Issue #25

Abstract: The research focus of the study is to describe the structures and relationships of the plot cross-sections in the novel by A.M. Remizov “Pond”, which are represented in the literary work both in their dynamic unity and in the confrontation of differences. The plot of the novel is accordingly identified as: 1. Phenomenal aspect, which is “binding” elements of nature, orthodox cosmism and the history of the protagonist’s personality in the integrity of the literary image; and II. Factual, derivative aspect, in which, on the contrary, everything is fragmented, alien, devoided of ties and relations, prone to levelling and impairment, disintegration and destruction. These plans originate in such a convergence of distinction and differentiation, when the protagonist and the world act as the same subject. But as soon as the main character tries to identify himself, to define his “I”, himself as a subject of multilevel life, as a social and cultural role-person, thus he leads to a rapid thrilling movement into existential shortage: “Not yet “I”” and “No longer “Me””, preparing in its complex attraction and repulsion the plot-time as the composition of the story development. Their convergence to the effect of interweaving and interpenetration do not eliminate their differences. Throwing the protagonist between his own disparate unrecognized personalities sooner or later “launches” such existential-temporal algorithm, which inevitably brings the character to the limb of his storyline (terrestrial or celestial), the completeness of any plot, the finality of time in general. And only in death or in the neighbouring states is fulfilling so-called “full reflection” of the hero’s life, when he opens genuine relationships of story’s topologies, between which sporadically “runs” the point of urgency (attention and at the same time, presence), each time capturing the content of one to match with the other. Every time becoming a kind of constantly renewable transition from one literary context to another.