This article aims to characterize the specifics of the concept of children’s literature in terms of sociological and structural criteria. The article compiles the main arguments in favor of the existence of the concept, analyzes their validity. The addressee category as the main criterion is recognized as insufficient. The type of the character, narrator, point of view, chronotope are considered in the subject-object organization of the epic and lyric texts. Opinions on the artistic means of children’s literature are given as well. So, in children’s literature, a child as a type of character or of a visually smaller character prevails, that type does not change externally and internally, but he is able to change the world around him. The narrator has a strongly pronounced point of view. The chronotope in children’s literature is simplified by creating worlds with a simpler social organization, referring to the past or “another reality”, the main actions occur in toposes familiar to a child. As a result of the work, an assumption is made that the most part of children’s literature is two-addressable, as well as that there is the need to combine several criteria to form a “children’s discourse”. Examples include works of various genres recognized as a literature for children.

The article examines the specifics of such kind of speech subject as the narrator-commentator in the genres of crime fiction: the classic detective story and the hard-boiled detective story. The narrator in these genres is “a witness and a judge” (Bakhtin). In the hard-boiled detective story that manifests itself not only in the character’s comments but in his actions also. To clarify the term “the narrator-commentator” the classic detective story and the hardboiled detective story are compared to the “detective rebus” and the police novel in which the narrator does not have the features of a commentator. By the term the author means the narrator, who takes an active part in the investigation and who almost any message to the reader accompanies with a personal assessment, and emphatically differentiates himself from other characters. The juxtaposition of the classic detective story and the hard-boiled detective story reveals the specifics of their subject structure. The Great Sleuth is never a subject of narration while the hard-boiled sleuth is both a narrator-commentator and a detective. Those genres also differ fundamentally in such aspects as the compositional-speech forms and method of aesthetic completion.
Completely unlike a classic detective story a hard-boiled one is characterized by the heteroglossia and multilingualism accordingly the appraisals variety.

This article discusses the specifics of the plot-composition unity of the cycle-the journey of A. S. Pushkin, which origin is closely related to the travel notes written by him under the name “Journey to Arzrum”. The analysis ascertains that the basis matrix for the motif of the journey, the movement and transport of the lyrical subject in time and space is characteristic only of that group of poems, which serves as a frame for the beginning and end of the cycle. Most of the poems in the cycle are related not to the description of the “objective” reality of the journey, but to the subjectivity of the inner world of the lyrical self , represented in the cycle as an internally experienced, interiorized one.

Due to the polyphonic nature of Dostoevsky’s poetics his works are full of dialogues, arguments, qui pro quo scenes, i.e. debates of all sorts. Meanwhile, since Antiquity, the dispute as a speech genre has been associated with rhetoric – being used in politics, courts, education, etc. Debates are a rhetoric tool for the comparison and evaluation of controversial statements. At the same time, it is a discursive practice used by several persons in the speech quarrellings. The article refers to some episodes from Dostoevsky’s A Writer’s Diary – “The Environment”, “A Paradoxalist”, and “A Piccola Bestia” – to explore the role of debates in Dostoevsky’s journalism. What it traces there is Dostoevsky’s bold anti-rhetoric stance which forms his manner of writing. His protagonists polemicize, make arguments that are becoming increasingly artificial and tense in the positions being approved in the dispute. The polemicists fall silent, but victory is not awarded to anyone. The seeming a winner in a dispute, takes a point of view that contradicts the concept of universal values.
Dostoevsky demonstrates an attitude to rhetoric similar to that of Plato and his school. Rhetoric can captivate, but it is always false. The debate is a process, a discourse, but not a means of finding the truth.

This article explores the poetic image of Faust by Yuri Levitansky. Not all scholars of Russian Faustian of the 20th century notice the contribution of Levitansky to the development of the image of Faust. Levitansky speaks of Faust primarily in his lyric book “Letters to Katerina, or A Walk with Faust”. In this Levitansky tries the free verse in Faust’s discourse on alchemy and claims liberation from rhyme and meter. When Faust begins to talk about alchemy, Levitansky moves from the syllabo-tonic to free verse. Portraying Faust in his book “Letters to Katerina, or Walk with Faust” Levitansky uses a complex range of tools that enhance the level of the literary text. This is “poetry on the go”; an experiment with the phonics, meter, graphics; unusual subject and addressee; a metamorphosis and variations of the leitmotif of time. The dialogue with Goethe in Levitansky, evident at the levels of the architectonics, character system, motive field, problematics and less visible in aspects of the chronotope and the subject, creates the volume and dramatic plasticity of the poetic book. “Faust” of Levitansky – is a lyricized person, full of strength, capable of friendship. This image is outside the heroic paradigm, but not because of deheroization, but because of the lack of desire for heroic incarnation.

The paper analyses three ekphrasis-poems by Alexander Kushner: “El Greco. The Burial of the Count of Orgaz”, “Pieter de Hooch leaves the gate open…” and “The Night Watch”. The relevance of the article is determined by the relevance of the concept of ekphrasis in modern Philology and by the large number of theoretical and practical studies on this topic. Its novelty is determined by the lack of a comparative analysis of the above poems by A. Kushner and the insufficient knowledge of the relationship between the ekphrasis poetics and the point of view of the lyrical subject. Thus the main purpose of the paper is to investigate the relationship between the structure and poetics of ekfrasis, on the one hand, and the point of view of the lyrical subject, on the other. The author considers ekfrasis as a kind of description and one of the aspects of visual representation in literature, which she also considers as an aspect of the poetics of verbal text. Therefore, the central category for the analysis of ekphrasis in lyrics is the category of the lyrical subject, as a carrier of the speech and point of view in a lyric poem. The type of vision of the lyrical subject – direct, transgressive, or a combination of the two – is associated with the type of boundaries between the world of the picture and the world of the viewer, as well as with the structure of the ekphrastic description in A. Kushner’s poems.

Modern writers actively use the film looking in a literary text. In the author’s article the focus is on cinematographic techniques used by Giuseppe Genna, an Italian writer, in his novel “Italia De Profundis” (2008), such as film editing, switching the perspective, combining close-ups with distant views, etc.
Aside of cinematic techniques, the topic of cinema as such is considered: the image of the screen, the motive of the acting, ways of representing the person as a character. The screen in the novel appears in a negative way, as something sinister, changing the nature of the person.
The hero’s beloved is an actress and her habit of “playing” destroys love relationships. The screen generates a twin of the protagonist and is a door to another reality, where it is not the person that acts, but the character. Genna develops his novel as an Unknown Narrative Object guided by Pier Paolo Pasolini’s literary heritage and actively uses the extraliterary resources accompanying the text with the videos booktrailers, including a review of Lynch’s film “Inland Empire” in the texture of the narration, and so on. By creating a multitext novel with the use of different visual means that literature can access, the author tries to reflect the modern age and show «a hero of our time».

The model of literary palimpsest originally expressed by G. Genette gave a new perspective on the links existing between texts. Using the notion of palimpsest in its metaphorical meaning as a hierarchy of texts shining through each other, be it different versions of the same text or texts intersecting in the common narrative space, is of essential value now, when under the influence of the globalization mass culture has made its way into all spheres of human life, including literary one, and a text may consist of not only literary texts but also those of the cinema and even music. Particular attention is to be paid to identifying and analyzing devices aimed at the realization of the principle of palimpsest. In this respect of special interest is contamination, which allows the model of palimpsest to function not only on the level of the plot but also on that of lexical-stylistic means, illustrating V. Shklovsky’s idea of the unity of the devices of style and those of plot construction. Making a case study of the comic fantasy series by the modern English writer Terry Pratchett, the article considers the examples of using contamination in creating the palimpsest fabric of the written work and sums up the effects it is used for.

The article is focused on the last unfinished English novel by Vladimir Nabokov “The Original of Laura” and its translation into Russian by Gennady Barabtarlo. The author analyzes the translation strategy of Barabtarlo, using the methodological tools proposed by José Lambert and Hendrik Van Gorp. The starting point of the study was Barabtarlo’s thesis about the renunciation of the Soviet translation school that he hated due to the fact that in the framework of realistic translation translators used violence against the original. Nevertheless, the author comes to the conclusion that the translation strategy of Barabtarlo is a synthesis of the postulates of the Soviet and Western traditions of literary translation, and in particular, is an example of a gradually growing trend towards foreignization in translation. However, the Barabtarlo’s translation is one example of an overly literal translation. The translator tries to bring the readers as close as possible to the original and preserve all literary techniques in the translation, in particular, to demonstrate the ambiguity in many fragments, guiding the reader and using all kinds of comments. Barabtarlo tries to be so close to the original, that he sometimes takes rather unusual translation decisions.

Boris de Schloezer (1881–1969) is not wellknown in Russia, where mainly musicologues and philosophers know about him. In France where he settled after bolshevik revolution he was known mainly as a translator of Russian classics of 19th c. (Dostoyevsky, Tolstoy, Gogol, Leskov and to less extent Pushkin) into French, but in Russia as a translator he is almost unknown. The present article rather proposes another side of his activities: his role as the translator of Russian philosopher Leo Shestov’s works. Since his arrival in France in 1921 and until Shestov’s death in 1938 in Paris Schloezer for 17 years had been in close contact with Shestov and translated almost all of his books. They became close friends in spite of the big age difference between them. These relations are obviously expressed in their correspondance. In fact Schloezer helped Shestov in beeing recognized in the French intellectual circles. The article shows how the translation activities brought Schlötzer closer to Shestov and made him the main Shestov’s mediator for the intellectual circles of France and the Western reader.

The article describes the results of a search and collection of memoirs of Leonard and Virginia Woolf at the archival center of the University of Sussex in Brighton, UK.
Those materials make up the memorial heritage corps of the Memoirist Club, organized within the English community of Bloomsbury, an association of intellectuals formed in London in the first half of the 20th century. Since the form of creating and presenting memoir essays in the Memoirist Club seems uncharacteristic and not widely used for the comprehensive study of that phenomenon, attempts are being made to consider as much as possible the entire body of essays, as well as various documents accompanying the activities of the Club, including unpublished ones. To compile such a body of essays, this archival research was conducted what resulted in studying the published and unpublished memoirs of Virginia and Leonard Woolf as well as supportive correspondence of the Memoir Club activity. The article describes the studied essays versions, calculates the number of published and unpublished essays, and makes an initial comparison of essays found in the archive with published variants. It also describes the procedural features of the late stage of the Club’s existence, reflected in Leonard Wolfe’s correspondence.

Drama in the history of literature has always been and remains to this day a literary genre undergoing the greatest changes. Humanities, and Philology in the first place, is designed not only to record those changes, not only to state their presence, but also to analyze the processes taking place in drama, and for that purpose a worthy terminological apparatus is necessary. In the “Experimental dictionary of modern drama”, published in 2019 in Poland and considered in this review, there is a place both to explain the new facets of already established concepts in Philology related to drama, and terms that are quite recent, just being introduced into scientific use exactly in connection with the current state of the dramatic literary genre and in this regard, are able to convey that state. The dictionary itself, on the one hand, is the result of long-term observations of researchers on the drama of the turn of the 20^th–21^st centuries, on certain elements of the drama of this period, on specific dramatic examples, and on the other hand, it acts as a necessary terminological aid for future studies, addressed to the latest drama.