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poetics hronotopa in A.Zhida's novel «Close gate»: experience Dostoyoevsky and an author's originality

Speaking about "hronotope" novel Andre of the Jew «Close gate», it is necessary to address to spatial measurement of this product: «Hronotop - essential vzaimoyosvjaz the time and spatial relations artly mastered in a letter - round» 369.

The narration space plays a paramount role at the Jew. But
367 Descartes Renb. Discours de la Mbthode pour bien conduire sa raison et chercher la vbritb dans

les sciences. Paris, 1878. P. 206-207.

368 Descartes Renb. Discours de la Mbthode pour bien conduire sa raison et chercher la vbritb dans

les sciences. Paris, 1878. P. 208.

369Бахтин M.M.Problemy Dostoevsky's of creativity. L, 1929. With. 135.

After all and Dostoevsky's creativity is subordinated to the same art principle proyostranstvennogo visions represented. For example, Z.Katto, echoing M.M.Bakhtin, piyoshet, that «the basic category of literary vision of Dostoevsky - coexistence and interaction. The writer sees and thinks of the world basically in space, instead of in vre - meni» [360]. The space of "the Close gate» is, first of all Fongezmar, ancient pomeyoste father Alisy near Havre and, in particular, its garden where there is a considerable part of action and many key scenes.

Academician Lihachyov specifies, that in variously organised gardens various forms «perceptions of the nature and, accordingly, various preprovozhyodenija time» [361]. The tradition of the image of the nature as «a background for scenes from a human life, portraits, images» as speaks Lihachyov, is known from the Middle Ages. Since this period «the nature acts in the literature and folklore and as the operating beginning: sympathising the person or something symbolising in his life and in the relation to neyomu the God» [362]. "Polyphony" of the nature induces Alisu to hear from time to time goyolos the God, and she distinguishes it in garden Fongezmara, using this word "mnogogoyolosie": « In "polyphony" of the nature for me one is distinguishable and distinct now only as you it name, an appeal to pleasure. I hear it in singing of each bird, I inhale with aroma of each flower »[363]. The voice of the God, the voice of love arising in shower Alisy under the influence of the nature, merges in its consciousness with an image sacred Frantsiska AssizskoYOgo:« to repeat after sacred Frantsisky: “My God! My God!” “e non altro","and anything else”, and heart is overflowed with inexpressible love »[364].

In estate Fongezmar a garden «quite ordinary, not too big and not osobenyono beautiful» [365]. Nevertheless, in a youth heroes of the novel - ZHerom, Alisa, Rober and Zhjul -

Lihachyov D.S.poetry of gardens. To semantics of landscape gardening styles. M, 1998. With. 51.

Jew A.Tesnye a gate//A.Zhid. Counterfeiters. A close gate. M, 1991. With. 145.

Jew A.Tesnye a gate//A.Zhid. Counterfeiters. A close gate. M, 1991. With. 145.

Jew A.Tesnye a gate//A.Zhid. Counterfeiters. A close gate. M, 1991. With. 92.

etta spend all vacation either in a garden, or in a room which named "class" and where even there were school school desks as study proceeded and in summertime.

Teenagers read in a garden including aloud each other, study Latin and the Italian language much. Girls are engaged in music. As specifies Lihachyov, western liyoteraturnaja and the cultural tradition long since connected gardens with studies: « The tradition to connect educational and scientific establishments to gardens Ascends not only to Antiquity and the Renaissance, but also by the Middle Ages. Understanding of "Lycée gardens” as the gardens traditionally connected with educational institutions , it was live and in predstavyolenijah tsarskoselskih lyceum students »[366]. Lihachyov mentions, that« without dark avenues not obyohodilsja any Russian farmstead park »[367]. Poetic dark avenues as result of growth of regular park, were available and in the French province of the end of XIX century. In Fongezmare too there is an avenue named"dark", and the heroine of the novel« with nastupleniyoem twilight did not venture to come into it too deeply »[368]. Garden Fongezmara« okyoruzhen a wall », and from a West side in a wall was« the small secret door »through which it was possible to get in young lesok where the nature, it is artificial ograniyochennaja the person, receives freedom, and whence« the wonderful kind on a wide field with zhnivyom »[369] opens. Lihachyov specifies, that the most ancient symbolical value ograyody round a garden, known from the Middle Ages, it «paradise fencing» [370]. That was in a fencing of a monastic garden, originally symbolised paradise, and it simvoyolicheskoe value of a garden fencing has remained and subsequently.

Garden Fongezmara, thus, represents closed hronotop, during an epoch of the childhood of heroes really perceived by them as small paradise. Later, koyogda ZHerom and Alisa become adults, and their relations more and more become complicated, ograyoda Fongezmara turns to a wall of alienation from the world and first of all from the favourite person which fences off itself Alisa and which does not dare to cross ZHerom. The motive "threshold" situations (Bakhtin) at Dostoevsky incorporates here to motive of loss "paradise" hrontopa the hero. Last meeting ZHeroma with Alisoj occurs on a threshold of that of "a small secret door», on garden and wood border, then heroes walk out of a garden where it hronotop does not prevail over the heroine, and in the end of appointment Alisa says goodbye with favourite again on a threshold of the same door conducting in a garden: « Hardly the door was closed, hardly I have heard, as the bolt has turned from that party, I have dropped to this door in such bezyshodyonom despair, that tears have scattered at me from eyes, and I still for a long time sobbed in outer darkness »[371]. Why hronotop garden Fongezmara negatively affects behaviour geroiyoni? The bolt and the closed door of a garden fencing symbolise false aspiration geroiyoni to sanctity, to the misunderstood virtue, one of the main points kotoyorogo refusal of home life and sort continuation is. According to medieval zayopadnoj to symbolics, it« ”a garden protected”, (hortus conclusus), symbolising the ograzhdyonnostju purity of Maiden Maria, and leaning in this value on the chapter 4th “Songs of songs” Solomona: “ The closed (fenced) garden - sister washing, nevesyota, the prisoner kolodez, the sealed source ”» [372]. Alisa, refusing marriage with the favourite person, really turns in concluded kolodez and zapechayotannyj a source, - the life source which water will not satisfy nobody's thirst, will give to nobody to a new life.

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Hronotop a garden, park also has own internal time of course soyobyty. Thanks to fast changes which can occur in this live hronoyotope, its symbolics «speaks first of all about illusoriness of a life, about the stream of time which is carrying away with self all» [373]. Heroes of the Jew, operating in hronotope a garden, in addition vlijayojut on changes occurring in it. Teamwork in a garden replaces with it declarations of love. On stages of growth of plants they mark a current of time, an epoch svoyoego the novel: «the Majority of these roses has once been imparted by our hands, and now we learnt the pupils; care of them has absorbed us for a long time and has allowed us, especially in first three days, it is a lot of to talk, not concerning serious themes, and even when we molyochali, in it there was nothing burdensome» [374].

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Alisa constantly works in a garden, but thus its image rather differs from trayoditsionnyh the heroines of the French sentimental literature working on a bosom of the nature. «The easy basket» which it usually carries with herself becomes a symbol of the Alisy-gardener. But in its basket - not magnificent fruits or fine flowers as that was demanded by the mentioned tradition. Alisa goes on a garden, «on road breaking uvjadyoshie flowers and selecting fallen down after frequent sea fogs zavjaz» [375]. The basket with faded colours and prematurely fallen fruits, inseparable from an image geyoroini, becomes a symbol of its future, a sad symbol fruitless rastrachiyovanija beauty, intelligence, vital forces, a sign on premature withering and ranyonej death. Basket Alisy, using Ivanov's definition, - «a prophetic thing», that is a subject, «finding in force mifopoeticheskih laws own life and znache - nie» [376]. The motive of "a prophetic thing» is characteristic for Dostoevsky's novels. But «prophetic things» as we see, meet and in product of the Jew, that in addition specifies in affinity of its poetics Dostoevsky's to poetics. The garden nature also reflects feelings ZHeYOroma. Its time reconciliation with Alisoj is accompanied by flowering «lilacs, a mountain ash and a broom» which "surround" a place of their meeting [377]. In last arrival the hero notices changes in a garden, a new fencing of a court yard adjoining it. The same symbolical sense, as well as a garden fencing has this innovation - Alisa erects round itself all new protective walls, refusing from dialogue with the world.

The second as "a defence boundary» from love ZHeroma served for Alisy by its room where it disappears every time when dialogue with the young man wishes to interrupt. ZHeYOrom some time for all time novelistic poyovestvovanija enters in its personal hronotop where all «as if developed in certain smooth meloyodiju in which I learnt mine Alisu» [378]. However in the ending of the novel he talks with ZHjulettoj «in restored by it to trifles» to 389 room Alisy. So hronotop the died heroine, hronotop from the past, continues to exist in the form of the substantiated memoirs which are possible nayozvat a dream about the past. ZHjuletta speaks about this room: « It is the most silent room in all house. You will come here - and as though you will hide from a life »390. As a matter of fact, hronotop continues to reflect vital credo Alisy - to disappear from a real life in poisyokah an impracticable ideal. Phrase ZHjuletty« is time to wake up », told in this conversation, and concerning both to it, and to ZHeromu, expresses aversion of such position, including in relation to ZHeromu as that refuses home life, storing fidelity of memory Alisy. Here the description hronotopa most precisely reflects unity of its spiritual and material component:« The text as unity material and duyohovnogo is not only creation of the person, but also inner world reflexion, chayostju which the person too is, as receives from it energy vdohnove - nija »391. The given reception which we suggest to name stood hronotopom, that is hronotopom in which its time component more does not develop in connection with death of the hero, before living in it, is available in many products of the Jew. ZaYOmershy hronotop, how much we can judge, is author's reception of the Jew, razyovivajushchim the concept hronotopa Dostoevsky's polyphonic novel.

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Bakhtin writes about features hronotopa in Dostoevsky's poetics: «In e r h, n and z, l e with t n and ts and, p about r about g, p r and h about and I, p l about shch and d to and receive value“ points ”where it is made to r and z and with, radical change, unexpected crisis of destiny where priniyomajutsja decisions, cross forbidden line, are updated or perish» 392. In «TesYOnyh the Gate», besides the specified cases there are also other mentions similar hroyonotopa. ZHerom, standing on a ladder platform, sees through an open door tyotinoj

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Jew A.Tesnye a gate//A.Zhid. Counterfeiters. A close gate. M, 1991. With. 199.

Jew A.Tesnye a gate//A.Zhid. Counterfeiters. A close gate. M, 1991. With. 198. Ahmetov G. D. Spiritual space of the text//Scientific notes Transbaikalian gosu -

Donative university. A series: «Philology, history, oriental studies». 2014. № 2 (55). With. 7.

See also article: Ajrapetjan L.Duhovnoe space. 2005//

http://samlib.ru/a/ajrapetjan_l_ g/soulspace.shtml

392Бахтин M.M.Problemy Dostoevsky's of poetics. 3 izd. M, 1972. With. 291.

Bedrooms a scene of its appointment to the officer in the presence of its children. It hastens away to console Alisu, «and during these instants my life has dared, and I cannot recollect them without sincere excitement» [379], - the hero speaks. Before solving conversation with ZHjuletYOtoj ZHerom meets Alisu in a hall. She wishes to tell to it that concedes to its enamoured sister in it, but does not dare to make it. ZHjuletta before conversation with ZHeromom hides from visitors «in a doorway behind a curtain» [380]. And the subsequent mikroyokonklav with participation ZHjuletty and ZHeroma occurs in a garden, but in this case, poyoskolku events take place for Christmas, it is a winter garden of aunt Plante. The winter garden, unlike a usual garden, initially has artificial character, as though going against nature laws as plants are in is artificial created blagoprijatyonoj for them to environment, and only this circumstance allows them to survive in the winter.

We assume, that the parallel between this unnatural hronotoyopom, characterised local retardatsiej summertime during a season of winter, and that unnatural order of things which Alisa tries to impose ZHeromu and sister, having married them is possible. This fact is discussed also by heroes in a garden then ZHjuletta here dares at an unnatural step for itself. Comes big konklav which occurs, on Bakhtin, in a drawing room; at Dostoevsky «scenes of scandals and dethronements»

395 also occur in drawing rooms or halls which «become the assistant to the area» [381]. ZHerom and Abel Vote observe of unexpected engagement, not entering into a drawing room - they remain to stand in a lobby, that is in a hall.

The motive of action during transitive time of days in poetics of the Jew extends and on a time component hronotopa. Six of nine konklavnyh novel situations, including main konklav and a scene of last meeting ZHeroma and Alisy occur veyocherom, during transitive time of days. At Dostoevsky evening - one of favourite time of days for konklavnyh situations. It is enough to recollect scandal on birthday NastaYOsi Filippovny in "Idiot", scandalous charitable ball in "Demons", zaveryoshivshijsja a fire, or story-confession nelli in house Ihmenyovyh. Natural phenomena also are components hronotopa at the Jew. As well as Dostoevsky, the Jew seldom upoyominaet about weather in the products; its story "Izabel" became an exception, perhaps, only. But in «the Close Gate» the fog connected with more proyostrannymi, rather than usually at the Jew, is twice mentioned by weather descriptions. Both times fog occurrence is connected with konklavnymi situations. In day of the first mikrokonklava ZHerom, walking, snayo

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chala goes to the Havre port, «which because of a fog looked very gloomy», and only poyosle - to Bjukolenam where finds the aunt, mother Alisy on appointment to the lover and become the witness of sufferings Alisy. On Christmas eve main konklavnoj situations «already got dark, and the city gradually disappeared in a sea fog; trees stood goyolye; from the earth and from the sky any hopeless melancholy» [382 [383] precisely proceeded.

Fog - one of displays of elements of water, ocean, about which author at all upomiyonaet though action in both cases occurs in Havre, the largest ocean port of France. Ivanov connects elements of water with Dostoevsky's named it some minor characters «shadow characters» [384]. They are characters, «connected with amplification of painful conditions, dreams and death."Hronotop"prebyvayonija these characters it is unusual. They“ live dead persons ”, influencing a course of" a live life ”» [385]. Shadow characters are as though on life and death border, is frequent javyoljajutsja to the protagonist in delirium or a dream, (as old man Murin in "Mistress", or Alain Ivanovna in nightmare Raskolnikova). They have evil spirit signs (rosyotovshchitsa Alain Ivanovna, reminding Woman Jagu), and hronotop them is negative sakra - lizovan: « It subordinates htonicheskie insects and animals », for example, flies in kvaryotire rostovshchitsy Alyony Ivanovny; shadow characters can« be declared two - three words, several phrases, but their role in action development, in disclosing obyoraza the protagonist and novelistic idea is great »[386].

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V.V.

In «the Close Gate» the Jew to shadow characters it is possible to carry beauty LjuYosil Bjukolen, mother Alisy and ZHjuletty, aunt Zheroma. Its biography reminds destiny "podmenysha" - the character of Russian folklore: « Parents whether have thrown it, whether umeryoli, and it took to itself pastor Vote with the wife its character day by day more and more udivyoljal their singularity »[387]. As some mythological characters, for example, upyri, Ljusil looks always young,« it can be accepted for its elder sister sobyostvennyh daughters »[388]. Ljusil never participates in the general life of a family, does not leave to a dining table, lives separately. It appears only in the afternoon, that is koyogda the sun begins a way to a decline - one more line negative mythical persoyonazha. Thus the protagonist saw Ljusil invariably laying« on a sofa or in gamayoke », and it remained in this position till the evening [389]. This feature of behaviour Ljusil represents a hint on htonicheskoe a being which does not have feet, for example, a snake. Ljusil much does on the contrary, that is typical for negative mythological characters, for example, constantly wipes a handkerchief soveryoshenno a dry forehead, and during family mourning it carries white dresses and bright shawls. Besides it, Ljusil as it seemed ZHeromu in the childhood, could appear unexpectedly in any place. For example, it left a drawing room, in a minute came back there behind the book - and there it already sat. Instead of people with whom it does not communicate almost, LjuYOsil surrounds itself with subjects: «it is frequent from her hands, or from a sofa armrest, or from folds of a skirt something fell on a floor - whether a kerchief, the book, any flower or a ribbon» [390]. Thus the book never opens. On its belt, on a chain of hours, viyosit set of bagatelles among which always there is a pocket mirror - widespread attribute of magic ceremonies in magic fairy tales in which Ljusil it is continually looked.

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The first "foggy" mikrokonklav is directly connected with its image: ZHerom learns, that represents Ljusil actually; sees, what torments of shame it delivers to the daughter-teenager - Alise. Then Ljusil Bjukolen escapes from the house with ljubovyonikom, having thrown the husband and three children, and directly this character more does not appear in poyovestvovanii. But its image continually arises in the novel as a reminder. In the second "tuyomannom" mikrokonklave and the subsequent big konklave, connected with engagement ZHjuletty, parallelism of destinies Ljusil and ZHjuletty, some kind of poyovtorenie is looked through by the daughter of destiny of mother. Ljusil was sixteen years when receptions rodiyoteli have given out it for Bjukolena which was much more senior it. She has married not on love, and necessarily as has become in burden to a reception family, and Bjukolen very much loved it. ZHjuletta, also grown without mother, «it is still too young for zayomuzhestva», but accepts the offer «any wine-grower from Nima»; It «neotyosanyonyj, rough, very ugly and amusing enough» [391], besides elderly. ZHjuletta, as well as Ljusil, marries without love while the groom is enamoured in it. The image Ljusil Bjukolen invisibly is present at the novel though the place of its residence and a sort zanjayoty after runaway from a family is not mentioned never.

Sisters Bjukolen react in the various image to this hidden presence. ZHjuletta, unlike mother, becomes the ideal wife and mother of the family having many children, entirely betrayed to the spouse, endowing for the sake of it and children all former interests and hobbies. Alisa, under the influence of memoirs on dissolute behaviour Ljusil, on the contrary, like disgust for everything that is connected with semejyonoj a life. Especial disgust to it is inspired by the physical party of love connected in its subconsciousness with image of mother. In diary Alisa describes a meeting with ZHeroYOmom when they together read the book, but she «already understood nothing, did not see even lines» as it «strange and strong excitement» [392] has seized.

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To her father who has entered during this moment in a room, apparently, that it sees not the daughter, and Ljusil - so pose Alisy, semilaying on a sofa, its appearance and movements napoyominajut to it the former wife. He admits it to the daughter, and Alisu all night long «torments kayokoe anxiety, feeling of depression, isolation». She exclaims: «gospoyodi, provoke me disgust for everything on what the harm press lays!» [393]. Everything, that is somehow connected for it with image of mother, it seems Alise harm. Thus, «the shadow character» Ljusil Bjukolen makes serious impact on development of characters both poyostupki Alisy and ZHjuletty, in turn influencing a plot.

Other distinctive line hronotopa the novel «Close gate» is often arising situation of position of protagonists in a role overhearing and podsmatyorivajushchih in relation to other characters of the novel. The motive of interception and podyosmatrivanija meets and in Dostoevsky's products. Thus it it is frequent, though and not always, it is connected with a murder or suicide theme. For example, in "Demons" Petrusha Verhoyovensky, sitting in the next room, overhears, how prepares for suicide KirilYOlov. And Stavrogin overhears and peeps, how prepares for suicide Matryo - sha. In "Demons" generalsha Stavrogina from a garden peeps, how Stepan Trofimovich Verhovensky pensively smokes. In "Crime and punishment" Svidrigajlov from soyosednej rooms overhears conversation of the Sleepyhead and Raskolnikova. Characters »peep and« teneyovye: «In painful assumptions Raskolnikova of the one who saw a crime, the assumption emerges terrible“ fantastic ”:“ The fly saw ”» [394]. The fly in apartment Alyony Ivanovny "peeped" for Raskolnikovym.

The Jew develops the given subject motive, applying it in many scenes. It soyoprovozhdaet main konklav the novel when ZHerom and Abel Vote observe offstage engagements from a dark hall, remaining invisible to participants konklavnogo shoyoda. The Same reception which we suggest to name hronotopom foreign nabljudayotelja, meets and in mikrokonklavah the novel of the Jew when the hero appears pomeshchyonyonym away from the basic events, remaining their hidden witness. For example, ZHerom sees a scene of appointment of aunt Bjukolen with the officer, looking in a bedroom with dark lestyonichnoj platforms. Alisa hears conversation ZHeroma with ZHjulettoj in a garden, being in sosedyonej to avenue. Hronotop the detached onlooker extends not only on konklavy and mikrokonklavy. It clears up relations of the hero to other character or soyobytiju. So, ZHerom, reading under a bush in a garden, hears conversation Alisy with the father about itself, and this conversation gives it hope of marriage with Alisoj. From window ZHerom hears conversation of mother from uncles from which learns, that "attacks" of not clear illness aunts Bjukolen who were inspiring fear in her husband and servants, there is that other as "comedy", according to mother.

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The situations named Bakhtin "threshold", of a situation «crisis vreme -» [395] as we already mentioned, often enough arise in «the Close gate». The crisis time worried by the hero on a threshold, in doors, in a hall, on a ladder meets in the novel only in short arrivals of the protagonist to Havre and Fongezmar. This time very much byyostro is replaced by long months and even years of its absence then ZHerom and Alisa again and again try to renew relations. Heroes fill time of separation with correspondence. Katto names the periods of absence of the hero in the foreground novelistic dejyostvija «the dead periods» [396]. Heroes of "the Close gate» do not notice time in such peyoriode. They live in own private world, which sources of time stayonovjatsja their letters, memoirs on former meetings and the read books. At Dostoevyosky such periods Katto names «time lived from within» [397].

The Jew reaches contrast between internal time of the hero and external krizisyonym time in which it periodically appears, placing a crisis scene, konklavnuju and simply significant for development of a plot of the novel, in a framework, which role mine
gut to play various subjects. Thereby it turns hronotop to a picture, uviyodennuju the hero as though from the party. It is possible to name the given reception hronotopnoj a framework of a threshold situation. Picturesque vision of the Jew Here joins. For example, the scene of appointment of aunt Bjukolen is seen ZHeromom in "framework" of an open door in a bedroom, and a scene of the announcement of engagement - in "framework" of an open door in a drawing room. At last, the scene of first unsuccessful courtship ZHeroma to Alise is outlined by mirror "framework": «in a mirror she at first also has seen me, but has not turned back, and still some time so looked at me» [398 [399]. Bakhtin speaks: «Our position before a mirror is always a little false: we here again get used to any uncertain, possible another, with pomoyoshchju which we and try to find a valuable position in relation to ourselves mu»'"3. The mirror here serves function of creation of an image by"another", false, Alisy.

Conclusions on section 2.4.

The Jew makes use Dostoevsky's of art experience in that, as to poetics hronotopa the polyphonic novel. However, reproducing in the novel principles of polyphonic poetics of Dostoevsky, connected with reception konklava and osobennostjayomi hronotopa, the Jew creatively develops them.

As hronotop it is connected with reception konklava, the Jew complicates and orders structure konklava and enters own author's receptions: stood hronotop, hroyonotop the detached onlooker and hronotopnaja a framework of a threshold situation.

In «' the Close gate» the Jew in the creativity enters for the first time type of characters, koyotoryj in Dostoevsky's poetics is called as the shadow character. In the subject world hronotopa it uses an image of "prophetic things», known Dostoevsky's to poetics.

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A source: DUBINSKAYA Margarita Viktorovna. F.M.DOSTOEVSKY'S POLYPHONIC NOVEL And CREATIVITY of FRENCH WRITERS-MODERNISTOV ANDRE of the JEW And ALAIN-FURNE. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2016. 2016

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