Literatura académica sobre el tema "Russian elegy"
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Artículos de revistas sobre el tema "Russian elegy"
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Khabibullina, Alsu Z. "Elegy and Elegy Mode of Artistry in the Poetry of Rob. Akhmetzyanov and I.A. Kushner". Polylinguality and Transcultural Practices 17, n.º 3 (15 de diciembre de 2020): 363–74. http://dx.doi.org/10.22363/2618-897x-2020-17-3-363-374.
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The article is devoted to the examination of elegy features and elegy mode of artistry in Russian and Tatar poetry of 70-80s XX century. The actual basis of the research is formed by A. Kushners poems, modern Russian poet and Robert Akhmetzyanov, known Tatar lyric of the XX century. It is stated that elegy was not included in the circle of traditional Tatar poetry genres (wider - oriental), its genetic roots are bound with other forms like marsiya. The author comes to the conclusion, that poetic cycle Kozge elegiyalar (Autumn elegies) by Rob. Akhmetzyanov fully depicts the identity of Tatar artistic consciousness, its literary identity, reflecting in its ability to correlate its deep experiences with poem form and with its architectonic principles. The comparative analysis has shown that subjective and objective in Rob. Akhmetzyanovs elegies exist in a different, less expressive form of contradiction than in the Russian elegy tradition, which is marked by the connection of the Tatar poets artistic way of thinking with folk poetry. Particularly, in the lyrical cycle the author resorts to paired images, like ike alma (two apples), which also appear in the Tatar song. The research proved that Rob.Akhmetzyanovs creativity can be considered as catalyst of elegy in the national literature of the XX century: elegy form and its techniques contributed to the genre recognizability, more than that, elegy became the field of representation of the avant-garde spirit of the Tatar authors creativity. In the A.Kushners poetry elegy and idyllic interact in the same lyrical plot, thus transforming the stable features of the genres mentioned and their modality (Ukhodit leto (The summers leaving), Mne kazhetsya (It seems to me) etc.
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Garrison, James D. "Thomas Gray’s Elegy in Russian Translation". Babel. Revue internationale de la traduction / International Journal of Translation 51, n.º 1 (24 de octubre de 2005): 49–61. http://dx.doi.org/10.1075/babel.51.1.04gar.
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Abstract Vasily Zhukovsky’s 1802 translation of Thomas Gray’s Elegy Written in a Country Churchyard, highly acclaimed in its time and since regarded as a crucial document for the study of Russian Romanticism, offers the reader of Gray an original but compelling approach to his most famous poem. Although generally faithful to the form and style of the English, Zhukovsky’s version nevertheless forecloses some possibilities of Gray’s poetic argument while creating others. By darkening the descriptive texture of the elegy, adding two crucial stanzas that weigh the significance of graveyard memorials, and reconceiving the figure of the narrator in relation to his environment, Zhukovsky concentrates the force of Gray’s most universal concerns. This is especially evident in the stanzas that reflect on the “frail memorial” to the village dead. Dispensing altogether with Gray’s “unlettered muse” and “rustic moralist,” Zhukovsky applies the moral of the gravestone to the reader: “we must learn to die.” Whereas this passage in Gray’s poem distinguishes the villagers, identified with what is “uncouth,” “unlettered,” and “rustic,” the corresponding passage in translation represses the distinguishing marks of rusticity, assimilates the argument of the stanzas to the general human condition, and thus concludes by invoking the collective pronoun. This passage in turn anticipates the epitaph, which is cast in strikingly Biblical language: the passersby are asked to pray over the grave of one now removed from all earthly anxiety, of one who has left behind all that within him is sinful, of one whose hope now is in his savior God. Zhukovsky thus transforms the grave from a “dread abode” into a place of refuge and establishes through his translation of Gray a model for Russian elegiac poetry. Résumé La traduction du poeme de Th omas Gray, Elegie ecrite dans un cimetiere de campagne, faite par Vassily Zhukovsky en 1802, unanimement saluee en son temps et depuis lors consideree comme un texte primordial a l’etude du romantisme russe, offre au lecteur de Gray une approche a la fois originale et attirante pour la lecture de son plus celebre poeme. Bien que generalement fidele et a la forme et au style originel, la version de Zhukovsky saisit neanmoins certaines nuances du debat poetique de Gray tout en en creant d’autres. En voilant la structure descriptive, en ajoutant deux strophes essentielles qui renforcent la signification des monuments funeraires, et en recreant le personnage du narrateur en fonction de son environnement, Zhukovsky concentre la puissance des preoccupations les plus repandues chez Gray. Cela est tout particulierement evident dans les strophes dont la reflection porte sur les fragiles monuments aux morts du village. Zhukovsky, rendant superflu la muse illettree et le moraliste rustique de Gray, applique la morale de la pierre tombale au lecteur: il nous faut apprendre a mourir. Tandis que ce passage particulier du poeme de Gray caracterise les villageois, les identifiant par ce qui est rude, illettre, et rustique, le passage qui lui correspond dans la traduction assimile l’argument des strophes a la condition humaine en general, concluant ainsi par l’invocation du pronom collectif. Ce passage precede a son tour l’epitaphe redige dans une langue etonnamment biblique: les passants sont invites a prier sur la tombe de celui qui est dorenavant depourvu de toute angoisse terrestre, de celui qui laissa derriere lui tout ce qui, en lui, etait peche, et dont l’espoir desormais reside dans son Dieu Sauveur. Zhukovsky transforme ainsi la tombe d’une demeure redoutable en un lieu de refuge et cree, par le biais de sa traduction du poeme de Gray, un modele pour la poesie elegiaque russe.
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Kafanova, Olga B. "Creative Laboratory of Afanasy Fet: Translation from A. de Musset". Two centuries of the Russian classics 4, n.º 2 (2022): 246–61. http://dx.doi.org/10.22455/2686-7494-2022-4-2-246-261.
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The research focuses on the translation of Musset’s elegy “Lucie,” never published during A. A. Fet’s lifetime. The research is devoted to the clarification of the Russian poet’s translation skills and the analysis of the self-worth of his work. Of interest is the question of the time of work on the translation and the reasons for refusing to publish it. Directly influenced by A. de Lamartine, the elegy represents the “new lyricism.” The lyrical hero embodies his grief over the death of his first love, almost a girl, in melancholic musical verses. Another discovery was a new attitude to nature, to which the poet confides his melancholic feelings. The landscape turns out to be his best and closest companion. The structure of the elegy is characterized by repeated complaints; the first and final stanzas coincide. Fet revises the text and reduces some prolixities and divagations to achieve a more natural intimacy. Apparently, he worked on Musset’s elegy in the 1850s, when he found his own poetic language. In general, he managed to improve the text of Musset in some way, to clear the elegy of unnecessary digressions, long notes. As a result of a kind of competition, he creates a poetic masterpiece that is not inferior to the original.
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Golburt, Luba. "Derzhavin's Ruins and the Birth of Historical Elegy". Slavic Review 65, n.º 4 (2006): 670–93. http://dx.doi.org/10.2307/4148449.
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Through the prism of Gavriil Derzhavin's 1797 poem “Razvaliny” (Ruins), Luba Golburt explores two concurrent developments in Russian cultural history: the fragmentation of Catherine the Great's overwhelming legacy after her death in 1796 and the contemporaneous weakening of the classicist genre system, which gave rise to such hybrid genres as the historical elegy. In its temporal polyvalence, the historical elegy bears great resemblance to the ruin, a semi-preserved historical artifact, which in the late Enlightenment/early Romantic period becomes the central image for experiencing history. Derzhavin's poem appropriately enacts historical recollection in a place overpopulated by ruins and pregnant with memories of recent history, Tsarskoe Selo. Drawing on a wide variety of sources, the essay tracks the emergence of this summer estate as the central locus memorii in Russian poetry and disentangles the intertwining threads of textual and pictorial representation in Derzhavin's work.
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Reynolds, Andrew. "Returning the Ticket: Joseph Brodsky's “August” and the End of the Petersburg Text?" Slavic Review 64, n.º 2 (2005): 307–32. http://dx.doi.org/10.2307/3649986.
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One of the mysteries of Joseph Brodsky's biography was that, even as Petersburg continued to haunt many of Brodsky's writings of exile, the poet himself did not return to his native city after being exiled in 1972. In this article, Andrew Reynolds explores the notion of the “Petersburg text” as it applies to Brodsky's work and reveals Brodsky's deep ambivalence toward the kenoticism central to many readings of the “Petersburg text” and the “Russian idea” itself. The article argues that Brodsky's “last” poem, “August,” is both an attempt to exorcise and, ultimately, an acceptance of the fatidic patterns which seem to make a “return to Petersburg” inevitable in art if not in life. The poem is both an elegy for a (still living?) tradition and a self-elegy, and represents Brodsky's final recognition that he is Aleksandr Pushkin's successor in more ways than one: the strongest Russian poets always die “in January,” irrespective of which month or season becomes one's “fate.“
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Khabibullina, Alsu Zarifovna. "ELEGY GENRE IN THE RUSSIAN AND TATAR LITERATURES: COMPARATIVE ASPECT". Philological Sciences. Issues of Theory and Practice, n.º 9-2 (septiembre de 2018): 304–10. http://dx.doi.org/10.30853/filnauki.2018-9-2.20.
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Khabibullina, A. Z. "THE PROBLEM OF COMPARATIVE STUDY OF ELEGY IN RUSSIAN AND TATAR POETRY". Philologos 45, n.º 3 (2020): 85–92. http://dx.doi.org/10.24888/2079-2638-2020-45-2-85-92.
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Rückert, George. "Translation as sentimental education: Zhukovskij’s Sel’skoe kladbishche". Sign Systems Studies 36, n.º 2 (31 de diciembre de 2008): 399–416. http://dx.doi.org/10.12697/sss.2008.36.2.07.
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Vasilij Zhukovskij’s Sel’skoe kladbische, a translation of Thomas Gray’s Elegy Written in a Country Churchyard, occupies a special place in Russian literary history. First published in 1802, it was so widely imitated by later Russian poets that it came to be regarded as a “landmark of Russian literature”, not only at a boundary between two cultures (English and Russian) but also at a boundary within Russian culture itself — the transition from Neoclassical to Romantic aesthetics. Zhukovskij’s translation of Gray can be read as the end result of a long process of personal education in the sign system of Sentimentalism, in both its European and its Russian variants, which then reproduced itself in an impersonal way within his culture as a whole. Zhukovskij did not merely reinscribe Gray’s poem into Russian. Rather, he used it to deploy the developing Russian Sentimentalist (Karamzinist) style within a wide range of lyric registers, thereby providing models for other Russian lyric poets. In this sense, his work exemplifies Juri Lotman’s dictum that “the elementary act of thinking is translation” — it made it possible for Russian poets to think within an entirely new, though by no means foreign system of signs.
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Хабибуллина, А. З. "ELEGY IN RUSSIAN AND TATAR POETRY OF THE XIX-EARLY XX-TH CENTURIES: THE CATEGORY OF TENSE". Актуальные вопросы современной филологии и журналистики, n.º 1(40) (19 de marzo de 2021): 67–74. http://dx.doi.org/10.36622/aqmpj.2021.75.19.010.
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Статья посвящена сопоставительному исследованию жанра элегии и элегизма как самостоятельного модуса художественности в русской и татарской поэзии XIX-начала XX вв. в свете категории времени. Установлено, что элегия не вошла в круг канонических и неканонических жанров татарской литературы начала XX века, что значительно усложняет исходную ситуацию сопоставления национальных литератур. Сделан вывод о том, что исторически русская элегия существовала в художественном пространстве времени, в ее содержании особое звучание имел мотив переживания лирическим субъектом настоящего момента бытия в ценностном свете прошлого (В.И. Козлов, О.В. Зырянов, В.Э. Вацуро, М.Л. Гаспаров). Исследования ученых-востоковедов (Г.Э. Грюнебаум, Л. Масиньон, А.М. Шиммель) показали, что время в сознании восточного поэта как будто стремиться «оставаться на месте»; время здесь не линейное в своей протяженности, оно не определяется различиями границ прошлого, настоящего и будущего. Напротив, в нем особое место уделялось переживанию мгновений, причем не всегда расположенных в необратимой последовательности. Сделан вывод о том, что татарское художественное сознание, испытавшее воздействие традиций литератур Востока, имеет сходные черты мировосприятия, что в значительной мере обусловило уникальность пути становления элегического жанра в национальной литературе. Фактическую основу работы составил сопоставительный анализ элегии А.С. Пушкина «Прощанье» (1830) и стихотворения Дэрдменда «Әгәр барсаң, саба җил, безнең илгә» («Ветер утренний, если летишь в нашу сторону…»). Установлено, что произведение Дэрдменда отличается тонким элегическим звучанием. Последнее можно рассматривать как особый тип художественности, на основе которого возник диалог русской классики и татарской литературы в аспекте ценностной категории времени и ее важнейших художественных свойств. The article is devoted to the comparative study of the elegy genre and elegism as an independent mode of artistic expression in Russian and Tatar poetry of the XIX - early XX centuries in the aspect of tense. It is stated that elegy was not included in the field of canonical and non canonical genres of Tatar literature of the early XXth century and this causes some problems in the original situation of national literary comparison. It is concluded that historically Russian elegy existed in artistic sphere of tense and the motive of the lyric character’s experience of current moment in an aspect of value had a specific sound in its content (V.I. Kozlov, O.V. Zyryanov, V.E. Vatsuro, M.L. Gasparov). The orientalists’ studies (G.E. Griunebaum, L.Masinyon, A.M. Shimmel) showed that tense in the conscience of the oriental poet tends to “stop”; time here is not linear in its length, it is not marked by the differences of the past, present and future. In the contrary, special attention was paid to the experience of moments, not always arranged in an inversible sequence. The author comes to the conclusion that Tatar artistic mentality experienced the influence of oriental literature has similar features in worldview which determines the uniqueness of the way the elegiac genre formed in the national literature. The actual basis of the work is comparative analysis of A.S.Pushkin’s elegy “Farewell” (1830) and poems by Derdmend «Әgәr barsaң, saba җil, bezneң ilgә» (“If you go, morning wind, to our land”). It is stated that poem by Derdmend differs by its subtle elegiac sound. The latter can be viewed as a special type of artistry which serves as the basis for the dialogue of Russian classics and Tatar literature in the aspect of time value category and its most important artistic features.
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Markova, E. A. "THE TRADITION OF ENGLISH-LANGUAGE ELEGY AND J. BRODSKY’s POETRY". Bulletin of Udmurt University. Series History and Philology 29, n.º 6 (25 de diciembre de 2019): 1030–36. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1030-1036.
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In the present article J. Brodsky’s poetry is analyzed in the context of a particular elegiac tradition associated with some key figures of English-language poetry of the mid-to-late 20th century. These are W.B. Yeats, T.S. Eliot, W.H. Auden and S. Heaney. The aim of the article is to examine the continuity of the 20th century English poetry by the example of a sequence of dedication poems (elegies), in which each subsequent poem alludes to the previous one(s). The comparative method allows us not only to show the features of modern English-language poetry (for instance, the link between elegiac mood and reflection on the purpose of poetry), but also to analyze the influence of poets’ interpersonal contacts on their works. Special emphasis is put on J. Brodsky’s poetry as it may seem extraneous to the English-language tradition in question. The analysis of Brodsky’s personal and creative biography, his particular dedication poems and essays allows us to find the links between the Russian poet and the literary tradition of Great Britain, Ireland and the USA.
Tesis sobre el tema "Russian elegy"
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Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music". Thesis, 2003. http://hdl.handle.net/1959.13/24961.
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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.Masters Thesis
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Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music". 2003. http://hdl.handle.net/1959.13/24961.
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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.Masters Thesis
Libros sobre el tema "Russian elegy"
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Rigsbee, David. Styles of ruin: Joseph Brodsky and the postmodernist elegy. Westport, Conn: Greenwood Press, 1999.
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I, Losev V. y I͡A︡novskai͡a︡ Lidii͡a︡, eds. Dnevnik Eleny Bulgakovoĭ. Moskva: Izd-vo "Knizhnai͡a︡ palata", 1990.
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Rerikh, E. I. Pisʹma Eleny Rerikh: 1929-1938. Minsk: "Sergeĭ Tarasevich", 1992.
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Dibrova, E. I. y L. G. Chapaeva. Khudozhestvennyĭ tekst: Struktura, semantika, stilistika : sbornik nauchnykh stateĭ k i︠u︡bilei︠u︡ Eleny Innokentʹevny Dibrovoĭ. Moskva: Redakt︠s︡ionno-izdatelʹskiĭ t︠s︡entr Moskovskogo gosudarstvennogo gumanitarnogo universiteta im. M.A. Sholokhova, 2013.
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Durylin, S. N. "I︠A︡ nikomu tak ne pishu, kak Vam--": Perepiska Sergei︠a︡ Nikolaevicha Durylina i Eleny Vasilʹevny Genievoĭ. Moskva: Rudomino, 2010.
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Blasing, Molly Thomasy. Snapshots of the Soul. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753695.001.0001.
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This book considers how photography has shaped Russian poetry from the early twentieth century to the present day. Drawing on theories of the lyric and the elegy, the social history of technology, and little-known archival materials, the book offers close readings of poems by Boris Pasternak, Marina Tsvetaeva, Joseph Brodsky, and Bella Akhmadulina, as well as by the late and post-Soviet poets Andrei Sen-Sen'kov, Arkadii Dragomoshchenko, and Kirill Medvedev, to understand their fascination with the visual language, representational power, and metaphorical possibilities offered by the camera and the photographic image. Within the context of long-standing anxieties about the threat that visual media pose to literary culture, the book finds that these poets were attracted to the affinities and tensions that exist between the lyric or elegy and the snapshot. The book reveals that at the core of each poet's approach to “writing the photograph” is the urge to demonstrate the superior ability of poetic language to capture and convey human experience.
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S, Roshchina N., Zakharova I. A y Roshchina Elena, eds. "--Meni͡a︡ odnazhdy vspomni͡a︡t": Svetloĭ pami͡a︡ti Eleny Roshchinoĭ posvi͡a︡shchaetsi͡a︡. Rodniki: [s.n.], 1996.
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interviewer, Shishov Alekseĭ y Reĭn Evgeniĭ interviewer, eds. Progulki s Brodskim i tak dalee: Iosif Brodskiĭ v filʹme Aleksei︠a︡ Shishova i Eleny I︠A︡kovich. 2017.
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sculptor, Danʹko Natalʹi͡a I͡Akovlevna y Danʹko E. sculptor, eds. Tvorchestvo sester N.I͡A. i E.I͡A. Danʹko: K 120-letii͡u so dni͡a rozhdenii͡a Natalii I͡Akovlevny (1892-1942) i 70-letii͡u so dni͡a smerti N.I͡A. i Eleny I͡Akovlevny Danʹko (1898-1942). 2012.
Buscar texto completoCapítulos de libros sobre el tema "Russian elegy"
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Pendergast, John. "Patriotic Elegy and Epic Illusion: Schiller’s Johanna in Russia". En Joan of Arc on the Stage and Her Sisters in Sublime Sanctity, 131–233. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27889-2_4.
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"11. Russian Ark: Imperial Elegy". En The Cinema of Alexander Sokurov. New York Chichester, West Sussex: Columbia University Press, 2014. http://dx.doi.org/10.7312/szan16734-012.
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"Tchaikovsky, Chekhov, and the Russian Elegy". En Tchaikovsky and His World, 300–318. Princeton University Press, 1998. http://dx.doi.org/10.1515/9781400864881.300.
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"From the ode to the elegy (and beyond)". En The Cambridge Introduction to Russian Poetry, 65–80. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511606700.007.
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Kahn, Andrew. "Russian elegists and Latin lovers in the long eighteenth century". En The Cambridge Companion to Latin Love Elegy, 336–47. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cco9781139028288.028.
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Heyman, Barbara B. "Lincoln Center Commissions". En Samuel Barber, 451–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0017.
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For the opening week of the new Philharmonic Hall at New York’s Lincoln Center for the Performing Arts in 1962, Barber composed a piano concerto in honor of the 100th anniversary of his publisher. The concerto was tailored to the technical prowess and individual style of John Browning, reflecting the Russian influence of his piano teacher Rosina Lhévinne. The second movement was a reworking of an earlier piece, Elegy, written for Manfred Ibel, a young art student and amateur flute player, to whom Barber dedicated his piano concerto. This chapter details Barber’s compositional process and influences for each movement of the concerto and describes the enthusiastic reception of the debut performance. Nearing completion of the concerto, Barber was invited to Russia as the first American composer ever to attend the biennial Congress of Soviet Composers, where he freely discussed his compositional philosophy and methods. For the concerto, Barber won his second Pulitzer Prize and the Annual Award of the Music Critics Circle of New York. His second composition for the opening season of Lincoln Center was Andromache’s Farewell, for soprano and orchestra. Based on a scene from Euripides’s The Trojan Women, the piece displayed deep emotional expression and striking imagery. With a superior opera singer, Martina Arroyo, singing the solo part, the success of Andromache’s Farewell presaged Barber’s opera Antony and Cleopatra.
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Tarasova, Natalia A. "Textual Aspects of the Research on the Novel The Adolescent". En Dostoevsky’s Novel The Adolescent: Current State of Research, 431–567. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0677-2-431-567.
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The work is devoted to the study of Dostoevsky’s novel The Adolescent in its textual, biographical, and intermediate aspects. The first paragraph contains the results of a textual study of the novel manuscripts. The work shows the connections of The Adolescent with the unfulfilled plan The Life of a Great Sinner, as well as with Pushkin and Lermontov motives that were important for Dostoevsky’s creative method during the work on the novel. The second paragraph through the analysis of the manuscripts identifies a prototype of one of the characters of The Adolescent, Darzan. The study reveals the biographical nature of this hero and shows how some facts of Dostoevsky’s biography influenced the development of this character and the artistic idea of the novel as a whole. The third paragraph examines the writer’s use of conventional signs that graphically reflect the content of the artistic idea, themes, and motifs in the handwritten text. The fourth paragraph is devoted to intertextual connections in the handwritten and printed texts of Dostoevsky’s novel The Adolescent using the example of the analysis of the allusion to Zhukovsky’s elegy A Country Churchyard and the specifics of its functioning in the context of the novel narrative. The fifth paragraph contains an analysis of a fragment of a draft autograph where Dickens’ The Old Curiosity Shop is mentioned. This part of the work investigates which translations of The Old Curiosity Shop could be known to Dostoevsky and how the themes and some scenes of Dickens’ novel were reflected in the draft and printed text of The Adolescent, where the motif of sunset acquires a special and independent meaning. The sixth paragraph analyzes the syncretic nature of the novel narrative, combining images and motifs that belong to different types of art. The analysis allows us to determine the features of the author’s perception of religious images in European painting and architecture and their significance in The Adolescent. In the seventh paragraph, the study of intermediate relations is carried out by looking at the interaction of musical and literary motives in the novel. An example of such interaction in the manuscripts of The Adolescent is Trishatov’s “musical fantasy”, which reflects the author’s interpretation of Charles Gounod’s opera Faust and Goethe’s tragedy, the traditions of Russian sacred music and church worship.