Abstract: The article explores the genre specifics of American 9/11 novels about children. The genre features of 9/11 literature include a modification of the classic educational novel. Such genre elements as the hero’s growing up process, their journey beyond ordinary life, and their return as changed individuals, still form the primary narrative focus of these works. However, the temporality and the impetus for action development are altered compared to the classic educational novel, which is typical for the subgenre of the initiation novel. The main catalyst of the plot becomes the traumatic experiences of the characters, representing either the trauma of loss or mental traumatization of a loved one. The interplay of road motive and motive of search symbolizes personal development and introduces elements of a detective quest, while romantic motives are linked to the outcome of the initiation trial and the formation of the character’s personality. To implement the tasks set, this study employs cultural-historical and comparative-typological methods with elements of structural analysis. The scientific novelty of this work consists in conducting a study of the genre features of literature about children and teenagers thematically based on the events of September 11, 2001, on a little-studied corpus of artistic material. For the first time in Russian science, the author of the article attempts to identify and summarize the characteristic genre features of this body of works. The main results of the study lie in revealing of hybridization of genres: the initiation novel is supplemented with elements of detective and romance novels. An important aspect here is the presence of motives of travel and heroism, coupled with the problem of the trauma of not-knowing, traumatic experiences of loss, and orphanhood. This article deepens scientific knowledge on the issue of the specificity of 9/11 literature, highlighting the process of transformation and enrichment of traditional genre elements in the context of historical events that have been reflected in the literary work of the representatives of contemporary culture.

Keywords: motive of orphanhood, motive of search, road motive, quest, initiation novel, educational novel, genre, nine-eleven literature, childhood trauma, child character

References:
DeLillo, D. R. (2010). Falling Man. In Foreign Literature. Literary Guide: French Kaleidoscope, as well as the novel "Falling Man" by Don DeLillo, 4.
Caruth, C. (2009). Trauma, Time and History. In Trauma: Points: Collection of Articles. Moscow: New Literary Review (pp. 561-581).
Odysheva, A. S. (2011). Representation of Childhood in English Literature. Bulletin of Tyumen State University, 1, 215-216.
Osokin, A. N. (2019). Progression of the Naive Aspect in Three Forms of Ironic Sensitivity: From Camp Aesthetics to the Phenomena of New Sincerity and Post-Irony. Culture and Art, 10, 7-17.
Osorina, M. V. (2019). Secret World of Children in the Space of the Adult World. St. Petersburg: Piter.
Propp, V. Ya. (2021). Morphology of the Folktale. Historical Roots of the Fairy Tale. St. Petersburg: Piter.
Tartt, D. (2016). The Goldfinch. Moscow: AST.
Foer, J. S. (2013). Extremely Loud and Incredibly Close. Mo

Abstract: The article analyzes the forms of cyclization in the story "The Sisters of the Cross" by A.M. Remizov and their role in the realization of the existential problematic of the work. The originality of Remizov's creative consciousness and artistic method, his interest in the ontological foundations of personality are emphasized by a special narrative structure, which is characterized by the strengthening of the corresponding motional structures. The religious and mythopoetic understanding of reality, inextricably linked with the artistic method, allows us to talk about the cycle as a broad category, according to the concept of I. Pospisil, which implies, along with motives, the unification of various forms of lexical and semantic repetitions in order to actualize important issues of being for the writer. The author of this article believes that the logic of the writer's strategy and its embodiment in the composition of the work are unthinkable without understanding the elements of the cycle as contextually updated units of content that need active interpretation by the reader, which is necessary for a holistic perception of the work. This understanding of the cycle is complicated by the grotesque characterization of the motifs and their correlation with both the metatext of Remizov's early work (the concept of the "artistic ensemble" by E. Tyryshkina) and the metatext of the Russian novel, the evolution of the plot structure of which is associated with the complication of the existential aspect. Based on the tasks set, the article uses structural-descriptive and descriptive-functional methods to analyze the system of cyclic forms of the writer and their functions. Taking into account the large-scale content coverage of the existential issues in A. M. Remizov's novella "The Sisters of the Cross", when considering the forms of cyclization in the work, it is necessary to take into account not only the hierarchical levels of the text (lexico-semantic repetitions and motivic structures as part of the composition of the story itself and from the point of view of the metatext of Remizov's work) and the different functions of these forms, but also common features cyclical trends in the narrative. Thus, one of the aspects of Remizov's poetics receives a proper theoretical understanding. The analysis of the story shows that a broad understanding of the cycle allows us to group the heterogeneous elements of the composition in terms of their general content orientation, which in further research may be useful in a holistic analysis of Remizov's work, his writing strategy, as well as the author's place among other masters of ornamental prose in Russian literature.

Keywords: composition, repetition, mythological, grotesque, existential issues, Remizov, cyclisation, motif, modernism, narration

References:
Gracheva, A. M. (2000). Alexei Remizov and Ancient Russian culture. St. Petersburg: Dmitriy Bulanin Publ.
Korobejnikova, O. Yu. (1995). Lexico-semantic repetitions in the structure of a literary text: early «novels» by A. M. Remizov. In: Word usage and the style of the writer (pp. 148-159). St. Petersburg: SPbU.
Obatnina, E. R. (2008). Remizov: Personality and creative practices of the writer. Moscow: NLO.
Skaftymov, A. P. (2007). Poetics of a work of art. Moscow: Vyssh. shk.
Slobin, G. N. (1997). Remisov’s Fictions: 1900–1921. St. Petersburg: Acad. Project.
Titarenko, S. D. (2022). Archetypes of fear and the problem of transformation of the gothic horror in a symbolist novel. Culture and text, 4(51), 55-69. doi:10.37386/2305–4077–2022–4-55-69
Tyryshkina, E. V. (1997). «Sisters of the Cross» by A. M. Remizov: Conception And Poetics. Novosibirsk: Pu

Abstract: The object of research in this article is a novel by Mark Z. Danilevsky's "House of Leaves" in the context of postmodernism. The subject of the study was the mythical element of the novel (ash Yggdrasil). This element is considered as a hermeneutic key to the interpretation of the novel by Mark Z. Danilevsky's "House of Leaves". Also, the subject of the study is space and time in the novel, inextricably linked with the mythical component of the works. As a result, a detailed analysis of the mythical component of the "House of Leaves" is given in the context of the poetics of postmodernism, as well as some characteristics of the space-time of the novel. Hermeneutical interpretation is performed using the poem "Yggdrasil", located on the last page of the novel, as a symbolic key. The grapheme "Yggdrasil" and the symbolism of the components of the limit tree in their relation to the exemplification of the structure of the novel as a whole are analyzed. The mechanism of the inclusion of the work in the context of world literature is described through the actualization of semantic and etymological inclusions of mythical motifs about the creation of the world in the text of the "House of Leaves". The analysis of intertextual references to Egyptian mythology through the symbols of the ouroboros and the solar disk is given. The plot of the path of the sun god Ra in the "House of Leaves" is analyzed. The novelty of the research lies in the fact that we have analyzed the symbolic detail in the novel: the hidden symbolism of the "Ash Tree" as the tree of the limit; elements of biblical mythology; the image of the inverted world; labyrinth, stairs. The interpretation of the work as a model of the world is considered, where the ambiguity of mythological and spatio-temporal layers, based on the inevitable symbolic references-threads, function as an instrument of appeal to the cultural unconscious. The connection of the mythologies of Egypt, Tibet, the texts of the "Upanishads" and "Kabbalah", as well as the artistic and literary intertext with the "House of Leaves" is analyzed. As a result of this hermeneutic analysis, an ironic postmodern interpretation of the work of Mark Z. is described. Danilevsky through the symbolism of emptiness (unselfishness).

Keywords: ouroboros, Yggdrasil, space, time, myth, modernism, postmodernism, House of Leaves, symbol, rootless

References:
Andreev, A.N. (2012). Lectures on literary theory: A holistic analysis of a literary work – "The Author".
The Bible. The Book of Genesis is the Bible. The Book of Genesis. Retrieved from https://azbyka.ru/biblia/?Gen.28:10-22
Gadamer, G.G. (1991). The relevance of the beautiful. Translated from German (Series "The History of aesthetics in monuments and documents"). Moscow: Art.
Gasparov, M.L. (2001). Russian verse of the beginning of the XX century in the comments. Second edition (expanded). Moscow: Fortuna Limited.
Danilevsky, M.Z. (2016). House of Leaves. Bykov D., Loginova A., Leonovich M., (translated from English). Bykov D. (preface). Yekaterinburg: Gonzo, XXXIV.
Ilyin, I.P. (1998). Postmodernism from the origins to the end of the century: the evolution of scientific myth. Moscow: Intrada.
History of Norway. (1980). Gurevich A.Ya., Roginsky V.V., Kan A.S. and others. (ed.). Kan A.S. et al. (ed.). Moscow: Nauka.
Camp

Abstract: The article is devoted to the understanding of patriotism according to M.A. Sholokhov. The theme of love for the Motherland is consistently considered in the works of various periods of the famous Soviet writer's work. Being a direct participant in the fateful events for the USSR, Sholokhov managed to reflect patriotism as a multilevel and, at times, contradictory concept. The analysis of the patriotic model of behavior on the example of the main characters and supporting characters of the writer's works is considered in the context of such plot and compositional elements as binary oppositions (good - evil, truth – lies, honor – inhumanity, mercy – cruelty, personal – collective). The description of this concept is accompanied by an appeal to the categories of space and time, an understanding of the ideological, moral and spiritual dominants that guide the literary heroes of the works. Patriotism, presented in the historical context of M.A. Sholokhov's literary heritage, should be considered as a constant that contributes to the reflection of the character and registers the internal logical connections of this constant, its meaningful content throughout the plot. The patriotic paradigm of the worldview of the writer's artistic works is characterized not only by the ability to motivate sacrificial acts, but also by the prerequisite to form the basis for a conflict of personalized positions and views. Using the example of the heroes of his works, M.A. Sholokhov shows us, the readers, what a true patriot should be. It is stated that the artistic heritage of the Master in modern socio-political realities can successfully contribute to the patriotic education of Russian youth, since fiction has a serious impact on the upbringing of a personality, on its inner potential and the choice of moral and ethical guidelines, and contribute to the formation of high moral qualities of a person.

Keywords: Mikhail Sholokhov, Homeland, protection of the Fatherland, war, traditional culture, realism, The Don Cossacks, artistic image, literary creativity, patriotism

References:
Arkhipenko, N.A., Vlaskina, T.Yu., & Vlaskina, N.A. (2010). The principles of representing the traditional culture of the Don Cossacks in the works of M.A. Sholokhov. News of the Southern Federal University. Philological sciences, 2, 8-24.
Biryukov, F.G. (1965). About Melekhov again. New World, 5, 236-250.
Gerasimova, I.F. (2012). The tragedy of the depiction of the First World War in the works of M.A. Sholokhov and his senior literary contemporaries. Bulletin of the Moscow State University for the Humanities. M.A. Sholokhov. Philological sciences, 2, 5-14.
Gubanov, G.V. (2013). Mikhail Sholokhov on the fronts of war and literature. Bereginya. 777. Owl: Society. Policy. Economy, 2(17), 94-102.
Darensky, V. Yu. (2018). War as a factor in the moral transformation of a person in M. Sholokhov’s novel “They Fought for the Motherland”. Bulletin of the Udmurt University. Series "History and Philology", 28(3), 357-365.
Knyazeva, E.

Abstract: Anton Pavlovich Chekhov is a well-known Russian writer and playwright in China. During his life, he created many works that are familiar to the Chinese readers. It is generally recognized that Chekhov's plays open a new page in the history of drama and theater. The Cherry Orchard, Chekhov's last work, is considered one of his most mature dramatic works and today has a debatable character in literary criticism, its interpretations are offered to the audience on the theater stage all over the world, including in China. This article aims to trace the evolution of the reception of the named work in Chinese critical thought, as well as to reflect the history of the productions of The Cherry Orchard in the theater of China. The subject of this work is the reception of the play "The Cherry Orchard" in Chinese literary criticism, the study of the history of its translation and staging in various historical periods in China. The main research methods used are descriptive and historical. The author of the study tries to characterize the main features of the perception of the work and productions of The Cherry Orchard in China, which are determined by the change in the socio-historical conditions of the state. Critical and literary works of Chinese researchers of A.P. Chekhov's work are used as material for analysis. In this regard, the present study seems to be relevant, since the author develops a scientific discussion around the Chekhov work under consideration. The theoretical novelty of the article lies in the fact that the works of Chinese literary critics are introduced into scientific circulation, devoted to the problems of reception of the images of the play, its plot and ideological originality, and analyzes the performances of "The Cherry Orchard" by Chinese directors.

Keywords: staging, interpretation, perception, translation, literary criticism, reception, China, play, The Cherry Orchard, Chekhov

References:
Jiao, Juyin. (1980). Afterword to the translation of "The Cherry Orchard". Theatre Art, 126-135.
Zhang, Weijia. (1984). Space in "The Cherry Orchard". Bulletin of Social Sciences of Xiangtan University, 3, 60-64.
Xiao, Dan. (1987). The artistic achievements of Chekhov's play The Cherry Orchard. Xu Zuwu (Eds.). The study of A. P. Chekhov (pp. 237-254). Zhengzhou: Henan University Publishing House. 
Zou, Yuanjiang. (1996). The Pause in "The Cherry Orchard". Foreign Literature Review, 3, 100-108.
He, Anfang. (2005). Behind the chopping block - environmental criticism in The Cherry Orchard. Bulletin of the Central Academy of Drama Dramaturgy, 4, 72-79.
Dong, Xiao. (2009). Study of the comic essence of the play from "The Cherry Orchard". Foreign Literature Review, 1, 86-98.
Wang, Li. (2010). Ethnicity of Chekhov's drama in the light of the comic character of "The Cherry Orchard". Bulletin of the