Which means such a concept as a memory of the genre. Musical masterpiece in sixteen tacka

At all times, memory is so initial, the natural code of perception of reality, history, the future, which is rarely recognized by the analyzing consciousness. To a certain extent, the cause of the invertation of this phenomenon explains M.M. Bakhtin: "Memory of the Nadindividual Body", "Memory of Configuous Being" "cannot be expressed by one-sided concepts and monophonic classical images," since "in terms, even nonynonyous, there is a stabilization of values, the weakening of the metaphorical force, is lost a lot of sense and game values \u200b\u200b"(Bakhtin, 1986: 520). Nevertheless, as one of the widest and most fundamental categories, it can be perceived as a metacategory of literary studies, as genetically fiction, like culture as a whole, is one of the methods of collective memory, oriented to specific conservation, consolidation and reproduction of individual skills and group behavior.

In the broadest sense, the memory has a total category that defines what remains from the past, a peculiar "database" of past experience and information. At the same time, it is not only a "passive constant information repository", but also generating, creative mechanism for its preservation. Obviously, this is an extremely general definition requiring clarification in each specific study.

In this paper, the value, methods and means of expression, poetic memory functions in the artistic consciousness of the XIX century are being studied.

The peculiarity of human memory is that this is not natural and natural, but a socio-cultural memory, which for a separate person develops from knowledge of its origin, about the son of childhood, about its Ya. In philosophical language, this is called self-awareness that, In turn, conjugates with the concept of freedom. But neither self-consciousness, nor freedom can be in humans, deprived of cultural and historical memory: the knowledge of its own history, the experience of the story as the process of turning the future at present, the present - in the past, culture, aware of themselves as a "reflecting" history of human development ( Davydov, 1990).

The degree of development of the problem. The first attempts to understand the phenomenon of memory We are still at Aristotle in the treatise "On Memory and Memory" and at the dam in the treatise "On sensation and memory". But a versatile and multifaceted study of the problem was started only in the XIX century., Above all in psychology and philosophy. The main works about the memory written in the 20th century A. Bergson, P. Zhana, A. Leontiev, F. Bartlett, P. Blonsky, are a clearly pronounced philosophical character, although they lay the founded of a literary approach to the problem.

It is believed that an important stage in the philosophical understanding of memory problems is associated with the report of Evald Gering "Memory as a universal function of organized matter", read by him in 1870 at the session of the Academy of Sciences in Vienna. In the concept of Goering, the memory is not only a generalized designation for certain biological and psychological factors, but also an explanatory principle. Development of skills, memories of past events in the life of the individual, the stagnation of its development, the birth of a new generation, the transfer of traditions and the continuity of the morals - all this finds its explanation in a single, universal property of organized matter - memory. H.-g. Gadamer will go further, insisting that "preservation in memory, oblivion and remember re-belong to the historical states of a person": "It's time to release the phenomenon of memory from psychological equalization with abilities and 4 to understand that it is an essential feature, of course, historical being man "(Gadamen, 1988: 57).

But if initially the memory is emotionally personality, then in culture from multivariate, the variety of modalities of personalities and microbroup is formed by a movable, changing, but holistic image of the past. Standing back in the XIX century. Interest in collective ideas (E. Durkheim), collective psychology (Leboon, Tard) was inevitably uninterruputed with the research studies. So the next step was made, and the memory was in the center of attention of psychology (3. Freud, K.G. Jung, V.M. Bekhterev, Ji.C. Begotiy, A.N. Leontiev), Social Sciences (M. Halvbaks, P. Zhana, N.A. Berdyaev, R. Bart, K. Becker) from the point of view of collective, as well as communication of individual and collective. So, M. Halbvaks in the "Social Border Memory" book pays a lot of attention to the problem of group differentiation of "collective memory". The researcher believes that a person keeps the past as a member of the group, or, more precisely, it reconstructs it is constantly anew, based on the group's experience to which belongs. In his opinion, there is a "collective memory" of families, religious groups, social classes (YALBWACHS, 1969: 421-422). We add that the concept of mentality in modern historiography (in particular, French) is built on the extravalistic aspects of individual consciousness on the extraordinary aspects of individual consciousness, along with unconscious, everyday, automated in human behavior. But it is difficult to agree with the denying Halbwax of the very possibility of the existence of an individual memory, which would not fully define a social context. The memory of the individual is not only a passive capacity of thoughts and memories of other people, it can be viewed as a creative and transforming mechanism. The French researcher M. Dufren in "Notes on the tradition" sees everything through personality (1A Tradition Passe<.> PAR TINDIVIDU "):" Tradition is not just a social 5 fact, objectified in public institutions and customs that we obey: the tradition is the presence of the past in ourselves, making us sensitive to the influence of this social fact "(Dufrenne, 1947: 161 ).

Thus, we can talk about the memory of a separate personality, the intersubject collective memory of social groups and extraval informal memory of the culture.

Social memory is not manifested as a simple component of individual memories, but as a certain, extremely complex and controversial, the intentional process of recreating the past at the current present.

Already in the XIX century. The concept of memory of the category of social and artistic consciousness does, above all, the moral aspect. Memory, like forgetting, becomes a key indicator of moral qualities -like, family, social, civilian. It has a specific moral and value measurement, the understanding of which seems relevant both for philosophical-ethical theory and for literary studies. In this case, the memory acts as a reflexive process of creating an event relating to the past, but receiving a value-semantic assessment in the present. Indeed, the memories of the individual are not just a mechanical summation of the past, they simultaneously have the property of the emotional and intellectual interpretation of the past, which reflects their identity assessment. Modern philosopher B.C. The bible compares morality ("This, today the conscience tormenting me") with a trunk of an asponed tree, whose rings symbolize the historical forms of moral ideas. The "trunk" of morality is more powerful, the more in his section of the "annual rings", the moments of our conscience, "the researcher says, offering" to slowly penetrate into the "annual rings of wood cut", "spirits6 but rely on historically unfolding moral memory" ( Bible, 1990: 17). Such an approach, anthropocentric in its essence, as it actualizes the axiological aspect, namely the study of the place and role of memory in the spiritual and practical development of the world of the individual. The memory of essentially turns out to be interpretation, each depicted memory - reinterpretation. And in the fact that memory prefers to transform, and not copy, its similarity is manifested.

But in the art, the moral aspect is inseparable from aesthetic. This has more than once emphasized Academician D.S. Likhachev In his book, he writes: "It is customary to divide the time for the past, present and future. But thanks to the memory of the past enters the present, and the future is predicted by the present, connected with the past. Memory - overcoming time, overcoming death. This is the greatest moral meaning of memory. The memory of the past, first of all - "light" (Pushkin expression), poetic. She brings up aesthetically "(Likhachev, 1985: 160, 161). MM Bakhtin also insists that the memory "owns the gold key of aesthetic completion of the individual."

The study of the ethical and aesthetic aspects of the category of memory and should be the subject of systemic teaching about the memory of literature.

It suffices to recall the development of memory learning problems in the work of the French philosopher Henri Bergson "Matter and Memory. Essay of the interconnection of the body and spirit ", which appeared in 1896, the memory was considered by scientists in a number of such categories as the duration, freedom, intuition. To understand the mechanisms of memory work, and ultimately - the nature of intuition or the process of knowledge, Bergson explored the isolated pure perception and clean memories, the memory of the body and the memory of the Spirit, the memory mechanical and memory-image. The orientation on the Bergson is also explained by the thesis of phenomenologists that in the memoir we will learn themselves in our feeling spiritualized physicity. In a complex process of recalling 7, the memory of the body, formed from the set of sensor systems organized by the habit, "only a means of materialization of" subconscious memories ", since" In order for the memoir to appear again in consciousness, it is necessary that it goes down from the height of pure memory

To the strictly defined point where the action is performed "(Bergson, 1992: 256).

For our study, it was fundamentally important to understanding the connection of memory and thinking in the work of P.P. Blonsky (Blonsky, 2001). The scientist showed that four types of memory are motor, affective, shaped and verbal - are four consecutive stages of human mental development. Methodologically, the opinion of Pierre Jean's opinion that the real memory arises only using the language, because only then the possibility of description appears, that is, the transformation of the missing in the present. Therefore, truly human memory

This is a memory-narration (recit), a means of mastering a person with its own internal subjective world, structurally decorated in speech. And only when the logical-grammatical design of communication begins to play a particularly important role, the concept of this, and then the future and past one occurs. Time orientation has an opposite effect on memory, turning it into a logical memory based on the awareness of the necessary communication of events. Finally, since in terms of the structure of the psychological mechanisms participating in these processes, memory is "retelling themselves", it causes the development of the language (Janet, 1928: 205, 219, 221, 224, 225). The correlating role of memory in the structure of consciousness considers S.L. Frank: "" Memory ", as you know, there is a common name for the aggregate of many diverse phenomena and the features of mental life and consciousness" (Frank, 1997: 149). In the work of "Soul of Man" S.L. Franca special

the section is devoted to the nature and meaning of memory, its phenomenological 8 entity. The philosopher comes to the conclusion: "Memory is self-knowledge or self-awareness - knowledge of the internal content of that subjective Mirka, which we in the broad sense of the word call our life." "Strictly speaking, this substantive world exists only by virtue of the memory" (ibid: 150) as "spheres in which the absolute alliance of being in contact with the private potential of our spiritual life" in the "ultra-long unity of our consciousness" (ibid: 152) . U g Spet We find an understanding of the "cultural consciousness" as "cultural memory and the memory of culture" (Schlock, 155, 156). On the history of culture as "the history of human memory, the history of memory development, its deepening and improvement," says D.S. Likhachev (Likhachev, 1985: 64-65).

Genetically fiction, as well as Kulaur as a whole, there is one of the methods of collective memory, focused on specific conservation, consolidation and reproduction of the skills of individual and group behavior. An interesting theoretical model of relations between memory and culture is formed in the works of Yu.M. Lotman and B.A. Assumptionsky (Lotman, Uspensky, 1971: 146-166; Lotman, 1992: 200202).

Any culture, in their opinion, consists of memories, encoded elements of the preserved past experience, which exist in a wide variety of forms, ranging from written texts, monuments, works of art and ending with folk customs, rites and traditions, all the fact that Lotman and Assumption generalizable Call "Texts". Accordingly, according to I.P. Smirnova, the memory becomes a semiotic concept: "Semantic memory forms information learned by an individual not from the world directly perceived by him, but from any kind of substitutes of actual reality. In other words, semantic memory is the storage of texts with us and 9 messages "(Smirnov, 1985: 135). Yu.M. Lotman examines the culture as the "non-treating memory" of the team as a "nadindividual mechanism for the storage and transfer of some messages (texts) and developing new". Any cultural memory, in his opinion, forms a context. Any context is a component of a wider system of cultural memory (social, intellectual, religious), one whole, consisting of interdependent parts connected by a common idea or a scheme.

The long-term memory of the culture is determined by a set of texts that exist for a long time, with the corresponding codes. Together they form cultural space, the "space of some common memory". The texts preserving texts contain certain semantic invariants that can be updated and revived in the context of the new era. Under the semantic invariant, Lotman implies something, in all its various interpretations, preserving "identity to itself." Any invariant is already determined by part of cultural memory. Therefore, according to I.P. Smirnova, "Further development of an intertextual theory will have a closer to the theory of memory" (ibid.). The idea that the invariant generates options will be fundamental for this study, since for the literature of the XIX century. The highest degree is characterized by a wide register of variations of invariant motifs from imitation to overththenough.

Depending on the type of saved information, the texts are disintegrated into two categories. The first, according to the terminology of the lotman, are texts of "informative memory." They retain the actual, scientific and technological information. Informative memory "has a plane<.> Character, "because it" is subject to the law of chronology.

It develops in the same direction as the course of time, and I will agree with this course. " The second category includes the texts of the "creative (creative) memory", which Lotman calls "the memory of art". For the creative memory "The whole strata of texts" is "potentially active".

On the transforming role of memory indicates P.A. Florensky, for whom, "Memory is the activity of a mental assimilation, i.e. Creative recreation from the ideas - what opens with mystical experience in eternity "(Florensky, 1914: 201). When we talk about artistic creativity, we care about not so much the accumulation of information about reality, how much to transform this reality with the imagination of a person in a potentially creative union with cultural memory. Therefore, an extremely important thing to understand the nature of artistic creativity is the connection of memory and imagination, notified by Aristotle and Dam. The object of memory for them is the images, representations. Imagination, who has already disappeared the feeling of "remembers". Awareness of communication and imagination is present in the first work of Ji.h. Tolstoy "Childhood": "So many memories of the past, when you try to resurrect the features of your favorite being, that through these memories, like through tears, you vaguely see them. These are tears of imagination "(I: 8). Essentially, the mechanism of interaction between memory and imagination was named A.N. Veselovsky, highlighting "poetic formulas" as "essential for communication elements": "These are nervous knots, touching the ranks of certain images in us, in one more, in another less, as we develop, experience and ability to multiply and combine caused Associations "(Veselovsky, 1913: 475).

I. Kant in his "anthropology" describes the connection between memory with reason, with imagination, sets out the division of memory to "mechanical", "symbolic", and "systematic" (Kant, 1900: 57-60). The division of memory and on the "natural" and "artistic" we find in the rhetoric of Stephen Yavorsky "rhetorical hand" translated from Latin in the early 1710s., But, unfortunately, the concept of "artistic memory" remains outside the national theoretical literary consciousness of the XVIII century.

In Russian cultural tradition, interest in memory problems is activated from the end of the XIX century. About the creative power of memory more than once says I.A. Bunin, opposing his "everyday sense" of the concept: "The following in the blood, secretly binding us with dozens and hundreds of generations of our fathers who lived, and not only existent, the memories of this, religiously sounding in our whole creature, and there is poetry, the sacred heritage Our, and it makes poets, dreams, the priests of the words introducing us to the Great Church of the living and the dead. Because it is so often true poets so-called "conservatives", i.e. Guardians, adherents of the past "(Bunin, 1997: 195), possessing" especially lively and especially figurative (sensual) memory "(V: 302). Therefore, the words that the Bunin "Life of Ar-Senyev begins," things and things, it is not written, the TMO is covered and the coffin of unconscious is indulgent, written is animate in animate. " (VI: 7). According to O.A. Astashchenko, this quote, borrowed in a somewhat modified form from the handwritten book of the Pomeranian preacher XVIII century. Ivan Filippova "The story is brief in the answers), asks the tone to the whole narration, being a kind of epigraph to the novel (Astashchenko, 1998: 12). The image of the "memory mirror" as an adequate display of the past is not accidental. Although the artist is not a mirror, selective and is creative. According to the late Bunin, artistic memory is able to exalt the person over the chaos of the passing life.

Vyach. Ivanov also interprets the memory as a collective power of being, not giving the world to crumble into a chaotic non-existence, called the "oblivion" researcher. It distinguishes the memory of the Empty, Memory

12 Eternal and easy memory. The meaning of this diversity is to postulate the energy impact of the memory of the eternal memory and through it - on human memory.

MM Bakhtin in the Later Notes, reflecting on the "model of the world underlying every artistic image", also appeals to the "great experience of mankind", in which "Memory, which does not have borders, memory, descending and leaving for the daughre depths of matter and inorganic life of worlds and atoms, "persists in the" Millenniums system of the wellms of folklore symbols ", providing" intellectual comfort of the obsolete millennial thought of the world "(as opposed to" symbols "of official culture" with their "small experience", pragmatic and utilitarian). And the history of a separate person begins for this memory long before the awakening of his consciousness (his conscious "I") ". "This big memory is not a memory of the past (in an abstract-temporary sense); Time is relative in it. What is coming forever and at the same time irrevocably. Time is not a line here, but a complex shape of the body of rotation. " Responding to a question, "In which forms and spheres of culture is embodied," a great experience, big, not limited to the practice of memory, "Bakhtin stands out:" Tragedies, Shakespeare - in terms of official culture - their roots goes to outside the symbols of great folk experience. Language, nonposable schemes of speech life, symbols of laughter culture. Not recycled and not rationalized by the official consciousness of the world "(Bakhtin, 1986: 518-520).

Modern Literary Studies on Memory Problems, and there are more and more (Maltsev, 1994; Ryagovov, 1998; Thompson, 1999; Evdokimov, 1999; Fedotova, 2000), and rely primarily on theoretical calculations M.M. Bakhtina and Yu.M. Lotman. Comprehensive analysis and dialogue in understanding the phenomenon of memory can only be achieved by the efforts of many researchers of the past, present and

13 future. Therefore, accumulated knowledge, awareness of the need for their scientific interpretation, philosophical and literary understanding of memory convince the author of this work in the need for further development of the problem. The lack of studies, in the complex covering the empirical material and its theoretical basis, led to the relevance of the topic of thesis.

Understanding the memory as the most important form of a national self-consciousness that determines the universal of domestic culture forms theoretical approaches and criterion grounds for analyzing the artistic text, it allows us to consider cultural heritage as a complex subjective-objective structure that operates the global philosophical concepts of "traditions", "time", "eternity", "Values", "Symbol", "Culture".

The memory is represented by one of the highest mental abstractions, constituted as the integrity in which a number of ontological layers are allocated and, due to this, functions simultaneously and as a carrier of the ideal meaning, and as a set of sensually perceived signs. In art, historical and cultural memory is materialized through a complex of archetypal values, ideas, installations, expectations, stereotypes, myths, etc., carrying out the links of the past with the present. Conditionally combined, they can be in three large groups with the concepts of history, tradition, myth as forms of eternal detection. In each of the forms, temporary is not denied, but is detected by its special face associated with timeless. Here are implemented as objective and spiritual aspects of memory (memory appears both the form of public consciousness, both "the experience of relations") and its subjective-spiritual, personalist aspects.

The concept allows you to combine the most different layers of Russian literature, starting with interest in history in the XIX century. and ending with such concepts as patriarchalness, tradition, national self-consciousness, which

14 rye and are built on the comprehension of indigenous, constant, that is, from generation to generation, from century in the age of repetitive features and forms of life. In addition, it is possible to analyze biblical themes, motifs, reminiscence in the light of philosophical, moral, aesthetic categories. In the XIX century These categories practically did not become the object of literary analysis, but were an integral part of reflection in the artistic text about the national character, about a public, ethical and aesthetic ideal, about the past and the future of Russia. This predetermined the following research objectives:

Based on the analysis of the works of Russian literature XIX century. To give a comprehensive understanding of the category of memory by the artistic consciousness of this time, consider memory not only as a topic or subject of the work, but as the principle of artistic construction, show the place and role of memory in the text structure;

Identify the cognitive content of mnemonic images, symbols, forms, specifics and unity in it of specific sensual, irrational and abstract logical elements of knowledge;

Based on the analysis of archaic consciousness to approach an understanding of the specifics of the anthropological component of the cultural and historical process of the XIX century;

The need to consider the category of time, comparing the momentary, temporary and eternal comparison is obvious. Moreover, the time and as a subjective feeling and as an objective characteristic of the human being is significantly related to the moral and value content of its life. The existence of temporal layers is an objective reality, but, according to N.O. Lossky, "The world can not consist only. From that being, which, having a temporary form, disappears everybody into the past and is replaced by a new being having the same fate. " The reasoning of the philosopher anthropocentric at its base, since "Ideal

15 Tie, which does not have a temporary form "thinks to them as" Our I "(Lossky, 1994: 296). But such a "uncertime creature" "Our I" makes a memory in which the one-time presence of the past, present and in some extent of the future.

Specific tasks of research!

Reveal the ontological foundations of the concept of memory and the form of its existence in the artistic text;

Investigate the anthropological grounds of memory as an archetypiest form of expression of personal and collective experience;

Consider the conditionality of a literary interpretation of memory by sociocultural axiological factors of the era;

Determine the place of this category in the artistic picture of the world of the XIX century.

The fulfillment of the tasks assigned is possible not only on the basis of the methods of traditional literary criticism, but also with the help of phenomenological, hermeneutic, psychoanalytic approaches to understanding the essence of memory and human knowledge in general. In particular, the phenomenological analysis of the memory category involves the implementation of the following methodological principles:

Analysis of the layer-by-layer structure of the phenomenon of memory and its incarnation in the artistic text XIX century;

Ontological research of this object of knowledge;

Identification of causal tensions of the phenomenon with the historical and literary situation of the XIX century.

The system-structural approach to understanding the memory will consider this phenomenon in unity and interconnections of artistic, ontological, anthropological and axiological elements, parties and aspects. The multifaceted problem required the combination of the genetic and evolutionary principles of studying the literary series, attracting

16 concepts and terms characteristic of modern literary studies (chronotope, archetype, mythology, etc.). At the same time, we will try to organically introduce them into the literary process under study, adhering to the hierarchy of values \u200b\u200band spiritual attitudes. For example, literature XIX century. The word chronotope does not know, but already unites the concept of space and time in his arguments. Remember the reflection of Tolstsky Levin: "In the infinite time, in infinity of matter, the bubble-organism is distinguished in an infinite space, and this bubble will be plugged and burst, and the bubble of this one - I" (XIX: 370).

G.S. Baths, perhaps, for the first time in the XIX century. It consumes the concept of space in the "purified", the terminological designation of the model and the composition of "non-polly" phenomena (Bat'nkov, 1916: 45). Highlighting the space of thought, faith, love, memory, he will speak for the first time about the "sense of space" (Bat'nkov, 1881: 253). Undoubtedly, the concept of historical and cultural memory initially has spatial-temporal characteristics, and for us it will be a kind of tool for comprehension of its complexity.

In the 1820-1830s. With a special acute, there was a whole range of problems in which the issues of the philosophy of history, its methodology, questions of understanding the history of Russia, reflections on the peculiarities of the literary process, ethical and aesthetic criteria for evaluating the events of modernity and the distant past were merged. Therefore, it is natural that this time was the point of reference in our study.

Particular attention is paid to the middle of the XIX century, since the existence of traditions becomes problematic in the times of cultural fractures, the fault of cultural paradigms and the reorganization of the canon, when marginal elements begin to invade the well-established literary process, comprehending after time as innovation.

On the other hand, it was not possible in the declaration of continuity and continuity of tradition to strictly deliberate the choice of writers and works by the time frame of the century. To a certain extent, the Russian, to a greater extent, the emigrant, the literature began the XX century. Completed a classic tradition. Such a wide temporary paradigm made it possible to include a large circle of authors in the study field. Therefore, the work of the study was the work of N.A. Lviv, N.A. Polevoy, V.I. Dalya, A.I. Herzena, A.A. Feta, I.A. Goncharova, S.V. En-Gelgardt, L.N. Tolstoy, F.M. Dostoevsky, M.E. Saltykova-Shchedrin, A.P. Chekhov, I.A. Bunina, B.K. Zaitseva and other writers.

Scientific novelty dissertation. For the first time in such a volume, the value, methods and means of expression, poetic memory functions in the artistic consciousness of the XIX century are investigated. The category of memory is based on the system analysis of the artwork. The literary interpretation of memory, its place in the structure of the artistic text of the middle of the XIX century. allowed to open new aspects of the problem, clarify such initial concepts for the analysis of this category of concept as tradition, patriarchalness, memories, time and eternity, myth-making.

The practical value of the work is determined by the relevance of the development of modern approaches to understanding the spiritual situation of time and literary process. The results of the study can be widely used in the formulation and analysis of the main problems of the history of the literature and a number of special courses exploring the philosophical, cultural and literary aspects of the theory of memory.

Approbation of research results. The main ideas and results of the study are set forth by the author in monographs "Ethical and axiological aspects of memory in the figurable structure of the artwork"

18 re XIX century "(Kursk, 2003. - 14 P.L.), as well as in a number of articles, speeches on regional, Russian, international conferences: Tula, 2000; Pskov, 2000; Kursk-Rylsk, 2000; Kursk Eagle, 2000; Kursk, 2000, 2001, 2002; Lipetsk, 2001; Moscow, 2001, 2002, 2003; Tver, 2000, 2001, 2002, 2003; St. Petersburg, 2002; Voronezh, 2002, 2003; Voronezh Kursk, 2003; Kaluga, 2003.

The research materials formed the basis of the interactive special course "Ethical-axiological aspects of the category of memory in Russian literature and the culture of the XIX century".

Structure and scope of work. The thesis consists of administration, two parts, each of which contains two chapters, conclusions and bibliographies (the list of basic literature).

Conclusion

So, memory underlies the conventional sign system to produce and express the world of artistic ideas and images. As a metacategory of literary studies, it forms theoretical approaches and criterion grounds for analyzing the artistic text, allows us to consider cultural heritage as a complex sub-object-object structure.

MM Bakhtin was confident that "in the world of memory, the phenomenon turns out to be in a completely special context, in a very special patterns": "Cultural and literary traditions (including the oldest) persist and live in the individual subjective memory of a separate person and not in any then a collective "psyche", but in the objective forms of the culture itself,<.>and in this sense, they are intersubjective and mezzanis;<.> From here, they come into the works of literature, sometimes almost at all permanently submitted individual memory of the creators "(Bakhtin, 1986: 281). But the absence of "collective memory" remains convincing only until the study does not expect a specific existentially existent person (and not such a design, as a historical subject), which in different ways embodies and implements historical and temporary experience. Therefore, it is advisable to talk about the memory of a separate personality, the intersubject collective memory of social groups and extraval informant memory of culture. The need to consider the different forms of memory is due to the structure of this work.

The study of the "memory of the genre" allows to trace the evolution of genres, to identify their constructive signs, show both the dynamics and statics in the development of individual genre forms. The memory of such "primular" a whole spectrum of narrative genres, as a legend, legendary-historical and mythological tradition, parable, life-in-law (biography) in the XIX century. It is maintained in all complex genre formations.

Obviously, that the study of genres is closely associated with the analysis of the narrative structure of specific texts, the submission of a subject and space-time organization of the work. Sometimes the author's intends are specifically stated at the beginning of the story: "I intend to write not autobiography, but the story of my impressions; I take myself as an object, as a face is completely outsuning, I look at myself as one of the sons of the famous era, and, it became only what characterizes the era at all, should enter my memories "(Grigoriev AA, 1980: 10 ).

Consideration of the narrative structure discloses methods for building prosaic text through the characteristics of a speech subject in its attitude, on the one hand, to the addressee, on the other to the real author of the work. Thus, researchers agree that it is almost impossible to distinguish the autobiography from the autobiographical novel, which fully imitates it (M. Malikova, J. Helytt, F. Lenzhen). The main condition for the perception of this or that text as an autobiographical is the identity of the author, narrator and hero. If in the first they are identical, then in the second - the identity of the narrator and the hero during a misappreciation with the name of the author. Using the terminology M.M. Bakhtina, we can say that the one about whom we read, does not have an excess memory required to write about yourself, but this excess one who behaves narrate on his past from another point of time and space, and this excess artistic Vision is a criterion that allows them to divide them. At the same time, the narrator turns out to be simultaneously an object and subject

327 narration, his immediate experience and the later awareness of any fact merged together, he simultaneously captured the event and sees it from the side. Temporary definity and repeated chronological reference are imagined. The autobiographical hero lives in its subjective time, within which it moves freely in any directions. The construction of a work according to the laws of memory becomes a conscious artistic technique: on the one hand, an inconsistent, impulsive, often subconscious nature of the process of memoirs based on the Association stream; On the other hand, there is strict selection and material, and artistic agents.

The evolution of memory ideas in prose XIX century. led to a sharp increase in the number of funds that create a figurative idea of \u200b\u200bthe fragmentation of memories, their discrete and associative character, displacement and mixing objective and subjective plans; Strengthening the role of mythological images and the expansion of the circle of quotation.

Myth, legend, History acts as various forms of memory objecting and primarily interesting for us creative memory. Biblical imagery forms in the works of the second half of the XIX century. Not only and not so much plot-genre reservoir, as forms the existing-ideological-ideological level. "Memory of myth" plays a special role in the formation of the philosophical-ethical level of Russian literature. Biblical texts perceived in their mythic historical concreteness set the most important direction of creative work in the work. Plots, themes, the motifs of the Bible, which received a figurative, plastic expression and supporting meanings, give the timeless meaning of everyday life, entitled to eternity, from reproducing sensory feelings lead to the transcendental reality of the moral or philosophical plan.

The specifics of the perception of the biblical plot in the middle of the century are that the consideration of the "eternal" topics are dependent on the priority of rational and emotional approaches to faith issues. Antinomy Mind is the heart - the widest and comprehensive confrontation in the literature of the middle of the last century. The conjugation of truth and mind, truth and faith, truth and freedom turns out to be at the head of the corner of the majority of the outstanding works of Russian literature, as well as the conjugation of the "historical truth" and "Truth of Poetic".

Maybe the impossibility of an unequivocal response to the biblical question gives rise to doubt in the absolute value of truth: each of the writers sees an alternative to this concept: truth and God, truth and faith, truth and mercy.

Ethical and axiological properties of memory in the artistic consciousness of the XIX century. The most productive can be considered through the phenomenon of history and tradition as a form of existence of "collective memory". They are implemented as objective and spiritual aspects of memory (memory appears both the form of public consciousness as "the experience of relations") and its subjective-spiritual, personalist aspects, since the fiction is interested in not so much the story, rite or ritual as such as The well-being of a person in them.

For artistic consciousness, the spiritual and figurative perception of history, coming primarily through the legend. Russian philosophers began the XX century., In particular P.A. Florensky, N.A. Berdyaev, more than once, indicate that the memory is the eternal ontological principle of history, which implements itself primarily in legend. "Outside the category of historical legend, historical thinking is impossible. Recognition of legends There is some A Priori - some absolute category for all historical knowledge "(Berdyaev, 1990: 20). Since the story is a reality of a special kind, that is, not "this empirica given to us, naked factual material",

329 That and the memory is devoid of psychological definitions of the type of inborn ability to ideas, but is identified as "spiritual activity, as some definite spiritual attitude towards" historical "in historical knowledge, which is internally, spiritually transferable and spiritualized" (Berdyaev, 1990: 26).

It seems no less important to reflect the literature of national self-identification, since the mentality as a specific essence of public consciousness is an integral part of the wider concept of "social memory". Already the writers of the XVIII century approached the awareness of this need, reflecting on the "spirit of the nation", "spirit of the people." By the beginning of the XIX century. Memory is aware of the most important pledge of "self" (A.S. Pushkin) that P.V. Kireevsky in the dispute with P.Ya. Chaadaev will formulate as follows: "I feel more likely to feel more likely that the distinctive, essential property of barbarism is implaying; What is neither a high case nor a slim word without a living sense of its dignity that there is no self-denotation feelings without national pride, but there are no national pride without national memory. "

The various forms of tradition are postponed in the "collective memory" of social groups, ensuring continuity in their cultural development, and form the features of mentality, which reflects the specific type of both individual and collective thinking.

As a lifefriend based on the indigenous dwellings of Russian life, its customs, gradics, centuries, styled moral values \u200b\u200bmay be called the patriarchal structure in which the "social memory" of the nation, including the cultural, historical, public experience of previous generations, is some universal The cultural and ethical foundation of the world with its spatial and temporal characteristics.

In general, the concept of historical memory is inextricably linked with the category of time, so the interactiveness of the categories of memory and time becomes the basis of the philosophical understanding of being in general. If at g Derzhavin and "River Times<.> Heat in the abyss of the fear of the peoples, kingdoms and kings, "and" Eternity with a born bold and the common will not leave fate, "then in the XIX century. There is an idea of \u200b\u200bthe connection of times and opportunities in eternity to gain memory and immortality.

In conclusion, I fell on the opinion of A.F. Losev: "In the depths of the ages of centuries, the roots of the present and feed them. Eternal and native, it has passed, stands somewhere in the chest and in the heart; And we cannot remember him, as if some melody or some kind of picture, seen in childhood, which is about to remember, but not remembered. In a miracle suddenly, this memoir arises, the memory of the centuries is reborn and the eternity of the past, inesstant and always "is found."

Memory and there is a connecting miracle of being, and the miracle is filled with "smart peace and peace of eternity", and together they have a coincidence of the randomly flowing empirical personality history with its ideal task.

1. World Encyclopedia: The XX century philosophy. M.: Mn., 2002.

2. Cairlot X.E. Dictionary of characters. M., 1994.

3. Philosophical encyclopedic dictionary. M., 1998.

4. Aytmatov Ch.T. And longer than a century last day; Floa; Pussy Pog, running the edge of the sea: novels, tale. Frunze: Kyrgyzstan. 656 p.

5. Batyushkov KN. Works: in 2 tons. Comp., Text preparation, will enter. Article and comment. V.A. Kosheleva. M.: Fiction, 1989.

6. Bestuzhev-Marlinsky A. A. Works: at 2 t. M.: Goslitisdat, 1958.

7. Bulgakov MA Collected Works: In 5 tons: Fiction, 1992. T. 5. 733 p.

8. Bunin I.A. Inony and kite. By the 50th anniversary of the death of c. A.K. Tolstoy and Bunin Yves. Great Duman. M.: Properly Secret, 1997. 352 p.

9. Bunin I.A. Collected Works: In 9 m.: Fiction, 1965-1967.

10. Y.Gensen A.K Collected Works: at 30 t. M.: Publishing House Academy of Sciences, 19541957. Goncharov and A. Collected Works: at 8 t. M.: Fiction, 1977.

11. Dal V.I. Selected works. M., 1983.

12. Dal V.I. Full collected works: at 10 tons. St. Petersburg; M., 1897-1898.I. Dal Vl. Works. New full edition. St. Petersburg, 1861.

13. Dostoevsky F. M. Complete Writing Assembly: At 30 t. L.: Science, 1973.

14. Zhukovsky V.A. Writings: at 3 t. M., 1980.

15. M. Zaitsa B.K. Collected Works: In 5 tons. M.: Russian Book, 1999.

16. Zaitsev B.K. Collected Works: In 5 t. T. 7 (Extras). Holy Rus. M.: Russian book, 2000. 528 p.

17. Kopnis V.V. Collected Works: at 2 t. M.: JL, 1960.

18. Karamzin N.M. Notes of the old Moscow resident: Selected prose. M., 1986.

19. Karamzin N.M. My confession // European Bulletin. 1802. No. 6.

20. Leskov N.S. Collected Works: at 12 t. M., 1989.

21. PN N. Sagnaya stories // Moscow Telegraph. 1826. Ch. XII. №23. P. 116; №12.

22. Passek T.P. From the long-nights. Memories: 2 t. M., 1963.

23. Field N.A. Selected works and letters. JL, 1986.

24. Field Nick. Oath at the coffin of the Lord. M., 1992.

25. Polonsky Ya.P. Starina and my childhood // Polonsky Ya.P. Prose. M., 1988.

26. Pushkin A.S. Full Collected Works. M.; JL, 1937-1949. T.i-XVI; XVII (reference), 1959.

27. Saltykov-Shchedrin M.E. Collected Works: In 20 tons. M., 1965.

28. Solovyov Vl. "Empty only the sun of love." Poem. Prose. Letters. Memories of contemporaries. M., 1990.

29. Tolstoy Ji.h. Full composition of writings. 90 m.; L., 1928-1958.

30. Turgenev COP. Complete essay and letters: at 28 tons; L., 1960-1968.

31. Tyutchev F.I. Full composition of writings. St. Petersburg., 1916.

32. Fet A.A. Evening lights / ed. Premium. DD Good, MA Sokolova. M., 1979.

33. Fet A.A. Memories. M., 1890. Reprint ed.: In 3 tons. Pushkino: Culture, 1992.

34. Fet A.A. Works: at 2 t. M., 1982. T. 1. Poems. Poems. Transfers / Type of text, comp., Comment. A.E. Tarkhova. M.: Fiction, 1982.

35. Fet A.A. Poem. Prose. Letters. M.: True, 1988. 560 p.

36. Chekhov A.P. Full collected works: at 30 t. M., 1977.

37. Shmelev KS. Collected Works. M., 1998-1999.

38. AO.Engelgardt S. V. Olga N ***. Not so live, as I want, and as God orders // Contemporary. 1854. No. 2.41. Rogergardt S.V. (Olga N *). The mind will come to pass. Proverb // Patriotic Notes. 1855. T. Ci (July). P. 199-224.

39. M. Enth Hardgardt S.V. Olga N. Stumbling Stone // Russian Bulletin. 1862 T. 42.

40. Engelgardt S.V. Olga N. Not one field of berries. Tale // Russian Bulletin. 1868. T. 76. July.

41. Averintsev S.S. Plutarch and antique biography: to the question about the place of the classic genre in the history of the genre. M.: Science, 1973. 278 p.

42. Averintsev S.S. Parable // Literary Encyclopedic Dictionary. M.: Soviet Encyclopedia, 1987. P. 305.

44. Andreev Yu.V. Poetry myth and prose of history. L.: Lenzdat, 1990. 233 p.

45. Annenkova E.I. On the question of the ratio of folklore and book tradition in the "Evenings on the farm near Dikanka" N.V. Gogol // Folklore tradition in Russian literature. Volgograd, 1986.

46. \u200b\u200bAristotle. Works: at 4 t. M.: Thought 1976-1983.

47. Astashchenko O.A. "There is some light that darkness will not be crushing" (word and memory in Roman I.A. Bunin "Life Arsenyev") // Problems of EvolutionsRussian literature of the 20th century: Materials Interunion. Scientific conference. Vol. 5. M., 1998.

48. Afanasyev A. Live water and the meaning of the word: Sat. Articles. M.: Soviet Russia, 1988. 508 p.

49. Bayburin A.K. Ritual in traditional culture: structural and semantic analysis of East Slavic rites. St. Petersburg: Nauka, 1993. 248 p.

50. Bart R. Selected Works: Semiotics. Poetics. Per. with Fr. / Sost. Society. ed. and entry Art. Kosikova G.K. M.: Progress, 1989. 616 p.

51. Bart R. Zero degree of writing // Semiotics. M., 1983.

52. Banykov G.S. "Russian propilers." Materials on the history of Russian thoughts and literature. Assemmed and prepared for the press M. Gershenzon. M., 1916. T. 2.

53. Bakhtin M. Problems of Potoevsky's poetics / ed. 4. M.: Soviet Russia, 1979. 320 p.

54. Bakhtin M. Aesthetics of verbal creativity. M.: Art, 1986. 444 p.

55. Bakhtin M.M. Questions of literature and aesthetics: research of different years. M.: Fiction, 1975. 504 p.

56. Bakhtin M.M. Literary and critical articles. M., 1986.

57. Belinsky W. Complete Work Collection: at 13 t. M.: Publishing House of the Academy of Sciences of the USSR, 1953.

58. Bergson A. Introduction to metaphysics // Bergson Henri. Collected Works: In 5 tons. St. Petersburg., 1914. T. 5.

59. Bergson A. Matter and Memory // Bergson Henri. Collected Works: in 4 tons. M., 1992. T.1.

60. Berdyaev N. Mean of history: the experience of philosophy of human destiny. M.: Thought, 1990. 173 p.

61. Berdyaev N.A. Great Inquisitor // About Great Inquisitor: Dostoevsky and Follow-up. M., 1991. P. 219-242.

62. Berdyaev N.A. Freedom philosophy. M., 1989.

63. Berkovsky N.Ya. Articles about literature. M.; JL: Goslitizdat, 1962. 452 p.

64. Bible B.c. Moral. Culture. Modernity (philosophical meditation of life problems) // Ethical thought: scientific and journalistic readings. M.: Politicization, 1990. P. 16-57.

65. Blonsky P.P. Memory and thinking. St. Petersburg: Peter, 2001. 288 p.

66. Warm S. End of Nostalgia? Art and cultural memory of the end of the century: the case of Ilya Kabakov // New Literary Review. 1999. № 39 (5)

67. Borea Yu.B. Aesthetics: in 2 tons. 5th ed., Dopol. Smolensk: Rusich, 1997. 640 p.

68. Buber M. Pod Philosophy. M., 1992.

69. Bulgakov S.N. Orthodoxy: Essays of the teachings of the Orthodox Church. M., 1991.

70. Bychkov V.V. From the history of Byzantine aesthetics // Byzantine temporary. T. 37. M., 1976.

71. Vatsuro VE. Pushkin pore lyrics (Elegy School). St. Petersburg., 1994.

72. Watsuro VE. Russian idyll in the era of romanticism // Russian romanticism. L., 1978. P. 138.

73. Weiman R. History of literature and mythology. M., 1975.

74. Veselovsky A.N. Historical poetics. M.: Higher School, 1989. 406 p.

75. Virlanegen M.N. World and Style ("Starresty landowners" Gogol) // Questions of literature. 1979. No. 4.

76. Voshchenko V. The sad story about the sorrowful fate ("Stationander Pushkin" Pushkin) // Questions of Literature. 1998. No. 6.

77. Volkov G. World of Pushkin. M., 1989.

78. Gadamen H.-g. Truth and method. (Basics of philosophical hermeneutics). M.: Progress, 1988.

79. Gachev G.D., Kozhinov V.V. Constability of literary forms // Theory of literature. Major problems in historical lighting. Birth and genres of literature. M., 1964.

80. Herzen A.I. Selected philosophical works. M., 1948.

81. Ginzburg L.Ya. About psychological prose. JL: Fiction, 1977.412 p.

82. Glumkova T. Tradition conscience of poetry. M.: Contempor, 1987.

83. Golovko V.M. The artistic and philosophical quest of the late Turgenev (image of a person). Sverdlovsk, 1989.

84. Goncharov I.A. Unusual story // Collection of the Russian Public Library: T. 2. GG, 1924.

85. Grigoriev A.A. Memories. Ji.: Science, 1980. 437 p.

86. Grigoriev A.A. Literary criticism. M., 1967.

87. Grossman L.P. Poetics of Dostoevsky. M., 1925.91 .Gukovsky G.A. Pushkin and realistic style problems. M.; L.: Goslitizdat, 1957.

88. Gurevich A.Ya. What is time? // Questions of literature. 1968. №11.9 I.GUREVICH A.Ya. Categories of medieval culture. M.: Art, 1974. 350 p.

89. Davydov Yu. N. Ethical Memory Measurement (moral and philosophical reflections in connection with the novel of Ch. Aitmatov) // Ethical Thought: Scientific and Publicistic Readings. M.: Polisudate, 1990. P. 165-199.

90. Dmitrovskaya M.A. Memory Philosophy // Conceptual Analysis: Methods, Results, Prospects. M., 1990.

91. Dobrolyubov N.A. "Rustic landlord life in the old years", 1858 // Dobrolyubov N.A. Collected Works: In 9 tons; L., 1962. T. 2.

92. Dostoevskaya A.G. Memories. M., 1981.

93. Dunaev M.M. Orthodoxy and Russian literature. At 5 h. M.: 1998.

94. Dresshekina E.V. Russian Holy Story. Formation of the genre. St. Petersburg, 1995.

95. Evdokimova O.V. Memory, intuition, faith in the artistic world N.S. Leskova ("Lord Court") // Christianity and Russian literature.

96. B. 3. SPb.: Nauka, 1999. P. 237-249.

98. Esaulov I.A. Holidays. Joy. Grief // New World. 1992. No. 10.1. C. 235-242.

99. Jolkovsky A.K. Wandering dreams and other works. M., 1994.

100. Zabelin I.E. Homemade life of Russian kings in the XVI and XVII Art. 3rd ed. M., 1895. Ch. I.

101. West V.A. Poem N.A. Lviv "Winter" // XXIV Herzen readings. Philological sciences. L., 1971.

102. Notes G.S. Bathoney. Data. Tale of his own life // Russian archive, year 19th. 1881. II (2).

103. Zenkovsky V.V. History of Russian philosophy: in 2 tons. Rostov-on-Don, 1999.

104. Ivanov V.I. Collected Works: in 4 tons. Brussels, 1971-1987.

105. Ilyin I. A. about darkness and enlightenment. M., 1991.

106. Kant I. Anthropology. St. Petersburg, 1900.

107. Kireevsky Yves. Selected articles. M.: Contempor, 1984. 383 p.

108. Kireevsky Yves. Criticism and aesthetics. M., 1979.

109. Kozubovskaya G.P. Poetry A. Feta and mythology. - Barnaul; M.: Publishing House BGPI, 1991.217 p.

110. Kozubovskaya G.P. The problem of mythologism in Russian poetry XIX - in the first centuries. Samara; Barnaul: Publishing House BGPI, 1995. 168 p.

111. Kotlyarevsky N.A. Nikolai Vasilyevich Gogol, 1829-1842. GH., 1915.

112. Koshelev V.A. Pushkin: history and legend. St. Petersburg: Academic Project, 2000. 359 p.

113. Krasnov G.V. Pushkin. Boldin pages. Bitter. 1984. P. 4454;

114. Kupreyanova E.N. A.S. Pushkin // History of Russian Literature: In 4 t. L.: Nauka, 1981. T. 2. P. 235-323.

115. Kuraev A. Tradition. Dogma. Rite. M.-Klin, 1995.

116. Kurilov A. S. Literary criticism in Russia of the XVIII century. M., 1981.

117. Kurlyandskaya G. B. Harmony's philosophy in late lyrics Feta // Kurland G. B. Literary median Russia. Orel, 1996.

118. The literary and critical work of the Decembrists. M., 1978.

119. Likhachevd.s. Letters of good and beautiful. M., 1985.

120. Likhachev D.S. Poetics of ancient Russian literature. L.: Science, 1967.

121. Likhachev D. S. Past future. L., 1985.

122. Losev A. F. Greek mythology // Myths of the peoples of the world. T. 1. M., 1980. P. 334-335;

123. Losev A.F. Dialectics of myth // Losev A.F. From early works. M.; True, 1990. 580 p.

124. Lossky I.O. Sensual, intellectual and mystical intuition. M.: Republic, 1994.

125. Lotman Yu., Egorov B., Mintz 3. The main stages of the development of Russian realism // Scientific notes of the Tartu State. University. Vol. 98 Proceedings in Russian and Slavic philology, 1960.

126. Lotman Yu.M. A.S. Pushkin // History of World Literature. M., 1989. T. 6.

127. Lotman Yu.M. Alexander Sergeevich Pushkin. Biography of the writer. L.: Enlightenment, 1981. 255 p.

128. Lotman Yu.M. In the school of the poetic word: Pushkin. Lermontov. Gogol. M.: Enlightenment, 1988. 348 p.

129. Lotman Yu.M. Selected Articles: at 3 t. Tallinn: Alexandra, 19921993.

130. Lotman Yu.M. About poets and poetry. St. Petersburg, 1996.

131. Lotman Yu.M. About Russian literature: Articles and Research (19581993): The history of Russian prose. Theory of literature. St. Petersburg: Art-SPb, 1997. 845 p.

132. Lotman Yu.M., Uspensky B.A. On the semiotic mechanism of culture // Scientific notes of the Tartu State. University. Proceedings on iconic systems. Vol. V. Tartu, 1971. P. 146-166.

133. N.A. Lviv. Preface to translation. The poem of Anacreon Tiysky. St. Petersburg., 1794. KN. one.

135. Maltsev Yuriy. Ivan Bunin. Sowing, 1994.

136. Muletinsky E.M. Analytical psychology and the problem of origin of archetypic stories // Questions of philosophy. 1991. No. 10.

137. Muletinsky E.M. Mythology // Philosophical Encyclopedic Dictionary. M., 1983. P. 378.

138. Melnik V.I. Ethical ideal I.A. Goncharov. Kiev, 1991.

139. Merezhkovsky D. S. Goncharov // Merezhkovsky D.S. Acropolis. M., 1991.

140. Merezhkovsky D. S. Jesus Unknown. M., 1996.

141. Merezhkovsky D.S. Tolstoy and Dostoevsky. Eternal satellites. M., 1995.

142. Mitin G. Court of Pilate // Literature at school. 1994. No. 1.

143. Non-svin, the image of the revolutionar in Repin. Art. 1948. No. 4.

144. Nikolina N.A. Poetics of Russian autobiographical prose: Tutorial. M.: Flint: Science, 2002. 424 p.

145. Ovsyaniko-Kulikovsky D.N. Literary and critical works: at 2 t. M.: Fiction, 1989.

146. Lion Ozerov. Three Fable Notes // Russian Speech. 1970. No. 6.

147. Osminina E. Ivan Shmelev known and hidden // Moscow. 1994. No. 1.

148. Reldin M.V. PROZA I.A. Goncharov in a literary context. St. Petersburg., 1994.

149. Panchenko A.M. Russian literature on the eve of Petrovsky reforms. L., 1984.

150. Panchenko I. Casting past to look into the future // Questions of literature. 1983. No. 6.

151. Perevayillev E. "Decent German verses." // Literature. 1996. №41.

152. Correspondence I.N. Kramsky. Correspondence with artists. M., 1954.

153. Petrunina N.N. On the story "Stationander" // Pushkin. Research and materials. T. XII. L., 1986.

154. Petrunina N.N. Pushkin's prose (path of evolution). L.: Science, 1987. 332 p.

155. Field N. Speech about merchant ranks, and especially in Russia. M., 1832.

156. Field N.A. About spiritual poetry // Library for reading. 1838. T. XXVI. № 1.

157. Field N.A., Field COP. A. Literary criticism. L., 1990.

158. Pornikov V. Provincial letters about our literature. The letter first // Patriotic Notes. 1861. № 12.

159. The last days of the earthly life of the Lord of our Jesus Christ, depicted on the testes of all four evangelists. Odessa, 1857. Reprint. ed. 1991.

160. Pospelov GG, about understanding the time in painting of the 1870-1890s. Pictures dedicated to the fate of the person // Typology of Russian realism of the second half of the XIX century. M., 1979.

161. Poets of the XVIII century. L., 1972.

162. Protopopov M. Women's creativity // Russian thought. 1891. KN. 2. P. 96-112.

163. Melous L. and about verb times // Journal of the Ministry of Education. 1891. No. 6.

164. Rogovin M.S. Problems of memory theory. M., 1977.

165. Rodnyanskaya I.V. Artistic time and artistic space // Literary Encyclopedic Dictionary. M., 1978.

166. Russian tale of the XIX century: history and problem of the genre. L., 1973.

167. Sanderovich S. Aletiaya. Elegy Pushkin "Memory" and the problems of his poetics / Wiener Slawisticher Almanach. B. 8. Wien, 1985.

168. Symbol: Journal of Christ. culture with glory. Library in Paris. 1987. No. 17.

169. Smirnov I.P. Deprivation of an intertext (elements of an intertextual analysis with examples from the work of B.L. Pasternak). Vienna, 1985.

170. Sokolov A.N. Essays on the history of the Russian poem of the XVIII and the first half of the XIX century. M., 1955.

171. Solovyov B.C. Eternity, or // Encyclopedic Dictionary / F.A. Brokgauz, I.A. Efron. St. Petersburg., 1890-1907. T. VIIA. 1892. P. 699-700. On the root of T. 14.

172. Solovyov V. History and the future of theocracy // Solovyov B.C. Collected Works: In 10 tons. St. Petersburg., 1911. T. 4.

173. Strakhov N.N. Literary criticism. M.: Contempor, 1984. 431 p.

174. Stroganov M. V. Traditions in the historical writings of Pushkin // Russian Literary Journal. 1996. No. 8. P. 23-31.

175. Stroganov M.V. Man in the artistic world of Pushkin. Tver, 1990.

176. Stroganova E.N. The poem "Hero" in the drafts of "War and Peace" // The reader in the creative consciousness of Russian writers. Kalinin, 1986. P. 54-65.

177. Surat from. "I lived in the light Knight Poor." M., 1990.

178. Dry I. World Feta: a moment and eternity // Star. 1995. No. 11. P. 123-133.

179. Tarla E. V. Pushkin as a historian // New World. 1963. No. 9. P. 211-220.

180. Telegin S.M. The main myth of Dostoevsky // Literature at school. 1998. №4.

181. Timofeeva V.V. Man and history // Modern Soviet novel. Philosophical aspects. M.- L.: Science. 1979.

182. Tolstoy L.N. and N.N. Ge. Correspondence. M.; L., 1930.

183. Tolstoy L.N. Correspondence with Russian writers: in 2 tons, 1978.

184. Thompson D.E. "Brothers Karamazov" and memory poetics. St. Petersburg: Academic Project, 1999. 344 p.

185. Toporov V.N. Instead of memories // Lotman Yu.M. and the Tartu-Moscow semiotic school. M., 1994.

186. Tyu V.I. Narratology as an analytics of narrative discourse ("Bishop" A.P. Chekhov). Tver, 2001.

187. Tyu V.I. Parable about the prodigal son in the context of the "Lovenkina" as an artistic whole // Boldin readings. Gorky, 1983.

188. Farrar F.V. The life of Jesus Christ. St. Petersburg, 1893. Reprint, ed. 1991.

189. Fedors F.P. "Faust" Goethe. Riga, 1976.

191. Fet A.A. Our roots // A.A. Fet. Poet and thinker: Sat. Scientific Tr. M., 1999.

192. Fet A.A. Afterwording to his translation of A. Schopenhauer // Russian Review. 1901. Issue.

193. Fet A.A. Preface and comments to Posh Part "Faust" Goethe / Publication N.P. General: 175 years since the birth of Athanasius Afanasyevich Feta: Sat. Scientific Labor. Kursk, 1996.

194. Florensky P. Articles on Art. Paris, 1985.

195. Florensky P.A. Pillar and approval of truth. The experience of Orthodox theodice in twelve letters. M., 1914.

196. Frank C.ji. Reality and man. M.: Republic, 1997. 479 p.

197. Frank C.ji. Russian worldview. St. Petersburg, 1996.

198. Fudel S.I. Inheritance Dostoevsky. The phenomenon of Christ in modern times // Russian abroad per year of the Millennium Baptism of Russia. M., 1991.

199. Haineadi 3. Culture as memory // Slavica. Debrecen, 2000. No. 30. P. 73-92.

200. Khalizhev V.E. Theory of literature. M.: Higher School, 1999. 398 p.

201. Halbwax M. Social classes and morphology / per. With Fr. Ed. A.T. Bikbova. M: Institute of Experimental Sociology. St. Petersburg: Ale-Tayya, 2000. 509 p.

202. Hasing J. Homo Ludens. M., 1992.

203. Zeitlin A. G. Time in Romanov Dostoevsky // Native language at school. 1927. № 5.

204. Chaadaev P.Ya. Articles and letters. M.: Contempor, 1987. 367 p.

205. CHEF W. Memory and verbalization of past experience // New in foreign linguistics. Vol. 12. M., 1983.

206. Cheremisinova L.I. About "Afterword" A. Feta to the translation of A. Shopengauer // A.A. Fet: Problems of Life and Creativity: Sat. scientific papers. Kursk, 1997. P. 38-47.

207. Chernov A.V. Archetype of the "Prodigal Son" in the Russian Literature of the XIX century. // Problems of historical poetics. Vol. 3. Evangelical text in Russian literature of the XVIII-XX centuries. Quote, reminiscence, motive, plot, genre. Sat Scientific Labor. Petrozavodsk, 1994.

208. Chetina E.M. Evangelical images, plots, motifs in artistic culture: interpretation problems. M., 1998.

209. Shatsky hedgehog. Utopia and tradition. M., 1990.

210. Shelling F.V. Art philosophy. M., 1966.

211. Shelets L.I. Articles on Russian literature // Russian literature. 1991. №3.

212. Shopenhauer A. about the will in nature. The world is like will and performance. M., 1993.

213. Spet G.G. Literature // Scientific Notes of the Tartu State. University. Proceedings on iconic systems. Vol. XV Tartu, 1982.

214. Stern M. in search of lost harmony. PROZA I.A. Bunina 1930-1940 Omsk, 1988.

215. Shulitz S.A. Chronotope of the religious holiday in the work of Gogol // Russian literature and Christianity. M., 1997.

216. Engelgardt S.V. Letters to A.A Fietu. Part 1 (1858-1873). Publication N.P. General, Yearbook of the handwritten department of the Pushkin House for 1994, St. Petersburg., 1998.

217. Yakovleva E.S. Fragments of the Russian language painting of the world (models of space, time and education). M.: Publishing House "Gnosis", 1994. 344 p.

218. Bartr. Text // Encyclopaedis Universalis. V. 15. P., 1973. P. 78.

219. Dufrenne M. Note Sur La Tradition. // Cahiers Internationalaux de Sociologie. 1947. Vol. III. P. 161.

220. Durkheim E., Mauss M. De Quelques Forme Primitives De Classifications, Contribution AR Etude des Representations Collectives // Annee Sociologique, 1903.

221. Franks F. Spatial Form in Modern Literature // Criticism / The Foundation of Modern Literary Judgement. ED. By M. Schorer. NEW YORK, 1958. P. 392.

222. OEXLE O.G. Memoria Als Kultur Herausgegeben Von Otto Gerhard Ocxle. Gottingen, 1995. S. 99-41.

223. Yalbwachs M. Spoleczne Ramy Pamieci. Warszawa, 1969. S. 421-422.