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The article attempts at analyzing the scientific problems included in the works of the famous scholar from Voronezh State University Vladislav Anatol’evich Svitel’skiy about the creative activity of A. Platonov. The scholar’s studies before and after the abolition of strict censorship outlined the benchmarks in the investigation of the writer’s legacy, which have not always been properly interpreted in modern science. The urgency of the paper consists in reestablishing a true dialogue with the works of the literary critics, who were among the first to describe the writer’s artistic world, and in revealing adequate interpretations of their ideas. Methodologically, the article is based on the theoretical views of V. A. Svitel’skiy, stemming from the nature of the talent of the great scholar from Voronezh. The scholar focuses on the principles of philosophical-poetical generalization in the prose of Platonov, the image of the author and the means of expression of the author’s position under the conditions of creation of censored works, the genre nature of “Chevengur”, his gender specificity, “participation” of the lyrical dominant in the modeling of the democratic consciousness in the novel as one of the great achievements of Platonov’s artistic talent. The retrospective approach made it possible to concentrate attention on the urgency of a number of Svitel’skiy’s ideas in the contemporary Platonov studies and to simultaneously realize the modern tendencies in the study of the writer’s legacy and their perspectives. The conclusions of the article are based on the detailed study of the papers written by Svitel’skiy and the works of the scholars developing his ideas, as well as on his activity as editor and publisher. He was editor-in-chief of the “Philological Notes” of Voronezh University founded by A. A. Khovanskiy in 1860. He initiated the creation of the “Platonov Vestnik”, an information bulletin, which reflected the “new findings” of foreign scholars about Platonov. Due to his continuous effort, the number of scholars from various countries engaged in serious studies of Platonov’s texts grew considerably to include H. Günther (Germany), T. Langerak (Netherlands), M. Liubushkina-Koch (France), etc. The reflections about the fate of scientific ideas and their implementation in real life are mentioned in Svitel’skiy’s letters. Their author is a real Teacher – a clever and a patient one.

В статье рассматривается образный строй романа А. Белого "Петербург" как репрезентатор творческой манеры автора. The article explores the system of images of the novel Petersburg by A. Bely as a salient example of the author's creative manner. The purpose of the article is to discover the linguistic factors that ensure the unity of the texts and produce their originality in the context of the aesthetic and ideological priorities of the writer.

The article deals with the story “White Mazurka” by the writer of the Eastern emigration Boris Yulsky. Yulsky’s creative work is usually associated with Chinese traditions, highlighting the oriental line which permeates his prose. However, in the vein of classical Russian literature, Yulsky created two works which refer the reader to the mid 19th century and bring them back to the world of noble manors and Pyatigorsk resorts. These are “Lermontov’s” short story “The Moon over Beshtau” and the story “White Mazurka”. The urgency of the study consists in identifying Bunin’s themes in Yulsky’s prose on the example of his story “White Mazurka” and in discovering the position of the artist who wrote his works in the middle of the 20th century. The research methods rest on the historico-literary, phenomenological, typological and comparative approaches and are based on the works of researchers of the poetics of the Eastern emigration and specialists in Bunin’s creative activity. The purpose of the study is to show that the story “White Mazurka” does not only demonstrate the reception of the noble Russia in the new century and new (eastern) space, but is also a reference to the short story written two years earlier by I. A. Bunin – “Natalie” from the collection “Dark Alleys”. The motives and the elements of the plot of Bunin’s short story and Yulsky’s story have a certain similarity: the arrival of a young relative at a noble manor, the meeting with the main female character, the characters’ ambivalent love – carnal and sublime, the ball scenes which became mainstream in both texts, the separation, and the tragic finale. At the same time, “White Mazurka” also echoes other short stories from “Dark Alleys” (“Tanya”, “Zoyka and Valeria”) and even kind of anticipates the “Clean Monday” of 1944. Conclusions. The “parody” of the 19th century turns into the creation of a new text in Yulsky’s story, which, on the one hand, combines the motives of classical literature, and on the other, shows how Bunin’s background forms the position of the 20th century modernist, who creates a multi-layered narrative space joining the tradition and its transfiguration in new forms.

В статье рассматривается жанр травелога и его становление в современной русской литературе., Travelogue as a personal journey suggests a high degree of reflection. The writers have re­ferred to this genre at all times. However, at the turn of the 20th - 21st centuries, it has become extremely popular due to its transformation into a multi-level, syncretic genre. A travelogue author fixes his personal experience of movements in the external space, creates the model of the world and broadcasts an individual concept of the spiritual journey. The genre of travelogue gets definite ethnic and gender-related overtones in much of today's Russian-language literature, helping the latter get across to a wider range of readers and transforming it into a mass culture phenomenon., Филологический класс, Issue № 3 (57), Pages 127-133