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The article deals with I. Turgenev's story Enough in terms of its role in the writer's work, which has not yet been determined, despite of the increased interest in texts created after Fathers and Sons in recent decades. Enough traditionally attracts researchers as an example of Turgenev's philosophical narrative, saturated with numerous allusions, and as an experience of a new literary form, which, however, is not always seen as successful and relevant to the tasks set by the writer himself. In general, scientific analytics is dominated by the history of the perception of this work by Turgenev's contemporaries, who, with rare exceptions, reacted to Enough negatively. The article offers a brief overview of the responses to Turgenev's story. The main attention of the author of the article was attracted by the judgments of L. Tolstoy. His assessments of Turgenev's Enough varied throughout his life. At first, Tolstoy took the general position of denying this text, although the author of the article saw in some of the writer's 'Schopenhauer' statements in War and Peace an indifferent polemic with Turgenev's judgments from Enough. But already in the 1880s Tolstoy develops a view that Enough is Turgenev's key text, which most capaciously and accurately expresses one of the most important "phases" (in total Tolstoy counted three of them) in the life and work of the writer. Tolstoy was attentive to Turgenev's "phase" of "doubt in everything", appreciated his sincerity and honesty in this matter and saw a close connection between Turgenev's extreme doubt and faith and new religiosity. The author of the article also proposes an analysis of the poetics of Enough in the light of the key topoi and motifs of the writer's prose of the 1850s, traces the correlation of the novel with the characteristic trends in the development of Turgenev's lyrical prose miniature (a combination of lyrical subjectivity and generalization), which confirms the correctness of Tolstoy.

Вокруг романа «Асан» В. Маканина разгорелась полемика со дня публикации текста, в котором явлены две инонациональные сферы. До сих пор споры об этапном произведении писателя современной русской литературы не утихают, исследователя ждет еще много загадок в романе, который не приняли два противоположных мира. Актуальность настоящего исследования обусловлена прочтением творчества В. Маканина с точки зрения моделируемой самим автором теории особого жанра с позиций современных достижений в филологической науке. Материалом для исследования послужили художественные и публицистические тексты В. Маканина. В работе использованы описательный метод, методы контекстуального анализа и сравнения. В статье говорится о том, что в основе прочтения текста должен лежать прицел на авторский замысел специфического жанра «романа-рифмы», чтение без учета этого компонента ведет к искажению понимания текста, особой его примитивизации и, как следствие, обвинениям в посредственности. В настоящем исследовании рассматривается диалектика внутрилитературных факторов, роман В. Маканина анализируется в аспекте творческой неудачи, с позиций креативного потенциала «неуспешного» текста. В работе предпринята попытка проанализировать образную и жанровую структуру рассматриваемого произведения с позиций исторической и теоретической поэтик с привлечением научного аппарата постструктуралистских концепций.
A heated controversy has flared up about the novel -Asan‖ by V. Makanin since the publication of the text, in which two foreign spheres are revealed. Until now, the debate about the landmark work of the writer of modern Russian literature has not subsided; there are still many mysteries in the novel, which was not accepted by two opposing worlds. The relevance of this study is due to the interpretation of V. Makanin's oeuvre in light of the theory of a specific genre modeled by the author from the standpoint of modern achievements in philological science. The material for the analysis is artistic and publicistic texts by V. Makanin. The descriptive method and method of contextual analysis and comparison are employed in the work. This article reveals that when reading the text, it is necessary to bear in mind the author's idea of a specific genre of -novel-rhyme‖. And ignoring this idea leads to a distortion of understanding of the text and its particular primitivization and, as a result, mediocrity accusations. The article examines the dialectic of internal literary factors. V. Makanin's novel is analyzed in the aspect of creative failure, from the standpoint of creative potential of the -unsuccessful‖ text. This article attempts to analyze the figurative and genre structure of the novel under consideration from the point of view of historical and theoretical poetics with the involvement of the scientific apparatus of poststructuralist concepts.

The article touches upon a set of questions about the role of Freemasonry in the writer's life and how Masonic teaching was expressed in his texts.
Grigoriev considered himself a hereditary mason and, according to his confession,
"believed in some mysterious connection" of his soul with the soul of his late grand-father, the mason Ivan Grigoriev. A friend of Grigoriev's youth and his comrade at
Moscow University, the poet Afanasy Fet recalled that Grigoriev had repeatedly told
him "about his admission to the Masonic lodge". Freemasonry and Hermeticism
also inspired (directly or indirectly) the literary pseudonym of the poet: "A. Trismegistov". Grigoriev's Masonic Hymns (1845) are considered in the context of the
hymns of the Russian Masons of the late 18th — fi rst quarter of the 19th centuries.
Th e "Masonic plot" of the play Two Egoisms (1845) and the Masonic subtext of the
novels One of Many (1846) and Th e Other of Many (1847) are also analyzed. In his
later works, Ap. Grigoriev acted as a bold innovator, portraying Masonic heroes at
a time when Freemasonry was offi cially banned in Russia, and depicted them not
retrospectively, but as his contemporaries, i.e. people of the forties.

The paper presents a coherent analysis of the famous poem by Alexander Blok «A Girl Was Singing in a Church Choir...» in an extensive historical and cultural context. Much attention is paid to the poetics of color, the colorative «white», which is characterized by semantic tension and brings the reader into the ontological space of the text. In the poem, the image of the girl is associated with white color and light, which shows that the heroine belongs to the higher, heavenly world and is opposed to «everyone» from the temple, which is in darkness. The play of light and shadow acquires a sacred nature and makes it possible to raise the question of the apophatic tradition, the appearance of «evening light» and «unfading light». The image of the heroine is also viewed from the perspective of the teaching on Sophia by Vladimir Solovyov, whose legacy was addressed by the poet. Blok draws parallels with the Russian folklore tradition, analyzing the last stanza, the image of a crying child. The appeal to folklore is fruitful, since Blok was well acquainted with oral folk art, as evidenced by the fact that he was the author of the article «Poetry of Conspiracies and Spells», written in the same period as the object of the current study, the poem «A Girl Was Singing in a Church Choir...». However, the authors of this paper interpret folklore not narrowly, but include in its field rituals, ceremonies, and pre-genre formations. The work is based on a holistic analysis of the artistic text using structural-typological, comparative, and systematic-comprehensive (culturological) research methods. These methods allow highlighting the ontological dimension in the poem, revising the views on the images of the girl and the child that have established in literary studies, avoiding unambiguousness in interpretation.

В статье рассматриваются некоторые закономерности процесса апеллятивации авторских антропонимов в процессе их функционирования в художественных и публицистических текстах. Исследование выполнено на материале трех функционально близких образов - Плюшкин, Гобсек и Гарпагон. Анализируется употребление этих слов в функции оценочной характеристики человека, их использование в качестве метафор. Рассматриваются также устойчивые сравнения, в структуре которых вышеназванные антропонимы функционируют в роли образной основы. При этом поэтонимы постепенно приобретают способность выражать понятия, становятся «предикатными» именами. Автор приходит к выводу, что данные образы выражают не только ядерный признак крайней скупости, но и целый ряд других качеств; они могут иметь в тексте не только отрицательную, но и положительную коннотацию. В статье выявляется общее и особенное в употреблении образов скупости: они сопоставляются по контекстной семантике, по частотности, по сочетаемости. Функционирование в составе устойчивых сравнений и в качестве общеупотребительных метафор - важные факторы постепенного преобразования антропонимов в апеллятивы. Поэтонимы, становясь знаками вторичной номинации, претерпевают семантическую эволюцию - от идентифицирующей семантики к предикативной. Такая динамика определяется, с одной стороны, использованием в текстах ядерных семантических признаков номинативных единиц Плюшкин, Гобсек и Гарпагон, с другой стороны, - актуализацией периферийных признаков данных антропонимов.
The article examines some regularities of the process of the author's anthroponyms appeal in the process of their functioning in literary and journalistic texts. The study was carried out on the material of three functionally similar images - Plyushkin, Gobsek, and Harpagon. The use of these words in the function of the evaluation characteristics of a person, their use as metaphors is analyzed. Stable comparisons are also considered, in the structure of which the above-mentioned anthroponyms function as a figurative basis. At the same time poetonyms gradually acquire the ability to express concepts, become "predicate" names. The author comes to the conclusion that these images express not only the nuclear sign of extreme avarice, but also a number of other qualities; they can have not only a negative, but also a positive connotation in the text. The article reveals the general and special features in the use of images of avarice: they are compared by contextual semantics, by frequency, by compatibility. Functioning as part of stable comparisons and as commonly used metaphors are important factors in the gradual transformation of anthroponyms into appellatives. Poetonyms, becoming signs of secondary nomination, undergo semantic evolution - from identifying semantics to predicative semantics. Such dynamics, on the one hand, is determined by the use of nuclear semantic features in the texts of the nominative units Plyushkin, Gobsek, and Harpagon, on the other hand, by the actualization of peripheral features of these anthroponyms.

Переход из начальной ступени образования к основной является для школьника серьезным рубежом, который определяет уровень сформированности у него основных учебных знаний. Багаж навыков, полученный в начальной школе, должен помочь ученику в дальнейшем качественно усвоить основную образовательную программу. Необходимо отметить, что среди основных учебных компетенций учащихся особое место занимают чтение и обработка информации. Поэтому для успешного освоения знаний в основной школе необходимо уделить повышенное внимание формированию у обучающихся читательской грамотности. Как отмечено в пояснительных записках к учебным предметам «Литературное чтение» и «Литература», в начальной школе при обучении читательской грамотности необходимо уделять внимание текстам, которые не выходят за рамки мыслительного процесса восприятия мира школьниками, в основной школе обучение читательской грамотности должно быть выстроено с помощью текстов, превышающих эмоциональный и интеллектуальный опыт читателя. В течение всего времени обучения в начальной школе идет становление читателя, способного получать из текста информацию, и наступает момент, когда читатель должен начинать обобщать и осознавать полученный материал. В этом случае формирование читательской грамотности уже осуществляется на протяжении всего периода обучения в основной школе - это возможность научить школьников учиться. Как показали наши наблюдения за работой учителей, данный факт чаще всего ими игнорируется, так как больше времени уделяется усвоению нового материала, подготовке к различным контрольным и проверочным работам. Для того чтобы не упустить момент окончательного формирования осознанного чтения текста в основной школе, необходимо найти метод, который поможет создать универсальную модель формирования читательской грамотности. С этой целью мы предлагаем рассмотреть методический опыт использования возможностей и сервисов облачных хранилищ на уроках литературы.
The transition from primary to lower secondary school is a significant milestone that determines the level of basic learning skills of the pupil. The acquired knowledge in primary school should help the child in further qualitative mastering of the core curriculum in secondary school. It should be noted that reading and information processing occupy a special place among the basic learning competences of pupils. Therefore, for successful learning in primary school it is necessary to pay more attention to developing pupils' reading literacy. As pointed out in the Explanatory Notes to the academic subjects "Literary Reading" and "Literature", in primary school, when teaching reading literacy, it is necessary to pay attention to texts that should not go beyond the emotional and intellectual experience of the reader, in middle school, teaching reading literacy should be built with the help of texts that exceed the emotional and intellectual experience of the reader. Throughout primary school the reader is developing into the reader who is able to extract information from the text, the moment comes when the reader must begin to integrate and interpret the information of the text, as well as evaluate its form and content. In this case, the formation of reading literacy takes the entire period of middle school - it is an opportunity to teach pupils to learn. As our observations of the teachers' work have shown, this fact is usually ignored by them, since more time is devoted to providing their pupils' mastering new material and preparing for various tests and quizzes. In order don't to miss the moment of the final formation of conscious reading of the text in middle school, it is necessary to find a universal model of reading literacy formation. To achieve this target, we propose to consider the methodological experience of using cloud storage capabilities and services in literature classes.

While literary scholars frequently discuss the issue of rhythmical influence, there is still a need to establish clear criteria for determining such influence. This article suggests examining the processes for developing hypotheses about rhythmical influence within and across languages to initiate a discussion on the methodological principles of comparative rhythmics. Examples are provided, such as songs from Pir vo vremya chumy by Aleksandr Pushkin, where the rhythmical inf luence of possible sources is highly hypothetical, and Aleksandr Blok's equimetrical translations of Heine's 4-stressed trochees, including V etoj zhizni slishkom tjomnoj… (1909), which is a clear case of rhythmical borrowing. With Pushkin's works, the discussion focuses on hypotheses regarding the presence of rhythmical reminiscences from Zhukovsky and Baratynsky in the songs of Mary and Walsingham, as well as a possible influence of English verse rhythm. With Blok's trochees, his translations of Heine are considered in comparison with the rhythm of the German source and the poet's original trochees. To assert the fact of rhythmical influence is crucial not only to identify a complex of historical, semantic, and rhythmic factors that support the hypothesis of its presence in the text, but also establish a connection between these factors. It is imperative when dealing with small poetic fragments or fragments with strong rhythmic polarization. When making cross-linguistic comparisons, it is also necessary to consider that independent linguistic factors may fully explain the similarity of individual rhythmic tendencies.

The article is devoted to the analysis of V.S. Solovyov's "Sunday Letters". Aspects of the author's dialogue with the reader within the framework of this publicist cycle are considered. The relevance of the topic is based on the importance of this work for understanding the writer's last work, "Three Conversations" and the general direction of the development of his publicist writing. The "Sunday Letters" have relatively recently come to the attention of Solovyov scholars and remain little studied. On the basis of the main premises of M.M. Bakhtin's concept of speech genres, the article examines the works included in the Solovyov cycle from a communicative perspective, highlighting several perspectives: author – addressee, author – text, addressee – text. This approach is new for Solovyov studies and productive due to the combination of literary and linguistic methods of scientific research. As a result, the general scheme of the way Solovyov the publicist constructs a communicative act with the reader established and some features of his dialogue with the audience are characterized. The article concludes that 1) Solovyov's main goal in publishing "Sunday Letters" was to organize a regular and direct dialogue with the Russian reading public on a wide range of social, political, philosophical, religious and moral issues (reflecting the influence of the tradition of F.M. Dostoevsky's "Writer's Diary"); 2) the author of the cycle primarily implemented an educational and prophetic creative strategy; 3) during 1897–1898 Solovyov distinguished between various sections of the reading public, corrected his position regarding the addressee; 4) the choice of the genre form of the work (letter-sermon) was not accidental, it was justified by the nature of the speech situation, participants of dialogue, specifics of communication sphere, subject of speech and determined the uniqueness of his style; 5) the style of the Solovyov cycle is characterized by heterogeneity, unevenness, excitement. These conclusions clarify the specifics of the author's position in the works of Solovyov the publicist, the character of his implementation of creative strategies.

The article analyzes Derzhavin's poem Glimpse [Problesk] (1810, ed. 1816), which is mistakenly considered a translation from L. Kosegarten, and proves that this is an original work. Only the first and last stanzas of it (5 out of 14) have partial correspondences in Kosegarten's poem Aussicht, which deals with posthumous retribution for earthly suffering, the bliss of eternal life that awaits the one who does not completely lose faith in it. Derzhavin, in contrast to Kosegarten, who proceeds from the doctrine 'sola fide', writes about his deeds, for which he deserves heavenly bliss. The central stanzas in Glimpse are autobiographical, they contain an apology for Derzhavin's life, especially his official activities. He applies the Gospel Beatitudes to himself in order (Mt 5:3-11), dedicating a separate stanza to each, and proves that he has fulfilled them (everywhere using the implicative construction 'if ... then ...') and deserves 'eternal blessings'. The article comments on all these stanzas, notes correspondence with other texts of Derzhavin, including his memoir and business prose, hints at the political circumstances of 1810, when, while on Zvanka, he created a cycle of spiritual poems, which began with Hope, and finished with Glimps (the Beatitudes refer specifically to Hope as one of the three Christian virtues: Faith, Hope and Love). In two of those stanzas that have a correspondence with Kozegarten, Derzhavin also refers to his literary work. Glimpse is among such his poems as Monument (1795), My Idol (1794), Swan (1804), etc., where Derzhavin speaks of his rights to 'immortality' and the gratitude of posterity, and should be considered in this series as well.

The article explores some parallels between the C.J. Cela's first tremendist novel The family of Pascual Duarte and F.M. Dostoevsky's Notes from Underground. It shows a number of motifs of Dostoevsky's 'underground' described in previous articles devoted to Notes from the Underground and its appropriation in the twentieth century, and also presented in The Family of Pascual Duarte. Special attention is paid to the convergences between the narrative of Notes from the Under-ground and one of The Family of Pascual Duarte. It is concluded that narrative complexity and some aspects of unreliable narrator are important characteristics of Cela's novel. Pascual says nothing about social context of his crimes, but from the 'editorial' texts, which conclude his memoirs, it is clear that he acts during the civil war. Nevertherless the main character does not engage in direct confrontation with his opponents, and points of view shift portrays him as not lying, but isolated from the truth. His excessive self-reflexion is associated with his tryings to isolate his 'self' from any external reality. Driving into himself, he just excogitates some reasons for his feelings and actions. Such destruction of binary truthfalse opposition and deviation from the basic concepts are the foundation for internal antinomy of Cela's utterance. Such novelist's rhetoric determines the rhetoric of criticism dedicated to the novel, and the rhetoric of literary critics becomes a fertile ground for diametri-cally opposed understandings of the novel and definitions of the tremendism. Diametrically opposed definitions of tremendism capture it as a self-contradictory, negating and denying underground phenomenon.

Настоящая статья посвящена рассмотрению художественного образа города Коломбо (Республика Шри-Ланка) в прозаических произведениях русского писателя И. А. Бунина, посетившего остров Цейлон в марте 1911 года. Актуальность исследования и его научная новизна определяются интересом к малоизученному аспекту литературного наследия писателя – изображению им города Коломбо в рассказах 10–20-х годов XX столетия, а также в наброске <Туманная полоска земли…>, введенном в научное обращение в 2019 году. Литературный образ Коломбо у Бунина топографически достоверен, что подтверждается наличием названий городских улиц (Йорк-Стрит, Квинс-Стрит), парков (Парк Виктории), садов (Сад Гордона), районов (Форт, Сады Корицы, Невольничий Остров, Марадана) в художественной ткани рассказа «Братья». Неоднократно упоминаемый в тексте район Невольничьего острова реализует семантику невосполнимой утраты, губительного начала в жизни молодого рикши. «Огни города» как образная деталь создают параллелизм жизненных событий в биографиях сингалеза и англичанина, передавая авторскую мысль об исконном братстве всех людей. Контрастный облик Коломбо, объединяющего растительное изобилие райских садов, градостроительные достижения Голландии и Англии, «пароходы всех стран» и бесчеловечную жестокость колониализма, получивший черно-белую и золотую от вечернего солнца окраску, отражает свойственное автору представление о цейлонском мире в целом, о сложности, противоречивости и непостижимой загадочности бытия.
This article is devoted to the consideration of the artistic image of the city of Colombo (Republic of Sri Lanka) in the prose works of the Russian writer I. A. Bunin, who visited the island of Ceylon in March 1911. The relevance of the research and its scientific novelty are determined by the interest in a little-studied aspect of the writer's literary heritage – his depiction of the city of Colombo in the stories of the 10-20s of the 20thcentury, as well as in the sketch "The Foggy Strip of the Land…", introduced into scientific circulation in 2019. Bunin's literary image of Colombo is topographically correct, which is confirmed by the presence of names of city streets (York Street, Queens Street), parks (Victoria Park), gardens (Gordon Garden), districts (Colombo Fort, Cinnamon Gardens, Slave Island, Maradana) in the artistic fabric of the story "Brothers". The Slave Island area, repeatedly mentioned in the text, implements the semantics of irreparable loss, a ruinous beginning in the life of a young rickshaw driver. "City Lights" as a figurative detail creates a parallelism of life events in the biographies of Sinhalese and the Englishman, conveying the author's idea of the primordial brotherhood of all people. The contrasting appearance of Colombo, combining the vegetable abundance of paradise gardens, the urban development achievements of Holland and England, the "peoples of all countries" and the inhuman cruelty of colonialism, which received black-white and gold coloring from the evening sun, reflects the author's own idea of the Ceylon world as a whole, about complexity, inconsistency and incomprehensible mystery being.

Настоящая статья посвящена вопросу эффективности реализации смешанного формата школьного литературного образования на примере изучения романа в стихах А. С. Пушкина «Евгений Онегин» в 9 классе. В соответствии с рабочей программой по литературе под редакцией В. Я. Коровиной, составленной на основе ФГОС основного общего образования, цикл уроков по пушкинскому тексту включает 8 аудиторных занятий, при этом самостоятельная внеурочная деятельность ученика по освоению произведения, его чтению и осмыслению не менее значительная и трудоемкая. Актуальность предпринятого исследования определяется необходимостью адаптации домашней работы школьника к условиям цифровой образовательной среды, разработки заданий с привлечением цифровых технологий, способствующих усилению познавательного интереса и творческого потенциала обучающихся. Открытость современного образовательного процесса, многообразие медиа-, видеоконтента ставят перед учителем-словесником новую задачу - помочь ученику сориентироваться в обилии обучающих Интернет-ресурсов. В данной статье обоснована целесообразность включения видеолекции выдающегося российского ученого-литературоведа Ю. В. Манна о романе в стихах «Евгений Онегин» в систему онлайн- и офлайн-занятий по произведению, приведены вопросы, позволяющие ученику познакомиться с одной из интереснейших интерпретаций пушкинского текста, сосредоточившись на ключевых мыслях воспринимаемого материала.
This article is devoted to the issue of effectiveness of the implementation of the blended format of school literature education by the example of studying the novel in verse "Eugene Onegin" by A. S. Pushkin in the 9th grade. In accordance with the work program on literature edited by V. Ya. Korovina and compiled on the basis of the Federal State Educational Standard of Basic General Education, the cycle of lessons on the Pushkin text includes 8 classroom sessions, while student's independent extracurricular activity for studying, reading and comprehending the literary work is no less significant and time-consuming. The relevance of the undertaken study is determined by the need to adapt student's homework to the conditions of digital learning environment, development of tasks involving digital technology to enhance cognitive interest and creativity of students. The openness of modern educational process, the diversity of media and video content poses a new task for the teacher - to help students navigate in the abundance of educational Internet resources. This article substantiates the expediency of including a video lecture by the outstanding Russian scholar of literature Yu. V. Mann about the novel in verse "Eugene Onegin" in the system of online and offline classes on the work, provides questions that allow students to learn one of the most interesting interpretations of Pushkin's text, focusing on the key ideas of the perceived material.

The article analyzes Karamzin's story Julia in its relation to the literary source - the novel Julie, or the New Heloise by Jean-Jacques Rousseau - and to the late stories, written by Karamzin (A Knight of Our Times, My Confession, The Sensitive and the Cold). Comparative analysis proves that Julia is highly dependent on the Rousseau's works, but at the same time contains all the structural elements developed in Karamzin's later stories. Julia is a didactic story; its heroes read Heloise and Emile, comparing their actions with the instructions in these books. Disagreement with the Rousseau's ideas is expressed not by the author, but by the heroine, while at the compositional level the Rousseauist pathos, on the contrary, is affirmed. Three late stories (A Knight of Our Times, My Confession, The Sensitive and the Cold) share a rather simple plot scheme - or content core - Rousseauist love triangle, which includes characters contrasted by the criterion of 'sensitivity'. They should be considered as variants of one idea, because they are created at the same time, are based on the plot model from Jean-Jacques Rousseau's novel Julie, or the New Heloise and reflect Karamzin's divergence with Rousseau's views. Moreover, it is noticeable that in these texts the novel structure became visible and the type of conflict situation was changed. It is not a moral choice between virtue and vice, but a conflict between the artist and the crowd, which is explained by Karamzin's reorientation to the German novel tradition, in particular, to the genre of the Bildungsroman. This fact allows us to trace Karamzin's creative evolution, expressed in rethinking given plot models and character schemes. A comparison of A Knight of Our Times, My Confession and The Sensitive and the Cold not with foreign sources (works of Rousseau and Goethe), but with an earlier story by Karamzin himself allows us to explicate the specific features of the period of 1799-1803.

The research is based on the materials of memoirs about Chernyshevskii and Pisarev. The 'common places' of the memoirs, in which the similarity of the two activists is revealed, are compared. Purpose: to investigate the influence of public reputation on the formation of the memoir image of Chernyshevskii and Pisarev. Aims: to identify the specifics of the formation of the memoir corpus of famous public and literary activists; to justify the presence of an out-of-text model as a source of commonality of the image angle. Other documentary sources were also involved to identify the reasons for the coincidence and discrepancy of the facts. Contradictions were established in both cases. Results and conclusions: it is possible to assume, that in the public consciousness of a certain circle there existed a model for creating the image of an outstanding public activist of the revolutionary movement. Both Chernyshevskii and Pisarev not just matched to this model, — their images were originally put in its ground. The formation of the image model was based on two sources: poetic images of Nekrasov's poems dedicated to Belinskii, Dobrolyubov, Pisarev and Chernyshevskii; relying on the genre of the eulogies at public funerals of the 1860s–1870s and later, that replaced the expression of public protest. The commonality of themes — selfless service to social ideals; genius, sacrificed for the sake of people; early demise from the oppression of the authorities, — brings both sources together. In the memoir image, according to the general model, essentially individual features are combined, emphasizing the generalized properties of an extraordinary personality. The outstanding abilities of both underline a single 'profile' in a special way: the highest intellectual talents, laid on the chancel of struggle. The motive of unrecognition, the contradiction between the expected — true — and the real appearance of a person, demonstrates a great advantage of the fortitude and thought over ordinary human nature.

This article examines two poetic translations of Dante Alighieri's "Vita Nuova" by V.S. Solovyov. At the present time, Solovyov's specific experiments of translation are merely considered in the field of literary studies, although a general assessment of them has been given in the past by scholars such as A.F. Losev, Z.G. Mints, T.F. Teperik, A.A. Asoyan and others. The logic underlying the selection of the translated materials might indicate a special attitude of Solovyov in choosing names and works, which are significant for the understanding and realization of the poetry tasks. The author of this article demonstrates that such was the name of Dante Alighieri, which embodied a special myth concerning the spiritual transformation of man through one's love for a woman. This myth was in harmony with the concept of art, as the latter is reflected in many works of the philosopher. The author also proves that Solovyov, who knew Italian language quite well, translates Dante's sonnets rather freely: in this way, he is able to keep the ideological content of the original text while also offering a different Russian translation. The specific character of Solovyov's translations is here considered in comparison with the three other translations of the same sonnets made by the professional linguists and translators: M.I. Liverovskaya, A.M. Efros, and I.N. Golenischev-Kutuzov. The author maintains that the distinctive "Italian" canon of the sonnet genre is preserved in Solovyov's translation: this fact would demonstrate the philosopher's adherence to the European poetic tradition. The article finally analyzes V. Solovyov's translations from the point of view of their connection with his corpus of lyrical poems. In conclusion, the author sums up the basic principles of V.S. Solovyov's translation work and clarifies the nature of the dialogical connection between his poetic heritage and Dante's lyrics.