Psychological bases of presentation for identification. Psychological characteristics of presentation for identification

Leonid Andreev is an original, non-traditional writer. His contemporaries called him "the ruler of thoughts" due to the extraordinary resonance that his works created. Critics did not always recognize the writer's innovation and reproached him for the "lack of artistic" works, pointed to the artist's increased interest in the image different kind deviations, called his work "pathological" and "psychopathic".

In 1910, the book "Psychopathic Traits in the Heroes of Leonid Andreev"1, written by a psychiatrist, was published. After analyzing "Red Laughter", "Abyss", "In the Fog", "The Life of Vasily of Thebes", "My Notes", the author recreated the medical history of the heroes and made a specific diagnosis for each of them. At the same time, the researcher recognized Andreev's undeniable talent in accurately depicting the behavior of mentally ill heroes from a medical point of view.

In 1913, the book “The Pathological Creativity of Leonid Andreev”2 appeared, where, by means of literary analysis, by projecting Andreev’s heroes and their actions onto a real life plan, the author of the book persistently convinces that Andreev’s work is “strange”, “pathological”, “painful and specific »3.

The attitude of lifetime criticism to Andreev's work is due to the fact that the writer sought to expand the boundaries of traditional realism, gradually leaving them, experimenting with form and content, and provoking readers with "provocative" images and plots.

Leonid Andreev is an innovative writer who foresaw and embodied in his work the latest trends in art long before they formed into certain directions and currents. In the present study, Leonid Andreev's fictional prose reveals

1 Mumortsev A. N. Psychopathic traits in the heroes of Leonid Andreev. - St. Petersburg, 1910.

2 Tkachev T. Ya. Pathological creativity (Leonid Andreev). - Kharkov, 1913.

3 Ibid. - P. 17 - 19. Elements of the poetics of surrealism, which complement the existing ideas of synthesis as the basis of the artistic method of the writer.

Surrealism emerged as one of the avant-garde movements in the 10s and 20s. XX century in> France and is associated with the name of Andre Breton and his group. However, the trends; which among researchers* it is customary to call “pre-surrealistic”, arose long before theoretical substantiation due to the need to update the artistic image. “It would not be an exaggeration to say that European culture has long nurtured and nurtured the basic ideas, principles and methods that were included in the arsenal of the surrealists”1, writes A. Yakimovich.

Russian writers and thinkers felt the need for new artistic techniques as early as the middle - end of the 19th century: elements of the new poetics appear in the works of A. S. Pushkin, N. V. Gogol, I. S. Turgenev, F. M. Dostoevsky, A. P. Chekhov, I. A. Bunina, A. I. Kuprin. These trends were more clearly embodied in the works of poets and writers of the Silver Age, in particular, A. Bely, F. Sologub, L. Andreev.

In 1999 at the Institute of World Literature. Gorky RAS hosted a Russian-French colloquium, the main theme of which was surrealism as a nationwide phenomenon. The researchers identified several lines in Russian literature of the 20th century, in which national models of surrealism are visible, and came to the conclusion that “as a certain principle of creativity, surrealism had its predecessors in Russian literature XIX century; in the 20th century, elements of surrealist aesthetics matured on the soil of different artistic systems, grew in the experience of different literary generations.

Despite the fact that the question of “national models of surrealism” was raised by researchers, this topic did not become the object of special study. The achievements of the Surrealists in the field of poetics are so profound

1 Yakimovich A. Magic Universe. - M., 1995. - S. 124.

2 Chagin A. Russian surrealism: myth or reality // Surrealism and avant-garde. (Materials of the Russian-French colloquium). - M., 1999.-S. 147. Rooted in artistic creativity, which became an integral part* of contemporary art.

The relevance of this study is due to the need for a new reading of the work of L. Andreev through the prism of the poetics of experiment and provocation, correlated with the emerging avant-garde trend - surrealism, which subsequently had a significant impact on the art of the 20th century. Many works of L. Andreev lend themselves to interpretation from the standpoint of surrealism, because “the greater the scale of the writer, the greater the number of paradigms of artistic consciousness is absorbed and integrated by his individual artistic system, the space of his artistic thinking”1.

In some works of Russian writers of the middle of the 19th century - the beginning of the 20th century, one can find artistic images and techniques in which “pre-surrealistic” features are captured. This gives grounds to assert that the subsequent formation of surrealism was "<.>a kind of inner need of art,<.>an expression of the need to reveal to the eye (hearing) not only clearly defined phenomena of the external or internal world, but also the darkness of the subconscious, inexplicable, vague impulses, phantoms of the dreamer.

We proceed from the fact that surrealism at the end of the 19th - beginning of the 20th century is an artistic trend that arose as a result of the formation of surrealistic consciousness and was embodied to one degree or another in the work of many authors.

The scientific novelty of the study lies in the fact that for the first time the artistic techniques of LN Andreev's prose are considered in the context of surrealistic poetics; in the story "My Notes" and the novel "Satan's Diary" a technique of pseudo-revelation was revealed; in the analysis of the story "My Notes" draft manuscripts from the archive of L. N. Andreev were used, which were not published earlier (RGALI, F. 11, op. 6, d 8, sheet 45; RGALI, F. 11, op. 6,

1 Zamanskaya VV Existential tradition in Russian literature of the XX century. Dialogues on the borders of centuries - M., 2002 - P.21.

2 Balashova T. Introduction: a view from two poles And Surrealism and the avant-garde. (Materials of the Russian-French colloquium). - M., 1999. - S. 6. d. 8, l. 48); typologically, related motifs and images in the works of Leonid Andreev and Franz Kafka are revealed in detail.

The work of Leonid Andreev attracted the attention of critics and literary critics during the life of the writer. To date, many major studies^ are devoted to creativity. Andreev and individual aspects of his poetics. Despite this, scientists have not come to a consensus on the framework of which artistic system should be considered his literary heritage.

For a long time Andreev was ranked, with some reservations, among the successors of the realistic tradition in Russian literature1. However, as early as the beginning of the last century, studies appeared that offered a new look at the writer's artistic system. The features of symbolism2, impressionism3, expressionism4 were noticed in it.

Andreev studies began with the work of L. N. Afonin "Leonid Andreev" (1959). It is the first attempt to give a holistic analysis of the life and work of the writer, to establish his place and role in the literary process of those years, to characterize the main motives of his works. Afonin was one of the first to note Andreev's innovation, his departure from realistic traditions. “Disregarding nature, studying and comprehending the facts of living life, relying too much on fantasy, “inside”, L. Andreev sometimes did not go beyond the limited circle of his moods, giving out ghosts generated by the shocked human psyche, for pictures of reality”5, - wrote L. N. Afonin.

Leading researchers of Andreev's creativity in 1970-80s

1 See, for example: "Bezzubov V. I. Leonid Andreev and the traditions of Russian realism. - Tallinn, 1984; Polotskaya E. A. Chekhov's realism and Russian literature of the late XIX - early XX centuries (Kuprin, Bunin, Andreev) //

4 The development of realism in Russian literature: In the s.

2 For example, V. F. Botsyanovsky wrote that “. a distinctive feature of the works of Mr. Andreev is symbolism ”(Botsyanovsky V.F. Leonid Andreev. Critical and bibliographic study. - St. Petersburg, 1903). See also: Stolyarov-Sukhanov M. Symbolism and L. Andreev as its representative. - Kyiv, 1903.

3 Andreev's "impressionism of writing" was noted, in particular, by T. Ya. Tkachev (See: Tkachev T. Ya. Pathological creativity (L. Andreev). - Kharkov, 1913).

4 See about this: Ioffe I. I. Favorites. Part 1. Synthetic history of art. Introduction to the history of * artistic thinking. - M., 2010.

5 Afonin L. N. Leonid Andreev. - Eagle, 1959. - S. 195.

V. A. Keldysh, L. A. Iezuitova, Yu. V. Babicheva "recognized the dual" nature of Andreev's works, the interaction of realism1 and modernism in them.

In the monograph “Creativity -Leonid! Andreeva (1892 - 1906) "(4976) L. A. Iezuitova expressed the idea of ​​​​the synthesis of realism and modernism in the works of the writer with a predominance of" realistic writing: "Event-everyday," unintentional ", life in the forms of life itself as part of a common palettes are present in one way or another in each Andreev’s work”, “<.>all its symbols are not only real<.>at their core, but are built on the “earthly” images of real life, highlighting, emphasizing its essential content”4. The book pays great attention to the personality of the writer, his diary entries and letters, reveals the originality of his vision of the world.

The researcher approaches the principles of L. N. Andreev's poetics in a new way. Where life-time criticism reproached the writer for lack of artistry and anti-aestheticism, L. A. Iezuitova saw various types of grotesque, symbolization, expressionist posterity, that is, innovative principles of poetics designed to express “the catastrophic and fantastic nature of the social reality of the beginning of the century, the borders of the unknown and irrational,“ fatal" and free in the objective world and the subjective world of man<.>"five.

The researcher established the genre features of Andreev's works, recognized him as an innovator in the field of artistic style, for the first time defined the problems of Andreev's prose as existential, without using the word "existential" itself.

The monograph** by L. A. Iezuitova made it possible to understand the work of Leonid Andreev as an integral phenomenon of literature.

1 Keldysh V. A. Russian realism of the early XX century. - M., 1975.

2 Iezuitova L. A. Creativity of Leonid Andreev (1892-1906). - L., 1976.

3 Babicheva Yu. V. The evolution of the genres of Russian drama in the 19th - early 20th centuries: a textbook for a special course. - Vologda, 1982.

4 Iezuitova L. A. Creativity of Leonid Andreev (1892-1906). - L., 1976. - S. 71.

3 Ibid. - S. 72.

L. A. Smirnova1 also considered the writer's artistic* method; at the intersection of realism and modernism. Already in. early works (“Big, Helmet”, “In the “basement”, etc.), the researcher sees echoes of mysticism, a tendency to artistic abstraction: “The common thing for all the works was“ close attention to the infinitely ”distorted world, but the world, socially determined, dooming different social strata to different fates. One of the constant motives of Andreev's creativity, L. A. Smirnova considered the painful well-being of a person who does not belong to himself. For the first time this motif appeared in the story “Once Upon a Time” where “in a small cell of the boundless world Andreev concentrated an array of unconscious impulses.”3. The researcher emphasized in Andreev's stories the skill of symbolizing details, "spiritualization" of sounds, colors. Along with this, she noted the writer's attention to the disclosure of the polar principles of the human psyche. Andreev's heroes often distance themselves from real life, withdrawing into themselves. It was in the inner movements of the soul that the writer saw the origins and results of what was happening.

L. A. Smirnova noted Andreev’s innovation in addressing a completely different layer of life than his predecessors and teachers Dostoevsky and Tolstoy, a different type of “intellectual”, “torn off from the working masses of the people”, “overfed to indigestion with spiritual bread, drunk with vinegar and the gall of his aimless and dissolute existence. “The ideas that exist in this little world,” wrote L. A. Smirnova, “are losing their globality, are used for narrowly selfish purposes, leading away from the truth. In the field of view of the artist is defective knowledge. And in its difficult course, heterogeneous specificity, the signs of the era clearly emerge.

As a result of the analysis of Andreev's works of different years, Smirnova made

1 Smirnova L. A. Creativity of Leonid Andreev. Problems of artistic method and style. Textbook allowance -M., 1986.

2 Smirnova L. A. Creativity of Leonid Andreev. Problems of artistic method and style. Textbook allowance -M „ 1986. - SLO -11.

3 Ibid. - S. 12.

5 Ibid. - P. 13. the conclusion that the writer, despite the innovation in the forms of artistic expression, the type of heroes, the problems, as a whole continues to follow the path of critical realism of the beginning of the century. According to the researcher, Andreev's search for new forms of narration does not contradict this, “expanding the spatial and temporal boundaries of the image, maximally strengthening the role of the author's principle; expression of constructions, words"1.

The place of Andreev's creativity in the world literary process was determined by A. JI. Grigoriev: “Andreev's innovation was far ahead of his time; in some stage quests, he even anticipated Brecht's theatrical discoveries, his aesthetic principle of "alienation"2.

Researchers of the post-Soviet era have greatly expanded the boundaries of approaches to the writer's work. 3

The monograph JL A. Kolobaeva expressed the idea of ​​Andreev's existentialism. This idea was supported by other literary scholars. VV Zamanskaya writes: “JL Andreev, in our opinion, is one of the founders of the Russian existential literary tradition; a contemporary of Kafka and Bely, in whose work a completely original typological model for Russian existential consciousness and European existentialism is realized - psychological existentialism; in Russian literature in his work existential concept embodied as a holistic conceptual and stylistic phenomenon”4.

E. A. Mikheicheva studied the specificity and role of psychologism and panpsychism in the writer’s prose and dramaturgy, while extremely expanding the interpretation of the ideological and artistic content of the works5. The researcher formulated the content of the concept of "psychologism" in Andreev's work: "For him, psychologism is an artistic

1 Smirnova L. A. Creativity of Leonid Andreev. Problems of artistic method and style. Textbook allowance -M., 1986.-S. 28.

2 Grigoriev A. L. Leonid Andreev in the world literary process // Russian Literature. - 1972.-№ 3. -S. 190-205.

3 Kolobaeva L. A. The concept of personality in Russian realistic literature at the turn of the XIX - XX centuries - M., 1990.

4 Zamanskaya V. V. Decree. op. - S. 111.

5 Mikheicheva E. A. On the psychologism of Leonid Andreev. - M., 1994. expression of the author's consciousness through the psyche of the hero, taking into account the level of consciousness of the reader and with the aim of influencing him"1.

In the "work" the main methods of psychological1 research in Andreev's work are considered: "direct" (self-certification | internal1 monologue, subjective-evaluative characteristics) and "indirect" - (landscape, portrait, music, movement, gesture, etc.). Andreev expands the possibilities of psychological research, using the allegorical titles of works to create a philosophical and psychological subtext: "Grand Slam" - life is a game, its outcome is unpredictable; "Wall", "Giant" - metaphorical names of rock; fate, death; "Black Masks" - versatility , the mystery of the human soul; "Ghosts" - the illusory nature, the abstractness of life2.

E. A. Mikheicheva acknowledged that Leonid Andreev’s idea of ​​the duality of human consciousness is fundamental in the concept of man. The contradictions of human nature reflect the contradictions of the world order, in which the existence of good and evil, life and death, God and Satan was originally laid down. According to the researcher, perceiving death as an "intolerable contradiction", Andreev follows the "great dreamers-death-fighters" (Leo Tolstoy, Dostoevsky, Gorky, Bunin). At the same time, the writer presents this general trend in a new way: unlike Dostoevsky, with whom he is related by the desire to depict a person at a spiritual break, Andreev critically assesses the possibilities of religious consciousness in the moral rebirth of the individual.

E. A. Mikheicheva analyzed the early editions literary texts in order to understand in what direction Andreev's mastery of psychological analysis developed. The monograph also studied the genre nature of the writer's works, and proved that Andreev stood at the origins of the creation of the "new novel". The researcher traced the "Andreev tendencies" in the work of the writer's followers: B. Pilnyak, M. Bulgakov, Yu. Nagibin.

1 Ibid. - S. 20.

2 Mikheicheva E. A. On the psychologism of Leonid Andreev. - M., 1994. - S. 28 - 29.

A significant update of the theoretical foundation of "literary criticism, as well as the publication of materials from the archive of Leonid Andreev, gave the opportunity for modern researchers to study his heritage from new positions. It turned out that he was the forerunner of many literary" trends and trends that "took shape in the European cultural space later: expressionism, existentialism, literature of the absurd.

N. P. Generalova noted the romantic beginning in Andreev's work1.

In 1996 and 2006, anniversary events were held in Orel international conferences dedicated to Andreev’s work, where the role of the grotesque, mythopoetics, the specifics of psychologism and “panpsychism”, thanatology, play and laughter, artistic demonology, etc. were revealed in the poetics of the writer.2

Most modern researchers agree on Andreev as the founder of Russian expressionism3. I. Yu. Vilyavina formulated the idea that in Russian literature of the early 20th century, many writers strive for the expression of style and “against the background of this general trend in the work of some authors<.>Expressionism is formed as a kind of artistic system, a certain style or<.>artistic method"4. Vilyavina explained the trend towards the expression of style in the literature of that time by the emergence of a new type of thinking, “based on the collapse of all existing values ​​and perceiving experience as the only given”5.

The researcher gave numerous interpretations of the term

1 Generalova N. P. Leonid Andreev and Nikolai Berdyaev (on the history of Russian personalism) // Russian Literature 1997.-№2.-S. 42-55.

2 See: Aesthetics of dissonances: On the work of Leonnd Andreev. - Eagle, 1996; International scientific conference "Creativity of Leonid Andreev: a modern view", dedicated to the 135th anniversary of the writer. - Eagle, 2006.

3 See, for example: Iezuitova L. A. Leonid Andreev and Edvard Munch (On the origin of expressionism in European art of the late XIX - early XX centuries) // Writer's style and culture of the era (Interuniversity collection scientific articles) / Perm University. - Syktyvkar, 1984. - S. 45 - 65; Vilyavina I. Yu. Artistic searches of Russian expressionism. - M., 2004; Terekhina VN Expressionism in Russian Literature in the First Third of the 20th Century. - M., 2009.

4 Vilyavina I. Yu. Decree. op. - p. 4.

5Ibid.-S. 5. Expressionism”, but in the end, this concept remained vague and generalized. I. Yu. Vilyavina concluded that "expressionism uses all the variety of means that exist in literature and even other forms of art", and at the same time, "expressionists subordinate them to their" goal - to strongly influence the reader: their reality is symbolic, the symbol is real , naturalistic detail is abstract, existential situations are ordinary"1. The main aesthetic principles of expressionism are formulated in the work: concrete fact reality is considered by the author as a manifestation of the objective processes of being; some abstract forces operate in the work, driving the actions of abstract heroes who find themselves in abstract, most often critical situations; the center of attention of the expressionist is man. He is a part scary world, his victim and, at the same time, the instrument of evil. Rational and biological principles struggle in it, and dark forces the subconscious is victorious; in an expressionist work, the human psyche is closely examined; the expressionist thinks in contrasts: life-death, light-darkness. No compromises are possible; the difference between subject and object in an expressionist work is reduced to a minimum.

The formation of Andreev's expressionist style took place, according to the researcher, gradually in the works "Lie", "Red Laughter", "Governor", "Flight". I. Yu. Vilyavina finds in them all the signs of expressionism.

Of particular interest is the identification of features of the expressionist style in the novel "Sashka Zhegulev" (1911). Researcher

1 Vilyavina I. Yu. Decree. op. - S. 5. saw in him Andreev's attempt to create an expressionist novel, since in this work the writer considers exceptional circumstances as typical, suggests the manifestation in them of the essential principles of being. It is pointed out that the novel is dominated by “oxymoronism of expressionist thinking, which * is expressed in the combination of concepts that are incompatible for the reader”1, and contrast becomes the main artistic device. The struggle of rational and subconscious forces in a person comes to the fore. Attention is drawn to the scale of the chronotope in the novel: “... the author covers the space of a timeless, universal scale, reading any fact as a manifestation of cosmic existence”2. Based on the analysis of Andreev's prose of different years, I. Yu. Vilyavina concluded that the writer was one of the brightest representatives of Russian expressionism of the 20th century.

In the study of I. I. Moskovkina3, Andreev's multi-genre work was studied in a holistic way. Defending the idea that Andreev is primarily a modernist writer and innovator, Moskovkina proposes a new classification of the genres of his prose. We follow this classification in our study. In the monograph by I. I. Moskovkina, the main images-symbols, leitmotifs, forms of the grotesque, the poetics of the absurd, games, black humor, cosmism, psychologism and panpsychism in the writer's prose and dramaturgy are considered.

Achievements of Andreev studies in recent decades are summarized by A. V. Tatarinov in the chapter on Leonid Andreev in the large-scale work “Russian Literature at the Turn of the Century (1890s - early 1920s)”4. The author presents a modern view of the writer's artistic system, based on the main studies of his work. The innovation of Andreev is emphasized, who managed to anticipate many trends that would later become relevant in Russian and especially foreign literature: “One of

1 Vilyavina I. Yu. Decree. op. - S. 137.

2 Ibid. - S. 138.

3 Moskovkina I. I. Between "PRO" and "CONTRA": the coordinates of the artistic world of Leonid Andreev. -Kharkov, 2005.

4 Tatarinov A. V. Leonid Andreev // Russian literature at the turn of the century (1890s - early 1920s): In 2 books. - M., 2001. - V. 2. - S. 286 - 340. The first Andreev managed to create an artistic world, unambiguously "not defined in terms of traditional aesthetics and fundamentally confrontational in relation to the ideologized theories of realism * and modernism", " the creativity of the writer became one* of the early realizations of the existentialist conflict between man and being and expressionist poetics”1. At the same time, the author notes that neither existentialism nor expressionism in relation to Andreev's work are "<. .>completely thought out and complete systems, rather they testify to the author’s intuitive penetration into the near future of art and life”2.

Pointing to the writer's love for mythological "games" and the irony that accompanies them, Tatarinov suggests that Andreev predicted postmodernist motives, however, he stipulates that "the true seriousness of the subtext and the unimagined pain about a person force us to recognize the deep moral foundations of Andreev's creativity"3.

Among foreign researchers of the writer's heritage special place occupied by the English scholar Richard Davies, who wrote an article about Andreev in his work History of Russian Literature: XX Century: The Silver Age4. With his participation, Andreev's archive, stored in Leeds (Great Britain), was prepared and published, and is also being prepared complete collection Andreev's works in 23 volumes, the first volume of which, under the direction of M.V. Kozmenko, has already been published by the IMLI im. Gorky RAS5.

Interest in the work of Leonid Andreev is growing these days. Several hundred monographs, collections, and articles have been published on general and particular problems of the writer's poetics. But even now we can say that Andreev is still not a fully studied writer, since the innovative path that allowed the writer to be the forerunner of many

1 Tatarinov A. V. Leonid Andreev // Russian literature at the turn of the century (1890s - early 1920s): In 2 kn.-M., 2001.-T. 2.-S. 286.

2 Ibid. - S. 287.

4 History of Russian Literature: XX Century: Silver Age / Ed. Georges Niva, Ilya Serman, Vittorio Strada and Yefim Etkind. - M, 1995.

5 Andreev L. N. Complete collection of works and letters: In 23 vols. T. 1. - M., 2007. literary and artistic trends and trends arising from the 20s of the XX century.

The purpose of this "research" is to identify experimental and innovative artistic techniques in the prose of L. Andreev, anticipating elements of the poetics of surrealism, to prove the connection artistic searches a writer with a surrealistic consciousness that arose in the late 19th and early 20th centuries.

To achieve the goal of the study, it is necessary to solve a number of problems: to characterize the cultural situation at the turn of the century, which contributes to the emergence of surrealistic consciousness; to identify elements of new poetics in the prose of writers of the late 19th - early 20th centuries; identify the main provocative techniques in the prose of L. N. Andreev; consider ways to create "stunning" images in the prose of L. N. Andreev; to conduct a comparative analysis of the works of L. N. Andreev and F. Kafka in order to identify common features of the new poetics, which reflected the surrealist consciousness of the “transitional” era; reveal the innovation of L. N. Andreev's artistic techniques in the story "My Notes" and the novel "Satan's Diary".

At the same time, we do not set ourselves the task of attaching the “label” of a surrealist to Andreev. It is important for us to demonstrate hidden correspondences, to reveal and comprehend the innovation of the experimental poetics of Leonid Andreev's prose, revealing the "gene" of surrealism in it.

The founders of the surrealist movement designated surrealism in a very vague, mysterious, ambiguous way. A. Breton in the first "Manifesto of Surrealism" (1924) gave the following definition to this concept: "Pure mental automatism, aiming to express<. .>the actual functioning of thought. The dictation of thought is beyond any control on the part of the mind, beyond any aesthetic or moral considerations. "Surrealism is based on the belief in a higher" reality of certain associative forms that had been neglected before, on the belief in the omnipotence of "dreams, in the selfless * game of thought. It seeks to irrevocably destroy. All other mental mechanisms and take their place in solving the main problems of life". Louis Aragon in The Wave of Dreams (1924) wrote that surrealism is the "absorption of concepts", "the common horizon of religions, magic, poetry, dreams, madness, intoxication and miserable life"3.

In recent decades, researchers have identified three main meanings of the term "surrealism" [A. Chagin]:

1. The designation of phenomena associated with the group of surrealists that arose in France in the 1920s, headed by Andre Breton, and their direct continuation.

2. The designation of pre-surrealist tendencies that emerge in the work of writers from different eras and countries.

3. The so-called "metaphorical" meaning, which implies the rejection of realistic plausibility.

AT recent times among philologists and culturologists, surrealism is considered as “an art movement that has its own philosophy-ontology, ethics (or anti-ethics) and aesthetics (anti-aesthetics)<.»>4.

Surrealism is understood by us as an artistic system that was formed in the Russian-European cultural space at the end of the HEC - the first decades of the 20th century as a result of the search for new forms and means of embodying the artistic image. Its philosophical basis was the works of F. Nietzsche, A. Schopenhauer, Z. Freud, A. Bergson. Its ideological and aesthetic principles are: an appeal to the sphere of the unconscious, the elimination of the boundaries of the real and the unreal, giving rise to amazing metamorphoses; irrationalism, displacement of meaning, poetics of the absurd, rebellion,

1 Breton A. Surrealism Manifesto // Call a spade a spade: Progr. performances of the masters of the West-Europe lit. 20th century Comp., redisl., total. ed. L. G. Andreeva. - M., 1986. - S. 56.

3 Cit. by: Andreev L. G. Surrealism. - M., 2004. - S. 80.

4Yakimovich. A. The magical universe. -M., 1995.-S. 123. installation on outrageousness, sensationalism, the cult of the mysterious, mysterious, wonderful, black humor, eroticism, that is, the essence of those principles that are partly formulated in the manifestos of the surrealism of Andre Breton's group, and are also embodied in the work of writers of this group and those close to - her in their aesthetic attitudes.

The projection of the artistic principles of surrealism on the work of Leonid Andreev is being undertaken for the first time, although critics and literary critics have previously paid attention to many elements of the poetics of experiment and provocation in the writer's prose, without pointing out their connection with surrealism: pronounced subjectivism, interest in the unconscious, the predominance of phantasmagoria over reality , a heap of metaphors, various types of grotesque, implausibility, the cult of love, the motif of mystery, stunning images, expressionist posterity, at the same time confession, blasphemy, absurdity, the all-encompassing element of the game. Andreev's striving for a higher reality and at the same time the image of the voluptuousness of evil, self-abasement, and pain were noted. Important note, giving reason to see in Andreev the predecessor of surrealism, was made by I. Annensky: “Andreev does not save, but on the contrary, destroys habits with particular joy, and in return makes me look for new links and fusions in the world, like those that are so whimsically formed around me in the evening from the shadows that rush in from everywhere. The desire to destroy the usual connections, to shock the reader, to call to work his imagination, to see the world in a new way is characteristic of the surrealists.

The study of Andreev's creativity in the aspect of play2 was promising. A special study of this topic was carried out by M. V. Karyakina, convincingly substantiating the conclusion that “play in the work of L. Andreev characterizes

Annensky I.F. Judas // Books of reflections / Innokenty Annensky. - M., 1979. - S. 152.

2 See, for example, Korneeva E.V. Motifs of artistic prose and drama by Leonid Andreev: author. day. .cand. philol. Sciences. - Yelets, 2000; Eremenko M. V. Mythopoetics of Leonnets Andreev's creativity in 1908-1919: abstract of dis. . candidate of philological sciences. - Saratov, 2001; Moskovkina I. I. Game discourse (stylization, parody, grotesque) in the artistic system of L. Andreev // Anniversary conference on humanities dedicated to the 70th anniversary of the Oryol State University: Materials. Issue II: L. N. Andreev and B. K. Zaitsev. - Orel, 2001. - S. 4 - 5; Evreinov N. N. Demon of theatricality / Comp., total. ed. and comm. A. Zubkov and V. Maksimov. - M.; SPb., 2002; Karyakina M. V. The phenomenon of the game in the work of Leonid Andreev: author. dis. .cand. philol. Sciences. - Yekaterinburg, 2004. First of all, the very type of consciousness and the way of artistic thinking formed "on its basis* and, as a result, the stylistic dominant of the Andreev artistic" system "1. In our study, we consider the game in Andreev's My Notes and Satan's Diary1 from the standpoint of pseudo-revelation.

Research methodology.

In the study of the poetics of L. N. Andreev's prose, we rely on the methodological approach of M. Bakhtin, according to which the writer's poetics is considered in conjunction with the artistic thinking of the era. The innovation of M. Bakhtin lies in the creation of a new model of the world with a plurality of reference systems, it is supposed to “look at the world as an eternally shrinking fluid given, where there are no boundaries between top and bottom, eternal and momentary, being and non-being”2.

A methodologically productive model for considering the new paradigm of the artistic consciousness of the 20th century, which appeared " common denominator” for Russian and European literary traditions, proposed in the monograph by V. V. Zamanskaya “Russian literature of the first third of the 20th century: the problem of existential consciousness” (1996). For a deeper understanding of the literary process of the "transitional" era, we consider it necessary, along with the existential type of consciousness, to single out the surrealistic type of consciousness, which to some extent determined the structure of the artistic world of L. Andreev and its aesthetic foundations.

The research methodology is based on a combination of structural and comparative historical approaches (Yu. M. Lotman, Yu. N. Tynyanov, VN Toporov, G. Mints, BV Tomashevsky, and others). The identification of elements of the poetics of surrealism in the prose of L. N. Andreev requires the use of the context-hermeneutic method, which allows, through the identification of hidden historical and literary dialogues, to establish the deep patterns of the literary process (V. Zamanskaya). Artistic

Karyakipa M. V. Decree. op. - S. 21.

2 Leiderman N. L. Theoretical problems of studying Russian literature of the XX century // Russian literature of the XX century. - Issue. 1. - Ekaterinburg, 1992. - P. 21. The principles of surrealism in connection with the aesthetics of the surrealist movement are considered in< трудах Л. Г, Андреева, С. А. Исаева, Т. В. Балашовой, Е. Д. Гальцовой, А. К. Якимовича, В. ГГ. Бранского, В. А. Крючковой, Ж. Шенье-Жандрон.

When analyzing works of art Andreev, we rely on the results of studies of Andreev scholars, primarily L. A. Iezuitova, E. A. Mikheicheva, I. I. Moskovkina.

What Andreev and Kafka have in common in their worldview gives reason to study their work in comparison in order to identify the general tendencies of the spiritual search of a person of the 20th century. It seems appropriate to compare two writers, separated by space, but united by the spirit of the times, based on the similarity of the problematics, the main motives, and images of their work.

Andreev and Kafka - artists in the highest degree original, occupying a special place in literature. Detachment from any artistic direction, synthesis of various artistic systems -character traits their creative method. Andreev and Kafka are called the founders of expressionism. In the work of these writers, elements of the poetics of surrealism are also revealed.

The connections of Leonid Andreev and Franz Kafka with the Russian and European cultural traditions predetermined the possibility of comparing the two writers on the basis of a common cultural ground. Leonid Andreev and Franz Kafka chose the same teachers for themselves: F. Dostoevsky and L. Tolstoy, and also absorbed the spirit of English and German romantic writers. These literary influences are clearly reflected in the works of Russian and Austrian writers.

A comparison of the work of Andreev and Kafka was undertaken by V. V. Zamanskaya1. The researcher, revealing the existential parameters of the artistic world of L. Andreev, drew parallels with the works of F. Kafka. At the same time, comparisons were limited to the task of the researcher

1 See Zachanskaya VV Existential tradition in Russian literature of the XX century. Dialogues on the borders of centuries. - M., 2002. - S. 110 - 142. to present to the reader how Andreev's work fits into the model of European existential consciousness.

Articles by O. V. Vologina1 and E. A. Mikheicheva2 are devoted to comparing the works of Andreev and Kafka on the basis of the similarity of the most important motifs of their work.

When analyzing Andreev's works of art, we rely on the results of research by Andreev scholars.

Provisions for defense:

1. The innovation of L. N. Andreev, manifested in the poetics of his prose, was due to the fact that he embodied the surrealistic consciousness that was emerging in the late XIX - early XX centuries. At the heart of this type of consciousness lies an interest in the sphere of the unconscious, pluralism of views, expansion of consciousness, a sense of the ephemeral nature of the real, blurring the boundaries between opposites, a sense of the absurdity of being, the search for a new reality, "absolute" rebellion, a thirst for global revolution. The result of a new artistic consciousness is surrealism - an artistic trend that appears in Russian and European art at the beginning of the 20th century.

2. A new look at Russian literature of the late 19th - early 20th century allows us to establish that the elements of poetics, which later developed in the artistic system of surrealism, already existed in the work of Russian realist writers: the presence of a plan of "another reality", the motive of mystery, deliberate strangeness, mystery narrative, attention to the subconscious impulses of a person, to his mysterious soul, the appearance of characters from another reality, the interweaving of dream and reality, the emergence of a new type of hero - a person with a deformed psyche,

Able to perceive the world differently, to see and feel what "normal" people do not see and feel.

1 Vologina O. V. The torn world of Leonid Andreev and Franz Kafka // Creativity of Leonid Andreev: a modern look: materials of the international scientific conference dedicated to the 135th anniversary of the writer's birth, September 28 - 30, 2006 - Orel, 2006. - pp. 137 - 143.

Mikheicheva E. A. “Formula of the iron lattice” in the prose of Leonid Andreev and Franz Kafka // Ibid. - S. 29 -137.

3. Experimental artistic techniques of L. N. Andreev: depiction of mental, deviations, frank scenes of violence, "absolute rebellion" of heroes, interest in the unconscious, in the topic of suicide, phenomena of random, mysterious^ and irrational, the use of dreamy forms of space and time, the search for a higher reality that unites binary oppositions - suggest an attitude towards sensationalism, scandal and anticipate the poetics of surrealism.

4. "Stunning", expressive images in the prose of L. N. Andreev, built on associativity, grotesque, contrast, black humor, are designed to amaze the reader, create a "surprise effect", cause an extreme reaction. Conscious provocation, outrageousness, expression give reason to rank Andreev among the founders of the Russian literary avant-garde.

5. In the works of Leonid Andreev (“Thought”, “No Forgiveness”, “City”, “Curse of the Beast”, “From the Depths of Ages” (“Tsar”), “He (Story of the Unknown)”, “Return”, “German and Martha") and Franz Kafka ("The Metamorphosis", "The Trial", "Missing" ("America"),

Description of one struggle”, “Castle”), with the help of depersonalization and derealization techniques, the state of a person’s alienation from the world, the loss of the “I”, the illusiveness of existence is conveyed.

6. The story "My Notes" and the novel "Satan's Diary" by Leonid Andreev are pseudo-revelations, which consist in the violation by the author of the precondition: all the events described happened exactly as they are presented, and the conditions of sincerity: the narrator tells the truth. The artistic space of "My Notes" and "Satan's Diary" reveals to the reader a game world in which, along with the alleged truth, deceit and falsification reign.

The object of the study is the most representative works by L.N. basement" (1901), "Abyss" (1902), "City" (1902), "Thought" (1902),

In the Fog "(1902)," The Life of Basil of Thebes "(1903)," No Forgiveness "(1904), "Red Laughter" (1904), "From the Depths of Ages" ("Tsar") (1904), "Christians" ( 1906), Eleazar (1906), Judas Iscariot (1907), The Curse of the Beast (1908), The Tale of the Seven Hanged Men (1908), My Notes (1908), Rules of Kindness (1911 ), "He (Story of the Unknown)" (1911), "Ipatov" (1911), "Flight" (1913), "Herman and Martha" (1914), "Return" (1916), "Suitcases" (1916), "Satan's Diary" (1919), memoirs about the writer, his diaries, works by F. Kafka "Description of a struggle" (1904 - 1905), "Wedding preparations in the village" (1906 - 1907), "Transformation" (1912), " Decisions ”(1913),“ Woe to a Bachelor ”(1913),“ Hunger ”(1922),“ Trial ”(1914 - 1918),“ Missing Person ”(America) (1911 - 1916),“ Castle ”( 1921 - 1922), as well as the theory of surrealism.

The subject of the research is the experimental, innovative elements of JI's prose poetics. Andreeva.

Dissertation structure. The study consists of an introduction, three chapters: Experiment and provocation as the main artistic principles of surrealism, Elements of the poetics of surrealism in the prose of L. N. Andreev, Pseudo-revelation in Leonid Andreev's story "My Notes" and the novel "Satan's Diary", conclusion and list of references.

CONCLUSION

The work of Leonid Andreev conveyed the surrealistic consciousness of the "transitional" era of the late 19th - early 20th century, which was characterized by feelings of disorder, randomness, irrationality of being, the need for a radical renewal of life.

Leonid Andreev is an experimental writer. When creating works, he was guided by intuition, and not by the desire for lifelikeness. His poetics was characterized by immersion in the inner world of heroes, splitting the character’s personality into many “others”, plunging into the abyss of the unconscious or soaring into infinity, fragmentation, plotlessness of works, giving reality the forms of sleep, myth, play, the idea of ​​asserting one’s “I” in including through the fall, the cult of love, a premonition of superreality. In his prose, L. Andreev challenges religious feelings, reason, and public morality. The writer used in his works black humor, absurdity, blasphemy - artistic techniques, which later formed the basis of the poetics of surrealism.

Andreev deliberately used methods of provocation and outrageous readers and critics. Each new work of his caused an explosion of emotions, a storm of controversy in literary circles and among readers. Creating the image of a “normal madman” from his own life and personality, the writer demonstrated the eccentricity of the original artist. All this suggests that Andreev stood at the origins of avant-garde art, shaped the type of avant-garde personality. The writer was not indifferent to fame, as evidenced by the memoirs of K. Chukovsky, in which he conveys the words of Andreev: “<.>sometimes I feel that glory is necessary for me - a lot of glory, as much as the whole world can give. Then I concentrate it in myself, compress it to the maximum possible extent, and when it receives the power of an explosive, I explode, illuminating the world with some new light.

1 Chukovsky K.I. Leonid Andreev // Collected. cit.: In 6 volumes. T. 6. - M., 1969. - S. 28.

Setting on the scandal, the creation of a public myth1 about the "normal madman", "theatrical ^ hysteria" (I. P. Karpov) gives reason to see "in Andreev the closest predecessor of the surrealists.

Andreev's ability to evoke an emotional shock in readers * precedes A. Artaud's discoveries in the "Theater of Cruelty" he created, an analogue of the surrealistic theater.

Premonitions of superreality, inaccessible to the mind, but only to intuitive “insight”, uniting contradictions, freeing a person from conventions, in the artistic world of Andreev, expressed in the fact that a new image appeared in it - “something third”, accessible to a person in a state of contemplation, in a borderline state , or comprehended through love, communication with nature and awareness of the miraculous in everyday life.

A comparative analysis of the works of L. Andreev and F. Kafka, writers separated by space, but united by the spirit of the time, made it possible to identify common deep processes in the development of the artistic consciousness of the era.

The artistic worlds of writers were brought together by a sense of ephemeral, absurdity of the world, depersonalization, protest against the existing state of affairs. In their work, the writers showed the disappearance of the antinomies of reason and madness, objective and subjective, wakefulness and sleep, life and death. The insane rebellion and the absurd challenge of the heroes of Andreev and Kafka lie in the rejection of life with its incomprehensible laws, with its unlimited power over man and the enslavement of the human will.

Leonid Andreev was one of the first writers who managed to feel the approach of literature, in which things and phenomena lose their connection with reality, the image is separated from a specific object and thus acts as a copy that does not correspond to the original.

Andreev showed that pseudo similarities function in public life - truth, justice, faith. The writer's intuitive identification of the nature of pseudosimilarity is indicated by the main motives of his work - the omnipotence of lies, the eternal return, the motives of the mask and the role.

The story "My Notes" and the novel "Satan's Diary" by Leonid Andreev are pseudo-revelations that meet the main sign of the similarity of revelation: an imaginary statement of the truth. In these works, the author created a playful linguistic reality that exists parallel to reality, distorting its laws like a distorting mirror. The game is simultaneously implemented in two ways: the game of the author-narrator with a conditional reader and the game of the author-creator with a “real” reader. This the game is based on amazing metamorphoses of thought and word, on unexpected contrasts, parody and stylization.

In the novel "Satan's Diary" the unreliability of the narrative is fundamental not only because of the recognition of the author-narrator in a lie "in some places", but also because of the "simulation" of the language itself. The whole diary of Satan is a game based on language compromise. Putting into the mouth of the author-narrator the idea that language plays with the speaker, dragging him into a network of stereotype labels, Andreev turned out to be not only at the height of the advanced thought of his time, but also foresaw the ideas that would develop throughout the 20th century.

The main plot-forming motive of the novel is an obsession with the game. The idea of ​​the author-creator is to present the process of turning a game into reality, and reality into a game, truth into lies, and lies into truth, rational into irrational and vice versa, “flowing” of one phenomenon into its opposite, erasing the boundaries between opposites, the recognition of these opposites themselves as non-existent and a call for the search for a “third”. Therefore, it is impossible to determine exactly where the actual reality ends in the novel and the “reality of the game” begins, since the linguistic reality created by the author is “a crazy dance on the edge”.

The study of the "reality of the game" in "Satan's Diary" led us to the conclusion that the novel was a form of the Author's game with the reader and himself, a game-prophecy, tragic and ironic at the same time. At the same time, distrust of words-masks, the recognition of the hero-narrator in a forced and conscious distortion of reality makes "Satan's Diary" an "open work", requiring the work of the reader's imagination, opening up opportunities for numerous interpretations.

Experimental, innovative techniques in the art world JI. N. Andreeva are used by the writer in order to make the reader think about life values, about the questions that the new era has put before a person.

The study of the principles of the poetics of experiment and provocation in Leonid Andreev's prose opens up prospects for the study of these principles in the writer's dramaturgy, as well as in the work of other authors of the early 20th century.

1. Section 1. Texts of writers, memoirs

2. Andreev, L. N. Collected works Text.: In 6 volumes. T. G / L. N. Andreev.- M .: Khudozh. lit., 1990. 639 p.

3. Andreev, L. N. Collected works Text.: In 6 vols. T. 2 / L. N. Andreev.- M .: Khudozh. lit., 1990. 559 p.

4. Andreev, L. N. Collected works Text.: In 6 vols. Vol. 3 / L. N. Andreev.- M.: Khudozh. lit., 1994. 655 s

5. Andreev, L. N. Collected works Text.: In 6 vols. Vol. 4 / L. N. Andreev.- M.: Khudozh. lit., 1994. 639 p.

6. Andreev, L. N. Collected works Text.: In 6 vols. Vol. 5 / L. N. Andreev.- M.: Khudozh. lit., 1995. 511 p.

7. Andreev, L. N. Collected works Text.: In 6 vols. Vol. 6 / L. N. Andreev.- M.: Khudozh. lit., 1996. 720 p.

8. Andreev, L. N. Complete collection of works and letters Text.: In 23 vols. Vol. 1 / L. N. Andreev. M.: Nauka, 2007. - 805 p.

9. Andreev, L. N. From the depths of centuries. Tsar. Text. / L. N. Andreev. -Publication and introductory article L. N. Afonin and L. A. Jezuitova // Creativity of L. Andreev. Research and materials. - Kursk: Kursk state. ped. un-t., 1983. - S. 99 - 129.

10. Yearbook of the Manuscript Department of the Pushkin House for 1991. St. Petersburg: Nauka, Institute of Rus. lit., 1994. - S. 84 - 141.

11. Andreev, L. N. "Diary" of Leonid Andreev Text. / L. N. Andreev // Lit. archive. Materials on the history of Russian and social thought. -

12. St. Petersburg: Nauka, 1994, pp. 247 - 294.

13. Andreev, L. N. Diary, 1897-1901 Text.; / L; N. Andreev: -, Preparation of the text by M. V. Kozmenko and L. V. Khachaturyan (with the participation of L.

14. D. Zatulovskaya), comp., vst. Art. and comment. M: V. Kozmenko. M.: IM L I RAN, 2009. -296 p.

15. Annensky. I. F. Books of Reflections Text. / Innokenty Annensky. - M.: Nauka, 1979. 679 p.

16. Artaud, A. Theater and its double Text.: With adj. text "Theater of the Seraphim" / Antonin Artaud / Per. from fr. and comment. S. Isaeva. M.: Martis, 1993. - 199 p.

17. Bely, A.<Как мы пишем>Text.; / A. Bely // How we write [Collection] / Comp. S. Lesnevsky, A. Mikhailov;<Послесл. М. Чудаковой>. - M.: Book, 1989. S. 6 - 20.

18. Bely, A. Symphonies Text. / A. Bely / Introduction. Art., comp., prepared. text, note. A. V. Lavrova. - L .: Artist. lit., 1991. 528 p. (Forgotten book).

19. Bely, A. Collected Works. Cat Letaev. Baptized Chinese. Notes of an Eccentric Text. / Common ed. and comp. V.M. Piskunova / A. Bely. -M.: Respublika, 1997. 543 p.

20. Blok, A. Memories of L. N. Andreev Text. / A. Blok // Book about Leonid Andreev. Petersburg - Berlin: Publishing House 3. I. Grzhebina, 1922.-S. 11-15.

21. Blok, A. In memory of Leonid Andreev Text. / A. Blok // Collected Works: In 6 vols. T. 51: Prose. M .: T12RRA - Book Club, 2009. - S. 500-506. . :

22. Breton, A., Aragon, JL Fiftieth Anniversary of Hysteria Text.1 / A. Breton, JI. Aragon // Anthology of French Surrealism: 20s. / Comp., trans. from French, comment. S. A. Isaeva and E. D. Galtsova. M.: GITIS, 1994.-S. 185-186.

23. Maxim Gorky and Leonid Andreev: Unpublished correspondence Text. / Institute of World Literature. A. M. Gorky, Academy of Sciences of the USSR; Edited by: I. I: Anisimov (editor-in-chief), D. D. Blagoy, A. S. Bushmin and others. - Literary heritage - T. 72. - M .: Nauka, 1965. 630 p.

24. Dali, S. Diary of a Genius Text. / Salvador Dali / Per. from French O. Zakharova. M.: Eksmo, 2009. - 384 p.

25. Dali, S. Judgments about art Text. Fine art prints / Salvador Dali // Friendship of peoples. 1994. - No. 1. - S. 238.

26. Dostoevsky, F. M. Complete Works Text.: In 18 vols. T. 10 / F. M. Dostoevsky. M.: Sunday, 2004. - 552 p.

27. Ivanov, Vyach. Native and universal Text. / Vyacheslav Ivanov. -[Collection] [Comp., intro. Art. and note. V. M. Tolmacheva]. M.: Respublika, 1994. - 427 p.

28. Camus, A. A rebellious man. Philosophy. Policy. Art Text. Per. from fr. / A. Camus. - M.: Politizdat, 1990. 415 p.

29. Kafka, F. Aphorisms. Letter to father. Letters. Per. with him. Text. / F. Kafka / Comp. D. V. Zatonsky. - Kharkiv: Folio; M.: LLC Firm Publishing House ACT, 2000. 400 p.

30. Kafka, F. Diaries Text. / F. Kafka / Introduction. st., trans. with him. and comment. E. A. Katseva. Kharkiv: Folio; M .: LLC Firm Publishing House ACT, 1999. - S. 540.

31. Kafka, F. Castle: Roman Text. / F. Kafka / Per. with him. R. Wright-Kovaleva. St. Petersburg:: Azbuka, 2000. - 480 p.

32. Kafka, F. Missing * without a trace (America): A novel; Stories, 1904 - 1922 Text. Per. with him. / F. Kafka. M.: LLC "Publishing house ACT"; Kharkov: Folio, 2003. - 349.

33. Kafka, F. Process: Roman Text. / F. Kafka / Per: from it. R. Wright

34. Kovaleva. SPb.: OOO " Publishing House"Crystal", 2001. - 208 p.

35. A book about Leonid Andreev (memoirs of M. Gorky, K. Chukovsky, A. Blok, Georgy Chulkov, Bor. Zaitsev, N. Teleshov, Evg. Zamyatin) Text. Petersburg-Berlin: Z.I. Grzhebina, 1922. - 112 p.

36. Nabokov, V. V. Collected Works Text.: In 4 vols. T. 3. Invitation to execution. Gift / V. V. Nabokov. St. Petersburg: Azbuka-klassika, 2010. - 567 p.

37. Sologub, F. Created legend Text. / F. Sologub // Sob. cit.: In 20 vols. - St. Petersburg: Rosehip, 1914. T. 18. - 301 p.

38. Chukovsky, K. I. Leonid Andreev Text. / K. Chukovsky // Collection. cit.: In 6 vols. T. 6.-M.: Khudozh. lit., 1969. S. 22 - 47.

39. Chukovsky, K. I. Leonid Andreev big and small Text. / K. Chukovsky. St. Petersburg: Ed. bureau, 1908. - 134 p.

40. Chukovsky, K. I. About Leonid Andreev Text. / K. Chukovsky. St. Petersburg, 1911.-88 p.

41. Chekhov, A.P. Complete works and letters Text.: In 30 volumes. Letters: In 12 volumes. Vol. 5. / A.P. Chekhov. M., 1977.

42. Section 2. Monographs, articles, collections

43. Alman, A. D. Leonid Andreev. My notes: Crete, essay Text. / A. D. Alman. - Saratov: printing house Techn. o-va, 1908. 52 p.

44. Amenitsky, D. A. Analysis of the hero of "Thoughts" by Leonid Andreev (On the issue of paranoid psychopathy) Text. / D. A. Amenitsky. - [Moscow]: printing house of the Headquarters of the Moscow Military District, 1915. - 29 p.

45. Andreev, L. G. Surrealism Text. / L. G. Andreev. M.: Geleos, 2004. - 352 p.

46. ​​Arabazhin, K. I. Leonid Andreev. Results of creativity. Literary-critical etude Text. / K. I. Arabazhin. - St. Petersburg: Public benefit, 1910. , 279 p.

47. Arzamastseva, I. N. On psychic reality in post-avant-garde prose

48. Text.: / I. N. Arzamastseva // Problems of the evolution of Russian literature of the XX century.-iM., 1995.-S. fourteen.

49. Arsent'eva, H. N; The problem of moral self-awareness of the individual; in the work of Leonid, Andreev; Text./ / H. N. Arsentieva // Leonid Andreev: materials; and research (collection of RAS) (ed. Keldysh). -M., 2000.-S. 175-194.

50. Anthology of French Surrealism: 20s. Text. / Comp., trans. from French, comment. S. A. Isaeva and E. D. Galtsova. -M-.: GITIS, 1994. -390 p.

51. Afonin, L. N. Leonid Andreev Text. / L. N. Afonin. Eagle: Oryol book. publishing house, 1959. - 224 p.

52. Babicheva, Yu. V. "Satan's Diary" by L. Andreev as an anti-imperialist pamphlet Text. / Yu. V. Babicheva // Creativity of Leonid Andreev. Research and materials. - Kursk, 1983.-S. 75-85.

53. Barth, R. Selected Works: Semiotics. Poetics Text.: Per. from fr. / R. Bart / Comp., total. ed. and intro. Art. G. K. Kosikova. - M.: Progress, 1989.- 615 p.

54. Basinsky, P. Poetry of rebellion and the ethics of revolution: Reality and symbol in the work of L. Andreev Text. / P. Basinsky // Questions of Literature. 1989. - No. 10.-S. 132-148.

55. Bakhtin, M. M1 Problems of Dostoevsky's Poetics Text. / M. Bakhtin. -M.: Soviet Russia, 1979. 320 p.

56. Bakhtin, M. M. Aesthetics of verbal creativity Text. / M. Bakhtin. -M.: Art, 1986. 445 p.

57. Bergson, A. Creative evolution. Matter and memory. Text. Per. from fr. / Henri Bergson. Minsk: Harvest, 1999. - 1407 p.

58. Berdyaev, N. A. Spirits of the Russian Revolution. 1918 Electronic resource. / N. A. Berdyaev // From the depths. Collection of articles about the Russian revolution. - Library of Russian religious-philosophical and fiction "Milestones". http://www.vehi.net

59. Berdyaev, N. A. The Crisis of Art Text. / Nikolai Berdyaev.- [Reprint, ed.]. - M.: SP "Interprint", 1990. - 47 p.

60. Berdyaev, N. A., Self-knowledge (the experience of a philosophical autobiography) Text. / N. A. Berdyaev. -M.: The world of the book. Literature, 2010. 414 p.

61. Berdyaev, N. A. Philosophy of creativity, culture and art Text. / N. A. Berdyaev. M., 1994. - T. 2.

62. Bezzubov, V. I. Leonid Andreev and the traditions of Russian realism Text. /

63. V. I. Bezzubov. Tallinn: Eesti Raamat, 1984. - 335 p.

64. Bogdanov, A. V. The idea of ​​permissiveness: from Dostoevsky to Andreev and Camus Text. / A. V. Bogdanov // Classics and modernity. M., 1991. -S. 217-227.

65. Bogdanov, A. V. “Insane loneliness” of the heroes of Leonid Andreev from the point of view of literary continuity Text. / A. V. Bogdanov // Connection of times. Problems of continuity in Russian literature of the late XIX-early XX centuries. -M., 1992.-S. 188-204.

66. Bogdanov, A. V. Comments. [Text] / A. V. Bogdanov // Andreev L. N. Collected works: In 6 vols. T. 2. M .: Khudozh. lit., 1990. - S. 503 - 558.

67. Baudrillard, J. Symbolic exchange and death Text. / Jean Baudrillard. - [per. from fr. S. N. Zenkin]. . - M.: Dobrosvet: KDU, 2009. -389 p.

68. Baudrillard, J. Transparency of Evil Text. / Jean Baudrillard. [Trans. from fr. L. Lyubarskaya and E. Markovskaya]. - M.: Dobrosvet, 2000. - 257 p.

69. Boeva, G. N. The idea of ​​synthesis in the creative searches of L. N. Andreeva Text.: author. dis. . cand. philol. Sciences: 10.01.01 / Voronezh State University. - Voronezh, 1996. - 18 p.

70. Boeva, G. N. Synthetism in the work of L. Andreev: the novel "Satan's Diary" Text. / G. N. Boeva ​​// Philological Notes. Issue. 9. - Voronezh, 1997. - S. 38 - 47.

71. Bolshakov, V. P. Surrealism, its traditions and successors Text. / V. P. Bolshakov // Questions of Literature. 1972. - No. 2. - S. 104 - 123.

72. Botsyanovsky, VF Leonid Andreev: Critical and bibliographic study Text. / V. F. Botsyanovsky. - St. Petersburg: Literature and Science, 1903. - 64 p.

73. Bransky, V. P. Surrealistic ideal and method Text. /

74. V. P. Bransky // Art and philosophy: The role of philosophy in the formation and perception of a work of art on the example of the history of painting. Kaliningrad: - Amber Tale, 1999. -1. C. 421-444.

75. The origin and development of Russian expressionism) Text. / I: Yu. Vilyavina. Astrakhan, 1999. - 173 p.

76. Vinogradov, VV Naturalistic Grotesque (The Plot and Composition of Gogol's Nose) Text. / VV Vinogradov // Selected Works: Poetics of Russian Literature. M., 1976. - S. 5 - 44.

77. Voloshin, M. Leonid Andreev and Fedor Sologub Text. / M. Voloshin // Faces of creativity. L .: Nauka, 1988. - S. 443 - 449.

78. Vorovsky, V.V. On the night after the battle Text. / VV Vorovsky // Articles on Russian literature. M.: Artist. lit., 1986. - S. 161 - 177.

79. Vorovsky, V. V. Leonid Andreev Text. / VV Vorovsky // Articles on Russian literature. M.: Artist. lit., 1986. - S. 303 - 326.

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81. Ganzhulevich, T. Ya. Russian life and its course in the work of Leonid Andreev Text. / T. Ganzhulevich. 2nd ed., add. - M.: T-vo M; O. Wolf, (St. Petersburg). - 151 p.

82. Generalova, N. P. “My notes” by Leonid Andreev (On the question of the ideological, problematics of the story) Text. / N. P. Generalova // Russian literature. 1986. - No. 4. - S. 172-185:

83. Ginzburg, L. Literature in search of reality: Articles. Essay. Notes Text. / L. Ginzburg. L .: Soviet writer, 1987. - 400 p.

84. Gorbov, D. A. Leonid Andreev Text. / D: Gorbov // Search for Galatea. Articles^ Literature. M.: Federation, 1929. - S. 217 - 233.

85. Grechnev, V. Ya. About the prose of the 19th and 20th centuries: L. Tolstoy, A. Chekhov, I. Bunin, Leonid Andreev, M. Gorky Text. / V. Ya. Grechnev. - St. Petersburg: St. Petersburg State University. University of Culture and Arts, 2000. - 288 p.

86. Grigoriev, A. L. Leonid Andreev in the world literary process Text. / A. L. Grigoriev // Russian literature. - 1972. No. 3. - S. 190 - 205.

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88. Danilin, Ya. Leonid Andreev and public reaction Text. / Ya. Danilin. M.: Dawn, 1909. - 32 p.

89. Deleuze, J. Plato and the Simulacrum. 1969 Electronic resource. / J. Deleuze. - Library of Philosophy. http://filosof.historic.ru

90. Dobrokhotov, A. Career of Leonid Andreev (Study on popularity, harlequins and the crowd) Text. / Anatoly Dobrokhotov. - M.: Printing by A. I. Snegireva, 1909. 32 p.

91. Duganov, R. V. Gogol Dostoevsky - Blok in the perspective of the "Russian myth" Text. / R. V. Duganov // Russian literary journal. - 199F. - No. 5 - 6. - S. 39 - 55.

92. Davis, R. Leonid Andreev Text. / Richard Davis // History of Russian Literature: XX century: Silver Age / [V. Strada, J. Niva, E. Etkind and others]. - Ed. [and with a preface] J. Niva et al. M.: Progress: Litera, 1995.-S. 379-389.

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95. Zhurakovsky, E. Tragicomedy of modern life About Chekhov, Ibsen, Pshibyshevsky, L. Andreev and slander.: Literary-critical essays [Text] / Evgeny Zhurakovsky. M.: type. P. K. Pryanishnikova, 1906.- 194 p.

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99. Ivanov, P. Enemies of Leonid Andreev. Psychological study Text. /

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101. Ivanov-Razumnik, V. I. On the meaning of life. Fedor Sologub, Leonid Andreev, Lev Shestov Text. / V. I. Ivanov-Razumnik. St. Petersburg: type. Mi M. Stasyulevich, 1908 -, 312 p.

102. Iezuitova, L. A. “Crime and Punishment” in the work of Leonid Andreev (“Thought”, “My Notes”) Text. / L. A. Iezuitova // Method and skill. Issue. 1. - Vologda, 1970. - S. 333 - 347.

103. Jezuitova, L. A. Creativity of Leonid Andreev (1892-1906) Text. / L. A. Jezuitova. L .: Publishing house Leningrad University, 1976. - 240 p.

104. Iezuitova, L. A. Leonid Andreev and Edvard Munch (On the origin of expressionism in European art of the late XIX - early XX century). Text. / L. A. Iezuitova // The style of the writer and the culture of the era. - Syktyvkar, 1984. S. 45 - 65.

105. Izmailov, N. A. Essays on Pushkin's work Text. / N. A. Izmailov. - L.: Nauka, 1976.-340 p.

106. Ilyev, S. P. Leonid Andreev and the Symbolists Text. / S. P. Ilyev // Russian literature of the XX century. pre-October period. - Sat. 2. Kaluga, 1970.-S. 202-216.

107. Ioffe, I. I. Favorites. Part 1. Synthetic history of art. Introduction to the history of artistic thinking. Text. / I. I. Ioffe. - M.: Talking book, 2010. 656 p.

108. Isaev, S. A. Preface Text. / S. A. Isaev // Anthology of French Surrealism: 20s. Comp., trans. from French, comment.

109. S. A. Isaeva and E. D. Galtsova. M.: GITIS, 1994. - S. 5 - 11. "

110. Kandinsky, V. Artist's text. Steps. Text. / V. Kandinsky // Point and line on the plane. - St. Petersburg: Azbuka-classika, 2008. - S. 17 - 62.

111. Keldysh, V. A. On the problem of literary interactions at the beginning of the 20th century: (On the so-called “intermediate” artistic phenomena) Text.? / In: Av Keldysh // Russian Literature, 19791 - No. 2! S. 3:- 27.

112. Keldysh; V. A. The story of Leonid Andreev "The Life of Basil of Thebes" and spiritual quests5 of the time Text. / V. A. Keldysh // Russian literature. 1998. - No. 1. -FROM. 35 - 43.

113. Keldysh^ V. A. Russian realism at the beginning of the 20th century Text. / V. A. Keldysh. M: Nauka, 1975. - 279 p.

114. Kozmenko, M. Restless spirit (About the life and books of Leonid Andreev) Text. / M. Kozmenko // Andreev L. N. A strange human star. - M .: Panorama, 1998. - P. 5 - 16.

115. Kozmenko, M. V. Diary-novel of Leonid Andreev Text. / M. V: Kozmenko // Andreev, L. N. Diary. 1897 1901 - M.: IMLI RAN, 2009. - S. 3 - 34.

116. Kolobaeva, L. A. Russian symbolism Text. / L. A. Kolobaeva. M.: Publishing House of Moscow University, 2000. - 294 p.

117. Kolobaeva, L. A. The concept of personality in Russian literature at the turn of the XIX - XX centuries. Text. / L. A. Kolobaeva. M.: Publishing House of Moscow State University, 1990. - 333 p.

118. Korneeva, E. V. Motives of fiction and dramaturgy

120. Yelets state: ped. institute. Yelets, 2000- - 17 p.

121. Kryuchkova, VA Anti-art: Theory and practice of avant-garde movements Text. / V. A. Kryuchkova. M.: art. -1985.-303 p.

122. Cuba, O. Nightmares of life. Critical psychological essay on JI. Andreev and Pshibyshevsky Text. / Olga Kube. - St. Petersburg: printing house of A. S. Suvorin, 1909. 76 p.

123. Kulikova, I. S. Surrealism in art Text. / I. S. Kulikova. M.: Wright, 1995.- 176 p.

124. Levi-Strauss, K. Primitive thinking Text. / Claude Levi-Strauss / [Transl., Intro. Art. and note. Ostrovsky A. B.] . - M.: Respublika, 1994. -382 p.

125. Leslie, R. Surrealism: The Dream of Revolution* Text. / R. Leslie. - Minsk: Belfax, 1998.- 128 p.

126. Leonid Andreev: materials and research Text. / Ros. acad. Sciences. Institute of world literature. them. A. M. Gorky; [Compilation] [Ed. V. A. Keldysh, M. V. Kozmenko]. M.: Heritage, 2000. - 412 p.

127. Lotman, Yu. M. The structure of the artistic text Text. / Lotman Yu. M. // About art. St. Petersburg: Art, 1998. - S. 14 - 285.

128. Lvov-Rogachevsky, V. Two truths. Book about Leonid Andreev Text. / V. Lvov-Rogachevsky. - St. Petersburg: Prometheus, 1914. -236 p.

129. Martynova, T. I. Leonid Andreev and Lev Shestov about the phenomenon of personality Text. / T. I. Martynova // Russian literary journal. - 1994. No. 5/6. - S. 134 - 142.

130. Meletinsky, E. M. Poetics of myth Text. / E. M. Meletinsky; [RAS, Institute of World Lit. them. A. M. Gorky]. 2nd ed., reprint. - M.: Eastern literature, 1995. - 406 p.

131. Meskin, V. A. Facets of Russian prose: F. Sologub, L. Andreev, I. Bunin Text. / V. A. Meskin. Yuzhno-Sakhalinsk, 2000. - 150 p.

132. Meskin, V. A. The crisis of consciousness and Russian prose of the late 19th and early 20th centuries: A manual for a special course Text. / V. A. Meskin; Moscow ped. state un-t im. V. I. Lenin. - M.: Prometheus, 1997. - 136 p.

133. Mikheicheva, E. A. On the psychologism of Leonid Andreev Text. / E. A. Mikheicheva; Ministry of Education Ros. Federation. Moscow ped. un-t. - M.: Mosk. ped. un-t, 1994. 189 p.

134. Mikheicheva, E. A. "Formula of the iron lattice" in the prose of Leonid

135. Moskovkina, I. I. Poetics of legends and parables L: Andreeva Text." / I. I: Moskovkina // Poetics of genres of Russian" and Soviet literature: Interuniversity collection of scientific papers. Vologda, 1988. - O. 86 - 102.

136. Moskovkina, I. I; The development of the traditions of E. Poe in the prose of L. Andreev Text. / I. I. Moskovkina // Questions of Russian literature. Issue. I (53). - Lvov, 1989. - S. 106 - 112.

137. Moskovkina, I. I. Novella "Flight" in the context of L. Andreev's prose Text. / I. I. Moskovkina // Russian Philology. Ukrainian Bulletin. - Kharkov, 1994. No. 2. - S. 35 - 38.

139. Mumortsev, AI Psychopathic traits in the heroes of L. Andreeva Text. / Dr. A. Mumortsev. St. Petersburg: type. Braude, 1910. - 13 p.

140. Muratova, K. D. Leonid Andreev's story "Flight" Text. / K. D. Muratova // Russian literature. - 1997. - No. 2. - S. 63 - 67.

141. Muslienko, E. V. L. Andreev, M. Khvylevy: the concept of the absurd world Text. / E. V. Muslienko // Aesthetics of dissonances. About "creativity

142.JI. N. Andreeva. Interuniversity collection of scientific papers for the 125th anniversary of the birth of the writer. - Eagle, 1996. - S. 43 - 46.

143. Nazarevsky, B. Leonid Andreev Text. / B. Nazarevsky // Twilight of Russian literature. Essays (Maxim Gorky, Leonid Andreev, Chirikov, Yushkevich). M.: T-vo A. A. Levenson, 1912. - S. 29 - 64.

144. Nosov, N. A. Virtual reality Text. / N. A. Nosov // Questions of Philosophy. 1999.J - No. 10. - S. 152 - 164.

145. Picon, G. Surrealism Text. / G. Pikon / Per. from French Paris: DIAKOM - FRANCE, 1995. - 216 p.

146. Plotnikova, S. N. Linguistic aspects expressions of insincerity in the English language: avtoref. dis. . doc. philol. Sciences: 10.02.04 / Institute of Linguistics RAS. - M., 2000. - 42 p.

147. Podgaetskaya, I. Yu. Poetics of Surrealism Text. / I. Yu. Podgaetskaya // Critical realism of the XX century and modernism. M.: Nauka, 1967. - S. 177 -193.

148. Poddubnaya, R. N. Music and fantasy in Russian literature of the XIX century. Text. / R. N. Poddubnaya // Russian literature. No. 1. - 1997. - S. 48 -65.

149. Polotskaya, EA Chekhov's realism and Russian literature of the late 19th - early 20th centuries: (Kuprin, Bunin, Andreev) Text. / 3. A. Polotskaya // The development of realism in Russian literature: In 3 volumes - M .: Nauka, 1974. T. Z.-S. 77-164.

150. Prokhorov, GV Individualism in the works of Leonid Andreev Text. / G. V: Prokhorov. - St. Petersburg: type. M. M. Gerkusheva, 1912. -27 p.

151. Rockmaker, X. R. Contemporary Art and the Death of Culture Text. / Hans Rockmaker / Per. from English. St. Petersburg: Mirt, 2004. - 218 p.

152. Rudnev, Bf. P. Dictionary of culture of the XX century. Key concepts and texts Text. / V. P. Rudnev. -M.: Agraf, 1999. 381 p.

153. Rudnev, V. P. Away from reality. Studies in the Philosophy of the Text Text. / Vadim Rudnev. M.: Agraf, 2000. - 428 p.

154. Skabichevsky, A. M. Degenerates in our modern fiction: "The Life of Vasily Thebes" by Leonid Andreev Text. / A. Skabichevsky // Russian Thought. 1904 - No. 9. - S. 85 - 101.

155. Smirnov, VV The problem of expressionism in Russia: Andreev and Mayakovsky Text. / V. V. Smirnov // Russian literature. 1997. - No. 2.-S. 55-63.

156. Smirnova, L. A. Creativity of Leonid Andreev. Problems of artistic method and style Text. / Moscow. region ped. in-t im. N. K. Krupskaya. [Textbook. allowance]. - M.: MOPI, 1986. - 94 p.

157. Smirnova, L. A. The unity of spiritual aspirations in the literature of the Silver Age Text. / L. A. Smirnova // Russian literary journal. 1994. - No. 5-6. - S. 3 - 16.

158. Surrealism and the avant-garde (Materials of the Russian-French colloquium held at the Institute of World Literature) Text. / Ros. acad. theater, arts, etc.; [Ed.: S. A. Isaev et al.]. M.: GITIS, 1999. - 190 p.

159. Tager, E. B. At the origins of the XX century Text. / E. B. Tager / Selected works on literature. - M: Soviet writer, 1988. - S. 284 - 314.

160. Tatarinov, A. V. Leonid Andreev Text. / A. V. Tatarinov // Russian literature at the turn of the century (1890s - early 1920s): Book 2. IMLI RAS. M.: Heritage, 2001. - S. 286 - 339.

161. Tatarinov, AV Genre nature and moral philosophy of artistic texts about the gospel events Text. / A. V. Tatarinov; Ministry of Education and Science Russian Federation,

162. Kuban state. un-t, Department of foreign "lit. Krasnodar: KubGU, 2005.-263 p.

163. Creativity of Leonid Andreev. Research and materials / Kursk State Pedagogical Institute. Ed. count G. B. Kurlyandskaya (responsible editor) and others - Kursk, 1983. 162 p.

164. Terekhina, VN Expressionism in Russian Literature of the First Third of the 20th Century: Genesis. Historical and cultural context. Poetics Text. / V. N. Terekhin. Moscow: IMLI im. A. M. Gorky RAS, 2009. - 320 p.

165. Tikhonov, I. A. Forms and functions of fantasy in Russian prose at the beginning of the 20th century: avtoref. dis. cand. philol. Sciences: 10.01.01 / Vologda State. ped. in-t. - Vologda. 1994. - 21 p.

166. Tkachev, T. Ya. Pathological creativity (Leonid Andreev) Text. / Dr. Tkachev T. Ya. Kharkov: type. "Peaceful Labor", 1913. - 32 p.

167. Tomashevsky, B. V. Theory of Literature. Poetics Text. / B. V. Tomashevsky. - M.: Aspect Press, 1999. - 334 p.

168. Toporov, VN Petersburg and the Petersburg Text of Russian Literature Text. / V. N. Toporov // Myth. Ritual. Symbol. Image: Studies in the field of mythopoetic: Selected works. - M.: Publishing group "Progress" "Culture". - S. 259 - 367.

169. Tynyanov, Yu. N. Poetics. History of literature. Cinema Text. / Yu. N. Tynyanov / Prod. ed. and comments by E. A. Toddes, A. P. Chudakov, M. O. Chudakova. -M.: Nauka, 1977. - 574 p.

170. White F. Leonid Andreev: hypocrisy and deceit Electronic resource. Per. from English: E. Kanishcheva / F. White // "UFO". 2004. - No. 69. - http://magazines.russ.ru

171. Foster, L. A. To the question of surrealism in Russian literature Text. /

172. Jl. A. Foster // American Contributions to the Seventh^ International Congress of Slavists. The Hague Paris, 1973. Vol. 2. - C. 199 - 220.

173. Huizinga, J. Homo ludens. Man playing Text. Per. from the netherlands. / J. Huizinga. St. Petersburg: Azbuka-klassika, 2007. - 384 p.

174. Khoruzhy, S. S. Joyce's Poetics: Russian Connections and Correspondences Text. / S. S. Khoruzhy // Russian literary journal. - 1993. - No. 1.-S. 164-183.

175. Chagin, A. Russian surrealism: myth or reality Text. / A. Chagin // Surrealism and avant-garde. (Materials of the Russian-French colloquium held at the Institute of World Literature). - M.: GITIS, 1999. S. 133 - 148.

176. Frequency Dictionary of Stories by L. N. Andreeva Text. / St. Petersburg. state un-t / Ed. G. Ya. Martynenko. St. Petersburg: Publishing House of St. Petersburg. un-ta, 2003.-396 p.

177. Chirva, Yu. Universe, man, history (To the 100th anniversary of the birth of L. Andreev) Text. / Y. Chirva. Neva. - 1971. - No. 8. - S. 177 - 185.

178. Chuvakov, V. Comments. [Text] / V. Chuvakov // Andreev L. N. Collected works: In 6 volumes. T. 1. M .: Khudozh. lit., 1990. - S. 581 -637.

179. Shapir, M. What is the avant-garde? Text. / M. Shapir II Daugava. 1990. -№3.

180. Charshun, S. Magic realism Text. / S. Charshun // Numbers. - 1932. No. 6. - S. 229-231.

181. Shveibelman, N. F. The experience of interpreting a surreal text Text. / N. F. Shveibelman. Tyumen: TSU, 1996. - 112 p.

182. Chenier-Gandron, J. Surrealism Text. / J. Chenier-Gandron / Per. from French S. Dubina. -M.: New lit. Review, 2002. 410 p.

183. Eco, U. Missing structure. Introduction to semiology. Text. / Umberto Eco / Per. from Italian. Vera Reznik and Alexander Pogonyaylo. - St. Petersburg: Symposium, 2004. 538 p.

184. Eco, U. The role of the reader. Studies in semiotics of the text. /

185. Umberto Eco / Per. from English. and ital. Sergei Silver. St. Petersburg: Symposium, M.: Publishing House of the Russian State Humanitarian University, 2007. - 501 p.

186. encyclopedic Dictionary Surrealism Text. / Rev. editors and compilers T. V. Balashova, E. D. Galtsova. M.: IMLI RAN, 2007. -584 p.

187. Aesthetics of dissonances (On the work of JI. N. Andreev): Interuniversity collection of scientific papers On the 125th anniversary of the birth of the writer. / Int world lit. them. A. M. Gorky and others; [Ed.: E. A. Mikheicheva (editor-in-chief) and others]. Eagle: OGPU, 1996. - 159 p.

188. Yuzbasheva, Yu. Echoes of Poe's creativity in Russian literature of the early XX century-a Text. / Yu. Yuzbasheva // Russian Philology. Sat. 8. -Tartu, 1997.-p. 118-126.

189. Yakimovich, A. K. Twentieth century. Art, culture, picture of the world: From impressionism to classical avant-garde Text. / A. Yakimovich; Ros. acad. Arts, Scientific research. in-t theory and history will portray, arts. -M.: Art, 2003. 491 p.

190. Yakimovich, A. K. The Magical Universe. Essays on art, philosophy and literature of the XX century. Text. / A. Yakimovich. - M.: Galart, 1995.- 168 p.

191. Section 3. Archival sources

192. RGALI, F. 11, op. 6, d. 8, l. 45.

193. RGALI, F. 11, op. 6, d. 8, l. 48.

194. Section 4. Literature in a foreign language

195. Giuliani, Rita. Leonid Andreev Text. / Rita Giuliani. - Firenze: La Nuova Italia, 1977.- 135 p.

196. Karancsy, L. Träume und Visionen in den Erzählungen von Leonid Andrejew Text. /L. Karancsy//Slavica. 1967. - C. 81 - 115.

197. Kaun, A. Leonid Andreyev. A Critical Study By Alexander Kaun Text. /Alexander Kaun. New York: Huebsch, 1924. - 361 pp.

198. King, H. H. Dostoyevsky and Andreyev: Gazers upon the Abyss NV Text. Ithaca: Cornell Alumni New Corporation, 1936. - 88 p.

199. Martini, A. Erzähltechniken Leonid Nikolaevic Andreevs Text. -München: Otto Sagner, 1978. 322 p.

200. Woodward, J. B. Leonid Andreyev. A study text. / J. B. Woodward. - Oxford: Clarendon press, 1969 p.r. 290 c.

201. White, F. H. Memoirs and madness: Leonid Andreev though the prism of the literary portrait: includes an annotated translation of A Book about Leonid Andreev Text. / Frederick H. White. Montreal: McGill - Queen's univ / press, 2006 - X, 346 c.J