Genre Synthesis Research Articles

Мебель «Лесной серии» С. Т. Конёнкова как образец синтезированного художественного языка

The research relies on a comprehensive approach, a formally stylistic analysis of over 60 pieces from the “Forest Series” by S. T. Konenkov, including furniture, as well as statements by its author. The aim of the study is to reveal the multi-level synthesized nature of the works, namely the synthesis of art forms, styles, genres, technical and methodological dominants, and deep generalizations of historical and religious content. The synthesis of genres is particularly evident in the investigated cycle of works as a whole, and their complex combinations are found in a number of individual pieces of furniture. As a result, the conclusion is made that it is precisely this specificity of the artistic language that allowed the sculptor to express the deep symbolic content, preserving the centuries-old connotations of Russian national art. The research is novel in that it is the first one to analyze the multi-level synthesized character of the works of furniture in the “Forest Series” by S. T. Konenkov, namely the synthesis of art forms, styles, genres, technical and methodological dominants, and deep generalizations of historical and religious content.

Авторский балет на сцене Татарского академического государственного театра оперы и балета им. М.Джалиля в советский и постсоветский периоды

The article is devoted to the analysis of the activities of the ballet troupe of M.Jalil Tatar Academic State Opera and Ballet Theater in the Soviet and post-Soviet periods. It shows that after the premiere of the first ballet “Vain Precaution” by P.Hertel in 1939, the troupe continued to master the performances of the classical heritage “Giselle” by A.Adam (1945) and “Swan Lake” by P.Tchaikovsky (1947). At the same time, the troupe was working on creating a national ballet performance. Turning to the historical past and folklore, the authors of the libretto and choreographers immersed the viewer in the life and culture of the Tatar people, and the composers built the score based on centuries-old musical traditions. All this was expressed in the ballets “Shurale” by F.Yarullin (1945) and “Zyugra” by N.Zhiganov (1946). At this time, new productions appear in the repertoire, reflecting the current ideas of Soviet art at the time of creation. These are “Bakhchisarai Fountain” by B.Asafiev (1946) and “Laurencia” by A.Crane (1953). In the 2000s, a number of premieres took place produced for the Kazan ballet stage – “The Tale of Yusuf” (2001) by L.Lyubovskiy, choreography by N.Boyarchikov, G.Kovtun; “Peer Gynt” (2003) by E.Grieg, “The Golden Horde” (2013), R.Akhiyarova – choreography by G.Kovtun; “Сarmina Вurana, or the Wheel of Fortune” (2013) by K.Orff, choreography by A.Polubentsev. The author sets the task of identifying trends in the development of the repertoire in the post-Soviet period. His focus is on original ballet performances. The conclusion was that the result of the search for choreographers on the Kazan stage, expressed in the synthesis of genres, styles, and appeal to new subjects for the ballet theater, was the enrichment of the repertoire of M.Jalil Tatar Academic State Opera and Ballet Theater and entertainment culture in general.

Hybrid genre forms in Yakut poetry of the second half of the twentieth century: specifics and design features

The purpose of the study is to determine the specifics of the formation and construction of hybrid structures as original genre forms of Yakut poetry of the second half of the twentieth century. The scientific novelty consists in an attempt to comprehensively study the specifics of genre synthesis in Yakut poetry from the point of view of new methodological approaches to the systematic and typological study of the problem of stable contextual structures. As a result, it is proved that the poetic texts of Ivan Gogolev – "Writing on the tusk of a mammoth", "Song of Lena" are unique examples of synthesized, hybrid genre forms of a cycle-poem and a mounting polycyclic structure. The contamination of the genre possibilities of the poetic cycle and the poem within the framework of an integral artistic structure makes it possible to characterize texts from the perspective of a qualitatively new meta-genre status for Yakut literature

Специфика жанра баллады в русском музыкальном творчестве XX века: определяющие свойства и исторический контекст

The aim of the study is to characterize the ballad and the specifics of its realization in Russian musical creativity of the 20th century in the historical context with the identification of the reasons for the author's appeal to the genre. The article presents the constant features of the genre, the main trends in the development of the ballad in the historical period under consideration, analyzes the principles of interpenetration of the ballad and other genres, and identifies the reasons for its popularity in composers' work and mass culture. For the first time on the material of diverse compositions of Russian musical academic art and samples of mass culture the manifestations of balladry in the framework of mixt combinations with large-scale genres (symphony, concerto, cantata, etc.) are studied. The ballad is considered from the point of view of a tool that allows authors to build the artistic world of the work, to appeal to various ancient aesthetic concepts, as well as to circumvent ideological barriers. This is the scientific novelty of the study. As a result of analyzing the available data, the author came to the conclusion: in the process of development in the ballad formed features that can be divided into constant and mobile. At the same time, it is established that such specific properties of the genre as allegorical statement, multiplanarity, mobility of categories of time and space, as well as the possibility of genre synthesis are determinant for the demand for ballads in musical art and mass culture.

GENRE-STYLE CONSTANTS OF CHAMBER SYMPHONY BY E. STANKOVYCH

The originality of the creative handwriting of Ukrainian composers of the end of the ХХ and the first quarter of the ХХІ century is becoming an urgent research problem of our time. A large number of components of the musical language of artistic compositions, understanding of new value orientations, genre-style synthesis - these and other features constitute the poetics of the work of domestic artists of the mentioned period. E. Stankovych took an active place among the constellation of Ukrainian composers of the end of the 20th and the first quarter of the 21st century. The article emphasizes that the chamber symphony genre in the composer's work shows the peculiarities of his creative handwriting. It was determined that the composer's legacy of E. Stankovych, in particular the study of his chamber symphonies, is a production for the training of teachers of artistic disciplines. After all, chamber symphonies reflect constant reforms in the field of musical language and composer's thinking. The purpose of the research is to identify genre and stylistic features of chamber symphonies by E. Stankovych. To achieve the goal, historiographical, genre-stylistic and comparative research methods were used. The genre-style model of E. Stankovich's chamber symphonies shows the specificity of postmodern art, which takes place in genre synthesis, understanding the semantic potential of timbre, and transformation of images. Fifteen chamber symphonies of E. Stankovych have a common principle of construction, which gives grounds for confirming the opinion about the emergence of the author's metastyle.

Folk-stage dance of the Carpathian region as a folklore basis of contemporary choreographic art

The article analyzes the history of the development and popularization of folk-stage dance in Prykarpattia. The study of folk art in general and folk dance in particular in the context of the full-scale russian invasion of Ukraine is becoming more relevant than ever, because «the identity of a nation is its civilizational brand, the country’s socio-cultural niche, and the defining principle of the state’s foreign and domestic policy» [8, p. 4]. Folk dance is the cultural code of a nation. As a part of theatrical art, it is able to raise the patriotic spirit in the viewer, to foster a sense of pride in own nation and culture. The intangible cultural heritage, including folk dance as a national cultural product, must meet the demands of the present. One of the contemporary forms of dance art is the choreographic show performance. The lexeme «show» indicates the mass nature of the product, its entertainment character. In addition, shows use the latest digital technologies, software, laser art and musical infrasound techniques. The show is a kind of synthesis of different genres and art forms. Vasyl Vovkun’s mytho-dance opera Ole (Oleksa Dovbush) performed by the National Academic Hutsul Song and Dance Ensemble Hutsuliya as a modern form of popularizing traditional Hutsul dance culture and as a cultural national product meets all the requirements of the show. The performance combines different genres and art forms. It harmoniously intertwines drama, dance, and song. This unusual combination increased the interest of the cultural product consumer in the dramatic action of the show and added to its popularity. The scenery, costumes, and lighting meet the needs of the present. The choreographer created modern dances and choreographic compositions based on authentic Hutsul folklore. Folk-stage dances are organically combined with modern choreography, they are full of sophisticated technique and complex choreographic text, which demonstrates the skill of the author and ballet dancers. Based on the analysis of the peculiarities of folk dance staging, we have formulated and characterized the main criteria that should ensure the relevance of a contemporary choreographic work.

Черты романа инициации в биографическом графическом романе Пьера Кристена и Себастьяна Вердье «Оруэлл»

The aim of the research is to define the distinctiveness of the initiation graphic novel in contemporary literature. The article explores the representation of the initiation ritual in the artistic text while considering the genre synthetism features of the work, incorporating elements of dystopia and biographical graphic novel. The key points of the composition of the novel "Orwell" by P. Kristen and S. Verdie are highlighted, and the evolution of the protagonist's inner world, main characters, and symbols in the work are analyzed. The research novelty lies in the in-depth analysis of the genre synthesis of the graphic novel and initiation novel, an endeavor not previously undertaken in either domestic or foreign contemporary literary studies. The investigation contributes a certain theoretical insight: it proves the tendency towards the crossing of genre types in the texts of 21st-century authors, using the graphic novel as a prime example – an incredibly relevant genre today. Furthermore, the conducted analysis reveals the specifics of representing human maturation in contemporary literature and identifies the initiation ritual as an integral part of fictionalized biography. The research demonstrates that in the graphic novel "Orwell" by P. Kristen and S. Verdie, the narrative of initiation plays a crucial role, serving as the foundation of the work, with its tripartite structure and genre-defining characteristics.

Балеты Валерия Кикты: эволюция жанра

The article is dedicated to the 60th anniversary of the creative activity of the composer Valery Grigorievich Kikta, Honored Art Worker of Russia and Ukraine, professor at the Tchaikovsky Moscow State Conservatory and the Gnesin Russian Academy of Music. The main objective is to introduce the problematics of the composer's ballet work. The article considers the role of ballet in the author's style, establishes the probable reasons for the commitment to this genre and provides meaningful primary images that inspired the master. The research methodology combines musicological and general humanitarian approaches, including hermeneutic and comparative approaches; the "word of the composer" is essential. A number of questions are raised: the development of the Russian ballet tradition, the "plan of content" and "plan of expression", the specifics of genre processes, the synthesis of genres in various ballet works, the genre features of ballets with chorus. The special significance of the ballet "Andrei Rublev" (2016) as a conceptual work of synthetic genre, which reveals the cross-cutting symbolic leittems of creativity, is shown. The conclusion is made about Kikta’s ballets as an important component of the cultural and historical process of the twentieth and twenty-first centuries.

MARCO POLO’S «ON THE DIVERSITY OF THE WORLD» AS A MEDIEVAL TRAVELOGUE

This paper analyses the genesis and genre of «On the Diversity of the World» by the Venetian merchant Marco Polo, who embarked on a journey to the East in the late 13th to early 14th century and subsequently dictated his memoirs to the Pisan writer Rustichello in a Genoese prison. A brief overview of the manuscripts and translations of the book is provided, along with general information about the language of the lost original. The article addresses the question of whether this work can be considered a medieval travelogue or travel diary. The distinctive features of a travelogue — the motif of movement; the description of new spaces and the traveler’s adventures and experiences; the designation of the journey’s goal; and the confirmation of the narrative’s authenticity — are systematically examined in relation to the book. The description of new spaces is fully present in Marco Polo’s account, which presents a kaleidoscopic and extraordinarily picturesque depiction of a world unknown to Europeans. Marco Polo strives to encompass as much information as possible about the new lands he visits, resembling the authors of medieval summae. The other criteria are only partially present, sometimes in a distorted form. However, in the book it is possible to discern the genre characteristics of geographical/ethnographic descriptions of lands, chivalric romances, books of wonders, commercial handbooks, and summae. Thus, «On the Diversity of the World» represents a unique synthesis of different genres, which, among other things, contributed to its enduring success among contemporaries and later generations.

Жанровые особенности антиутопического научно-фантастического романа Пьера Буля «Планета обезьян»: коммуникативный аспект

The enduring popularity of 20th century science fiction authors among readers of all age categories has been noted in numerous works of literary scholars. An extremely important aspect is the fact that the author and the reader must have a common language in order for communication to be effective. The relevance of the study is due to the growing interest in the problem of interpreting the genre of science fiction works. The aim of this study is to try to trace the synthesis of genre forms from the point of view of communicativism and the theories of C. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre Boulle. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre BoulleIn the course of the study, the methods of contextual literary analysis, cognitive-discourse analysis, as well as stylistic and genre analysis were applied. As a result of the study, the conclusions were obtained that the novel "Planet of the Apes" by P. Boulle combines elements of the genre of science fiction novel, philosophical parable, utopia and dystopia. The novel is a satirical work, touching upon the themes of scientific progress, communication, evolution and human society, which are topical at present. The author, when creating a work, follows literary conventions or deliberately goes against them, creating something innovative. The genre of science fiction has been and remains a synthetic genre, incorporating elements of various genres, which intricately intertwined, enter into communication with the reader, helping him to create fictional worlds. Scientific novelty of the research consists in the fact that for the first time in Russia the study of genre originality of P. Boulle's work in the aspect of communication with the reader is undertaken. The article may be useful for literary scholars, postgraduates, students and all those interested in the problems of genre synthesis in modern science fiction.

Нартовский эпос в осетинской детской драматургии: специфика межжанрового взаимодействия

The paper studies Nart epic motifs in Ossetian children’s drama. The aim of the research is to identify the features of inter-genre synthesis in the plays of Ossetian authors written for children. The scientific novelty of the paper lies in the fact that Ossetian children’s drama has become the subject of scholarly reflection for the first time. The following works were introduced into scientific use: ‘Фын’ (‘Dream’, 1994) by R. Khubetsova, ‘Сырдоны хинтæ’ (‘Syrdon’s Machinations’, 1997) by T. Kokaev, ‘Гæдыныхæстæй асин’ (‘The Creation of the Creator’, 2005) by R. Ramonova. The research findings show that plays for children written at the turn of the 20th and 21st centuries have significantly departed from the traditions laid down in the early and mid-20th century, when such plays were primarily represented by adaptations of folk tales or works in which the ideological component came to the fore (e.g., works about the life of the Pioneer movement members). Modern drama works addressed to the younger generation are characterized by a synthesis of genres, which contributes to the blurring of their strict canons, boundaries, as well as the expansion of the authors’ creative potential and ultimately leads to the generation of new literary forms. The data of the undertaken research were previously presented at a conference dedicated to the problems of the Nart epic (7th International Scientific Conference ‘Nart studies in the XXI century: Modern paradigms and interpretations’ (Vladikavkaz, October 26-27, 2023)).

ORIGINALITY OF THE GENRE POETICS IN V.A. NIKIFOROV-VOLGIN'S STORY "THE ROAD STAFF" IN THE CONTEXT OF THE PROSE OF THE RUSSIAN DIASPORA

The purpose of the article is to study the originality of the genre poetics in V.A. Nikiforov-Volgin’s story "The Road Staff" in the context of the prose of first-wave Russian diaspora – the works by I.A. Bunin ("Iz zapisok neizvestnogo" ["From the Notes of the Unknown"]) and I.S. Shmelev (short story "Blazhennye" ["The Blessed"]). The analysis convincingly shows that these works are an example of genre synthesis, which is dominated by features of the ancient Russian genres of "khozhenie" ["journey"], hagiography, and sermon. The authors emphasize the originality of the concept of "The Road Staff" in the context of Russian diaspora literature, demonstrating the synthesis of genre under the influence of ancient Russian genres and biblical, saintly reminiscences and allusions.

GENRE OF THEATRICAL REVIEW IN THE WORK OF N. V. GOGOL

The purpose of the article is to consider the ideological, thematic and genre features of the theater review in the works of Nikolay V. Gogol, as well as to identify the writer’s views on the development of the theater in the mid-1830s. Based on the analysis of the texts «Petersburg Notes for 1836» and «The Petersburg stage in 1835/36», the patterns of development of the Gogol’s aesthetic concept are determined. The writer perceives the theater as the center of the cultural life of St. Petersburg society, sees in theatrical art a huge potential for moral improvement and social transformation.In the discussions about the repertoire of the St. Petersburg stage, the ideas of the sacralization of art and the poet’s mission are manifested. N. Gogol attaches special importance to the genre of comedy – «spiritual», based on intellectual humor and satire.Gogol’s theatrical review is distinguished by such features as mosaic composition, essayization. Genre synthesis (review, writer’s notes, essays, etc.) and the widespread use of artistic visual and expressive means are noted as the most important features of Gogol’s criticism and journalistic works.The research contributes to the study of theater journalism and Gogol’s activities as a theater critic.

Metamorphosis of Chamber-Vocal Cycle in the Work of M. Shukh (on the Example of the Meditative Performance "Songs of spring")

The purpose of the research is to identify the poetic and intonation uniqueness of M. Shuh's "Songs of Spring" in the context of the evolutionary paths of the development of the chamber-vocal cycle in the 20th century. The methodological basis of the work is the intonation approach in musicology, as well as the historical-cultural and interdisciplinary approach, which allow to investigate the peculiarities of the evolution of the chamber-vocal cycle in postmodern culture, in particular, in "Songs of Spring" by M. Shukh. The scientific novelty of the work is due to its analytical perspective, which takes into account not only the specifics of the existence of the vocal cycle in the culture of late 20th century, but also the peculiarities of their reproduction in the "Songs of Spring", defined by the author as a "meditative action" formed at the intersection of the cultural and historical traditions of the East and the West. Conclusions. The vocal-instrumental cycle "Songs of Spring" by M. Shukh, the genre of which the composer himself defined as "meditative action", combined the spiritual teachings of Eastern and Western cultures. The first is evident in the poetic basis of the work, which appeals to ancient Chinese poetry and its oriental images-symbols ("jasper flute"), while the Western tradition is revealed in the post-modern metamorphoses of the poetics of the chamber-vocal cycle, which in this case converges with a mysterious and meditative spectacle. The marked genre synthesis of M. Shukh's cycle also determines the author's innovative approach to his performance composition, which combines a solo soprano, flute, and a number of percussion instruments into a polyphonic whole, the timbre of which reproduces the oriental (Chinese) flavour of this opus (tam-tam, bells, triangle, bongo, vibraphone, and others). This timbre-polyphonic ensemble is also complemented by the part of the chant, which clearly speaks a significant part of the poetic text. The leading idea of the work, which has a single pentatonic intonation basis, turns out to be ultimately focused also on the idea of the inner spiritual transformation of a person through the contemplation of spring and its signs, filled with deep symbolic meaning.
 Keywords: "Spring Songs" by M. Shukha, "meditative action", chamber-vocal cycle, culture of the East and the West, postmodernism.

The Motive of the Sinner’s Curse in the Text and Context of F. M. Dostoevsky’s Novel “The Idiot”

The article examines the synthesis of heterogeneous genres containing a teleological plot about the curse of a sinner: a synodic tale about the retribution of a sinner and a newspaper criminal chronicle. This plot is realized in Dostoevsky's novel "The Idiot" with the help of the reception of the story about the merchant-perjurer A. A. Mazurin and his descendants who were punished for their sins. One of them is his grandson V. F. Mazurin, who killed his friend the jeweler Kalmykov. The sensational criminal case, known to Dostoevsky from the newspapers, made a strong impression on the writer. Thanks to this, the image of Rogozhin appeared in the novel, and the development of his relationship with Nastasia Filippovna, who foresaw her imminent death by his hand, was rethought. The legend of the ancestral curse that befell A. A. Mazurin is presented according to the memoirs of the famous Moscow entrepreneur N. A. Varentsov and is connected in the article with the description of death and the afterlife torments of sinners in synodic prefaces. The details of V. F. Mazurin's murder of the jeweler Kalmykov are covered by the court materials of the issues of the newspaper "Moskovskie Vedomosti", to which Dostoevsky could also refer.

Historical Detective Story and History as a Detective Story: to the Question of Cross-genre Synthesis

The article presents an analysis of the popular historical / retro detective genre, considered in terms of semantic fields shared with other literary genres, which for their synthesis. In particular, the motive of the activity of the past in the present and the future, present in almost all literary forms, is of a formative significance in the detective story. The plot is built on a retrospective reconstruction of events leading to a particular situation, typically a crime. This motive is crucial for historical and quasi-historical genres such as alternative history and cryptohistory, in which similar “detective” work on the reproduction of real or hypothetical events, their origins and results is carried out by the author himself and to some extent by the recipient. Such artistic research holds a significant place in the “investigation novel” genre, allowing the author to present his/her own scientifically based version of ambiguous historical material.The motive of understanding the true causes and nature of events is also present in the psychological novel, where the focus is shifted from the “external” mystery of the situation to the secrets of the depths of the human psyche. The fundamental principles of the detective genre reach considerable archetypal depth, based on such mythological and philosophical themes as the essence of time and the cause-and-effect relationships of events, the meaning of being and the essence of repentance. All this creates significant opportunities for philosophy, including historiosophical artistic research, allowing a complex synthesis of genres (most often: detective story – history – science fiction and fantasy), with extensive use of the achievements of psychological and social literature. All these forms of the artistic interpretation of the “past-in-the-future” are very relevant to the culture that is seeking new understanding of its own past and the history of international relations. It explains the relative popularity of the historical and retro-detective in contemporary Ukrainian literature.For Ukrainian authors, the second half of the 19th and the first half of the 20th centuries remains the most attractive period. The strongest points of their novels are a significant amount of historical and local history information, as well as efforts to understand (and rethink) the imperial heritage in its various forms; after all, it is not only about the Russian but also about the Austro-Hungarian empire.

Традиция Н. Готорна в творчестве И.С. Тургенева: «Постоялый двор» и «Дом о семи фронтонах»

The article deals with the problem of Turgenev’s perception of works written by Hawthorn. For the Russian writer, the period between the 1840–50s turned out to be a time of crisis in artistic manner, which was associated with the writer's movement towards the genre of the novel and the complication of the type of writing. The novel The House of Seven Gables with its genre synthesis and bright socio-ethical orientation attracted Turgenev. Having become acquainted with Hawthorne's novel, he created the story The Inn based on the circumstances and traditions of Russian life. The closeness of the two works can be seen already at the level of titles, which express the essence of the aspirations of the heroes and their position in the world. In addition to the commonality of conceptual names, the similarity between the novel and the story is also manifested in their expositions. It was the first pages of The House of Seven Gables that served Turgenev as creative material and the center for the design of the dramatic story The Inn. There is an obvious similarity in the use of a contrasting description when depicting the past and present of the house of Colonel Pinchen and the “estate” of Naum Ivanov, with the help of which an ethical assessment of the events is built. The owners of these houses are equally dissimilar: on the one hand, an aristocrat, “an eminent and influential gentleman” with an “inflexible will”, on the other, a modest tiller of the land, but skillful and dexterous. Turgenev repeats this opposition in his own way, deducing the peasant, the smart peasant Akim and the practical and prudent tradesman Naum as the main characters. Turgenev and Hawthorne clearly emphasize social inequality, which develops into an ethical conflict, and both authors show that the differences in the position and status of the heroes are inversely proportional to their personal merits.

REPERTOIRE POLICY AS A BASIS FOR THE DEVELOPMENT OF PERFORMANCE SKILLS OF AN INSTRUMENTALIST MUSICIAN

The article considers the role of repertoire policy in the development of the skill of instrumental musicians, as well as the features of the formation of repertoire policy at the present stage, in the context of post-industrial social relations. It is shown that one of the main trends in modern instrumental music is synthesis, in the broad sense of the word: the synthesis of arts, the synthesis of various genres and directions of music, that is, the synthesis in the sense of dialogue and flexibility of the musical space. The phenomenon of experimental music and its influence on the conceptualization of the skill of a musician-instrumentalist and repertoire policy are considered, in particular, within the concept of neoconceptualism.

Julian Barnes' Novel “The Man in the Red Coat” in the Context of Intermediation

In the proposed article, the analysis of the novel by J. Barnes serves as a tool for raising the question of the prospects for the development of intermediality in the study of the relationship between verbal and musical literary texts. In the novel, manifestations of intertextuality are clearly expressed in the form of a genre synthesis of a novel and an essay, dialogicity, a significant saturation of the text with facts and events of contextual historical origin, isomorphism in the construction of the novel and the object of its reflection - the belle époque-style. Intermediality can be considered as a special case of intertextuality, since the main object of consideration within its limits are manifestations of the recoding of semantic and structural elements of the text into a system of consistent patterns and lexical units of a different kind of artistic expression. A broader understanding of intermediality can serve as a starting point for the formation of a concept aimed at exploring general patterns in the production of meanings in the art text. In this perspective, intermediality goes beyond the understanding of the facts of the transformations of different art forms in line with the general trend towards synthesis. The ontological foundations of artistic thinking manifest themselves in the desire to create heterogeneous artistic forms in the process of synthesizing elements of different types of art. In Barnes's “The Man in the Red Coat” the intermedial properties are reflected in the structure and dramaturgy of the work. Fragmentariness of the text, paradoxicality as a method of its organisation, polyphony in the unfolding of various plot lines can serve as grounds for parallels between the structures of literary and musical works. The development of intermediality as a promising direction in contemporary art history will enable the development of a methodology for the analysis of artistic texts, based on general ontological patterns.

Расширение типологии башкирского романа в 1960-1980-е гг.

The paper analyses the panoramic, monumental works of the 1960s - the trilogies by Z. Biisheva, F. Isangulov, Ya. Khammatov with a complex composition, with a lyrical, tale-like, publicistic style of narration. These historical-revolutionary trilogies were a new stage of genre formations in national literature. Their genre and content-related features are inseparable from the previous literary experience, the achievements of the historical-revolutionary novels by A. Tagirov, G. Khairy. The appearance of historical novels in the 1970s meant the movement of the genre, the expansion of its typology, the position of the socio-historical and moral experience of the people. The aim of the study is to shed light on the interrelation and interaction of epic structures, various genre-stylistic trends in Bashkir prose in the second half of the XX century. The scientific novelty of the study lies in identifying the relationship of national literary epic traditions, the genre-stylistic features of the first Bashkir novels with the novels of the second half of the XX century, more specifically, with the novels of the 1960s-1980s. The results obtained have shown that the first novels, created as a synthesis of genres and styles, had a powerful influence on the emergence of various genre-stylistic trends in Bashkir prose in the 1960s-1980s.