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| 1 | The article examines the reader’s reception in the literary communication (“author – a literary work – the reader”) and educational communication (“a literary work – a teacher – a reader-student”). Accounting of the specifics of the perception of artistic information and realization of the principle of dialogism are considered as the moments that combine these levels and determine their effectiveness. Keywords: art information, addressee, fictional world of art, imaginary reader, the naive realist perception, the subject – subject teaching | 1535 | ||||
| 2 | Introduction. The group of stories in which the scene is the center of the artistic model of the world, and the distinctive features – the transformation and interpenetration of real and virtual spaces. Aim and objectives. The article deals with the strategy of playing with the reader in “theater” stories of E. Zamyatin. Materials and research methods. Material of a research are stories by E. Zamyatin E. Zamyatin “The Ten Minute Drama”, “Meeting”, “Lion”. The reader is in a situation of uncertainty, which is due to the fact that he can not distinguish the real space from the virtual (“Meeting”), is forced to respond to the effect of changing masks. Thus, in the story “The Ten Minute Drama,” he finds himself in the role of a spectator, an odd man out in an imaginary play. The author also changes the mask, turning into a director, screenwriter, character of the “drama”, played out in the tram. The change of masks creates the illusion of a theatrical play. Results and discussion. The article proves the position that a special type of relations between the author and the reader and, consequently, the strategies of the game with the reader are set by the modernist paradigm. The second important factor in determining the specifics of the game strategies, is the special nature of synthetism of E. Zamyatin, which has predetermined properties such properties of his prose as the stage charisma and the cinematography. The staginess is associated with the visualization of the text, the brightness of spatial images, the effect of staging, the significance of the details, the cinematography of the text is determined by the implementation of the principle of montage. Conclusion. The analysis of “theatrical” stories allows you to detect game practices which are peculiar to the post-modern paradigm, for example, focus on game interaction with the reader, performativity, autocommentary, the creation of the text by analogy with the dramatic piece or a movie script, the fixation of the unreliability of the narrative. Units of divisions of such a text are the episodes, the appropriate personnel and scenes. Thus, the transformation of the reader into an aesthetic subject involved in the creation of a work or observing this process is carried out. The models of the world created in the stories do not draw reality as a space of simulacra, it would be impossible within the framework of the system, which E. Zamyatin defined as neo-realism. Keywords: play with the reader, modernism, stage, theatricality, synthetism, neorealism, literary cinematography | 1814 | ||||