In the Foreword to the publication of excerpts from the Freienberg's Memoirs on Russian Revolution the author quotes letters written by Olga Freidenberg in 1917-1918. And makes a comparison of the three points on the chronological axis: the letters are from 1917-1918 and memoirs from 1937 and 1947 The comparison provides a picture of rethinking and reviewing of the February and October revolutions implemented by outstanding scholar and B.Pasternak's cousin and correspondent Olga Freidenberg.
In the article short stories by M.N. Zagoskin, E.A. Baratynsky and M.N. Chulkov are considered as the "protomysteries" (Zagoskin's "White Ghost" and Baratynsky's "Ring") and as the "embryonic mystery" (Chulkov's "Bitter Lot"). The works by Zagoskin and Baratynsky are for the first time placed in the context of the detective fiction.
The question of Dostoevsky’s attitude towards Stendhal’s oeuvre remains unanswered. In the absence of direct references, the author suggests searching their works. The novels The Red and the Black and The Adolescent [Podrostok] share in common the issues of a young man’s psychological coming-of-age. Both in their late teens and coming from a peasant background, Julien Sorel and Arkady Dolgoruky are thrown into the alien social milieu of the capital
city. Another similarity is the contrast between the immature ideas about life and life as the writer perceives it. In Stendhal’s book, the contrast is depicted as a catastrophic disruption of all social ties, which allows the hero to see the world with new eyes right before his demise. Dostoevsky, on the other hand, shows the process of maturing as a gradual development of new social ties. The comparative analysis of the two novels enables better appreciation of the distinctive character depiction for the two protagonists, and reveals common features that suggest Dostoevsky’s awareness and interpretation of Stendhal’s artistic experiments.
This is a study of the fiction writing of French Rococo-era novelist Crébillon-fils within the wider context of 18th-century French Rococo prose, which was distinguished for a close attention to the objective world, expressed in both the detailed description of objects and in the choice of an object (fetish) as narrator. Picturesque descriptions of secluded mansions full of luxurious furniture are explicitly associated with gallant aesthetics and libertinage. These descriptions of residences intended for amatory seclusion are essential to reveal the affectation of the temptation rhetoric which, an anachronism even then, is required to enhance the aristocratic status of the participants in the erotic communication that unleashes the situation where the gallant ‘takes advantage’ of his lady’s weakness. The monologue of the animated object, Rococo fiction’s narrator of choice, bears witness to changes in the poetics of the adventure story, expressed in a departure from the strategies of the picaresque novel and the well-defined first person of the picaro. Rococo fiction drifts towards panopticism as it endeavours to overcome the limitations of the individual view and opts for a greater scale and universality of description in which the observer is invisible to the observed.