Abstract: The subject of the research is the microdetails used by Ivan Goncharov in his novel 'Oblomov' and their artistic function in the text. The author of the article pays special attention to the dialectical contradiction between the 'shadow' image of the dust on which the key word 'oblomovschina' is written and which defines the internal dynamics of the novel and the solar essence of the main hero himself. The author of the article analyzes the microdetails of the novel 'Oblomov' in close relation to the macrolevels of the novel and interpreting the phenomenon of scale in the artistic world created by Ivan Goncharov. The methodological basis of the research involves analysis of particular aspects of the linguistic microstructure of the novel that are systemically important in Ivan Goncharov's novel. The method of 'reading after the author' combined with cognitive commentary allows to analyze very little, even individual graphemes, artistic components that nevertheless have a metastatus in Goncharov's text. The novelty of the research is caused by the fact that attempts to combine the 'higher' and the 'lower' artristic structures in Goncharov's studies that have been made by researchers earlier are now being viewed in a completelty different analytical light. For the first time in the literature the author of the article describes the dialectical contradiction between the image of the dust on which the key word 'oblomovschina' is written and which defines the internal dynamics of the novel and the solar essence of the main hero himself

Abstract: The article is devoted to the reception of Ivan Goncharov's creative writing by Pyotr Polevoy whose three-volume edition 'The History of Russian Language Arts' has become a rare book nowadays and therefore is very seldom viewed by modern commentators. The author of the article focuses on those thoughts and conclusions of Pyotr Polevoy who personally knew the author of Oblomov that allows to see the figure of Ivan Goncharov in a new light and to understand the most sophisticated aspects of a creative portrait of the great novelist, in a word to better understand Goncharov's creative legacy. The methodological basis of the present research is the analysis of little-known literature sources, in particular, The History of Russian Language Arts written by Pyotr Polevoy. The novelty of the research is caused by the fact that the author brings forth unknown interpretations and remarks made by Pyotr Beisov, the researcher of Ivan Goncharov's life and creative writing in Pyotr Polevoy's edition of The History of Russian Language Arts held by the famous researcher of Goncharov in his personal library in Ulianovsk. The author of the present article proves that many private remarks made by Pyotr Polevoy regarding the narrative method of the author of Oblomov are of great importance and value for modern studies of Goncharov's life and creative writing.

Abstract: The article is devoted to the farewell motif that plays a rhythm-making role in Ivan Goncharov's novel Oblomov and Anton Chekhov's play The Cherry Orchard. The fact that there are similar methods of rhythmic organisation of narration in Ivan Goncharov's and Anton Chekhov's creative writing allow to make analytical parallels between these two masterpieces of different literary genres. The subject under analysis is a ninefold retranslation of the signalling word 'farewell' in the novel Oblomov, artistic meaning of that rhythmic repetition and comparison it to the structure of motifs in The Cherry Orchard. The main method used by the author of the article is the method of the motif analysis combined with the rhythmic interpretation of literary text. For the first time in the studies of Goncharov and Chekhov nine variants of farewell as they are given in the novel Oblomov are compared to nine variants of farewell in Chekhov's The Cherry Orchard. This compaison opens a new page in a creative dialogue between these two classical authors of Russian literature and allows to 'hear' new 'overtones' of these authors' message and intonation.

Abstract: In his article Pyrkov studies the process of changing traditional attributes and symbols of a Russian manor in Chekhov's dramaturgical world based on the example of Anton Chekhov's drama 'Three Sisters'. Particular attention is paid to the comparison of a symbolic 'elated' image of columns described by Chekhov in the first remarks to the 'lower' image of the pedestal that appeared in the song sang by one of the heroes. The researcher tries to understand the message that Anton Chekhov wanted to give us through transformation of the 'high' into the 'low'. The researcher also tries to define social and historical grounds for that process. The research is based on the reaccentuation of a classical text and attempt to make a new dimension of reading of the play as a result of multidimensionality of a literary text containing parameanings that play an important role for the text's analysis. By referring to the literary context of that epoch, the author analyzes the dynamics of the development of Chekhov as a playwright. The novelty of the research is caused by the fact that the author draws a parallel between the column and pedestal which leads to quite an unexpected interpretation of Chekhov's play as well as offers a hypothesis that transformation of the manor symbols directly relates to constructing a fundamentally new model of space and time in the artistic world of Anton Chekhov.