The different denouements are in the plays of A.N. Ostrovsky, one of them – the invitation to continue the action. This tendency will be dominant in the plays of G. Ibsen, A. Chechov, M. Gorki. Another, moral denouement and end prevailed in the plays of classicism.

The study is carried out within the framework of the linguocultural direction taking into account the approaches of cognitive linguistics and sociolinguistics, and is devoted to a fragment of the national-cultural linguistic picture of the world through the perception of the word ‘Родина’. This concept is, on the one hand, a universal value, being the most important cultural, mental, linguistic constant in any language; on the other, it reflects the specific features of the worldview, characteristic of a particular nation. The article describes the results of an experiment addressed to the naive linguistic consciousness of Chinese men. The subject of scientific interest is the naive interpretation of the concept of ‘Родина’ in the specified linguistic culture. A naive interpretation reflects objective ideas that allow drawing conclusions about the peculiarities of the perception of reality. From the point of view of national and cultural specifics a naive picture of the world is a special “coloring” of the world, determined by the national significance of objects, phenomena, processes, a special attitude towards them, formed under the influence of the national culture and history of a certain people.
With the help of component analysis, the semantic constituents of the given word in two groups of different ages were identified and analyzed. The distribution of informants’ interpretations in the “Semograph” information system by semantic fields made it possible to analyze the data obtained using field analysis tools (to create a semantic classification of interpretations with multivalued field correspondences). Graphically explicated fields and connections between them made it possible to isolate semantic components that are significant for Chinese men in the structure of the word ‘Родина’.

The 1973 movie cycle is part of Bergman’s works of the 1960–1970s united by the overall theme of close people’s relationships, everyday family life and love challenges. This paper emphasizes the gender aspect and the duet structure of Bergman’s film text, as well as the basic techniques of the film language, its literary character and melodiousness clearly manifested in the material. The author suggests a connection with the principles of the sonata form. The film manifests influence of the aesthetics and practice of the socio-psychological ‘New Drama’ which Bergman repeatedly addressed in his theatrical activities. It also displays Strindberg’s flash fixion themes.

The article deals with one of the greatest writers of the turn of the 20–21st centuries Pascal Quignard. The article deals with the theme of music, passing leitmotif through his essay “Music Lesson”, “The Hatred of Music” and the novel “All the Mor­nings of the World”. In the essay “Music Lesson” the original traumatism of human existence becomes the starting point of existential reflections of the writer. The metaphor of the mortal wound represents the irreversibility of the lost. Dialogue of different discour­ses creates alternative version music, with the Orphic properties. The theme of loss is duplicated in the novel “All the Mornings of the World”. Death of Saint-Colombe’s wife, known musician 17th century, changed his life. The music of Saint-Columba escapes from third-dimensional space – it belongs to another dimension, in which each lived phenomenon acquires the meaning of irreparable loss. Further development of the theme music in the essay “The Hatred of Music”. Collage of quotes, interpolations reproduces the dialogue of different cultures. Both the essay and the novel are laced with rhetorical reflections on the Orphic properties of music.

Medieval artifacts can be differently interpreted in historical as well as symbolic aspects. Legendary monarchs, with whom, for example, royal regalia in France are associated, as a rule, are several centuries older than the famous artifacts. In the literature of the first twentieth century, which reconstructs the spiritual atmosphere of past eras, the artifact, already comprehended by the Middle Ages, acquires a new meaning. Thus, the sword of Jeanne d’Arc in Joseph Deltey’s novel Jeanne d’Arc is simultaneously in-terpreted both as a weapon, incongruous the heroine (epic interpretation) and almost as a manifestation of neurosis (psychoanalytic interpretation). But there is no place for a mystical interpretation: a broken sword is a violation of the harmony of soul and body, foreshadowing the fatal end of Jeanne. The artifact again begins to function as an epic object.

In the first of our two articles combined by the common theme Universe of Afterlife (UA) we have postulated the creation of literary “canon” for describinge the existence of human after death by domestic and foreign writers of fantasy of the 20th–21st centures and also we considered a number of baseline features of intertext associated with the mentioned canon: location of UA in relation to the realm familiar for readers, presence of the borderline and description of the transfer between UA and our reality, common image of guide or companion in the afterlife realm etc. In this publication our task is to analyze most important images and characters as well as story motives and compositional models related to UA and, above all, the functionality of the AU vision, i.e. review of authors’ goals solvable with the help of fictional universes created on the basis of the hypothesis of afterlife.

The article presents factual material covering the circumstances of Alexander Pushkin daughter’s devorce, Natalia Dubelt, and her second marriage – with Prince Nikolaus Wilhelm von Naßau in the absence of the official divorce from her first husband Mikhail Dubelt as well as the main milestones of the biography of Leonty Dubelt the son of Nat. and M.L. Dubelt.

The article presents review of the results of magistrial experiment conduc­ted by the author during distance learning at the Russian State Humanitarian University. Students were given the task to choose from all 19th-century Russian literature a single work for one-way travel. The author considered it necessary to give the main place in the review to students’ texts, where the selection criteria are clearly visible, as well as the students’ ability to justify their choice, to analyze literary works using various approa­ches. The material needs serious reflection. In fact, before us is a spontaneously created new canon of Russian literature of the 19th century. The question is, how the new canon different from the old one.

The monograph by Friedrich von Schlegel “On the Language and Wisdom of the Indians” laid the foundation for the use of the method of comparative historical linguistics. This is not well known in Russia because it has not been translated into Russian yet. The article critically examines the main provisions of the monograph, which eargently needs to be translated into Russian.

The article deals with peculiarities of Josiph Brodsky – Alesander Solzhenitsyn emotional assessments on each other creativity and personalities of each other, explores the emotional side of their statements about each other. In this connection the Aleksander Solzhenitsyn essay on Josiph Brodsky’s poems is analyzed.

The article deals with the specificities and functions of dramatic effects, symbolic theatrical gestures of affectation, reflecting the emotional tension and communication features of the characters, as well as their role and place in the course of the novel “The Idiot”. The bond between the novel form and the dramatic one is explained: the influence of the author’s interest in drama and theatre in his youth and of Western European romanticism, mainly German and French. The system of gestures in later novels is inferred – the classification, necessary to represent affectation in “The Idiot”. The analysis of the most significant theatrical gestures leads to the conclusion that the novel is most ingenious.