| Итого | За последние 12 месяцев | Aug | Jul | Jun |
| Всего | 12мес | Aug | Jul | Jun | May | Apr | Mar | Feb | Jan | Dec | Nov | Oct | Sep | 02 | 01 | 31 | 30 | 29 | 28 | 27 | 26 | 25 | 24 | 23 | 22 | 21 | 20 | 19 | 18 | 17 | 16 | 15 | 14 | 13 | 12 | 11 | 10 | 09 | 08 | 07 | 06 | 05 | 04 | 03 | 02 | 01 | 30 | 29 | 28 | 27 | 26 | 25 | 24 | 23 | 22 | 21 | 20 | 19 | 18 | 17 | 16 | 15 | 14 | 13 | 12 | 11 | 10 | 09 | 08 | 07 | 06 | 05 | 04 | 03 | 02 |
|
По разделу |
21789 | 1843 |
5 |
192 |
155 |
175 |
177 |
193 |
179 |
238 |
173 |
133 |
129 |
94 |
0 |
5 |
14 |
3 |
7 |
17 |
2 |
3 |
1 |
3 |
7 |
3 |
5 |
2 |
4 |
1 |
1 |
14 |
3 |
3 |
3 |
8 |
5 |
5 |
3 |
6 |
18 |
3 |
25 |
3 |
4 |
4 |
12 |
5 |
2 |
7 |
7 |
9 |
26 |
4 |
5 |
3 |
4 |
2 |
7 |
3 |
3 |
4 |
7 |
3 |
3 |
2 |
3 |
2 |
4 |
4 |
4 |
2 |
3 |
12 |
6 |
8 |
|
Остров традиции |
10006 | 1588 |
1 |
138 |
137 |
151 |
149 |
182 |
175 |
167 |
166 |
123 |
119 |
80 |
0 |
1 |
5 |
3 |
7 |
17 |
2 |
3 |
0 |
3 |
7 |
3 |
5 |
2 |
4 |
1 |
0 |
4 |
2 |
2 |
1 |
8 |
2 |
1 |
0 |
3 |
4 |
3 |
25 |
2 |
4 |
3 |
12 |
5 |
2 |
7 |
7 |
9 |
26 |
4 |
5 |
1 |
4 |
0 |
7 |
3 |
3 |
4 |
7 |
1 |
3 |
2 |
3 |
2 |
4 |
4 |
4 |
2 |
3 |
12 |
3 |
0 |
|
"Гофманиана" в немецком постмодернистском романе |
3539 | 643 |
0 |
37 |
53 |
89 |
91 |
32 |
37 |
54 |
64 |
90 |
58 |
38 |
0 |
0 |
0 |
2 |
1 |
1 |
1 |
0 |
0 |
1 |
2 |
0 |
0 |
1 |
0 |
0 |
0 |
1 |
0 |
2 |
2 |
1 |
5 |
1 |
0 |
0 |
3 |
1 |
2 |
2 |
3 |
4 |
1 |
3 |
1 |
5 |
1 |
1 |
2 |
3 |
2 |
3 |
3 |
0 |
3 |
0 |
2 |
0 |
2 |
3 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
6 |
0 |
0 |
|
Постмодернизм в странах немецкого языка: генезис и основные тенденции развития |
289 | 289 |
4 |
39 |
41 |
38 |
30 |
22 |
27 |
88 |
0 |
0 |
0 |
0 |
0 |
4 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
3 |
2 |
0 |
0 |
2 |
0 |
1 |
1 |
3 |
1 |
2 |
0 |
2 |
1 |
0 |
2 |
3 |
3 |
3 |
2 |
3 |
1 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
0 |
0 |
0 |
4 |
0 |
0 |
1 |
0 |
1 |
2 |
0 |
0 |
0 |
1 |
3 |
0 |
0 |
0 |
6 |
3 |
8 |
|
Логофил в парадигме |
1677 | 252 |
0 |
18 |
16 |
26 |
23 |
11 |
18 |
29 |
24 |
26 |
30 |
31 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
2 |
1 |
1 |
1 |
0 |
1 |
0 |
0 |
1 |
3 |
0 |
1 |
1 |
2 |
0 |
0 |
0 |
2 |
1 |
1 |
0 |
0 |
0 |
1 |
0 |
2 |
0 |
0 |
0 |
1 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
1 |
0 |
0 |
4 |
|
Метаморфозы "бурного гения": творческий путь Фридриха Максимилиана Клингера |
242 | 242 |
0 |
35 |
32 |
35 |
25 |
10 |
28 |
77 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
2 |
1 |
0 |
2 |
1 |
1 |
1 |
0 |
1 |
1 |
0 |
2 |
1 |
1 |
0 |
3 |
1 |
1 |
1 |
0 |
2 |
3 |
3 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
0 |
1 |
1 |
0 |
1 |
0 |
1 |
3 |
0 |
1 |
1 |
2 |
0 |
1 |
0 |
0 |
2 |
1 |
0 |
2 |
0 |
2 |
6 |
0 |
|
Бездны Юрия Мамлеева |
1626 | 241 |
0 |
23 |
15 |
21 |
23 |
5 |
20 |
24 |
22 |
22 |
36 |
30 |
0 |
0 |
2 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
1 |
1 |
1 |
0 |
0 |
0 |
1 |
0 |
1 |
1 |
1 |
1 |
0 |
0 |
0 |
3 |
1 |
1 |
3 |
1 |
1 |
0 |
0 |
0 |
2 |
0 |
2 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
2 |
1 |
1 |
0 |
0 |
4 |
|
Собственноручное |
1572 | 223 |
0 |
15 |
10 |
22 |
18 |
6 |
15 |
29 |
22 |
24 |
36 |
26 |
0 |
0 |
2 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
2 |
0 |
0 |
0 |
0 |
3 |
1 |
1 |
2 |
1 |
1 |
0 |
0 |
1 |
2 |
0 |
1 |
0 |
1 |
0 |
0 |
0 |
0 |
2 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
0 |
0 |
1 |
0 |
0 |
0 |
|
Прекрасность паранойи |
1916 | 207 |
0 |
20 |
14 |
24 |
22 |
6 |
10 |
21 |
21 |
22 |
25 |
22 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
2 |
2 |
0 |
1 |
0 |
0 |
0 |
0 |
4 |
0 |
0 |
3 |
1 |
1 |
0 |
0 |
0 |
1 |
1 |
2 |
0 |
0 |
0 |
0 |
0 |
1 |
2 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
1 |
0 |
0 |
3 |
0 |
|
Три текста о творчестве Анатолия Королёва |
169 | 169 |
0 |
20 |
16 |
25 |
21 |
13 |
36 |
38 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
2 |
0 |
1 |
0 |
0 |
0 |
0 |
1 |
2 |
1 |
0 |
0 |
1 |
1 |
0 |
0 |
2 |
2 |
1 |
1 |
2 |
1 |
0 |
0 |
0 |
1 |
0 |
1 |
0 |
1 |
1 |
1 |
1 |
0 |
0 |
0 |
0 |
1 |
0 |
1 |
1 |
1 |
1 |
0 |
0 |
0 |
1 |
1 |
3 |
0 |
0 |
0 |
|
Избранные места из переписки в соцсетях |
164 | 164 |
0 |
26 |
15 |
27 |
24 |
12 |
26 |
34 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
1 |
0 |
0 |
1 |
0 |
0 |
1 |
2 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
1 |
0 |
2 |
1 |
1 |
0 |
1 |
3 |
2 |
4 |
1 |
1 |
0 |
0 |
0 |
1 |
1 |
0 |
1 |
0 |
1 |
0 |
1 |
0 |
1 |
0 |
0 |
0 |
2 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
1 |
1 |
0 |
0 |
3 |
0 |
|
Фрагменты незавершенной монографии о творчестве Я.М.Р. Ленца |
142 | 142 |
0 |
18 |
14 |
31 |
22 |
8 |
20 |
29 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
2 |
3 |
2 |
1 |
2 |
0 |
1 |
0 |
0 |
1 |
3 |
1 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
1 |
0 |
1 |
0 |
0 |
1 |
0 |
1 |
0 |
0 |
3 |
0 |
|
Новелла о двух лицедеях (отрывок из книги "Заметки безъязыкого") |
129 | 129 |
1 |
21 |
15 |
21 |
39 |
32 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
2 |
1 |
2 |
0 |
1 |
0 |
0 |
0 |
2 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
2 |
2 |
1 |
1 |
2 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
1 |
2 |
0 |
1 |
0 |
1 |
1 |
0 |
0 |
2 |
0 |
1 |
1 |
0 |
0 |
1 |
1 |
1 |
0 |
0 |
0 |
0 |
|
Избранные рецензии на дипломные работы студентов Литинститута |
57 | 57 |
0 |
57 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
0 |
1 |
0 |
0 |
0 |
0 |
3 |
1 |
2 |
1 |
1 |
0 |
1 |
0 |
3 |
1 |
2 |
3 |
2 |
4 |
3 |
3 |
6 |
18 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
|
Трагедия индивида |
42 | 42 |
0 |
42 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
2 |
0 |
0 |
0 |
0 |
1 |
0 |
2 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
3 |
0 |
5 |
3 |
3 |
0 |
3 |
17 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
|
Личность и философское наследие В.В. Розанова в рецепции русских постмодернистов |
40 | 40 |
0 |
40 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
2 |
0 |
2 |
0 |
0 |
0 |
1 |
1 |
1 |
3 |
0 |
2 |
3 |
3 |
5 |
2 |
4 |
9 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
|
"Гофманиана" в романе Густава Майринка "Голем" |
37 | 37 |
0 |
37 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
1 |
1 |
0 |
1 |
0 |
0 |
1 |
0 |
1 |
2 |
1 |
0 |
0 |
0 |
2 |
0 |
2 |
1 |
3 |
2 |
2 |
0 |
2 |
13 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
|
Человек из страны Кижли |
37 | 37 |
0 |
37 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
2 |
1 |
1 |
0 |
1 |
0 |
1 |
2 |
2 |
1 |
3 |
2 |
3 |
0 |
2 |
12 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
|
Постмодернизм с человеческим лицом |
34 | 34 |
1 |
33 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
2 |
1 |
0 |
1 |
2 |
1 |
2 |
5 |
1 |
1 |
1 |
1 |
1 |
0 |
14 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
|
Правда истинная, хотя и не поэтическая... |
34 | 34 |
1 |
33 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
2 |
1 |
3 |
1 |
0 |
0 |
1 |
0 |
1 |
0 |
2 |
0 |
1 |
4 |
4 |
0 |
0 |
11 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |