The literary myth of the 1990s.
The universal use of myth as the fundamental principle of being begins in the late 1960s. There is an intensive comprehension of the national culture. Works by Ch. Aitmatov, F. Iskander, V. Rasputin, Belov, Astafiev appeared. In their works, the national folklore type of mythologism was presented, that is, one episode of the myth is used or some archetypal images (for example, the king-fish)
Over time, works began to appear in which not only famous mythological characters were used, but also individual motives of the worlds of mythology (for example, the motive of transformation).
Writers of this time paint a conventional world that exists both in an open and closed form. A striking example creation of a conditional world - the work of A. Kim. In Kim's prose, the ancient Chinese idea is realized that the whole world is governed by Tao, a single indivisible life-giving principle (the story "Lotus"). The plot - the main character - the artist comes to his homeland to say goodbye to his mother, but parting with a whole series of transformations built on the archetypal representation of the transition from one life to another. The mythological basis is used, which reveals its own history of the movement of the person of the spirit, but the main thing is not the plot, but the mythology of the heroes, their speech, the speech of nature, animals. The hero is aware of this transition from real space to unreal.
"Father-forest" - gives a clear idea of the environment of the world. The forest is a world that takes on a universal scale. In the center is the world of vegetation and the world of people. The world of people is the Turaev family. The world of vegetation is a spectrum of voices of trees and a serpent. Trees are supreme beings, they sometimes personify virtue, they are engaged in mental work. Turning to mythology, the writer combines the Christian image and the Buddhist idea of contemplation as the highest virtue. The people in the novel are three representatives of the Turaevs. The forest becomes the basis on which a whole system of symbols is layered.
The novel "Centaur" - the writer combines the ancient myth and the description of the most ancient world without a share of civilization. There are two worlds in the novel: the visible world and the invisible. V visible world Centaurs, Amazons live, which is controlled by a phallic force, instincts are in it. The invisible world is half-spirits, they cannot stop the catastrophe that is foreseen in the visible world.
Fazil Iskander novel "Sandro from Chegem" ...
Since the end of the 1980s, the term "women's prose" (ZhP) has appeared. The attitude towards her is ironic. She appeared around the 19th century, images of women as independent characters began to appear in literature: a housewife, a society lady, a Turgenev girl, the image of a business woman. ZhP is considered a phenomenon that was predetermined by the social. Reasons. The main ones are arr. feminist movements; the formation of an exclusively female circle of movement. Prose for girls (Charskaya), "The Keys of Happiness" by A.N. Verbitskaya. The formation of an exclusively female reading circle, topical topics (the creation of a new person) - is indicated in the work of Verbitskaya.
Currently, the same processes are being studied in ZhP as in other research literature.
O. Slavnikova in her article “Patience of Paper” notes that women have always been pioneers in sod-iy: women had to publish under male names.
In the 80-90s of the 20th century, women's prose had to make its way into literature. In 1988, the first literary group of women writers, "The New Amazons", appears.
The process of the formation of women's prose begins with the publication of various almanacs and collections (S. Vasilenko "Nepomniachtchiya Evil"). Such collections become a kind of manifesto of women's prose. The main thesis of the collections was that they contain the conclusion that prose should be divided into good and bad, and not male and female.
S. Vasilenko, N. Sadur, O. Slavnikova, Vishnevskaya, Matveeva, Fields, Shcherbakov, Bogatyreva.
Some female names do not belong to women's prose in the style of writing (Tolstaya).
The term ZhP denotes works with characteristic problems, namely, in women's prose it is said about the position of a woman, about her fate, about relations with the outside world, the opposite sex. But different from the ladies' novel. Outwardly, these concepts are similar, but in a ladies 'novel different information can be communicated, in a ladies' novel a standard situation is described.
Critics note that in such works, the basic needs for emotions are satisfied. These novels use a melodramatic plot, but the conflict can be resolved.
49. The work of T. Tolstoy.
Tolstaya Tatiana Nikitichna (b. 1951), prose writer. She was born and raised in Leningrad in a large family of a physics professor, the son of the famous Russian writer A.N. Tolstoy. Graduated from the Department of Classical Philology of the Leningrad University. Having married a Muscovite, she moved to Moscow, worked as a proofreader. The first story by T. Tolstoy "They sat on the golden porch ..." was published in the "Aurora" magazine in 1983. Since that time, 19 stories have been published, the short story "Plot". Thirteen of them compiled a collection of stories "They sat on the golden porch ..." (Fakir, "Circle", "Potere", "Sweet Shura", "Okkervil River", etc.) In 1988 - "Sleepwalker in the Fog".
Tolstoy belongs to the "new wave" in literature, is called one of the brightest names of "artistic prose", rooted in the "play prose" of Bulgakov, Olesha, which brought with it parody, buffoonery, holiday, eccentricity of the author's "I". Tatiana Tolstoy's debut in 1983, he immediately attracted the attention of critics. Her first collection of short stories, published in 1987, caused a flurry of reviews in Russia and abroad. She was virtually unanimously recognized as one of the brightest authors of the new literary generation. To date, the volume of what has been written about Tolstoy (dozens of articles, a monograph by X.) is several times greater than the volume of her prose. It is interesting that Tolstaya amazed readers not with the content of her stories, but with the exquisite complexity and beauty of their poetics.
Attention is drawn to the demonstrative fabulousness of her poetics. This feature is especially noticeable in stories about childhood, such as "You love - you do not love", "We sat on the golden porch", "A date with a bird."
The world in Tolstoy's prose appears as an endless multitude of contradictory fairy tales about the world, conventional, aware of their conventions, always fantastic and therefore poetic. The relative integrity of this kaleidoscopically The colorful picture is given by the languages of culture - also different and contradictory, but nevertheless based on a certain unified logic of creativity, with the help of which these fairy tales are continuously created and reproduced by each person, at every moment of his life. The beauty of the mutual transformations and overflows of these fairy tales allows a grateful smile to life - "running past, indifferent, ungrateful, deceitful, mocking, senseless, alien - beautiful, beautiful, beautiful." This philosophy removes the modernist opposition of the lonely creator of living individual realities to the crowd living in impersonal, and therefore dead, stereotypes.
Somnambula in the Fog. The heroes of Russian literature of the nineteenth century were busy looking for the meaning of life, finding their place in a complex and contradictory world, constantly changing, directly dependent on wars, political upheavals, changes in social order and others. historical events... Already at the beginning of the story, Tolstaya shows the state, the mood of the hero: “After passing through earthly life to the middle, Denisov began to think. He thought about life, about its meaning, about the frailty of his earthly, half-used existence ... ”The protagonist lives as if in a fog. And his thoughts are vague, vague: he thinks about the possibility of "the existence of Australia", even tries to compose a work about it. He tries to invent, to compose poetry - nothing works for him. His profession is unclear, but judging by his mood, he is dissatisfied not only with himself, but also with the life around him. Looks like the main character and another character - Laura's dad, Denisov's mistress. He was dubbed "ideological rot" and was kicked out of the institute for "a report on the relationship of birds with reptiles ... and they had a scientific secretary by the name of Ptitsyn, so he took it personally." Lauryn's papa is interrupted now by writing notes of a phenologist for magazines. And it is he who walks in a dream, he is a somnambulist. Recognizable realities allow us to attribute the action to the era of stagnation: in the world of rabbits and boas, total deficit and cronyism, queues for meat, socialist competitions, party committees, local committees and a brewery named after Stenka Razin, somnambulists wander among the dealers, among the imaginary healers who heal from photographs, and resist into a terrible dead end. But the ending of the story sounds promising, open. There is also irony about the meaning of being: the hero exposed the environment. Reality is questioned. The work raises the problem of loneliness, when a person cannot switch from one space to another, is in a confined space. Env. The reality where Laura and others like her live is one reality. Another is the reality of Denisov, who is trying to perpetuate his name. The third reality is Laura's father. The somnambulist is a person who seeks himself in reality. The somnambulist in the fog is a man who has escaped to freedom.
50.Sergey Dovlatov(1941 -1990) On September 3, 1941, Sergei Dovlatov was born in Ufa - a well-known prose writer, journalist, a prominent representative of the third wave of Russian emigration, one of the most widely read contemporary Russian writers in the world. He himself turned his biography into a literary work. Dovlatov's reader knows much more about his life than the most knowledgeable biographer can tell. Family (cycle "Ours"), studies at the university, exception, service in the internal troops (book "Zone"), the first literary experiments, literary underground, the group "Citizens" (which, in addition to Dovlatov, included B. Vakhtin and Vl.Maramzin) , Leningrad literary environment of the late 1960s, communication with Brodsky ("The Invisible Book"), work as a journalist in Estonia ("Compromise" cycle), editor in the children's magazine "Koster", publication of an unsuccessful (semi-official) story-essay in the magazine " Youth ", a ban on the publication of a collection of his stories, endless refusals from Soviet publishing houses and magazines, work as a guide in the Pushkin Reserve (story" Zapovednik "), emigration (" Branch "," Inostranka "), a short but stormy story of the life and death of the newspaper New American, edited by Dovlatov (Invisible Newspaper); literary success in the USA, publications in the New Yorker magazine (where before Dovlatov only Nabokov was published from Russian writers) - all these plots, sometimes with numerous variations, are described by Dovlatov himself. Perhaps his early death and phenomenal popularity in post-Soviet Russia (his three-volume edition was reprinted three times in two years) remained outside the boundaries of Dovlatov's prose. At the same time, Dovlatov's autobiography is very literary. It is no coincidence that his prose evokes so many associations. Thus, I. Serman, emphasizing that “the main character of Dovlatov's prose is himself,” immediately compares this hero with such a literary character as Ostap Bender; Vic. Toporov finds a similarity between Dovlatov's autobiography and the New York school (Salinger, Updike, Roth, Belough), A. Genis and P. Weil build Dovlatov's autobiographical hero into a row “ extra people»Russian classical literature ... Outwardly, without going beyond the limits of realistic life-likeness, Dovlatov at the same time reveals precisely the literary side of life - unconsciously following the postmodern principle of "the world as a text". Working with autobiographical material, where the authenticity of the story is confirmed by a photograph on the flyleaf of the book, gives this combination a special acuteness and paradox. In this sense, Dovlatov, who began writing at the end of the 1960s, does not continue, but starts from the "confessional prose" of the "thaw." In this prose, the hero was the literary shadow of his generation, its plenipotentiary. Dovlatov's life is a reflection of purely literary, often phantasmagoric plots and collisions. Strictly speaking, Dovlatov steadily transforms autobiographical material into metaphors, or rather, into anecdotal parables. Two interrelated themes occupy him throughout his entire work: the relationship between literature and reality, on the one hand, absurdity and norm, on the other. It is easy to see in these themes a connection with the most important artistic and philosophical subjects of postmodernism, growing around the problem of simulation and simulacra, on the one hand, and dialogue with chaos, on the other. Already in the early book "Zone", which tells about the author's service (in the book the lyrical hero is named Boris Alikhanov) in the camp guard, Dovlatov accompanies the camp stories with commentary letters to the publisher, Igor Efimov. The camp world in these comments is placed in a fairly wide literary context. The first thing that immediately catches your eye is the direct rapprochement of the camp aesthetics with socialist realism. On the other hand, Dovlatov in one phrase brings the camp and the cult of the 19th century classics closer together: “I am interested in life, not in prison. And - people, not monsters. In general, references to the classics are consistently irreverent here. In the list of classics, after Tolstoy, Pushkin, Lermontov, Dovlatov follows the anecdotal Rzhevsky. These seemingly multidirectional motives of Dovlatov's autocommentations actually hit one point: they undermine faith in the connection between life and literature, the hope that literature is capable of changing an ugly reality. This faith and hope unites the world of the zone - with socialist realism and the mentorship of the Russian classics. Dovlatov, on the other hand, insists that he does not belong to this great tradition. Dovlatov at the very beginning of the "Zone" says that behind the bars the "truth" was revealed to him - the truth, he says, is that consciousness exists parallel to reality, it does not depend on reality, does not reflect it and does not affect it: which I got into was terrible. In this world, people were killed for a pack of tea. The world was terrible. But life went on. The ratio of good and evil, grief and joy - remained unchanged. In essence, the fundamental incompatibility of literary - and more broadly: cultural, rational, conscious - experience with reality gives Dovlatov a feeling of absurdity as a norm of life. If for Shalamov and Solzhenitsyn, the zone is primarily a space-time of violence, then for Dovlatov's zone it is, first of all, the most vividly visible realization of absurdity as a universal principle of being. It is the absurdity that forms the special, Dovlatov's, unity of the world of the zone and the unity of the zone with the world. So, according to Dovlatov, there is no significant difference between the guards, generally "free" and prisoners.
Paradoxical epic, growing on the basis of absurdity, becomes a hallmark of Dovlatov's style. Epic kinship with the world is affirmed by Dovlatov primarily through the author's unusual position in relation to the absurd characters and circumstances described by him. Dovlatov's hero has nothing to teach the reader. "
It is not by chance that he wrote his best books about Russia in America, and again it is not by chance that the "Branch", "Inostranka" and "Invisible Newspaper" are much weaker in artistic quality than the "Zapovednik", "Nashi" and "Suitcase". Dovlatov needed an epic distance in order to treat his own fate and environment as an epic legend, allowing many interpretations and interpretations, among which there are no longer true and false - all are equal. The epic style also explains such an important feature of Dovlatov's prose as repetition. Dovlatov quite often repeats himself, two, three, or even four times retelling the same stories, anecdotes, scenes. Dovlatov's law is absurd, i.e. the law turns out to be the absence of law, as well as logic, meaning, expediency. The originality of Dovlatov's poetics is explained precisely by the fact that it is built on this oxymoric combination of absurdity and epicity. Not only plot, but structural repetitions are characteristic of Dovlatov's style. Many of his stories are constructed as a chain of structurally similar episodes.
Dovlatov's absurdity does not make the world comprehensible, it makes the world understandable. And this is perhaps the most amazing paradox of Dovlatov's poetics.
In Dovlatov's writing style, absurd and funny, tragic and comic, irony and humor are closely intertwined.
Dovlatov saw the moral meaning of his works in the restoration of the norm. Depicting the random, arbitrary and absurd in his works, Dovlatov did not touch absurd situations out of love for the absurd. For all the absurdity of the surrounding reality, Dovlatov's hero does not lose the feeling of normal, natural, harmonious. The writer goes from complicated extremes, contradictions to unambiguous simplicity. The desire to "restore the norm" gave rise to the style and language of Dovlatov.
The collection "Suitcase" is dedicated to the Leningrad youth of the writer - the story of a man who did not take place in any profession. Each story in the collection "Suitcase" is about an important life event, difficult circumstances. But in all these serious, and sometimes dramatic, situations, the author "packs a suitcase", which becomes the personification of his emigrant, nomadic life. In the Suitcase, Dovlatov's rejection of globalism manifests itself again: a person cares only for that everyday trifle that he is able to "carry with him." In this collection, the author disassembles the contents of his suitcase, casting his mind's eye over his entire life at home. Each thing in the suitcase is a separate story, comic and sad at the same time, associated with difficult circumstances and whole layers of memories. In each story, the main character, who is at the same time the only storyteller and the author of "Suitcase" himself, acquaints the reader with one thing or another that has made a difficult journey abroad with him. Each of these things can be dear only by that part of memory that wakes up at the sight of it - the author himself, with a bitter smile, makes it clear that except to kindle a small fire of nostalgia, they are not suitable for anything. Gradually talking about each of them, the hero tells about his life, eventually becoming a close friend of the reader. "Suitcase" is one of those works of Dovlatov, in which his ability to write ironically and easily is most clearly manifested, making the reader smile even at the most sad moments... Despite the fact that Dovlatov himself never considered himself a "real writer", it is his literary talent that is clearly visible in "Suitcase" - the author keeps the reader's attention, does not let him go from himself for a minute, gives him the opportunity not only to spend time with absolutely interesting reading, but also think about your own life. For Dovlatov, "Suitcase" is an autobiographical work. In this book, he writes primarily about himself and what happened to him before emigration. Despite the fact that at times the fate of the author presented him with a lot of unpleasant surprises, Dovlatov manages to maintain inexhaustible optimism, which is felt in every line and thanks to which the whole book leaves a light, pleasant impression. Perhaps that is why "Suitcase" has become one of the most popular works of the author - translated into a number foreign languages, it attracts the attention of new and new representatives of a large readership, and many of them do not limit themselves to reading the book once, periodically returning to it again and again.
28.Themes and genre originality of V. Vysotsky's poetry. Vladimir Vysotsky (1938-1980) to some extent went further than Galich in developing the possibilities of the romantic grotesque. In his poetry, there is no longer a romantic double world, but the consciousness of the lyrical hero embraces a huge social world, torn apart by screaming conflicts, and absorbs them all, in the most impossible, grotesque, explosive combinations, inside itself. Like Galich, Vysotsky has many “role-playing” poems, but Vysotsky's distance between the character and the author is much shorter. For him, a character is a form of expression. Of course, it is easy to “notice the difference” between the author and the subject of such poems as “Comrades Scientists”, “Dialogue on TV”, “Honor of the Chess Crown”, “Letter to an Agricultural Exhibition” or “Letter from an Agricultural Exhibition”. But what about the early "thieves" texts ("Tattoo", "Ninka" or "Silver Strings"), how to deal with songs on behalf of vagabonds, climbers, pirates, robbers, athletes, soldiers of the penal battalion, and even on behalf of a pacer, an airplane ("I am Yak-fighter") or a ship? And "The Hunt for Wolves" - here a monologue on behalf of a wolf certainly becomes one of the most significant manifestos of the lyrical hero Vysotsky. And even in such distinctly "role-playing" texts as "Police Protocol", "Lecture on the International Situation" or "Letter to the Editor of the Television Program" Obvious - Incredible "from Kanatchikovaya Dacha", it is not so much the distance of the author from the characters that is striking. the joy of reincarnation and the opportunity to express “ours” on behalf of the “other”. The lyrical hero of Vysotsky ultimately appears as a collection of many different faces and faces, including those who are far from the most attractive. No wonder in one of the later poems "I was struck with a chill again" (1979), the lyric hero of Vysotsky deals with a boor, a redneck, a lumpen - "another" sitting inside "I". This "proteic" type of lyric hero, on the one hand, has a unique gift for multilingualism - he is open to the world and to some extent represents an "encyclopedia" of voices and minds of his era. This quality determines the phenomenal popularity of Vysotsky - in his poems literally everyone could hear the echoes of their personal or social experience. Theatricality of Vysotsky's poetry goes back to the tradition of the carnival and especially to such a version of carnival culture as Russian buffoonery. It is significant that the funniest "fairy-tale" texts of Vysotsky, as a rule, are based on socio-philosophical metaphors that go far beyond the concrete "material" - always grotesque. Thus, Dialogue at the TV is based on the consistent exposure of the similarities between a television circus performance and the life of a “simple Soviet man” full of dignity. In the same way, "A Letter from Kanatchikovaya Dacha" likens fashionable myths of mass culture, such as the Bermuda Triangle, to clinical madness. Vysotsky's hero feels great in the midst of social chaos, he himself is an integral part of it, and therefore often grotesque fantasies of his most "untethered" characters turn into unexpectedly accurate prophecies: camera "(1979) is today perceived as a summary of post-Soviet political events, where both the collapse of the USSR and the triumph of the" new Russians "are guessed. On the other hand, such seemingly comic poems as" Tattoo "," She was in Paris "or the same "Letter from an agricultural exhibition" or even "Ninka" - it is thanks to the grotesque texture that they more strongly express the energy of love than such sugary, purely lyrical, love hymns like "If I am rich as the king of the sea" or "Here the paws of the fir trees tremble in weight Vysotsky's polyphony embodies a special concept of freedom. The freedom of the author in Vysotsky's poetry is the freedom not to belong to any one truth, position, faith, but to unite, combine them all, in sometimes screaming contrasts within oneself.
The image of the singer, racing in a sleigh "along the cliff, over the abyss, along the very edge", not without reason has become a kind of emblem of Vysotsky's poetry. This image is all made up of grotesque oxymorons: the hero of the poem drives the horses with a whip and at the same time begs them: "A little slower, horses, a little slower!" and at the same time he knows for sure in advance: "And I will not have time to live, I will not have time to finish singing." In fact, Vysotsky quite often chooses his characters according to their ability to "live on the edge." His favorite poetic "roles" are strong characters put by fate in an extreme situation. For Vysotsky, this commonality erases the distinction between Hamlet and a criminal, a climber and a pirate, a man and a machine, a wolf and a stallion. It is characteristic, for example, that poems about the war in his poetry appear simultaneously with stylizations under the "thieves" song, forming such vivid combinations as, for example, "Penal Battalions" (1964). For Vysotsky, poetry is the ultimate expression of freedom, and therefore, it cannot be realized outside an extreme situation, otherwise than “near life on the edge”. The difference between this artistic strategy and the traditionally romantic model is expressed in the fact that “both the top and the bottom in the ethical system of Vysotsky often act as equal goals of the movement” 1. Therefore, his angels "sing with such evil voices," to paradise is likened to the "zone" ("Paradise apples"). The lyrical hero of Vysotsky, even in the trajectory of his flight, reproduces the model of that “here” from which he is so eager to escape and which, as we have seen (for example, in the poem “My Gypsy”), is characterized precisely by the absence of stable boundaries between morally and aesthetically opposite states and values. It is quite natural that motives of self-destruction, self-destruction arise in Vysotsky's lyrics: the author and the lyric hero quite consciously build their lives as a race over an abyss in order to more acutely experience the fatal rapture of freedom: in the poem "The Story of a Disease" (1977-1978), one of the most autobiographical and most terrible texts of the late period of his work. Self-destruction is a logical payment for the will to wholeness in a carnival world that has lost its integrity, knows no boundaries between good and evil, truth and lies, filled with many arguing and incompatible truths. The grotesque "logic of reverse", in which "everything happens the other way around" in relation to the conscious goal set by a person, also turns on the lyrical hero Vysotsky. Vysotsky was never able to reconcile
romantic maximalism of his lyrical hero (“I don’t love”) with his omnivorousness, openness to “someone else’s” word and “someone else's” truth. It is this grotesque combination of the will to wholeness with a fundamental rejection of wholeness that turns all of Vysotsky's poetry into a kind of "open text" that goes beyond
the limits of the social era that gave birth to it.
"I do not like"
Optimistic in spirit and very categorical in content, the poem by B.C. Vysotsky "I do not like" is a programmatic one in his work. Six of the eight stanzas begin with the phrase “I don’t love”, and all this repetition sounds eleven times in the text, ending with an even sharper denial “I will never love it”.
What, then, can the lyrical hero of the poem never be able to come to terms with? What life phenomena does he deny with such force? All of them, to one degree or another, characterize him. Firstly, it is death, a fatal outcome, which is difficult for any living being to come to terms with, the hardships of life, forcing one to get distracted from creativity.
The hero also does not believe in unnaturalness in the manifestation of human feelings (be it cynicism or enthusiasm). He is seriously injured by someone else's interference in his personal life. This theme is metaphorically underlined by the lines (“When a stranger reads my letters, looking over my shoulder”).
In the fourth chapter, the gossip hated by the hero is mentioned in the form of versions, and in the fifth he exclaims: "It is a shame to me if the word" honor "is forgotten and since it is in honor of slander for the eyes." Here there is a hint of the Stalinist era, when, on false denunciations, they went to death, imprisoned, exiled to camps or to an eternal settlement of innocent people. This theme is emphasized in the next stanza, where the lyric hero declares that he does not like "violence and powerlessness." The idea is emphasized by the images of “broken wings” and “crucified Christ”.
Some thoughts are repeated to varying degrees throughout the text of the poem. The work is thus full of criticism of social disharmony.
The satiated confidence of some is combined with the broken wings (that is, the fates) of others. B.C. Vysotsky, on the other hand, always had a heightened sense of social justice: he instantly noticed any violence and powerlessness around him, for he himself felt them when he was not given permission to perform concerts for a long time. Creative inspiration inspired new achievements, and numerous prohibitions broke these wings. Suffice it to note that the poet, who left such a vast creative heritage, did not publish a single collection of poetry during his lifetime. What kind of justice in relation to B.C. Can Vysotsky speak after that? However, the poet did not feel internally in the camp of the weak, those innocent who are beaten. He also experienced the burden of popular love and fame, when his songs became popular, when people tried their best to get a ticket to the Taganka Theater to get to know B.C. Vysotsky as an actor. B.C. Vysotsky understood what an attractive power this glory possessed, and the image of the needle of honor in the fourth stanza of the poem eloquently testifies to this.
In the final stanza, another remarkable image appears - "arenas and arenas". It symbolizes the attempts of all kinds of acting in society, when “a million are exchanged for a ruble,” that is, they are exchanged for a little in the name of some false values.
The poem “I don’t love” can be called a life program, following which a person is able to preserve such qualities as honesty, decency, the ability to respect himself and maintain the respect of other people.
19. The image of the righteous matryona in the story of Solzhenitsyn.
Solzhenitsyn was one of the first to define the range of topics and problems in Russian literature of the second half of the twentieth century " village prose”, Which have not been raised or hushed up before. And in this sense, the story "Matrenin's yard" occupies a very special place in Russian literature.
In this story, the author touches upon such topics as the moral and spiritual life of the people, the relationship between power and man, the struggle for survival, the opposition of the individual to society. The writer's attention is focused on the fate of a simple village woman Matryona Vasilievna, who worked all her life on a state farm, but not for money, but for “sticks”. She got married even before the revolution and from the very first day family life took up household chores. The story “Matryona's Dvor” begins with the narrator, the former Soviet prisoner Ignatyich, returning to Russia from the steppes of Kazakhstan and settling in Matryona's house. His story - calm and full of all sorts of details and details - gives everything described a special depth and authenticity: "In the summer of 1956, from a dusty hot desert, I returned at random - just to Russia."
Matryona Vasilievna is a lonely woman who has lost her husband at the front, who has buried her six children. She lived alone in a large old house. "Everything was built long ago and soundly, for a large family, and now there was a single woman of about sixty." The theme of the home, the hearth, it is in this work of Solzhenitsyn that is stated very sharply and definitely.
Despite all the hardships and hardships, Matryona has not lost the ability to respond to someone else's misfortune. The heroine is the keeper of the hearth, but this only mission of hers acquires, under the pen of Solzhenitsyn, true scale and philosophical depth. In the simple life of Matryona Vasilyevna Grigorieva, the same unseen righteousness shines through, without which Russia cannot be reborn.
She suffered a lot from the Soviet regime, she worked tirelessly all her life, but she never received anything for her labor. And only love and the habit of constant work saved this woman from everyday melancholy and despair. “I noticed that she had a sure way to regain her good spirits - work. Immediately she either grabbed a shovel and dug potatoes. Or, with a sack under her arm, she followed the peat. And then with a wicker body - berries in a distant forest. And she did not bow to the office tables, but to the forest bushes, but having broken her back with a burden, Matryona returned to the hut, already enlightened, contented with everything, with her kind smile. "
Without accumulating “wealth” and not making any “good”, Matryona Grigorieva managed to keep a sociable disposition and a heart capable of compassion for those around her. She was a rare person with an immensely kind soul, she did not lose the ability to respond to someone else's misfortune.
Thaddeus is opposed to the image of the righteous woman Matryona in the story. In his words about Matryona's marriage to his brother, fierce hatred is felt. The return of Thaddeus reminded Matryona of their beautiful past. In Thaddeus, nothing trembled after the misfortune with Matryona, he even looked with some indifference at her dead body. The train wreck, under which both the room and the people transporting it were, was predetermined by the petty desire of Thaddeus and his relatives to save money on small things, not to drive the tractor twice, but to get by with one flight.
After her death, many began to reproach Matryona. So, the sister-in-law said about her: “... she was unclean, and she did not pursue the purchase, and was not careful; ... and stupid, helping strangers for free. " Even Ignatyich confesses with pain and remorse: “There is no Matryona. A loved one was killed. And on the last day I reproached her for her quilted jacket. "
But if you think about it, would many of us be able to help strangers “for free” without seeking to accumulate good or give it to others? And Matryona was able to Solzhenitsyn in her story "Matryin's Court" seeks to warn the reader that righteousness is slowly leaving our lives, and this process is very dangerous, since it is associated with the destruction of the fundamental foundations of the national character. Together with Matryona, millennial Russia goes into the past, into oblivion. And only
15. As the main figure of village prose soon begins to be perceived Valentin Rasputin... At the beginning creative path wrote things permeated with "taiga romance", but gradually left the sixties and came to the soil. The difference between Rasputin and other representatives of rural prose is that he was able to give his works a moral and philosophical sound. Rasputin raises the question of whether in the technocratic era, along with obsolete tools of labor, the moral values accumulated in the popular consciousness over decades and centuries should also go away, and answers it negatively. Rasputin defends a Christian attitude to life. Adherence to God's truth, a sense of conciliarity, an inextricable connection with one's homeland, love for all living things, caring for a family, a willingness to decorate the earth with their labor - this is the philosophical system of Rasputin's heroes. In the center of his works is the image of the Russian land, which is personified by the village, and the image of the Russian person living on this land. Although Rasputin tells about modernity, he emphasizes the traditional, patriarchal in the characters of his heroes. Such are Kuzma ("Money for Maria"), Anna ("Deadline"), Daria ("Farewell to Matera"), the driver Yegorov ("Fire"). Rasputin is interested in the same patriarchal type, but represented in different modifications, different ages, male and female.
Kuzma is a patriarchal person who continues to see a single big family in the village, that is, he lives by the notions of the Russian community. He is guided by the relevant norms in his behavior. When his wife Maria, due to her illiteracy, is in trouble (shortage), Kuzma expects help from the members of the common family, as he treats the villagers. He has a dream about a collective farm meeting, where money would be collected for Maria. [Retelling of the episode.] This is a dream, and the reality is strikingly different from it. Walking around courtyard after courtyard, Kuzma says nothing - everything is already known - and people behave differently. Who shares the last, and who shows complete indifference and callousness. The author seeks to show that there is a disintegration of communal ties in the village, which collectivization did not strengthen, but only shattered. "Life has become better, but they themselves have become worse." Kuzma's last hope is his brother, who left for the city many years ago. Kuzma goes to the city, finds his brother's house, presses the bell, hears footsteps - and at this the author breaks off the story. We do not know if the brother will help the brother or will also show callousness.
Rasputin endows with a rich inner world people who are morally beautiful, who, perhaps outwardly unassuming, have not achieved success in life, but this is genuine human beauty. Such is his old woman Anna, who is typologically related to Matryona. She never left her village, in many contemporary issues does not understand, but he lives according to the Christian commandments and, as it were, “reports” to God in daily prayers for every day he has lived. This is an eternal toiler, a person infinitely attached to his land, a beautiful mother. Old woman Anna is morally superior to her educated urban children, whose culture turns out to be only a set of decency and superficially acquired stereotypes. In the face of the death of their mother, they were given, as it were, a "last term" in order to be morally reborn, but the rebirth did not take place. The author condemns these people.
In the person of the old woman Daria, the writer showed the keeper of the primordial Christian ideas about good and evil, about a person's duty. The unusual character of the heroine is that she is an old woman, a “philosopher,” a very wise creature. She lacks book knowledge, but by nature she has a sharp mind and enough life experience. Daria's prototype is the writer's grandmother. Daria acts as a defender of Orthodox traditions, a small homeland, destroyed nature, defends respectful attitude to God's world, which people should not destroy.
Rasputin's Ivan Petrovich Yegorov, the protagonist of The Fire, appears as a man striving to live according to his conscience, which Solzhenitsyn also called for. He sees that, torn from their familiar environment, having lost contact with their native village, yesterday's peasants cease to be a single world, on whose court everyone depended in one way or another. They are beginning to be indifferent to the people's property. Indifference is also established in relationships. Through the lips of the hero, the writer warns of the catastrophic nature of the chosen path. The stories "Farewell to Matera" and "Fire" contain eschatological motives. Introducing such motives, the author makes it clear that if people do not revive the best moral qualities, they will ruin the world and perish themselves. As for Voznesensky, for Rasputin true progress is moral progress. Although Valentin Rasputin continues to compose today, the years of the post-thaw era remain the pinnacle of his work. In our time, he began to repeat itself and slid to the right-wing conservative positions.
33. Search for the truth of life in Astafiev's story The Sad Detective.
In his novel, Viktor Astafyev addresses the theme of morality, writing about the everyday life of people, which is typical of peacetime. His heroes do not stand out from the gray crowd, but merge with it. Showing ordinary people suffering from the imperfection of the surrounding life, Astafyev raises the question of the Russian soul, of the originality of the Russian character.
Various pictures of the provincial life of the city of Weisk pass before the reader's gaze. The general bleak picture of the city's life is almost unpunished hooliganism, alcoholism, spiritual and physical poverty, dirt, abuse, arbitrariness - all this is written in gray, gloomy colors.
The novel shows "the present intelligentsia and the present people." The work tells about the life of two small towns: Veisk and Khaylovsk, about the people living in them, about modern customs.
Life in Veisk and Khaylovsk flows in a stormy stream. Young people, having drunk to such an extent that a person turns into an animal, rape a woman who is suitable for them as a mother, and the parents leave the child locked in an apartment for a week.
All these pictures, described by Astafiev, terrify the reader. It becomes scary and creepy at the thought that the concepts of honesty, decency and love are disappearing.
The main character is a police operative Leonid Soshnin. He is a forty-two-year-old man who received multiple injuries in the line of duty, and is due to retire. Having gone on a well-deserved rest, he begins to write, trying to figure out why there is so much anger and cruelty in a person. Where does it accumulate with him? Why, together with this cruelty, does pity for the prisoners and indifference to themselves, to their neighbor, a disabled war and labor, exist in Russian people?
Childhood Leonid Soshnin, like almost all children of the post-war period, was difficult. But, like many children, he did not think about the complex issues of life. After his mother and father died, he stayed with his aunt Lipa, whom he called Lina. The period when Soshnin was a policeman is also described, he caught criminals, risking his life. Soshnin recalls the years he lived, wants to write a book about the world around him.
He married the girl Lera, whom he saved from the harassing hooligans. "There was no special love, he just, as a decent person, could not help but marry a girl after he was accepted in her house as a groom."
Leonid Soshnin always thinks about people, the motives of their actions. He has a heightened sense of responsibility for everything and everyone, with a sense of duty, honesty and the fight for justice "Why and why do people commit crimes?" He reads many philosophical books to understand this. And he comes to the conclusion that "thieves are born, not become."
"Life is communication with people, caring for loved ones, making concessions to each other." After he realized this, his affairs went better: they promised to print the stories and even gave an advance payment, his wife returned, and some peace of mind began to appear in his soul.
Leonid Soshnin is a man in the middle of the crowd. A man lost among people, lost in thoughts. The author wanted to show the individuality of a person among the crowd with his thoughts, actions, feelings. His problem is to understand the crowd, to merge with it. It seems to him that in the crowd he does not recognize people whom he knew well before. Among the crowd, they are all the same and good, and evil, and honest, and deceitful. They all become the same in the crowd. Soshnin is trying to find a way out of this situation with the help of books that he reads and with the help of books that he himself tries to write.
Soshnin is a diagnostician of the moral decay of society, the violation of all ties between people, between generations, between man and nature. Thinking about the problems and vices of society, thinking how to fix them, such a hero begins with himself. V. Astafyev wrote: "You always have to start with yourself, then you will come to the general, to the general state, to the universal human problems." The main character Soshnin believes that we invented the mystery of the soul ourselves, in order to keep silent from others. The peculiarities of the Russian character, such as pity, sympathy for others and indifference to ourselves, we develop in ourselves. The writer tries to disturb the souls of the reader with the fate of the heroes. Behind the little things described in the novel, there is a posed problem: how to help people?
The lives of heroes evoke sympathy and pity.
The events described take place in peacetime, but one cannot but feel the similarity and connection with the war, for the time shown is no less difficult. Together with V. Astafiev, we reflect on the fate of people and ask ourselves the question: how did we get to this point?
The protagonist really looks like a sad detective. Responsive and compassionate, he is ready to respond to any trouble, a cry for help, to sacrifice himself for the good of complete strangers. The problems of his life are directly related to the contradictions of society. He cannot but be sad, because he sees what the life of the people around him is like, what their fates are. Soshnin is not just a former policeman, he brought benefit to people not only by duty, but also at the call of his soul, he has a kind heart
21.Man and history in the story "House on the Embankment" by Y. Trifonov.
In the story "House on the Embankment" Yuri Trifonov continues to explore the inner world of man, his relationship with the real world. The writer tries to understand how a person changes over time and whether he changes at all, how and under the influence of what, his system of moral values and life principles is being formed. It is with the aim of solving this problem that the plot time of the story was organized - these are three time layers: the end of the 1930s, 1946 - the beginning of the 1950s, 1972 -1974. In each time layer there are two houses, two worlds, which are in opposition to each other.
In the first temporary layer, these are Deryuginsky Lane and the Big House opposite. These two houses are the complete opposite of each other: the first is the house of professors, influential people with luxurious apartments and elevators, the second is the abode of the lower strata of the population, a den of various kinds of punks. Deryuginsky Lane is a house of the 1930s. Glebova. The contrast that the boy observed, getting from his communal apartment to the Big House, could not but affect the formation of his character, but affect his consciousness. Already in childhood, a feeling of envy arises in Glebov, still subconscious, implicit, at the same time he commits his first betrayal. It should be noted that the world of childhood portrayed by Y. Trifonov was by no means happy, all the events of childhood were of a dramatic nature, and at the same time this whole world of childhood took part in the formation of Glebov's character. Glebov was greatly influenced by his father, whose excessive caution, while observing the basic rule: "not stick out", were natural features in the behavior of many people of that time, in fact, signs of the times ("Stalinism"). These traits were carefully disguised by Glebov Sr. under the guise of frivolity and fun, behind which, however, hid constant tension and fear for his family. It is not surprising that he does not want to turn to Shulepnikov for help, does not dream of owning an apartment in the Big House, as he understands that "living without your own corridor is much freer." Glebov was embarrassed and uncomfortable for his father when he was insincere with Levka, and perhaps at this time a sense of pride arose in Dimka, a desire to achieve the same position in society as Levkin's stepfather. It is important to note here that Glebov had a great advantage over Levka, namely he had a house, a family where love, warmth, inner, spiritual comfort, and mutual understanding reigned. The house allowed Glebov to feel more confident in life, he gave him roots that Levka did not have.
The Deryuginsky small house is opposed in the story by the Big House on the Embankment. In the first time frame, it appears mainly as the house of Levka Shulepnikov. Levka's huge apartment is a special material world that is the envy of Glebov. A nursery with bamboo furniture, carpets on a sparkling parquet floor, boxing gloves, a globe, a movie camera - all this for Glebov is symbols of power over his classmates. Thus, both of these heroes are given by the author surrounded by the material world, through his perception. And here the reader sees the first difference between the guys. Levka, unlike Glebov, is less dependent on the material world. He does not seek to use it as a kind of leverage on classmates in order to gain authority and respect. A sense of camaraderie is also important to him, he chooses his friends not for equal social status, but those who are really interesting to him. He has no sense of revenge (the story of the "dark"). Levka in childhood is morally cleaner and taller than Glebov, human qualities are more important for him than material ones, during this period he is a bearer of universal human values and human dignity. However, Levka has no home, no roots, and their absence is the reason for his fall. Constant moving from apartment to apartment, which were one more luxurious than the other, a series of "fathers", with none of whom he had spiritual ties, warm family relations, as there were none with his mother, to a large extent contributed to the disappearance of human qualities in him: generosity, kindness, cordiality, human participation, empathy. Already in 1946 - early 1950s. Shulepa becomes dependent on the material world, on luxury goods and convenience. At the same time, his entourage is changing: now they are "scoundrels" friends. Shulepa began to choose friends based on their usefulness, but not on their human qualities. As a result, he turns into an indifferent, mentally deaf person who is not really interested or touched by anything.
Changed in the 1940s - early 1950s. and Glebov. At this time, Glebov became a "resident" of two houses (Deryuginsky lane, Bolshoi Dom), but, in fact, neither there nor there has no home. Gradually, he is increasingly moving away from his native home, since he can no longer live in it. The Deryugin house seems to him a cage, a miserable dwelling, and he is ashamed of it. At the same time, he is increasingly becoming a slave to things. He almost does not see people, or rather does not see human in them, he sees how high their ceilings are in the apartment, what chandeliers, wardrobes, paintings and so on. At this time, the feeling of envy deepens, its quality changes - it becomes angry. Children's daydreaming develops into a persistent desire to achieve their dreams by any means and means. And he, blinded by the material world, goes to betrayal, makes his choice, exchanging Sonya's love for material wealth.
Moving to the third time layer, in the 1970s, we see that Glebov achieved everything he was striving for: there is a cooperative apartment, a two-story summer cottage, a car. Achieved, surrounded himself with the material world, sacrificing Sonya's love. But the material world did not bring Glebov satisfaction and joy, in the end life path he bitterly realizes this, summing up his life and youth, "when he was just dreaming, languishing with insomnia and miserable youthful impotence, about everything that then came to him without bringing joy, because it took so much energy and that irreplaceable , which is called life ... "The sad end of Levka Shulepnikov's path, who, sinking lower and lower, turned out to be at the end of his life an employee of the crematorium, a gatekeeper, a guardian of the kingdom of the dead - he no longer seemed to exist alive, and even his surname was him there was another - Prokhorov.
The daughter of the Ganchuks, Sonya, is the complete opposite of her parents. The main thing that distinguishes her from them, and from all the other heroes of the story, is her spiritual qualities. It is outside the material world, as if above it, does not depend on it. On the contrary, Y. Trifonov constantly emphasizes her human dignity: the ability to help and empathize with people, hospitality and cordiality, kindness, but most importantly - "painful and non-selective pity for others, for everyone." Sonya's pity testifies to Sonya's Christian love for all people. An important trait of her character is the ability to love sincerely and faithfully, the way she loved Glebov, surrendering to this love entirely. Sonya is the unifying principle, the center of not only her home, but also her dacha in Bruskovo, and the home in Deryuginsky Lane. She acts in the story in the role of the guardian of the house, as she brings love and peace to this house.
In Y. Trifonov's story "House on the Embankment", everyday and historical times are intricately intertwined both in the fate of an individual and in a common fate. A person comes into contact with history in his everyday existence, far from always recognizing the historical in everyday life. This gift Yu. Trifonov endowed only one hero - Anton Ovchinnikov, securing his role as a bearer of historical memory. For Y. Trifonov, life is a flow. At the same time, the stream is a symbol of history, time, that which is more powerful than man. Not all people manage to go through the life stream, but all those who have passed it are invariably tested by time. Time reveals and emphasizes the negative qualities of Glebov, Shulepnikov, but at the same time it reinforces and emphasizes the purity and spiritual beauty of others (Sonya, Anton). Thus, Yu. Trifonov emphasizes the need for the existence of an individual moral culture in every person, without which the spiritual existence of a person is impossible. It is necessary for a person in order not to commit immoral acts, so that he can look into the past with a clear conscience, without shame and without seeking to forget him, so that he does not hate his childhood, as Glebov hates him, who, having committed another betrayal, was in a hurry to leave over time, so as not to remember those shameful acts that have settled with an unpleasant weight in the soul
16 .The connection of village prose with the problem of "man-nature" in Astafiev's story "The Tsar Fish".
The problem of the relationship between man and nature has never been so acute as in our time. How to do it in order to transform the earth, preserve and increase earthly wealth? By renewing, saving and enriching the beauty of nature? This is not only an environmental problem, but also a moral one. In the modern world, there is a discrepancy between the gigantic opportunities that a person, armed with technology, receives and the morality of this person.
Man and nature, their unity and confrontation are the main themes of Astafiev's work "Tsar-fish", which the writer himself called as "narration in stories." This book was written under the impression of the author's trip to the Krasnoyarsk Territory. The main focus of the novel, consisting of twelve stories, is ecological. But Astafyev also speaks in it about the ecology of the soul, when “a person is forgotten in a person”. The writer believes that each person is personally responsible for everything that happens in the world. “It only seems to us that we have transformed everything, and the taiga too ...” Astafiev says. - We inspire ourselves as if we are managing nature and what we want, we will do with it. But this deception succeeds until you remain with the taiga face to face, until you stay in it and become transformed by it, then only ... you will feel its cosmic spaciousness and greatness. "
The writer calls for the restoration of natural resources, for the economical use of what we have, for the skillful organization of the hunting and fishing industry of the country: “Who will argue against the need, against the benefits for each of us of millions, billions of kilowatts? Nobody, of course! But when will we learn not only to take, to take - millions, tons, cubic meters, kilowatts - but also to give, when we learn to look after our house like good owners? "
The writer is concerned about the scale of the ongoing poaching, in which a person is already beginning to lose his human dignity... Violation of hunting laws leads to violation of moral laws, to personality degradation. “That is why I am afraid,” the writer notes, “when people are unbelting in shooting, even at an animal, at a bird, and in passing, playfully, shed blood. They do not know that, having ceased to be afraid of blood ... imperceptibly they cross that fatal line beyond which a man ends and ... looks, without blinking, a low-browed, fanged muzzle of a primitive savage. "
The danger of the disintegration of natural human ties with nature and with other people - this is the main problem that is considered in "Tsar-fish". Any person who has done evil in relation to the world, especially to its defenseless and most vulnerable representatives - children, women, old people, animals, nature, is punished with life even more cruelly. So, for his rudeness, predation, drunken revelry, the Commander pays with the death of an innocent girl Taika, and Ignatyich, being on the verge of death, realizes that he has been punished for insulting the bride. The clash of kindness and heartlessness, companionship towards people and selfishness can be traced in the characters of the main characters - Akim and Gogi Gertsev. Their dispute is a clash of the consumer's soulless and merciful, humane attitude to nature. If for Akim nature is a nurse, for Gertsev she is more a stepmother than a mother. The writer claims: he who is ruthless, cruel to nature, he is ruthless, cruel to man. If Goga did not consider people to be either friends or comrades, he “lived on his own and for himself,” then to Akim any person he met in the taiga is his own. There is a fight between Gertsev and Akim because Goga, having drunk the front-line soldier Kiryaga, exchanged his only front-line medal for a bottle and melted it down. Akim compares this to robbing a beggar. Gertsev answers him: “I don’t care about the old women, about this dirty cripple! I am my own god! " Elya was also on the verge of death, whom Goga took with him to the taiga, accustomed to being responsible only for himself, thinking only of himself. Elya Akim saved him, for whom it was a natural act. This simple and kind person considers work and helping his neighbor to be his main duty on earth. And Gertseva was punished by life itself. He died in a duel with nature. The hero of the story "Tsar-fish", which gave the name to the whole story, Ignatyevich, the elder brother of the Commander, in a duel with the Tsar-fish, personifying nature, having survived a deep shock, managed to escape. In the face of impending death, he recalls his entire life, recalls the most bitter, shameful - abuse of a girl. He did not raise his hand against a single woman, he never did anything wrong again, he did not leave the village, hoping with humility and complaisance to "take the blame, beg forgiveness." And he perceives his meeting with the king-fish as punishment for the sin of youth, for insulting a woman. “Are you waiting for forgiveness? - Ignatyich asks himself. - From whom? Nature, she, brother, is also feminine! .. Accept ... all the torments in full for yourself and for those who, at this moment under this sky, on this earth, are torturing a woman, perpetrating nasty things on her. " This repentance, mental cleansing, the awareness of the fatality of the poaching attitude to life helps to release Ignatyich. He who can repent and receive his sight is not lost for life. That is why the fish king does not take him with him into the cold dark water. Relationships of kinship are established between the natural world and man.
Victor Astafiev with all his creativity asserts that only morally strong, spiritually whole people are able to "hold the world on their shoulders, resist its decay, decay."
17 .Camp theme in the works of V. Shalamov.
The cycle "Kolyma Tales" consists of 137 works and is subdivided into five collections: "Kolyma Tales", "Left Bank", "Shovel Artist", "Resurrection of the Larch", "Glove, or KR-2". They are adjoined mainly by journalistic "Essays on the Underworld", containing, in particular, an original critical understanding of the experience of depicting the criminal, camp world in literature - from Dostoevsky, Chekhov, Gorky to Leonov and Yesenin ("On one mistake in fiction", "Sergei Yesenin and thieves' world ", etc.).
The essay, documentary and autobiographical beginning becomes the basis of large-scale artistic generalizations in the cycle. Here they found the creative embodiment of Shalamov's reflections on the "new prose", which, in his opinion, should get away from excessive descriptiveness, from "teaching" in the Tolstoyan spirit and become "the prose of living life, which at the same time is a transformed reality, a transformed document." , declare oneself as a "document about the author", "prose, endured as a document." This future "prose of experienced people" asserts a special understanding of the artistic role of the author-narrator: "The writer is not an observer, not a spectator, but a participant in the drama of life, a participant and not in the guise of a writer, not in a literary role." At the same time, the camp theme is interpreted by Shalamov as a way to a broad understanding of the historical experience of individual and national life in the twentieth century: "Isn't the destruction of a person with the help of the state the main issue of our time, our morality, which has entered the psychology of every family?" Sharply polemicizing with A. Solzhenitsyn, for whom the reflections on the "resistance" of a person to the System, capable of being the core of the positive experience taken from the camp life, were extremely significant for him, Shalamov, in a letter to Solzhenitsyn dated November 15, 1964, called such a "desire to necessarily depict the resisted "-" a kind of spiritual corruption "because, from his point of view, the camp generates irreversible, destructive changes in consciousness and acts exclusively as a" negative experience for a person - from the first to the last hour. "
In Shalamov's camp epic, these initial ideas are largely refined and corrected in the process of artistic research of the reality and characters of the characters. The main genre of the cycle was the short story, which, in an extremely dynamic plot drawing, conveyed the severity of the rapidly overlapping, often absurd, circumstances of the life of a prisoner on the verge of nothingness. Shalamov succeeded "in the structured artistic forms of the novel to capture what, in principle, cannot be structured — a person who finds himself in super-extreme situations."
Various problem-thematic levels are distinguished, the most important "sections" of camp life, comprehended in the "Kolyma stories".
The central subject of the image is the fate of the camp of ordinary Soviet citizens serving prison on political charges: front-line soldiers, engineers, creative intelligentsia, peasants, etc. Most often, the painful process of decay, petrification of the personality, and its moral surrender both to the camp "blatars", for whom it turns into an obliging "heel comber" ("Snake Charmer", "Typhoid Quarantine"), and before the big and small superiors ("At the stirrup"), before the logic of the camp reality that destroys the soul and body ("Single froze"). On the other hand, the author comprehends, as a rule, situational manifestations of simple humanity and sincerity ("Dry ration", "Bread", "Carpenters"), doomed to harsh suppression and dissolution in the camp environment, sometimes associated with a glowing religious feeling ("Apostle Paul" ), as well as instinctive, social, intellectual, spiritual and moral resistance to the camp expressed with varying degrees of awareness ("On the idea of & q
Some features of modern fiction.
At a meeting of the creative intelligentsia with young French writers within the framework of last year's "Days of France in Ukraine", one of the modern novelists announcing their new book was asked a question of approximately the following content: what can you, the young generation of French writers, say new about love and human relations? ? What did Dumas, Balzac and Maupassant not capture and describe in their works?
The young man's answer (I cite from memory) was simple and understandable even with a bad translation: relations between people have generally remained unchanged for centuries, but against the background of new modern decorations they look and are perceived in a completely different way. Through other details, other dialogues. In the new realities, the feelings of the heroes and the motives of their actions are felt in a completely different way than centuries ago. In this sense, we have something to say to the reader.
I remembered this meeting to indicate the topic of this note. Literature is not created outside of time and space; to a certain extent, she is a reflection of the surrounding life. Even if the author writes on abstract topics or in different experimental genres, he will certainly endow the heroes with reasoning and actions that are understandable to him, understandable - from the point of view of the present day. Therefore, I would venture to suggest that "blind" alignment with the classics is just a desire to imitate them, which has nothing to do with novelty in fiction. Modern literature can be equal to world and domestic classics mainly as a reference point, as a high bar, but in no case should it try to imitate the style and not copy ideas. Classic creations were created in a different era and under different circumstances.
Today's literary hero is the average person who lives in a frantic rhythm of cities and daily swallows a large stream of superficial information. Clothes, manners, speech, habits, entertainment - everything has been averaged out, leveled off, and today it is difficult to distinguish a prince from an ordinary manager. At least on the surface. Therefore, the need to describe in detail the elements of the wardrobe or the hairstyle of the hero today, in my opinion, has weakened its former importance. Such descriptions and characteristics gave an idea of the hero's lifestyle and place in society even a hundred years ago. Today presidents and bank clerks wear the same tailored blazers and light-colored shirts with ties, millionaires and freelance artists wear similar jeans and T-shirts. Clothes and hairstyle today do not say much, and sometimes can even distort the real status of the hero. Hence the first conclusion: in today's prose, one should not devote much space to detailed descriptions of the characters' appearance. Through dialogues (internal monologues) and actions, the character of the hero can manifest itself more vividly and more accurately. Rather, even through actions. Today everyone has more or less learned to speak. From deputies to suitors. But the actions are different, and it is they that often reveal the true face of people.
A large number of sources of information overloads the psyche of an ordinary person today, does not allow one to completely disconnect from society and plunge into the world of fiction for a long time. Someone will definitely call, call out, somewhere the music will play or the horn will beep. Some kind of special news release. Or even just the reader will remember about the debt for heating or repairs in the kitchen. It was the heroes of Chekhov's stories who could carelessly talk about the meaning of life on long summer evenings in estates drinking tea or read long novels about eternal love... Today you will definitely be found by some SMS even at the dacha, even on a distant beach in the Dominican Republic roaming will overtake you, annoying with an abundance of various advantageous offers. And it will lead out of the state of complete dissolution in the fate of literary heroes. And when, after a couple of days, after solving many small problems, after consultations and conversations with friends, relatives, colleagues, after a cursory watching of the next series of endless movies or popular talk shows, in general, after living the usual two days, you suddenly want to return to an hour to interrupted reading, then you will tune in for a long time and remember: which of the heroes is to whom and by whom. Second conclusion: modern fiction should not be long, heavy and overloaded with information; let it be an easy novella or a short story, but always one that can be mastered in one sitting.
I want to make a reservation that I am not talking here at all about the format of memoirs, miniatures, philosophical fables, congratulations and reports on grandchildren, cats, anniversaries, published books and other allusions to fiction that abound on the Proza.Ru website. I do not understand at all how such "works" are allowed to be announced. It's one thing to post them on your page, in a virtual office, and quite another to put them out for everyone to see, to attract an audience. I'm not even talking about the elementary ignorance and carelessness of some announced texts, the authors of which often dismiss comments with a standard phrase: let editors and proofreaders put commas and hyphens. I wish I could see this queue of publishers and editors!
After this lyrical digression, I would like to draw your attention to another interesting, from my point of view, feature. Through open borders, free Internet, hundreds of TV channels, such a flow of information poured out that all important events, dates and incidents become known to the whole world almost simultaneously. Therefore, today the informative component of prose is becoming weak, and the artistic merits of the text, style and word come to the fore. The binding of a literary text to dates and events may have a short reader's response (often seen at the top lines of the Proza.Ru rating), but in the long term it is doomed to weakening interest and low literary value. Third conclusion: the theme of the work should be as abstract as possible, as distant as possible from specific countries, cities and personalities. The plot of such a topic should be understandable and familiar to any reader anywhere in the world.
Our time has ceased to give the world fundamentalists in all fields of science and culture. New Mendeleevs and Lomonosovs, Hegels and Kants, Tolstoys and Pushkins no longer appear. Science and culture are increasingly of an applied, consumer nature. In this sense, the attempts of some authors to aim at creating epic or philosophical creations, epoch-making novels or poems, operating with higher categories and biblical truths, look ridiculous. The heroes and mise-en-scenes of Zoshchenko, Ilf-Petrov, Kundera, most of the stories of Chekhov and Gogol are much closer to today's reader and will not lose their relevance for many years to come, largely due to the chosen format, which focuses on simple everyday problems and human relations, which are more important for each of us. than global world chimeras and basic research. Hence - the fourth conclusion: in the creation of a literary text, one should not touch upon the deep, fundamental problems of mankind; looking around you, noticing important details and presenting them colorfully - is much more interesting and honest.
I would also like to touch upon the plot content. In my opinion, "pure" forms are gradually becoming obsolete. One-sided today can seem "pure" detective story, erotica, fantasy, etc. A modern fiction story should (if possible, of course) include elements, if not all, then many genres and forms - humor, drama, eroticism, fantasy, adventure, detective story. Our life today is exactly like that, it mixes all the listed genres, and a whole lot of others. Therefore, a work built on the interlacing or light touch of various genre moves and features will be perceived as lively and interesting to the reader. And therefore, the fifth conclusion: contemporary fiction should not fit into narrow genre frameworks; it should be wider, evoking the most polar emotions, from laughter to tears.
The considerations given in this article do not pretend to be theoretical research in the field of philology and exclusivity, but are only in the nature of an amateur look from the outside at modern fiction.
P. V. Sivtseva-Maksimova, M.N. Diachkovskaya
Scientific heritage of G.M. Vasiliev in the aspect of the problems of literary criticism and philology in 1950-1970
The article deals with the scientific and literary heritage of G.M. Vasiliev (1908-1981), a professional translator, researcher of literature and folklore. The authors of the article give special attention to the G.M. Vasiliev's literary criticism which reflected ideological situation in the middle of the XX century. Here the scientist's view on disputable issues of studying the heritage of Yakut classical writers was analytically researched. In the article you will find scientific assessment of the prosody works by G.M. Vasiliev that allowed Yakut science entered the section of fundamental research in Russia. In the article literary and social activity which preserved the unique handwritings of literary and scientific character is shown from the modern position.
Key words: literary translation, literary criticism, epic poetry, creative work of A.E. Kulakovsky and P.A. Oyunsky, problems of author's text, poetic terminology.
UDC 820/89 82 (100) S.N. Barashkova, S.F. Zhelobtsova
features of the poetics of modern women's prose
The features of the poetics of modern women's prose on the materials of Western European, Russian and Japanese literature are considered. The genre-style searches of the authors are analyzed from the point of view of typology and writer's individuality. The selection of the original textual material allows you to reveal the originality of the construction of the plot, composition, artistic techniques. The relevance of the article lies in the study of the gender aspect of the works of the turn of the century.
Key words: gender, literature, prose, archetype, chronotope, plot, composition, image, poetics, mythologism, reinterpretation.
The globalization of life at the turn of the century clearly shows the tendency of fiction to reflect the female consciousness, about which feminist criticism writes a lot and controversially.
The traditional idea of women's prose as “ladies'” fiction is fundamentally changed by the socio-psychological, ideological, artistic significance of the phenomenon of the heroine's personality, striving to self-sufficient self-determination in life. It is impossible not to see that the fate of a woman, the aesthetics of the female image, the psychological depth of her character have always determined the artistic level of any literature, her search for a spiritual ideal. The reader's demand for works of Western European, Russian and Japanese literature convinces of the timeliness of literary comprehension of women's prose as a new and distinctive phenomenon of world literature today.
BARASHKOVA Svetlana Nikolaevna - Ph.D. in Philology. D., associate professor of the Institute of Nuclear Medicine
Email: [email protected]
ZHELOBTSOVA Svetlana Fedotovna - Ph.D. in Philology. D., associate professor of FLF YSU
Email: [email protected]
Questions of poetics are topical in the stylistic searches of modern writers, whose works have become bestsellers of the book auction. Nobel Prize awarded to Austrian Elfriede Jelinek, Booker
Russian women Lyudmila Petrushevskaya, Tatiana Tolstaya, Lyudmila Ulitskaya. The list of 100 most significant books German writers In the twentieth century, Anna Zegers' novel "The Seventh Cross" was published. Among the most popular and successful fiction writers of the last decade are Naomi Suenaga, a member of the Japanese Peng Club. Banana Yoshimoto, which critics call "Murakami in a Skirt" and the national hope of the country of the Rising Sun of the XXI century, has repeatedly received world literary awards. All new authors are permanently nominated for alternative literary prizes, filling women's literature with the detonating force of protest that explodes the usual foundations of male ideology.
Anthology of Western European literature of the XIX-XX centuries. permeated with the sensual pathos of the feminist aspirations of Jane Austen, who insisted on the freedom of an equal choice of a partner by a woman. The iconic heroines Georges Sand stoically shared the drama of the revolutionary time with their comrades in the struggle. In the English provinces, the characters of the Brontë sisters dreamed of labor equality; Simone de Beauvoir joined
dialogue-duel, defending women's right to self-sufficiency. Asceticism becomes life principle heroines of Christa Wolf, Elfrida Jelinek, whose novels have become iconic in the renewed cultural space.
The turn of the century clearly manifested women's prose in Russian literature, the authors of which are actively becoming laureates of prestigious literary prizes, nominees for alternative projects. Inherent in heroines created by the male imagination of Russian classics, spiritual expression, love-passion, reckless act-impulse, which made Tatyana Larina, Nastasya Filippovna, Sonechka Marmeladova, Natasha Rostova, Anna Arkadyevna idols for all time. Paradoxically, they change in the works of Dina Rubina, Victoria Tokareva, Oksana Robski. Memories that Murasaki Shikibu and Sei Shonagon stood at the origins of the Japanese classics give impudence to the young, shockingly rejecting dogmatic ideas about the Japanese woman in the notorious kimono, obedient geisha, the eternal servant of her husband and son. The figurative system of Naoki Mori's novels is structured by teenage girls who teach their mothers a personal model of behavior, argued by modern ideas about moral values, moral categories.
An experience benchmarking female pages of Western European and Russian literature, using the example of the novels of Lyudmila Ulitskaya and Krista Wolf, reveals the functionality of the archetype associated with the idea of folklorism of literature, the basis of genetic continuity, when the optimization of the epic beginning makes the characters recognizable in social terms, humanly close to the modern reader. The genre nature of L. Ulitskaya's novel "Medea and Her Children" vintageously reveals archetypal consciousness the main character Medea Sinoply, who with biblical accuracy restores the promised space in the small courtyard of her Crimean house and, according to her life logic, challenges the fatal fate, acquiring family ties of numerous nephews and their children and grandchildren. L. Ulitskaya, a geneticist by profession, in her novel recreates the organic nature of everyday life: “There, a rope was stretched between a large nut and an old ailant, and Medea, who usually spends her lunch break in household chores, hung up thick blue linen. Dark blue shadows walked along the blue canvas of patched sheets, the sheets slowly, in a sail-like manner, bending, threatening to turn around and float away into the rough-blue sky. " Childless Medea magically attracts people to her, creating a family, which, with passionate love, did not keep the "original" Medea. Culminating in the development of the novel's plot are episodes of her meetings and partings with people who instinctively seek maternal warmth and feminine understanding in her. Motivation for actions and feelings
Roini of the novel by the German writer Christa Wolf “Medea. Voices ”is different:“ We pronounce the name and enter, since the partitions are transparent, in her time, a welcome meeting, and she meets our gaze from her ancient depths without hesitation and fear. Infanticide? First
A prick of doubt. And this is an arrogant mockery in the shrug of her shoulders, in the proud lapel of her head - she no longer cares about our doubts and our efforts to restore justice. She is removed. Leaving us - far ahead? Or deep back? ... Someday we will definitely meet. I would like to believe that now she is next to us, this is a shadow with a magical name, in which times and eras have come together, have come together painfully and unbearably. The shadow in which our time overtakes us. This is a woman, frantic ... Now we hear ... voices. " Christa Wolf revives the myth, positioning Medea's sacrifice in the struggle between barbarian Colchis and civilized Corinth. At the same time, the perpetrators of her “crimes” are men - “big children, terrible and unbearable, that's who they are, Medea. And there are more and more of them ... But they themselves cannot afford despair, they shake off despair on us, someone must grieve, but not he, that means a woman. " At the same time, both heroines absorb into their hearts someone else's pain, grief, guilt, forming a new level of archetypal content of the women's mission on earth. Stylistically recognizable is the epilogue, illuminated by the light of Medea's confession: “I am very glad that through my husband I became a part of this family and that my children carry a little of Greek blood, Medea’s blood. Until now, Medea's descendants - Russian, Lithuanian, Georgian, Korean - come to the Settlement ... We will bring here our little granddaughter, born of our eldest daughter-in-law, a black American woman from Gaiti. It's a surprisingly pleasant feeling to belong to Medea's family, to such a large family that you don't even know all its members by sight and they get lost in the perspective of the former, not the former and the future. "
L. Ulitskaya paints a discreet portrait of Sinoply, in which her Greek swarthiness is remembered, the tight knot of the scarf covering her hair, the asceticism of gestures and emotions: of which lay on the right temple. The long end of the shawl hung in small antique folds over the shoulders and covered the wrinkled neck. Her eyes were clear brown and dry, the dark skin of her face was also in dry small folds. " “Russian” Medea intuitively chooses among the riot of colors of southern nature, arising from the ultramarine of the sea, snow-white foam, the glamor of blooming fuchsia, black clothes of sorrow and longing. K. Wolf antithetically creates the image of a still happy and beloved heroine by her husband: “On the shore we met a woman, she was standing in the sea, the waves were washing her fiery red hair and white tunic”
We can talk about a special technique of the author's interpretation of the image, which goes back to the mythopoetic tradition. The history of the creative concept of the novel "Cassandra" by K. Wolf allows us to position the author's special opinion, which helps the reader to decipher the modern reading of the codes of the ancient myth: the connection of dangers, cataclysms that threaten humanity with gender. Cassandra is fearless, courageous, kind, feminine, she loves and is loved, but she hates lies and injustice. She is inquisitive and dreams of more than the humiliated position of women in society. Her refusal to be only a beloved leads to a conflict with her father, brothers, the god Apollo himself, in which she clearly sees the weakness, cowardice and lack of will of men. The writer interprets the ancient myth, focusing the readers' attention on the experiences and feelings of the heroine, makes her the central figure of the work, taking her out of the episode. After all, the "hero of our time" for Homer was Achilles, for Aeschylus, Agamemnon. The vengeance of the ancient Greek heroine for male deceit and treason is absorbed by Medea's love of the twentieth century for the girl Nika, whose name symbolizes the victory over rock.
In women's prose, genre boundaries are talented and fundamentally expanded, the stereotype about the genre nature is denied family romance, brutally nurtured by male classical literature, multiplying the philosophical overtones, gender overtones. The unification of different characters around the House of Sinopli occurs not according to the principle of marriage, overshadowed by the church, but according to the natural gravitation of people to Good and peace of mind. History continues to weigh on its scales Medea's “misfortune” and “guilt” from ancient myth. In the prose of L. Ulitskaya and K. Wolff, the genre-forming processes of the novel of the new millennium and its poetics are artistically realized.
Dina Rubina's prose is shaped by the style-forming role of achrony, understood as the illogical mobility of the main components of the text, paradoxically creating its artistic integrity. "Achroniya" lies "in the gap between time and space, linking them together in a chronotope, - I. Kuzin clarifies, - a chronotope is an achrony (absent beginning) revealed to accessibility, for spatial time ceases to be just time." The plot of the story "The Region of Blinding Light" develops from short-term meetings of the heroes, concentrating on the theme of fatally tragic love. At the same time, the objective time fits into a fifteen-minute run, a five-minute wait, a week-long illness, the place is determined by the conference hall, dacha, train station, Moscow, Jerusalem, corresponds to the subjective impulses of chaotic and strong feelings. The heroine's memories of her first love ("At a Long Traffic Light"), culminating in a knowingly unhappy marriage, are inserted
into the frame of the chronotope, when, in a temporal connection, the past acquires its true value in the present. A banal rendezvous of casual lovers or a boy rejected with youthful maximalism are illuminated by the light of the forgotten, but necessary now, as happens with the matured "stoyena singer" from the novel by Naomi Suenaga. In the structural connections of real events and events invented by the author, a special artistic world is born, developing in literary time. In this regard, the mythopoetisation of real time is important, which permeates the structural text. The dichotomy principle is realized in the fact that these writers, in search of themselves, return to the serene past, which is emphasized by the semantics of the title of the works, which varies the expression of the words “sunny” and “heavenly”: “In the summer, the courtyard was full of sultry, heavenly life. It hummed and vibrated with this life, like a beehive with sweet honey. Examples of retrospection reveal fragments of the text when the children's world is in harmony with the first ideas about beauty: “And then it suddenly dawned on me: all great singers are born with a special ball in their throats. ... When a person sings, the ball starts to move, giving his voice a variety of shades, and the sounds of this voice splash out on the audience like a fountain of multi-colored splashes ”. The author's narration reveals the logic of formation individual image Ideal, blown up by plot by the cruel realities of reality. So little Rinky, dreaming of becoming a great singer, swallows a "superball" - a two-centimeter rubber ball that was supposed to give her voice a special sound. But even the terrible vomiting caused by soy sauce, which barbarously washed out the “voice ball” from her, does not detract from her fanatical love for the Japanese pop icon Harumi Miyako and the pearl that “the sea washes with its waves, and each time a new thin layer forms on the pearl. mother of pearl. And it sparkles with an iridescent brilliance. " Naomi Suenaga explores the different states of the heroine: from the sincerely sublime to the naturalistically everyday in scenes where already a “standing-new singer” wears artistic costumes, noting in a notebook where and what she wore and gratefully accepts the coins sandwiched in chopsticks, shoved into the sleeves of a kimono, the neckline of a Chinese dress, from the hands of drunken visitors to a boarding house for poor old people.
Genre searches of contemporary prose give a promise to enrich literary devices. Dreams often turn the heroines away from everyday affairs, momentary anxieties and joys, opening the expanse of unconsciousness in which they again experience the bitterness of loss, a presentiment of misfortune: “the streams of blood in which she floundered, so she went to the sea to cleanse herself in the morning ... fierce sorrow rolled over, so now she woke up and was wide open outward, like all my memory is wide open, you-
all these fragments of memories left at once, like arable land, belching new stones from the depths of the earth in the spring. The plot of the novel adequately develops in a visionary dream about Medea Sinoply's husband, on the anniversary of whose death she learns about his close relationship with his sister.
In D. Rubina's story "Sunday Mass in Toledo", the function of the circumstances of reality is conveyed by an obsessive dream that accompanies the heroine throughout her life. Anxiety, born of a dream, from which it was tangibly remembered: “The pavement of a medieval city. And I walk along it barefoot ... A rather distinct pavement - large pebbles. Lined with an edge - a school of fish, spawning ... a cobbled steep street, and I walk along it barefoot, so clearly that my foot feels cold, ribbed pebbles "leads the author through cities and countries. There is everything: cobblestones, round cobblestones, a neat red herringbone brick, but neither in Holland, nor in France, nor in Italy does she find this place where Jews expelled from Spain 500 years ago can return and where they live since 1992 today representatives of her family Espinosa.
The composition of the novel "Shizuki's Daughter" by Kyoko Mori lacks the detailed exposition characteristic of the novel genre. The beginning of the development of the plot lines is the mother's dream, in which she sees herself "among the village children in red and blue kimonos, catching dry rice cakes, like multi-colored pebbles." The familiar picture - the celebration of the construction of a new house - is abruptly replaced by anxiety for her daughter, "who ran around the cherry blossom in her pink dress and caught white petals flying in the wind like confetti." Fear and fear for her daughter pushed the helpless Shizuko to a tragic step, accompanied by the rustle of scraps of paper, a suicide note: "They scattered around the room like white cherry blossom petals, or maybe like rice cakes from the rafters of a new house."
In the poetics of modern prose, the reinterpretation of fairy-tale motives is significant. The idea of women's happiness paradoxically unites female patients of a provincial maternity hospital who survived a criminal abortion, a severe miscarriage, an unsuccessful operation in the story of Victoria Tokareva " Fairy tale Charles Perrault ". In this story, the author gives a psychological description of the overweight commodity expert Nadia, the carriage driver Masha, the teacher elementary grades Tatiana, 19-year-old Katya, gypsy Zina, mother of two 15-year-old daughters Irina. In the perception of embittered and frightened by the reality of women, the fairy tale plot about the sleeping beauty is rethought as a real fact of a possible future. The playful freedom of achrony unfolds literary reminiscence as a necessary element of the artistic system of a work. The stylistic beginning is expressively emphasized by the national flavor. Vos-
work fabulous plot about the salvation of the silent sister of the swan brothers is realized in the aesthetics of "yojo" (hint), which Japanese literature follows. For Me-gumi, the heroine of K. Mori's novel "The Lonely Bird", it is not the suffering of the princess that becomes close, but the state of the younger brother who was left with the swan's wing: "... What feelings did he experience while looking at his wing? ... Or did he regret never taking off again? ... Maybe he wanted to remain a swan. "
The artistic uniqueness is clearly and sharply manifested in the culminating episodes of the plot action, when the heroines make decisions about escape from a world in which there are no high feelings, nuancedly adequate to their understanding of friendship and love, loyalty and tenderness. It is noteworthy that the originality of the character of each is emphasized by her ability to theatricalize her role participation. Lyudmila Petrushevskaya, having led her characters along the “fabulous” roads of Eros, dark alleys of the city bottom, illuminated squares of open journalism, called her last author's collection conceptually harshly and frankly like a woman “Life is a theater”. For the heroine of V. Tokareva's story "A Sentimental Journey" it is natural to return from Venice, Florence, Rome to the village of Zhukovka, to the dog Chuna with an internal monologue: "Life is a theater. When the scenery changes, the drama changes. A different story started: breakfasts, lunches, dinners, washing dishes, and during the breaks - work. " Romanova, unable to break the family circle, knits her premiere wreath, into which she equally weaves an invented stranger who turns love-swan into love-crow and jeans for her husband. All of this will be painted on canvases, the Japanese artist's album sheets covered with purple hydrangea petals will appear on the pages of the novel "Shizuki's Daughter", will become a strong emotional message to the choice of Yuki's daughter as a photographer. Yuki's creative photographs are comparable to a black-and-white photograph that stopped a flying scarf, the disastrous blackness of the water, a wave of the hand, a black hat against the background of falling snow, discordant with the age fatigue of the hero of the day. An interesting mise-en-scene is built by a young violinist Marina Kovaleva in Victoria Tokareva's story, summing up the sad results of lesbian games with a premiere dance among blue and pink. And the little girl from the most bought book in the West Banana Yoshimoto furnishes her departure into oblivion with directorial precision, making it spectacular for family and friends, a benefit performance for herself: "Soon I will turn into an insignificant corpse, and you fools will cry around him."
A study of the characters of an unnamed journalist and a stoyena singer reveals a strong nature, able to emotionally protect her love. Symbolic in this respect is the transformation of the object detail: the key is from Dina Rubina, "drumsticks" from Naomi Suena-gi. One fearlessly opens the frozen lock at the dacha with a key, gratefully receives the key from the hands of the hotel porter in anticipation of a meeting, and he opens the door for them, just to take out the trash, already knowing about the death of his mistress in an exploded plane from Tel Aviv over the Black Sea ... Rinka is ready to throw away the drumsticks and give up her solo career for the sake of her beloved, who continues to live in two houses.
The problem of the peculiarities of poetics actualizes the variety of genres, artistically original material and reveals the typological features of prose in its authorial sound. All these writers are innovatively changing the canonical form of a multi-page novel, preferring a convenient small format that allows you to put a book in your pocket and read it in between stops, lunch break, in the city queue. The genre-forming beginning of the stories is often associated with the artistic principles of the short story, lyric diary, essay, and you can also find the author's definition - "a little story." The technique of dichotomy, individually meaningful, allows you to draw your own trajectory of the plot in time and space. The interrelation of literature and folklore, mythology and modernity is recreated vintageously, when the archetype acquires an actual sound. The drama of the storylines, summarizing in varying degrees tragic and lyrical, sentimental and romantic, conveys all shades of female emotions. The study of the peculiarities of poetics is carried out in the parameters of a deep understanding of the national mentality, ethnic
traditional traditions, the aesthetic requirements of the time, makes the names of writers recognizable, and their heroines
Favorite for the readership, organically integrating gender prose into the context of the new world literature. An appeal to various national literatures allows one to present a real picture of the spiritual flow of time, when specific social conflicts and accelerated processes become an occasion for serious reflections on the intrinsic value of a woman who gives life.
LITERATURE
1. Meleshko T. Modern domestic women's prose: problems of poetics in the gender aspect (Basic approaches to the study of women's prose) www.a-z.ru/women_cd1/html/br_gl_2. Yshg (date of access: 24.03.09).
2. Ulitskaya L. Medea and her children. - M., 2004 .-- 318 p.
4. Kuzin I. Achronia as a chronotope: formal characteristics of an event // Official site of the Department of History of Philosophy, Faculty of Philosophy and Political Science, St. Petersburg State University // history. philosophy.pu.ru/forum/index (date of access: 03.24.09).
5. Rubina D. Smooth surface of the lake in cloudy haze. - M., 2007.
6. Rubina D. Several hasty words of love ...: story and stories. - M., 2007 .-- 304 p.
7. Suenaga Naomi. Stoyenovaya singer, or Paradise angel.
SPb., 2005 .-- 350 p.
8. Mori Kyoko. Shizuko's daughter. - M., 2006 .-- 254 p.
9. Mori Kyoko. Lonely bird. - M., 2006 .-- 318 p.
10. Tokareva V. Sentimental journey: stories, stories. - M., 2005 .-- 316 s.
11. Petrushevskaya L.S. Life is theater: the author. collection.
M .: Amphora, 2007 .-- 400 p.
12. Yoshimoto Banana. Tsugumi. - SPb., 2006 .-- 445 p.
S.N. Barashkova, S.F Zhelobtsova
The unique poetics of modern Feminine prose
The article examines the poetics of West-European, Russian, and Japanese modern feminine prose. Genres and styles are analyzed from the typology and author "s individuality aspects. The authentic texts study reveals the unique peculiarities of the plot, composition, and literary devices. It is topical to research the gender aspect in works of fiction at the turn of the century. The article is intended for Philology majors and professors of Modern Literature.
Key words: gender, literature, prose, archetype, setting, plot, composition, image, poetics, mythologism, reinterpretation.
INTRODUCTION
1. The problem of time and space in philosophy
1.2 Space
1.3 Time in a literary work
2. Time in the works of S.D.Krzhizhanovsky
2.1 "I live in the distant future"
2.2 Space in the language of Krzhizhanovsky's prose
2.3 Time in the language and prose of Krzhizhanovsky
2.4 "Man-Chronotope" in Krzhizhanovsky's stories "Memories of the Future" and "The Return of Munchausen"
Conclusion
List of used literature
INTRODUCTION
Time belongs to the categories most actively developed in science, philosophy, and artistic culture. A person does not think of himself outside of time, except for the states of consciousness described in religious literature, when the counting of minutes stops and contact with God acquires absolute significance. Literature, as the art of words, models its worlds, which are built according to coordinates set by objective reality - spatial and temporal. Writers form their fictional worlds based on personal concepts of the meaning of human life, vision of the surrounding world, understanding of truth, goodness, eternity ...
S. Krzhizhanovsky - unknown to a wide circle of readers, whose work is an interesting stage in the development of world literature, presents us with his ideas about man and Time.
Purpose of work.
Explore the artistic features of the prose of Sigismund Dominikovich Krzhizhanovsky. Find a connection between the concepts of time-space, human-hero.
Task.
Using the stories "Memories of the Future" and "The Return of Munchausen" by SD Krzhizhanovsky as an example, find the main philosophical views on the problem of the concept of time and space in human consciousness, as well as trace the peculiarities of the artistic embodiment of this topic in the texts of works.
Relevance.
From ancient times to the present day, one of the most pressing questions of mankind is "What is Time?", "What is a man in this time?", "Is it possible to control time?" With all the fundamental nature of this issue, the concept of time is widely used in the film industry, literature, art and other areas of our daily life, it becomes a familiar paradoxical sphere, which not everyone can penetrate into.
Significance in practice.
It is possible to use the materials of this research work when studying a course in Russian literature, a course in philosophy and cultural studies, as well as for preparing for various seminars, etc.
1. Time problemand spacein philosophy
Space and time were considered either as objective characteristics of being, or as subjective concepts that characterize our way of perceiving the world. Two points of view about the relation of space and time to matter are considered basic: the substantial concept (Democritus, Plato), the relational concept (Aristotle).
The substantial theory, according to which space is the order of the mutual arrangement of bodies, and time is the order of the sequence of successive events, was dominant until the end of the 19th century.
The relational theory of space and time has received confirmation of its correctness in the general theory of relativity. Space and time express certain ways of coordinating material objects and their states. Modern scientists are inclined towards the idea of a single and objective space-time continuum. The universality of space and time means that they exist, permeating all structures of the universe.
Despite the fact that time and space have been studied by mankind for 2,500 years, we cannot say today that we know these categories better than before. We invented the clock, we measure space in the units of measurement that have become familiar, but we still don’t know the essence ...
The paradox and the first difficulty lies in the fact that the categories of time and space belong to fundamental, that is, undefined categories, and they are usually used as if they have an obvious meaning.
1.1 Time
The first and as old as the world question: "What is Time?" The literature devoted to this problem is immense: starting with the works of Plato, Aristotle, Plotinus and other neoplatonists, or, say, with ancient Indian ("Moksha-dharma") or ancient Chinese ("I Ching") treatises, through innovative, almost phenomenological the spirit and method of thinking of Augustine in the XI book "Confessionum" right up to research on the nature of time by Kant, Husserl, Heidegger, Sartre, Merleau-Ponty, Bakhtin, at the other pole - Vernadsky, the founder of chronosophy DT Fraser, I. Prigogine.
We will always desire a solution, and after Saint Augustine we will be able to say: "What is time? Until they ask me, I know it. And if they ask, I am lost." Jorge Luis Borges believed that we can abstract from space, but not from time. Henri Bergson said that time is the main problem in metaphysics. By solving this problem, humanity will solve all the riddles.
At the same time, the search for objective coordinates expressed in the system of the language - the pronouns "where", "when" - can be objectified based on the definition of a specific level, a kind of axiom that allows one to build more or less clear contours of concepts.
To this day, Borges wrote, we experience the embarrassment that struck Heraclitus: no one will enter the same river twice ... The waters of the river are flowing, we ourselves are like a river - also flowing. Time is passing. The invention of the concept of eternity allows us to reason from the standpoint of space - eternity contains (place) time. But time is not subject to static. Plato said that time is a fluid image of eternity. The metaphor of the river is inevitable when we talk about time. The gift of eternity, eternity allows us to live in succession. Duration, one-dimensionality, irreversibility, homogeneity are the properties of time. One of the brightest spatial images of time is the hourglass:
The grains of sand flee to infinity
The same ones, no matter how much they flowed down:
So for your joy and sorrow
Untouched eternity rests.
H.L. Borges
1.2 Space
Speaking about time, it is worth saying a few words about space. Human consciousness cannot operate with the thought of time without reference to the category of space: in language, time exists for us in the vocabulary traditionally belonging to spatial categories. Let's remember the image of the river.
Time gauges underlined o-spaced - hourglass, klepsydra, mechanical watch. Either the flow of one into the other, or a journey around the circle of the dial ... " But something great and elusive seems topos - that is, place-space "(Aristotle).
Martin Heidegger encourages us to listen to the language. What is he talking about in the word "space"? Prostration speaks in this word. It means: something spacious, free from obstacles. Space brings freedom, openness to human settlement and habitation. The stretch of space carries with it a terrain ready for this or that habitat. The philosopher denies emptiness as nothing. Emptiness is a liberated, collected space, ready to release something. Again the language suggests the direction of thought ...
1.3 VremI'm in a literary work
Dividing the types of art into spatial and temporal, Mikhail Bakhtin summarized his many years of experience in perceiving masterpieces. But, despite all the evidence, why is literature and music denied spatial expression? Even in the preliterate era, the word was stretched over space in order to at the same time turn out to be an arrow of time, fired from the bow of a folklore text (which existed in oral (!) Form).
Take fairy tales, for example. Roads, eternal crossroads, the time from birth to wedding or feat passes instantly - "how long, how long." The binary world of folklore texts also sprouts in literature, but the author, who has declared himself, needs something immeasurably greater. The temptation to test oneself in the role of a demiurge is great, and the writer, sculpting the first line, is already building his "coordinate system".
In fact, art projects a world of imaginary realities (or observed, but subjected to the author's subjective interpretation), built in such a way as to focus people's attention on those moral, ethical, aesthetic and other problems that are actualized in this work. At the same time, the problems raised are presented in a vivid, emotionally colored form, awakening the reciprocal emotional experience of the reader, his conscious or hidden correlation of himself with the subject of experience, and with all this "teach" him on this example, cause him to try to appropriate the experience of someone else understanding.
Unlike other forms of cognition of the world, analytically dividing it into separate cognizable fragments, segments and objects, art in general, and literature in particular, strives for cognition and figurative reflection of reality in its integral, synthesized form through the creation of its complex models. The Russian philosopher and literary critic MM Bakhtin noted that the author cannot become one of the images of the novel, for he is "creative nature" and not "created nature." The author must maintain his position of being outside and the associated excess of vision and understanding. The metaphor of the puppeteer, in which the dolls come to life, like Pinocchio, and enter into a lively dialogue with the author ...
The approach to the study of space-time structures in literary criticism is formed in the context of the development of scientific thinking in the twentieth century. The psychology of personality is no longer complete without the study of spatio-temporal relations. The term itself - " CHRONOTOPE" - was introduced into the scientific language by A. Ukhtomsky, later this synthetic term was used by M. Bakhtin: "The essential interconnection of temporal and spatial relations, artistically mastered in literature, we will call a chronotope ... Chronotope is a formally meaningful category of literature." M.M.Bakhtin, under the influence of Einstein's ideas, introduced this term (time-space) into literary use, it was he who first showed that the chronotopes of different authors and different genres differ significantly from each other.
The interaction of two processes (double activity: the text and the reader) allows the reader, on the basis of the narrative structure of the text, to form a model of his own being, the signified by which is a certain deep question of human existence, and the signifier is the message itself (plot, narration) in its artistic originality.
This interaction allows the text to be realized as an information carrier, i.e. to be read, meaningful and alive, to realize the timeless essence of the book. According to Gadamer, understanding means, first of all, not identification, but the ability to put oneself in place. another and examine yourself from there. Thus, the reader's consciousness appropriates the worlds created by the author. Time concept realized literary works, serves the understanding of being.
The term "concept" itself goes back to the Latin conception - the ability to understand. In Russian, the word "concept" is used primarily in the sense of a concept. Philosophers often define concept and concept as the concept of an absent object of perception. .
2. Time in creativitye S. Krzhizhanovsky
2.1 " I live in the distant future"
The writer, whose work will be discussed, was "simultaneously both the subject and the object of the irrational" minus "-space: he created according to some of his own" internal "matrices, in which the" natural ", the psycho-mental is almost inseparable from the" cultural ", but it, too, this "minus" -space, created it according to its own model. " This is how V. Toporov notes the isomorphism of the creator and the creation of Krzhizhanovsky.
The name of Krzhizhanovsky, a writer who is now rightfully placed on the same level with Kafka and Borges, Bulgakov and Platonov, became known to the mass reader mainly due to the creative efforts of V. Perelmuter, whose introductory articles precede the writer's collected works. The researcher writes: "Krzhizhanovsky knew that Russian literature was at the wrong time:" I live in the margins of a book called Society. I also knew that the "blunder of fate" is not hopeless: "I live in such a distant future that my future seems to me to be the past, obsolete and decayed."
Throughout his life, the writer tried to publish a book, but all attempts were unsuccessful. Krzhizhanovsky was constantly in a "reading vacuum"; during the author's lifetime, the reader did not see his books. True, some of the most widely read editors still knew the name of the author. But the circle of these persons was extremely narrow, and the writer was unable to expand it.
One of the distinguishing features of Krzhizhanovsky's prose is the pivotal meaning of the plot, the plot technique itself, which is genetically related to the "title poetics" invented by him. According to the writer, "the world is a plot. It is impossible to create non-plot." The words constructed by the writer to create the effect of a special reality ("nets", "is", "loktism", "Zdesevsk") continue the tradition of spatial and linguistic experimentation (V. Podoroga) in Russian literature, with all this, the texts of Krzhizhanovsky's works are not quite comparable with designed literary and artistic directions.
The phenomenon of Krzhizhanovsky's prose is primarily linguistic. S. Krzhizhanovsky builds a special moral and ethical horizontal, along (in depth) of which he settles pseudo-real and deliberately fictional loci. Krzhizhanovsky consistently implements the didacticism characteristic of Russian literature, for this the writer draws on a whole "arsenal of" playful "potentials" of the language, which he deliberately uses indirectly.
The metaphors and comparisons used in the texts of his works are predominantly intellectual-associative, often "played" on the grammatical deformation of the word, its instant transformation, for example, from a noun into a verb and back ("Stump" short story). Chess coordinates, graphic metaphors of the Chinese book of changes, missing syllables become a kind of "speaking" intervals in discursive stream. The writer's artistic system occupies a special place both in a separate period of Russian literature - the 1920s and 1930s - and in the general historical and literary context of Russian literature.
2.2 Space in the language of Krzhizhanovsky's prose
The world, modeled by the writer, has spatio-temporal coordinates constantly shifted into the moral domain. The writer introduces us, indeed, into a strange world. A world capable of surprising both the narrator himself and, of course, the reader.
And in fact, at first the narrator is surprised at a very mysterious stranger who absurdly compares (!) His pocket watch on a painted (that is, clearly fake!) Dial on the sign of a watch store, then he, the narrator, began to wonder about the very fact of existence in the city a huge number of such painted clocks ("The Gap Collector"). Moreover, the main strangeness does not escape the view of the narrator: the arrows on many of them for some reason "show" the same time - twenty-seven minutes past one. These dials have their own secret meaning, so far inaccessible to the narrator and reader.
The story is built on the principle of a kind of "matryoshka": the story is inserted into another story. The personal narrator, on whose behalf the story is being told, is a writer by profession, reads to the assembled friends his fairy tale "The Gap Collector" - about a strange collector who was interested only in all the gaps in this world that had riddled the surface of stones, boards, stoves, furniture and other material objects. These cracks are evidence of the steadily approaching aging, the death of a thing. The world, alas, is fragile as long as there are treacherous cracks prone to spreading and growing.
And it is they, exciting and omnipresent, that tear our world apart, bringing space into a state of imbalance, of complete destruction.
Space itself lends itself to slight changes even on the part of a person - we can easily move objects in the room, see and analyze a new room for us, freely orient ourselves in this reality for us ... We are accustomed from birth to the fact that space is organized, that it is divided. Space transformations are caused by the desire of a person to surround himself with only the necessary, functional and convenient.
As noted in the study by E. Fedoseeva on the play component in the prose of S. Krzhizhanovsky, the sense of proportion often changes us and we find ourselves either in a rarefied space of loneliness revolving in non-intersecting orbits, or in the crowded world of Pushkin's undertaker, where things lose their "realness" and space becomes hostile to man. Every new day we travel through space, not noticing the matter that permeates a given degree of reality. Space is just the outer shell of a stronger energy. And the apparent homogeneity of reality is easily transformed and rebuilt into an inhomogeneous viscous system of coordinate dependences. Coordinate of time and space ...
2. 3 Time in the prose language of Krzhizhanovsky
Time is much more persistent than space. The thin second hand pushes the entire array of life forward and forward. Resisting her is the same as dying. Space thrust is much weaker. Space tolerates the existence of soft, inviting armchairs, night shoes, a gait with a flare. ... Time is a sanguine person, space is a phlegmatic person; time does not squat for a split second, it lives on the move, while space - as it is usually described - "lay down" behind the horizontal bump ... / "Salyr - Gul" /
Time and space appear in Krzhizhanovsky as subjects of action. The significance of both is indisputable. But can we act on time as easily as on space? Time organizes us for itself. With the onset of night, we are used to going to bed, but night does not come at the snap of our fingers. Experiments on seven Good Fridays in Max Sterer's week were unsuccessful. Rather, time is accustomed to clicking left and right, transforming a person's life in accordance with some arbitrary periods.
Space, for the most part, is material, material. It is real and visible. Time is intangible, it runs ahead of us, a person cannot catch up with it. Space and time appear in Krzhizhanovsky as individual psychotypes. Time is strong and mobile. Considering Krzhizhanovsky's reference to the psychological type, time is socially adapted to the greatest extent.
In the duel "time - man", undoubtedly, time has the greatest power, however, a person is also given some potential, which allows him to conceive of a struggle with invincible time. In most of Krzhizhanovsky's texts, there is a clear predominance of interaction (struggle) with time as a subject (s).
And just here a new variable adjoins the time-space link, a new factor that can possibly defeat the established opinion about the invincibility of time as the fundamental factor of being, and space - the external shield of a given matter.
2. 4 " Hman - Chronotope" in the stories of S.D. Krzhizhanovsky " Memories of the futureeat" and" Return of Munchausen"
For Krzhizhanovsky, the plot engine in "Memories of the Future" is Sterer's invention of the Time Machine, as a kind of intangible device that allows, through mechanical manipulations, to achieve direct interaction (duel, war) with time. "We need space in order to construct time, and thus define the latter by means of the former." (Kant. Treatises and letters - M: 1980. -s.629). "I am not interested in arithmetic, but in the algebra of life," wrote Krzhizhanovsky.
The writer considered his works to closely convey reality. Most of his stories are problematic. These are personified thinking processes carried out by actors. The protagonist in "Memories of the Future" is devoid of vivid personal characteristics: there is no portrait characterization, there is no social circle, contacts with people are minimized. The only character that awakens human feelings in Sterer is the roommate in the boarding house, the sick, slowly fading away Ichil Tapchan.
To the mind of a time researcher, a frail Jewish boy from Gomel was probably seen as a vessel with a high leakage of time, rapidly falling to the bottom, a mechanism with a disturbed regulator status, excessively quickly releasing the spiral plant.
Challenging the time, Sterer finds himself outside the area of generally accepted morality: he does not keep in touch with his father, as soon as he plunges into work on the creation of a machine, he comes into contact with a woman only when it is necessary to receive financial assistance - again, to develop an invention.
You see, it's not about being liked by people. And in that to attack the time, hit and overturn it. Shooting in the shooting range is not a war yet. And then, in my problem, as in music: a five-tone error gives less dissonance than a semitone error.
It should be noted that Krzhizhanovsky uses a third-person form of narration - from the position of an omniscient author. The author's consciousness distances itself in relation to the problems solved by the heroes. In Memories of the Future, the narrator even uses a kind of "adapter" - a biographical source (a biography of Sterer, written by Joseph Stynsky).
The credibility is emphasized by the use of documentary evidence of the hero himself (Iha's diary, Sterer's manuscript "Recollection of the Future"). The material of the manuscript itself is direct evidence of the content of the future tense - a phantom who is about to hear about the future society Sterer does not tell anything - there is no physical opportunity to describe what he saw using speech. The hero is partly equated with TIME, ceases to exist for the human world and dissolves in time.
Krzhizhanovsky's time is not the frozen time of Newtonian physics, and only partly the abstract time of Kant. In Krzhizhanovsky's story, the category of time is given in the dynamic coordinates of Einstein, and time itself is considered as a phenomenon of human consciousness. The plurality of time is the idea that unites the philosophy of Einstein and the work of Krzhizhanovsky. Time = Life = Consciousness - this is Krzhizhanovsky's formula for time. Thus, the concept of time is inextricably linked with the self-awareness of the human person.
Krzhizhanovsky uses the cultural experience of mankind for new scenarios of his ideas. The use of mundane, everyday life, which is adjacent to the existential and real mystical breakthrough, is the formula for the writer's success. His attention could not ignore the figure of Munchausen, who was firmly entrenched in the literary world. And in "The Return of Munchausen" the comic nature of human existence is manifested, where fiction is equated with reality.
A certain balance is being created, where Baron Hieronymus von Munchausen is already acting as ballast. This character is the peak one for understanding the diffusion of time and space in a person, the creation of a new dual pseudo-reality that occurred through the "sick" consciousness and indescribable fantasy. It was Baron Hieronemus von Munchausen, a character who was maximally synchronized with time.
Probably, many of us in childhood read the fairy tale "The Return of Munchausen". In it we see those fables, that fantasy that even a child could understand. Flying on a cannonball, rescuing from a swamp, a horse tied to a weather vane - these are all just fiction. At the same time, in the work of Krzhizhanovsky, we relate to the same fiction, this rather sick fantasy through the philosophical context, through viewing the truth behind the lie given by the writer.
The spatial representation of the world in "The Return of Munchausen" is represented by alternating changes of places and scenes of action. The baron's constant trips to one country or another create the effect of Munchausen's presence everywhere and at once. And apparently it is! Baron, could freely travel half of the world in just a couple of days, collect everything at once. It seems he was being driven by the wind. The flight of smoke can only be compared with it ..
The word "smoke" and its various lexical forms in the work of SD Krzhizhanovsky "The Return of Munchausen" occurs 40 times. The word fog is 14 times. The image, the model of Smoke is the dominant feature in the work. After all, if the clock is a symbol of time, being is a tonic, then only the connection of Smoke, as an "instantaneous", second phenomenon, can speak of the value of a unit of time. The fog is a veil of obscurity both of the baron himself and of the "time" where he exists.
SMOKE is a volatile substance that is released when the body burns; flying away remnants of a combustible body, when decomposed in air, by fire. (Dahl's Dictionary)
Indeed, the protagonist is like smoke. He, in constant "connection with time" becomes stunted, burns out from the inside, dies from every new moment, despite his age.
"... the face of Munchausen: unshaven cheeks sucked in, the Adam's apple with a sharp triangle broke through the line, necks, from under a convulsive streak of eyebrows, centuries fell to the bottom of the eye sockets; ; the moonstone on the index finger lost its game and went out ... "
A sad picture. The once famous, "alive" and "inanimate" Baron Munchausen "went out". Now for him there is neither the meaning of life, nor the desire for fantasy.
But the life of the heroes of the works is constantly influenced by a very important aspect of human existence - Time. And along with the study of heroes, the question of the manifestation of time, as a special hero of both works, in space is very interesting.
Krzhizhanovsky in "Memories of the Future" represents the space of "Russia" and in the example of each separate "point" within the country, the influence of time on the "evenness" of the course of time is shown. The hero formulates the idea of a "break" of time, when cataclysms and revolutions occur at the divergence of the past and the present ...
In this work, the writer presents us with a completely personal utopia, in which solving the formulas of victory over time enables a person to create "his own reality."
All this, as well as the "war of time" allows the hero to enter this battle and find answers to all his questions in it. The surname Sterer (from German stein - to stand, sterbe - to die) gives a dynamic coloring to the hero, as "dying" inside himself, stopping time. Death "pursues" the hero on his heels, gradually destroying both the consciousness of Sterer and those close to him. With the death of Iha, Max "crosses" the line of "expectation" and begins active actions to defeat time. The name Maximilian (from Latin maximum - the greatest) gives, even before the completion of the work, the confidence that we will learn the maximum about time and get even more questions about it.
Maximilian takes revenge on time, and time "attacks" in response with his dexterity, speed ... He is not connected with society, he goes to where there is a worthy opponent - TIME ... the space of TIME that is not accommodated by human consciousness as pure energy, absolute substance.
As we know, the baron lived all his life in illusions and legends, being the author of these ... Merdace veritas (from lies - truth) - this is Munchausen's motto. This is not even his position in life ... This is his job! A diplomat whose truth and lies penetrate each other irrevocably. The diffusion of truth and falsehood makes readers, like the German poet Wading, ask themselves the question: "And Baron Hieronymus von Munchausen himself is not a new invention of Baron Hieronymus von Munchausen ???". It seems to be a paradox, but people cannot do what the most respectable baron demonstrated to us. His book trick makes you admire and fear in one moment. Is time and space so easy to overcome? Is the key nearby? I would like to find him, but then what?
End of the world? Devastation? Destruction? Further, what SD Krzhizhanovsky "saw" in "Memories of the Future" - emptiness, thinness of individual days and years ... The Baron understood the essence of "this key", which he carried in his pocket, and pages of books, to the "highest point of safety".
This was not the end of my acquaintance with the scientific and artistic world of Moscow ... I visited a modest collector who collects cracks, attended the ceremonial meeting of the Association for the Study of Last Year's Snow ...
In the context of The Return of Munchausen, this episode offers a new thought. Isn't Krzhizhanovsky himself lying to us? And immediately we return to the sacred words of Hieronymus von Munchausen - merdace veritas.
Confessing to someone with whom opinions and opportunities differ is a strange step. Apparently the baron is tired of the "running mouse", wants to retire, to find himself in the "truth." Now "Lodges" and "Truth" are changing places - the tandem of Lie domination over truth has collapsed.
... Could I think that I will someday confess, tell myself like an old whore in a confessional lattice, let the truth into my tongue. After all, you know, even as a child, my favorite book was your German collection of miracles and legends, which the Middle Ages attributed to a certain saint Nobody ...
In the future, Munchausen is waiting for an even greater test of "fire". A person who despises the ill-fated "length-width-height", feeling the thread of time, living in step with him on the hands of the clock, becomes a condemned slave ... A slave of his own fruit of imagination ... A slave of his "Work", imprisoned in the pages of an old book ...
Here under the morocco cover
waiting for the trial of the living, flattened into two dimensions
peace breaker
Baron Hieronymus von Munchausen.
This man, like a true fighter,
never deviated from the truth:
all his life he fenced against her,
parrying the facts with phantasms, -
and when, in response to the blows,
made a decisive thrust -
I testify - the Truth itself
shied away from the person.
Pray for his soul to the saint Nobody.
Man is not just a body. The alter ego of oneself constantly influences us, regardless of desire. And here is the paradox - we can "bite ourselves by the elbow", "see our back." But sometimes it is the Second Self that becomes the First I. And then the Eastern wisdom comes to mind: "It is better to expect an enemy strike from the front than a friend from behind."
... You cannot turn to face your "I" without showing your back to your "not-I". And of course, I would not be Munchausen if I thought of looking for Moscow ... in Moscow. It is clear that by accepting the assignment of the "USSR", I thereby received a moral visa for all countries of the world, except for the USSR ... and built my own MSSR ...
Internally non-existence and loss of time, the loss of human essence leads the baron to the only correct way out - to leave this world, not his world, and go to the pages of books, where he can continue his carefree existence, waiting for a new MSSR, a new smoke in his head, a new turning the hands on the dial ...
Sigismund Krzhizhanovsky begins to double the reality given to us. And he does it through the incorporation of the mental into the material. The bottom line is simple - the topography of the world doubles in a labyrinth of thinking. Remain real and subreal.
And from here the usual understanding of the word LOD goes back many points. Reading the text, there is not so much a change of concepts as a reassessment of the values of both the author and the reader.
Refraction, which is created by the baron, sets into motion the mechanism of time-space identification. Now it will never be possible to understand exactly the mixture of man-time-space. It’s impossible to make the world so skillfully for oneself, perhaps, to anyone ... To anyone normal.
Refraction, (astron.), Deviation from the original direction of the ray of light coming from the star, when it penetrates into the earth's atmosphere, as a result of which the star seems to be higher than its actual position ...
Whiding - a writer who was the only one who had the "highest quota of access" to Munchausen's consciousness, his thoughts, his actions - freely exercised power over the baron. How did he do it? - everything is simple! He was the creator of the baron. But in reality, the creation of a pseudo-ego, which, fixated on itself, will further evolve into new pseudo-ego, leads only to one inevitable end - complete destruction!
At the end of both stories, we see a terrifying picture. The Baron performs his last miracle, which is a shift in the temporal-spatial framework of the world. The dissolution of Munchausen will lead in the subsequent Unding to emptiness, the rarefaction of time. Losing yourself in this space-time. A picture similar to Sterer from the story "Memories of the Future". Time is an all-consuming machine, but only a few come into direct combat with this enemy.
Systematic creation of a script for a work, a vision of the beginning and end by 100% by the author - this is a distinctive feature of S.D. Krzhizhanovsky's prose.
Reversing characters in space, leaving races on the highway with a stronger opponent in advance is the last chance to stay alive in the game with time.
Sigismund Dominikovich brings the reader to the realization of the particular, the authenticity of human life. He easily puts man - time - space on one level. He equates them and creates a new artistic being - "human space-time".
Conclusion"You can't get used to life, if behind non-life, a gap in being ... Time itself passed towards me, then here is the real, astronomical and civil, to which, like the arrows of compasses to the pole, the hands of our watches are stretched. Our speeds hit each other, we they knocked their heads together, the time machine and it's time, a bright shine in a thousand suns blinded my eyes ... My car died on the way. Burns on my fingers and across the frontal bone are the only trace left by it in space "(" Memories of the Future "). of our research, we can confidently determine some of the main features of Krzhizhanovsky's prose. · A special artistic model of the world is created with the help of spatio-temporal organizing features ("The Gap Collector" and "Memories of the Future"); · The binary code of Krzhizhanovsky's prose is the pivotal meaning of the plot, in fact plot technique, genetically related to the "poetics of the title" invented by him; · We also see another phenomenon of Krzhizhanovsky's prose - linguistic. The words given by the writer to create the effect of a special reality ("nets", "is", "loktism", "Zdesevsk") continue the spatial and linguistic experiment. into the mental color palette. · Infusion of time-space into a model of a person using the examples of Sterer and, especially, Munchausen, creates a personal theory of the writer about the existence of a combined space-time model of the four-dimensional dimension, in which a person should become the governing link. at the beginning of the 19th century, caused the first scientific version of the philology "I". A hundred years later, the "I" philosophy and the "I" philology again reveal their relevance (though already in the "I" and the "other") in the works of M. Bakhtin and other philosophers. The name of Sigismund Krzhizhanovsky, who attracted the "love of space" and "brought the future call closer, can be included in this circle with full confidence." business card the following words can become a writer: Sigismund Dominikovich Krzhizhanovsky Delivery of phantasms and sensations. I am not ashamed of the world scale. List of used literaturecheers 1. Bart P. S / Z.-M., 19942. Bakhtin M. M. Under the mask. - M., 19963. Borges Jorge Luis Works in three volumes. Volume I, Volume II. - Riga: Polaris, 19944. Brudny A.A. Psychological hermeneutics. - M., 19985.Dymarsky M.Ya. Problems of text formation and literary text (based on the material of Russian prose of the 19th - 20th centuries). 2nd edition. - M., 20016. Krzhizhanovsky S.D. The play and its title // RGALI 7. Krzhizhanovsky S.D. Fairy tales for geeks. - M., 19918. Krzhizhanovsky S.D. Collected works in five volumes. Volume I, II, III, IV - St. Petersburg // Symposium, 20019. Losev A.F. From early works. Dialectics of myth. - M., 199010. Malinov A., Seregin S. Discourses on the space and time of the scene // Metaphysical studies. Issue 4. Culture. Almanac of the Laboratory of Metaphysical Research at the Faculty of Philosophy, St. Petersburg State University, 1997. P. 111-12111. Nancy Jean-Luc. Corpus. - M, 199912. Ortega y Gasset H. Time, distance and form in the art of Proust13. Podoroga V. Expression and meaning. M., 199514. Self-awareness European culture XX century: Thinkers and writers of the West in the place of culture in modern society. - M., 199115. Tvardovsky K. Lecture at Lviv University on November 15, 189516. Text: aspects of the study of semantics, pragmatics and poetics / Collection of articles. - M., 200117. Explanatory dictionary of the Russian language, edited by D.N. Ushakov18. Toporov V.N. Myth. Ritual. Symbol. Image: Research in the field of mythopoetic: Selected works. - M., 199519. Tyupa V.I. Analytics of the artistic. - M., 200120. Philosophical Dictionary. / Ed. I.T. Frolov. - 6th ed. - M., 199121. Martin Heidegger. Being and time. M., "Respublika", 199322. Shklovsky V.B. On the theory of prose. - M., 1983Chelyabinsk State Academy of Culture and Arts
Faculty of culture
Test
on Russian literature
"Features of women's prose"
Completed: 2nd year student
CCo group No. 208
Extramural
L.V. Pryamichkina
Checked: L.N. Tikhomirova
Chelyabinsk - 2008
1. Literary process at the end of the XX century
2. Features of small prose L. Ulitskaya
3. The originality of the artistic world in the stories of T. Tolstoy
4. Specificity of "women's prose"
Bibliography
1. Literary process at the end of the XX century
In the mid-80s of the XX century with the ongoing "perestroika" in the country collapsed soviet type mentality, the social basis of the universal understanding of reality has disintegrated. Undoubtedly, this was reflected in the literary process at the end of the century.
Along with the still existing normative socialist realism, which simply "went" into mass culture: detective stories, serials - a direction where the artist is initially sure that he knows the truth and can build a model of the world that will show the way to a brighter future; along with the already declared postmodernism with its mythologization of reality, self-regulating chaos, the search for a compromise between chaos and space (T. Tolstaya "Kys", V. Pelevin "Omon Ra", etc.); along with this, in the 90s, a number of works were published that are based on the traditions of classical realism: A. Azolsky "Saboteur", L. Ulitskaya "Merry Funeral", etc. Then it became clear that the traditions of Russian realism XIX centuries, despite the crisis of the novel as the main genre of realism, not only did not die, but became enriched, referring to the experience of the returned literature (V. Maksimov, A. Pristavkin, etc.). This, in turn, testifies to the fact that attempts to undermine the traditional understanding and explanation of cause-and-effect relationships have failed, because realism can only work when it is possible to discover these causal relationships. In addition, post-realism began to explain the secret of a person's inner world through the circumstances that shape this psychology; it seeks an explanation of the phenomenon of the human soul.
But the literature of the so-called "New Wave", which appeared back in the 70s of the XX century, is still completely unexplored. This literature was very heterogeneous, and the authors were often united only by the chronology of the appearance of works and a common desire to search for new artistic forms. Among the works of the "New Wave" there appeared books that began to be called "women's prose": T. Tolstaya, V. Tokareva, L. Ulitskaya, L. Petrushevskaya, G. Shcherbakova, etc. And there is still no unanimous decision on the question of the creative method these writers .. After all, the absence of "established taboos" and freedom of speech enable writers of different directions to express their own ideas without restrictions. artistic position, and the slogan artistic creation became an aesthetic search for oneself. Perhaps this explains the lack of a unified point of view on the work of the writers of the New Wave. So, for example, if many literary critics define T. Tolstaya as a postmodernist writer, then the issue with L. Ulitskaya is more complicated. Some see her as a representative of "women's prose", others see her as a "postmodernist", and still others - a representative of modern neosentimentalism. There are disputes around these names, mutually exclusive judgments are heard not only about the creative method, but also about the meaning of allusions, the role of the author, types of heroes, the choice of subjects, and the manner of writing. All this testifies to the complexity and ambiguity of the perception of the literary text by the representatives of "women's prose".
2. Features of small prose L. Ulitskaya
One of the brightest representatives modern literature is L. Ulitskaya. In her works, she created a special, in many ways unique artistic world.
First, we note that many of her stories are not devoted to today's time, but to the time of the beginning of the century, the war or the post-war period.
Secondly, the author immerses the reader in the simple and at the same time oppressed life of ordinary people, in their problems and experiences. After reading Ulitskaya's stories, there is a heavy feeling of pity for the heroes and at the same time of hopelessness. But always behind this, Ulitskaya has problems that concern each and every one: the problems of human relationships.
So, for example, in the stories “The Chosen People” and “The Daughter of Bukhara”, with the help of very insignificant private stories, a huge layer of life is raised, which we for the most part not that we do not know, but do not want to know, we are fleeing from it. These are stories about the disabled, the poor and beggars ("The Chosen People"), about people suffering from Down syndrome ("The Daughter of Bukhara").
Not a single person, according to L. Ulitskaya, is born for suffering and pain. Everyone deserves to be happy, healthy and prosperous. But even the happiest person can understand the tragedy of life: pain, fear, loneliness, illness, suffering, death. Not everyone humbly accepts their fate. And the highest wisdom, according to the author, consists precisely in learning to believe, to be able to accept the inevitable, not to envy someone else's happiness, but to be happy yourself, no matter what. And only those who understand and accept their destiny can find happiness. That is why, when Mila and Grigory, sick with Down syndrome, in the story "The Daughter of Bukhara" walked down the street, hand in hand, "both in ugly round glasses given to them free of charge," everyone turned to them. Many pointed fingers at them and even laughed. But they did not notice other people's interest. After all, even now there are many healthy, full-fledged people who could only envy their happiness!
That is why the poor, beggars, beggars at Ulitskaya's are the chosen people. Because they are wiser. Because they knew true happiness: happiness is not in wealth, not in beauty, but in humility, in gratitude for life, whatever it may be, in the awareness of their place in life, which everyone has - Katya, the heroine, comes to this conclusion of the story "The Chosen People". You just need to understand that those who are offended by God suffer more so that the rest will feel better.
A distinctive feature of L. Ulitskaya's prose is a calm manner of storytelling, and the main advantage of her work is the author's attitude to her characters: Ulitskaya captivates not only with her interest in the human person, but with compassion for her, which is not often found in modern literature.
Thus, in the stories of L. Ulitskaya there is always a way out to the philosophical and religious level of comprehension of life. Her characters, as a rule, - "little people", old people, sick people, poor people, rejected by society, are guided by the principle: never ask "why", ask "why". According to Ulitskaya, everything that happens, even the most unfair, painful, if perceived correctly, is certainly aimed at opening a new vision in a person. It is this thought that underlies her stories.
3. The originality of the artistic world in the stories of T. Tolstoy
One of the brightest representatives of "women's prose" can be called T. Tolstaya. As noted above, the writer herself identifies herself as a postmodern writer. It is important for her that postmodernism has revived "verbal artistry", close attention to style and language.
Researchers of Tolstoy's work note not only the intertextuality of her stories, which reveals itself both in the subject matter of her works and in poetics. Literary critics identify the following cross-cutting motives in her work:
The motive of the circle ("Fakir", "Peters", "Sleep well, sonny", etc.). Tolstoy's circle acquires the meaning of fate, which does not depend on a person. The circle is the hero's myth, his extremely condensed space-time.
The motive of death;
The motive of the game ("Sonya", etc.)
A cross-cutting motive, one can even say a cross-cutting problematics of Tolstoy's stories, a problem that comes from Russian classical literature, is the question of "the discord between dreams and reality", the motive of loneliness. The hero Tolstoy is a "small", ordinary person looking for himself in the world. Her heroes live in a fictional illusory world, they cannot escape from the vicious circle predetermined by fate once and for all, escape from reality. But, despite this, they do not lose faith in life, hope for the embodiment of a romantic dream in reality.
Let us consider in more detail the peculiarities of T. Tolstoy's prose using the example of the story "Peters".
Before us is a story about the life of a "little" man raised by his grandmother. At first glance, there was nothing strange: “mother ... ran away to warm lands with a scoundrel, father spent time with women of easy virtue and was not interested in his son,” so the boy was brought up by his grandmother. But, after reading the story, you remain in some confusion from the unsettledness of this life and of the hero himself. In order to trace how the psychological world of the hero is revealed, and to understand why such an impression remains from the story, it is necessary to find out what the hero's relationship with the world of things, with other people is, and, finally, the relationship between the hero's dreams and reality.
We note right away that the main techniques for revealing the characters of the characters in the story are detail and detail. With flat feet, a spacious belly like a woman, his grandmother's girlfriends liked him. They liked the way he entered, how he "kept quiet when the elders talk," how "he didn't crush cookies." The grandmother raised Peters as an old man, an adult, that is why she was outraged when the boy began to behave at the holiday like a child: spinning in one place and shouting loudly. The grandmother treated the child equally and the grandfather who died. She didn't need a little boy, she needed a card-playing partner who would brighten up her lonely days and not be a hassle. Just as she completely absorbed Grandfather's personality (“ate with rice porridge”), so did Peters’s personality. But inside the boy, something is happening: he was "waiting for events", "was in a hurry to be friends," he wants to be friends, he just does not know how to do it: "Peters stood in the middle of the room and waited for the start to be friends." And Peters did not know how to be friends, because communication with people was replaced by a plush hare. And a perfectly obvious parallel arises: the hare is Peters himself. The hare listened to Peters, believed and kept quiet, and Peters listened to grandmother, kept silent and believed. The image of this plush hare will accompany Petrs all his life.
Another vivid metaphor in creating the image of the hero is the Black Cat, Black Peter, the hero of a card game played by a boy and his grandmother. “Only the cat, Black Peter, didn’t get a pair, he was always alone, gloomy and ruffled, and the one who pulled out Black Peter by the end of the game was losing and sitting like a fool,” and the Cat always, as the hero later admits, always got only to him. So it is with people: women always "shied away" from him when he wanted to meet, and men "thought of hitting, but, looking closely, they thought about it." He also did not have a pair, no one wanted to "play" with him. The leitmotif of the story and of his whole life was the phrase "no one wanted to play with him."
Even becoming an adult, Peters cannot break out of this circle, since childhood driven inside does not allow him to grow up. He is childish and goes through life with this childhood. He has a childish perception of reality, childhood dreams.
He perceives women as dolls, as a thing (“Well, give me something,” Peters says to his imaginary rival), because he himself is like a thing. He wants a relationship with Faina, but is inactive, waiting for her to start "making friends" with him. He can only look after the "godlessly young" Valentina. He married “somehow in passing, by accident” to a woman who replaced his grandmother (“a firm woman with big legs, with a deaf name ... she smelled of stale bread from her wallet, she took Peters with her everywhere, squeezing his hand tightly, like my grandmother once ”). And it becomes clear that "the cold young chicken who has not known either love, or will - not a green ant, not a cheerful round eye of a friend", whom Peters carries home in a musty bag, is Peters himself, who in fact has not seen life itself.
Peters' life is a "shadow theater", a dream. All the time it is emphasized that life goes on, everything moves: “strangers' mothers were running, fast, dexterous children screeched and rushed about”, “ice passed along the Neva”, “and dawn, dawn ...”, “new snowdrifts”, “spring came, and the spring was leaving ”,“ we were celebrating the New Year, ”and so on. But this life, the movement passed by Peters. From childhood he was surrounded only by old things, black colors: "silver spoons eaten from one side", old chests, old smells, "black girl", "black green", spring "yellow bouquet", etc. There is a lot of pink around Peters: delicate red moles, a hairless body, a pink belly, rich vanilla air. And a very important detail is the eyes. Grandfather had shiny glass ones, Peters had small, nearsighted, upside-down ones. Inverted glass shower. Everything happens detached from him, without touching him.
In this vein, two episodes with a window are significant. If in the middle of the story the hero, “having carefully wrapped his throat with a scarf so as not to catch a cold glands,” decided to fall out of the window, but he could not open it, since he carefully glued it up for the winter and was sorry for his labor; then at the end of the story, "old Peters pushed the window frame," and real Life burst into the open window. At the end of the story, the antithesis of life and sleep is clearly looming. All his life Peters "slept soundly and did not hear anything" and "lived through a dream." And suddenly one day, when his wife left him, and with her the image of his grandmother, he "carefully opened his eyes and woke up." Here, at the open window, behind which the “new children” were busy, the hero is reborn, he emerges from the vicious circle of programmed life. If earlier, frightened by life, he closed himself off from her, and she passed by, now "Peters smiled gratefully at life", and even if it is a stranger, indifferent, running past, but it is "beautiful, beautiful, beautiful." We understand that the hero has not lost faith in life, and maybe he will remain to live in his invented illusory world, but now he does not repulse life, but accepts it as it is. And therein lies Peters' rebirth.
4. Specificity of "women's prose"
Such different, dissimilar writers. And at first glance, there is nothing that could unite them. And yet it is no coincidence that the term "women's prose" appeared in literary criticism. These are not just works written by women writers. There is something else in them that unites V. Tokareva, L. Petrushevskaya, D. Rubina, L. Ulitskaya, N. Gorlanova, T. Tolstaya and others.
It so happened historically that more men wrote works. But "women's prose" has always occupied a special place in literature, because no man can convey the world the way a woman perceives it. The “female” view of the world is manifested in the fact that a lot of attention is paid to such concepts as home, family, loyalty, husband and wife, love, personal, individual, and not social life. Often, the heroes, building their relationships with the outside world, must first of all deal with their attitude to themselves, which speaks of the deep psychologism of “women's prose”.
"Women's Prose" is, one might say, books "about life." There are famously twisted plots with invincible lone heroes. Most often it is a household story, a plot that can happen behind any windows. But this is not important. It is important what the heroes think about everything that happened, what lessons they, and with them the reader, endure, what is the author's position in relation to their heroes. Therefore, the genre of "women's prose" can be defined as an everyday work with frequent philosophical digressions.
The hero of "women's prose" is a thinking hero, reflecting on the meaning of life; a hero devoid of a harmonious "form of personal existence"; the heroes of "women's prose" are ordinary people.
In works related to "women's prose", we will not encounter vulgarity, clichédness, as they contain life itself, unique and unrepeatable.
Thus, the features of the study of the socio-psychological and moral coordinates of modern life can be attributed to the features of "women's prose": detachment from topical political passions, attention to the depths of private life modern man... The soul of a concrete, "little" person for "women's prose" is no less complex and mysterious than the global cataclysms of the era. And also, circle general issues, solved by "women's prose" - these are the problems of relations between a person and the world around him, mechanisms for the maintenance or preservation of morality.
Bibliography
1. Abramovich GL Introduction to literary criticism. - M., 1976.
2. Zolotonosova M. Dreams and phantoms // Literary review. - 1987, No. 4.
3. Lipovetsky M. "Freedom is black work" // Questions of literature. - 1989, No. 9
4. Leiderman N.L. and other Russian literature of the XX century. - Yekaterinburg, 2001
5. Tolstaya T. Peters // New world. - 1986, No. 1
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