The article is devoted to B. Eikhenbaum’s earliest prose works, namely, three short stories he published in the Russkaya Molva newspaper in 1913 that have until now evaded scholarly attention. Upon his graduation from the university in 1912, Eikhenbaum begins his collaboration with the periodical Russkaya Molva , chronicling contemporary literary process with his reviews and articles on Russian literature and theatre as well as European art. In her brief characteristic of the newspaper, E. Orlova notes that, while familiar to Russian philologists, the newspaper was largely dismissed by scholars until the new millennium. Its obscurity resulted from a character assassination by Lenin, who branded it as ‘bourgeois’ and ‘nationalistic.’ The short stories printed in Russkaya Molva marked Eikhenbaum’s transition from a chronicler of the literary process to its participant. Of the three stories, one can be described as a lyric miniature, while the two others share genre similarities with a sketch or a vignette. Eikhenbaum’s signature irony equally permeates his prose and critical essays, foreshadowing his novella Along Bridges and Avenues . From an Autobiography [Po mostam i prospektam. Iz avtobiografii].

This article provides an analytical review of the literary process in Kyrgyzstan at the turn of the 20th and 21st centuries, identifies methodological approaches to the study of Russian-language prose, and highlights the main themes and genres inherent in the literary process. The article presents a new perspective on the literary process and the uniqueness of Russian-language prose from the perspective of extra-literary factors, the interconnectedness of cultures, aesthetic traditions, and innovative explorations within the ideological and artistic trends of the late 20th and early 21st centuries, as well as their expression in the content and genres of Kyrgyz literature. Its materials and conclusions may be useful not only for literary scholars but also for those interested in the interconnections between peoples and the history and culture of Kyrgyzstan.

The article comprehensively examines the poetic features of contemporary Kazakh prose, its main development trends, and artistic directions. The study focuses on prose works of the independence period, analyzing their narrative structure, narrative strategies, and artistic system. It is demonstrated that while traditional realist models of narration are preserved, they are enriched with elements of modernist and postmodern poetics (intertextuality, fragmentation, irony), which leads to the structural complexity and multilayered nature of literary texts. In addition, such features as fragmented narration, the conditional representation of time and space, polyphonic structure, and the active use of internal monologue and indirect discourse are identified as key poetic characteristics of contemporary Kazakh prose. The article also analyzes the reinterpretation of mythopoetic structures, the functions of archetypal images, and manifestations of intertextual connections, determining their role in the renewal of national literature. Based on the analysis of selected works, the study reveals the artistic searches of contemporary Kazakh prose, the specifics of authorial narrative systems, and the role of narrative techniques in representing characters. Furthermore, the place of genre transformations and artistic experimentation within the modern literary process is defined. The research concludes that the poetics of contemporary Kazakh prose develops at the intersection of tradition and innovation, demonstrating a qualitatively new stage in the development of national literature.

Researchers of literary processes are always cautious when discussing contemporary authors, especially when the author is distinguished and his activity must be evaluated responsibly. Even the smallest mistake, even a single question mark, must be excluded. This is a sensitive subject and, accordingly, a highly responsible one for the critic. The creative activity of an author requires long-term observation. We expect the creative process to ferment and mature like a brew, since the fear of error is not less than any other fear for a conscientious critic. And yet, sometimes we become overly cautious, and the position of “caution never hurts” forces us into certain frames, making us deliberately avert our gaze from realities that unfold clearly before us. Sometimes it is so, sometimes otherwise. But if, out of fear of responsibility, we call only the bad “bad” and refuse to name the good “good,” then this too resembles irresponsibility. This introduction was written to emphasize that the author whose work we examine here is indeed an outstanding figure in contemporary Georgian literature. However, our focus will be on one unusual tendency in his work, which may prove interesting for the literature of the future in general, though it would be inappropriate to assert this probability with certainty. As already mentioned, in the present paper we will offer the reader a general analysis of one important part of the work of Georgian writer and scholar Rostom Chkheidze, and we will also present our own conclusions.

Aim. To consider the literary relations of Ya. B. Knyazhnin and N. P. Nikolev who are the significant playwrights of the second half of the 18 th century, analyzing the possible causes and consequences of the ideological and interpersonal conflict that existed between the writers, expressed in their artistic works. Methodology of the work is based on the use of cultural, historical and biographical approaches. The main content of the article is devoted to a comparative examination of the texts by Knyazhnin and Nikolev, that makes the study the chronology of the development of literary relations between the authors possible. Results. The article outlines the reasons for the literary rivalry that has arisen between the authors. Among the most significant reasons is the desire of Knyazhnin to stand up for Sumarokov, who was satirized by Nikolev. For Knyazhnin, Sumarokov’s son-in-law, this could have had not only ideological, but also personal reasons. On the other hand, it is concluded that the literary polemics of the authors were peculiar to the literary process of the second half of the 18 th century and could not have been based on interpersonal conflict at all. Research implications of the study consist in the fact that the topic of literary relations between Knyazhnin and Nikolev was never considered in a separate study before and can become the basis for further study of the peculiarities of the relationship between the authors.

The article analyzes the evolution of views on the genre of a literary work in twentieth-century literary theory. The focus is on key theoretical concepts that have significantly influenced the modern understanding of genre as a historically variable and functionally meaningful category. The study examines the concepts of V. B. Tomashevsky, R. Wellek and A. Warren, O. M. Freidenberg, M. M. Bakhtin, as well as the works of Soviet and post-Soviet scholars, including the school of G. L. Abramovich, Yu. M. Lotman, G. N. Pospelov, and L. V. Chernets. The article demonstrates that throughout the twentieth century, there was a gradual shift away from viewing genre as a normative model or a set of formal features. Genre is increasingly interpreted as a dynamic category associated with the internal organization of the text, the historical and cultural context, and the type of artistic thinking. The paper traces the evolution of approaches to genre and genre-forming factors, moving from formal classification toward a broader range of methodological perspectives, including paleontological, semiotic, and other fundamental theoretical frameworks. An analysis of major works in literary theory reveals the internal continuity of scholarly approaches and the logic underlying shifts in theoretical paradigms. The article concludes that despite the blurring of genre boundaries and the active development of hybrid literary forms in twentieth-century literature, the category of genre retains its theoretical significance. Genre continues to play an important role in the literary process, functioning as a means of transmitting artistic experience, a form of cultural memory, and a tool of interaction between author and reader.

Based on the shortstories “Christ‘s All-Night Vigil” and “The Light of Reason,” this article examines the ethno-poetic aspects of the “parish prose” of Ivan Sergeyevich Shmelev, a writer of the first wave of Russian emigration whose work is deeply connected to the Orthodox Christian worldview. It reflects the specifics of the spiritual life of the individual and society within the context of the historical changes in early 20th-century Russia. The study focuses on identifying and analyzing the features of parish prose. Currently regarded as a phenomenon of the contemporary literary process, the genesis of this genre is nonetheless inextricably linked to the philosophical and artistic quests of precursor writers such as F. M. Dostoevsky, N. S. Leskov, B. K. Zaitsev, and I. S. Shmelev himself. Shmelev’s late work is marked by an evolution from critical to spiritual realism: the significance of liturgical and non-liturgical parish motifs increases, becoming sacred symbols of the loss and eventual return of Russia as a spiritual ideal for the writer. The article analyzes key motifs and artistic devices (categories of sacred time, symbolic imagery, themes of repentance and sanctity) that convey the depth of inner spiritual experience and the importance of Orthodox world perception amidst changing historical and cultural realities. It is concluded that an analysis of selected shortstories by Shmelev through the prism of ethno-poetics and axiology helps to reveal not only the literary and stylistic specifics of the writer’s works but also new ways of perceiving Russian spirituality and Orthodox values in émigré literature. This approach creates a perspective for further research into the genre of parish prose and spiritual literature within Russian culture.

This article analyzes the life and professional career of Pa­­kistani translator and editor Huma Anwar. It discusses her de­ve­lop­ment as a specialist in the field of translation. The article also highlights her con­tribution to Urdu literary translation, her editorial work, and her sig­­ni­fi­cance in contemporary literary processes.

The article is dedicated to the interpretation of a novel by P. D. Boborykin as a notable representative of Russian naturalism in the second half of the 19th century, who not only left an extensive artistic legacy but was also a prominent theorist and researcher of the literary process. The aim of the study is to examine the stylistic and conceptual features of “Kitay-gorod” – P. D. Boborykin’s programmatic novel. The scientific originality of the research is determined by the fact that for the first time, both the main ideological tenets of the writer’s historical and literary concept and the ways of their embodiment in the artistic text are considered. As a result of the study, it has been established that P. D. Boborykin’s theoretical views on the poetics of the naturalist novel determined a significant role for documentary and journalistic elements in its narrative fabric. Having managed to organically combine artistic and journalistic elements in the novel “Kitay-gorod”, the writer intentionally weakened the role of plot and compositional devices characteristic of the traditional realist novel, while achieving a convincing and large-scale depiction of everyday life in its various manifestations. Transforming and adapting to different genre forms, this writing style subsequently demonstrated obvious stability and universality, finding its embodiment in the genre of everyday life descriptions by later authors.

The article attempts to clarify the typology of female images in the stories of I.S. Turgenev of the 1850-1860s using the material of such works as "The Calm" (1854), "Correspondence" (1856), "Faust" (1856), "Asya" (1857), "First Love" (1860), "Unhappy" (1868), "Ghosts" (1864), "Strange Story" (1869), which are the most representative from the point of view of solving the problem posed. The relevance of the article is determined, firstly, by the fact that literary scholars still primarily focus on the writer’s novels, while his stories remain somewhat on the periphery; secondly, the need for a more in-depth and comprehensive study of the stories of the period in question; thirdly, the importance of a detailed development of female characters and an attempt to classify them. The purpose of the article: to identify the unique typology of female images in the stories of I.S. Turgenev of the 1850-1860s. Research objectives: 1) to determine how the facts of the writer’s biography, the changing position of women in the socio-cultural life of Russia in the second half of the 19th century, and the features of the structure of female characters in Russian literature of the period influenced the system of female heroines in Turgenev’s works; 2) identify different types of female images and their characteristic features, methods of creation; 3) study the significance of the system of female images in the writer’s stories. To achieve the stated goals and objectives, a specific historical research method is used, which allows us to correlate the nature of female images in Turgenev's works with the rethinking of the role of women in society and the associated transformation of female images in the literature of the period under study. The study identified the following types of female characters: a pure, sublime, spiritual "Turgenev girl", socially active, independently thinking, striving to determine the place of women in the society of her time, a "new woman", a unique, lonely, "strange girl" who stands out from her surroundings, a strong-willed, powerful, conquering men's hearts, possessing an irrational nature, a "demonic woman". Turgenev creates a whole palette of female images, a detailed study of which contribute to a better understanding of the characteristics of female characters, their place in the poetics of the writer and in the literary process of the era.

Comparative Literary Studies as one of the most important scientific areas, delves into literary processes, images and their evolution in diverse national, cultural and modern contexts. In this regard, the phenomenon of adolescence is also subject to scientific scrutiny precisely through Comparative Literary Studies, occupying a special place in the global and national literary processes. Adolescence is a process of creative growth, self-realization in the important, anguished and equal of human life. In literature, the image of this period is illuminated full of strong emotions, fiery aspirations and contradictions. The study of the phenomenon of adolescence on the basis of a comparative method means, first of all, the identification of the main psychological, social and spiritual processes at this stage and the analysis of the way in which they are reflected in works of art.

The subject of the study is the influence of Professor S.P. Shevyrev on the work of A.A. Fet, on the awakening of his interest in the East, and the realization of Eastern themes in his poems from the first two collections (1840 and 1850). The article presents the assimilation of Eastern culture by Russian academic science in the first half of the 19th century; it reflects the initial stage of Fet's communication with Professor Shevyrev, who taught lectures on the history of Russian literature; it examines the roots of the influence of Shevyrev's four-volume work "History of Poetry" on the perception of Eastern literature (including ancient Hebrew and Sanskrit) by the young Fet. The role of Shevyrev in introducing the budding poet to the literary process of the first half of the 19th century is demonstrated. The influence of Shevyrev's ideas on Fet's understanding in his journalism of Russia's role as a bridge between the East and the West is mentioned. To recreate the atmosphere and environment of Fet during his studies at Moscow University, a biographical method of research was employed. A cultural-historical method allowed the topic of this research to be presented against the backdrop of the literary process in Russia in the mid-19th century. Intertextual analysis was applied to consider Shevyrev's work and selected early works by Fet. This work to some extent fills a poorly researched area of A.A. Fet's environment that influenced the genesis of Eastern motifs in his early creativity. Based on specific historical and biographical material, the influence of S.P. Shevyrev on the formation of Eastern elements in Fet's early works and his subsequent interest in the East, realized in poetry and journalism, is shown. The article concludes that the initial impulse of Fet's interest in the East was associated with his communication with S.P. Shevyrev, studying his lectures at Moscow University and his scientific works, as well as personal friendly communication with the professor, who played a significant role in the literary destiny of the poet.

At first glance, the poetry and short prose written by Herta Müller appear to be the work of two distinct authors. Poetry functions as the expression of a mental state: the collage-texts are meant to convey the imponderability of the whole through the weight concentrated at a spatial extreme. As an expression of plurality, this technique does not combine rigor and lucidity in the manner of conventional art. Only with confessional poetry does the author succeed in creating a linguistic and technical spectacle – a form of performative art. In her short prose, the stage is her native village itself, where a patriarchal community, marginalized by historical stigma, symbolically murders its own daughter simply because she dared to articulate the truth in an atypical, literary process of exorcising consciences through satire and parody. Beyond the writer’s debut, all these literary works reveal an invisible struggle of extraordinary ferocity: the dissident’s war with the Securitate, a struggle in which everything is permitted for the political police – including the ostracization of the writer by her own family – while the author herself is granted no right other than that of hope, a hope inaugurated only with her debut in Germany. The dissident’s success disrupts the mechanisms of the political police, and survival comes to mean, for Herta Müller, the overcoming of her own internal resources of femininity and identity.

The study uses biographical, historical-literary, comparative and hermeneutical methods to examine some texts that form the artistic image of the Bakhchisarai Khanate in Russian literature for almost two centuries. The Palace of the Crimean Khans in Bakhchisarai, also known as Khan-Sarai, is a unique structure that is the only example of palace architecture in the Crimean Tatar style in the world. In Russia, it is recognized as an object of cultural heritage of federal significance. If in reality the Palace was built by order of the Crimean khans Gireyev, then the father of it’s image in Russian literature can be called A.S. Pushkin, the architectural ekphrasis created by him will serve as a kind of catalyst that will bring to life a number of images of the Khan’s palace in Russian literature. Many authors connected the Palace, Bakhchisarai and Pushkin, but the article emphasizes the texts of I.A. Bunin and S.I. Paradazhnov. Research material: the poem “The Fountain of Bakhchisarai” by Pushkin, the story “Crimea” by Bunin and the novel-script of the unrealized film “The Sleeping Palace” by Paradzhanov. The purpose of the article is to examine the image of the Khan Palace as a cultural artifact of world importance through the prism of architectural ekphrasis. In such an aesthetic paradigm, the listed texts and the image of the Khan Palace itself were not previously considered. In the course of research on the basis of the works of Russian literary critics, such as B.V. Tomashevsky, I.Z. Surat, S.G. Bocharov, M.P. Bilyk, E.V. Yatsenko, E.F. Shafranskaya, G.T. Garipova, identified patterns and principles determining the logic of formation of the artistic appearance of the architectural ensemble in Bakhchisarai, as well as parallels between these processes. In addition, genre models emerging under the influence of the author’s thinking style are established. The results of the research can be used in the development of lectures and seminars, where the attention of students will be focused on the phenomenon of the ethnocultural component in Russian literature. This will allow to more fully reveal the internal regularities of the literary process of the 20th century.

The article examines the literary heritage, the work of the poet Mazhit Aitbayev, which is a unique significant phenomenon in the history of Kazakh literature, who, by the will of fate, was in military captivity during the Second World War. The artistic peculiarity, thematic problems of the poet's poetry written during the years of captivity are analyzed. The main themes of poetry, the psychological depth of landscape, intimate lyrics and its socio-social foundations are traced. The importance of poetry in the literary process of Kazakh literature, psychologism and unique features of lyrics, praising the feeling of longing for the Motherland, for the native land, for relatives are revealed. Based on the study of the literary heritage, it was established that the poetry of Mazhit Aitbayev with bright life truths helps to understand the real problems of the war, the problems of the poet prisoner of war.

Nowadays, in the creation of historical narratives, fiction texts are gaining increasing importance alongside historical research. It is attested by the topical trends in the early 21st century Latvian literary process manifested in the interpretation of historical topics. This article aims to highlight the significance of literature in the process of forming cultural memory and constructing historical perceptions, thereby soothing the existing friction between history and memory in historical research. The article focuses on the interpretation of the events of the Second World War in contemporary Latvian women’s poetry. As source texts the article uses poems by Andra Manfelde, Daina Sirmā and Gunta Šnipke. In the selected poetry examples, the trend of reviving historical memory and the application of a mnemohistorical perspective have been analysed. The theoretical and methodological base of the article comprises studies of mnemonic history and microhistory, research on postmemory and the ethics of memory, as well as cultural memory and trauma studies. The examples of poetry texts by Manfelde, Sirmā and Šnipke analysed in the article reflect life writing tendencies and are highly auto/biographical. The biographical approach provides an artistic platform for the infusion of personal microhistory into the collective/nation’s historical narrative. Literature thus offers a more comprehensive view of past events and their later impact and significance in a contemporary context. The poetic transformation of the wartime memories of the postmemory generation into poetry outlines the mnemohistorical perspective, bringing to the forefront the relevance of current political events.

One of the main themes in M. Hrymych's novel “Yura” is the literary process of the 1960s in Ukraine. Its artistic reconstruction is important for understanding the problems of national self-preservation in the colonial conditions of the USSR. The article is devoted to the author's understanding of the problem of creativity and self-determination of Ukrainian artists in opposition to Soviet propaganda dependence. The aestheticization of contemporary issues reveals a clear logic in relation to collective and individual memory. Based on the scientific discourse on the “contexts” of memory, the artistic and semantic structures of the narrative about the literature of the 1960s are described. This involves appeals to history, artistic interpretations, authorial myth, places of memory, as well as the concepts of “one's own”, “self-determination”, and “intimacy”. As a witness to the situation in Kyiv in the 1960s, M. Hrymych brought events to life as they were preserved in individual memory and echoed in collective memory. The embodiment of the idea manifested the concept of “my own” – “my memory”. The understanding of literary life in the 1960s stimulated interpretations with fictional elements that did not violate historical truth and ensured the drama of the plots. The artistic picture clearly shows points of energy, “signals” to national self-respect. The author's myth-making is characterized by a reinterpretation of the fate of famous figures, processes, and phenomena in which they were involved; the delineation of characters through psychologization; proximity to realism; and the use of symbols. The pictures of the writers' lives are full of intimacy, as they are retold from the perspective of bearers of family values. Places of memory associated with literary life in Kyiv in the 1960s are seen as sacred. Recognizing the structures of memory in M. Hrymych's novel “Yura” makes it possible to comprehensively study the artistic possibilities of the text about the past.

The aim of study is to reveal the uniqueness of reception of the Pushkin myth in the context of post-revolutionary cultural transformation, when the poet’s legacy was subjected to both simplified interpretations and deep creative rethinking. Analyzing the critical works of V.F. Khodasevich, B.V. Tomashevsky, O.E. Mandelstam, and others, we point out the warnings of these authors against the canonization of Pushkin, turning him into an “aesthetic barrier” obscuring the living tradition. The central place in the study is occupied by the analysis of the aesthetics of “The Pass (Pereval),” where Pushkin’s principles - freedom of creativity, organicity, humanism - were rethought through the prism of a turning point in the era. Perevaltsy (The Pass’ Members) contrasted inspired creativity with the utilitarianism of Proletkult, developing the traditions of meditative lyrics (poems by D. Semenovsky, N. Zarudin, M. Golodny). Their works contain allusions to Pushkin’s motifs (“The Prophet,” “The Village”), but taking into account the tragedy of modern times. The philosophical and aesthetic term “tragedijnost`” introduced by the Perevaltsy was, in their opinion, the basis of true art. It is concluded that Perevaltsy (The Pass’ Members) saw in the classics not the “ashes” of the past, but living “seeds” for the future, preserving the continuity of culture. Prospects for further study of the reception of Pushkin in the literature of the “big twenties,” emphasizing the relevance of his legacy for understanding the dynamics of the literary process of the era.

The article considers the linguistic and cultural realia of Hutsulshchyna, as described in the guidebook by a Scottish traveller, Muriel Dowie (1867-1945), as well as outlines the specificities of their portrayal in the English-language text. The study reveals that the history of travel literature dates back to Antiquity (descriptions of journeys for trade, colonization, medical treatment, participation in the Olympic Games) and shapes its traditions in the Middle Ages (geographical discoveries, the spread of Christianity, and pilgrimages). Subsequently, a specific style of travel narrative was developed, which helped navigate new territories safely, conveyed the flair of distant lands and admiration for architecture, etc. New narrative tools were eventually developed (tourism terminology, special language devices) and new notions such as guidebook, tourism, and tourism discourse came into use. It has been established that M.M. Dowie’s guidebook is a manifestation of gender consciousness and desire to advocate for the social and political advancement of women in society. To have an impact on the audience, the author resorts to artistry, expressiveness and metaphors, through which she describes her impressions of what she has seen, draws philosophical conclusions and encourages readers to explore the world. The articles explores the language means that depend on the author's desire to mark her own route and reflect on socio-cultural phenomena (toponyms), to name the people she met during her travels (anthroponyms), describe new concepts and create interesting metaphors (neologisms), and express a special tone that conveys tenderness, diminutive features, irony or irritation (diminutives). Lexical devices such as augmentatives (exaggerated size of objects), pejoratives (ridiculing of certain situations), and dialectisms (emphasizing uniqueness and authenticity) contribute significantly to the expressiveness of the language as well as serve to convey local flair. Stylistic devices (metaphors, epithets, comparisons, hyperboles) accentuate the language and allow the reader to expand their knowledge of the author's aesthetic and literary talent. It has been concluded that the guidebook reflects M.M. Dowie’s unique style and depicts the leading motifs of the literary process of her time.

Naatia poetry in the Sindhi language represents a significant and sacred tradition within Sindhi and Islamic literary heritage. Naat, as a poetic genre, is devoted to the praise and veneration of the Prophet Muhammad (peace be upon him), focusing on his personality, moral excellence, life, teachings, and universal message for humanity. The evolution of Sindhi Naatia poetry is deeply connected with the religious, cultural, and spiritual history of Sindh, a land historically known for its strong Sufi traditions and devotion to Islam. This abstract presents an analytical overview of the historical, thematic, and stylistic development of Naatia poetry in Sindhi literature. The origins of Sindhi Naatia poetry can be traced back to the early period of Islam in Sindh, when Sufi saints and religious scholars employed poetry as a medium for spiritual instruction and propagation of Islamic values. During this formative phase, Naat was closely associated with Sufi thought, where love for the Prophet Muhammad (PBUH) was viewed as a pathway to divine proximity and spiritual enlightenment. The poetry of Shah Abdul Latif Bhittai and Sachal Sarmast, though often symbolic, reflects deep reverence for the Prophet and emphasizes his role as a source of guidance, light, and moral perfection. In the classical period, Sindhi Naatia poetry attained greater formal structure and literary refinement. Naat emerged as a distinct poetic genre governed by theological awareness, artistic discipline, and linguistic elegance. Scholars and poets such as Makhdoom Muhammad Hashim Thatvi contributed significantly by integrating religious scholarship with poetic expression, ensuring doctrinal balance and stylistic maturity. This period is marked by clarity of thought, devotional depth, and adherence to ethical boundaries in poetic praise. The modern period witnessed a notable transformation in Sindhi Naatia poetry, influenced by changing social realities and intellectual trends. Poets began to incorporate symbolism, social consciousness, and contemporary themes while maintaining devotional integrity. Prominent modern poets presented the Prophet Muhammad (PBUH) as a symbol of justice, freedom, compassion, and human dignity, thereby expanding the conceptual scope of Naat beyond traditional boundaries. In the contemporary era, Sindhi Naatia poetry has become more diverse in form and content. Themes such as global peace, moral decline, interfaith harmony, and the spiritual crisis of modern humanity are frequently explored in relation to the Prophet’s universal message. Modern media, literary forums, and religious gatherings have played a vital role in popularizing Naatia poetry and enhancing its social impact. In conclusion, the evolution of Naatia poetry in the Sindhi language reflects a dynamic and continuous literary process shaped by spiritual devotion, cultural context, and intellectual change. It remains not only a form of poetic expression but also a powerful medium for moral guidance, spiritual reflection, and the preservation of Islamic values within Sindhi society.