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Kuschevsky’sNikolai Negorev, or the Prosperous Russian (1871)", we analyze a little-studiednovel by I.A. Kushchevsky as an experimental novel, in the construction of whichthe author turns to the plot of the English Bildungsroman, as plot structure of a genrehabitual and long-mastered.Kuschevsky uses all the plot variants as integral parts of the novel aboutbecoming the protagonist, not arguing with the reception of the tradition, but ratherexperimenting with the material familiar to the reader and thereby turning the plotmoves and functions of the main characters into a set of cliches, discrediting them.The history of becoming the main character is taken by Kuschevsky in theclassic version of the English Bildungsroman, the connection with which can betraced in the plot structure, which recalls not only the plot structure of DavidCopperfield, but also Tolstoy's trilogy Childhood.

Adolescence. Youth (paragraph5.1 “History of the main character of the novel and the English Bildungsroman").The career path of the protagonist, schematically described by the author onthe last few pages of the novel, is familiar to the Russian reader of the domesticfiction of the 1850s-1870s (paragraph 5.2 "Career of Nikolai Negorev as a compositestory").Kuschevsky also reproduces the plot modifications of the EnglishBildungsroman (paragraph 5.3 "Genesis of the characters in the novel and thecontext of the female Bildungsroman").

Thus, Nikolay Negorev as the alphabet ofthe genre, a literary experiment, dismantling and at the same time assembling thenarrative from the ready genre blocks seems to us one of the final links in thereception of the novel of upbringing in Russian literature.In conclusion, the results of the research are summarized.The process of assimilation of the English Bildungsroman’s plot moves inRussian prose, in our opinion, has its own chronological drawing and internal drama.In the late 1840s and in the 1850s, Russian writers only learned the plotconstructions, the features of the narrative, as they developed mainly in the worksof Dickens and Thackeray, the two competing idols of the Russian public.

Althoughthe Victorian novel is translated and discussed actively, each output becomes ananticipated event, its direct impact on the literary practice of our writers is still notobvious and is recognized only indirectly in the physiological outline of the genresthat dominates the Russian literature of that time. However, in the "experimentality"of the artistic canvas of Goncharov's The Common History the signs of Dickens'novels and the "Victorian beginning",in general, is guessed, which makes it possibleto expand the literary genesis of the novel, in which researchers traditionally sawonly an orientation toward German Bildungsroman.

It is this English side ofGoncharov’s novel that will be adapted by Goncharov’s followers, secondgeneration writers who are guided by its plot.At the end of the 1850s, the Bildungsroman plot structure becomes morefamiliar; English "educational" stories are reinterpreted and receive new accents inthe history of career development of the main character. Thus, Pisemsky in his novelbuilds a career for his hero, taking the prose experiments of Thackeray into account,as if measuring the plot details and the system of characters generated by domesticcircumstances, the structure of culture and society with the Thackeray’s tradition.The conflicts of literary world, literature as a profession become central trials in thegeneral chain of novel events. The novel of the career includes a subset of the novelof education, a novel about the artist, in these versions.In the 1860s, the English Bildungsroman in some ways competing with theFrench line, its George Sand type, is assimilated by women's prose.

In the contextof the discussions that have unfolded around the "woman's question", the Victorianinterpretation of the image of the "new woman" is cited as an argument in Russiandebates. Direct or indirect influence of Ch. Bronte’s Jane Eyre gave rise to a wholelayer of gender fiction in the 1860s, in which the image of a Russian woman is closeto didactic English patterns.By the end of the period in question, the "educational" plot is already somastered in the Russian literary context that it absorbs all possible fictional elements,reprocessing everything that circulates, is being published or discussed inmagazines.

Analysis of I. Kushchevsky’s Nikolai Negorev, or the ProsperousRussian from the point of view of using the plot constructions of the upbringingnovel, including English, makes it possible to say that the Bildungsroman becomesquite a convenient motive and ground for literary experiments, since the genre formand language of biographical description has been developed and fairly wellmastered by writers and readership. Thus, the unexpected rapprochement betweenGoncharov's and Kuschevsky's novels as two literary "laboratories" at the beginningand at the end of our research, Pisemsky's experimental polemic in relation toThackeray, the controversy of gender literary dialogue in the space of theeducational novel of this era, alters our assumptions about the history of Russianliterary reception of the Victorian Bildungsroman, allowing us to clarify the natureof the genre of the Russian Bildungsroman, as well as the peculiarities of theRussian-British literary connections of the second half of the XIX century.The main provisions of the work were discussed at the postgraduate seminarsof the School of Philology of the NRU - Higher School of Economics, theDepartment of Slavic Studies of Cambridge (Cambridge, Great Britain) and theUniversity of Humboldt in Berlin (Germany) universities.

Materials are presented atseven scientific conferences in Moscow, St. Petersburg, Cambridge and Berlin.The main results of the dissertation research are reflected in following articles:1. Sarana N.V. Russkaya «Jenny Ir»: Recepziya tvorchestva Sharlotti Bronte vromane Y.V. Zhadovskoy «Zhenskaya Istoria» (1860) [Russian «JennyEyre»: The Reception of Ch. Bronte’s works in Y.V. Zhadovskaya’s AWoman’s Story] // Vestnik Moskovskogo universiteta. Seria 9. Phologia.2018.

№ 3. pp. 173 - 181.2. Sarana N.V. Angliskiy «Sopernik» Romana Goncharova: ObiknovennayaIstoria ili Prostaya? [English «Rival» of Goncharov’ novel: Is the StoryCommon or Simple?] // Vestnik Tverskogo Gosudarstvennogo universiteta.Seria: Philologia. 2017. № 1. pp. 262 - 267.3.

Sarana N.V. Angliisky «repertuar» kak element polemischeskoy recepcii A.F.Pisemskogo [English repertoire as the element of A.F. Pisemsky’s polemicreception] // Russkaya Philologia. 27: Sbornik nauchnykh rabot molodykhphilologov. Tartu: Tartu University Press, 2016. pp. 82 - 92..

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