Abstract: This article is devoted to the study of prototypes in the novel "The Mental Wolf", the images of which are made up of both fictional and real characters. The author brought them out under other names, but the prototypes are easy to guess: Pavel Matveyevich Legkobytov is Mikhail Mikhailovich Prishvin, Alexander Stepanovich Savely Krud is Green, and Grigory Yefimovich Rasputin is a "peasant/elder/wanderer". The intertextual connections between the biographies of the prototypes and the novel demonstrate the author's intention to recreate the reality that he could not depict within the framework of a documentary biographical narrative. The reader and researcher are given a unique opportunity to observe how artistic reality is born on the basis of the life material of historical figures, refracted in the author's mind. The author himself has repeatedly given the key to understanding the novel's intent in his interviews, saying that he was able to express through fictional characters what he did not express in the biographies of the prototypes. The following research methods are used in the article: comparative, hermeneutical, comparative-typological, descriptive. With the help of a systematic approach, an analytical study of the prototypes in the novel is provided. Despite the coincidence of the factual material, Varlamov establishes a distance between the characters depicted in the novel and their prototypes, gives them new names, places them in slightly different event contexts. Thus, an artistic world is created on the interweaving of fiction and real events. Relevance is seen in addressing one of the key problems of literary criticism based on the material of the work of a modern author. It is the biographies of prototypes that become the core on which fictional events are strung and which determines the storylines of fictional characters. By virtue of the above, biography is neither a framework component nor an autonomous genre, but it becomes a kind of paradigm for the plot structure of the novel. And already in this paradigm, each of the characters is free to express their ideas, to argue about the present and future of Russia, to observe the era of historical social upheavals and wars.

Keywords: Alexander Green, Savely Krud, Easy-going, Prishvin, real events, fiction, The prototype, biography, guy, Rasputin

Abstract: The goal of this article consist in interpretation of the major metaphor in Günter Grass’ novel “The Tin Drum”,  and coverage of its interrelation with symbolism of the image of the protagonist Oskar Matzerath. The subject of this research is the metaphor of stopped time. The time stops for Oscar with regards to physical and emotional development. Special attention is given to the fact that the protagonist of the novel, who comes into the world with adult intelligence, deliberately stops his development at the age of three. Using the indicated metaphor, the author of the novel forms the key traits of the image of the protagonists: perpetual child, demiurge, trickster. The novelty of this research and special contribution of the author consists in revelation of direct correlations between the aforementioned traits of the main character of the fundamental problems of human existence. A child who refuses to grow up, symbolizes infantilism and denial of the generally accepted socio-ethical norms. At the same time, G. Grass describes dissolution of the surrounding world and blames specific nation in the crimes against humanity, endowing Oskar Matzerath with the traits of trickster and demiurge. The acquired results can be used in textbooks on the history of foreign literature and culturology; as well as in writing term and graduation theses by students majoring in the humanities.

Keywords: rationalism, child character, time, metaphor, The Tin Drum, Romantic movement, Günter Grass, novel, grotesque, absurdity

Abstract: The article is devoted to neoacmeism as an understudied cultural paradigm and phenomenon of the Russian Renaissance of the 20th century, its history, grounds, structure and genesis, and the concept of 'semantic poetics' as a traditional ontological 'core' thereof. In her article Fetisova analyzes mythopoetics of neoacmeism in terms of its philosophical-artistic platflorm. Within the framework of the research mythology is viewed as an ontological core of 'semantic poetics'. The given article presents an attempt  to develop a philolosophical and cultural paradigm of neoacmeism as well as to create some universal methodology of hermeneutical anaysis within the framework of synergetic grounds of philosophy and philology (literary studies) through the unified ontological discourse. An independent status of methodology implies that it includes ontology which creates a model of the world. This factor is especially important for analyzing a poetic text because acmeists' creative work is a priori ontological and creates an author's 'world-forming' reality. Methodology has a purpose to provide scientific (including humanitarian) knowledge through using a precise normative system for an approved analysis of a scientific object or phenomena, in this case, a poetic text. This is the reason why the author of the present article uses methodology as a method to study and classify creative work of all neoacmeists and bring neoacmeism as a major philosophical and cultural paradigm to a common standard by analyzing samples, norms and rules of poetic analysis. Herein it is also necessary to take into account that it is philosophy that has the methodological tools which serve as a model for literary research and can be successfully applied in the course of analyzing a poetic text. In terms of philosophical, philological and culturological methodologies literature is described as a single text, or, if you like, a single meta text. Based on the results of her research the author concludes that individual mythology and typology of 'cultural codes' used by acmeism adepts (Nikolay Gumilev and Anna Akhmatova) creates a powerful association area that allows to view neoacmeist writings and world literature within its scope as a part of a single meaning-forming mechanism of the philosophy of culture as well as its grandious ontological phenomenon, 'The Acmeism Project'. The author also proves an important thesis that there are certain ontological constants (anthropocentrism, subjectivism, revival of cultural achetypes, and the memory about the past that 'was not in vain) in the 'semantic poetics' of a single acmeist text. These constants create an internal mental code of Russian culture that takes into account individual traits of each poet, at the same time keeps the entire system (philosophical and cultural paragim of neoacmeism) from falling apart and unites very different artists, thus enabling the paradigm to exist throughout the 20th - 21st centuris. This 'code' becomes an axiological constant of Russian culture and makes it unique. The research strategy allows to reconstruct the aforesaid mental code in a new historical context. The author also classifies 'Akhmatova's myth' and comes to the conclusion that 'synchronous reminiscental chronotope' creates a 'polyphonically based monologue' and specific mythology which forms, first of all, a poetic model of the world. 

Keywords: ontological concept, anthropocentrism, philological hermeneutics, cultural paradigm, Russian Renaissance, mental code, persona, meta-level, acmeism, mythology

Abstract: The purpose of the present research is to trace back the mechanism of developing the type of a 'hero-ideologist' in Dostoevsky's fiction after his penal servitude starting from his Notes from Underground and filling in conceptual gaps in particular novels by outlining common typical features and ideas in characters' minds. This allows to analyze Dostoevsky's literary texts written since 1865 until 1880 as a single hypertext. According to the author, the source of future ideas is the 'underground psychology' depriving the hero of the face-to-face communication and 'dreaming' that predetermines 'fanstastic' and 'contemplative' ideas. These ideas may have only two vectors: theantropic ideas that attributes human qualities and emotions to God and ideas that see God as the outward projection of a human's inward nature. While the theantropic idea implies the return of Christ's Kingdom on Earth (Millenium), the main purpose suggested by the other idea is that human can live on Earth alone without God. The transfer from romantic individualism towards a reilgious super-purpose (to save and to 'reshape' the humankind) becomes possible due to the aesthetic element of the idea which serves as some kind of the ideal of beauty and an intermediate link between religious and romantic types of thinking. The idea that God is the human's outward projection creates philosophical subgrounds for crime which can intent to be a murder, political crime, suicide, 'deicide', or patricide, which is supposed to prove the idea and thus gains the sacral meaning in these terms. The author suggests that we should call such a deed 'super-action' because it is designated to change the hero's being and surroundings. The super-action occurs to be the only action the hero-ideologist is capable of. It is the narrative climax and the only important action made by the hero in his life. In the long run, Dostoevsky's heroes-ideologists are the 'one deed heroes' but not the 'one intrigue heroes'. The antithesis to the super-action is the experience of living in paradise which followers of both ideas may have. In his research the author has used hermeneutic, historical literary and comparative typological research methods accompanied with the theological and cultural findings and data. The author's special contribution to the topic is his conclusion about the unity of all heroes-ideologists in Dostoevsky's 'Pentateuch' despite their outward difference. The author also offers a new interpretation of particular ideas presented by Dostoevsky's heroes. For the first time in the academic literature the ideology of Dostoevsky's heroes is being viewed inseparably from their psychological grounds and narrative function. The results of the research can be used to analyze Dostoevsky's fiction as part of University general and special courses as well as at secondary schools. 

Keywords: super-action, psychology, crime, theantropism, dreamer, idea, hero-ideologist, Dostoevsky’s novels, plot

Abstract: The author analyzes sources of the genre of novel and focuses on the Menippean satire as the genre with the following peculiar features: combination of contradictory thoughts, profanation of generally accepted values and special carnival-like atmosphere. According to the author, one of the most acute and dynamic feature of Devil is the cynicism which can be well shown through the combination of the aforesaid genre peculiarities. Based on the author, a specific feature of the studied type of novel dramaturgy is the demonstration of a hero in a state of depersonalization (double consciousness). This allows to focus on the conditions for introducing the motive of Doppelgänger as a particular sphere of the demoniac phenomenon. The research method used by the author is based on the synthesis of historical, ethical-philosophical, psychological, literary and comparative types of analysis as well as determination f the demoniac phenomenon. The scientific importance and novelty of the article is in creation of the ethic concept explaining the appearance of the Devil as a result of violation of moral principles of a society. Images of such guests from the underworld are created in the minds of literary characters as a moral recompense. Therefore, the Devil is viewed not as a real creature from the Hell but a temporary splitting of consciousness whose cognitive observing ‘self’ appears to be stronger than the emotional feeling ‘self’.

Keywords: novel, Menippean satire, image, human, imp /devil, depersonalization, twin / Doppelgänger, consciousness, carnival, hallucinations.

Abstract: The author of the article believes that there is not a single country where love does not have a sacral meaning. Even cosmogonic myths prove it. Cosmogenic myths have a profound psychological meaning that has been lost by the modern culture. In particular, ancient culture had certain expressions describing the experience of loving someone and these expressions have been eventually forgotten. According to the author of the article, metaphysics of love were particularly expressed in Nikolay Berdyaev’s work. The Russian philosopher tried to combine the Christian definition of love with the classical Greek myth about androgyne that was later developed in Plato’s philosophy. The author of the article has used the research methods used in philosophical anthropology. Unlike rationalists, philosophical anthropologists often appeal to interpretation of myth, insight, intuition and mystical tradition. Moreover, the author has also applied the methods of historical research for tracing back the development of the concept of love throughout the history. The novelty of the article is in the author’s attempt to develop Nikolay Berdyaev’s ideas on metaphysics of gender and interpretation of love. For this purpose the author has analyzed poetical works reflecting different shades of the feeling of love. At the same time, the author touches upon plots related to desecration of love. Today psychiatrists often define love as a sick feeling. However, today’s reality is also defined by the loss of the sacred human emotions.

Keywords: philosophy, philosophical anthropology, love, metaphysics of gender, metaphysics of love, Berdyaev, desecration of love, androgyne, love poetry, love philosophy.

Abstract: In her article Susan Sontag provides a review of Claude Lévi-Strauss’ works underlying his attitude to the profession of the anthropologist as the profession related to ‘spiritual responsibility like a creative artist’ or a psychoanalyst has. Susan Sontag gives the highest appraisal to Clause Levi-Strauss’ work ‘Tristes Tropiques’ saying that it is ‘one of the greatest books of our century’. Levi-Strauss was born in 1908 and belonged to the circle of Sartre, Beauvoir and Merleau-Ponty. Being disappointed in philosophy, Clause Levi-Strauss began to study anthropology and in 1935 he went to Sao Paulo as a professor of anthroplogy. It is Susan Sontag’s opinion that his ‘Tristes Tropiques’ is an ‘intellectual biography and an example of personal history’. Due to his profession, the anthropologist divides the world into the ‘internal’ and ‘external’, domestic and exotic, academic urban world and tropics. The anthropologist also deliberately uses his own intellectual estrangement. According to Clause Levi-Strauss, anthropology is the method of political non-involvement and therefore the profession of anthropologist demands true impartiality. The anthropologist, first of all, is a witness and therefore it is an illusion that he can be taught only the theory. In his ‘Structural Anthropology’ Levi-Strauss describes the method for analyzing and recording myths that can be processed on the computer. Levi-Strauss also applies strict formalism to traditional topics of blood relation, totemism, the balance between myth and ritual and so on.

Keywords: ‘Structural Anthropology’, primitive societies, ‘Tristes Tropiques’, preliterate tribes, impartiality, field researches, spiritual rebirth, strict formalism, anthropological material, computer processing.

Abstract: The subject matter of this research article is the moral nature of man and the principles of moral destruction during life crises. The destruction of spiritual constant is accompanied with the fear experienced by man in response to the deformation of his world view. As a result, all kinds of hallucinations may occur. The central images of these hallucinations are imps, devils and demons coming from fairy-tale folklore and fiction. At the same time, the author of the present article shows that the devilish beginning of man is, in fact, the creation of his own consciousness. In his research the author uses a combination of approaches that includes methods of historical, philosophical, psychological, literary and music analysis. This article presents a research of the phenomenon of combined divine and devilish beginnings of man. In this regard, the author focuses on man’s conscience as a guide to the divine as well as devilish features separating us from the divine. After reviewing different interpretations of the image of devil, the author concludes that all these images reflect human nature and therefore man’s ‘specific’ features such as super-villainy and hostile acts against God, provoking and punitive activity, mystification and deceit, criticism and wickedness. Therefore, it is necessary to understand the level of neuroticism of the main hero who sees a devil, in other words, the problems of the phenomenon of insanity and the entire dialectics of the implicit and explicit meanings of the existence of the main hero interacting in his own consciousness.

Keywords: image, human, the divine and devilish, evil, devil, demon, Satan, Lucifer and Ahriman, conscience and morals, conception.

Abstract: Being one of the most mysterious heroes in Goethe’s Faust, Euphorion becomes clear if we look at him from the point of view of the main theme of this book, - a birth of a perfect human. In such a case, Euphorion appears to be not only the symbol of poetry, but also a spirit who left the earth and the feminine nature behind him. He is some kind of Homunculus and one of the negative alter-ego of Faust.

Keywords: philology, Goethe, Byron, personality, Euphorion poetry, romanticism, classicism, feminity, alchemistry.