2019 Issue №3

The article reveals the connection between the artistic space of the natu­ralistic novel with the archetypical forms of mentality and culture. The author used the structural-semiotic method of text analysis, as well as the analysis of archetypical images that are regularly repeated in the European cultural expe­rience. The concept of “archetype” in literary analysis is proved to be neces­sary. Among other things, using of this concept makes it possible to free the study of the text from the need to take into account polemic statements and aesthetic manifests of the authors. Besides, this approach gives an opportunity to analyze the text as such and to distinguish between historical reminiscences and allusions and archetypical models, as well as between current influences and generally valid archetypes. Special attention is given to the image of the Palace and to its spatial model, which works in the novel as a specific mean­ing-generating mechanism. The image of the Palace is viewed through its his­torical importance for the second half of the XIX century. It is as well regard­ed in its archetypical function, which organizes the artistic structure of the novel. Besides, the archetypical function of the image of the Palace makes it possible to bring the text to a new unrealistic level of generalization for the XIX century. This approach is very important to a historian of literature, be­cause it allows to explain some aspects of the aesthetical commonality in the naturalist style and in the modernist style, while these two literary trends are traditionally opposed

The novel “Magetizer” is viewed within the intellectual and ideological context of E. T. A. Hoffmann’s era, who was characterized, on the one hand, by the progress of scientific knowledge, and on the other, by the success of imagi­nary parascientific concepts. In particular, the authors trace the connection of Hoffmann's artistic thought with the ideas of Mesmer and the secret knowledge of Freemasonry popular at the beginning of the XIX century, which Hoffmann interprets as a threat to the world described by Christian on­tology and anthropology. In the artistic and philosophical interpretation of Hoffmann, the prevalent parapsychological practices are the components of the technology of evil in its eternal struggle against good.

The article contains a short history of the term “romance” and the genre of Russian romance, describes the problems of studying the romance. Russian romance is presented as a social-cognitive construct with a particular set of historically and culturally conditioned cognitive indicators. A comparative analysis of the texts of the Russian romance and Russian lyrical songs re­vealed the national characteristics of the lyric song, as well as the cognitive characteristics peculiar to the romance: focus on feelings, emotions, portrait creation, descriptiveness, etc.