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The key to the enigma of the authorship of V. Nabokov’s novel “Pale Fire” lies in the epigraph to the novel: it formulates the algorism of the “reverse move” which is what organizes the narrative structure of the text. Kinbot is Shade’s black shadow; Shade is the glowing shadow of the Almighty also as of the only author of the novel’s macro text – V. Nabokov.

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The structure of the chronotop of the metafictional prose of H. Hesse, V. Nabokov and M. Bulgakov is antinomic: the physical time/place action is restricted or secondary in significance and axiology while the chronotop of the world of the writer’s creative consciousness is boundless and overloaded with historical and cultural content.

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Creative memory is the dominant feature in the writing process of Nabokov’s prose in general, and that of the novel The Gift in particular. Mnemosyna in Nabokov’s word has many faces, such as memory concrete, creative recollection, mystic-transcendental as well as cultural-reminiscential memory. The concrete memory of an event produces the illusion of lifelikeness; the rest of Mnemosyna’s hypostases weave a magic fabric of artistic endeavour. It can be observed in the specific style of Nabokov’s prose: loyalty to reality of life blended organically with fantasy and irrational-transcendental epiphanies of the artist-demiurge.

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The essay is dedicated to the study of the typological M. Bulgakov - V. Nabokov parallel on the basis of the novels “The Master and Margarita” and “The Gift”, these being two versions of Russian metanovel of the 20th century. Creative thinking of the two writers demonstrates affinity in the artistic method of fantastic, or mystic realism.

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V. Nabokov in his novel Lolitaincarnates his own and quite original concept of love. But its philosophical sources should be sought in the Russian concept of Eros of the beginning of the 20th century, as it was expressed in the works of V.Solovyov, V.Rozanov, N.Berdiayev, P.Florensky, S.Troitsky, A.Zhurakovsky and others.

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This study examines how 19th-century Russian literary tradition is manifested in L. Ulitskaya’s short story Sonechka; a tradition which poses questions in the field of the philosophy of artistic creation through the portrayal of painters and their paintings. L. Ulitskaya’s short story does not directly evoke this 19th-century tradition; it is transmitted into the textual world of Sonechka by a 20th-century novel, V. Nabokov’s Camera Obscura. The revelation of the intertextual connection between the two works sheds light on the connection between Ulitskaya’s short story and the tradition cited above.

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