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UDC 821.161.1
https://doi.org/10.20339/PhS.5-21.073
Evdokimova Olga V.,
Doctor of Philology, Professor,
Professor of the Russian Literature Department
Herzen Russian State Pedagogical University
e-mail: odnodum8@mail.ru
Samoylova Elena P.,
Candidate of Philology,
Senior Lecturer of the Russian Language Department
Herzen Russian State Pedagogical University
e-mail: aleandr2000@gmail.com
In the presented article formative foundations and dominants of mnemonic poetics of N.S. Leskov were identified and formulated (based on the research of scientists of recent years). The main ones are considered. As part of the interaction of word and image, the correspondence of verbal and visible, the question was raised about the nature of the image among Leskov — intensely icon-painting, about the dialectics of classical and art-historical ecfrasis; the picture dominates the genre of the novel (in particular, “Bypassed” (1965)), the icon — in small genres (for example, “situation story”). Dialogue as a constructive principle in Leskov’s prose inherits the methods and techniques of philosophy dating back to the experiments of Socrates’ selfconsciousness (469–399 BC) and G.S. Skovorody (1722–1794). These features of the text in turn determine the functions of a word that problematizes specific moral concepts and moves the reader to his own ethical choice. Leskov’s artistic reception is simultaneously turned to legend and is innovative. The text of the Russian classical writer is always located on the border of archaic and modern. This feature of Leskov’s prose is clearly demonstrated by the creative history of the literary and artistic game “Flea” (1924–1931), the text-source of which is the story “Left” (1881). Established — memory, experience, tradition underlie the poetic system of the classic writer.
Keywords: Leskov, art system, word, icon-painting image, classical and art-historical ecphrasis, philosophical (Socratic) dialogue, experience, archaic, Art Nouveau.
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