Abstract: The article deals with the problem of using and including the term "pre-post effect/paradox" ("pre-post effect"), introduced by the Czech comparativist Ivo Pospisil, in the terminological apparatus of literary criticism. Special attention is paid to the reflection by the term of the synthesis of superficial borrowing of a certain phenomenon from foreign literature and elements of the autochthonous tradition based on an interdisciplinary base, where the borrowing factor lies at the intersection of both philology and other humanities, in particular sociology, history, where the connection of language, text and culture is vividly manifested, resulting in the formation of an original characteristics of the recipient literature. A term reflecting an evolutionary mechanism of this scale needs additional comment and understanding, with mandatory reliance on the works of its creator, taking into account the refinement of some aspects of the mechanism of its work. A descriptive approach is used in terms of presenting the pre-post effect as a multidimensional phenomenon and clarifying the relationship of individual components to determine the exact semasiological boundaries of the term; the concept's attitude to the study of a literary text in the context of its general cultural conditionality in the aspect of the poetic art of the word reflects a cognitive (author, text, extra-textual reality) and axiological approach. According to the author, for the successful implementation of the pre-post effect, there is a need to define its role as a synthesis of two approaches to the consideration of a literary work: comparative historical and theoretical value, which contributes to an accurate consideration of the history of perception of the work and its inclusion in the literary canon as evidence of the originality of this literary tradition. This approach takes into account the theoretical aspect of the modification of genre models associated with the literary and critical history of works and combines them in order to substantiate the specifics of the literary phenomenon, relying simultaneously on the problems of poetics and non-textual factors. The scientific novelty consists in refining the structural and functional specifics of the pre-post effect to include it in a wide scientific circulation and the possibility of its practical use with the preliminary elimination of the existing controversial points and, as a result, demonstrating the possibility of using it to consistently adhere to the intersectoral aspect (at the junction of comparative studies, theory and literary history in their connection with axiology) in the further interpretation of literary works in order to overcome the one-sidedness of analysis in literary studies.

Abstract: The article analyzes the forms of cyclization in the story "The Sisters of the Cross" by A.M. Remizov and their role in the realization of the existential problematic of the work. The originality of Remizov's creative consciousness and artistic method, his interest in the ontological foundations of personality are emphasized by a special narrative structure, which is characterized by the strengthening of the corresponding motional structures. The religious and mythopoetic understanding of reality, inextricably linked with the artistic method, allows us to talk about the cycle as a broad category, according to the concept of I. Pospisil, which implies, along with motives, the unification of various forms of lexical and semantic repetitions in order to actualize important issues of being for the writer. The author of this article believes that the logic of the writer's strategy and its embodiment in the composition of the work are unthinkable without understanding the elements of the cycle as contextually updated units of content that need active interpretation by the reader, which is necessary for a holistic perception of the work. This understanding of the cycle is complicated by the grotesque characterization of the motifs and their correlation with both the metatext of Remizov's early work (the concept of the "artistic ensemble" by E. Tyryshkina) and the metatext of the Russian novel, the evolution of the plot structure of which is associated with the complication of the existential aspect. Based on the tasks set, the article uses structural-descriptive and descriptive-functional methods to analyze the system of cyclic forms of the writer and their functions. Taking into account the large-scale content coverage of the existential issues in A. M. Remizov's novella "The Sisters of the Cross", when considering the forms of cyclization in the work, it is necessary to take into account not only the hierarchical levels of the text (lexico-semantic repetitions and motivic structures as part of the composition of the story itself and from the point of view of the metatext of Remizov's work) and the different functions of these forms, but also common features cyclical trends in the narrative. Thus, one of the aspects of Remizov's poetics receives a proper theoretical understanding. The analysis of the story shows that a broad understanding of the cycle allows us to group the heterogeneous elements of the composition in terms of their general content orientation, which in further research may be useful in a holistic analysis of Remizov's work, his writing strategy, as well as the author's place among other masters of ornamental prose in Russian literature.