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This article studies the specific behaviour of characters in the forest space within the framework of the gender aspect. The study demonstrates that in the works of traditionalist writers of the 1960s and 1970s, as one of the iconic loci of the rural world, traditionally preserving the semantics of the unknown, "sacred" space, the forest reveals a characteristic influence on the behavior of the characters. The article provides examples that suggest that the gender of characters plays a significant role in this regard. It is proved that the objects of the most active influence of the forest are mainly male characters, whose inner space undergoes significant changes as a result, exposing the unconscious, "natural" drive of the characters. Being in the forest space, representatives of the stronger sex somehow strive for a maximum fusion with the environment, which is realised either in harmonious coexistence with nature and preservation of their own identity or in a kind of "wildness" of the characters. In this case, both options are due to the distancing of the characters from society, which is manifested to a greater or lesser extent. It is also noted that the specific behaviour of men in the forest space acquires a symbolic meaning as a result of comparison with the peculiarities of perception of the forest by female characters. Once in the forest, the heroines of the studied works do not succumb to the influence of space, preserving their inner space. Also, without crossing the line of the unconscious, women simultaneously become carriers of the cultural principle in the wild natural locus. Thus, the analysis of traditionalist prose makes it possible to find several striking examples of individual perception of the forest space by representatives of each gender.

This article comments on one detail of the artistic world of the novella Uncle's Dream. The mention of monk Misail in Svetozersky Hermitage is considered as a topographic sign, which allows one to accurately determine the local attribution of Dostoevsky's text. According to the author of the article, the prototype of the priest is Father Macarius (Mikhail Yakovlevich Glukharev), also known as "the Apostle of the Altai Land". The author introduces into scholarly circulation M. Ya. Glukharev's autograph found in Barnaul and analyses the missionary activity of the Archimandrite and the reasons for his getting closer to Tobolsk Decembrists M. A. Fonvizin and his wife N. D. Fonvizina, P. S. Bobrischev-Pushkin, and P. N. Svistunov. The paper also discusses the question of F. M. Dostoevsky's interest in the personality of the Archimandrite and the channels through which the writer could know about the old man: Fonvizin's circle, the book about father Macarius of his succеssоr S. Landyshev, Dostoevsky's Semipalatinsk fellow ethnographer N. A. Abramov, or oral legends, including raskolnik ones. The extant humorous stories about the Archimandrite might have served as an impetus for the comic transformation of his image in the novella Uncle's Dream, in which the writer easily and ironically used facts known to him encrypting Father Macarius and using the secular name Mikhail. In the writer's later works, the figure of Macarius is presented in the rough drafts of the novel The Brothers Karamazov and "the monk of Obdor" is included in the environment of Elder Zosima in the final text of the work. Long before the emergence of the conception of The Brothers Karamazov, M. Ya. Glukharev becomes not only a catalyst in the creative process and one of the prototypes for Dostoevsky, but also an example of the "romantic missionary", a popular spiritual leader and reformer of the Church.