Russian Classical Literature Research Articles

Проблема межконфессионального взаимодействия старообрядчества и ислама в творчестве А.С. Пушкина и Л.Н. Толстого

The issue of reflecting the ethno-cultural interaction between the Old Believers and Mus­lims in regions with a traditional prevalence of Islamic culture in the 18th—19th centuries is considered in the works of A. S. Pushkin and L. N. Tolstoy. The conclusion is substantiated that both writers leaned towards the necessity of uniting Christianity and Islam based on common moral principles inherent in these religions. The continuity of the artistic tradition of the 19th century is emphasized, and similar trends in the perception of confessional issues are identified, characteristic of both the early development of Russian classical literature and the turn of the 19th—20th centuries. Along with this, fundamental differences in the views of the two writers are clarified. In particular, A. S. Pushkin assigned a leading role in interreligious integration to official Orthodoxy, seeing in Old Believers purely destructive traits. L. N. Tol­stoy, on the other hand, considered Old Believers as the best example of religious tolerance (des­pite the negative traits inherent in his followers), capable of productive and lasting in­ter­faith collaboration.

РУССКАЯ КЛАССИЧЕСКАЯ ЛИТЕРАТУРА И ПРОБЛЕМЫ МЕТОДОЛОГИИ: ГРАНИЦЫ ПОНИМАНИЯ

The article examines the peculiarities of understanding Russian classical literature depending on the primary basic epistemological and value settings, on the initial orientation of consciousness towards binary or trinitarian comprehension. The binary approach is characterized by a description of the world according to the principle of ontological dichotomy, splitting it into two parts: into “friends and foes”, into “good and evil”, etc. Understanding of Russian classics, based on the principles of binary (structuralism), gives rise to a simplified artistic picture of the world, expressed in oppositions, antinomies, oppositions and enshrined in the categories “I and Other”. The absolutization of this approach in the social sphere results in alternative domination, the dominance of one pole over the other. In the light of this approach, the world cannot be conceived as more complex than a unilinear whole. The transition to a viable epistemological paradigm and, consequently, to a new strategy of life and worldbuilding is associated with the trinitarian approach developed during the formation of great cultures, in this case, the Russian classics. This approach is characterized by an understanding of the world, reflected in Russian literature, as a hierarchically structured and sacralized whole, within which the tension and opposition of oppositions is removed.

Памяти Веры Николаевны Аношкиной (Касаткиной)

This obituary is dedicated to the talented scientist, researcher of Russian classical literature and experienced teacher Vera Nikolaevna Anoshkina (1929–2023). The authors of the obituary list brief information about the life and academic work of V. N. Anoshkina, talk about the place of her work, her friendship with colleagues from IWL RAS, and their joint activities. The presented text indicates circle of Anoshkina’s scientific interests, especially her increased interest in the axiological sphere of Russian classics, and reports about her pedagogical talent, inexhaustible strength and thirst for an active life. The obituary is accompanied by an excerpt from Anoshkina’s book about the life and work of V. A. Zhukovsky.

Трансформация сюжета трагедии А.С. Пушкина «Моцарт и Сальери» в повести Н. Дашевской «День числа Пи»

The ways of reflecting classical texts in modern literature on the example of the story “Pi Day” by N. Dashevskaya addressed for teenage readers are considered. It is shown how the creation is formed on the allusion to the tragedy “Mozart and Salieri” by A.S. Pushkin. The specificity of a new type of hero, developed in the context of traditions, taking into account the ideas about modern teenager personality is revealed. The correlation of the plot about Mozart and Salieri with the literary hero of the new time is described. In the main antagonists’ images of N. Dashevskaya’s story – Lev Inozemtsev and Kirill Komlev – the positive and negative features combination is emphasized. The methods of gifted teenager image formation in the creation are characterized, the artistic embodiment specificity of his socialization, adaptation way in the school community is determined. Differences number of the modern author’s book from the classical creation are highlighted, the writer’s desire to form in young readers the need to have a look at the source material is emphasized. The compositional features of the story “Pi Day” are defined: division into two equal parts, narration on behalf of different characters, fragmentary day-night narration. The practical significance of the research, the results using possibility in literature school teaching as a way of increasing the high school students reading interest to the classic Russian literature is outlined.

СПЕЦИФИКА ИСПОЛЬЗОВАНИЯ ПРЕЦЕДЕНТНОГО ФЕНОМЕНА В "ДНЕВНИКЕ ПОЛИТИКА" П.Б. СТРУВЕ

The paper studies the features of precedent texts, situations and names used in articles by Russian politician, economist and historian Pyotr Struve, and unified under the rubric “The politic’s journal” published in the newspapers “Vozrozhdeniye”, “Rossiya” and “Rossiya I slavyanstvo”. The article focuses on the precedent phenomenons associated with literary texts – from Russian epic to classical Russian literature of the 19th century. The regularity of introduction of quotes and literary anthroponyms is also highlighted. The author describes the meanings and roles of precedent texts in emigration discourse.

SCHOOL THEATER AS A FORM OF EXTRACURRICULAR EDUCATION (on the example of educational institutions of Yadrin in the second half of the XIX – early XX century)

Extracurricular education began to develop actively in the second half of the XIX century, when the Russian Empire was experiencing great shifts in all spheres of life. The changes caused an increase in the cultural needs in all segments of the society. One of extracurricular education forms was the school theater. The interaction between school and theater, as one of the types of arts, is historically conditioned. At the initial stage of its existence, since the time of Ancient Greece, theatrical art was one of the methods of cognition. The school theater performed several functions: didactic, educational and educational ones. In educational institutions, all performances were staged mainly basing on works of the Russian classical literature. In addition, many publications appeared in in printed press of the second half of the XIX – early XX century in which the teaching intelligentsia and professional actors gave recommendations for staging school and home performances.
 
 The aim of the work was to study student theater and concert activities at a non-classical secondary schools, a women’s gymnasium and a city school of Yadrin in the second half of the XIX – early XX century. The article analyzes the repertoire and the nature of the presentations. Separately, the work mentions people on whose initiative the theatrical art flourished in the educational institutions of Yadrin. The authors note students’ charitable activity, namely giving performances and literary and musical evenings that were very profitable. The research is based on archival materials, literature and memories. The methodological basis of the study was a set of scientific techniques and principles used in the study of socio-economic and socio-cultural life – objectivity, scientificity, complexity and comprehensiveness. The fundamental method in the work was the principle of historicism. The practical significance of the study lies in disclosure of “blindspots” on this problematics.

Press in the Works of Russian Literature

Russian classical literature of the 19th and early 20th centuries constitutes the whole with the finest Russian journalism of the same period. Almost all famous authors started their careers by releasing their first works of literature in magazines and even in newspapers. Nevertheless, even when gaining popularity, they continued to cooperate with periodicals, offering them their masterpieces. Thus, Leo Tolstoy published his novels War and Peace and Anna Karenina in the Russkiy Vestnik [Russian Herald] magazine, while his novel Resurrection was published in Niva, the most popular Russian magazine aimed at mass reader. The writer wanted to reach as many ordinary people as possible. Fyodor Dostoevsky's Crime and Punishment, The Idiot, Demons, and The Brothers Karamazov first appeared in the same Russkiy Vestnik, along with Ivan Turgenev’s novel Fathers and Sons. This list is long indeed. Russian authors actively employed material published in press in their works. Therefore, the characters of Anna Karenina passionately discussed the events highlighted by the newspapers and magazines of that time. The references to certain periodicals, their brief description made it possible to understand better the mood and to expose the nature of their characters for the readers. During Soviet times, the attitude of the characters to certain newspapers and magazines displayed the role of media in public relations and their place in the political system of the country. Finally, thanks to the media subscriptions of the characters in novels and short stories, the reader could better understand their worldview, hobbies, and dreams. The authors set themselves the task of studying the specifics of the use of references to certain media as an artistic detail in literary works. They attempt to identify the role of such details in creating the artistic character, as well as in recreating the atmosphere and ideology of the era. They also examine references to journal articles read by the characters of a literary work from the perspective of intertextuality theory, as well as the task of revealing the peculiarities of the interaction of artistic and journalistic texts in the context of the era. The authors also raise the question of the possibility of using texts of literary works as a source for the study of media history.

The Aesthetics of the Ugly in Postmodernism (V. Sorokin's Novel "Blue Fat" and Mo Yan's Novel "The Land of Wine")

The article discusses aesthetic guidelines in postmodern literature. The emphasis is placed on the analysis of the aesthetics of the ugly in the novels of V. Sorokin "Blue Fat" and Mo Yan "The Land of Wine", the similarities and differences of the work of the two writers are revealed. Sorokin and Mo Yan are from two completely different countries, nevertheless their literary style and language are similar. The creativity of both is marked by the presence of multidimensional literary experiments. In "Blue Fat" and "The Land of Wine" there is an abundance of violent scenes, as well as detailed descriptions of violent bloody scenes. Sex scenes are also widely represented in both novels. The description of physiological details and nauseating details also occupies a significant part in both novels. In addition to the aesthetics of the ugly, both writers are heirs of the classical literature of their countries. Both writers create their own artistic world based on the aesthetics of the ugly. Unlike Sorokin, Mo Yang is obsessed with depicting the comparison between good and evil, beautiful and ugly. According to Mo Yan, the world is cruel, but evil can never prevail over good. In "Blue Fat" there are many Chinese elements of everyday life, which gives the novel an oriental flavor. Mo Yan also admits to the influence of Russian classical and Soviet literature on him: in the novel "The Land of Wine" the words of I. Lenin and L. Tolstoy are quoted. All this, as it was shown in the article, proves that the works of Vladimir Sorokin and Mo Yan have existing similarities. The heritage and development of the traditional literature of their country, the reinterpretation of modern society and its values, a self-sufficient artistic world based on the aesthetics of the ugly, is accompanied by an abundance of literary experiments, which allows both writers not only to show their talents in literary circles, but also to successfully demonstrate their own national mentality.

"School cinema" of the mid-1970s: "education of feelings" and love discourse (on the example of the film "One Hundred Days after childhood")

The object of the study is the movie "One Hundred Days after Childhood", one of the most famous Soviet films of the mid-1970s, dedicated to school and schoolchildren (the so-called "school cinema"). The subject of the study is the cultural meanings new to this genre, broadcast by the film, the phenomena of Soviet culture that made this broadcast possible and significant for Soviet cinema, as well as the expressive means of the film, indicating changes in Soviet culture and, in particular, in pedagogical strategies compared with the early 1960s ("thaw era"). The purpose of the study was to identify the role played by this film in the development of the theme of the school in Soviet cinema, as well as to establish those trends in Soviet culture of the 1960s and 1970s that made this development possible. As the main research method, a theoretical and cultural analysis of the most significant elements of the plot was used, representing both the key ideas of the Soviet "school cinema" and the most significant phenomena for Soviet culture of the 1960s and 1970s. As a result of the study, the role of classical Russian literature in the education of the most significant human qualities of Soviet schoolchildren for the period under consideration was established. In addition, the very fact of the appearance of this film suggests that the model of socialization peculiar to the Soviet school up to the early 1960s has lost its relevance, and the new model was still in the formative stage.

Сталин и «курско-орловский диалект»: к истории одной лингвистической загадки

This paper briefly outlines the historical and cultural context of the linguistic discussion about Marxism in linguistics that took place in the Soviet Union in 1950; the materials of the discussion were published in the main Soviet newspaper “Pravda”. I describe the reaction of the academic community to this (undoubtedly incorrect) statement that the Kursk-Orel dialect formed the basis of the Russian national language. The reaction mostly amounted to ritual quotations of this Stalin’s claim (without detailed argumentation) in studies on Russian language and dialectology published by Soviet Slavicists in the 1950s. I discuss proposed explanations for the emergence of the “Kursk-Oryol dialect” theory, in particular, Yu. M. Lotman's hypothesis about the influence of Maxim Gorky's statements on the origin of classical Russian literature in Kursk-Orel steppes as well as several more speculative assumptions.I demonstrate the unsatisfactory character of the proposed explanations and put forward a new hypothesis, which draws attention to the possible influence of F. Engels’ work "The Franconian Dialect".

Velimir Khlebnikov's “Christmas Tale” Snezhimochka

A wide range of dramatic forms can be found in Khlebnikov’s dramatic œuvre, which should be viewed against the background of Russian classical literature and culture, Symbolism, as well as the Futurist theatre of the time. In this paper I focus on Khlebnikov’s early dramatic work Snezhimochka (Snowflake, 1908) retracing its connections with the folk character of Snegurochka (the Snow Maiden) as she is represented in Afanas’ev’s famous collections of folktales, on which Ostrovsky based his play Snegurochka (1873), on which in turn Rimsky-Korsakov based his opera Snegurochka (1882). I highlight how the motif of the Snow Maiden played an important role in the revival of interest in folklore and Slavic mythology in St Petersburg Symbolist circles, which the young Khlebnikov frequented. Finally, Snezhimochka and Kruchenykh’s “opera” Victory over the Sun – which were intended to be performed together – are compared with reference to the theme of the sun, their characters, and, above all, their treatment of language and neologization.

Национальный корпус русского языка как инструмент изучения прецедентных знаков высокой культуры со сферой-источником «русская классическая литература»

The aim of the study is to identify the advantages of the resources of the National Corpus of the Russian Language (hereinafter referred to as the NCRL) for an objective assessment of the degree of prevalence and activity of Russian literature classics’ works reception in modern professional and social media. The scientific novelty of the study lies in the fact that for the first time the algorithm for searching not only for precedent signs with the source sphere “Russian classical literature”, but also for their transforms in the NCRL is described. The obtained data showed that, being an important tool for searching for precedent signs of various types and having a large amount of resources for analysing research material, NCRL does not always allow drawing sufficiently substantiated conclusions. It is necessary to refer to the resources of other corpora for an objective assessment of the quantitative representation of high culture signs in media texts, the genre affiliation of these texts, the nature of the transformation of the precedent sign. The selection and marking of the texts from other corpora is carried out automatically and therefore includes relevant text materials from professional and social media,

Library and Bookstore of Sergei A. Polevoy in Beijing

The article reveals previously unknown facts about the sinologist Sergei Alexandrovich Polevoy (1886—1971), who became famous due to his scientific, pedagogical and social activities in China. Being a native of dynasty that gave the world talented literary critics, writers and journalists, Polevoy from his youth was passionate about literature and collecting books alongside learning about China. His first academic work, prepared as a graduation paper at the Oriental Institute (Vladivostok), was devoted to periodicals in China; and his unique library composed of literature in many languages originated from the books on Oriental studies and linguistics. Living in China since 1917, Polevoy was a professor at Nankai University in Tianjin (since 1918) and then Peking University (since 1921), where he taught Chinese students the Russian language and literature. Using the introduction to Russian culture and literature as a new method of teaching, he brought up some famous Chinese writers and translators. His bookstore, opened in Beijing and having contacts with the International Book Company in Moscow, became a cultural bridge between Russia and China. Using the bookstore, Polevoy supplied Chinese students with textbooks and Russian classical literature, replenished the department of Slavic literature at the Beijing National Library, distributed Marxist literature and helped Chinese communist leaders establish contacts with the USSR. The authors also report the facts on the biography of Polevoyʼs son, Leonid, thanks to whom the Oriental Institute of the Far Eastern Federal University (Vladivostok) received the manuscript of S. Polevoy’s English-Chinese dictionary and his other materials on oriental studies. Leonid also presented his father’s book collection to Irkutsk, and these books served as the basis of the Humanitarian Centre — Library named after the Polevoys’ family. The article is based on materials from the Polevoys’ family archives and other private collections abroad.

TRADITIONS OF A. N. OSTROVSKY AND A. P. CHEKHOV IN EGOR ZAGREBIN’s PLAY “LEBED’ BELAYA [THE WHITE SWAN

This article investigates the specifics of the Udmurt drama. The novelty of the paper lies in the fact that for the first time ever it presents more detailed theoretical considerations of Egor Zagrebin's play “ Lebed’ Belaya [The White Swan]”. Its relevance is based on the use of the comparative historical method which enables us to identify the origins of the Udmurt dramaturgy. We can trace the impact of A. N. Ostrovsky and A. P. Chekhov’s theater on the play “Lebed’ Belaya [The White Swan]" by E. Zagrebin. On the one hand, Egor Zagrebin's play is focused on the ideological and worldview conflict worked out by Ostrovsky, and on the other hand, it involves the elements of Chekhov's drama (an orientation towards symbolism and reticence is clearly detected in it). The study presents a comparison of the Udmurt play with Ostrovsky's drama “ Groza [Thunderstorm]” and Chekhov's comedy “Tchaika [The Seagull]”. The system of direct and hidden references to the previous texts has been developed in the process of research, which shows how the culture-bound literature overcomes and creatively transforms the initial trends of the Russian literature. If the Russian drama of the 19-20 centuries deals with insoluble conflicts (for example, “eternal conflicts” of Ostrovsky and metaphysical conflicts of Chekhov), then the idea of inherent harmony of the world is embodied in the play by E. Zagrebin. Despite the extreme tension of the collision, the dramatic conflict can be resolved; and the victory is won by the normative principle which is deeply rooted in the culture-specific soil. It is crucial that the Udmurt dramaturgy of the second half of the 20 century is under a double influence. On the one hand, it goes back to the tradition of the Russian classical literature (A. Pushkin, N. Gogol, A. Ostrovsky, A. Chekhov, and others); on the other hand, it responds to the current state of the literary process, or rather being influenced by the Soviet dramaturgy (A. Vampilov, A. Volodin, M. Roshchin, and others).

Urnov, D. (2021). Literature as life (2 vols). Moscow: Izd. Sabashnikovykh. (In Russ.)

The 2-volume book of personal recollections, literary memoirs, immediate reactions of a literary critic and thoughtful opinions of a scholar covers a greater part of the second half in 20th-c. Russia. In agreement with the promise in the book’s title, literature was more than part-time, it was life itself, books as real as people, sometimes even more real. The author is with them who love classical Russian and English literature and is very strict on others whose tastes are being shown off as radically modernist or avant-garde. Pushkin and Shakespeare are the objects of the academic study and eternal fellow-travellers for the author who rejects Joyce with Ulysses , Pasternak with Doctor Zhivago , and Bunin with Dark Avenues [ Tyomnye allei ], presumably not on any political or moral reason but primarily as the books badly written. Urnov’s own book is sincere when the author speaks about his position in life and literature, and it will stay as an opinionated commentary to the time partly gone, partly going on.

Semiotics of the Train in Russian Literature: Intermedial and Metapoetical Aspects

This article explores the intermedial and metapoetical semantics of the artistic image of a train. This image is part of the artistic semiotics and plays two interrelated roles: it marks the connection between the discourses of cinema and literature and signifies the act of artistic creation. Based on the Russian literature of the ХХ–ХХI century, this article reviews the origins and development of the arrival of a train as a cinematic metaphor, as well as the ways of depicting images in time and space (including the inner space). Before the age of cinema, the classic Russian literature introduced the railroad motif to make the discourse more dynamic and to highlight the key opposition between traditional lifestyle and technological progress, e.g. in works by F. Ostrovsky, A. Chekhov, etc. The literature of the XX century merged cinematic devices with literary motifs and introduced fragmentation, editing, changing angles, and other new ways of artistic perception, e.g. in A. Platonov’s oeuvre. Train imagery may attain mythological semantics when it manifests the themes of disaster, death, Apocalypse, and revolution, thus becoming a metapoetical symbol, e.g. in B. Pasternak’s Doctor Zhivago. In the contemporary Russian literature, train movement is associated with the life of human consciousness (V. Pelevin) or with text generation (S. Sokolov). In some cases, episodes of rail traffic interspersed with episodes of filming complicate the narrative and multiply transitions from external to internal focalization (E. Vodolazkin).

Closest thing to reality. Roman Senchin’s prose

The article analyses the artistic evolution of contemporary writer R. Senchin — from one of his most successful novels The Yoltyshevs [Yoltyshevy] (2009) to later works such as The Runway [Polosa] (2012), a novella, and novels The Flood Zone [Zona zatopleniya] (2015) and Rain in Paris [Dozhd v Parizhe] (2018). It is suggested that each of the works in question are written in response to a 20th-c. classic: The Runway brings back memories of Shukshin’s short stories, The Flood Zone invokes Rasputin’s Farewell to Matyora [Proshchanie s Matyoroy], and Rain in Paris — Vampilov’s Duck Hunting [Utinaya okhota]. The critics primarily focus on the plots that are typical of classical Russian literature, e. g., the fate of a ‘small man’ or an eccentric (chudik). Drawing from the traditions of the ‘village’ and ‘urban’ prose, Senchin creates a modern version of the two. The authors consider Senchin a proponent of objective emotionality, one of the few modern successors of the classical tradition, and argue that his characters are true heroes of our time.

The Transformation of the Canon, the Struggle With the Canon, the Re-creation of the Canon as the Basis of Fanfiction Culture

To understand the transformation of canons and the struggle with them, we may productively explore fanfiction, a particular reader's, viewer's, and author's practice, within non-professional and non-commercial texts based on the plots and heroes of other people's works. Fanfiction is a paradoxical phenomenon: it is wholly based on a specific canon — collectively selected film and literary texts, moves by worship, emotional attachment, and attention, while initially working as a criticism of the canons and changing the canons. Canon is not only a research concept but also an intra-cultural designation of the original work as the basis of a fan text. Fans also create their canon — “fanon”, a set of characteristic plot solutions and ways to change characters established in fanfiction. The article examines the intersections of the cultural canon of high and popular culture, the national literary canon, and the canon and the fanon in the understanding of fans with different types of attitudes to the canons — disintegration, transformation, struggle, re-creation. The argument is based on a critical analysis of the research literature with a focus on metaphors that help authors describe the relationship of fiction writers with the canons and on the experience of empirical research about fanfiction devoted to samples of popular culture (“Harry Potter” franchise, “Doctor Who” series, “Sherlock” series, and others), fanfiction and sequels to novels by Jane Austen, the British writer of the 19th century, and fanfiction devoted to Russian classical literature.

The “Precedent World” of F.M. Dostoevsky in the Socio-Cultural and “Playing Ground” of Modern Media

Precedent cultural signs from the citation source Russian classical literature are in wide demand in the modern media space, including both professional and social media. This article studies the problem of identifying the reasons for this demand and the functioning features of these specific cultural signs in canonical and transformed forms in the context of the reception of works by F.M. Dostoevsky in modern media texts. The article also raises the question of the nature of transformations of textbook precedent signs functioning as the authors evaluation of current social events. The aim of this research is to identify two trends that are characteristic of both professional and social media. On the one hand, it is the trend to transform various precedent phenomena (precedent onyms, utterances, situations) in order to create a comic effect and a language game. On the other hand, it is the trend to comprehend the content of a cultural sign for the argumentation of the authors position. The material of the research is constituted by media texts of different genres and with varying socio-political connotation which contain precedent phenomena from the F.М. Dostoevsky source sphere and which are published in Russian print media, as well as posted on social media. These media texts were obtained using the manual sampling method and with the help of the Russian National Corpus. The research made it possible to present the precedent world of F.M. Dostoevsky reflected in media sources in proper linguistic terms (from the point of view of the nature of linguistic transformations and their interaction with the context) and in linguoethical terms (from the point of view of the ethical correctness of free use of textbook signs of high culture). The analysis resulted in the identification of various ways of foregrounding precedent cultural signs in different media genres. It also helped establish that the replication of precedent cliches in the digital media environment leads to devaluation of the content of a cultural sign, while the socio-political analytical press, on the contrary, shows demand for its message, its social and philosophical content, which is relevant for understanding the events taking place in the country and in the world, and the eternal questions of life.

Этнокультурный подход к формированию музыкально-педагогического репертуара на примере вокальной лирики чувашских композиторов

The purpose of the article is to substantiate the ethno-cultural approach to the formation of the musical and pedagogical repertoire of students of the Chuvash State Institute of Culture and Arts. The implementation of the ethno-cultural approach ensures the orientation of their professional training to the development of culture as a historically determined type of human activity with certain ethnic characteristics. The author examines the potential of Chuvash vocal lyrics in the aspect of an ethnocultural approach, for which he analyzes romance in detail as a genre of Chuvash composer music. Based on the method of stylistic analysis, conclusions are drawn about the derivative character of the Chuvash romance, which goes back through the Russian medium to the medieval European musical tradition. The first Chuvash romances were vocal works based on the words of the classics of Russian literature A. Pushkin and M. Lermontov translated into the Chuvash language. Subsequently, independent Chuvash works with an ethnic sound appeared in the Chuvash musical art (works by O. Agakova, Y. Grigoriev). Romances have enriched Chuvash chamber music with vivid artistic images, they are characterized by a deep insight into the drama of verse, sincerity, lyricism and nobility of utterance, a variety of forms. The musical and pedagogical repertoire of vocal students should be supplemented with works of both the early stage (romances to the words of Pushkin and Lermontov translated into Chuvash) and modern (romances with ethnic sounding accompaniment with a characteristic Chuvash folk music mode and metrorhythmics, with Russian and Chuvash texts).