Volume 22, 2024 year

The category of mistake (ἁμαρτία) is one of the most significant categories in Aristotle’s “Poetics.” The Greek philosopher turned to the category of mistake when characterizing a tragic hero, myth, the tragic and the comic, when discussing criticism and ways to respond to it. In Aristotle’s interpretation, a mistake is the result of deliberate actions, but not vicious in their intent. In the Christian era, the lexemes of the ἁμαρτία group were assigned the meaning of moral guilt. As a result, Aristotle’s mistake began to be interpreted as tragic guilt. Later, European literary criticism refused to use the category of mistake. It offered a dual understanding of the cause of the tragic hero’s suffering: either as tragic guilt, or as a result of external influence, i.e., the intervention of fate. The interpretation of the category of mistake in Russian critical thought of the first half of the 19th century was complex and contradictory. In the translation of chapter 25 of Poetics, A. G. Glagolev preserved the unity of Aristotle’s terminology and accurately conveyed the content of the category of mistake. However, he did not turn to arguments about the tragic and comic, which presented the greatest difficulties for European theorists. Unlike contemporary theorists of German Romanticism, N. F. Ostolopov saw the cause of the tragic hero’s suffering in his mistake, rather than in the influence of fate. However, he considered error a vicious action, which contradicted Aristotle’s idea. N. I. Grech, N. F. Merzlyakov, A. I. Galich and V. G. Belinsky did not use the category of mistake. Following the German romantics, they understood the cause of the tragic hero’s suffering as the result of an innocent man’s collision with fate. S. P. Shevyrev was the first in Russian critical thought to turn to the category of mistake. Having accurately conveyed the concept of Aristotle, he wrote about mistake in the context of reasoning about comedy rather than comedy. In his translation of Poetics, under the influence of Lessing’s concept, B. I. Ordynsky perceived the category of mistake in a moralistic sense. As a result, he could not preserve the unity of Aristotle’s categorical apparatus and interpreted the tragic hero’s mistake as a sin. Chernyshevsky pointed out that Aristotle’s interpretations of the sources of the tragic in European criticism were inadequate, but he also refused to use the category of mistake. His work paved the way for a return to the rigorous consistency of Aristotle’s categorical apparatus in the subsequent period.

Keywords: Aristotle, Poetics, terminology, mistake, tragedy, comedy, criticism, tragic guilt, fate, translation, interpretation

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The article offers an analysis of one of the most significant monuments of the Peter the Great era — the didactic “Testament of the father to the Son” by I. T. Pososhkov, known for his active work and his impressive written legacy. The spiritual instruction created by Ivan Pososhkov is noteworthy not only for “turning to the future” (at the time of the creation of the “Testament,” Pososhkov’s son was only seven years old), but also for the deeply personal nature of direct communication with the addressee of the instruction, in which the blood father seemed to play the role of a spiritual father. The use of the Gospel word by I. Pososhkov is examined through direct and inaccurate quoting, paraphrase of fragments of Holy Scripture, contamination of various readings, and relevant commentary. In contrast to the liturgical tradition of reproducing biblical quotations “by ear,” characteristic of monastic book tradition, Ivan Pososhkov demonstrates his extensive reading experience and encyclopedic knowledge in his work, consistent with his time and social position. The use of the Gospel word allows the author of the “Testament” to refer to a thought that is important for him several times, illustrating and supporting it with quotes or storylines from the scripture. Pososhkov is well-read, but not bookish, and the Gospel is not perceived as a “rule”: it becomes a word of revelation and love. The very treatment of the Gospel text was Pososhkov’s expression of freedom and creativity.

Keywords: Gospel text, quotation, tradition, teaching, testament, Ivan Pososhkov, Peter’s time

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The article examines the history of V. I. Dahl’s manuscript described by P. I. Melnikov-Pechersky in his memoirs. The manuscript contained adaptations of certain biblical texts into the vernacular. References to this manuscript are found in the correspondence between V. I. Dahl and M. P. Pogodin, as well as in the letters of P. G. Redkin to V. I. Dahl. The author’s intention in Dahl’s later literary works largely aligns with the idea of adapting the Bible to explain the essence of Christian truths in an accessible language, which underpin the style of Russian life and moral education, and which Dahl viewed as the future of Russia. The article analyzes the depictions of Russian life that Dahl authored after a ten-year hiatus in 1867–1868, as well as “Pictures of Russian Children’s Life,” written by Dahl in the last years of his life and published after his death. To support the theses set forth in the article, material from the “Explanatory Dictionary of the Living Great Russian Language”, V. I. Dahl’s journalism on educational issues, and texts from a number of his early artistic works is referenced.

Keywords: V. I. Dahl, Russian literature, Gospel text, epistolary heritage, literary cycle, book, translation, concept, poetics, description of everyday life

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According to the later confession of the creator of the polyphonic novel theory Michael Bakhtin, he was able to fulfill only part of the task when he substantiated the polyphonic “horizontal” of voices in the world of Dostoevsky. He was not allowed to create the “vertical” (inseparable from the “existence of God”). An attempt to supplement what Bakhtin was unable to do requires a restoration of the scientific and religious-philosophical context in which the concept of “polyphony” can be ontologically related to the concept of Orthodox conciliarity, as well as other important phenomena of Russian culture. In modern Dostoevsky studies, the prevailing tendency is that the hierarchy and the concept of the polyphonic novel contradict each other. However, the article substantiates the existence of a context of understanding in which this linear logic is annulled. The “dialogue of agreement” between hierarchy and polyphony does not comprise either the recognition of the relative “truth” of the latter concept for an adequate scientific description of Dostoevsky’s world (the absolutization of this principle leads to a relativism unacceptable to Dostoevsky), or a rejection of polyphony in favor of hierarchy (this leads to a religious “legalism” that levels the personality, if another consciousness, the consciousness of the hero, is only the bearer of one or another “idea” for its affirmation). It seems that the recognition of the conciliar basis of polyphony is capable of truly “reconciling” the various interpretation principles, which, with other approaches, lead to the loss of the personhood of Dostoevsky’s heroes, and therefore to the reduction of the meanings of his works. The presence of Orthodox conciliarity in Dostoevsky’s polyphony is expressed not in the “equal” significance of the positions of the heroes’ ideological attitudes for the novel’s whole, but in the fact that the human person depicted by the author himself, due to the Christocentrism of Dostoevsky’s world, is hierarchically more significant than the ideological position that the person expresses. These theses are illustrated by the interpretation of Dostoevsky’s works.

Keywords: Dostoevsky, Bakhtin, polyphony, heterophony, conciliarity, sobornost, personality, idea, ideology, dialogue, monologism, Christocentrism, Russian song, axiology, hierarchy

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The article offers a comparative examination of A. S. Pushkin’s sonnet “Madona” and the description of the cell of elder Zosima in F. M. Dostoevsky’s novel “The Brothers Karamazov” as vivid examples of visual representation of the idea of “universal responsiveness” in the works of both authors. They are united by verbal and figurative images that visually embody it. In this case, it is Pushkin’s ekphrastic image of the “Russian Madonna,” which bears the mark of ethno-confessional cultural synthesis. Pushkin’s sonnet contains an intermedial contamination of two artistic traditions — poetic and pictorial. The former is associated with sonnets by Dante and Petrarch, as well as Orthodox prayers; the latter – with Raphael’s painting “The Bridgewater Madonna” and the icon of the Mother of God of Kazan. In Dostoevsky, a similar example of a visual embodiment of the idea of “universal responsiveness” is the description of Zosima’s cell, in which the Orthodox image of the Mother of God neighbors the Catholic image of Mater Dolorosa. From an axiological point of view, the attribute of Catholic iconography purposefully introduced by the writer into the interior of the cell is fundamentally significant. It is absent in the cell of the Optina elder Amvrosy, reproduced by Dostoevsky with great, but not literal, accuracy in order to portray the elder Zosima as the embodiment of the image of the “Russian all-man” who understands everything and everyone and accommodates everything. His iconostasis represents the entire history of Christian culture: the period before the schism in Russia (the image of the Mother of God), ancient Orthodoxy (icons of saints and martyrs), Catholicism (Catholic ivory cross and engravings) and modernity (portraits of bishops). The religious and cultural syncretism of Zosima’s religious feeling, which in cultural terms was in many ways close to Dostoevsky himself, is apparent.

Keywords: Pushkin, Dostoevsky, visual poetics, Madona, Mother of God, icon, painting, text, sonnet

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The article proposes a systematic analysis of the weekly “Grazhdanin” (“The Citizen”) in the first year of its publication (1872), just prior to F. M. Dostoevsky joining its staff. According to its opponents, the image of the “Grazhdanin” (“The Citizen”) was determined exclusively by V. P. Meshchersky, nicknamed the “dot prince” for his call to halt the movement towards a constitutional reform. Both the strengths and weaknesses of Meshchersky’s program and the writing style are revealed. At the same time, contrary to the well-established opinion about the prince’s monopoly in shaping the concept of the periodical, the importance of other key authors is revealed — both those whom Meshchersky called “receivers” in his memoirs, and those whom he did not mention for some reason. The concept of the publication was formed at the junction of ideological and stylistic traditions, adopted by its authors from Slavophiles and members of the Native Soil movement, on the one hand (M. I. Koyalovich, N. N. Strakhov, A. N. Maikov, I. Yu. Nekrasov), and from the state-conservative “Katkov” journalism, on the other (B. M. Markevich, P. K. Shchebalsky, K. P. Pobedonostsev). The desire for harmony of moral (Christian) and legal (state) principles was the basis of the projective concept of the “Grazhdanin” (“The Citizen”). These principles were not always reconciled with each other, causing internal editorial controversy. It did not necessarily mean a break (although this has happened), since it was about the formation of a single broad “Russian” trend, which Strakhov, following Fyodor and Mikhail Dostoevsky, defined as the “Russian party.” Meshchersky’s idea from the very beginning was to create a press body that would become a discussion platform for the free expression of “independent” minds. The rejection of the authoritarian style (which prevailed at that time in radical and liberal journalism) brings to mind the experience of the Dostoevsky brothers’ magazines “Vremya” and “Epocha”. “Grazhdanin” (“The Citizen”) also aimed for dialogue, rather than dictate — a dialogue with the authorities, the zemstvo, the nobility, the church, and the youth. In this regard, it is clear why the pages of the weekly preferred a genre as autonomous as “letters”: historical, political, literary, theatrical, provincial, travel, letters to the editor. In an effort to present the polyphony of opinions of “decent people” who are not indifferent to the fate of the country, Meshchersky sometimes resorted to role-playing journalism, writing letters to himself on behalf of a peasant, a teacher, a zemstvo worker, a military man. In general, in the aggregate of all published materials, “Grazhdanin” (“The Citizen”) appears to be a publication that resolutely and sometimes boldly raised the question of the price of the ongoing changes, the destruction of the moral and spiritual foundations of society and the state, and a return to traditional Christian values. The weekly formed an updated kind of conservative journalism, which was further developed in the journalistic work of F. M. Dostoevsky.

Keywords: The Citizen, Grazhdanin, weekly, newspaper, magazine, concept, authors, ideas, genres, editorial, epistolary journalism, liberalism, conservatism, journalism, soil science

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In Dostoevsky’s novel “The Adolescent” (1875), the experience of the “Russian abroad” is depicted within a broad literary context, particularly regarding the sources of Versilov’s character. Scholarly literature often highlights the influence of figures such as Pyotr Yo. Chaadaev, Vladimir S. Pecherin, and Alexander I. Herzen in this regard. However, Tolstoyan sources also play a significant role in shaping Versilov. This article argues that Versilov’s character is polemically aligned not only with Konstantin Levin from Tolstoy’s “Anna Karenina” but also with Dmitry Nekhliudoff from Tolstoy’s “Lucerne: From the Recollections of Prince D. Nekhliudoff” (1857). The connection to Levin is well-documented, supported by preparatory materials and prior studies of Tolstoyan context in “The Adolescent” by Alfred L. Bem, Arkady S. Dolinin, Lia M. Rosenblum, and Evgeny I. Semenov. The connection to Nekhliudoff is substantiated by a passage from Versilov’s confession, where he expresses a newfound desire abroad to bring happiness to a specific individual rather than “some casual German, man or woman.” This sentiment seems to allude to Nekhliudoff’s act of charity toward the Tyrolean in “Lucerne”. Additional evidence includes Versilov’s familiarity with Tolstoy’s works, from the autobiographical trilogy to the serialized “Anna Karenina”, as shown in the drafts of “The Adolescent”. This allusion also engages in dialogue with other instances of Tolstoyan and Herzenian texts in “The Adolescent” and “A Writer’s Diary” (e. g., “Old People” and the series of articles on “Anna Karenina”). The “Russian wanderer” and the type of “world-wide compassion for all” correspond to Dostoevsky’s idea of emigrants since birth, as he calls Herzen, or spiritual vagabonds, as he calls Tolstoy’s heroes. Dostoevsky frequently employed the concept of “emigration” as a metaphor in both his fiction and journalistic works.

Keywords: F. M. Dostoevsky, The Adolescent, L. N. Tolstoy, Lucerne, creative dialogue, Europe, Russia, emigration

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The symbolic image of the church/temple is considered one of the integrating images in Blok’s lyrics, revealing the poet’s connection with the religious aspects of culture. The characterologically significant images of the white church on the hill and the dark St. Petersburg temple are analyzed in different facets of the author’s three poetry books. A visual image in the background landscape — the white church in the midst of the vast Russian expanses — appears as a bright landmark in the lyrical plot of the poet’s path, and is connected with the theme of awaiting the Beautiful Lady. This is a high-frequency image (about 50 uses), which has appeared in Blok’s work since 1899. All its connotations manifested in 1901, and 1902 marked the culmination of its unfolding. Initially, the image of the church/temple appears as a dual one; the light dominant element of the poetic landscape is coupled with fog and inner darkness, and is not a sense-generating center of the lyrical theme development in poem structure. The situation of standing on the threshold or at the entrance to the temple and the general obscurity of the image symptomatically reflects the character’s incomplete involvement in the temple’s inner world. Only in a few poems does the image of the white church convey light that affects the outcome of lyrical dynamics. The symbolic image of the church/temple reveals the poetic features of the “antithesis” within the very “thesis” of Blok’s work and retains irresistible spiritual duality up until his latest creative works.

Keywords: Alexander Blok, lyrics, symbolic image, integrator image, church, temple, composition, poet’s path

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The article examines the artistic features of the images of a doctor and a patient in the prose of I. S. Shmelev and the modern Russian writer V. N. Lyalin. The concept of the “morbid code” is examined and the tendency towards the emergence of medical literature studies against the background of comprehensive medicalization of modern Russian society, is noted. The research was based on I. S. Shmelev’s “The Doctor’s Story” and V. N. Lyalin’s “Obsession” and “Accidental Joy.” Comparative analysis revealed that both authors rely on a Christ-centered worldview, in the context of which they examine the problems of illness, suffering, and recovery. The key to understanding the nature of human illness is the unity of the bodily and spiritual aspects. Both I. S. Shmelev and V. N. Lyalin perceive a doctor’s talent as a gift from God, and consider those who have it to be called to a special self-sacrificial service. The characters in the medical profession are not idealized, they are seen as inclined towards spiritual crises, which is expressed either through despondency and cooling towards their own profession, or through a physical illness, which can be overcome only by turning to the Evangelical tradition. Both authors introduce the image of a doctor-patient, who is able to simultaneously experience a range of spiritual and physical sufferings, as well as evaluate them from the perspective of a medical professional and a church-going Christian. The patient’s condition during the culmination of the disease is depicted by both writers using visual, auditory, olfactory, and tactile details. An important role is played by the prophetic dream motif, which may indicate an impending illness or, on the contrary, its elimination. The key motif in the morbid prose of I. S. Shmelev and V. N. Lyalin is that of “passing through death,” which is associated with the evangelical, or, more specifically, with the Golgotha symbolism.

Keywords: Orthodox prose, morbid prose, I. S. Shmelev, V. N. Lyallin, Evangelical motifs, Golgotha symbolism, the image of a doctor, the image of a patient

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In this study the authors for the first time examine the evolution in the 19th – early 20th century of the safar-nameh genre – Iranian travel accounts. Widely in demand since the Middle Ages and having witnessed its heyday at the end of the century, by the middle of the 20th century this genre had been completely displaced from book circulation. The source base of the article is formed with the texts that have not been used yet as an object of philological analysis in either foreign or Russian Iranian studies. Meanwhile, being the most significant and voluminous works of this genre, they create wider opportunities for authors’ conclusions and generalizations. The analysis of these travel accounts made it possible to trace the process of gradual genre transformation and demonstrate specific mechanisms of change in the constitutive features of safar-nameh, quite clearly defined in the literary canon. Continuing to play the role of a “school” within which the mastery of storytelling and the basic structural principles of text organization were honed, the canon paved the way for the formation of narrative principles that are different from the classical model and are characteristic of modern plot-based narration. The fluidity of the genre specificity of safar-nameh serves as an example of the changes that traditional Iranian literature undergoes in this period.

Keywords: safar-nameh, genre, canon, transformation of poetics, writer, literary system, modernization

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The article examines the visual aspect of the poetics of I. A. Bunin’s novel “Arsenyev’s Life.” The leading visual form in the book is literary pictorialism, i.e., a way of modeling the artistic world in which the phenomena and events of reality are presented based on the pictorial principles of image creation. The pictorial text has a number of features resembling a painting: static nature, stipulated by the predominant use of the present tense, accentuated forms, colorful descriptions, and a special composition. Bunin’s gift of painting is realized in generous description of textures and colors, in the accuracy of details, in the ability to capture memories in vivid landscape, subject, and portrait images. Along with literary pictorialism, Bunin resorts to ecphrasis, focusing mainly on photographs and family portraits. Thus, the past, including with the support of ecphrasis, manifests not only through paintings, but also through faces.The verbal icon is designed to visually enhance and accentuate the plot of the hero’s entry into the world of Orthodox religiosity. At the same time, the paintings on which the narrator’s gaze rests are combined with cinematic writing — a dynamic stream of frames perceived by consciousness and vision and recreated with the help of editing. This is how the course of life is modeled in the “incongruity and inseparability” of dynamics and stopped moments. Thus, the visual forms of the artistic world’s unfolding in the novel are presented systematically and in a branched manner. They can be attributed to those factors that form Bunin’s distinct organic writing style, when questions of ontology are posed and resolved at the stylistic level, at the level of the images of the surrounding world that manifest themselves here and now.

Keywords: Bunin, novel, visuality, pictorialism, intermediality, space, ekphrasis, icon, word, montage

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The article examines the semantics of the image of snow — one of the pervasive images of the “Childhood” short story cycle, which opens the first book by V. A. Nikiforov-Volgin “The Birthday Girl Earth.” Snow for the author, as well as for the emigrant poets who left Russia after the 1917 revolution, is a symbol of the lost homeland. At the same time, the analyzed texts of the writer comprise both a mythopoetic tradition of the image of snow, associated with the natural cycle of changing seasons, and a biblical tradition that implies the connotation of sacredness. In the “Childhood” cycle, snow is subject to metamorphoses: it turns into ice, icicles, and water, indicating the coming spring and Easter. The appearance of snow in the cycle of stories is associated with the onset of spiritual spring — Lent. The image of snow is multi-meaningful: if the melting of snow in “Communion” is likened to death, then in the last story “Silver Blizzard” it is used to introduce a revival motif associated with Easter semantics. Easter is the central event of the cycle. Thanks to the image of snow, the last Christmas story is also correlated with the dominant theme of the Resurrection of the Lord. The image of a snowstorm, integrated with the image of snow, appears in the last story of the “Childhood” cycle. The blizzard for V. A. Nikiforov-Volgin is one of the symbols of the Nativity of Christ, endowed with the semantics of joy and festivity. The dynamism of the image of snow in the “Silver Blizzard,” which completes the cycle, emphasizes the meaning of renewal that is embedded in it: Christmas for the writer is the starting point of God’s path in the world to a Bright Resurrection.

Keywords: V. A. Nikiforov-Volgin, Russian abroad, snow, Easter, plot, semantics, Orthodoxy

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The book of poems by O. F. Bergholz “Knot” has not been examined before as a polycyclic microgenre formation. The book’s metaphorical title, which sets the vector of the reader’s pre-understanding in line with dictionary meanings, has an additional connotation in Bergholz’s work notes: knot=prison=trial. The “Knot” contains four sections (“Trial,” “Memory,” “From Leningrad Diaries,” “Years”) and has the structure of a composition book. The author defended the structure of “Knot” when preparing the manuscript for publication and insisted that the book open with the “Trial” section, a narrative about the years of Stalinist repressions. In “Knot” Bergholz implemented a creative program — to “inextricably solder the prison with the blockade” of Leningrad, tying the trials of the pre-war and blockade years into one “knot.” Through the actualization in the book of a “foreign word” (epigraphs), the concept of “memory,” a supporting metaphor (“desert”), key lexemes (“trial,” “loss”) and the confessional intonation of the lyrical heroine that permeates the texts of the book, the poems interact with each other on an associative semantic level, forming a single artistic whole. “Knot” creates a poetic model of life as a “desert” with a biblical allusion (“You sent me to the desert…”): after going through a chain of spiritual trials, a person comes out of them transformed and must live anew (“Poems about the Horseshoe of Chersonesos,” “The Answer”). The biographic nature, manifested in the system of initiations, appeals to friends and foes, existential issues and understanding of the creative path, allows us to consider “Knot” as the final book of poetry.

Keywords: O. F. Bergholz, book of poetry, genre, cyclization, poetics of the title, framework complex, epigraph, composition, meta-plot

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The article analyzes the character of Mikhail Brenk, the associate of the Moscow prince Dmitry Donskoy in “The Tale of the Battle with Mamai”, popular literature and drama of the 19th century, as well as historical novels by S. P. Borodin (“Dmitry Donskoy,” 1941), M. A. Rapov (“Dawns over Russia…,” 1954–1958), M. D. Karateev (“The Heroes Awoke,” 1963), Yu. M. Loschits (“Dmitry Donskoy,” 1980), V. A. Lebedev (“Expiation,” 1980) and etc. Including a wide range of sources allowed identifying the development trajectory of the image of Mikhail Brenk in 19th — 20th-century Russian literature. Two episodes from “The Tale of the Battle with Mamai” (exchange of armor with the Grand Duke and death on the Kulikovo Field) are the only pieces of information about him and the foundation for Russian writers of the 19th — 20th centuries. His roles as a devoted vassal, warrior and confidant of Dmitry Donskoy become the basis for his images in Russian literature. The hero’s storyline in V. A. Lebedev’s novel “Expiation” expands due to the material of Russian chronicles and the author’s imagination, is limited to episodes of the life of an already adult hero. In the historical novel “Expiation,” V. A. Lebedev turns to the inner world of this character. Based on motifs from the “The Tale of the Battle with Mamai” and subsequently developed in the novels of his predecessors, he makes him a “guardian angel” of the Moscow prince, his atoning sacrifice in the battle between Medieval Rus’ and the Golden Horde.

Keywords: The Tale of the Battle with Mamai, historical novel, Vasiliy Lebedev, Mikhail Brenk, plot, motif, character, reception

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Andrei Voznesensky, who proved himself to be an “atomic minstrel,” an unreserved singer of scientific and technical revolution, whole-heartedly striving for the future, was not, objectively speaking, an ardent fan of the sonnet, as, indeed, were his idols and teachers Mayakovsky and Pasternak. However, he nevertheless paid a certain tribute to this ancient genre-strophic form, enriching it with radical innovations. The article analyzes the so-called “Impromptu Sonnet” (1998), which completes the poet’s sonnet ensemble. The title of the poem simultaneously serves as its genre definition. The motif of Emptiness, оne of the steady ideological and thematic dominants of Voznesensky’s work is considered in connection with his fascination with the works of M. Heidegger, with whom he personally communicated in Freiburg in 1967. We find a reflection of the German philosopher’s in Voznesensky’s essays, including “The Tooth of Reason,” “О” and in several cyclizing lyrical poems, a significant part of which are sonnets or at least their derivatives. The article focuses most closely on the distinctive contrast in the poet’s ideas between the high content conditions of the classical sonnet and the exceptionally liberal attitude to its canonical forms.

Keywords: Andrei Voznesensky, sonnet, canon, formal experiments, ideas of existentialism, concept, genre diversity

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The article examines the image of childhood in the national world model in poems written in Russian in 1985–2020 by the Yukaghir poet Nikolai Kurilov (b. 1949). It includes a number of significant components, including the way of life of the family where children grow up, models of adequate national behavior of children and adults who make up the child’s immediate circle. The identified complex reflects the current stage in the evolution of the Yukaghirs’ ideas about childhood. Children’s fiction, along with folklore, has become a transmitter of the national model of the world. Childhood is represented by miniature sketches of events that are currently taking place or have just happened (a similar form of depiction was borrowed from Russian children’s literature), however, the peculiarities in the development of Yukaghir literature for children are associated with filling the form adopted from Russian literature with elements of their own national representation of the world. N. Kurilov’s interpretation of the image of childhood, based on his personal experience, falls within the framework of the national worldview. Ideas about childhood are formed by Yukaghirs’ traditional way of life and modern life, which are not opposed to each other, but are integrated in the national image of the world.

Keywords: ethnopoetics, image of childhood, national model of the world, national image of the world, Nikolai Kurilov, Yukaghir poetry, children’s literature, children’s poetry, translated poetry, minority literature

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