Abstract: The object of the presented work is the novel "The Pianist" (1983) by Nobel laureate Austrian writer Elfrida Jelinek, which is rightfully considered one of the author's best and resonant creations. The subject is the motif-figurative structure of the novel. Special attention is paid to the realization of the motives of "deception" and "lies", which are repeatedly found on the pages of the work, which is not surprising, since it has a social orientation, reveals initially insincere human relationships built on attempts to please a partner. The central characters involved in the lie are the pianist Erika Kohut herself and her student Walter Klemmer, whose relationship is the semantic center of the work. The author examines in detail the transition of the above-mentioned motives from the plot to the plot through the implementation in certain events of the novel, which becomes the starting point for changing the value-semantic nature of the heroine's image. In this work, the method of motivic analysis was used, which made it possible to identify key motives, as well as to consider their implementation in the text, in addition to the main motives, secondary ones were also identified. Structural analysis made it possible to comprehensively analyze the literary text under consideration and contributed to the definition of a motif-shaped structure. The scientific novelty of the research lies in the use of B.F. Egorov's theory of deception and lies in literature ("Deception in Russian Culture", 2012) in relation to the novel by E. Jelinek. The main contribution of the authors to the research of the topic is the fact that for the first time the problem of the realization of the motives of deception and lies was considered, a comparative analysis of these motives was carried out, taking into account their different functioning in the artistic space of the work (toposes and loci). The main conclusions of the study are the following: the motives of deception and lies are plot-forming for the motional complexes existing in the toposes "home" and "the outside world", as they change the value-semantic nature of the heroine's image, and also cause the realization of an acute social conflict of the work.

Abstract: This article examines the author's prose about the First World War by two famous European writers (and participants in the war) – the Briton Robert Graves ("I'm Sorry, goodbye to all this", 1929) and the German Ludwig Renn ("The War", 1928). The subject of the study is the genre features of the works, some features of which can be attributed to both autobiography and fiction. Special attention is paid to two poetological categories: the role of the protagonist and the chronotope. Ambivalence of the genre characteristics of the works themselves, since, on the one hand, they are documentary, and on the other – fictitious. Documentality or factuality is set by the specific biography of the self-revealing "I" of the author. Fictionality grows out of the absolute possession of the speech structure of the work, the author, the subject and the object of the narrative. Comparative historical and comparative typological methods made it possible to consider literary interactions, parallels, similarities, as well as borrowings and mutual influences of literatures. The typological method made it possible to consider the similarities and differences in literary phenomena by clarifying the degree of similarities and differences in cultural life. The main conclusions of the study are that the Briton Robert Graves changed "I'm sorry, goodbye to all that" into a documentary narrative, and Renn, on the contrary, transformed diary entries into fiction (the novel "War"). The aim of both authors, as Renn himself pointed out, was to show the war as it really is. The scientific novelty of the work is as follows: it was revealed that if the spatial and temporal pointers coincide, then nevertheless space and time in autobiographical texts do not coincide with the real one, since the recalled chronotope is not perceptual, i.e. specifically given, it has the character of a reconstructed in the memory of the author-the subject-protagonist. That is why we are talking about the synthesis of genres in the works of R. Graves and L. Renn, which accumulated features of both autobiography and fiction.

Abstract: In the presented work, the author examines the German-language prose about the Second World War. The comparative analysis is carried out on the material of the novel by one of the most famous German prose writers and anti-fascist writers "Time to live and a Time to Die" by Erich Maria Remarque and the novel by the modern German prose writer Uwe Timm "By the example of my brother". The object of the study is the poetics of the above-mentioned works in a comparative aspect. The subject is the realization of the central image of the work - the image of a "German-Nazi" who is a participant in the Eastern campaign. The author dwells in detail on the realization of the image, including in the analysis the image of the artistic space of works and the motivic system. The main conclusion of the study is based on a different approach to the interpretation of the image of the "German-Nazi" by Remarque and Timm. In his novel, Remarque clearly points to the guilt of his compatriots in unleashing war and mass killings of civilians. The image of a "German-Nazi" is associated with the image of an ideological enemy. The modern German author adheres to a different point of view, which, in many respects, is based on his personal experience, because the hero of the novel is the writer's brother. The image of a "German-Nazi" in his work correlates with the image of a lost German who believed patriotic rhetoric and carried out an order.

Abstract: The presented work examines the thanatological motifs in the work of the German writer E.M. Remarque. The influence of historical events is assumed not only on the plot and ideological levels of the novel, but also on the figurative. The hypothesis about the tendency in the work of E.M. Remarque to the widespread use of images traditionally associated with death is put forward and proved. The aim of the work is to prove the author's special understanding of the theme of death and its realization in the novel by E.M. Remarque "Life on loan or Heaven knows no favorites". The object of the study is a special Remark's representation of the category of death and its place in the literature of the "lost generation". The novelty of the research lies in the fact that the authors present a new interpretation of the title of the novel in connection with the original belonging of the characters to the afterlife. The main content of the study is the analysis of the poetical levels of the novel; motives, mythologems and images of death are analyzed at the ideological-thematic, plot, character, space-time and genre levels; citation examples are given for various connotations of death for each character of the novel by E.M. Remarque "Life on loan or Heaven knows no favorites". Special attention is paid to the phenomenon of semantic substitution of the real definition of the concept of life for an antonymic one. In conclusion, the role of death at the compositional level of the work is revealed.

Abstract: This article is dedicated to realization of image of the “enemy” in political communication (on the example of the newspaper “Znamya” for 1944). Special attention is given to the analysis of image of the “enemy” on different levels of publicistic text: linguistic, figurative, and associative. It is established that the image consists of macro-paradigms and mini-paradigms in spatial zones that are founded on the opposition “own – alien”. Macro-paradigms and mini-paradigms within the author’s view mostly consist of the following oppositions: German – fascist, German – murderer, German – beast, enemy – fascist’ accomplice. The author’s special contribution lies in introduction of the new archival material into the scientific discourse (unstudied the selection of the articles from the newspaper “Znamya” for 1944), which allows analyzing the image of “enemy” that has not previously become the object of research in the publicistic text of the regional media. The scientific novelty lies in the complex use of comparative and structural methods: comparative for tracing the similarities and differences in implementation of the main paradigms of image of the “enemy”; and the structural for determining the composition and content of the image paradigms.

Abstract: This article analyzes female images in the novel “Arch of Triumph” by Erich Maria Remarque. The research is based on the theory of N. Pavlovich that each image has several similar invariants ascending to the uniform archetype. A hypothesis is advanced that the characters in the works of E. M. Remarque can be divided into two groups: 1) associated with the generally literary archetypes; 2) collective living images. The article also examines female images who have a plot-driven and artistic meaning in the text, although do not belong to the indicated time period. The image of Patricia Holman in the novel is associated with the mythological archetype, which is reflected in the description of her appearance, behavior, and corresponding events. It is noted that all central female images in the novels by E. M. Remarque have are intertwined with the mystical characters from myths and legends. The scientific novelty consists in tracing the evolution in description of the images of public female figures in comparison with another novel – “Arch of Triumph”. The author also examines another narrative parallel between the two novels: similar stories of two families lived in a particular historical time. The conclusion is made that the storyline of many novels by Erich Maria Remarque is based on a certain pattern. The author attempted to reconstruct the aforementioned pattern, which has largely proven the assumptions put forward in the earlier research.

Abstract: This article is dedicated to the analysis of female images in the novel “Arch of Triumph” by Erich Maria Remarque, particularly their symbolic meaning infused by the author into some characters. The research objective consists in the analysis of female images from the cultural, artistic and literary perspectives. The article employs structural analysis based on the methodology of N. V. Pavlovich. Special attention is given to the references to mythology for describing one or another image.  The author substantiates the idea of the connection of each female character with the time and place of her initial stay or origin. Review is conducted on the following heroines: Joan Madou – a mediocre actress and singer, mistress of the protagonist; Kat Hegstrom – a patient and close friend of Ravic; Sybil – beloved of the German doctor died in the gestapo. The scientific novelty of this work consists in consideration of images of the heroines through the prism of associative-imagery, metaphorical meaning of the prototypes used by the author in creating and describing the characters. A comparison of the compositional roles of the aforementioned heroines is carried out. Particular attention is given to the female characters from “Osiris” brothel (which is an important location in the novel and plays a significant compositional role in the text), and their manager Roland. The similarity is noticed between “Osiris” brothel and  the boarding house for noble girls, as well as few other comparisons of the women of easy virtue with the ladies brought up in the spirit of the Victorian Era. The article determines certain intertextual correlations n the historical-literary and cultural-historical context. Attention is also paid to consideration of the[WU1]  philosophical views of the novelist and the process of their implementation in developing the images of the characters. The work indicates the impact of philosophical ideas of “lost generation” upon the characters of the novel and their life attitudes. The author of the article touches upon the theme of romantic relationships and behavior of the heroines therein.



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