NARRATIVE PRINCIPLES OF N. KARAMZIN IN THE ARTISTIC STRUCTURE OF F. DOSTOEVSKY’S "POOR FOLK”

Abstract

Aim. The aim of the article is to study the main directions of the creative interaction of F. Dostoevsky with the legacy of N. Karamzin, taking into account the principles of narrative poetics and specific forms of recreating narrative dynamics in the text. It is proposed to revisit the ideas about the interaction of Dostoevsky with the tradition of sentimentalism: in addition to the sentimental pathos of sympathy and humane principles of respect for the personality of the "little man", the article also examines various signs of the author's creative interaction with the reader, the narrative "game", which in the Russian literary tradition, is correlated with N. Karamzin’s works. Methodology. The author identified and analyzed specific forms of Dostoevsky's interaction with the Karamzin tradition of constructing a dynamic narrative, the formation, and variability of which means for the writer the possibility of internal formation and development of the personality of the protagonist-narrator. The author analyzes the forms of interaction of the protagonist-narrator with the literary tradition to which the protagonist relates, the peculiarities of the self-consciousness of the protagonist that tries to create, the peculiarities of including literary reminiscences in the horizons of the character and the author. Results. In the course of the work, we identified comparable forms of recreating literary "dialogue" with pretexts, forms of recreating the motives of creativity and specific characteristics of the description of the protagonist expressing his "word and the world" in the narrative. The article recreates the typology of Dostoevsky's interaction with elements of the dynamic poetics of narration, in the Russian tradition correlated with the prose of N. Karamzin, as well as the specificity of rethinking sentimental motives in the artistic world of the novel "Poor Folk”. Research implications. The author managed to propose a new approach to comparing Dostoevsky’s creative quests with the Karamzin tradition, and also to expand the understanding of the role and significance of the sentimental tradition in the writer’s work.