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Relevant bibliographies by topics / Pushkin's plot

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Academic literature on the topic 'Pushkin's plot'

Author: Grafiati

Published: 5 June 2025

Last updated: 16 July 2025

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Journal articles on the topic "Pushkin's plot"

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Markova, T. N., and E. V. Bilchenko. "Opera “Ruslan and Lyudmila” by M. Glinka: pages of history and modern times." Voprosy kul'turologii (Issues of Cultural Studies), no. 9 (September 30, 2024): 767–75. http://dx.doi.org/10.33920/nik-01-2409-01.

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The article, based on the works of musicologists, literary critics and music critics, examines the history of Glinka's fateful acquaintance with Pushkin, the birth of the opera Ruslan and Lyudmila, the reasons for the failure of its first production and modern directorial decisions of the play. The magical national poem-tale by A. Pushkin “Ruslan and Lyudmila”, despite the attacks of critics, enjoyed great success among contemporaries. Pushkin’s plot attracted Glinka because it opened up a wide scope for his melodic talent. Glinka listened to Pushkin's wishes and created a vivid performance wi

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Zvinyatskovsky, Vladimir, and Vlada Linnik. "Pushkin and George Sand." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 14, no. 25 (2021): 34–46. http://dx.doi.org/10.34079/2226-3055-2021-14-25-34-46.

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The proposed article reveals the problem of objective perception of Pushkin's skeptical attitude to the personality of George Sand and her novels. In some mystical way this skeptical attitude was connected with poet’s attitude to the personality of Anna Kern and her work as George Sand’s translator and in the same time (as Pushkin guesed) with her being George Sand’s “copy”. But Anna Kern was not “a copy” of George Sand. She was 5 years older, and her multitude love stories (including her love story with Pushkin himself) preceded the world-known George Sand’s love stories – in her life and in

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Korablev, Alexander. "CRYPTOGRAPHY OF FEMALE IMAGES IN POEM "DEAD SOULS" (STRANGER AND BLONDE)." Bulletin of the Donetsk National University. Series D: Philology and Psychology 3 (June 26, 2024): 5–18. https://doi.org/10.5281/zenodo.12540770.

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The article deals with the hidden consistency of female images in the poem "Dead Souls" by N.V. Gogol. The focus is made on the images of the "stranger" and "blonde", which are associatively correlated with the prototypes of Pushkin's plot and Dante's plan. The plot of Pushkin's allusions in "Dead Souls" arises from the correlation of Gogol's and Pushkin's characters, including Eugene Onegin, Tatiana and Olga Larina, Masha Troekurova, Masha Mironova, as well as female images in the poems "Madonna", "I remember a wonderful moment..." and others. The plot of Dante's plan is expressed in the

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ILISEI, ERICA. "REPREZENTĂRI ALE ORIENTULUI ÎN POEMUL PRIZONIERUL DIN CAUCAZ DE A.S. PUȘKIN." Slovo 14, no. 1/2024 (2025): 73–85. https://doi.org/10.62229/slv14/5.

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This paper will analyze how A. S. Pushkin's 1822 poem The Prisoner of the Caucasus reflects an imperialist perspective through its romantic representations of the Orient (Caucasus). Pushkin's poem addresses an identity question centered on the opposition between the East (represented by the Caucasus) and the West (represented by the Russian Empire). We will undertake the analysis based on the concept of imaginative geography, as developed by Edward Said in his study, Orientalism. In his poem, Pushkin unflinchingly explores the theme of freedom in a plot based on the antithesis between civiliza

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Saleh, Ayat Yusuf. "Pushkin quotes in the works of Chekhov." Journal of the College of languages, no. 49 (January 2, 2024): 135–44. http://dx.doi.org/10.36586/jcl.2.2024.0.49.0135.

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Pushkin's quotations in Chekhov's works are one of the means of expressing connections between texts, performing the most important constructive role: behind them Chekhov reveals a deep development of the plot-thematic structure, ideas and, more broadly, Pushkin's artistic philosophy. The scientific relevance of our work is the analysis of the similarities between the literary texts of Pushkin and Chekhov, and touches on quotations in Chekhov's works. Аннотация Работа посвящена проблеме функционирования пушкинской традиции в прозе А.П. Чехова . Творчество Чехова занимает уникальное положение в

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Semenova, Anastasia V. "The image of the gloomy warrior in M. M. Kheraskov's poem “Vladimir” and in A. S. Pushkin's fairy tale “Ruslan and Lyudmila”." World of Russian-speaking countries 2, no. 8 (2021): 64–74. http://dx.doi.org/10.20323/2658-7866-2021-2-8-64-74.

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The article uses a comparative text analysis of the poem “Vladimir” and the fairy tale “Ruslan and Lyudmila” to reveal a number of parallels associated with the image of the warrior Rogdai. Previously, researchers have not considered this aspect of the works in detail. The character has a conventionally historical prototype – the epic hero Rogdai is mentioned in the “Core of Russian History” by A. I. Mankiev, and his laconic description in the source sets the type of character in Kheraskov’s and Pushkin’s poems. In both works Rogdai occupies a prominent position at the court of Prince Vladimir

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Boiko, Valentina L. "Multiple interpretations of images of Spain in vocal works of composers: Comparative analysis of romances based on Pushkin's poems." Russian Studies in Culture and Society 9, no. 2 (2025): 56. https://doi.org/10.12731/2576-9782-2025-9-2-282.

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Chamber vocal lyrics of Russian composers have been the subject of study for many researchers more than once. In this sense, the diversity of approaches and methods of study becomes interesting. One of them is the method of comparative analysis, which examines vocal works of different composers written to the same poem. The poem by A.S. Pushkin "I am here, Inezilla!" was a source for the inspired embodiment of this romantic plot in music by many composers. And if the musical interpretation of this opus by M. Glinka, A. Dargomyzhsky, N. Medtner, V. Shebalin and T. Khrennikov is reflected both i

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Kikhney, L. G., and G. A. Krichevsky. "“Queen of Spades” and “Petty Demon”: Pushkinian Allusions and Their Functions in F. Sologub’s Novel." Nauchnyi dialog 13, no. 10 (2024): 252–72. https://doi.org/10.24224/2227-1295-2024-13-10-252-272.

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The problems of the undertaken research are associated with the uncertainty of the semantic mechanisms of intertextual interaction between Sologub’s novel “The Petty Demon” and Pushkin’s story “The Queen of Spades”. In the research literature, particular overlaps between these works have been noted, but the systemic semantic connection between these two texts has not yet been identified, which determines the relevance of the article. The hypothesis of the work is that Pushkin’s “Queen of Spades” serves as a structural prototype for Sologub’s novel “The Petty Demon.” This structural prototype c

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Rozin, Vadim Markovich. ""The Peasant Lady": an Existential Choice, Super-Difficult in Life, but Possible in Art." Культура и искусство, no. 2 (February 2023): 33–42. http://dx.doi.org/10.7256/2454-0625.2023.2.39727.

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The article offers a new, in fact, cultural and psychological version of Pushkin's famous story "The Peasant Lady". Various assessments of this work are given, including the author's, teenage. The author argues that the modern understanding of works of art involves an analysis of the culture in which it was created, as well as the author of this work. Realizing this installation, he discusses why Pushkin shifted to the reader the consideration of the consequences that followed from the last scene of the "Peasant Girl", when the deception-Lisa's game was revealed. According to the author, this

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Kiseleva, I. A., and K. A. Potashova. "Echoes of A. S. Pushkin's Poem “The Fountain of Bakhchisarai” in the Artistic World of M. Y. Lermontov." Russian Studies in Philology, no. 3 (2) (June 5, 2024): 66–76. https://doi.org/10.18384/2949-5008-2024-3-2-66-76.

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Aim. To reveal the influence of Pushkin’s poem “The Fountain of Bakhchisarai” on Lermontov’s artistic world, on his ideas about the female ideal and the essence of love.Methodology. The object of the study is Lermontov’s reception of Pushkin’s poem “The Fountain of Bakhchisarai” in the aspect of the artistic implementation of its plot, imagery, and spiritual content. Through the analysis of such Lermontov’s works as “The Georgian Song”, “Two Slaves”, the poetic message “On secular chains ...”, a holistic study of Lermontov’s dynamic perception of Pushkin’s poem is given. The methodology of the

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Dissertations / Theses on the topic "Pushkin's plot"

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SUI, KAO CHANG, and 高嘗穗. "PUSHKIN'S FAIRY TALES -- HERO, PLOT, CONFLICT." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/11638888863024167112.

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Books on the topic "Pushkin's plot"

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Andreev, Anatoliy. Personocentrism in classical Russian literature of the XIX century. Dialectics of Artistic Consciousness. INFRA-M Academic Publishing LLC., 2021. http://dx.doi.org/10.12737/1095050.

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The monograph is devoted to the study of the brightest phenomenon of the world art culture — Russian literature of the "golden age", which was formed as an aristocratic, personocentric literature. Russian Russian literature began to realize its "cultural code", its purpose, which was close to it in spirit; moreover, it unconsciously formed a program for its development, immediately finding its "gold mine": elitist personocentrism as a highly promising vector of culture, which became a decisive factor in the world recognition of Russian literature. The end-to-end plot of the book was the spirit

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Book chapters on the topic "Pushkin's plot"

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Paderina, Ekaterina G. "Gogol’s “The Carriage”: Problems of Text Criticism with a Parody Author’s Task." In Questions of Source and Text Studies of Russian Literature of the 19th Century. Collection of articles based on the materials of the International Scientific Conference. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0687-1-91-126.

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Criticism of the text of Gogol’s story “The Carriage” is complicated by the absence of a blank autograph and discrepancies between the two printed editions — in Pushkin’s “Sovremennik” (1836) and in the “Works of N. Gogol”, edited by N.Ya. Prokopovich (1842). The article substantiates the importance of such an additional factor as the parodic nature of the story in solving еditional problems. For a long time, “The Carriage” was perceived only as a joke and household satire. In the 1990s, Gogol studies began to discuss the parody specifics of the genre of this work. The specific characteristics of the story are the comic stylization of popular literary signs of the middle of nowhere, the mores of landowners, the habits and entertainment of provincial and quartered regimental officers, plot and compositional stereotypes, speech patterns, etc. At the same time, the parody level is subordinated to an independent literary plot, a holistic comic image. The author of the article is convinced that Gogol’s intention of parodying narrative cliches and the parodic nature of the narrator’s speech figure should be taken into account when solving textual and traditional problems, including attribution of editorial edits in two printed sources — to Gogol himself, Pushkin and Prokopovich.

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Yerik, Gulnur. "STATISTICAL ANALYSIS AND WAYS TO ACHIEVE TRANSLATION AUTHENTICITY (KAZAKH TRANSLATION OF A. PUSHKIN’S FAIRY TALE)." In Synergy of Languages & Cultures 2023: Interdiscipilinary Studies. St Petersburg State University, 2024. http://dx.doi.org/10.21638/2782-1943.2023.34.

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This article is devoted to the application of the statistical method in the analysis of variances in the process of translating Pushkin’s literary fairy tale into the Kazakh language. The results obtained allow us to develop recommendations for achieving translation authenticity and identify factors for the effective integration of another text into the receiving culture. Using the example of the analysis of the translation of A. Pushkin’s “The Tales of the Fisherman and the Fish” into the Kazakh language, A. Baitursynov shows the connection between the criteria of translation authenticity and the use of culture-oriented strategies — domestication, foreignization and estrangement. The role of the cultural grid is also revealed. Comparing the original and the translation, the significance of the laugh poetics and the paradoxical nature of Pushkin’s fairy tale, characterizing the method of the Russian writer, was substantiated. The use of a cross-cultural approach in combination with the statistical method revealed the role of the fairy tale as an object of cultural transfer and transcultural mission. To systematize the features of the literary specificity of a translated fairy tale as an object of ethno-translation, the main thing was the translator’s reproduction and analysis of the identity of the original. The generalization of translation derivations in a translated fairy tale is based on the study of lexical, grammatical, and sound levels that determined the menippean features of Pushkin’s fairy tale. The development of recommendations for the creation of accurate translations should take into account such signs of the literary specificity of Pushkin’s fairy tale as the relationship between the ratio of the plot (fabula), plot and genre, and the ways in which the author influences the addressee. The study of Baitursynov’s translations showed the successful solution of translation problems from these positions. The study of Baitursynov’s translations showed the successful solution of translation problems from these positions. The choice of translation and the connection between the purpose, strategy and result of translation showed the dominance of domestication and estrangement. The principles of domestication based on parody, linguistic and literary play and reliance on the phrase about the resources of the native language have shown. The authenticity of the Kazakh translation is shown through the estrangement as a factor of the author’s style. It has been proven that turning to statistical methods for processing the analysis of a literary work ensures the reliability of the results and the development of recommendations for achieving the authenticity of the translation.

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Markova, Elena I. "A Bride and a Bear: the Transformation of Pushkin’s Plot in Nikolai Klyuev’s “Song about the Great Mother”A Bride and a Bear: the Transformation of Pushkin’s Plot in Nikolai Klyuev’s “Song about the Great Mother”". У Sergey Esenin, His Contemporaries and Successors: Сollective Мonograph to the Аnniversary of N.I. Shubnikova-Guseva. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0718-2-510-530.

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The article is based on the comparison of the wedding plot in N.A. Klyuev’s epic song and S.A. Pushkin’s novel “Eugene Onegin.” In the “Song...” the wedding issue deals not only some private life but rather the whole country. If the wedding takes place or not implies another question: will Russia be safe or not? Will it exist or not? That is why Pushkin’s Tatiana as a canonic image of a bride in Russian literature fully matches Klyuev’s idea of epic songs describing faith issues and Russia’s path to salvation. Tatiana is perfect, because she passes the temptation and stays a true Christian. Klyuev’s Parasha also stoically with stands the trials. Just like in the folk tradition the wedding doesn’t mean the wedding feast only but some special wedding rituals, both texts describe anticipation of love through its tragic end. Comparison of both characters and events is multilevel (pragmatic and symbolical): names, appearances, behaviours, places, choices of loved ones, an encounter with a bear etc. A comparison of both texts helps to understand better the symbols and events in the “Songs…” and gives new clues to the great novel.

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Borisov, Boris N. "THE MOTIF OF THE FEAST IN PLATONOV’S WORKS OF THE 1930s." In Andrey Platonov’s “Country of Philosophers”: Unanswered Questions, vol. 9: Anniversary Issue. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. http://dx.doi.org/10.22455/978-5-9208-0745-8-286-299.

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The article attempts to comprehensively consider the representative function of the scenes of a joint night feast in the works of A.P. Platonov in the 1930s. The research material is the first part of the unfinished “Technical Novel,” “Hurdy-Gurdy,” “Happy Moscow,” and “Jan.” The analysis of micro motifs, compositional techniques, and plot situations revealed the presence in these texts of elements of the feast narrative and various cultural and historical variants of the feast topos representation. In particular, the article exposes such sources of Platonov’s feast motif as the ancient symposium and its satirical version in late Roman literature, the New Testament motif of the marriage feast, the image of the late feast of Golden Age poetry, “perverse” feasts in Pushkin’s “little tragedies,” the aesthetics of the still life of the late avant-garde. The appeal to one or another cultural tradition of depicting a feast is accompanied by its total revision in Platonov’s works, leading to the deconstruction of its original semantic and emotional content. The result of the artistic development of the world tradition is the formation of the author’s plot-motif complex of the feast with its inherent mortal connotations and negative semantics.

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Kupchenko, Tatiana A. "The Meaning of Dantean Images in the Architectonics of V. Mayakovsky’s Poem “About This”." In The Works of V.V. Mayakovsky. Issue 5: Interdisciplinary Approaches and Global Reception (For the 130th Anniversary of the Poet’s Birth). A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. https://doi.org/10.22455/3034-4026-2024-5-60-88.

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The article examines the tradition of comparing Mayakovsky with Dante, as well as the symbolist perception of his work, adopted by the poet. “The Divine Comedy” represents the metalanguage of the era of symbolism and post- symbolism, and Mayakovsky draws on Dantean motifs to expand the meaning of his works to the timeless. The frequent use of indirect motifs — allusions to Dante through the prism of another author — is a feature of Mayakovsky’s poetics. Symbolists mythologized Dante as an ideal poet, the creator of the poetry of “heavenly ascent”. Mayakovsky makes references to Vyach. Ivanov and his “Cor ardens”, articles “Thoughts on Symbolism” and “On the Boundaries of Art”, in which the latter examines the nature of symbol using examples from Dante’s “Comedy”; “The Ballad of Reading Gaol” and the essay “The Critic as an Artist” by Oscar Wilde, who recreated the plot of “The Divine Comedy” in prose. The title “About That” is akin to the poetics of obscure meaning used by Dante. Pushkin (“this and that”) used it in a playful form, and younger symbolists actualized the secret path of the initiate, captured by Dante with its help. Also considered is the motif of sleep (referring to Pushkin’s “Tatyana’s Dream”), motifs of the river, animals (bear, skin / lynx, lion and wolf), the lower animal nature of love (the crime of Paolo and Francesca / Raskolnikov) in contrast to higher love (Mayakovsky’s beloved / Beatrice); ice as the absence of love, a marker of hell; the motive of the prophetic and saving poetic gift, effective in the cause of the universal salvation of mankind; the elevation of man and human nature. These motifs, characteristic of both poets, sound like Dante’s even in the lyrical poetry of V. Bryusov and A. Blok. The motif of hope also stands out. The images of Paradise were also created with reference to Dante: they include a ship/ark/poetry; a gaze, the Sun (God) and its connection with the SATOR square and the concepts of Truth, Goodness and Beauty; the chemist and the problem of bodily resurrection. Mayakovsky’s Paradise compositionally echoes Dante’s: the finale of the poem is built on the emotional affirmation of his own credo (the chapters “Faith”, “Hope”, “Love”, the image of the Universe-as-a-book).

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Khoreva, Larisa G. "Picaresque Traditions in Nikolai Gogol’s Works." In The Non-Euclidean Geometry of Yuri Mann: In Memoriam. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. http://dx.doi.org/10.22455/978-5-9208-0754-0-198-207.

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This article makes use of componential and comparative methods to trace the influence of the Spanish picaresque novel on classical Russian literature. It draws on material from the works of Mateo Aleman, Francisco de Quevedo and Nikolai Gogol. Picaro as a modal personality in the Weberian sense of the word appears in different works of Russian literature, including “The Captain’s Daughter” by A. Pushkin, who largely repeated the structure of the Spanish picaresque novel and its main plot lines in an attempt to create the first historical novel in Russian literature. Gogol made use of Picaro’s mask as a mirror reflecting the vices of contemporary Russia. The heroes of Gogol’s works undergo a school of life that becomes a vivid example of anti-education. The latter engenders an antihero who exists in full agreement with the behavioural patterns of contemporary society. All of this shows that the memory of the Spanish picaresque genre clearly manifested itself in selected works of Russian literature.

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KOCSIS, Lenke. "Interfiguralitás, tematikus áthallások és formakövetés a magyar irodalom verses regényeiben." In Diskurzus, kultúra, reprezentáció / Discurs, cultură şi reprezentare. Scientia, 2024. http://dx.doi.org/10.47745/sapvol.2024.02.

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The characteristics of the genre popular in 19th-century European literature, at least in the Byronic-Puskinian tradition, are surprisingly well-defined in Hungarian literature, or at least as far as the traditional understanding of verse novels is concerned. In the 19th century and the first half of the 20th century, the use of the ottava rima and the Onegin stanza, as well as variations of these forms were quiet common. The connection in form is usually not a stand-alone phenomenon; it is also accompanied by thematic similarities, which can be found at the level of tropes, plot patterns, and allusions. One of the rarer forms of intertextual relations, interfigurality, can also be part of these attachments. This can be as obvious and clear as in the case of a recurring literary character, for example the title character of Marcell Benedek’s The Resurrection of Don Juan, or a subtle connection, a combination, and/or contamination, like the protagonists of László Arany’s verse novels Hero of Mirages and János Térey’s Paulus, can be related to Pushkin’s Eugene Onegin. The paper aims to map some of the potential genre characteristics of the verse novel with the help of the examined connections in the verse novel of Hungarian literature.

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Kalavszky, Zsófia, and Alexandra Urakova. "On the Borders of Text and Cult." In At the Crossroads of the East and the West: The Problem of Borderzone in Russian and Central European Cultures. Institute of Slavic Studies, Russian Academy of Sciences, 2021. http://dx.doi.org/10.31168/4465-3095-3.08.

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The essay focuses upon interrelated phenomena of literary cult and cultic text. Bearing on the conceptual ideas of Sergey Zenkin and Péter Dávidházi, we problematize the boundaries between text and cults on the example of two case studies. One has to do with one of the recent interpretations of Uncle Tom’s Cabin, a nineteenth-century bestseller novel that had a great impact on literary and political life of the United States in the antebellum period. David S. Reynolds argues that Ulyanov-Lenin’s escape from the Finnish mainland by breaking their way on the broken ice of the river to an island might have been inspired by his reading of Uncle Tom’s Cabin where a fugitive slave Eliza does exactly the same thing. This essay invites to see this random encounter of the East and the West, the fictional and the “real” not as a curious anecdote or coincidence but as a mechanism of inventing cultic texts. What happens when one of the prominent figures of the European historical narrative, the crown prince assassinated in 1914, reads the works of the Russian poet before the fatal day in Sarajevo? Milorad Pavić is building his short story„“Prince Ferdinand Reads Pushkin” upon recognizable allusions to Pushkin texts, the similarities and differences, the fatal and the accidental in the stories of the poet shot in the duel and the Austrian crown prince being a victim of an assassination – two intersective storylines that may be described as “isomorphic plots.” Pavić’s short story is a unique voice in the so-called twentieth century “Pushkiniana,” speaking both within and beyond the Pushkin myth and cult.

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Marullo, Thomas Gaiton. "Conclusion." In Fyodor Dostoevsky-The Gathering Storm (1846-1847). Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501751851.003.0005.

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This chapter recounts how Fyodor Dostoevsky was decidedly not on the straight and steady path that Pushkin and Gogol, Turgenev, and Tolstoy appeared to travel to glory and fame in 1846 and 1847. It elaborates Dostoevsky's feelings of going off the rails in literature and life when he published The Double, Mr. Prokharchin, The Landlady, and A Novel in Nine Letters after he released Poor Folk. It also describes the disturbed and deranged characters, complex and convoluted plots, and winding and windy prose of Dostoevsky's four works that caused former admirers and fans to lose faith in him and look elsewhere for solutions to national problems. The chapter speculates about scenarios of what would have happened if Dostoevsky had handled the success of Poor Folk in a more humble and judicious way.

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Pyatkin, Sergey N., та Tatiana V. Leontyeva. "“Oh, The Miller!”: about One Character in the Poem by S.A. Esenin “Anna Snegina”". У Sergey Esenin, His Contemporaries and Successors: Сollective Мonograph to the Аnniversary of N.I. Shubnikova-Guseva. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0718-2-172-190.

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Characteristic features of the poetics of “Anna Snegina,” as in Pushkin’s “Eugene Onegin,” are different kinds of contradictory “cohesion” in the text of Esenin’s work. The article focuses on the plot and image structure of the poem, where, as it is assumed, the image of the miller occupies a key place, serving as a point of attraction and at the same time generating the center of all contradictions in the depicted world of “Anna Snegina.” It is noted that the semantics of the images of the mill and the miller, specific to folklore and mythological discourse, is clearly manifested in various semantic variations in a number of works of Russian literature, defining the originality of the love storyline and forming a stable literary tradition, which is reflected in Esenin’s poem. At the same time the Esenin’s miller does not always correspond to the traditional images — both folklore and literary, which is analyzed in detail in the article. The research establishes that the absence of political convictions, opinions, reflexive manifestations in the miller as a character of the poem puts him outside society, outside the human world in general — he is not involved in it and unfolding historical events. However, without the miller the plot of “Anna Snegina” would not have taken shape. He is a guide, a voluntary mediator, and this is his purpose in the text, and for the fulfi llment of such a “functional” neither the miller’s work, nor the mill, nor the magic and sacred knowledge imputed to the miller in folk culture are don’t matter. The miller is a poetic image, a literary function, free from the burden of the ordinary and mystical, but skillfully, with thin threads, connected with the mythology of the miller as a guide between worlds. It is argued that the special role of the miller in the fi gurative structure of the text, connected with the multidirectional manifestations of folklore and literary traditions in relation to the “mill scheme” in “Anna Snegina,” give rise to the effect of contradictory “cohesion”, which are a “conscious constructive idea” (Yu.M. Lotman) of Esenin’s work.

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Conference papers on the topic "Pushkin's plot"

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Bazant, L. "PUSHKIN AND TOLSTOY: PLOT LINES OF THE NOVELS «EUGENE ONEGIN» AND «ANNA KARENINA»." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2023. https://doi.org/10.17223/978-5-907572-02-7-2023-73.

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Т.М., Хацкевич. "THE PUSHKIN TRADITION IN RUSSIA AND EUROPE: CLÉMENTINE BEAUVAIS’S IN PARIS WITH YOU AND EVGENIYA TUR’S A MISTAKE." In АЛЕКСАНДР СЕРГЕЕВИЧ ПУШКИН КАК КУЛЬТУРНЫЙ ФЕНОМЕН. Crossref, 2024. https://doi.org/10.54874/9785605245797.2024.2.09.

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В современной литературе наблюдается устойчивый интерес и обращение к произведениям классиков, в связи с чем является актуальным исследование произведений Клементины Бове «Ужель та самая Татьяна?» и «Ошибка» Евгении Тур, в основу которых положен сюжет романа в стихах «Евгений Онегин» А.С. Пушкина. Представляется интересным сравнить два произведения разных временных периодов, так как ранее между ними не проводились аналогии. Основной целью является изучение отечественного и европейского подходов к переписыванию существующего сюжета. In contemporary literature, there is a sustained interest in a

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Туминская, О. А. "“TALES OF THE EAST”: REMINISCENCE OF ARTISTIC AND PLASTIC TECHNIQUES (SET DESIGN, PORCELAIN)." In Искусство и дизайн: история и практика. Crossref, 2024. http://dx.doi.org/10.54874/9785605162995.2024.9.08.

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Материал к статье подобран в рамках подготовки научных мероприятий в честь празднования 225-летия со дня рождения А. С. Пушкина. Цель — осветить и проанализировать образцы фарфоровой пластики из хранения декоративно-прикладного искусства Государственного Русского музея с позиции художественно-образного решения формы и изображения, сравнить оформление сцены, увидеть «малое» в «большом» и «большое» в «малом», проследить историю музейной экспозиции «пушкинских» выставок, обратить внимание на сюжет «Бахчисарайский фонтан», увидеть связь «подражательства» и «реминисценции». Изображение А. С. Пушкин

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Proshkina, E. V. "COLOUR AND LANDSCAPE AS A MEANS OF PLOT DEVELOPMENT AND IMAGE CREATION IN THE WORKS OF ALEXANDER PUSHKIN." In АЛЕКСАНДР СЕРГЕЕВИЧ ПУШКИН КАК КУЛЬТУРНЫЙ ФЕНОМЕН: ПРОБЛЕМЫ, ПОДХОДЫ, ИНТЕРПРЕТАЦИИ. Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604831045_40.

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