ПРОФЕССИОНАЛЬНОГО САМООПРЕДЕЛЕНИЯ ВОСПИТАННИКОВ СПЕЦИАЛЬНЫХ (КОРРЕКЦИОННЫХ)ШКОЛ-ИНТЕРНАТОВ VIII ВИДА * Н. И. НИКИТИНА, И

The image of the garden, one of the most widespread in the world culture, is considered to be multifaceted, as the concepts of the ideal world which the garden embodies change with time. The present paper looks at the image of the garden in Anatole France’s cycle L’Étui de nacre , where three different epochs with their peculiar systems of values are represented, and garden is one of the most frequent images. The objective of the research is to ascertain the functions of the garden image by analyzing the transformations of the image. The analysis is conducted by pinpointing all representations of the garden, tracing their roots in the world culture and establishing the network of relations between the images. The first part of the cycle, which depicts the Late Antiquity and the early Middle Ages, employs the garden image in several forms: a sacred grove which is chosen by hermits as a place for spiritual life, a garden of a rich villa, where its owner tries to hide from the tumult of political life, a fruit garden, which shows appreciation of culti-vation, and a speculative paradise. This garden is mostly open to everybody who wishes to enter, and is a place where opposite systems of values can meet and live peacefully. The second part, devoted to the modern epoch, moves on to the image of an enclosed garden. It is embodied in the image of a monastery garden, hortus conclusus , which symbolizes Virgin Mary, and a fruit garden of a new Protestant type. These images reflect the heroes strive for Paradise and their desperate attempt to enter it. However, life tends to destroy their idyll, either encroaching on the garden or tempting the personages with Locus amoenus, a love garden. The third

The article studies the genre of legend-parable that appeared in European literature in the end of the 19th century as exemplified by Stefan Zweig’s collection of legends. On the basis of comparison of the legend-parable and literary legend of the 19th century the author reveals the core markers of the new genre. They include the support of the religious pretext, the choice of relations between a person and God as the main topic, the absence of the conflict representation, the emphasis on the concept of the miracle, objective author’s viewpoint, explication of the author’s intention.