This article offers a comparative analysis of the theoretical approaches to the concept of the symbol in literature as developed by two prominent 20th-century Russian thinkers: A. F. Losev and M. M. Bakhtin. While both scholars recognize the symbol as a complex, polysemous construct essential to the structure of literary meaning, their methodologies and interpretive frameworks differ substantially, reflecting divergent philosophical foundations and aesthetic priorities. A. F. Losev interprets the symbol as a dynamic unit of meaning rooted in mythological, linguistic, and metaphysical traditions. For Losev, the symbol transcends the conventional boundaries of a formal linguistic sign, functioning as a deep ontological structure capable of manifesting inexhaustible semantic layers. He regards symbolic imagery as historically and culturally saturated, inherently tied to archetypal structures and philosophical categories. Conversely, M. M. Bakhtin approaches the symbol through the lens of dialogism and cultural semiotics. He focuses on the symbol’s relational nature, its openness to interpretation, and its capacity to reflect the dialogic interplay between author, character, and reader. In Bakhtin’s model, symbols are constantly recontextualized within historical and ideological discourses, acting as vital vehicles of cultural memory. The article examines the theoretical implications of both frameworks, highlighting their ongoing relevance to contemporary literary studies. By tracing the evolution and functions of symbolic meaning across different cultural and narrative contexts, this study contributes to a deeper understanding of symbolic representation as a core mechanism in literary and aesthetic communication.
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