Folklore Works Research Articles

RENDERING LINGUISTIC AND CULTURAL REALIA IN UKRAINIAN TRANSLATION OF ENGLISH ALLUSIONS

The paper is focused on the study of linguistic means of rendering lingual and cultural realia conveyed by allusions in English political speeches and their Ukrainian translation. It is argued that allusions are among those linguistic means which not only provide the factual information, but also carry nationallymarked load. The authors maintain that despite the presence of some fundamental studies devoted to structural and semantic aspects of allusions, the ways of preserving and reflecting certain lingual and cultural information in the Ukrainian translations of English texts, the issue of rendering this information conveyed by allusions in the texts of English (American) political speeches has not been sufficiently investigated. Thus, the aforementioned justifies the urgent character of the given research. The work aimed at determining the tactics and linguistic means of representing lingual and cultural realia in the texts of English inaugural speeches and their Ukrainian translations. The conducted study revealed that allusions in the analyzed texts render lingual and cultural information alluding to both textual and non-textual referents. The textual referents are represented by one’s own previous speeches, speeches of other politicians, biblical texts, folklore works, texts of state documents etc.; non-textual referents are the names of historical events, historical buildings, geographical features etc. The difficulty in preserving the lingual and cultural information in the translation can be justified by several factors, such as difficulties with identifying allusions in the text in case of non-nominated allusions as well as selection of the appropriate tactics of translation. The analysis proved that the linguistic and cultural information contained in allusions is mostly preserved in Ukrainian translations of the corresponding English-language texts of political speeches. Herewith, the kind of translation tactics and techniques depend on the type of the allusion — direct allusions are most commonly translated with the employment of transcription, transliteration, translation loans; indirect allusions — by means of contextual substitution, transposition, extension and omission.

UKRAINIAN FOLK PEDAGOGY ON THE PAGES OF “YOUNG UKRAINE” MAGAZINE

The article analyzes the magazine “Young Ukraine” (1908) to study the experience of Olena Pchilka in raising children by means of folk pedagogy and selection of literary works that provide content with such components as naturalness, cultural conformity, ethnicity education, and labor education.Prominent teachers, writers, public figures, and philosophers (J. Comenius, J. Pestalozzi, G. Skovoroda, V. Sukhomlynskyi, K. Ushynskyi) paid great attention to the need to study, researchб and use the achievements of folk pedagogy in the process of education.Among modern domestic researchers, the works of V. Honcharuk, N. Demyanenko, O. Dukhnovych, M. Yevtukh, L. Yovenko, V. Kalabska, V. Kyrychenko, Y. Kosenko, V. Kuzya, A. Kuzminsky are devoted to these issues. A. Marushevych, V. Omelchenko, Y. Rudenko, O. Sanivsky, N. Syvachuk, M. Stelmakhovych, I. Tereshko, O. Tsyganok and others.That is why prominent Ukrainian writers, educators, public, and cultural figures stressed the need to educate young people on a national basis.For this purpose, the editor published in the issues of the magazine her own works, works of prominent Ukrainian writers: Lesya Ukrainka, T. Shevchenko, V. Vilinska, B. Hrinchenko. Quite often she wrote poems, fairy tales, short stories, and translated works by O. Wilde, R. Kipling and others. She constantly published folklore works: riddles, lullabies, toys, and fairy tales.A careful analysis of the magazine “Young Ukraine” (1908) suggests that as the basis for the selection of printed works editor Olena Pchilka systematically used the basic ideas of public education, caring for the education of readers on national soil, and affirming the ideas of leading teachers of the time children should be taught in the national language, using the best of folk pedagogy.
 Keywords: Olena Pchilka; “Young Ukraine”; nationality of education; folk pedagogy; conformity to nature; cultural conformity; ethnicity of education; labor education.

KAZAKH LITERATURE OF THE INDEPENDENCE ERA IN THE AZERBAIJANI LANGUAGE

The article describes the features of Kazakh-Azerbaijani inter-literary relations in the post-Soviet period, and also analyzes the works of Kazakh authors and folklore works of the Kazakh people translated into Azerbaijani. The paper notes the high intensification of inter-literary contacts between Kazakhstan and Azerbaijan. Such an expansion of interpersonal relationships among creative figures is, of course, determined by the general state of interstate relations. 
 In the post-Soviet period, Turkic-speaking writers, representatives of various national literatures began to feel their inner involvement in the general Turkic processes with particular clarity due to deep historical and socio-political changes and the strengthening of creative contacts. For example, such works translated into Azerbaijani as "Turkestan", "And me, you, death, lull me to sleep" ("Olum, mane agi de") Magzhan Zhumabayeva, "Kazakhstan's Way", "The Heart of Eurasia" by Nursultan Nazarbayev, "The Clay Book" by Olzhas Suleimenov, "When the Wolves Howled" by Sabit Dosanov, "Idikut" by Akhmetzhan Ashiri were highly appreciated among Azerbaijani readers. "Alash Arystary" in the Azerbaijani language shows that translators in their creative activity go not only beyond the national geographic framework, but expand the internal boundaries of the national artistic worldview.
 The works of the Kazakh genius confirm that the historical and cultural ties of the Kazakh and Azerbaijani peoples go back centuries. In particular, in the "Words of Edification", in the poems "Iskander", "Masut", "Tales of Azim" traces of centuries-old oriental wisdom are found. In the era of independence, the fame of classical Kazakh writers went far beyond the borders of their country. Many of them have become internationally significant personalities. So Abai as a universal cultural phenomenon at the turn of the century became an essential fact of world culture. The interrelation and literary contacts between writers of Turkic speaking countries have given rise to well-known Turkologists to talk about the concept of a single "Turkic speaking literature" and the need to accelerate the creation of a "new era".

БАШКИРСКАЯ ФОЛЬКЛОРИСТИКА: ИСТОРИЯ И СОВРЕМЕННОСТЬ

The article presents a brief history of the department of folklore and art, which began its activities in 1922 under the Society for the Study of Life, Culture and History of Bashkiria under the NK of Education, which today is an independent subdivision of the institute, and folklore is a successfully developing area of Bashkir philological science. It is noted that from the first days of the existence of the department, the active collection of folklore went in parallel with its study, and the formation of Bashkir folklore as a science took place after the creation of the Bashkir branch of the USSR Academy of Sciences (1951). Second half of the 20th century characterized by the appearance of the first academic works as "Bashkir Folk Art" in three volumes, the first monographs. The most fruitful period of field research is shown in 1959-1964, when folklore expeditions led by A.N. Kireev to the Sverdlovsk, Chelyabinsk, Kurgan, Orenburg, Samara, Saratov regions and the Perm Territory, during which rich material was collected on the oral work of the Bashkirs, including the main body of the preserved priceless epic heritage of the people. The article also shows the contribution of predecessors to the creation of a rich national folklore heritage, as evidenced by the multi-volume scientific collection "Bashkir Folk Art" in the Bashkir and Russian languages, it is said about the field research of modern folklorists, their collections of expeditionary materials, contributing to the gradual replenishment of the source base of Bashkir folklore. only by identifying the works of traditional folklore that continue to exist, but also modern examples of folk art: takmaks, baits, less often proverbs and sayings. Further, it is emphasized that during the existence of the Department of Folklore and Art, monographs have been published in almost all genres of folk art, and new results of scientific research by the staff of the department are reflected in collections of scientific articles «Bashkir Folklore: Research and Materials» published periodically since 1986 (7 issues ); works of oral folk art have been translated into Russian and English, which made it possible to introduce them into international scientific circulation. It is also noted that projects on grants are regularly carried out in the department, employees actively popularize Bashkir folklore both from the stands of various scientific forums and through the media.

The market of Theravada Buddhism in folk culture of the Khmers in Vietnam

Literature is a cultural phenomenon and literary works represent national cultural values. Cultural elements, including belief — religion, exist in relation to each other and are reflected in the phenomena and relationships in literature. For the Khmer in Vietnam, Theravada Buddhism is the main religion and the main factor influencing the Khmer's way of thinking and behavior in all aspects, including folklore. Through this article, by methods of statistics, classification, analysis, generalization, etc., the author presents the manifestations of the philosophy of cause and effect, the concept of filial piety of Theravada Buddhism through images. Symbols, artistic details in Khmer folklore works.

Фольклорний концепт: «за» і «проти» міждисциплінарної термінології

The article is dedicated to the presentation of the term folklore concept as a productive instrument of the folkloristics. Recent researches in this theme have started to consider an issue why a new interdisciplinary term should be introduced? as a rhetorical question. The place of this term in foreign studies on a folk concept and in the recent Ukrainian scientific discourse has been ascertained. The authoress’s definition of the term is submitted. The changed five-level classification of basic folklore concepts (universal-existential, emotional, individual, spatial, morally-value) is proposed. They are distinguished on the basis of research of Ukrainian historical folklore. The authoress is putting an example of folklore concept of war which helps to express the universal knowledge and the dramatic experience of Ukrainians about World Wars. It is concluded that this concept of war takes a significant and constant place in the Ukrainian folklore picture of the world. It is objectivized through a stable chain of semantic equivalents expressed by a set of notions. These conceptions function through the structure of folklore works of various genres as motivemes (or elements of motives) or as universal symbolic images. Taken together, these definitions demonstrate the cognitive potential of Ukrainian folklore as a significant information resource. It is stated in the conclusions that the folklore concept has peculiarities connected both with the canons of semantics and symbolic interpretation of the content of the classical examples of folklore and also with the communicative task for the future of a folk work, with the social nature of folklorized and stylized as folk texts from the repertoire of modern bearers of tradition and performers.

Basic Principles of Leading Methods in Translating Folklore Works

The article discusses basic principles of leading methods in translating folklore works and takes into consideration various methods of translating of literary texts.

Funeral and memorial lamentations in the folklore of Mordva-Erzya: poetic devices

Introduction. Lamentations remain an enduring national treasure of the Mordovian ethnos. They do not only offer the richest cultural and historical information, but also represent a living existence of the past in modern times. Based on the research and the folklore material, it gives a generalized characteristic of poetic devices and visual and expressive means used in the texts of the lamentations of the funeral and memorial cycle of Mordva-Erzya. Materials and Methods. The study combines methods of description and comparative analysis. The basis of the empirical material was reliable folklore collections with exceptional historical, cultural and research value, borrowed from the oral and poetic creativity of the Mordovian people, the vocabulary of the Erzya language, traditions and rituals. Results and Discussion. Lamentations is the most important component of the verbal and musical codes of the funeral and memorial complex. The poetry of lamentation, which has preserved archaic features, gives the national culture a special charm, emphasizes its lively sound, primordial independence and originality. Lamentations are used to express grief at the loss of a beloved one, and they are characterized by a well-developed system of comparisons and metaphors that perform the functions of imagery and allegory. Special colorfulness, brightness and expressiveness in lamentations are given by the traditional techniques widely used in lamentations: appeals, comparisons, metaphors, artistic parallelisms and other visual and expressive means. Conclusion. The Mordovian religious tradition is rich in means of expression and poetic techniques, the functioning of which in the structure of folklore work gives its best samples a unique national flavor. The manner of performing lamentations has local traditions, lamentable melodies typical for a particular locality. The considered images, motives, appeals, comparisons, metaphors, personifications, contribute to understanding the depth of the spiritual world of the people, their worldview.

Opinions of some scholars on the phraseology of folklore

In this article is disscussed the views of some scientists on folklore phraseology. Folklore is an integral part of society’s life, allowing us to identify features of people’s mentalities by explaining the mythical ideas that are their primary source. Speaking about phraseology in folklore works, linguists distinguish between the concepts of folklore phraseology and folklore phraseology as different concepts.

THE IMAGE OF THE MOTHERLAND IN THE POETRY OF FARIZA ONGARSYNOVA

The article examines the image of the Motherland in the poetry of the Kazakh famous poetess Fariza Ongarsynova. Here is revealed the connection of poetess’s poems with folklore works. It is argued that Mangystau, the poetess’s small homeland, is the source of her poetic inspiration. The idea is substantiated that the image of a small homeland occupies a special place in the work of the Kazakh poetess. It is also noted that the lyrical hero of the poetess's works feels like a part of his native land, its nature and destiny. Thanks to the study of the characteristic poetic feature of Fariza Ongarsynova, it is possible to recognize her poetic skill. Artistic individuality, ideological and thematic themes of poetry, contribution to the national artistic tradition, the corresponding place and figurative character occupied in modern Kazakh poetry will be studied.

Лингвофольклористика в научном пространстве гуманитаристики и вузовском учебном плане

Linguofolcloristics occupies an important place in the research activities of the Russian Language Department of Kursk State University. The article characterizes the main directions in which Kursk researchers work: identifying the linguistic originality of various folklore genres, studying the semantics of the folk poetic word, solving problems of folklore lexicology, dialectology and lexicography, cross-cultural analysis of folklore works of different peoples, etc. The innovative nature of the research carried out in integrated, methodological and methodical approaches to oral and poetic speech is noted. The role of linvofolcloristics as an academic discipline in the process of educating a modern citizen is emphasized.

Фольклорное произведение: правомерность использования термина

The purpose of the article is to provide essential justifications for the validity of the definition of “folklore work”. The main sources were the works of philosophers, culturologists, art historians, and folklorists in the field of definitional analysis of the “work of art” category and directly folklore texts. The research methodology includes a structural and functional approach to the analysis of the features of the existence of artistic texts, a phenomenological and anthropological interpretation of folklore artifacts with the inclusion of elements of textual analysis. The question of terminology in the Humanities is quite acute. The use of terms without an exact designation of their subject field can lead not only to discrepancies, but also to significant errors in understanding the essence of phenomena. Moreover, this may lead to claims that the use of certain terms is incorrect. This is the case with the term “folklore work”, which is used in scientific terms. A number of studies, primarily of art criticism, deny the validity of its application on the grounds that the status of stability of works of art contradicts the variant character of folklore texts. This contrast between constancy and variability is explained by a somewhat simplified view of the phenomena being compared. The basis of the folklore work is avantext, which generates equal variants, but performs the function of a stable image structure. It should be interpreted quite broadly: as a kind of conditional matrix within which elements vary without changing the cultural meaning. This is why folklore works are recognizable, preserved and recreated in each case. This variation, in turn, expands the set framework, filling the tradition with relevant content, enriching it with new artistic images, etc. A similar situation occurs with the author's works of art, which for a long time included improvisational fragments. It is the execution and perception of a literary text (and not just the fact that it is fixed in a sign system) that turns it into a work itself, with the inevitable variability. Of course, these changes are not as obvious as in the case of folklore works, but they do not exclude them. Thus, any work of art does not act as a constant system, but as a phenomenon that is quite mobile in the dynamics of cultural activity. In addition, it should be remembered that a work of art is always the result of a specific activity for the production of artifacts. In this case, any created artifact acts as a work of art or, more generally, a work of culture. Therefore, the creation of an artifact in the sphere of folklore culture is the same artistic production as creativity in the sphere of author's musical culture, literature, painting, etc. The use of the term “folklore work” is not only quite justified, but also corresponds to the essential structural, functional and semantic characteristics of this phenomenon.

Кир палых - водное чудовище и шаманский дух в религиозномифологических представлениях хакасов (конец XIX - середина XX века)

He purpose of the study is to characterize the image of the clergy in the worldview and rituals of the Khakas. In order to achieve this goal, the following tasks were solved: 1) to conduct an etymological analysis of the term “Kir Palykh”; 2) to identify the significance and role of this being in the sacred practice of the Khakass people. The source base of the research includes folklore and ethnographic materials. Folklore works are epics and myths published in the Khakass language. The excerpts of some of them were first translated into Russian by the author. The chronological framework of the work covers the end of the XIX - middle of the XX centuries, which is determined by the state and possibilities of the source base on the research topic. Leading the study is the principle of historicism, when any cultural phenomenon is considered in the development and taking into account the specific situation. The research methodology is based on historical and ethnographic methods - relic and semantic analysis. As a result of the analysis, the following conclusions can be drawn: 1) in the traditional worldview and folklore of the Khakas, an important place was given to the mythical being kir palykh; 2) an analysis of the etymology of the name and a direct study of its image leads to the conclusion that in the religious and mythological consciousness, kir palykh is endowed with an ichthyomorphic image. She was characterized: a) as a monstrous fish of gigantic size and often identified with a whale; b) the color of the body was designated as “the bay”; c) described in the form of “old / ancient fish”, correlated with a certain entity that appeared in the mythical era of the first creation; 3) in the traditional notions of the Khakas and other Turkic peoples of the Sayan-Altai, kir palyh are often identified with the ker yutpa, a fantastic creature with zoomorphic features, and identified with a dragon serpent. The single chthonic nature of these creatures, the common habitat and similar ritual functions contributed to the syncretization of the image of fish and snake; 4) in the religious and mythological representations of the khakas, kir palykh acted as the embodiment of the spirit of the master of water - sug ezi. The designated deity performed one of the most important functions in the traditional ritual of the people; 5) The water lord was directly associated with the shamanic mysteries, including playing a key role in the process of initiation into shamans. Kir palykh herself was one of the strongest tos'es - the spirit helpers of the shaman. Her image was captured in their ritual paraphernalia - tambourines and costume; 6) she was included in the range of views associated with homemade spirits patrons. Her mystical power found its application in traditional medicine.

ТИПОЛОГИЯ МИФОЭПИЧЕСКИХ ЖЕНСКИХ ОБРАЗОВ (НА ПРИМЕРЕ ТВОРЧЕСТВА СОВРЕМЕННЫХ ХУДОЖНИКОВ АЛТАЯ)

The article considers the characteristic features of the depiction of the images of a woman-mother and a woman-warrior in the visual arts on the example of the plots of Altai mythology. The paper also analyzes the specificity of the reflection of female archetypes from the standpoint of the cultural-aesthetic and folklore-historical context. On the basis of the study, conclusions were drawn about the significant role of female images in the mythological consciousness of the peoples of Altai. The widespread use of such subjects by contemporary artists of the region is due to the goal of preserving continuity and spreading traditional ethnic culture. Mytho-epic images in the interpretation of modern artists reflect the sacred meanings of the works of Altai folklore, conveying the semantic meaning of their content through artistic images.

Опыт прочтения одного «парафольклорного» текста из «Сказаний русского народа» И.П. Сахарова

The article analyzes one of the “parafolklore” texts published by Ivan Petrovich Sakharov (1807–1863) in his edition “Tales of the Russian people about the family life of their ancestors.” It is about a song which is interpolated into the description of the ritual “opahivanie,” designed to protect the village from the epizootic and expel the “Cow Death” from it. It has been established that the description of the rite of “ploughing” itself was created by I.P. Sakharov based on the description of this rite published twice by V.B. Bronevsky in 1827 and 1828, and I.P. Sakharov stylistically “decorated” and expanded the text of his predecessor. The song, absent in Bronevsky’s composition, is compiled by Sakharov himself, we believe, on the basis of some real “opahivaniye” songs with addition of some motives, borrowed from authentic works of Russian folklore and from “parafolklore” works of Sakharov himself. In the case of such works we are dealing with a special kind of literary stylization, involving the reworking of authentic folklore texts or composing original works on a folklore basis. At the same time, the composer pays attention not only to the form and content of his texts, but also to special techniques of misleading the reader about their origin (in this case, the “parafolklore” text is interpolated into a description of a real rite).

Aforyzm i małe formy tekstowe: porównywalność i ogólność (w języku białoruskim, rosyjskim, polskim, angielskim)

W artykule omówiono stosunek aforyzmów i innych małych form tekstowych na materiale literackim i folklorystycznym w języku białoruskim, rosyjskim, polskim i angielskim. Określono miejsce aforyzmów w ogólnych klasyfikacjach małych form tekstowych, wzajemnych relacji aforyzmów i powiedzeń literackich, przysłów, tekstów jednozdaniowych, fraz stereotypowych, narodowych odmian dzieł literackich i małych gatunków folklorystycznych. Aforyzmy są przeciwstawiane wszelkim innym małym formom tekstowym jako szczególny rodzaj jednostek frazowych w oparciu o ich dwie cechy obligatoryjne – uogólnienie treści i autonomię dyskursywną.

History of the recording of folk epistles

The article discusses the research of Hodi Zarifov, the founder of Uzbek folklore studies, who organized the recording and archiving of Uzbek folk epics and folklore works of all genres in the state of live performance for the first time in the history of folklore studies.

LINGUISTICS AND LANGUAGE SCIENCE: SIDES OF RELEVANCE

The modern school of Ukrainian linguistic stylistics produces new approaches, formulates new theoretical positions, generates current, relevant directions of research, marks the latest ideas in the field of linguistic stylistic studies, which testifies to the significant achievements of the national linguistic stylistic scientific school in the world continuum. Ukrainian scientists, noting the change in the scientific paradigm of linguistic-stylistic research, direct attention to the integrative approach in modern linguistic-stylistics as a field of scientific knowledge. Justifying integrative approaches to the definition of the main categories of stylistics and style, pointing out the need to use new methods of interpreting artistic texts, they emphasize the role of linguistic stylistics in the education of linguistic personality. The proven emergence of stylistic research into a wider range of linguistic, literary, folkloristic, cultural, social and communication topics is dictated by the scientific and educational demands of our time. At the time of integration of linguistic stylistics with oral folk literature – a linguistic oral lexicologist. Linguistics is the science of language styles, varieties, forms of speech, language means of all levels. Linguistic oral verbal science studies the language of folklore works. Today, in stylistics, the question of the independence of the folk language style remains unsolved. There is an opinion that folklore can be qualified as a separate type of artistic style or, more broadly, as a separate functional style of literary language. The proven influence of the language of oral creativity on the development of the stylistic system of the Ukrainian language (the selection of colorful and stylistic varieties of the language). In linguistic stylistics, folk songs have been established as a stylistic category. The doctrine of linguistic and aesthetic signs of Ukrainian culture (S.Ya. Yermolenko) also appeals to the depths of the language of oral folk creativity. Connections of linguistic oral word science with all sections of stylistics are observed. The use of stylistic terminology in the process of analyzing the language of texts of oral folk literature is evidenced. The influence of oral folk literature on the development of the artistic style of the Ukrainian language is undeniable.

The main stages of teaching foreign students to perceive folklore works

The article is devoted to the description of the methodology for teaching foreigners to understand Ukrainian folk tales, which would help students understand the meaning of fairy tales at a level close to that one of native speakers. Fairy tales are an ideal field in which the methodology of linguocultural studies can be effectively used. The relevance of the research is determined by the importance of the linguoculturological approach to teaching Ukrainian as a foreign language. There is no system of exercises for teaching Ukrainian folk tales, which would contribute to the formation of a holistic view of the Ukrainian national mentality among foreign students. Teaching foreign students to read and understand the content of Ukrainian folk tales will be effective if they rely on the knowledge about the value system of Ukrainian folk culture, understanding of the realities and linguistic features of Ukrainian folk tales; comparison of plots of Ukrainian folk tales with those of fairy tales of the native culture of foreigners. We believe that the use of the texts of Ukrainian folk tales is advisable in classes of Ukrainian as a foreign language at all stages of education. The content of Ukrainian folk tales reflects the mentality of the Ukrainian people and is a source for understanding the value foundations of Ukrainian culture. The methodological system of working on the texts of fairy tales in a foreign audience should be based on linguoculturological commentary and a comparison of the values of Ukrainian culture with the values of the native culture of foreigners. During the training, the spiritual world of foreign students is enriched due to their acquisition of knowledge about the customs, traditions of Ukraine, understanding of the national and cultural specifics of linguistic units. This is the key to successful communication between representatives of different peoples, languages, and cultures, and in a global sense, it correlates with the actual problems of interlanguage and intercultural communication. Prospects for further research are to determine a linguo-methodological basis for the selection of Ukrainian folk tales and ways of their presentation to a foreign audience; in conducting experimental verification of the effectiveness of the developed methodological model

Vampirism in mystical prose: based on the story of M.Magauin «Doll»

The theme of vampirism has existed in world literature since time immemorial. The works that took place in the folklore of the peoples of the world, and their unique characters are also evidence of the antiquity of this theme. And in written literature we find the theme of vampirism in the literary works of the XVIII century. As for the appearance of this topic in Kazakh literature, in Kazakh folklore, as an integral part of world folklore, vampirism was formed through the images of zhalmauyz, mystan kempir. Despite the antiquity of the topic, it can be noted that it took a lot of time to continue this topic in Kazakh prose. The writer M. Magauin was one of the first to speak on this topic in prose. The theme of vampirism in the writer's mystical story "The Doll" is written in continuity with folklore works, and also has a unique character in vampire literature. The topic of vampirism in literature, as well as the story "Doll", which is the object of our research, has also not been investigated within the framework of this topic. Therefore, this study aims to study the nature of vampire literature in prose and the features of the use of literary continuity, genre specificity and mystical elements in the story of M.Magauin "Doll". In the proposed study, it is proposed to conduct a literary analysis of the process of formation, the poetics of vampirism in Kazakh prose based on the story of M.Magauin "Doll", having studied the trends of changing paradigms of vampire literature and their nature. The substantial, structural changes of vampirism in the work are investigated in comparison with world literary practices. In order to fully reveal the nature of vampire literature, a place is given to typological, comparative studies.