Жанры в художественном творчестве

Philosophical dialogue as a genre generated by ancient culture has become an integral part of F. M. Dostoevsky’s novels. There it acquired a distinctly religious character. In this sense, the theory of M. M. Bakhtin about polyphonic dialogue in Dostoevsky’s novels does not allow to fully explain its (dialogue’s) mystical-religious content, and even more so the hidden author’s modality – Christian assessment (“pointing finger, passionately raised”). Moreover, the question of faith in the polyphonic dialogue is not raised at all.

The article includes an analytical review of different conceptual approaches and interpretations of I. A. Bunin’s novelette “Light breathing”, which have emerged during the decades after the publication of L. S. Vygotsky’s article on Bunin’s “Light breathing”.

The article studies speech behavior of the class of Soviet intelligentsia in communicative situations of flirting. The research is based on Soviet comedy plays of the 1960s–1970s: “Dobryaki”, “Entsiklopedisty”, “Tranzit”, “Pokrovskie vorota”, “Teatral’naya fantaziya” by Leonid Zorin and “Vozmozhny varianty” by Valentin Azernikov. The relevance of the topic is related to the increased interest ofmodern linguistics in the verbal means typical of romantic discourse in general and of the genre of flirting in particular.

The article verifies the hypothesis that Leo Tolstoy’s diary has the form of a hidden dialogue of the writer with various subjects: with himself, with third parties, with God. Dialogue is understood as a form of individual development. The article determines that Leo Tolstoy’s diary represents a program of self-improvement, which is achieved through goal-setting and self-assessment. In the traditional perception of the diary genre, entries are interpreted as a form of autocommunication, carried out for the purpose of self-identification of the individual.

The semantic and pragmatic potential of statements of refusal to communicate allows shedding light on the peculiarities of the phenomenon of silence, identifying its varieties, the specifics of manifestation in the Russian linguistic picture of the world and analyzing the functionality as part of a literary text.

The article develops an algorithm of philological evaluation of a poetic idiolect, determines the components of the language competence of its carrier; on this basis presents the speech portrait of O. Mandelstam in the context of modern Russian poetry.