Imperative Statements - one of the Forms of Representation of a Linguistic Personality

The article is devoted to the peculiarities of the functioning of imperative statements used in various situations of communication. The purpose of the article is to analyze the main imperative constructions in the context of the speech behavior of the linguistic personality of the main character of a literary text. The method of comparative analysis allows identify the features of the functioning of incentive tactics. This article is an overview of the research available in linguistics on issues related to imperativeness. A broad view of the concept of imperative allows to go beyond the established definitions and expand the field of modality of a literary text. The work examines the main semantic groups that clearly characterize the literary character as a linguistic person. The analysis of imperative incentive statements is viewed through the prism of purposeful communicative activity. A variety of means and ways of expressing imperative statements in the speech of the main character provide an opportunity to differentiate semantic nuances. The scientific novelty of the article lies in the fact that for the first time on the material of the modern Russian novel The Geographer Drank His Globe Away by A. Ivanov, the main classes of expression of the semantics of motivation are analyzed. The study identified imperative and non-imperative, but expressing the urge to action, statements, means of lowering the imperative. The lexico-grammatical and syntactic constructions used in the speech of the main character, most common in pedagogical and everyday discourses, are analyzed. The research results are presented as a functional-semantic space.

THE INFLUENCE OF F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT” ON THE WORKS OF VIETNAMESE WRITERS

В статье впервые дано общее представление о влиянии «Преступления и наказания» Ф. М. Достоевского на творчество вьетнамских писателей на протяжении целого столетия. Автор обращает внимание, что роман «Преступление и наказание» занимает особое место в культурном пространстве Вьетнама, оказывая влияние на поэтику художественных произведений вьетнамских прозаиков, их мировоззренческие и эстетические ориентиры. В работе наглядно иллюстрируется процесс вхождения «Преступления и наказания» в культуру Вьетнама, который шел через творческую адаптацию романа. Автор отмечает, что сложные философские проблемы, которые поднимались в романе Ф. М. Достоевского, вызывали большой интерес у вьетнамских читателей, а у ряда вьетнамских писателей и стремление к подражанию. Исследование показало, что «Преступление и наказание» оказало заметное влияние не только на сюжет, идею художественных произведений, но и на языковой стиль многих известных вьетнамских романистов в ходе модернизации вьетнамской литературы. Интерес к роману великого русского писателя сохраняется сегодня на высоком уровне, что способствует развитию культурных связей между двумя народами. В статье делается вывод о незаменимой позиции романа «Преступление и наказание» в сердцах вьетнамских читателей. Научная новизна настоящего исследования определяется изучением творческой адаптации романа Ф. М. Достоевского в литературной практике вьетнамских художников слова на протяжении XX-XXI веков, а также обозначением различных линий в рецепции известного русского романа во Вьетнаме. Результаты исследования могут быть использованы на занятиях по истории русской и зарубежной литератур, будут интересны учителям-словесникам, а также всем увлеченным художественной литературой и культурой. The article for the first time gives a general idea of the influence of “Crime and Punishment” by F. M. Dostoevsky on the works of Vietnamese writers for a whole century. The author observes that the novel “Crime and Punishment” occupies a special place in the cultural space of Vietnam, influencing the poetics of the artistic works of Vietnamese prose writers, their ideological and aesthetic guidelines. The work clearly illustrates the process by which “Crime and Punishment” enters into the culture of Vietnam, which went through the creative adaptation of the novel. The author notes that the complex philosophical problems that were raised in the novel by F. M. Dostoevsky aroused great interest among Vietnamese readers, and a number of Vietnamese writers also had a desire to imitate. The study showed that “Crime and Punishment” had a noticeable impact not only on the plot, the idea of literary works, but also on the language style of many famous Vietnamese novelists during the modernization of Vietnamese literature. Interest in the novel of the great Russian writer remains today at a high level, which contributes to the development of cultural ties between the two peoples. The article concludes about the irreplaceable position of the novel “Crime and Punishment” in the hearts of Vietnamese readers. The scientific novelty of this study is determined by the study of the creative adaptation of the novel by F. M. Dostoevsky in the literary practice of Vietnamese authors during the 20th-21st centuries, as well as the designation of various lines in the reception of the famous Russian novel in Vietnam. The results of the research can be used in classes on the history of Russian and foreign literature, and will be of interest to teachers of literature as well as to all those who are interested in fiction and culture.

ARCHETYPICAL CONSTANTS AND TRANSFORMATIONS OF THE RUSSIAN NOVEL

The article examines the correlation of the Russian classic novel with the Easter archetype dominant in Russian culture. The authors believe that the novel assumed a central position in the genre system of 19th century Russian literature, not only because of its natural openness, which allowed it to recreate life and man both in the general dimension and in private manifestations, but also because of the greatest responsiveness of this genre to the spiritual needs of Russian culture. The article examines the “plot space” of the Russian novel, which gravitates towards the archetypal model, actualizing the scenario of rehabilitation (Dostoevsky) / awakening (Goncharov), or salvation. Not only doesn’t the hero’s line in the Russian novel imply an end; moreover, as it lines up vertically, it suggests his rebirth to a “new life,” sometimes even posthumous, as was the case with Turgenev’s Bazarov, or through the fear of falling into the hellish abyss of modern life, as is it was with Oblomov. Using the example of novels by F. Dostoevsky, I. Turgenev, I. Goncharov and L. Tolstoy, the article demonstrates that the main mission of the hero of the Russian novel was that of personal salvation, the achievement of “new happiness” (Prince Andrei Bolkonsky), which is associated with forgiveness, a willingness to accept God and with the “new life.” The Easter nature of Russian culture predetermines the gravitation of the Russian classical novel (as a typological variety of the Russian novel) to the artistic realizations of the idea of salvation present in world literature in genres of a non-novel nature. The Russian novel primarily developed the storylines and motifs that originated in Dante’s Divine Comedy and Goethe’s Faust, which suggested two options for personal salvation: the awareness of sins and “behind the door of the grave.” The second option was more relevant for the 19th century Russian novel. The savior hero, rooted in Cervantes’s novel, was also relevant for Russian literature, although not as popular. Taking into account the complex explorations of modern writers in the field of the novel genre, the authors conclude that there is a present-day connection with the Russian classic novel, i.e., in E. Vodolazkin’s prose: apparent signs of a “Dante plot” are present in the novel Lavr. Regardless of all the metamorphoses, the Russian classical novel is still a national literary model in the space of Russian culture.

German Packaging for Russian Novel: on the Problem of the Genre of the “Fiery Angel” by V. Bryusov

The article is devoted to the problem of the genre of V. Bryusov’s novel “The Fiery Angel”. The purpose of the article is to assert that the author uses the tradition of the medieval German novel in a stylized capacity. Bryusov needs the method of literary mystification not so much to hide relationships of real people who served as prototypes for the heroes of the novel, but to establish an allusive cultural connection between Germany in the era of M. Luther and the “Silver Age” of Russian literature, with its interest in issues of religion and gender. The relevance of the study dictated by the attention of the modern reader to the literature of the “Silver Age”, as well as a special interest in metamorphoses that the novel genre undergoes in the era of modernism and postmodernism. The research materials are the text of the novel, biographical information related to the personalities of prototypes, reviews of literary criticism, as well as literary studies. We use descriptive, hermeneutic, synchronic, diachronic, historical-genetic, comparative, analytical and biographical methods in this work. The results of the study and their discussion consist in reflection on the paradigm in defining the genre of the novel, in pointing out the tradition of literary mystification, which rises to the “Belkin’s Tales” by A. Pushkin. Also important is the circumstances that the religious searches inherent in the prototypes of the heroes of the novel are akin to Protestant moods of the Reformation. As a result, we conclude that the author, because of the anthropological unity of the archetypal situation, continued the literary tradition of the German Middle Ages. It is laid down in the basis of the plots of both V. Bryusov’s novel and the first part of “Faust” by I.W. Goethe, as well as A. Belyi’s novel “Petersburg”, in which the love triangle invariant and its transformation from prototypes to characters is represented by the same mechanism as is characteristic of the “Fiery Angel”. The assertion of this way of implementing a behavioral scheme (anthropological invariant) in the process of transforming prototypes into characters is the innovation of our work.

The influence of the Russian literature on Chulpan’s oeuvre: Novel Night and Day

The novel Night and Day was initially published in the journal Sovetskaya Literatura (Soviet Literature) in 1934, but was soon banned. In 1989 the Russian translation of the novel was published. The influence of the Russian novel writing school is manifested in the conflict, composition and imagery of the work. In this article, the novel Night and Day is reviewed from the point of view of literary influences on the author. While analyzing the ideological concept, storyline and dramatic episodes of the novel, the author gives some analogies from the classical Russian literature.

ON THE ISSUE OF THE “ROCK POETRY WORD” IN CONTEMPORARY RUSSIAN NOVEL. THE WORLD OF BORIS GREBENSHCHIKOV IN THE WORLD OF “DREAMS SWIMMER” BY LEV NAUMOV

The article deals with references to the work of Boris Grebenshchikov in the “Dreams Swimmer” by Lev Naumov “The swimmer of dreams” (2021). The common denominator of the system of these references is the aesthetic character of the hero’s understanding of himself in the world and the world in relation to himself, which, if not directly leads the hero to the idea of his own chosenness, then at least is a symptom of the emergence of this idea. As a result, the system of references to the songs of “Aquarium” in Naumov’s novel makes it possible to interpret the character’s worldview as a worldview based on the aesthetic concept of understanding reality. The example of the appeal of a modern Russian novel to the “word of rock” considered in the article allows us to make sure that such an inclusion contributes to the disclosure of the specifics of the character’s worldview, and the analysis of this appeal brings one closer to a deeper understanding of the text.

ON THE PERCEPTION OF I.S. TURGENEV IN BRITAIN

The subject of the article is I.S. Turgenev’s reputation in Great Britain. He gained international fame in 1860s-1870s, was the first to present the great Russian novel in Britain, where for some time he was perceived as a «strong energetic writer», but later, as Tolstoy and Dostoevsky appeared on the literary scene as «sages» and «prophets», he was relegated to the status of esthete, «pure artist». Victorians had the «Hall of fame» for the «first row» writers and a chapel for lesser deities - «pure artists», where paradoxically they gave a place to a «large, strong hunter» Turgenev.

«Kalechina-Malechina» cannot become a smart girl»: motive and plot parallels in the novels about teenage girls by Evgeniya Nekrasova and Huang Beijia

The article is devoted to comparative analysis of images and motifs in the novels KalechinaMalechina by Evgenia Nekrasova and I Will Be a Smart Girl by Huang Beijia, about teenage girls. These texts reveal similarities at the level of the image system, the archetypal motifs and the inner development of the mythological plot about the initiation of a child into adulthood. However, many similar motifs in the novels appear in contrasting functions: E. Nekrasova's novel shows the joyless world of an unloved child, while in Huang Beijia's novel we see the world of a wholesome and well-loved child, suffering from her own school failures. The artistic method of the novels is examined in relation to their mythological motifs. The Chinese text gravitates towards the traditions of socialist realism, performing one of its functions most characteristic of teenage literature – didacticism. Huang Beijia's novel can be described as a didactic auteur tale based on biographical material. The Russian text has been described by scholars as «magical» realism and is more than just an initiation novel or a didactic tale. It realises the eternal philosophical sense of the impact of love or its absence on human fate, the ontological abandonment of the human soul facing indifference or aggression from the world around it. It is not the protagonist's initiation but her ability to «survive» without losing herself that is central to the Russian novel.

Еще раз об андерсеновском следе в романе В. Набокова «Король, дама, валет» [Once Again on Hans Christian Andersen’s Presence in Vladimir Nabokov’s Novel _Korol’, dama, valet_ (_King, Queen, Knave_)]

This article is an inquiry into the possible origin of the title of Vladimir Nabokov’s second Russian novel King, Queen, Knave (Korol’, dama, valet, 1928). It proves a long-forgotten hypothesis that the title’s likely source is a lesser-known fairy-tale by Hans Christian Andersen, published in several translations into Russian in Berlin and Riga émigré newspapers at the very end of the 1920s. KEYWORDS: 20th-Century Russian Literature, Vladimir Nabokov (1899—1977), Korol’, dama, valet (1928), Hans Christian Andersen (1805—1875), Russian émigré Press, History of Literature.