ivanov» – a film by V. Dubrovitsky (2011) is based on the same play by A.P. Chekhov. During the «translation» of the play on the language of cinema the theatrical code is used, herewith the theatrical beginning is available in two versions: theatre as space and theater as a behavioral strategy. The authors of the film very carefully studied previous successful Chechov’s film adaptations, and there are references to the films by I. Kheifits, N. Mikhalkov, S. Ovcharov.

The article deals with two screen versions of A. Chekhov’s play «The Seagull»: Yu. Karasik’s film (Mosfilm, 1970) and M. Terekhova’s film (M-film, 2005). The author proves that Yu. Karasik changed the order of some scenes, shortened and eliminated some dialogues and monologues.
M. Terekhova preserved A. Chekhov’s text in full. It gave her the opportunity to make a two-hour voluminous film. But speaking about the films’ success, it should be noted that Yu. Karasik could portray A. Chekhov’s play with the minimum of distortions, while M. Terekhova’s blind acceptance of the play didn’t help her to make a successful version.

The present article studies the axiological aspects of the category of theatricality offered by N. Evreinov. It also traces the evolution of theatricality notion in his theoretical works and his director’s practices as well as the shift of the axiological dominant component of theatricality from «aestheticism» to «pre-aestheticism». The paper also studies N. Evreinov’s outstanding prognostic abilities which made his theatrical theory significant in various spheres of modern life including theatrical practices outside theatre.

The article investigates the journal polemics of the 1870-ies on the state of modern literature and journalism, on restructuring the system of spiritual and aesthetic values in post-reform Russia, on the rise of ideological struggle between the media, competition between them, an expansion of discussion: from the ways of development of Russia up to ethical standards of journalistic work.