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. // Tomsk State Pedagogical University Bulletin. 1997. Issue 1 (1). P. 44-53

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. // Tomsk State Pedagogical University Bulletin. 1997. Issue 2 (2). P. 33-40

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. // Tomsk State Pedagogical University Bulletin. 1999. Issue 5 (14). P. 15-19

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. // Tomsk State Pedagogical University Bulletin. 1999. Issue 6 (15). P. 41-48

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. // Tomsk State Pedagogical University Bulletin. 2000. Issue 6 (22). P. 65-71

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The Context of the Poem «The Seatersover» by V. Mayakovsk // Tomsk State Pedagogical University Bulletin. 2001. Issue 1 (26). P. 50-57

The author has discovered the reminiscences of the poems «The Upas-tree* by A. Pushkin and «Meditations at the front door* by N. Nekrasov in V. Mayakovsky's poem «The Seaters-over* in particular and the creative work of Mayakovsky as a whole.

The Poetical Grammar as the Cosmology of A. Platonov's (Barsht K.A. The Poetics of Andrej Platonov's Prose. SPb., 2000. 320 p.) // Tomsk State Pedagogical University Bulletin. 2003. Issue 1 (33). P. 92-94

The author of the article is reviewing K.A. Barsht's monograph «The Poetics of Andrej Platonov's prose». The book is evaluated against the background of multi¬ple investigations dealing with different pieces and as¬pects of the creative work of the writer. The author of the article points out that K.A. Barsht has investigated the whole of Platonov's prose as a poetical system, he has discovered and described very convincingly the basic images - signs of Platonov's prose and their semantic chains recreating the original ontology and cosmology of the writer.

- // Tomsk State Pedagogical University Bulletin. 2003. Issue 1 (33). P. 95-96

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- // Tomsk State Pedagogical University Bulletin. 2003. Issue 1 (33). P. 104-105

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M. Gorky’s Inventions in the Context of Dramaturgic Searches of the Epoch. // Tomsk State Pedagogical University Bulletin. 2004. Issue 3 (40). P. 20-26

To the 100th Anniversary of the Play «At the Bottom» In the article there was presented a strategically perspective character of M. Gorky’s inventions in searches of playwrights of the ХIХ–ХХ centuries. (from a realistic drama up to a drama of absurdity).

Opportunity and Problems of Final/ Introductory Test on Literature in the Form of Test Tasks // Tomsk State Pedagogical University Bulletin. 2004. Issue 3 (40). P. 113-115

In the article the authour informs about the experience of the XX–th century literature faculty and world art culture of Tomsk State University. The authour draws conclusions and makes suggestions.

Celebrations in West Siberian Cities. Second Half of the XIX-th – Beginning of the XX-th // Tomsk State Pedagogical University Bulletin. 2004. Issue 4 (41). P. 9-15

The author reflected the history of urban celebrations and holidays in Western Siberia in the second half of the XIX-th – beginning of the XX-th. Using a great historical material the author describes the changes in the urban cultures during the period of modernization.

"What Is Happiness, Everyone Understood It in One`s Own Way:" To Commemorate the 100th Anniversary of A.P. Gaidar`s birth // Tomsk State Pedagogical University Bulletin. 2005. Issue 6 (50). P. 5-8

The article is dedicated to the 100th anniversary of A.P. Gaidar's birth. His latter works, such as "Drummer's Fate", Chuck and Geek, Timur and his Squad are considered in the context of two trends of depicting childhood in Russian literature originating from S.T. Aksakov (description of the idyllic and happy life of a child in a noble family) and from A.I. Gertsen (narration about a child aware of social problems).

- // Tomsk State Pedagogical University Bulletin. 2007. Issue 8 (71). P. 132-134

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- // Tomsk State Pedagogical University Bulletin. 2007. Issue 8 (71). P. 135-139

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- // Tomsk State Pedagogical University Bulletin. 2007. Issue 8 (71). P. 140-142

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- // Tomsk State Pedagogical University Bulletin. 2007. Issue 8 (71). P. 142-145

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FORMS AND ABILITIES OF FUNCTIONAL BY LITERARY INTRODUCTION. REVIEW FOR THE MONOGRAPH BY O.G. LAZARESKU «LITERARY INTRODUCTION: THE QUESTIONS OF THE HISTORY AND POETICS (BASED ON THE RUSSIAN LITERATURE OF XVIII–XIX CENTURIES)». MOSCOW PEDAGOGICAL UNIVERSITY, 2008 // 380 P. // Tomsk State Pedagogical University Bulletin. 2009. Issue 4 (82). P. 174-176

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Keywords: .

«THREE SISTERS» BY ANTON CHEKHOV IN THE CONTEXT OF THE ARTISTIC SEARCH IN THE EARLY XX CENTURY // Tomsk State Pedagogical University Bulletin. 2010. Issue 8 (98). P. 5-10

The article is devoted to the analysis of Anton Chekhov's play «Three sisters» in comparison with the play «The Lower Depths» by Maxim Gorkiy. Valentina Golovchiner studies dramatist's search in the context of modern art at the turn of XIX-XX centuries. Cyclic motives in «Three sisters» are interpreted as manifestations of impressionism, while «The Lower Depths» is regarded in the article as an expressionist play. Valentina Golovchiner looks into both creations in connection with epic drama.

Keywords: drama, action, motif, mood, impressionism, reflection, expressionism

. // Tomsk State Pedagogical University Bulletin. 2011. Issue 7 (109). P. 5-6

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COMEDY, COMIC AND HUMOR ISSUES (“DAYS OF THE TURBINY” BY MIKHAIL BULGAKOV, “THE MANDATE” BY N. ERDMAN) // Tomsk State Pedagogical University Bulletin. 2011. Issue 7 (109). P. 47-57

The article deals with the reasons of such definitions as comedy, comic elements, comicality, culture of laugh (“smehovaya kultura” – M. Bahtin). The author reviews the development of comic, comicality and specifies their functions in the plays by M. Bulgakov (“Days of the Turbiny”) and N. Erdman (“The Mandat”).

Keywords: comedy, comicality, culture of laugh (“smehovaya kultura” – M. Bahtin), drama, action, hero, function, M. Bulgakov, N. Erdman

FUNCTIONS OF THE CHALDEANS IN “THE FLEA” BY E. ZAMYATIN // Tomsk State Pedagogical University Bulletin. 2011. Issue 7 (109). P. 129-133

The article deals with three characters in the play by E. Zamyatin “Flea” – the Chaldeans, which primarily indicate the proximity of folk theater. There were analyzed their functions in different areas of action.

Keywords: folk theater, reincarnation, multifunctionality, act, character, personage, E. Zamyatin, flea

. // Tomsk State Pedagogical University Bulletin. 2013. Issue 2 (130). P. 235-235

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AUTHOR MODEL OF LITERARY TEXT AS A SYNTHESIS OF THE EXPRESSIVE POSSIBILITIES OF THE KIND OF LITERATURE // Tomsk State Pedagogical University Bulletin. 2014. Issue 7 (148). P. 178-185

The article is dedicated to finding new scientific ideas about the forms of contemporary literature. Noting that instead of differentiating, regulatory paradigm of the genre in the nineteenth – XXI centuries comes looser, synthesizing one, the authors propose to consider non-classical, non-canonical works of the newest forms of literature as author’s models. Such model performs the function of genres, but have a new degree of freedom. New degree of freedom is determined by the authors, firstly, by using the product of the expressive possibilities of different genres of the single ancestral paradigm, and secondly, by the orientation not on the form of the genre but on the well-known plot, motive, the situation of the repertoire of world culture or an event of actual reality. Key concepts: the literary kind, genres, non-classical form, the epic and lyric drama, Pushkin, Blok, Mayakovsky, the author's model, the cultural model.

Keywords: literary genus, genres, non-canonical form, epic and lyric drama, Pushkin, Blok, Mayakovsky, creation as the author’s model of the text, cultural model

ABOUT THE PROBLEM OF CONVENTION IN LITERATURE (THE FIRST ARTICLE: HISTORY OF THE QUESTION) // Tomsk State Pedagogical University Bulletin. 2014. Issue 11 (152). P. 9-15

The examined material allows the authors of the article to believe that convention as a concept has arisen relatively recently and as the phenomenon it showed itself always in different ways and in historically varying creation principles of a work of literature as a whole. Actualisation of the discussion of the latter aspect designated differently occurs, as a rule, in situations of social commotion or during the time of renewal of art language. As regards to Russian history of trying to interpret convention, co-authors attach great importance to Pushkin's reflexion in his polemics with Aristotle's followers. In collected articles about new theatre of 1908 and 1914 years, convention means a category and later avant-gardist in their performances of 1920s developed the ideas of Aristotle's followers.

Keywords: “Poetics” by Aristotle, article «About a national drama and the drama “Marfa-posadnitsa” (Martha the Mayoress)» by A. Pushkin, “The Montage of Attractions” by S. Eisenstein, V. Bryusov, V. Meyerhold, V. Mayakovsky, S. Tretyakov, imitation, realism, natura

BLURRING THE BORDERS OF THE ISLAND: THE PLOTLINES OF THE PLAY BY M. BULGAKOV “THE CRIMSON ISLAND” // Tomsk State Pedagogical University Bulletin. 2014. Issue 11 (152). P. 66-71

The article is dedicated to the relation of the two plot lines in Bulgakov's play “The Crimson Island”. The primary thread is focused on the themes of theatrical “production” and repertoire problems, the relationship between theater administration and the aspiring author, the state, impersonated by the all-powerful bureaucrat, and the rehearsal, which, given the extreme circumstances with the possibility of the theater closing, is already being run as the final, general rehearsal. The secondary thread, the history of a remote island, lies at the foundation of the aforementioned play. The researchers outline this as a self-contained text within a text. Analysis of the event poetics allows the authors to claim that the expressiveness of “The Crimson Island” as such a text is characterized by the constant breaking through borders of two interweaving plotlines.

Keywords: M. Bulgakov, “The Crimson Island”, convetionality epic drama, event poetics, authorship issue, headline, text within text borders

TEXTS OF THE ASSISTANT DIRECTOR IN THE REVIEW OF «ODYSSEY» BY V. MASS AND N. ERDMAN: NATURE AND FUNCTIONS // Tomsk State Pedagogical University Bulletin. 2016. Issue 11 (176). P. 124-130

For the first time the attention is paid to the little-known review (obozrenie) “Odyssey” (1928) by Nikolay Erdman and his co-author Vladimir Mass. This text is travesting performance of the adventures of Odysseus, the main hero of Homer’s epic poem of the same name. The review includes three monologues of the assistant director (pomoshnikrezhissera). These monologues are not directly related to the plot of modern Odysseus’s adventures. Based on the works by Y. M. Lotman the article examines these monologues as a particular case of text within a text / theater within a theater. The article reveals peculiarity of comicality in the speeches of the assistant director, nature and functions of this character which unite him not only with chorus of Ancient Greek drama, but also with performers of Russian farce (balagan).

Keywords: N. Erdman, V. Mass, “Odyssey”, review, text within a text, transformation, famous plot, convention, action, chorus, farce (balagan), comicality

THE USE OF THE SLAPSTICK EXPRESSIVENESS IN BULGAKOV’S PLAY «THE DAYS OF THE TURBINS» // Tomsk State Pedagogical University Bulletin. 2018. Issue 2 (191). P. 180-187

The play The Days of the Turbins is usually studied in view of author’s and his characters’ political standings in the situation of the extremely dramatic change of government in Russia. The article analyzes the poetical manner of the play and finds out that the author used a wide variety of the expressive means, not just comical, but even slapstick. These slapstick elements can be found on the different levels and stages of the action: the play starts with obviously comical Nikolka’s «cook song» and ends with exceedingly passionate and comical, yet somewhat lyrical speaches by Lariosik. There is a system in use of the slapstick expressive means in description of authorities running away: from the implicit ones (the discussion of tsar by the drunk friends, singing Pushkin’s poem The Song of the Wise Oleg, rumors from Shervinsky about tsar’s return) to the explicit climactic slapstick scene in hetman’s palace. In the system of characters with use of means of comic not only Lariosik and Shervinsky’s images, but also Talberg are allocated: this not comic character is presented in a farcical situation of delay, replacement with another, in dialogue with repetitions, in zoomorfny assessment. The comic travesty of serious things, slapstick and drama in different forms and scales are considered in this article on the poetic manner in the play The Days of the Turbins as coexisting, contrasting, outlining, rejecting each other. The authors of the article believe that system manifestation of the slapstick poetic manner by the author of The Days of the Turbins shows to M. Bulgakov’s participation in that direction of creative search of theatrical vanguard of the 1920th years which was expressed in Mayakovsky’s dramatic art, Erdman - authors by Vs. Meyerkhold.

Keywords: M. Bulgakov, The Days of the Turbins (Dni Turbinykh), action, poetic manner, expressive means, comical, travesty, explicit and implicit slapstick comedy means

TWO VISIBLE TEXTS IN THE LYRICS OF V. MAYAKOVSKY OF THE LATE 1920S (СHAPTER 18 OF THE POEM “GOOD”, “CONVERSATION WITH COMRADE LENIN”) // Tomsk State Pedagogical University Bulletin. 2019. Issue 1 (198). P. 27-37

Introduction. V. Mayakovsky always willingly turned to the development of the expressive potential of the ancient genres. He used anthem, march, mystery, ode, message, conversation, etc. in his own way. The author for the first time presents transformations of the vision in the texts of the key importance for the understanding of Mayakovsky’s works of the Soviet era. The objective is to identify the genesis of the vision, to clarify the forms of its implementation in the works of V. Mayakovsky. Methodology and research methods. The study is based on the historical poetics methodology. Results. As a result of the work done, the vision is discovered in the form of an ancient proto-plot (a situation of appearing of the infernal person to the heroes of the Old Testament); in the form of the expanded story in Homer’s Odyssey and Virgil’s Aeneid (in the stories of the main characters about their descending into the realm of Hades, searching for the shadow of a person, getting the necessary information). The vision is best known as a genre of religious culture of the Middle Ages with a topic developed for the solution of didactic tasks. Finally, at the time of weakening of the religious feelings and the destruction of the genre, the expressive potential of the vision is preserved in the form of the particular artistic devices (“Prophet” by A. S. Pushkin). The central event of the vision in its various variants is an explicit or a virtual contact of a person with a representative of another world. In the lyrical plots of Mayakovsky’s poems - in “Extraordinary Adventure that Happened to Vladimir Mayakovsky at the Dacha”, “Jubilee”, “To Comrade Nette - a Steamer and a Man”, the expressive possibilities of the two sides communicating in the traditions of the ancient plot as the components of vision are revealed. The article examines their implementation in the poetics of Chapter 18 of the poem “Good” and the poem “Conversation with Comrade Lenin”. In the texts with the poetics of the vision preceding the poem “Good”, the initiator of the dialogue with the departed (with Pushkin in “Jubilee”, with Theodore Nette) was the clearly recognizable poet Mayakovsky. In the second half of Chapter 18 of the poem “Good” (1927), for the first time, the initiative passed to the comrades buried near the Kremlin wall, and the poet had nothing to say in an answer to their questions about the state of the country. In “Conversation with Comrade Lenin” (1929), both the dialogue with the leader who had died five years ago, and the report to him about the country’s victories failed. Had “to report not by service, but by liking” about “the work of hell” (here is referring to Dante’s “Comedy”), about the many who interfere with working and living, about the bastards who “tread the ground and around”. After this poem the poet did not have to live long. Conclusion. As a summing up of the 20 years of poetic work, was written the poem “At the Top of My Voice” in which the voice of the poet in the traditions of the vision sounded already from the distance of times ... And this is the last text in the lyrics of Mayakovsky of the 1920s with visual expressiveness in the logic of the through plot of Mayakovsky of the 1920s.

Keywords: Mayakovsky, through plot of Mayakovsky’s lyrics of 1920s, vision, transformation of its components, their functions in the poetics of a lyrical plot, interpretation

ON THE HISTORY OF THE FIRST LITERARY ARTICLE ABOUT THE PLAY BY N. ERDMAN THE SUICIDE // Tomsk State Pedagogical University Bulletin. 2019. Issue 6 (203). P. 118-121

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FUNCTIONS OF THE COMICAL IN THE NON-COMICAL WORK “FOR THE JUBILEE” BY VLADIMIR MAYAKOVSKY, OR “AFTER DEATH SHALL WE STAND ALMOST NEARBY: YOU UNDER PI, AND I UNDER EM…” // Tomsk State Pedagogical University Bulletin. 2020. Issue 5 (211). P. 164-173

Introduction. The study of the lyrical plot of the work “For the Jubilee” [Yubileynoye] carried out for the first time helps to understand the work as a poem, finds in its basis the dynamics of overcoming of the hardest sincere condition of the hero in the course of an imaginary night dialogue with Pushkin in front of his monument on Tverskoy boulevard. The purposes of the study are defined by the necessity of finding the internal co-ordinates of self-identification of the hero – the main lines of the lyrical plot, motives defining them, changes of impulses-themes in the monologue, as well as the components and devices of the comical. The methodology of the study is defined by a complex of historical-genetic, historical-functional, and comparativehistorical methods, descriptive poetics, and poetics of non-classical art. Results and discussion. The basic results of the work are connected to the overcoming the tradition of Russian study of Mayakovsky’s works to place “For the Jubilee” among numerous poems-“conversations” of the poet, to distinguish it only in the connection with the certain event – the 125th anniversary of Pushkin’s birthday. New prospects of the research are opened taking into account that “For the Jubilee” was created in the direct time affinity to poems “About That” [Pro eto] and “Vladimir Ilyich Lenin”, with the important topic of metaphorical or real death, the problem of immortality and the lyrical hero overcoming boundaries of real space and time in his mental searches. As other bases of research, the transformations of components of the ancient plot of vision, the connotation of Pushkin’s works and signs of his destiny are examined, which are perceived by Mayakovsky-hero as remarks of the great poetpredecessor in the mental dialogue with him. Conclusion. The analysis of poetics of “For the Jubilee” shows the specific author’s use of a set of speech devices of the comical in self-characteristics. The comical accompanies the expression of the serious, the sharply dramatic in the destiny of the poem’s hero and acts as a function to overcome mental anguish, to return to life in its joyful creative modus.

Keywords: Mayakovsky, “The Anniversary”, Pushkin, poem, lyrical plot, vision, poetics, motive, the comical in non-comical work

TO THE 120-TH ANNIVERSARY OF N. R. ERDMANN // Tomsk State Pedagogical University Bulletin. 2021. Issue 3 (215). P. 164-173

Introduction. This information review presents papers presented on November 14, 2020 at Tomsk State Pedagogical University at the VI International Scientific Conference «Problems of Transformation and Functioning of Cultural Models in Russian Literature». It was dedicated to the 120th anniversary of N. R. Erdmann. John Friedman and Ekaterina Shevchenko, the authors of the first monographs on Erdmann, were among the speakers at the second conference held at TSPU. Drama researchers Valentina Golovchiner, Oksana Yurchenkova (Rusanova), Olga Strashkova, Elena Penskaya, Larisa Tyutelova, Irina Bagration-Mukhranneli, Oksana Kravchenko, Elena Kirichuk, and art historians and theater scholars Konstantin Uchitel, Martina Palusheva, Anna Kovalova, Vanhong Bao, Liang Weiqi, and others. Objective: to outline the directions of contemporary studies of the Erdmann’s work by; to see the scale of scientific contacts, to unite like-minded people from different countries, to acquaint specialists and everyone interested in researching Erdmann’s work with the contents of the conference participants’ reports. Material and methods. The article is based on a complex approach including biographical, cultural-historical, comparative-typological, historical-literary, historical-functional methods. Results and discussion. The main points of the reports were briefly presented, the topical aspects of Erdmann’s work were pointed out, the range of works of literature and theater discussed in the context of his work was outlined, and an idea of translations and productions of Erdmann’s plays in European countries was formed. Conclusion. The material from the review of the conference reports can be used in scientific research, educational and cultural-educational activities in order to broaden the idea of Erdman’s personality and creativity, the scope of his talent, his contribution to Russian and world playwrights.

Keywords: Erdmann, plays, Shakespeare’s and Gogol’s traditions, avant-garde, poetics, comic, context, reception

Russian text “Orpheus in Hell” by V. Mass and N. Erdman in relation to the libretto of Offenbach’s operetta // Tomsk State Pedagogical University Bulletin. 2023. Issue 6 (230). P. 122-131

Today, the name of the playwright Nikolay Robertovich Erdman is widely known in the world theatrical space, primarily as the name of the author of two plays for the drama theater “Mandate” and “Suicide”. Written in 1925 and 1928, they received the highest appraisal of the figures of the national theater, but were banned by the Main Repertory Committee in the early 1930s and only in the late 1980s were published in the author’s homeland. Since then, they have been predominantly the object of attention of domestic literary critics. Few people know about the works created by Erdman in different years with co-authors, including for musical theaters. For the most part, they have not been published, and as a result, they did not fall into the field of view of researchers. The still unpublished text of the play by V. Mass and N. Erdman to the music of the operetta Orpheus in Hell by J. Offenbach became the subject of literary research for the first time. The story of Orpheus and Eurydice has long been of interest to composers and artists, but the composer J. Offenbach and his librettists were the first to present it in a clearly comic development. In travestying the main characters of ancient history, its plot situations, French authors of the mid-nineteenth century focused on the moral and everyday side of the private life of high-ranking people. Creating their text to the music of J. Offenbach, Russian playwrights developed its travesty expressiveness in the dialogues of action, represented in the comic history of heroes with mythological names the growing trends in world political reality at the turn of the 1920s–1930s.

Keywords: J. Offenbach, “Orpheus in Hell”, libretto, operetta, public opinion, V. Mass, N. Erdman, travesty, play, dialogue, action, image of the burgomaster