ñòàòüå ñîáðàíû è ñèñòåìàòèçèðîâàíû îñíîâíûå âûñêàçûâàíèÿ Ì.Ì. Áàõòèíà î Øåêñïèðå. Îñîáîå âíèìàíèå óäåëåíî àñïåêòàì âðåìåíè è «òîïîãðàôèè» øåêñïèðîâñêèõ òðàãåäèé â îòëè÷èå îò ïîäõîäîâ ñ òî÷êè çðåíèÿ òàê íàçûâàåìîãî «èñòîðèöèçìà».

The article is a systematic attempt to collect and analyze Mikhail Bakhtin’ views of Shakespeare and his theatre, particularly his tragedy. Characteristically, Bakhtin is more interested in Shakespeare’s temporality, specifically in his «topography», as opposed to more conventional forms of the so-called «historicism».

ÃÐÎÒÅÑÊÍÛÉ ÐÅÀËÈÇÌ, ÈÑÒÎÐÈÖÈÇÌ, ÑÅÐÜÅÇÍÎ-ÑÌÅÕÎÂÎÅ, ÑÈÌÂÎËÈÊÀ, ÒÎÏÎÃÐÀÔÈß