Cycle Of Stories Research Articles

“Otherworldlyness” in Collection of Stories by L. Ulitskaya “On Body of Soul”

The article is devoted to the topic of the otherworldlyness in the collection of stories by Lyudmila Ulitskaya “About the body of the soul” (2019). Attention is paid to the diversity of the realization of the otherworldly category in the cycle of stories “Girlfriends” and “About the body of the soul.” The novelty of the research is seen in the fact that the collection “On the Body of the Soul” is the least researched collection of Ulitskaya’s stories. It is noted that the stories of the collection highlight one or another type of bodily perception — visual, tactile, auditory or olfactory. In the collection “On the Body of the Soul” L. Ulitskaya models the other world, playing out various options for the transition to an-other being. The author of the article concludes that the stories of the “Girlfriends” cycle are focused on the permeability of the boundaries of the otherworldlyness, the possibility of communication between the worlds, and the stories of the cycle “On the Body of the Soul” of the same name with the collection reconstruct various models of the otherworld itself. It is noted that the title of the collection “On the Body of the Soul” combines not only the material and spiritual, this worldly and otherworldly, but also the personal-human and divine. It is shown that both cycles create a single whole due to cross plots, themes, motives, the central of which is the transition to the otherworldlyness.

LANGUAGE MEANS OF REPRESENTATION OF ARTISTIC SPACE IN THE SHORT STORY BY JACK LONDON “AN ODYSSEY OF THE NORTH”

The article is devoted to the peculiarities of the functioning of open and closed space in the artistic text. The purpose of this article is to explore the verbal means of creating artistic space in Jack London's short story from the North Cycle "An Odyssey of the North". It was extremely important in the course of the research to find out the essence of artistic space and the peculiarities of its organization in the text, to consider the main classifications and types of artistic space; to explore the artistic space in the short story in the context of types of information, types of presentation and narrative-compositional forms; as well as to compile frequency lists of the lexical markers that represent the artistic space in the short story and to provide a semantic description of the spatial markers and to determine their stylistic functions in the text. The artistic space in the story is mostly an open exact space. The closed artistic space is represented by only a few touches of the description of the main character's hut. The deployment of artistic space is carried out nonlinearly. Due to retrospection, the real space of the plot is interrupted by the description of the events that developed earlier, and therefore are considered new spatial markers. The real artistic space of the short story is the north of Canada – the Klondike, the imaginary artistic space is the space and its markers that function in the story, that odyssey, told by the protagonist. Both direct and indirect spatial markers take part in the actualization of artistic space in the short story. Direct spatial markers are introduced with the help of toponyms – astonyms and potamonyms and form the megaspace of the short story; and also common names meaning means of transportation and common names with generalizing local reference. Indirect spatial markers are realized with the help of lexical means that define meteorological phenomena, representatives of fauna, clothing items containing this seme. Among the lexical means that represent the imaginary artistic space of the text of the short story, toponyms are dominant. By genre, the artistic space in the short story can be defined as psychological. We see the prospects for further research in a comparative analysis of the means of realization of artistic space in the rest of the short stories that make up the North Cycle of Jack London's short stories.

Мотивика ранних лирико-философских рассказов А. Платонова

The article examines the motivational corpus of early lyric and philosophical stories by A. Platonov. The author himself calls them “poems” in his correspondence with his future wife. It is shown that the source of ontological tragedy for the author and his heroes is the destroyed unity of the universe. This maxim organizes the motivational system of the analyzed works. The main motives are longing, thirst for the impossible, the heroes’ love for distant stars and clouds. The intonational features of the stories put forward the main character’s inner position, the sphere of his experiences, to the main place. This turns him into a lyrical hero. From the point of view of the young author and his auto-characters, overcoming the separation from the sky can be achieved through “rebellion against the universe”. Here there is a clash of two opposites: love for the world and hatred for existing existence. This explains the opposite direction of the motivational system in the entire cycle of stories and within each work. At the genre level, this conflict is expressed through the clash of utopia with dystopia. Involvement in the analysis of letters, journalism, poetry of Platonov strengthens the argumentation of the author`s naming of the analyzed works of poems.

ЭВОЛЮЦИЯ ЗАМЫСЛА СКАЗКИ «СЕМЬ ПОДЗЕМНЫХ КОРОЛЕЙ» А. М. ВОЛКОВА В 1963–1967 ГГ.

The article is devoted to the work of Aleksandr Melentevich Volkov on the text of the fairy tale “Seven Underground Kings” (1967), which is part of the cycle of stories about the Emerald City (1939–1982). The author of the study, referring to the correspondence and diaries of Aleksandr Volkov, revealed that the fairy tale was created in close cooperation with the illustrator Leonid Viktorovich Vladimirsky, and shows how, under the influence of Vladimirsky, the author’s idea was transformed and the text of the work was remastered. An important factor that influenced the evolution of the fairy tale was the requirements of the publishing house “Soviet Russia”, where the manuscript was submitted. The first version of the manuscript was rejected, so Volkov radically revised the text, significantly changing the plot. Vladimirsky’s ideas and advice led to a change in the title of the book and influenced Volkov’s choice of a new storyline. The article compares different versions of the text, and traces the changes made to the manuscript. The author of the article hypothesizes that the reworking of the fairy tale’ text reflected new trends that gained strength in the Soviet children’s literature of the 1960s, including the humanization of values, de-ideologization, and a decrease of class antagonism.

Мир животных в «Трагическом зверинце» Л. Д. Зиновьевой-Аннибал

The article reveals the images of animals in the cycle of stories The Tragic Menagerie (1907) by the writer of the Silver Age L. D. Zinovieva-Annibal (1866–1907) and their role in molding the character of the heroine. These images perform several functions. They establish the environmental discourse of the narrative, shape the moral and philosophical problem range, facilitate the religious self-identification of the main character.

“IMPATIENT MAN” RASKOLNIKOV AND MYSTERIOUS RUSSIA (ABOUT LITURGICS OF “CRIME AND PUNISHMENT” BY F.M. DOSTOEVSKY)

The article regards “Crime and Punishment” from the perspective of temple-related poetics which encompasses a universal pattern of both dogmatic and mystic Orthodox teaching about the Universe. It has enabled us to trace the connection between the novel itself and the Orthodox church service. Liturgics of the novel reveals itself through poetization of church services and sacraments. Among the sacraments mentioned above Confession and the Blessed Sacrament reflected in the Marmeladov’s storyline are of symbolic nature. Christ proves to be the most mysterious central image of the novel. Dostoevsky reproduces the Evangelic Image of Christ through the liturgic “listening” of the paroemia about the resurrection of Lazarus. The image of the priest which penetrates through the whole novel is associated with the iconography of the image of Christ. Liturgics of “Crime and Punishment” is supported by numerous evangelic images, in particular by the analogy of coffin-like room of Raskolnikov with shelters of the possessed, with the poetics of the New Testament related names and objects. The image of the Orthodox Church with its gleaming dome (the Church Raskolnikov is trying to sever all ties with) is regarded as a substantial image of particular relevance associated with the “Crime” of the novel. Exacerbation of the “spiritual impatient man” fades away in the Divine love which is reflected in love of his family and dear ones, in liturgic support of Christian symbols up to Epilogue (the most repeated symbols include images of cross, icon, grave candle, pray), motives of the sign of the cross, his mother’s blessing, cheerful acceptance of other’s person guilt. The studying of “Crime of Punishment” in the context of temple-related poetics has allowed us to define trans-historic nature of liturgic storylines. A striking point in this case could be “zaraisky storyline” which is connected with the colourman Mikolay, a native of Ryazan who reproduces the image of the Cup as Unity in Christ and as self-giving love. “Zaraisky storyline” connects “Crime and Punishment” with tragic events of the 13th century, with the cycle of stories about Nicola Zaraisky which tell about the invasion of Batu Khan and about the destruction of natives of Ryazan for the sake of faith as a reflection of the national ideal. Liturgucs of “Crime and Punishment” is strengthened by the hidden autobiographic storyline which turns the first of the Dostoevsky’s five novels into the novel-penitence.

Originality of Author’s Position as a Playful Dialogue with Reader in Novel by M. Ende «Der Spiegel im Spiegel»

The article is devoted to the study of the category of the game and its embodiment in the form of specific game techniques in discourse. The research material was the work of M. Ende «Der Spiegel im Spiegel». The novelty of the research is seen in the fact that the combined connections of artistic stories form irrational worlds. The relevance of the study is due to the growing interest of researchers in the surrealist reflection of reality in a literary text. It is shown in the work that play is a process of personality formation and a kind of free human activity. Special attention is paid to the theoretical analysis of fairytale discourse. The principle of semantic and compositional connection of individual works of the cycle of stories is brought into consideration. The article deals with the issues of realization by characters of literary texts of the key parameters of play and non-play in mythological discourse. Attention is paid to the main variants of human behavior. The question is also raised about the physical properties of mirrors, which are implicit markers of various symbols. Special attention is paid to the spherical mirror. It is shown that M. Ende’s work is based on the principle of the panoramic reflection effect.

Anny Brzezińskiej gry ze stereotypami. Konstrukcja postaci wiedźmy i przetworzenia motywów baśniowych w cyklu o Babuni Jagódce

The author of the article analyzes the cycle of fantasy short stories about Babunia Jagódka (“Granny Berry”), created by Anna Brzezińska, collating the construction of the title character with the stereotype of a folk witch, and comparing the fairy tale motives contained in the mentioned works with their versions rooted in tradition, based mainly on the sources collected by brothers Grimm. The analysis shows that Babunia Jagódka is only seemingly a realization of the stereotypical image of a witch, but in fact she is a proof of playing with it and a demonstration of the character’s postmodern self consciousness. Her irreverent attitude towards tradition, connected with the concept of a witch, but also with the content of fairy tale plots, evokes a humorous effect, which at the same time draws attention to Brzezińska’s references to the comic fantasy canon, especially to Discworld by Terry Pratchett and to the character of Granny Weatherwax. The ambiguity of Jagódka suggests in turn to link her not with Grimms’ witches, but with East-Slavic Baba Yagas, featuring e.g. in fairy tales collected by Alexander Afanasyev. On the other hand, the way of transforming the fairy tale motives indicates that the analyzed short stories show qualities of re narrations: they set well known elements in a new convention, introduce fictional components nonexistent in the original variant, submit the fairy characters for psychologization, exchange their roles, contain autothematic fragments and “true”, “undistorted” versions of the fates of folklore characters.

Semantic Complex of Travel in Work of A. G. Bitov

The semantic complex of travel in the work of Andrey Bitov is analyzed. It has been proven that the range of the writer’s travelers is very wide; they correlate with each other. The authors state that, in a broad sense, A. Bitov’s literary travels add up to an extensive travel catalogue, which presents all kinds of embodiment of artistic space and time. In addition, the writer’s work is viewed as the embodiment of the vector of movement in the “space of freedom”, as the space of “longing for culture.” Particular attention is paid to a cycle of stories about the Soviet republics, where important tools for the writer to create the image of the Empire — the reflective and questioning author (Socratic dialogue) were found. The question about the popsition of exclusion (M. Bakhtin) and defamiliarisation (V. Shklovsky) is raised. The novelty of the study is seen in the fact that travel stories have become at the same time a defamiliarized narrative about Russia. The conclusion is made that the semantic complex of travel in the work of A. Bitov connects the geographical (physical) and spiritual (metaphysical) spaces, that is, the external objective world and the internal spiritual and intellectual space.

Small Prose Constants by F. Sologub

The question of constants in the short prose of F. Sologub is considered. Special attention is paid to the iconic cycle of stories in the work of the author. The results of the analysis of motives, chronotope, recurring elements of the plot and the system of characters in the cycles “The Sting of Death” and “Unkind Lady” are presented. It is shown with the help of comparative and intertextual methods that in the stories of the cycles the constant binary opposition of a meaningless, cruel life and a consoling death is embodied, the hero’s dreams of death determine the meaninglessness of being. It has been proved that time and partly space in the stories of the cycles are binary organized, but this is not the duality of this and other worlds: the hero does not go beyond the boundaries of this world, but the time and space of this world change under the influence of the altered consciousness of the hero. The author dwells on the analysis of motivational complexes that also represent oppositions, which allows us to conclude that there are constant signs of Sologub’s artistic world. The novelty of the research lies in the fact that modern comprehension of classical works using a new technique made it possible to see the internal complex interconnection of texts, to find explicit and implicit signs of interaction between cycles.

REFERENCES AS A MEANS OF CREATING AN INTEGRATED CYCLE (ON THE MATERIAL OF NICKY CALLEN'S STORIES)

The article analyzes the function of “reference” - intertextual references and their role in creating a holistic cycle of fantasy stories and presents the diverse views of the scientific community on the terminological affiliation of references. It is hypothesized that references as a kind of intertextual elements perform the function of vocations between the works of one author, in particular, the article shows the classification of kinds of references in the stories of Nicki Callen. It is shown that references are elements of internal intertextuality, but they are not simple references to another text, but increase the share of "reality" of a work with repeated onyms to denote "through" characters, locations, artifacts that intertwine with each other. and resonate. 
 It is argued that the use of references contributes to the creation of multiple worlds that are part of a single Multiverse, depicted by the author. It is shown that certified references make it possible to create a communicative situation in which fiction is combined with the existing reality of the reader, which brings a possible, parallel world to "ours". They are recognizable and saturated with the energy of intertextuality, a kind of information hubs - distributors of information, by analogy with computer technology. Identity is determined by onyms: Nicki Callen's poetonyms, combined with real for the reader anthroponyms, horonyms, astonyms, etc., as well as with precedent phenomena - artionyms (names of works of art) and anthroponyms - precedent names. The change in the level of "reality" determines the transition of onyms from one category to another: an anthroponym becomes a poetonym or a mythonym, a choronym from a fictional, a fairy-tale becomes real (eg, Menillen).
 Further research into fantasy works, in particular by Nicki Cullen, with a distinction between "parallel worlds" and "multiple worlds", is promising. To the parallel we belong exactly those that fit the heretical concept: one plot with many points of branching options, to multiple - different worlds.

El Madrid invisible de Zúñiga: un trayecto

La ciudad de Madrid es el denominador común de la trilogía de cuentos de la Guerra Civil de Juan Eduardo Zúñiga. El tratamiento del espacio literario resume la potencialidad simbólica del realismo del autor, además de su visión ética y estética del mundo y del hecho literario. Las fuentes de esa elaboración artística de la ciudad pueden hallarse en escritores rusos y en el Simbolismo, más que en los cronistas locales. Se propone el análisis del cuento "Ruinas, el trayecto: Guerda Taro" como modelo de un estudio más amplio que establecería la carta completa del Madrid de Zúñiga. El cuento es un ejemplo de que la topografía que recorre los relatos traza “una historia invisible de la ciudad” y de que en él se reelaboran tópicos clásicos como el “ut pictura poesis” o la poesía de ruinas, que sustentan toda una poética. Con su papel de protagonista del ciclo, Madrid dota al conjunto de una unidad estructural, es el referente de la dimensión simbólica del tiempo y su historicidad encierra una visión crítica. Por tanto, la filiación genérica de la trilogía depende de esa naturaleza compleja de la ciudad como cronotopo. A la luz de estas conclusiones y de la historia textual de la primera edición crítica de la trilogía, se actualiza la cuestión de su género, que la bibliografía ha intentado clasificar como “ciclos de cuentos”, como “cuentarios” o como formas “paranovelísticas”.

The Prose by Salinger and the Metaphysics of Gilles Deleuze

Introduction. This article aims at analyzing prose of Jerome D. Salinger (Nine Stories and Catcher in Rye). The main innovative element of this research is to study prose by Salinger as an example of post-avant-garde American prose with application of philosophical concepts introduced by French post-structuralist Gilles Deleuze. The benefit and importance of such research are determined by fact that prose developed by Salinger (especially in Nine Stories) is characterized by new type of narrative developed after Second World War, similar to certain patterns observed not only in literature, but also in music and art. Methodology and sources. The research method used is coined as structural-semantic analysis. Methodology also implies use of main principles of metaphysics developed by Gilles Deleuze, which is reflected in his book Difference and Repetition, and is analyzed in scientific works on theory of post-avant-garde art and music. Results and discussion . The fusion of crystal-like, mirror-isomorphic structure of Salinger's prose (Nine Stories) and fragments of real experience rendered in his stories (such as feelings and sensations of characters) do not even create their own image, as I. Galinskaya writes, but manifest a living, echoing shadow of picture, which allows not only to interpret events, but create special mood, sensation in reader. In this sense, remark of Hassan, famous theoretician of postmodernism, is very accurate: in postmodern literature place of the Father God (that is voice of reader) is occupied by the Holy Spirit (that is voice of narrative beyond actual wording). The meaning of story (on macro-level), as well as pragmatic meaning of some of statements and words (on micro-level) lie somewhere beyond words and concepts, outside storyline or composition, appears alongside with predetermined structure, as if against will of author. Deliberate simplicity, minimal lexical workload or density, and absence of obvious cause-effect relationships create feeling of trance, which makes reader address story again and again in an attempt to find an accurate interpretation. Conclusion. In one of Salinger's saddest cycle of stories (in this analysis A Perfect Day for Bananafish) about fate of post-war generation, feeling of an otherworldly, different presence arises. A series of repetitions gives feeling of difference, allows for understanding how close attention to situation gives new opportunities for decisions, actions and meanings.

Functional Features of Multiple Spaces in Ray Bradbury’s The Martian Chronicles

The category of fictional space is an important part of a literary text that has a significant impact on it. Adherents of literary structuralism such as Yuri Lotman, Tsvetan Todorov, Vladimir Toporov, Mikhail Bakhtin, Umberto Eko, Volodymyr Propp, and others have pointed out that the type of space or chronotop has a strong effect on the genre, plot, and characters of a text. In other words, space is an important functional component, and not just a decorative element in the fictional world. However, a literary text often cannot exist within the limits of a flat structure. That is why a text multiplies itself by building multiple worlds within one universe. Such a complicated universe has a number of terms. There are multiverses, possible worlds, small worlds, multiple worlds, mirror worlds, alternative worlds, and others. Possible worlds form the most common concept, which was introduced by modal logics and borrowed by literary critics. The phenomenon of possible worlds implies the existence of two or more worlds that coexist simultaneously in one universe. Opposition is the main condition in which possible worlds can exist as a phenomenon. This resistance is implemented by the division of the worlds into objective (actual) and subjective (possible) worlds. It is this condition and conflict that trigger the entire mechanism of possible worlds. Such a universe model was known in pre-Christian times, in the Middle Ages, in Modernity, and is known today. Thus, a stable tradition has naturally and gradually crystallized into a world cultural code. Ray Bradbury’s Martian Chronicles (1950) is one of the classic and vivid examples of fictional texts whose events develop in a plural fictional space. As the majority of sci-fi literature, the Martian Chronicles are built on the opposition of 2 worlds – Earth and Mars. Earthlings have colonized Mars and gradually destroyed its cultural code. This destruction brings another essential thing, namely a hierarchical change. In other words, Earth is a traditionally objective world but throughout the plot’s development the cycle of short stories loses its solidity and passes into the periphery. Consequently, Mars as subjective world takes on the signs of an objective world.

МОРАЛЬНІ ЦІННОСТІ У ТВОРЧІЙ КОНЦЕПЦІЇЗОФІЇ КОССАК-ЩУЦЬКОЇ

Historical and national imperatives of choice of moral values in creative conception of Zofia Kossak-Szczucka are analysed in the article. The authoress by means of literary characters and reasons presents a large historical fresco, realizing thus idea of Christian humanism. Except texts from the cycle of stories about the hikes of crusaders (“Krzyżowcy”, “Król Trędowaty”, “Bez oręża”), considerable popularity stories purchased also about XVI-XVII century (“Złota wolność”) and plots, built on historical legends closely casebound with hagiography (“Beatum scelus”, “Błogosławionа winа”, “Z miłości”, “Warna”, “Legnickie pole”, “Suknia Dejaniry”). An addition to Z. Kossak’s epic work is her dramatic sketch “Kielich krwi”, dedicated to the conflict between Bishop St. Stanislav and King Boleslav Bold. For the complete opening of historical problems and comparison of them with theological and public Zofia Kossak gave mind on a figure and creative achievement of Piotr Skarga. On the basis of his labours she entered in a literary environment the phenomenon of “scandal of faith” that was independent of historical pre-conditions, overpeered above psychological and public spheres. In works of Zofia Kossak-Szczucka we can see the connection of national ideas, in the wide understanding of this word, with looks to literature that hatched from romantic traditions the authoress stepped back from understanding of this concept in the categories of thoughtless attachment to the national association and predisposed to the concept of citizenship that is fixed in basis of the modern nationalism, shown in active vital position, public consciousness, practical patriotism but not selfish radical denial of rights for other nations. To the authoress mind, the force that combines the nation is a history, the elements of it are kept in public memory and acquire a mythological value. Thus authoress came to the conclusion about sacral of folk traditions. National conception is proclaimed in works of Zofia Kossak-Szczucka deep in bases of origin and maintenance of the state system. Completer in all pass patriotic position of Zofia Kossak “Ten commandments of Polish” is nationally saturated.

ЦИКЛИЗАЦИЯ ДРЕВНЕРУССКИХ ПРОИЗВЕДЕНИЙ О ПРИСОЕДИНЕНИИ СЕВЕРО-ЗАПАДНЫХ ЗЕМЕЛЬ К ВЕЛИКОМУ КНЯЖЕСТВУ МОСКОВСКОМУ В РУКОПИСНЫХ СБОРНИКАХ XVI–XVII ВВ.

The paper examines the cycle of stories “The capture of Novgorod the Great” and “The Taking of Pskov” in manuscripts of the 16th–17th centuries. Since at least two manuscripts contain the stories “The taking of Novgorod the Great” and “The taking of Pskov” in the same sequence, thematically related, the creator of this cycle probably used the same chronicle source. The author analyzes texts taking into account the composition of the manuscripts and the context of chronicle texts of the 15th–16th centuries on the annexation of the North-Western lands to the Grand Duchy of Moscow. Attention is focused on the fact that the story “The taking of Pskov” simultaneously contains signs of both Pskov and Moscow points of view on the events of 1510. Consequently the author suggests a hypothesis: the creator of the cycle of stories “The taking of Novgorod the Great” and “The taking of Pskov” processed now lost source of the story “The taking of Pskov”, which reflected Pskov point of view on its annexation, the Grand prince`s attitude towards joining the North-Western lands of the Grand Duchy of Moscow, and according to his plan, connected with the creation of ideas about joining the North-Western lands as a single process of gathering lands.

ПЕРВЫЙ ЦИКЛ РАССКАЗОВ Н.И. НАУМОВА «МИРНЫЕ СЦЕНЫ ВОЕННОГО БЫТА»

ПЕРВЫЙ ЦИКЛ РАССКАЗОВ Н.И. НАУМОВА «МИРНЫЕ СЦЕНЫ ВОЕННОГО БЫТА»

ПОЭТИКА ЦИКЛИЗАЦИИ В ПРОЗЕ ЮРИЯ БУЙДЫ

The article studies the poetics of the contemporary writer Yuriy Buyda in the context of the contemporary Russian short story. The analysis of historically specific forms of Buyda’s cyclization is considered as part of the general tasks of historical poetics in studying the evolution of literary forms. Structural and semiotic analysis of the writer’s works reveals that his prose forms peculiar cycles-clusters, ‘archipelagos’, where a cycle of stories appears to be related to novels. This connection is primarily determined by the setting, but also by recurring heroes and a specific – cumulative rather than cyclical – plot that traces its origin to myth. Through the example of one such cluster of texts – the cycles Zhungli, Gates of Zhungli (Vrata Zhungley) (2011), Lions and Lilies (L’vy i Lilii) (2013), the novel Blue Blood (Sinyaya krov’) and related works – the paper investigates the nature and logic of the depicted world, the mechanisms of its intra-textual connections, as well as the genesis due to both the nature of the author’s artistic thinking and the social, historical and literary, biographical context. Thus, we can observe a tendency of transcending the genre boundaries of a story or novel in favor of hypertext rhizomatic formations – based on mythologizing strategies. These features correlate with the general interest of contemporary Russian literature in collections of short stories, on the one hand, and the contemporary novel’s leaning to disintegration of a single narrative and fragmentation, on the other. It is possible that the tendencies toward hypertext strategies for text generation are determined by the general properties of modern thinking and social communication since today the social morphology of society is built in the form of networks.

ЛЮБОВНАЯ НОВЕЛЛИСТИКА В АВТОРСКОМ УЧЕБНО-БЕЛЛЕТРИСТИЧЕСКОМ ТЕКСТЕ ПРЕПОДАВАТЕЛЯ ДЛЯ ИНОСТРАННОЙ АУДИТОРИИ

The article describes the interpretation of the theme of love in the author's educational fiction text of the teacher for a foreign audience at the level of Russian language proficiency B1-C1 as a key value-semantic concept of the Russian mental-language picture of the world. The author presents psychological, pedagogical, methodological and philosophical arguments for the need to include this topic in the proposed cycle of short stories. Special attention is paid to how the speech and "creative-motor " (S. V. Dmitriev) dialogue of the situation of love is interconnected with the surrounding socio-cultural space.

ИНТЕРПРЕТАЦИЯ ТЕМЫ ЛЮБВИ В АВТОРСКОМ УЧЕБНО-БЕЛЛЕТРИСТИЧЕСКОМ ТЕКСТЕ ПРЕПОДАВАТЕЛЯ ДЛЯ ИНОСТРАННОЙ АУДИТОРИИ НА УРОВНЕ ВЛАДЕНИЯ РУССКИМ ЯЗЫКОМ B1-C1

The article describes the interpretation of the theme of love in the author's educational fiction text of the teacher for a foreign audience at the level of Russian language proficiency B1-C1 as a key value-semantic concept of the Russian mental-language picture of the world. The author presents, psychological, pedagogical, methodological and philosophical arguments for the need to include this topic in the proposed cycle of short stories. Special attention is paid to how the speech and "creative-motor " (S. V. Dmitriev) dialogue of the situation of love is interconnected with the surrounding socio-cultural space.