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Institute of Philology of
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DOI: 10.25205/2410-7883 Roskomnadzor certificate number Эл № ФС 77-84792 | |
Syuzhetologiya i Syuzhetografiya | |
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ArticleName: SENTIMENTAL NARRATIVE PROSE ON UNHAPPY LOVE (FOR THE MORTAL SECTION OF THE DICTIONARY-INDEX OF PLOTS AND MOTIVES OF THE RUSSIAN LITERATURE) Authors: L. A. Kurysheva Institute of Philology of the Siberian Branch of Russian Academy of Sciences, Novosibirsk, Russian Federation In the section The Plot and the Thesaurus of a Death
Abstract: The Section of the Dictionary-Index describes a general plot-motive fund of Russian sentimental prose of the second half of the 18th and early 19th centuries, in the center of which there is a narrative on unhappy love. The dramatic development of love relationships often puts the hero of a sentimental novel on the edge of life. In one form or another, the culmination of the narrative is the extreme tension of the nerves of the sensitive hero, which leads to a deadly disease, thoughts of suicide, suicide or murder. In the sentimental narrative on unhappy love, three types of conflict lead the hero to a tragic ending: 1. Perfidious love: death (suicide) due to the betrayal of the lover (lover). 2. Separated lovers: death (suicide) due to the impossibility to connect with the beloved. 3. Fatal invasion: the happiness of mutual love breaks off the sudden tragic death of both lovers (one of them) due to the action of fate or the invasion of the villain. The designated types of conflict form three «basic» plots, which in the literary practice have individual author's variations and hybrid forms. The introduction briefly examines the question of Western European models of Russian prose, presents the type of hero, the character system and the poetics of the sentimental novel. All these aspects are revealed from the point of view of the relationship with the plot-motive level of narrative on unhappy love. In the main part of the section, we first gave a general description of three basic plots on unhappy love. Then the most common motifs are presented in groups, depending on the place they occupy in the composition: Exposure (plot situation, string); Development of action (plot links and other motives involved in the movement of the plot, leading to a crisis or complicating the conflict); Crisis (conflict and culmination); Final (interchange); Motives related to the plan of a sensitive narrator. 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