The dialectical principles of composition in M. Gorky’s story “Childhood”

The article explores the structure of M. Gorky's novella "Childhood" and how it relates to the overall meaning of the work. It focuses on how the different parts of the story are combined to create a single, meaningful whole. The purpose of the study is to provide a theoretical and practical justification for the "dialectical principle" of the compositional organization of the story "Childhood", which follows from the special author's position and the original worldview of Gorky, the artist. The scientific novelty lies in the fact that, from a "dialectical" point of view, the composition of M.'s "Childhood" Gorky has not been considered before. Special attention is paid to the use of poetic tools, techniques that help recreate the most complex picture of how the human self is formed. These tools also help to embody the dialectic of this process, which is based on the struggle between the opposing principles of "instinctively selfish" and "reasonably kind". The work consistently examines the main parts of the story, their interdependence, and determines the nature of the arrangement of action episodes in the light of the moral and intellectual evolution of the autobiographical hero. The purpose of this study is to redefine the structure of Gorky's text. We aim to understand the underlying principles that shape the overall structure of the story. As a result, it was found that the composition of "Childhood" has a special dialectical character. The dominant role in the architectonics of the story is played not by an externally eventful perspective, not by epic intentions, but by an installation to identify the laws of internal growth, the logic of dialectical formation of consciousness and the formation of moral principles of the autogeroy. The basis for the layout of the main episodes of Gorky's creative work is the recreation of the spiritual path of a child growing up in familiarization with folk morality and at the same time overcoming the limitations of its spontaneity and social passivity.