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The phenomenon of the undefined status of literary criticism leads to a lack of clarity in its terminological apparatus. In particular, there is no unity on the issue of what to consider as the plot of a literary-critical utterance, as well as how to determine its motivational structure, or to identify a set of semantic fields. The subject of this research is the literary category of the chronotope, which is used to analyze the poetics of a critical text. This study was carried out on the basis of the collections of I.I. Vinogradov (1930-2015) "Like bread and water. Art in Our Life" (1963), "Art. True. Realism" (1975), "On a living track. Spiritual Searches of Russian Classics" (1987) with the involvement of textual criticism, biographical data and evidence of the historical context. Despite the artificiality of dividing the chronotope as dominant uniting texts, each of its parts is consistently characterized in order to accomplish the most complete presentation. Space, not in physical, but in textual terms, is understood as a set of factors that bind articles together at a formal level (genre format, heading complexes, typography design). The author's image is viewed as multifunctional: it builds an internal connection and a storyline. The functions of the chronological aspect are also shown: responsibility for the historical, cultural and biographical contexts, dating, meaningful transformation of articles. The conclusion deals with the possibility of using a complex view of the totality of chronotopic characteristics of judgment and the methodological preferences of the critic as a whole.

This article explores the conceptual analysis in literary discourse using the example of the novel "Day of Execution" by Azerbaijani writer Y. Samedoglu. The author proposes a comprehensive approach to concept analysis, including examining the nominative field, semantic analysis, and intertextual relationships. Various techniques and elements such as embedded texts, temporal parallels, intertextuality, irony, and allegory are examined, which help reveal the concept's meaning and organisation in the novel. Additionally, the article emphasises the importance of cognitive-semantic analysis and the study of intertextual relationships in literary discourse. The research contributes to a better understanding of the conceptual worldview in the novel "Day of Execution" and its connection to linguistic means and structures. This article interests linguists, literary scholars, and anyone interested in cognitive analysis and academic discourse.

The purpose of this article is to define the artistic and extraliterary features of the literary section of one of the first and most significant private newspapers of Ural Region at the turn of the twentieth century. The conclusions of the article are based on the genre attribution of works published in the newspaper (a poetic legend, feuilleton, soldier's tale), the correlation of these works with the sociocultural and geographical contexts, and the peculiarities of the authors' biographies. The article notes an attempt to correlate heterogeneous phenomena in the literary section made by the editorial board of the newspaper. It is important because of the peculiarities of the newspaper's circulation at that time and the awareness of the geographical position of the Urals as a "middle" region. In the newspaper, there are themes, plots, genres of works of Western European literature and the East, the fate of authors, actively moving to the east (Siberia, the Far East) and to the west, newspaper, and literary texts proper. The editorial policy for Ural was formed along the lines of the coexistence of different esthetic and political views. This was due to the extraliterary peculiarities of the newspaper's circulation at the turn of the century and the need to attract the attention of readers by any means to provide financial success.In the study, the author applies the genre and motif analysis of literary works. The conclusions are based on a wide literary and illustrative material of the Ural newspaper and other newspapers of Ural Region, the memoirs of contemporaries, and archival materials. The characteristic features of literary critical materials published in the Ural newspaper confirm the features of the editorial policy indicated: an appeal to contemporary authors and authors of the past and to works whose authors had different aesthetic views. As a result, the author of the article concludes about the medial position of the literary department of the Ural newspaper, uniting literary works that are diametrically opposed in sociocultural, aesthetic, and geographical terms. ; Цель автора статьи — обозначить художественные и экстралитературные особенности литературного отдела одной из первых и одной из наиболее значительных частных газет Уральского региона на рубеже XIX–XX вв. Выводы статьи базируются на жанровой атрибуции произведений, опубликованных в газете (стихо­творная легенда, фельетон, солдатская сказка), соотнесении этих произведений с социокультурным и географическим контекстом, особенностями биографий авторов этих произведений. В статье отмечается попытка редакции газеты объединить в литературном отделе разнородные явления, что объясняется особенностями бытования газеты в это время и осознанием географического положения Урала как «срединного» региона, в котором могут соотноситься темы, сюжеты, жанры произведений западноевропейской и восточной литературы, судьбы авторов, активно перемещающихся на восток (Сибирь, Дальний Восток) и на запад, собственно газетных и художественных текстов. Характерным для «Урала» стал поиск такой редакционной политики в публикации литературных произведений, которая позволяла объединить авторов разных эстетических и политических воззрений. Это объяснялось экстралитературными особенностями существования газеты на рубеже веков, необходимостью любыми средствами привлекать внимание читателей, чтобы обеспечить издателю финансовый успех.В исследовании был применен жанровый, мотивный анализ литературных произведений. Выводы основаны на широком литературно-иллюстративном материале, ранее не вводившемся в научный оборот, не только газеты «Урал», но и других газет Уральского региона, на воспоминаниях современников, архивных материалах. Характерные черты литературно-критических материалов, опубликованных в газете «Урал», подтверждают обозначенные особенности редакционной политики: обращение к авторам современным и авторам прошлого, к произведениям, авторы которых исповедовали разные эстетические воззрения. В результате автор статьи приходит к выводу о срединном положении литературного отдела газеты «Урал», объединяющем диаметрально противоположные в социокультурном, эстетическом, географическом отношении литературные произведения.

In Making Martyrs: The Language of Sacrifice in Russian Culture from Stalin to Putin, Yuliya Minkova examines the language of canonization and vilification in Soviet and post-Soviet media, official literature, and popular culture. She argues that early Soviet narratives constructed stories of national heroes and villains alike as examples of uncovering a person's "true self." The official culture used such stories to encourage heroic self-fashioningamong Soviet youth and as a means of self-policing and censure. Later Soviet narratives maintained this sacrificial imagery in order to assert the continued hold of Soviet ideology on society, while post-Soviet discourses of victimhood appeal to nationalist nostalgia. Sacrificial mythology continues to maintain a persistent hold in contemporary culture, as evidenced most recently by the Russian intelligentsia's fascination with the former oligarch Mikhail Khodorkovsky, the Russian media coverage of the war in Ukraine, laws against US adoption of Russian children and against the alleged propaganda of homosexuality aimed at minors, renewed national pride in wartime heroes, and the current usage of the words "sacred victim" in public discourse. In examining these various cases, the book traces the trajectory of sacrificial language from individual identity construction to its later function of lending personality and authority to the Soviet and post-Soviet state.

Analysis of literature on the artistic heritage of A.F. Pisemsky shows that some of the most important features of his world view and writing style were outlined by contemporary criticism. The first such attempts were made in the articles of A.V. Druzhinin about the novel "A Thousand Souls" and E.N. Edelson about the novel "Disturbed Sea". A.V. Druzhinin had seen the origins of A.F. Pisemsky in the conditions of Russian provincial life; E.N. Edelson assessed the writer's work in fact as a manifestation of the Russian cultural principle, free from the destructive national features of European influences. Already at this time critics determined the main essential features of the artistic manner of the writer. Numerous literary criticisms are the basis of historical and literary studies devoted to the work of A.F. Pisemsky. Evaluation of the creative work of A.F. Pisemsky are contradictory. But the understanding of its artistic originality was established fairly quickly and almost did not change in course of the years, and it was supplemented and developed by critics and literary scholars of the most diverse political views and aesthetic preferences. The writer-realist A.F. Pisemsky recreated the physiology of Russian society, Russian way of life, Russian everyday life. This thesis is characteristic of both literary criticism, which belongs to critics of different aesthetic views and political sympathies, and historians of literature at the turn of the 19 th and 20 th centuries. In fact, in these assessments of the creative work of A.F. Pisemsky the matter of question refers to the naturalistic desire to accurately, adequately and in detail reproduce reality. Naturalism showed a keen interest in simple, everyday phenomena of life, namely this feature of the writer's work was marked by literary criticism. It was unanimously noted that A.F. Pisemsky sought to detail the everyday existence of man in keeping with the realistic aesthetic course. Sometimes in the criticism it was also about the "extreme realism" of the ...

Stalin's views on the meaning of literature, functions of art, relations of form and content, are analyzed in the article in the context of Marxist-Leninist literary criticism. The article argues that in comparison with his predecessors, Stalin's views on literature are marked by the increasing political pragmaticism.

The article deals with the editorial work of the Soviet literary journal "LOKAF" (the future "Zmania") considering foreign writers in the early 1930s in the context of military propaganda in literature. Translations published in "LOKAF" and the commentaries on them are considered as a factor of Soviet defense literature (as the members of Literary Assotiation of Red Army and Navy called it) canon formation. Among other foreign writers Erich Maria Remarque and Charles Harrison were out in the specific light. Their works (particularly "Der Weg zurück" and "Generals Die in Bed") were given special attention. The writers were accused of so-called "remarquism", and this concept expanded beyond the borders of foreign literature. The necessity of editorial notes was motivated by the viewpoint that Soviet defense authors had to learn from negative examples and take them into account. Remarque systematically received harsh criticism. He was accused of misunderstanding "imperialistic war", "pacifism" and "bourgeoise humanism". The situation of Harrison was more complicated. He was considered as an author who gradually evolves towards "proletarian artist". The concepts of "pacifism", "humanism", "remarquism" and others formed specific rhetorical patterns and had to show the Soviet defense authors landmarks to go by. These definitions moved beyond literature itself and were at fact a part of the whole ideological background in the military propaganda of the 1930s. DOI:10.31168/2305-6754.2021.10.1.15 ; Статья посвящена работе редакции советского журнала «ЛОКАФ» (будущее «Знамя») с произведениями иностранных писателей в начале 1930-х гг. в контексте военной пропаганды в литературе. Опубликованные переводы и комментарии к ним рассматриваются как фактор формирования канона советской оборонной литературы. Из числа прочих иностранных писателей выделялись Э. М. Ремарк и Ч. Гаррисон, чьи тексты выходили с краткими редакционными предисловиями. В центре внимания редакции оказались романы «Der Weg zurück» и «Generals Die in Bed». Авторов обвиняли в так называемом «ремаркизме». Эта дефиниция затем вышла далеко за пределы критики иностранной литературы. Необходимость предисловий была мотивирована тем, что советский автор должен был обучаться на отрицательных примерах, создавая собственные произведения с оглядкой на них. Творчество Ремарка систематически оценивалось негативно, непонимание истоков «империалистической войны», «пацифизм» и «буржуазный гуманизм» ставились в вину автору. Ситуация с Гаррисоном была несколько сложнее, в его лице нужно было продемонстрировать советскому автору писателя, который постепенно эволюционирует к «пролетарскому художнику». Такие оценочные понятия, как «пацифизм», «гуманизм», «ремаркизм» и прочие представляли собой характерные риторические приемы, призванные наметить для советского писателя необходимые ориентиры. При этом сами понятия выходили за пределы литературно-критического поля и представляли собой, по существу, часть общего идеологического фона в военной пропаганде 1930-х гг. DOI:10.31168/2305-6754.2021.10.1.15

Today our guest is a double Doctor of Philosophy (in Franco-Russian Studies and in Mathematics), Associate Professor, Head of Russian Studies at the School of Language and Global Studies of the University of Central Lancashire in the English city of Preston, Olga Tabachnikova. Olga Tabachnikova is the author of numerous articles and books on Russian literature and culture, the founder and director of the Research Centre for the Study of Russian Language and Culture named after Vladimir Vysotsky at the University of Central Lancashire, as well as the author of two collections of poetry. Her continuous and multifaceted activity of bringing the two cultures closer together, has made Russia more comprehensible for the Western audience. It demonstrated that our country is a complex, but enticing cultural and sociopolitical space, fully knowable for the world community. Today, in the context of difficult political relations between Russia and Britain, this is a truly significant achievement which is hard to overestimate. We present to you an interview with Olga Tabachnikova, in which we aimed to elucidate the main issues pertaining to the study of Russian culture abroad.

German-Austrian cultural studies at the turn of the 20th and 21st centuries are characterized by a "new interest" in medieval preaching. If earlier it was studied by theology, literary criticism, linguistics and history as a document fixing the status quo, the existing state of affairs in a particular area - ethical norms, genre features, functioning features (pragmatics), grammatical forms and evidence of events - now preaching explored in its orientation to the future, as a genre within which promising models of behavior are developed.

The article introduces the creative work of the famous American playwright Sam Shepard, whose works are almost unknown to our Uzbek reader. His plays are wellknown throughout the world; they influenced the formation of the worldview of readers of different nations and show the peculiarities of American culture. Despite the worldwide fame of Sam Shepard's works, they are not studied well by literary critics. In America and Europe his works have been studied in details for a long period, and even several monographs in English have been written. However, neither in the Russianspeaking, nor in the domestic literary criticism there is yet no major work on Shepard's works. The article also deals with the artistic features of the political myth of the "American dream" in one of the most scandalous plays, "The God of Hell," dedicated to the protest against the war in Iraq. Thus, this study, which touches upon some issues of Shepard's creative work in connection with his innovative artistic originality, to a certain extent, seeks to fill this gap.

The article is dedicated to the usage of the concept of prisutstvie (presence) in the texts by Alexander Radishchev. As the analysis shows, this concept is the meeting ground of three semantic fields: first of all, it signifies God's presence in the Holy Gifts, secondly, it means 'being together at one place', as well as 'court hearing', and, finally, it is associated with the presence of an object in the mind (for example, in the work of Descartes, Hume, Locke). Thanks to Radishchev's philosophical interests, his dependence on the language of European philosophers, and the circumstances of his biography, Radishchev's works provide abundant material for analyzing the topoi of presence and absence in their different meanings. In spite of the fact that this concept is not essentially reflected by Radishchev, its usage has a systematic character: 'presence' emerges in special contexts. The article discusses three aspects of its usage. The first one is philosophical, linked with the idea of 'personal identity'. The second aspect is intersubjective, connected with the presence-absence of a friend. The last one is political, where the utopian vision of the future is formulated. The conclusion of the article is that the concept of presence denotes a special regime of relations with another person, which is then correlated with the particular perception of the political society. DOI:10.31168/2305-6754.2021.10.2.7 ; Статья посвящена использованию понятия присутствие в текстах А. Н. Радищева. Как показывает анализ, в этом понятии сходятся три семантических поля: во-первых, оно обозначает «присутствие» Бога в Святых дарах, во-вторых, «совместное нахождение в одном месте» и «судебное заседание» («присутствие») и, в-третьих, в философских текстах указывает на присутствие объекта в сознании (например, у Декарта, Юма, Локка). Творчество А. Н. Радищева, благодаря философской ориентированности, зависимости от языка европейской философии, а также в силу биографических обстоятельств, дает богатый материал для анализа топики присутствия-отсутствия в разных смысловых оттенках. Несмотря на то что у Радищева это понятие по сути не отрефлексировано, его использование носит системный характер и возникает в особых контекстах. В статье речь пойдет о трех аспектах его употребления: философском, связанном с идеей «персонального тождества», интерсубъективном, связанном с сюжетом присутствующего-отсутствующего друга, и политическом, где формулируется утопическое видение будущего. Можно сказать, что понятием присутствие кодируется особый режим отношений с другим человеком, соотнесенный в конечном счете с определенным видением политического сообщества. DOI:10.31168/2305-6754.2021.10.2.7

The article focuses on the theoretical description and historical account of the intellectuals' activity in the 1930s in the USSR. Mikhail Lifshits is one of the influential figures in the debates about socialist art, one of the founders of Marxist-Leninist aesthetics and an active literary critic, therefore he is a representative figure for defining the boundaries between the history of ideas and the history of intellectuals, the autonomy of humanitarian thought and the politically committed socio-ideological trends. The method of motivating contexts is applied as a theoretical framework of analysis. Key words: Mikhail Lifshitz, international movement "return to order", Soviet magazine "Literary critic", Marxist-Leninist aesthetics, history of Soviet literary criticism of the 1930s, anti-formalist campaign. ; В центре статьи – постановка проблемы теоретического описания и исторической квалификации деятельности интеллектуалов в период 1930-х гг. в СССР. Михаил Лифшиц, как одна из влиятельных фигур в дебатах о социалистическом искусстве, как один из создателей марксистско-ленинской эстетики, активно действующий литературный критик, – репрезентативная фигура для определения границ между историей идей и историей интеллектуалов, автономией гуманитарной мысли и ее ангажированностью социально-идеологическими трендами. В качестве теоретической рамки анализа применен метод мотивирующих контекстов.Ключевые слова: Михаил Лифшиц, международное движение «возвращение к порядку», советский журнал «Литературный критик», марксистско-ленинская эстетика, история советской литературной критики 1930-х гг., антиформалистская кампания.

The article is devoted to the influence of 'Russian fashion' on the work
of the French symbolist Charles Morice (1860–1919), who in the 1880s participated
in translations of F.M. Dostoevsky's and N.A. Nekrasov's writings into French. The
methodological basis of the article is the combination of a historical and literary
approach with the study of the essence of cultural clichés in the field of literary relationships (Russian literature — French literature). The article is built on the littlestudied facts of the life and work of Morice, undeservedly forgotten in modern literary criticism both in Russia and in France. The analysis of the actual connections
of Morice with cultural mediators (translator Ilya Danilovich Halperin-Kaminsky,
diplomat and novelist Eugène Melchior de Vogüé), and the general context of the
perception of Russian culture in France in the last quarter of the 19th century, when
Russian literature for the first time in history began to be perceived as a source of
inspiration for French. Being greatly influenced by the ideas of Vogüé, developed in
the book Russian Novel (1886), Morice sees in Russian literature a reflection of his
mystical and social concepts. Religious searches of Tolstoy and especially religious
and philosophical ideas of Dostoevsky were influential in the conversion of Morice
to Catholicism. The article deals with cases of direct reception of both ideas about
Russian literature and the work of individual writers (mainly Dostoevsky) in the literary books of Morice, as well as in his works, the unfinished novel The Lonely
Spirit (1886) and the play He is Risen! (1911).

The short story "Apple and Knife" (2008) by Indonesian writer Intan Paramaditha (born in 1979) is analysed within the comparative-typological framework of the Biblical and Quranic narrative about Yusuf and Zulaikha. The continuity of the motif transposition is traced from the literatures of the Middle East to that of the peoples of Nusantara who embraced Islam later. The intermediary was the Javanese Serat Yusup, which dates back to the 17th century. The literary skills and methods by Intan Paramaditha's find their place somewhere in between the feminist literary criticism and horror stories. The deconstruction of some elements of the traditional narrative about Yusuf (e.g. the episode with the noble Egyptian women) makes the popular story to sound more meaningful to the readers of the modern Indonesian literature. In its turn, it sheds some light on the political and social developments of the "re-Islamized" island state of Indonesia.The author declares that there is no conflict of interest. ; Рассказ «Яблоко и нож» (Apel dan Pisau, 2008) индонезийской писательницы Интан Парамадиты (род. 1979) представлен в типологическом сравнении с библейско-коранической историей о Йусуфе и Зулейхе. Прослеживается преемственность транспозиции сюжета с Ближнего Востока к принявшим ислам народам Нусантары через «Повесть о Юсупе» (XVII в.) на новояванском языке. Методы Интан Парамадиты построены на внедрении феминистской критики в литературу хоррора. Деконструкция отдельных элементов классического нарратива о Йусуфе (эпизод со знатными египтянками) по-новому актуализирует его в современной индонезийской литературе, отражающей общественно-политические процессы островной страны, вставшей на путь «реисламизации».Автор заявляет об отсутствии конфликта интересов.

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