Romen Nazirov’s archive is analyzed in a semantical and structural aspect. We identify three semantic center, each of which is associated with thematic and quantitative expansion of materials. These are the works on Dostoevsky, the history of the plot and finally the history of mythology. Dostoevsky was one of the main interests of scientist. Archive in its entirety, of course, largely focused on Dostoevsky. This part of the archive is the most extensive and internally logically built. History of plot is connected with profound comprehension of the key figures discussed in his doctoral dissertation “Traditions of Pushkin and Gogol in Russian prose”. This topic is implemented in numerous drafts outlining biographies, generalizations in the field of poetics and plot structure of the Russian classics, various additions, notes, and marginalia. Pushkin and Gogol in the title of dissertation are not accidental and clearly associated with the first semantic center of the archive. The other quality gives the theme of the myth. It concentrates in a huge amount of research, working papers and extracts about the myths of almost all nations and ages, and of myth as a fundamental principle of the culture. Actually, taken together, these entries expound the history of world culture through the prism of myth. We also define textural properties of Nazirov’s creative thinking: anti-hierarchical approach to cultural material, thematic omnivorousity, multi-layered subject, combining the roles of “writer” and “scientist”, principled and consistent historicism. The archive eventually appears as a total and detailed descriptive analytical model of individual interpretation of world culture.

Архив Р. Г. Назирова анализируется в содержательном и структурном аспектах. Выделены три семантических центра, каждый из которых связан с тематическим и количественным расширением материалов. Это труды по Достоевскому, истории фабулы и, наконец, мифологии. Определены структурообразующие свойства творческого мышления Назирова: внеиерархичность обращения к культурному материалу, тематическая всеядность, многослойность субъекта, сочетающего роли «литератора» и «ученого», принципиальный и последовательный историзм. Архив в итоге предстает как детальная и тотальная дескриптивно-аналитическая модель индивидуального осмысления мировой культуры.