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“A Writer’s Diary” is a work of F. M. Dostoevsky, an artist and essayist. Th e authors of the article examine one of the manifestations of originality of this edition that is a compositional form by means of a bidirectional dialogue. Its branches are built by F. M. Dostoevsky on the basis of two models: of communication (a dialogue with the reader) and autocommunication (treatment «to himself») — with the help of author’s communication strategies. Th e leading role in the construction of both vectors of the dialogue is given to the Gospel Word. Th e author investigates the problem of a dialogue, emphasizing the value of the gospel quote. He comes to the conclusion that in the dialogue with the reader the gospel quote for F. M. Dostoevsky is a main tool of having an infl uence on an addressee, talking «to himself» it is a main tool of self-understanding, understanding the world, the man and God. In the overall structure of the dialogue in “A Writer’s Diary”, that is built by means of the main communication strategy of interaction the Evangelical quote is a tool of incorporating the author and the reader in the dialogue with God.

The article considers one of the aspects of artistic adaptation of an original source in the art works by Ivan Shmelev. The material of article is the story of the Abbot Damaskin, and the poetic text in the essays On the Rocks of Valaam and The Old Valaam, and folklore text in the tale Inexhaustible Cap. The analysis of the genesis of the formal structure of the quotes of diff erent levels at diff erent stages of the history of essays reveals the author's intention to recreate the Russian Orthodox world, to show examples of prime examples of ascetic life. To this end, the author transforms the text of the Early edition, leaving only those fragments that create images of Holiness. In the Later edition of the concise description, the author uses a reportage style. He accurately reproduces the discoerse of the monks. Analysis of the specificity of adaptation wedding ritual songs in the narrative structure of the novel shows that the author changes the value of the folklore text. Creates a parallel of the ecclesiastical and the folk, refl ecting the ethno-religious attitude of the main character. Author`s intention is to see and understand the Christian soul of the Russian people.

The article examines the influence of the Orthodox hymnography on Ivan Shmelev's works, using his short novel The Inexhaustible Cup as an example. The author analyzes the hymnographic level of the novel; identifies specific features of adapting liturgical poetry to the literary (fiction) text; defines the functionality of liturgical texts in the ideological and thematic, as well as imaginative and motive structure of a literary work. Comparative analysis shows that novel's poetic attributes are similar to theological terminological metaphors typical for hymnography. Moreover, the content plane of The Inexhaustible Cup, due to the semantic parallelism with Akathist and, more broadly, with the hymnographic tradition, forms the Christian dogmatic metatext, which can be called Being in Christ. This enables the reader to identify intuitively Shmelev's novel as a piece of writing, related to poetic and didactic Christian texts in its spirit and language.

The article studies the language of evangelical quotes in Fyodor Dostoevsky's works as the demonstration of the common destiny of the Church's language in Russian culture. It investigates the connection between the spiritual state of the characters and their attitude to the Old Church Slavonic language.