Journal archive

Abstract: The work reveals the literary connections of A. P. Chekhov with I. S. Turgenev and through him, with other writers L. Tolstoy and B. M. Markevich. The stylistic nature of Chekhov’s talent has led to his intense dialogical interaction with contemporaries, which manifested itself in the form of a predominantly implicit intertext. Unlike postmodernists, he has a weak textual position in Chekhov. Reduction is one of the dominant features of the intertextual poetics and practice of Chekhov. The basis of the reduction is the synecdoche, understood as the key principle of artistic world-modeling. The writer's works are filled with signs of other people's works. Chekhov does not force the reader to search and interpret a muted intertext, therefore his works are polycode. Forms of mastering and processing of someone else's text by Chekhov are in a wide range: from elementary metathesis to sophisticated inversions. Turgenev longer than other writers remained the subject of Chekhov's artistic reflection. Allusions to his works begin with a youthful play and go through all the work. This is explained by the fact that Turgenev’s writing technique and his art of irony were close to Chekhov. At the same time, Chekhov's entire creative way is accompanied by the now ebbing, then growing, act of overcoming his imperious commitment to the work of his older contemporary. This lies in the mainstream of one of the most important problems of Chekhov's work and his entire life — the inner freedom of man.