1990s

Specialty 10.01.01 - Russian literature

dissertations for a degree

candidate of philological sciences

Blagoveshchensk - 2010

The work was done at the Literature Department of the Blagoveshchensk State Pedagogical University

scientific adviser: Doctor of Philology, Professor Urmanov Alexander Vasilyevich Official Doctor of Philology, Professor Opponents: Schedrina Nelli Mikhailovna Moscow State Regional University Candidate of Philology, Associate Professor Bogatyreva Natalia Yurievna Moscow State Pedagogical University

Lead organization: Amur State University

The defense of the thesis will take place on June 04, 2010 at 15:00 at the meeting of the dissertation council D 212.203. at the Peoples' Friendship University of Russia at the address: 117198, Moscow, st. Miklukho-Maklaya, d. 6, room. 436.

The dissertation can be found in the Educational and Scientific Information Center (Scientific Library) of the Peoples' Friendship University of Russia at the address: 117198, Moscow, st. Miklukho-Maklaya, d. 6.

Scientific secretary of the dissertation council, candidate of philological sciences, associate professor A.E. Bazanova

GENERAL CHARACTERISTICS

This dissertation work is devoted to a comprehensive study of the functions of artistic speech in the prose of A.I. Solzhenitsyn in the 1990s, serving as a form of expression of the author's aesthetic, historiosophical, moral, ethical, religious, sociocultural views.

Relevance research. The artistic significance of the works of the outstanding writer of the twentieth century A. Solzhenitsyn is beyond doubt. However, some issues of the poetics of his texts remain unresolved, which primarily refers to the works of the 1990s: the second "raft" of crumbs, two-part stories and a one-day story "Adlig Schwenkitten". This is due to the relatively recent time of their creation, and their qualitative novelty, which makes it difficult to find adequate scientific approaches. Scholars and critics, who examined the later works of the writer, studied genre specifics, compositional structure, problem-thematic complexes, narrative structure, ways of expressing the author's position. The problem of artistic speech remains practically untouched so far. Its solution makes it possible to more clearly identify the distinctive features of Solzhenitsyn's late prose.

There is no generally accepted periodization of the writer's work in Solzhenitsyn studies. We adhere to the established tradition of dividing his works into early and late. In this not quite clear and definite scientific point In terms of separation, perhaps Solzhenitsyn's main work, the historical epic The Red Wheel, occupies a special place, due to the length of its creative history. The poetics of the epic (especially "March ..." and "April 17th") most of all interact with the artistic structure of the prose of the 1990s. This is due, among other things, to the approximate time of the creation of texts. The question of the distinctive features of the poetics of late prose is relevant. Its decision will make it possible to determine whether the works of the 1990s have a qualitative novelty, which, in turn, can serve as a starting point in establishing the periods of creativity of A. Solzhenitsyn.

In modern literary criticism, the problem of the aesthetic significance of the artistic word, syntactic techniques is of considerable interest.

Internal communications the sciences of the structure of a literary work with other disciplines, in particular, with linguistics, are obvious. An analysis of Solzhenitsyn's prose in the light of this interaction makes it possible to identify the features of the aesthetic functioning of speech means, their role in the formation of an artistic picture of the world.

The relevance of the study is also due to the increased interest of Solzhenitsyn himself in the Russian language. Language as an expression of the national, mental, spiritual, historical and cultural features of the Russian people was the subject of artistic and journalistic reflection of the author throughout his career. In his works, using the means of artistic speech, the writer expressed aesthetic, historiosophical, socio-cultural, moral and ethical views. Therefore, the study of the functions of artistic speech is important both from the point of view of literary theory and from the point of view of Solzhenitsyn studies. Separate works devoted to a comprehensive analysis of the lexical and syntactic devices of late prose as a form of expression of the writer's worldview, on this moment does not exist.

Solzhenitsyn scholars (Zh. Niva, P. Spivakovsky, A. Urmanov) turned to the analysis of the artistic language of the writer's earlier works. They explored the role of lexical means, graphic marking, rhythmic organization, noted the syntactic originality of speech. However, their analysis practically did not touch upon the artistic speech of the prose of the 1990s.

First of all, this refers to the syntactic organization, as well as to the features of graphic actualization. The solution of these issues makes it possible to identify evolutionary processes in artistic speech, the poetics of works, in the worldview of A. Solzhenitsyn. Thus, the question of artistic speech as a form of expression of aesthetic views, worldview positions of the writer seems to be very relevant.

Object and subject of research. The object of the study is the prose of A.I. Solzhenitsyn in the 1990s: the story "Adlig Schwenkitten", two-part stories, crumbs. When substantiating the main provisions of the dissertation, other literary works of the writer are taken into account: the stories “One Day in the Life of Ivan Denisovich”, “Matryonin Dvor”, “What a Pity”, “The Incident at the Kochetovka Station”, “Right Hand”, “Easter Procession”, a novel "In the first circle", the story "Cancer Ward", "the experience of artistic research"

The Gulag Archipelago, poetry of the 1940s and crumbs of the 1950s and 60s, the historical epic The Red Wheel, as well as literary and critical essays that make up the Literary Collection, journalistic works and interviews. Subject of research are the functions of the artistic speech of late prose (in interaction with other aspects of the poetics of works).

Purpose and tasks . The content of the dissertation work is determined by the goal, which is to analyze the essential features of the functioning of the artistic speech of prose in the 1990s, to identify the aesthetic concept associated with them and the basic principles of the author's worldview. This will make it possible to discover the novelty of the poetics of late prose, to determine the place of this prose in the general creative heritage of the writer, to reveal a certain evolution of the artistic style of A. Solzhenitsyn.

This goal defined the following tasks:

- to discover the features of the aesthetic functioning of some of the most important words for A. Solzhenitsyn (polysemantic vocabulary, lexical occasionalisms, words that cause historical and cultural associations), which contribute to the expression of the dominant ideas of later works;

- to determine the meaning of the graphic actualization of the artistic word, associated with other ways of emphasizing;

- to establish the artistic functions of the most frequent syntactic devices in the writer's work (ellipsis, inversion, enumeration, repetition), as well as the aesthetic significance of the characters' speech and the role of the dash sign;

- in the course of analyzing the specific means of artistic speech, determine their significance in expressing the moral, ethical, aesthetic, historiosophical views of the author;

- to discover the features of the interaction of means of artistic speech with other aspects of poetics (genre and compositional specifics, dominant artistic images, main motives, themes, chronotopes of works, author's attitudes, rhythmic and narrative organizations);

- to establish the causes and direction of the evolution of the artistic style;

- to reveal the alleged novelty of the poetics of late prose, which will allow us to define it as a special, relatively independent period of A. Solzhenitsyn's work.

The methodological basis of the work includes different ways of studying the features of artistic speech that interact with other aspects of poetics: the method of observation, the analysis of speech structure, the hermeneutic method in combination with the comparative typological one, as well as elements of the structural approach. The theoretical basis of the work was the works of M. Bakhtin, A. Veselovsky, V. Vinogradov, G. Vinokur, G. Gachev, V. Zhirmunsky, N. Kozhevnikova, B. Korman, A. Potebnya, N. Tamarchenko, B. Tomashevsky, V Khalizev, V. Shklovsky, M. Epstein, E. Etkind; philosophers: I. Ilyin, F. Nietzsche, P. Florensky; leading Solzhenitsyn scholars: M. Golubkov, Zh. Niva, P. Spivakovsky, A. Urmanov, N. Shchedrina and others.

Scientific novelty work is that:

1. For the first time on the material of the prose of the 1990s, the principles of the worldview, aesthetic and historiosophical views of Solzhenitsyn are comprehended through the analysis of the means of artistic speech;

2. For the first time, the artistic speech of Solzhenitsyn's works is analyzed as an integral structure subject to evolution, reflecting the ideological and aesthetic changes in the writer's artistic system;

3. For the first time, the features of the artistic functioning of syntactic and punctuation means in Solzhenitsyn's later works (ellipsis, enumeration, repetition, inversion and dash punctuation), which contribute to the expression of the principles of the worldview and aesthetic views of the author, are studied in detail;

4. For the first time, the analysis of some elements of artistic speech and the images and motives expressed by them is based on the works of both the early and late periods of the author's work;

5. For the first time, two-part stories, the story "Adlig Schwenkitten" and the crumbs of the 1990s are considered from the point of view of stylistic changes.

The methods presented in the work for studying the functions of artistic speech, in particular, aspects related to determining the artistic significance of syntactic techniques in the writer's work, have a general theoretical significance.

Practical significance . The results and materials of the dissertation research can be used in the course of studying modern Russian literature, in various special courses and special seminars devoted to the study of short prose of the second half of the 20th century, as well as in the further study of Solzhenitsyn's entire work and the works of other contemporary writers.

Approbation of work. Key points dissertations were discussed at a postgraduate seminar and at meetings of the Literature Department of the Blagoveshchensk State Pedagogical University; at the final scientific and practical conferences at BSPU (2007, 2009); the results of the work were tested at the VIII regional interuniversity scientific and practical conference "Youth of the XXI century: Step into the future" (2007), at the regional scientific and practical conference at the Amur State University (2007). The content of the study is reflected in 8 publications.

Provisions for defense:

1. The prose of the 1990s is a special period of A.I. Solzhenitsyn. This is expressed in the genre, compositional, plot, speech originality, in a high degree of generalization of the content of the works. At the same time, the late stage is a continuation of the early work of the writer. The relationship of works is found in the inheritance of some motifs, aspects of the problem-thematic complex, genre (little pieces), speech means.

2. The artistic functioning of some elements of speech in the works of the 1990s (the words inside, stability, abyss) differs to a certain extent from their use in early prose. Their meaning becomes more voluminous, synthetic. This vocabulary, especially updated by the author, reveals A. Solzhenitsyn's desire to identify universal categories, ontological values, viewed through the prism of the soul of an individual. Lexical occasionalisms and previously used artistic words (bringing the old meanings) are the means of creating key images, expressing dominant themes and main motives of the works of the late period: “inside” - souls, “abyss”, “partisans”, Huns - a meta-image of a “powerful tribe”, "punishment of conscience", moral labor, spiritual fortitude and dehumanization. They reveal the most important principles of the worldview and historiosophical views of the writer. The artistic meaning of lexical means is due to polysemy, contextual actualization; contributes to volume, revealing the semantic depth of the depicted.

3. The graphic method of updating words (partisans, ours), linguistic eclecticism, reflected in the speech of the characters, contribute to the expression of social opposition. These techniques emphasize the absurdity and tragedy of national disunity, contribute to the embodiment of the worldview confusion inherent in modern man. The author reveals the pernicious value of trampling and impoverishment of historical, cultural, national, Orthodox, spiritual values.

4. A combination of methods of actualization (graphic, intonational, morphological, semantic, syntactic), combining the voices of the author and heroes in one word, reminiscent associations - a new way to highlight a meaningful word. He is the embodiment of the aesthetics of "density" inherent in the artistic consciousness of the author. "Density" is a natural expression of A. Solzhenitsyn's worldview, the embodiment of one of the main worldview principles - "self-restraint". A combination of highlighting techniques (for example, when updating the words partisans, Huns, ours, Vendee) helps to recreate historical events, expressing social disunity, identifying the points of view of the author and characters.

5. In the story and stories, the dash and ellipsis make it possible to emphasize the opposite of the characters' characters, the features of their worldview. In the story "On the Edge" the sign helps to display the hero's contradictory worldview. These functions of syntactic devices contribute to the embodiment of Solzhenitsyn's system of life values. In tiny dashes (often in combination with an ellipsis), as well as enumeration and inversion techniques, they have an actualizing, intonational and rhythm-forming function.

The artistic use of syntactic techniques helps bring the little ones closer to the genre of poetry in prose.

6. In the story “Adlig Schwenkitten”, the enumeration technique is one of the ways to create a brief and complete portrait of a character. In the story, the alternation of fragments, the artistic speech of which is replete with voluminous enumerations, and episodes (divided into small paragraphs) containing elliptical constructions and exclamations, organizes a tense rhythmic pattern of the work, gives dynamism to the narrative.

The technique of repetition in Solzhenitsyn's late prose is not only a way of updating a significant word, but also a means of displaying the author's point of view: the writer's historiosophical, socio-cultural views. In some cases, repetition contributes to the active manifestation of the author's position. With the artistic comprehension of historical, cultural, social, moral problems, the manner of narration changes. In crumbs, this is facilitated by the presence of appeals to the reader, rhetorical exclamations, questions, final generalizations. The set of fragments containing similar speech techniques forms a special narrative structure of late miniatures. This is also facilitated by the presence of super-short fragments of a different kind (in the story and short stories), which act as if the beginning of the plot.

7. The artistic expression of the principles of the writer's worldview is facilitated by the choice and interrelation of speech means. The ratio of artistic speech and other aspects of poetics, the synthesis of speech techniques and the author's intention shows the creative mindset of the writer. In the prose of the 1990s, Solzhenitsyn's attraction to artistic density found its full, all-encompassing and most complete embodiment. The poetics of later works is brought to the level of filigree (special care, precise alignment of all levels of the structure of works), maximum refinement. It is the true synthesis of all used speech means that allows the author to briefly, but as fully and deeply as possible, embody his artistic intention. The creative evolution of the author lies in the desire to achieve the ultimate artistic "density", compactness both at the level of the entire work as a whole, and in each of its individual structural elements, which is expressed in genres, compositional structure, speech organization, etc. This allows us to identify novelty poetics of late prose, to define it as a special period of creativity.

Work structure. The dissertation consists of an introduction, two chapters, a conclusion and a list of references, including titles. The volume of work is 211 pages.

MAIN CONTENT OF THE WORK

The Introduction establishes the object and subject of research, substantiates the relevance and scientific novelty of the topic, determines the degree of study of the poetics of late prose, identifies goals and objectives, methodological principles for analyzing the literary speech of works, and highlights the main provisions submitted for defense.

The first part of the chapter "Aesthetic Functions of the Artistic Word in A. Solzhenitsyn's Prose of the 1990s" examines the meaning of polysemantic words previously used by the author. In the second paragraph, “Image-creating and world-modeling functions of the word “inside” in crumbs and two-part stories,” the most important artistic word for the writer is highlighted.

Recreating the events of Russian history at the beginning of the 20th century, A. Solzhenitsyn is trying to find something in common that links man and nature. The artist selects such speech means that allow, including symbolically and metaphorically, to reflect the relationship between the soul of a person and his actions, the history and fate of the people; realize their ideas about the world order. Therefore, it is no coincidence that the writer repeatedly refers to the word inside. Contextually, it expands its lexical meaning, objectifies not only direct, but also figurative, additional meanings:

genuine, primordial, root, deep, all-encompassing, hidden, intimate, deeply personal beginning, ideological basis.

Meeting from work to work, accumulating previously updated semantic shades, in the late tiny “Lightning” this word acquires a more generalized, universal, deep meaning; embodies the image of the soul. This image, in a certain sense, is central to the writer's picture of the world. In the early work (in the story "Matryonin Dvor") it is the original, "kondovaya" Russia, in the later (in the epic "Red Wheel", further in the prose of the 1990s) - the deep essence of man, capable of spiritual renewal. The aesthetic functioning of the word in different contexts contributes to the holistic perception of many works and the expression of the author's intentions in them.

The artistic word stability, as well as its variations, found in many other works of A. Solzhenitsyn, embody one of the main motives of his work - the motive of spiritual steadfastness. This motive has another expression (for example, in the context of the entire work).

However, most often it appears in this word. It is characteristic that, for the most part, the writer endows with stability the heroes - representatives of the "people", or those whose worldview is imbued with national, Orthodox traditions (for example, General Samsonov in the first Knot of the "Red Wheel"). In the context of the author's work, the motive of resistance forms a complex with the motive of "search for Kitezh Rus". According to the writer, spiritual fortitude is a quality that is characteristic, first of all, for representatives of the past, spiritually healthy Russia. It will ensure the further development of the country. The motive of dehumanization, images of spiritual degradation, localized in the words abyss, hardened, bestial, also have a more general contextual expression. These words have been used by the author before. In late prose, their use brings the old meanings. In the artistic world of A. Solzhenitsyn, the word abyss expresses the spiritual, cultural, economic state and position of the people. In earlier works (in particular, in the epic), his word form is used looseness. This word contributes to the artistic reconstruction of historical events of the early twentieth century:

reflects the state of the country, which is on the verge of destruction. In the crumbs of the 90s, the word abyss is used. It embodies the cultural, economic, spiritual “collapse” that has taken place. In the epic "Red Wheel" and the works of the 1990s, the motif of dehumanization forms a complex with N.M. Shchedrina with the motive of "devilry". This is emphasized, among other things, by the infernal characterization of the "brutalized" heroes - investigators, Red Army soldiers, Bolsheviks. This complex of motives, the words hardened, brutalized, contribute to the creation of a meta-image of the “new tribe” - revolutionary, Soviet youth, devoid of moral, spiritual guidelines. In general, the meaning of the words stability and abyss in later prose becomes more capacious, universal, aimed at the artistic recreation of the spiritual image of an individual or an entire nation.

Of particular aesthetic significance are the words created according to the previously used word-formation model: kara-conscience and care-examination. In Solzhenitsyn's work, they express the themes of conscience and moral labor, they denote the most important qualities of human existence and spiritual evolution.

In the understanding of the writer, conscience and work are those moral imperatives that determine the vector of human development. In works more early period there are also speech means formed by adding two words. So, in the story "One day of Ivan Denisovich" the word "winter-summer"

conveys the course of one year, the time (consisting of many years) that Shukhov must serve in the camp. The artistic word determines the relationship of the hero to the calendar. He divides the year into parts that are important for its existence:

heavy and especially heavy. In the story “The Right Hand”, when describing a nurse, the narrator also uses similar artistic words: “nose-shoe”, “briskly and quickly” (about behavior), “cruelly cheerful” (facial expression). Compound words convey the features of appearance and characterize the emergency room nurse, a typical representative of a medical institution of the Soviet years. The use of one method of creating words in works of different periods indicates a certain unity artistic principles writer, about the relationship of works that make up the common creative heritage. However, in the prose of the early period, compound words usually have a local artistic meaning, designed, for example, as in this case, to convey the details of a portrait of a minor heroine. In the prose of the 1990s, these words, as a rule, have an ontological meaning, they express themes essential for the author: conscience, work, spiritual perfection.

The addition of words, as a way of strengthening the meanings of two components, allows the author to update and combine into one the most important thing for him. According to A. Solzhenitsyn, the effectiveness of each ethical concept is enhanced by interaction (like care and inspection) or identification (conscience and punishment). The themes of conscience, labor (physical and moral) are revealed in many works of the writer, including journalistic ones. The true meaning of the considered artistic means is revealed in the context of almost the entire work of the author and is not limited to crumbs. The special meaning of these words lies in the fact that they express the main philosophical principles of Solzhenitsyn. In the prose of the 1990s, the author used such artistic words that turned out to be able to accumulate the key ideas of the works (little pieces "Lightning" and "Dashing Potion"). They were a kind of quintessence of the views of the writer, expressed in his early works, but by other, not so concise means.

The use of meaningful words testifies to the breadth of A. Solzhenitsyn's vision, the wisdom of a person who is at the peak of spiritual development.

In the prose of the 1990s, the use of graphic marking allows A. Solzhenitsyn to deautomate the perception of a literary word, to reveal hidden semantic nuances contained in the work (for example, the attitude of peasants to ongoing events in the word partisans, social heterogeneity in the word ours).

In different texts of the 1990s, there are the same methods of highlighting a word (graphic, intonational, morphological, semantic), often the same word is updated (for example, partisans, Huns, ours). This testifies to the artistic interaction, the ideological commonality of later works, and reveals socio-historical problems that are extremely important for the author. Overcoming the usual standard of use and perception of the word partisans, the writer changes its morphological and graphic appearance. This change focuses the reader's attention on the word, refers it to the "folk" speech sphere of use.

Combining in one word the voices of the Red Army, Antonov, peasants, narrator, Solzhenitsyn reveals the attitude of different strata of society towards the Tambov uprising. The use of the word in two works (the stories "Ego" and "On the Edge") contributes to the creation of one historical, eventful field in two texts, revealing the theme of betrayal with different parties, reflecting changes in the minds of people caused by the revolution and civil war. The word emphasizes the mental commonality of the warring parties, which enhances the drama of the recreated events. The selection of the word Huns contributes to the reconstruction of one of the significant meta-images of the writer's artistic picture of the world - the "new tribe". The word has a three-dimensional meaning not because of the initial ambiguity, but because of the historical and cultural associations that it evokes. Using it, the author actualizes the context of the previous meanings and usages. This contributes to the creation of an extremely capacious, expressive image of the "creators of the new world", considered by the writer in many works. The achievement of the volume of the image is facilitated by the synonymous series for the word Huns, reflected in various works: young growth, a powerful unprecedented tribe, locust, horde. The semantics of these words and phrases brings additional semantic shades:

comparison with animals, with a primitive tribe, distinguished by the rigidity of relationships in the tribal collective, the significance of mass character and destructive power. In the context of other works by A. Solzhenitsyn (the story "Matryonin Dvor", the novel "In the First Circle", the little ones "Traveling along the Oka River", "The Bell Tower", "The Bell of Uglich", the two-part story "Nastenka", the epic "Red Wheel"), contrasting the image of the Huns with the images of spiritually stable people and symbols of the national Orthodox culture. The two-dimensional graphic highlighting of the word “our” reflects the antinomy of spirituality and unscrupulousness, the social opposition of different strata of society: representatives government controlled, officials, military leaders, GPU investigators, teachers, engineers, soldiers and officers, peasants and other citizens of the country. The use of one word in relation to people "professing"

different systems of values, enhances the drama of the social situation, leading to the destruction of the spiritual foundations of the state.

In later works, the writer uses the previously used graphic methods of actualization: italics, bold and sparse type. However, now the author combines several methods of highlighting the words Huns, partisans, ours. Such interaction contributes to the expression of the multidimensional meaning of the depicted.

Updated words reveal the points of view of the author and characters, historically established social contradictions. The combination of different ways of accentuating the word: graphic, morphological, intonational emphasis, the use of reminiscences referring to the work of Blok, Bryusov, Mayakovsky, the combination of the voices of the author and the characters in one word contributes to a voluminous recreation of historical events and popular disunity, revealing the writer's historiosophical views.

In the second chapter“The role of artistic and syntactic devices in the late prose of A. Solzhenitsyn” analyzes the characteristic features of the syntactic organization of artistic speech, considers the aesthetic functions of syntactic devices, the dash sign and the artistic significance of the speech of the characters.

The ellipsis technique is a characteristic and organic feature of the writer's artistic speech. He is one of the main exponents of the "density" aesthetics inherent in the artistic consciousness of the author.

The desire to "condense" the text at all levels (including speech) is due to the principle of "self-restraint" inherent in Solzhenitsyn's worldview. In late prose, the technique corresponds not only to the writer's attitude, but also to creative tasks, including small genres of works of the 1990s. It can be argued that the small genre form largely influenced the choice of artistic means, in particular, polysemantic vocabulary and ellipsis, which contribute to a concise and capacious recreation of reality. In contrast to early prose, in the works of the 1990s, the use of ellipsis increased in frequency. This fact is explained, among other things, by the genre nature of the later texts. At an early stage of his work, the writer also created voluminous works of art (in particular, a historical epic, on which he worked throughout his creative life). Their artistic speech is distinguished by its completeness and prevalence. At the same time, the frequent use of the ellipsis is also due to A. Solzhenitsyn's tendency to "condense", and, to some extent, a change in worldview.

The functions of the ellipsis in the artistic speech of late prose are diverse.

It becomes an element of poetics, to some extent acquires a world-modeling function. In the story “Adlig Schwenkitten” and two-part stories (“Nastenka”, “It's All the Same”, “Apricot Jam”), the ellipsis contributes not only to expressing the criticality of the situation, extreme expression, dynamism, and rhythm of the narration. Reception promotes bright image details of the portrait, psychological traits, behavioral characteristics of the characters, as well as everyday details. The artistic and syntactic device helps to reveal the life positions of the characters (Nastenka, Filaret, the Writer), the opposed principles of the heroes' worldview (Pozushchan and the fighters); as a consequence, the expression of the point of view of the writer.

The punctuation pattern of the text is directly dependent on the syntactic organization of artistic speech. One of the essential features of the prose speech of the 1990s is the dash sign. It can be called the favorite sign of the writer; in late prose, the frequency of its use increases. In the works of the author, the dash performs various artistic functions. In the story (in synthetic unity with ellipsis, frequent paragraph articulation and expressive vocabulary), the sign contributes to the expression of dynamism, extreme emotionality of the narrative. The dash helps to reveal the general emotional attitude of different heroes (Kandalintsev and Gusev) to the suddenly started battle. The sign helps to artistically recreate the ideological opposition of seemingly similar characters (Boev and Veresovoy), thereby embodying the principles of the author's worldview (persistence, decency, striving for self-improvement). In the two-part story "On the Edge" the dash helps to display Zhukov's inconsistency, the tragedy of not understanding the true meaning of events, and the reconstruction of historical events from the points of view of the hero and the writer.

At the same time, ellipsis and dash contribute to the formation of a special narrative style of Solzhenitsyn's works of the 1990s. In the story "Nastenka" and the story "Adlig Schwenkitten" there are fragments that have a compositional function, acting, in a certain sense, as a plot plot. They lack typical speech formulas, the boundaries between the plans of the characters and the author are blurred, the narrative is extremely compressed (thanks to the dash and ellipsis). These fragments (correlated in the context of later works) together determine the features of the narrative organization of the prose of the 1990s.

In crumbs, the sign actualizes artistic words expressing the author's intentions. In synthetic unity with ellipsis, inversion (as a means of bringing prosaic speech closer to poetic), enumeration and repetition, the dash creates a special rhythmic pattern of little ones, contributes to intonation meaningful words and expressions, contributes to the approximation of miniatures to the genre of poems in prose.

Inversion is a technique characteristic of the artistic speech of many of the writer's works, in particular, the little ones. Inversion, along with graphic highlighting (marking with punctuation marks), acts as a way of intonational actualization of words that convey the universal meaning of works. In the little "Night Thoughts" inversion acts as a technique for creating an artistic image modern life thus contributing to the expression of the author's point of view. In "Apricot Jam"

inversion, along with other techniques, reveals the inconsistency of the moral character of the Writer (lack of mercy, feelings civic duty) to his talent. In this work (as well as in the Nobel lecture), the author expressed his understanding of the true purpose of the artist of the word.

With the help of enumeration, Solzhenitsyn achieves artistic "density", since in his works this technique differs in that elements that have different grammatical meanings are combined in one row.

In the story, the enumeration contributes to a brief and comprehensive recreation of the image of the character (Major Boev): portrait details, behavioral features, psychology, everyday details. Thus, it contributes to the identification of the worldview of the hero in short form, as a result, the system of life values ​​of the author. In a tiny way, the technique helps to recreate the appearance of a rooster, symbolizing a spiritually strong person. Fragments of the story "Adlig Schwenkitten", consisting of enumerations and recreating the internal and external appearance of the characters, are distinguished by volume. In the work, they alternate with fragments consisting of small paragraphs, saturated with dashes and ellipses. In these episodes, preparations for battle and a fierce battle are depicted, the ultimate criticality of the situation is embodied. Such alternation creates a tense rhythm of the work.

A characteristic feature of the writer's artistic speech is repetition. This is a unique case of graphic, semantic, syntactic, intonational highlighting of a significant word. With its help, A. Solzhenitsyn achieves a concise description that implements the "law of economy" of artistic means. Thus, the author, using a kind of stylistic figure of addition, achieves artistic "density". This property of the technique is one of the essential when creating a work of a small genre form, such as, for example, a crumb. In later miniatures, repetition is not only a way of updating an ideologically significant word, but also by the method of creating a symbolic image. For example, bell ringing - a symbol of people's anxiety, will;

coniferous tree - a symbol of perseverance, moral development. In the story, repetition is also a means of achieving a special emotionality of the narrative. In stories - a way of expressing the ethical, historiosophical views of the writer, the author's point of view. The interaction of syntax and vocabulary was embodied in one, duplicated, word. Using this technique in the prose of the late period, A. Solzhenitsyn expands its functional meaning: from strengthening the meaning of one word to creating a symbolic image and expressing the position of the author. In different periods of the writer's work, the meaning of repetition is different. In the early crumbs, for example, in the miniature "Traveling along the Oka", the repetition of the word "from afar" performs a local artistic function. It draws the reader's attention to a specific feature (in this case, on the nature of the location of churches). In the later crumbs, the repetition of a reflective word (for example, “slowly” - about the ringing of bells) reveals Solzhenitsyn's cultural and historical views. In the two-part story "Ego", the repetition of the word Vendee (along with a comparative description of the Tambov and Vendee uprisings) contributes to the strengthening of the narrative's publicism.

The speech of the characters, which is the object of the image in the works of late prose, in particular, in the two-part stories "It's all the same" and "Zhelyabugskie Vyselki", is distinguished by an eclectic lexical composition (a mixture of vernacular and borrowings), which creates a comic effect.

The comic reveals the writer's ironic attitude, expressed in many interviews, to the total borrowing of foreign words.

In the works, officials and peasants are opposed. The latter practically do not use borrowings, they keep the faith (like Nikifor Zabolotnov). Administrators of different levels are forced to adapt to the interlocutors (management or villagers), choose speech means depending on the situation. In the prose of the 1990s, A. Solzhenitsyn creates the image of a new leader who readily talks about democracy, while using obscure words. The author shows that the further an official is from the people, the higher his social position, the less clear his speech is. The statements of low-level administrators are close to folk. This indicates the closeness of these leaders to people, which is expressed in a more or less conscientious attitude to problems. The writer reflects the ideological chaos inherent in consciousness modern man due to the loss of moral, spiritual, ideological guidelines.

The speech of the heroes of the late twentieth century differs from the eclectic speech of the characters of the historical epic "Red Wheel". The latter have lost, above all, their religious foundations. According to the author, this led to further spiritual emasculation of people. The political situation of the 1990s contributed to the loss of ideological landmarks, and became the cause of confusion that reigns in the minds of people and is expressed in speech. The depicted speech of the characters in the later works of A. Solzhenitsyn testifies to the deformation and fragmentation of the people's consciousness; reflects the socio-historical, religious, moral, cultural views of the writer.

The Conclusion summarizes the results of the study. Artistic speech as an expression of "figurative content", author's intentions is the most important side of the inner world of a literary work. A work of literature does not exist outside the verbal embodiment. It reflects the characteristics of the personality, the writer's worldview, therefore the principle of selection of speech elements and the ways of their organization are directly proportional to the author's vision of the world.

The late stage of Solzhenitsyn's work, in a certain respect, is a continuation of the writer's earlier works. For example, the analysis of the spatio-temporal structure of the two-part story "Nastenka"

revealed the interaction of the poetics of the work with some structural features of the novel "In the First Circle", "The Gulag Archipelago" and the epic (at the chronotopic and problem-thematic levels); emphasized the diversity of artistic connections of the author's works, contributed to the discovery of the most important socio-cultural, historical problems for the writer. The relationship between prose of different periods, including the texts of the 90s and the epic "Red Wheel", is manifested in different levels: in the commonality of some images (Huns, abyss), motives (spiritual stamina and the search for "Kitezh Rus", dehumanization and "devilry"), aspects of the problem-thematic complex, genre (little ones), and also, in a certain sense, in the unity of the speech system. The author uses previously encountered words (inside, stability, abyss, Huns). They designate existential categories, socio-cultural, historical phenomena that are important for the writer.

The lexical interaction of works from different periods reveals the special significance of certain images and motifs for artistic thinking Solzhenitsyn.

At the same time, the works of the 1990s: the second "raft" of babies, two-part stories, the story "Aldig Schwenkitten", form a special, late period of A.I. Solzhenitsyn. The aesthetic functions of the words inside, stability, abyss, gunns in the works of the 1990s are somewhat different from their use in early prose. Their meaning becomes more flexible. This vocabulary reveals the tendency of the late A. Solzhenitsyn, first of all, to identify universal categories. The words kara-conscience and care-inspection, created according to the previously used model, do not have a local artistic meaning, but an ontological one, they express the most important topics for the author.

In late prose, the combination of several ways of actualizing an ideologically significant word emphasizes its artistic role. So, in the works of the 90s, A. Solzhenitsyn managed to express the problem of social opposition with the help of one word, either in italics or in sparse font - our pronouns.

The frequency of using syntactic devices (ellipsis and dash) in late prose increased. This is largely due to the small genre form of the works of the 1990s, to a certain extent, the worldview of Solzhenitsyn, who seeks to highlight the most important. The author turned to the creation of late prose, having reached a mature age, in a certain sense, the breadth and depth of spiritual insight. He finally returned to Russia. At the same time, the writer experienced disappointment from the political, economic and cultural decline (including in literature). Of course, a change in attitude influenced the choice, including speech means. In this regard, in a certain sense, the ellipsis also performs a world-modeling function, as it contributes to the expression of the author's worldview.

The technique of repetition, which is also found in his early works (in which he actualized the words of local artistic significance), focuses readers' attention on artistic words that reveal Solzhenitsyn's views on history and social development.

The eclectic speech of the heroes of later works differs from the mixed speech of the characters of the historical epic. In the Knots, the speech of the heroes reveals the absence of spiritual guidelines, in the two-part stories - the loss of ideological support.

An analysis of the artistic speech of the babies revealed typical elements:

final generalizations, appeals to the reader, verbs of the 2nd person, bringing together the author and the reader, emphasizing the universality of the meaning of the works. Their totality reveals the commonality of the narrative manner of the late Solzhenitsyn's tiny little pieces, the features of the narrative organization of the prose of the 1990s.

The conclusions of the little ones, taken out in a separate line, act as a way of explicitly expressing the author's point of view. The attitude of the writer is found in the symbolic and metaphorical understanding of a person compared with the images of trees and a rooster (in "Lightning", "Larch", "Cock Song"). This approach has been used by the author before. However, in the works of the 1990s, to a much lesser extent, there is an appeal to acute social issues; universal themes conscience, morality.

In later prose, the author's point of view is expressed in two ways. Some researchers write about the hidden manifestation of the author's position in two-part stories. Indeed, when depicting events from the point of view of the hero, the narrator refrains from directly expressing his assessments. The plans of the hero and the author are combined (in a two-voiced word). Solzhenitsyn's position is found in the context of the work, sometimes of the entire work (including journalism). For example, in the story "Nastenka" the author's point of view is expressed in a comparison of the attitudes of Filaret and the heroine (in particular, with the help of an ellipsis), in the context of other works (including The Gulag Archipelago). When referring to acute socio-cultural, historical, moral problems, the author's position has a clear expression (in a direct word). Sometimes (in similar cases) the narrative manner approaches the journalistic (in the story "Ego"). In general, in the prose of the 1990s, the author's attitudes (compared to early works) have a more hidden expression. This is due to the universality of the considered topics of conscience, work, self-improvement, spiritual stability.

The analyzed elements of artistic speech contribute to the identification of the basic principles of Solzhenitsyn's worldview: conscience, fortitude, mercy, the importance of moral and physical labor.

The interaction of artistic speech with other aspects of poetics shows the writer's desire to "condense" the text (including at the level of the artistic word). The deep interaction of all used speech means allows the author to concisely, but as fully as possible, embody the idea of ​​the work, his system of values. The creative evolution of the author lies in the desire for the utmost brevity of the narrative. An analysis of various elements of artistic speech made it possible to define the late prose of A. Solzhenitsyn as a special period of his work.

Considering the works of the writer in unity, it can be noted that at the beginning of his creative path he turned to the genres of "small prose". At the final stage, the author also created works of small forms, but now on a new round of worldview, aesthetic views in general, life.

The "ring composition" of Solzhenitsyn's work emphasizes a certain substantial completeness, the universality of the meaning of later works. However, the poetics of "small prose" of the 1990s is new.

Therefore, some speech techniques, motifs, images correlate with the poetics of earlier volumetric works.

In journals corresponding to the "list of leading scientific journals and publications published in the Russian Federation, in which the main scientific results of dissertations for the degree of candidate of sciences should be published", 2 works are published:

Khitraya, A.A. Graphic actualization as an expression A. Solzhenitsyn Bulletin of the Pomor University. Series:

"Humanities and Social Sciences". - 2009. - No. 8. - S. 204-207.

Khitraya, A.A. The repetition of the word "Vendee" as a way of expressing the historiosophical views of A. Solzhenitsyn in the two-part story "Ego" // Bulletin of the Tambov University. Series: "Humanities". - 2010. - Issue 1 (81). – S. 256-259.

Cunning. A.A. The image of spiritual fortitude in the artistic word of A. Solzhenitsyn (On the example of "Tiny" of the 1990s) // A. Solzhenitsyn's prose of the 1990s: Art world. Poetics. Cultural context: International collection of scientific papers / Ed. ed.

A.V. Urmanov. - Blagoveshchensk: Publishing house of BSPU, 2008. - S. 25-41.

Khitraya, A.A. Repetition as a way of updating key words in the crumbs of A. Solzhenitsyn in the 1990s // Proceedings of the 59th scientific and practical conference of teachers and students: In 3 hours - Blagoveshchensk: Publishing House of the Belarusian State Pedagogical University, 2009. - Part II. - S. 181-184.

Khitraya, A.A. Techniques for updating the artistic word in "Two-part stories" // Prose of A. Solzhenitsyn in the 1990s:

Artistic world. Poetics. Cultural context: International collection of scientific papers / Ed. ed. A. V. Urmanov. - Blagoveshchensk: Publishing house of BSPU, 2008. - S. 128-140.

Step into the Future. Materials of the VIII regional interuniversity scientific and practical conference. Book. 4. - Blagoveshchensk: Publishing house of BSPU, 2007. - S. 178-179.

Khitraya, A.A. Ways to create the image of a “new tribe” in the prose of A. Solzhenitsyn in the 1990s (on the example of “little ones” and two-part stories) // Proceedings of the 57th scientific and practical conference of teachers and students: In 3 parts - Blagoveshchensk: Izd. - in BSPU, 2007. - Part II. - S. 152-160.

Khitraya, A.A. Ellipsis as a way to achieve artistic "density" in the works of A.I. Solzhenitsyn in the 1990s // Problems of Artistic World Modeling in Russian Literature: Collection of Scientific Articles / Ed. S.I. Krasovskaya. - Issue 9. - Blagoveshchensk:

Publishing house of BSPU, 2009. - S. 79-92.

This dissertation work is devoted to a comprehensive study of the functions of artistic speech in the prose of A.I. Solzhenitsyn's years, acting as a form of expression of the aesthetic, 1990s historiosophical, moral, ethical, religious, socio-cultural views of the author. The analysis of artistic speech is associated with the consideration of other elements of the structure of works: key artistic images, main motives, dominant themes, chronotopes, genres, compositional and narrative organizations, ways of expressing the author's position. Scientific novelty lies, among other things, in the fact that for the first time the artistic functions of syntactic devices in the writer's works are studied in detail.

This dissertation work is devoted to the complex research of functions of artistic speech of A. Solzhenitsyn "s prose of 1990th as the form of expression aesthetic, historical, philosophical, moral, religious, social and cultural views of the author. The analysis of artistic speech is connected with the investigation of other elements of a structure of works: key artistic images, the basic motives, dominating themes, chronotopes, genres, the composite and narrative organizations, ways of expression of an author's position. Scientific novelty consists in the fact that for the first time artistic functions of syntactic devices in the works of the writer are in detail investigated.

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Sly Anna Alexandrovna. Functions of artistic speech in the prose of A.I. Solzhenitsyn in the 1990s: dissertation... candidate of philological sciences: 10.01.01 / Khitraya Anna Aleksandrovna; [Place of protection: Ros. University of Friendship of Peoples].- Blagoveshchensk, 2010.- 211 p.: ill. RSL OD, 61 10-10/1023

Introduction

Chapter I Aesthetic functions of the literary word in the prose of A. Solzhenitsyn in the 1990s 16

1.1. The meaning of the word in the structure of the work 16

1.1.1. Artistic speech as an element of poetics. 16

1.1.2. Image-creating and world-modeling functions of the word "inside" in crumbs and two private stories 21

1.1.3. Verbal embodiment of the motives of spiritual fortitude and dehumanization 44

1.1.4. Displaying/revealing the themes of conscience and labor in the compound words "punishment-conscience" and "care-examination" 62

1.2. Actualization of the artistic word as a way of expressing the author's intentions 73

1.2.1. Graphic and morphological methods of updating the word "partisans" in the stories "Ego" and "On the edges" 73

1.2.2. Ways to actualize the word "Huns" - a meta-image of the socialist youth 82

1.2.3. The meaning of the graphic highlighting of the word "ours" in two-part stories 94

Chapter II. The role of artistic and syntactic devices in the late prose of A. Solzhenitsyn 108

2.1. Some syntactic features of artistic speech in works of the 1990s 108

2.1.1. Aesthetic meaning of syntax 108

2.1.2. Ellipsis as a way to achieve artistic "density" in two-part stories 110

2.1.3. Functions of the dash - a distinctive feature of the late style of A. Solzhenitsyn 134

2.2.1. Repetition is a way of accentuating an ideologically significant word... 150

2.2.2. Enumeration and inversion as ways of creating an artistic image and rhythmic organization of the narrative 161

2.2.3. Reflection of socio-cultural changes in the speech of the hero (in the story "Adlig Schwenkitten" and two-part stories) 174

Conclusion 189

List of references 197

Introduction to work

The dissertation work is devoted to the study of the functions of artistic speech in the prose of A.I. Solzhenitsyn in the 1990s, acting as a form of expression of the author's aesthetic, historiosophical, moral, ethical, religious, sociocultural views.

The relevance of research. The artistic significance of the works of the outstanding writer of the 20th century A. Solzhenitsyn is beyond doubt. Almost all critics and researchers of his work spoke about this. However, some issues of poetics of the writer's works remain unresolved. First of all, this refers to the late period of creativity. "Late" is usually called A. Solzhenitsyn's prose of the 1990s: the second "raft" of crumbs, two-part stories and a one-day story "Adlig Schwenkitten".

At the moment, the texts of this period remain insufficiently studied, not fully comprehended. This is due to the relatively recent time of their creation, and their qualitative novelty, which makes it difficult to find adequate scientific approaches. Scientists and critics who considered late prose studied genre specifics, compositional structure, problem-thematic originality, narrative structure, and forms of expression of the author's position. The problem of artistic speech in prose of this period remains practically unaffected. Its solution makes it possible to more clearly identify the distinctive features of Solzhenitsyn's late prose.

There is no generally accepted periodization of the writer's work in Solzhenitsyn studies. We adhere to the established tradition of dividing his works into early and late. In this not quite clear and scientifically defined division, perhaps Solzhenitsyn's main work, the historical epic The Red Wheel, occupies a special place. This is due to the length of her creative history. Poetics of the epic (especially

5 "March ..." and "April the Seventeenth") interacts most of all with the artistic structure of the prose of the 1990s. This is due, among other things, to the approximate time of the creation of texts. The question of changes in the poetics of late prose is relevant. Its decision will make it possible to determine whether the works of the 1990s have a qualitative novelty, which, in turn, can serve as a starting point in establishing the periods of creativity of A. Solzhenitsyn.

In modern literary criticism, the problem of the aesthetic significance of the artistic word and syntax is of considerable interest. The internal connections of the science of the structure of literary works with other disciplines, in particular, with linguistics, are obvious. An analysis of Solzhenitsyn's prose in the light of this interaction makes it possible to identify the features of the aesthetic functioning of speech means, their role in shaping the author's artistic worldview.

The relevance of the study is also due to the increased interest of Solzhenitsyn himself in the Russian language. Language as an expression of the national, mental, spiritual, historical and cultural features of the Russian people was the subject of artistic and journalistic reflection of the author throughout his career. In his works, using the means of artistic speech, the writer expressed aesthetic, historiosophical, socio-cultural, moral and ethical views. Therefore, the study of the functions of artistic speech is important both from the point of view of literary theory and from the point of view of Solzhenitsyn studies. There are currently no separate works devoted to a comprehensive analysis of the lexical and syntactic devices of late prose as a form of expression of the writer's worldview.

Solzhenitsyn scholars (Zh. Niva, P. Spivakovsky, A. Urmanov) turned to the analysis of the artistic language of the writer's earlier works. They explored the role of lexical means, graphic emphasis, rhythmic organization, noted the syntactic originality of speech. However, their analysis practically did not touch upon the artistic speech of the prose of the 1990s, first of all, this refers to the syntactic organization. Features of graphic updating also remain unexplored. The solution of these issues makes it possible to identify evolutionary processes in artistic speech, the poetics of works, in the worldview of A. Solzhenitsyn. Thus, the question of artistic speech as a form of expression of aesthetic views, worldview positions of the writer seems to be very relevant.

The degree of study of the poetics of the works of the 1990s. Analyzing the prose of the late stage, many scholars note the relationship between some elements of the structure of early and late works 1 . At the same time, researchers and critics of the writer's work speak of changes in the poetics of prose in the 1990s. A. Arkhangelsky, speaking about the “late” Solzhenitsyn, in particular, about the symbolism of the two-part stories, notes: “It was, therefore, he had the opportunity not only for the external, “extensive”, through a complete change of genre, but also for the internal, “intensive” removing excessive symbolic tension” 2 . The critic notes genre novelty (unlike, for example, the story "Matryonin Dvor") and a certain "simplicity" of presentation, "freedom" from "symbolic tension" (which, in the author's opinion, abounded early stories). On the contrary, L. Kolobaeva notes: “In the tiny stories of recent times, the connection between a specific, small detail, which becomes the core of the narrative, and the all-encompassing generalizing, symbolic (or allegorical) meaning, national-historical or general philosophical, is hidden in it.” She doesn't

Among them: Guskov, V.V. The variety of connections between the story "Ego" and the historical epic "Red Wheel" // Prose of A. Solzhenitsyn in the 1990s: The Artistic World. Poetics. Cultural context: International collection of scientific papers / Ed. ed. A.V. Urmanov. Blagoveshchensk, 2008, pp. 104-127; Kim Eup Hee. Forms of artistic narration in the "small prose" of AI Solzhenitsyn. Abstract dis. ... cand. philol. Sciences. M., 2000. S. 19; Niva, Zh. Poetics of Solzhenitsyn: Between "large" and "small" forms // Star. 2003. No. 12. P. 144; Sptakovsky, P.E. The phenomenon of A.I. Solzhenitsyn: a new look: (To the 80th anniversary of his birth). M., 1998. S. 69. 2 Arkhangelsky, A. Say a word about the symbol of the poor: Solzhenitsyn's “small” prose: “poetry” and “truth” // Literary Review. 1990. No. 9. S. 22.

Kolobaeva, L.A. "Tiny" // Literary Review. 1999. No. 1. S. 41.

7 refuses the author a symbolic-metaphorical understanding of reality, notes a more subtle, “perfect” symbolism as a means of reflecting the universal perception of the world. Speaking about different works (by genre and problem-thematic complex) belonging to the same period, the critic and the researcher come to opposite conclusions about the significance of the symbolic-metaphorical comprehension of reality in the artistic world of the late Solzhenitsyn. The discrepancy between their positions indicates the multifunctionality of the artistic techniques used by the author, the multidimensionality of the meaning of the works, the difficulties in understanding their structure.

Reviewing the narrative organization of the two-part stories, Kim Eun-hee states, “It is in the stories of the 1990s that A.I. Solzhenitsyn brought the perfection of the presentation of the material to such an extent that the author's position is lost in the "maze of mirrors" and can only be found in the general context of the work" 4 . The researcher highlights the implicit nature of the expression of the author's attitude. P. Spivakovsky, discussing the innovation of genre education - a two-part story, notes that the author does not evaluate what is happening, “contrary to the established opinion about Solzhenitsyn as a moralizer” 5 , but expresses the hero’s position: “Reincarnating into another, feeling someone else’s ego as his own own, the writer commits an ethically extremely important act of personal self-restraint, self-restraint [emphasis added. - A.Kh.]” 6 . Researchers who have turned to identifying the author's point of view in late prose note its concealment, which is different from the early, explicit attitudes. I. Shpakovsky writes about this, in particular. Speaking of early works, he states: “But more often

Kim Eun Hee. Forms of artistic narration in "small prose" by A.I. Solzhenitsyn. Abstract dis. ... cand. philol. Sciences. M., 2000. S. 17.

Krasovskal SI also wrote about the actively expressed "presence of the author's "I"" in the early prose of the writer. "Matryonin yard": author, narrator, hero // "Matryonip yard" A.I. Solzhenitsyn: The Artistic World. Poetics. Cultural context: Collection of scientific papers / Ed. A.V. Urmanov. Blagoveshchensk, 1999. P. 98. 6 Spivakovsky, P.E. The phenomenon of A.I. Solzhenitsyn: a new look: (To the 80th anniversary of his birth). M., 1998. S. 74, 80.

8 in total the author's position in the "small prose" of A.I. Solzhenitsyn finds its expression<.. .="">in the very structure of descriptions, a direct publicistic statement, or even a single word that stands out sharply for its expressive-evaluative coloring. In the cycle "Baby", "Easter Procession"<...>the writer in general pays more attention not to the actual description of events, but to the expression of his "attitude" towards them. According to various scholars, there are no direct author's assessments in two-part stories, and the narrator's point of view is hidden.

V. Kuzmin singles out “ main principle compositional construction in the "Two-part stories" - the reduction of the life material used. “In the phenomenon of a “torn” form,” he sees hidden “reasons for an unusually strong emotional impact [highlighted by the author. -

A.Kh.]" . M. Golubkov, speaking of two-part stories, notes: “Their compositional principle is the opposite of two parts, which makes it possible to compare two human destinies and characters that manifested themselves differently in the general context of historical circumstances” 9 . Scientists evaluate the composition of stories differently: analyzing, on the one hand, the form, on the other, the content. The difference in interpretations of the new genre formation indicates the insufficient knowledge of this problem, the complexity of its solution. Depicting private "reduced" events in a "torn form", the writer compares the characters of the characters, their worldview. By artistically “compacting” the text of the stories, Solzhenitsyn recreates ontologically significant life situations.

A. Vanyukov, analyzing the story "Adlig Schwenkitten", also talks about the hidden nature of the author's position, interacting with the point of view

Shpakovsky, I.I. The author's position and the forms of its speech embodiment in the "small prose" of A.I. Solzhenitsyn // Author as a problem of theoretical and historical poetics: Collection of scientific. Art.: At 2 h. Part 2 / Rep. ed. THOSE. Yevtukhovich. Minsk, 2007, p. 40.

Kuzmin, V.V. Stories by A.I. Solzhenitsyn: problems of poetics. Abstract dis. ... cand. philol. Sciences. Tver, 1997. S. 20.

Golubkov, M.M. Alexander Solzhenitsyn. To help teachers, high school students and applicants. M., 1999. S. 104.

9 characters: “Solzhenitsyn builds the narrative on the principle of “through the eyes of the author - through the eyes of the characters” and proceeds from the “external” to the “internal”” 10 . He notes the tendency of the "late" Solzhenitsyn to display general, universal categories. The conclusions of the researchers reveal the multi-level novelty of the poetics of late prose: genre, composition, narrative, in general, the depth of meaning. Perhaps the totality of the detected changes (along with the identified speech transformations) will make it possible to single out the works of the 1990s as a special period in the writer's work.

Object and subject of research. The object of the study is the prose of A.I. Solzhenitsyn in the 1990s: the story "Adlig Schwenkitten", two-part stories, crumbs. When substantiating the main provisions of the dissertation, other literary works of the writer are taken into account: the stories “One Day in the Life of Ivan Denisovich”, “Matryonin Dvor”, “What a Pity”, “The Incident at the Kochetovka Station”, “Right Hand”, “Easter Procession”, a novel "In the First Circle", the story "The Cancer Ward", "the experience of artistic research" "The Gulag Archipelago", poetry and crumbs of the 1950-60s, the historical epic "Red Wheel", as well as literary and critical essays that make up the "Literary Collection ”, journalistic works and interviews. The subject of the research is the functions of the artistic speech of late prose (in interaction with other aspects of the poetics of works).

Purpose and objectives of the dissertation work. The content of the dissertation work is determined by the goal, which is to analyze the essential features of the functioning of the artistic speech of prose in the 1990s, to identify the aesthetic concept associated with them and the basic principles of the author's worldview. This will make it possible to discover the novelty of the poetics of late prose, to determine the place of this prose in the general creative

Vanyukov, A.V. "Adlig Schwenkitten" by A. Solzhenitsyn. The concept of memory and the poetics of the genre // Between two anniversaries (1998-2003): Writers, critics, literary critics about the work of A.I. Solzhenitsyn: Almanac / Comp. ON THE. Struve, V.A. Moskvin. M., 2005. S. 502.

10 of the writer's heritage, to reveal a certain evolution of the artistic style of A. Solzhenitsyn. This goal determined the following tasks: to discover the features of the aesthetic functioning of some of the most important words for A. Solzhenitsyn (polysemantic vocabulary, lexical occasionalisms, words that cause historical and cultural associations) that contribute to the expression of the dominant ideas of later works; determine the meaning of graphic actualization of the artistic word associated with other methods of emphasis; establish the artistic functions of the most frequent syntactic devices in the writer's work (ellipsis, inversion, enumeration, repetition), as well as the aesthetic significance of the characters' speech and the role of the dash sign; in the course of analyzing specific means of artistic speech, determine their significance in expressing the moral, ethical, aesthetic, historiosophical views of the author; to discover the features of the interaction of means of artistic speech with other aspects of poetics (genre and compositional specifics, dominant artistic images, main motives, chronotopes of works, author's attitudes, rhythmic and narrative organizations); determine the motives for choosing the means of artistic speech by the author; establish the causes and direction of the evolution of the artistic style of A. Solzhenitsyn; to reveal the alleged novelty of the poetics of late prose, which will make it possible to define it as a special, relatively independent period of A. Solzhenitsyn's work.

The methodological basis of the work includes different ways of studying the features of artistic speech interacting with other aspects of poetics: the method of observation, the analysis of speech structure, the hermeneutic method in combination with the comparative typological one, as well as elements of the structural approach. The theoretical basis of the work was the works of M. Bakhtin, A. Veselovsky, V. Vinogradov, G. Vinokur, G. Gachev, V. Zhirmunsky, N. Kozhevnikova, B. Korman, A. Potebnya, N. Tamarchenko, B. Tomashevsky, V Khalizev, V. Shklovsky, M. Epstein, E. Etkind; philosophers: I. Ilyin, F. Nietzsche, P. Florensky; leading Solzhenitsino Vedas: M. Golubkov, Zh. Niva, P. Spivakovsky, A. Urmanov, N. Shchedrina and others.

The scientific novelty of the work lies, firstly, in the fact that the principles of the worldview, aesthetic and historiosophical views of Solzhenitsyn are comprehended through the analysis of the means of artistic speech in prose of the 1990s; secondly, the literary speech of Solzhenitsyn's works is analyzed as an integral structure subject to development, reflecting the ideological and aesthetic changes in the writer's artistic system; thirdly, in a detailed study of the features of the aesthetic functioning of syntactic and punctuation means in the works of Solzhenitsyn (ellipsis, enumeration, repetition, inversion and dash sign); fourthly, in the analysis of the elements of artistic speech and the images and motives expressed by them, based on the works of both early and later periods of the author's work; fifthly, in the study of two-part stories, the story "Adlig Schwenkitten" and the little ones of the 990s in terms of stylistic changes.

Practical significance. The results and materials of the dissertation research can be used in the course of modern Russian literature, in various special courses and special seminars devoted to the study of small prose of the second half of the 20th century, and also in the further study of Solzhenitsyn's entire work and the works of other contemporary writers.

Approbation of work. The main provisions of the dissertation were discussed at a postgraduate seminar and at meetings of the Department of Literature of the Annunciation

12 State Pedagogical University; at the final scientific and practical conferences at BSPU (2007, 2009); the results of the work were tested at the VIII regional interuniversity scientific and practical conference "Youth of the XXI century: Step into the future" (2007), at the regional scientific and practical conference at the Amur State University (2007). The content of the study is reflected in 8 publications. Provisions for defense

The prose of the 1990s is a special period of A.I. Solzhenitsyn. This is expressed in the genre, compositional, plot, speech originality, in a high degree of generalization of the content of the works. At the same time, the late stage is a continuation of the early work of the writer. The relationship of works is found in the inheritance of some motifs, aspects of the problem-thematic complex, genre (little pieces), speech means.

The artistic functioning of some elements of speech in the works of the 1990s (the words inside, stability, abyss) differs to a certain extent from their use in early prose. Their meaning becomes more voluminous, synthetic. This vocabulary, especially updated by the author, reveals the desire of the late A. Solzhenitsyn to identify universal categories, ontological values, viewed through the prism of the soul of an individual. Lexical occasionalisms and previously used literary words (bringing the old meanings) are the means of creating key images, expressing dominant themes and main motives of the works of the late period: “inside” - souls, “abyss”, “partisans”, Huns - a meta-image of a “powerful tribe”, "punishment of conscience", moral labor, spiritual fortitude and dehumanization. They reveal the most important principles of the worldview and historiosophical views of the writer. The artistic meaning of lexical means is due to polysemy, contextual actualization; contributes to volume, revealing the semantic depth of the depicted.

3. The graphic method of updating words (partisans, ours), linguistic eclecticism, reflected in the direct speech of the characters, contribute to the expression of social opposition. These techniques emphasize the absurdity and tragedy of the people's separation, contribute to the embodiment of the worldview confusion inherent in modern man. The author reveals the pernicious value of trampling and impoverishment of historical, cultural, national, Orthodox, and spiritual values.

4. A combination of methods of actualization (graphic, intonation, morphological, semantic, syntactic), combining the voices of the author and heroes in one word, reminiscent associations - a new way to highlight a meaningful word. He is the embodiment of the aesthetics of "density" inherent in the artistic consciousness of the author. "Density" is a natural expression of A. Solzhenitsyn's worldview, the embodiment of one of the main worldview principles - "self-restraint". The combination of highlighting techniques (for example, when updating the words partisans, Huns, ours, Vendee) helps to recreate historical events, express social disunity, and identify the points of view of the author and heroes.

In the story and the story, the dash and ellipsis make it possible to reveal the opposite character of the characters, the peculiarities of their worldview. In the story "On the Edge" the sign helps to display the hero's contradictory worldview. These functions of syntactic devices contribute to the embodiment of Solzhenitsyn's system of life values. In crumbs, dashes (often in combination with an ellipsis), as well as enumeration and inversion techniques, they perform an actualizing, intonational and rhythm-forming function. The artistic use of syntactic techniques helps bring the little ones closer to the genre of poetry in prose.

In the story "Adlig Schwenkitten" the enumeration technique is one of the ways to create a brief and complete portrait of a character. In the story, the alternation of fragments, the artistic speech of which is replete with voluminous enumerations, and episodes (divided into small paragraphs) containing

14 elliptical constructions, exclamations, organizes a tense rhythmic pattern of the story, gives dynamism to the narrative. The technique of repetition in Solzhenitsyn's late prose is not only a way of actualizing a significant word, but also a means of expressing the author's point of view: the writer's historiosophical, socio-cultural views. In some cases, repetition contributes to the active manifestation of the author's position. With the artistic comprehension of historical, cultural, social, moral problems, the manner of narration changes, often enriched with journalistic techniques. In crumbs, this is facilitated by the presence of appeals to the reader, rhetorical exclamations, questions, final generalizations. The set of fragments containing similar speech techniques forms a special narrative structure of late miniatures. This is also facilitated by the presence of super-short fragments of a different kind (in the story and short stories), which act as if the beginning of the plot.

7. The artistic expression of the principles of the writer's worldview is facilitated by the choice and interrelation of speech means. The ratio of artistic speech and other aspects of poetics, the synthesis of speech techniques and the author's intention show the creative mindset of the writer. In the prose of the 1990s, Solzhenitsyn's attraction to artistic density found its full, all-encompassing and most complete embodiment. The poetics of later works is brought to the level of filigree (special care, precise alignment of all levels of the structure of works), maximum refinement. It is the true synthesis of all used speech means that allows the author to briefly, but as fully and deeply as possible, embody his artistic intention. The creative evolution of the author lies in the desire to achieve the ultimate artistic "density", compactness both at the level of the entire work as a whole, and in each of its individual structural elements, which is expressed in genres, compositional structure, speech organization, etc. This allows us to identify novelty poetics of late prose, to define it as a special period of creativity.

15 Structure of work. The dissertation consists of an introduction, two chapters, a conclusion and a list of references.

Image-creating and world-modeling functions of the word "inside" in crumbs and two private stories

The functioning of the expressive word in the works of A. Solzhenitsyn is the subject of critical articles and works by scientists representing domestic and foreign literary criticism; certain aspects of the artistic speech of his texts have become the subject of linguistic research. The growing interest in the word of the writer is due to the attention of A.I. Solzhenitsyn to the state of the modern language, to the artistic speech of the works of many authors (I. Brodsky, E. Zamyatin, E. Nosov, B. Pilnyak, A. Platonov, P. Romanov, M. Tsvetaeva, A. Chekhov, I. Shmelev, etc. .). The views of the writer on the state of the literary language are expressed in many interviews, journalistic works (for example, in the articles “Don’t whiten the soup with tar, sour cream for that”, “Some grammatical considerations”), embodied in works of art, as well as in the Russian Dictionary of Language Expansion ". The linguistic views of the writer constituted an artistic and linguistic concept, considered in the dissertation work of N.V. Korobkova. The researcher accumulates the key provisions of this concept: “1. The development of the language should be based on the principle of lexical expansion ... . 2. The law of economy must be realized in the language. The artistic application of this system of views contributes to the enrichment of the Russian language “due to the involvement of folk vocabulary” and an increase in the “figurative capacity of the word”, which “generates polysemy, the multifacetedness of the word within the context and the multidimensionality of the meaning of the context itself”28. The principle of "lexical expansion" and the "law of economy" are not only realized in the figurativeness and metaphor of the word, but are also expressed in the features of word formation. Solzhenitsyn creates new words according to word-formation models that already exist in the language, for example, “punishment-conscience”, “generous”, often in his works he reflects on the meaning, etymology of words.

In the two-part story "Ego" (1994), the narrator refers to the etymology of not only the new word: "There was also the head of Veidner - even Ektov for a long time could not understand what this terrible word meant: the head of the political department of the province", but also the surname: "Kotovsky ? or Katovsky, from katsії He was in hard labor - for murder, and repeated. A terrible man, look at him - it sags in the stomach”29 [emphasis added by the author. - A.Kh.]. This feature was noted by A.V. Urmanov: A. Solzhenitsyn constantly draws the attention of readers to the etymology of words, deciphers the meaning of surnames .... Interest in the etymological meaning of the roots and the features of word formation can be shown by a variety of characters - starting with the teacher Ignatich from the story "Matryonin Dvor", who tries to comprehend the soul of the Russian people through the word, and ending with the heroine of the "Red Wheel" Likoney, far from grammar problems ... . A. Solzhenitsyn would also like to see his reader as a person experiencing "thirst for freshness mother tongue"... "30. The author's linguistic concept, embodied in artistic speech, demonstrates the writer's desire for a complete, three-dimensional depiction of "true reality" by the most expressive, authentic artistic means.

According to Solzhenitsyn, “literature, along with language, preserves the national soul”, it not only performs an aesthetic function, but is also designed to contribute to the formation of a modern language and the preservation of its resources. The writer revives many words that "we all undeservedly discarded due to the haste of our century, due to the carelessness of the word-use and according to the bachelor Soviet custom" . V.V. spoke about such relationships between the artist and the language. Vinogradov: “The works of fiction embody the attitude of the writer to the literary language of his era, to the ways of understanding, transforming and using it poetically”33.

MM. Golubkov notes that A.I. Solzhenitsyn “strives to realize the possibilities of direct impact on society with the writer’s word”34. In a TV interview with N.A. Struve, the author himself said that "it is impossible not to try to influence the consciousness of contemporaries" (P. II: 438). The artistic speech of the writer is distinguished by energy, capacity, which is also embodied in the vocabulary.

Graphic and morphological methods of updating the word "partisans" in the stories "Ego" and "On the Edge"

The relative novelty of the prose of the 1990s was embodied in a peculiar artistic language. As noted earlier, the writer often uses forgotten or dialect words and expressions, sometimes actualizing some of them. Often in late prose, the narrator combines several ways of highlighting a word. Actualization - "the use of expressive and pictorial means of language in such a way that they are perceived as unusual, act as a function of elimination, are deautomatized"94. The concept of actualization of the artistic word is associated with the teachings of the Prague Linguistic Circle and the concept formal method literary criticism. They are as follows: “the aesthetic function is considered as the orientation of the linguistic statement “not to the signified, but to the language itself”, as “an attitude to the expression”, which manifests itself in the maximum actualization of speech means, leading to overcoming the usual standard of use”95.

This position was held by V.B. Shklovsky. He reflected that, using certain means of language, we do not think about what the parts of the word mean, in general, its form. A person pronounces them automatically, without abstracting from the thing that the words name. On this occasion, the theorist noted the following: "This loss of the form of the word is a great relief for thinking ... but art could not be satisfied with this weathered word" the poetic creation of man was the creation of words. And further: “Every word at the base is a trope”97. The last statement is consistent with the theory of tropes and figures by B.V. Tomashevsky, who collaborated with representatives of the Prague Linguistic Circle. D.M. Potepnya, following M.M. Bakhtin, correlates two theories: “The doctrine of paths ... , in essence, underlies the actualization of language means ". Metaphor, metonymy, comparison, personification and other tropes and techniques, for example, changing the morphological and graphic appearance of a word, certainly lead to a new perception, rethinking of the meaning of the word. However, along with these means of deautomatization, there are other ways to overcome the usual standard of use and perception.

The removal of a word from the usual circle of understanding, emphasizing its meaning is achieved, among other things, by graphic marking of the word. Graphic highlighting is a very productive way of actualizing a semantically significant literary word in A. Solzhenitsyn's work. This gave some critics and researchers a reason to correlate the writer's artistic method with modernism and postmodernism. "As you know, the latter refuse to traditional forms images of reality and use a diverse palette of artistic techniques to achieve the greatest expressiveness: lexical, syntactic, graphic, compositional and many others. However, Solzhenitsyn, on the contrary, strives for a limited use of additional means, achieving a complete expression of thought through semantics, polysemy, and the breadth of the contextual use of the word: “No, with the modernists ... I do not inherit from them. I understand that one should try to create every thing with the least possible means, use as few means as possible” (77. II: 222). Graphic actualization of artistically significant words is one of the guarantees of lapidary recreation artistic reality, the same or different allocation of significant and close in meaning words contributes to a holistic perception of the literary text.

Considering the graphic ways of highlighting a word, B. Tomashevsky noted: “Changing fonts, the way words are written - all this can play a role in the perception of the text”1. The role of the graphic highlighting of the word in Solzhenitsyn was indicated by such researchers of his work as J. Niva, G. Semenova. A. Urmanov, considering the methods of actualization in Solzhenitsyn's works, notes that the writer “actively uses the possibilities of graphics”: “varies fonts, highlights the word in capital letters, accompanies it with whole “rafts” of exclamation and question marks. Italics, spacing, "breaking down" a word with a hyphen into its constituent elements, placing it on a separate line, highlighting it in large print, repeated repetition and other formal means significantly enhance the expressive and semantic possibilities of a single word, saturate it with additional meanings, draw the reader's attention to it »101. Some of the listed methods of word actualization (italics, detente, bolding, placing on a separate line, accompanied by exclamation and question marks) are also used by the author in two-part stories. However, in the prose of A. Solzhenitsyn in the 1990s, the use of graphic actualization differs from its use in the prose of an earlier period.

Ellipsis as a way to achieve artistic "density" in two-part stories

V.M. Zhirmunsky wrote, “that the problems of stylistics can be divided into two main sections - Vocabulary and Syntax, i.e. word and sentence or phrase from the point of view of their artistic use”124. At the same time, according to the researcher, “literary stylistics studies, first of all, the aesthetic, artistic function of all the special features of the poetic language”125.

For achievement artistic integrity many aspects of “poetic” speech matter, including elements of syntactic organization. First of all, they include some types of sentences (elliptical, exclamatory, interrogative, etc.), word order in a sentence, rhetorical appeals, repetitions, and other aspects of this section of grammar. These elements are expressive and often go beyond the limits of neutral word usage. Scientists (since ancient rhetoric) combine them general concept"stylistic figures". These are "any turns of speech that deviate from some .. norm of colloquial "naturalness"". These include figures of addition (including repetition, enumeration), decrease (including ellipsis), displacement (inversion, various types of parallelism, etc.).

In line with this tradition (the study of the syntax of an artistic language as a means of expression), many researchers worked, including B.V. Tomashevsky. He wrote that “poetic syntax considers the way in which individual words are combined into sentences, i.e. the so-called turns of speech; at the same time, the expressive meaning of these phrases is taken into account” [emphasis added by the author. - A.Kh.] Sh. Tomashevsky attached special importance to the syntactic structure of speech: “Just as an appropriate selection of words can make an expression tangible, the same can be achieved by an appropriate selection of syntactic constructions, i.e. ways of combining words into integral units - phrases and sentences"128. V.M. Zhirmunsky129. Speaking about the “syntax of poetic works”, he noted that the poet (the writer in general), using certain elements of syntax, “uses them in a special way, organizes them in a special way, subordinates them to his artistic task, the task of creating a poetic image”130. The academician attached special importance to the artistic and linguistic activity of the author. In his opinion, the choice and organization of syntactic techniques are subject to the peculiarities of the author's linguistic consciousness, attitude. The positions of Zhirmunsky and To-mashevsky are correlated. Considering the meaning of syntax, they noted the key role of this element of poetic style, defined it as a way to create a "tangible" image, dependent on the aesthetic will of the author. When analyzing the works of A.I. Solzhenitsyn, we will rely on the research of these scientists.

MM. Bakhtin took a different approach to the problem of syntax as an element of poetics. He considered the meaning of the syntactic organization of the text through the prism of the theory of "internal dialogism" of the word. The scientist argued that often "the syntactic structure is determined by" the collision and interruption of different accents within one syntactic whole, that is, precisely by the fact that this whole, being one, contains the accents of two voices ". M.M.'s statement Bakhtin correlates with the problem of studying "alien speech", the grammatical design of which is one of the elements of syntax. “To convey someone else's speech in literary texts, three main forms are used: direct, improperly direct, indirect (and its variety - semi-direct) speech. It is they who are usually singled out and considered both when studying someone else's speech as such, and when considering its role in the structure of the text. "Alien speech" - the speech of the hero in different variations - embodies the linguistic features, features of thinking, mentality, principles of the character's worldview. It is an essential characterological feature of a literary hero. Often "alien speech" acts not only as a "depicting" word, but also as a "depicted" one. The author's assessments contained in the "depicted" speech of the character embody the writer's system of life values.

The methods of syntactic organization of speech (as well as the artistic word) largely depend on the basic principles of the author's worldview: aesthetic, cultural, linguistic, national. Artistic and syntactic techniques contribute to the artistic expression of A. Solzhenitsyn's worldview.

Enumeration and inversion as ways of creating an artistic image and rhythmic organization of the narrative

Enumeration is an element of "reinforcement" - a kind of stylistic figure of addition191. The concept of "enumeration" is formed from the verb "list" - "name, mention everyone, everything" (TSRYA. 512). The property of the lexical-syntactic device lies in “naming”, for example, the most significant details of the appearance, character traits, important events in the life of the character. Each next "reinforcing" element, interacting with the previous ones, contributes to the reconstruction of the artistic image. The use of enumeration in the works of A. Solzhenitsyn, who strives for the maximum "densification" of artistic speech, may seem illogical. The writer, having examined the “dense sketchy manner of enumerations - similar series of nouns or names” in the dilogy of V. Grossman, noted: “Sometimes, in order to convey the condensed density of what is happening, this technique can be useful, but not with frequent use” [emphasis added by the author. - A.Kh.]192. He defined enumeration as a way of "densified" recreation of reality.

In the story "Adlig Schvenkitten" A. Solzhenitsyn uses this technique, depicting the formation of Major Pavel Afanasevich Boev, one of the thousands of prominent officers who died in the Great Patriotic War. In one fragment, the author reconstructs the key events in the hero's life that determine the principles of his worldview. “In the army, Pavel realized that he was a native soldier, that his native part was his home. That battle formations, firing, folding, moving, changing maps, new orders - that's life. .. . War is like just work, no days off, no holidays, eyes - in a stereo tube. The division is a family, officers are brothers, soldiers are sons, and each is his own treasure. Accustomed to the constant turmoil of life, the changeability of happiness, no turn of events could surprise or frighten. Completely - I forgot to be afraid. And if it was possible to ask for an extra task or a more dangerous task, he always went. And under the most brutal bombing and under heavy shelling, Boev did not prepare for death, but only - as an operation given to comprehend and perform better ”[emphasis added by the author. - A.Kh.] (S. I: 497-498).

With the help of enumerations with different grammatical expression, the narrator combines a brief description of the features of military service, army life, the relationship between soldiers and officers. These factors determine the development of the inner qualities of the hero. The fragment covers the features of Boev's life from different angles, creating a tangible image of an officer - an unpretentious, fearless, decent, responsible person.

His choice of military service as a profession was determined by the poverty and starvation of a dispossessed village destroyed by the Civil War. The army satisfied the necessary physiological needs of the hero, while educating him. In this passage, the narrator demonstrates how military service due to socio-historical circumstances (alternating wars), it became a habit, a way of life for Boev. This is emphasized next. The motif of habit is played out repeatedly in the story, for example, when recreating the image of Senior Lieutenant Kandalintsev. Obviously habit is feature a military man doing one job (with danger) for a long time.

In the story, the author repeatedly uses enumerations to artistic expression one image or another, for example, senior lieutenant Kandalintsev, lieutenant Gusev, major Baluev. With the help of one technique - listing the most significant events in the life of different characters, the author reveals the general effect that the war has on spiritually stable people - develops a habit and strengthens the strength of mind. The artistic technique contributes to a detailed recreation of the images of the characters in a small-volume work, the action in which takes place within one day. Enumeration, organically included in the narrative, contributes to the "saving" of figurative and expressive means, avoids lengthy discussions about the moral formation of the hero.

Fragments of the narrative, which list the features of the character, the life circumstances of the character, usually represent voluminous paragraphs. In the story, they alternate with episodes depicting the events of a nightly relocation and an unexpected battle. These fragments are distinguished by increased sharpness and dynamism, which is achieved by using an ellipsis, dashes, exclamation marks, question marks and dividing the text into small paragraphs. Frequent paragraph division has an expressive function - highlighting important fragments of the text, and creates pausing of speech. Such alternation forms a tense rhythmic pattern, a certain emotional background of the narration. The synthesis of speech techniques and content ensures the integrity of the perception of the work.

This technique is typical for this type of speech as a description. As T.Ya. Solganik, “the main means of imagery [description. - A.Kh.] - transfer ". In many works of various writers, the description of an object, interior, landscape, character is an enumeration of a number of certain bright features, features that characterize the subject of description with the greatest completeness and are important in the artistic fabric of the entire work precisely at this compositional moment. In the work of A.P. Chekhov, for example, this technique occurs repeatedly. In the story “The Fat and Thin” (1883), the description of two officials, childhood friends, consists of listing the most striking details: “Fat had just dined at the station, and his lips, covered with oil, were shiny like ripe cherries. He smelled of sherry and orange blossom. The thin one had just got out of the car and was loaded with suitcases, bundles and cartons. He smelled of ham and coffee grounds.”194 By enumerating and contrasting the details of the portraits of the characters, the author creates two different and expressive images: a successful high-ranking official and an unfortunate employee burdened with worries.

EARLY PROSE OF SMALL FORMS A.I. SOLZHENITSYN AS A CONTINUATION AND DEVELOPMENT OF THE TRADITIONS OF CLASSICAL RUSSIAN REALISM.

1.1. A.I. Solzhenitsyn and the traditions of Russian literature.

1.2. "One day of Ivan Denisovich". Publication history and critical reaction.

1.3. Story " Matrenin yard". "Tiny".

1.4. New stage in the assessment of A.I. Solzhenitsyn's work by criticism.

1.5. Conclusions.

PHILOSOPHICAL CONTEXT OF THE CONCEPT OF PERSONALITY IN AI SOLZHENITSYN'S WORKS.

2.1. Philosophical concepts of the concept of personality.

2.1.1. Personality and independence.

2.1.2. Personality as a social phenomenon.

2.1.3. Personality as an ethical phenomenon.

2.1.4. Personality and freedom.

2.1.5. The moral aspect of personality.

2.1.6. Spiritual perfection of the personality.

2.2. Personality and national character. :.

2.3. Chinese philosophy and the concept of the "Way".

2.4. The personality of A. I. Solzhenitsyn.

2.5. A.I.Solzhenitsyn's creativity and personality problems.

2.6. Conclusions.

THE PROBLEM OF PERSONALITY AND THE SYSTEM OF CHARACTERS IN EARLY PROSE OF SMALL FORMS AI SOLZHENITSYN.

3.1. The artistic world of a literary work.

3.2. "Eternal" and "temporary" characters in the concept of A.I. Solzhenitsyn.

3.3. The problem of personality in the system of characters in the story "One Day in the Life of Ivan Denisovich"

3.3.1. Ivan Denisovich Shukhov.

3.3.2. Unnamed heroes "Yu-81" and "X-123".

3.3.3. Andrey Prokofievich Tyurin.

3.3.4. Klevshin Senka.

3.3.5. Baptist Alyosha.

3.3.6. Buinovsky.

3.3.7. Caesar Markovich.

3.3.8. Der and Khromoy, Fetyukov, Volkovoy.

3.4. The problem of personality in the system of characters in the story "Matryona Dvor".

3.4.1. Image of Matryona.

3.4.2. Ignatic.

3.4.3. Thaddeus.

3.5. The characters of the stories "One Day in the Life of Ivan Denisovich" and "Matryona Dvor" through the eyes of each other.

3.6. Conclusions.

PERSONALITY IN THE ARTISTIC SPACE OF EARLY PROSE OF SMALL FORMS AI SOLZHENITSYN.

4.2. Personal Characteristics of Persons in AI Solzhenitsyn's Stories and the Problem of the Author.

4.3 Spatial and temporal characteristics.

4.4. Value orientations of the main characters: work, family, nature.

4.5. What is the key to the soothing Russian landscape? (The system of images of the cycle "Baby").

4.6. Archetypes underlying the images of heroes.

4.7. Features of the composition of AI Solzhenitsyn's "small" prose.

4.8. Features of the language of AI Solzhenitsyn's "small" prose.

4.9. The most important concepts of "small" prose A.Isolzhenitssha.

4.9.1. Concept concept.

4.9.2. The concept of "righteous".

4.9.3. Concepts "house", "yard", "room", "breathe", "breath", "soul".

4.10. Conclusions.

Recommended list of dissertations

• Forms of artistic narration in "small prose" by A. I. Solzhenitsyn 2000, candidate of philological sciences Kim Eun-hee

• Aesthetic functions of the landscape in the artistic prose of A.I. Solzhenitsyn 2006, Candidate of Philological Sciences Tyshchuk, Olga Anatolyevna

• A. I. Solzhenitsyn's novel "In the First Circle": Problematics and Poetics 1996, candidate of philological sciences Belopolskaya, Elena Vadimovna

• Reflection of the lexical originality of A.I. Solzhenitsyn in Slovak translations: based on the story "One Day in the Life of Ivan Denisovich" 2009, candidate of philological sciences Knyazkova, Victoria Sergeevna

• The study of the work of A. I. Solzhenitsyn in the national schools of the Republic of Tatarstan 1998, candidate of pedagogical sciences Golikova, Guzyal Azgarovna

Introduction to the thesis (part of the abstract) on the topic “The problem of personality in the early prose of A.I. Solzhenitsyn: small forms"

The name of the Russian writer Alexander Isaevich Solzhenitsyn entered the history of world literature as a symbol of our time, as the voice of the Russian people, who passed through the most difficult period of the Stalin era, leaving their terrible mark on history.

AI Solzhenitsyn became a stern judge of Stalinism, his verdict on the totalitarian regime, violence against a person is of great international importance. It sounded like a warning, like a call to "vigilance": nowhere and never on earth should the time be repeated when the country became an archipelago of camps, when people's lives were easily equated to "chips" and cogs that can be neglected in the name of others, high, but not very clear targets. This idea alone in the writer's work should arouse - and is arousing - great interest among foreign readers, including those in the Republic of China on Taiwan.

The harsh 30s, 40s and 50s are moving away in time. Much has been forgotten, erased from the memory of people - even peers of that time. However, without historical memory there can be no future. In this sense, the work of A. I. Solzhenitsyn is of great importance as a page in the annals of Russia, which allows you to better know this country. The first appearance of his works was one of the evidence of the ideological "thaw", when there was a comprehension of the past years, the condemnation of Stalinism, encouraging sprouts of freedom appeared, including freedom of speech.

In a crisis, the decline of public demand for spiritual leaders and rulers of thoughts, a similar role, to a certain extent, is played by A.I. Solzhenitsyn - not because he found a new paradigm of being and aspirations of mankind, but because he accomplished a spiritual feat, showing the crisis of old ideals and goals. an inexhaustible desire for life-affirmation. Therefore, in our opinion, it is natural that historians, sociologists (and not only those who study Russia) turn to the works of AI Solzhenitsyn. Not a single historical treatise on Stalinism can produce an equally powerful impression on the reader.

Depicted by A.I. Solzhenitsyn - as well as once shown by A.S. Pushkin and F.M. Dostoevsky - was not just a story about modernity and not even a depiction of reality, but a new "super-reality" that entered life, a manifestation of a new self-consciousness, a new spiritual state, a new spiritual experience. A.I. Solzhenitsyn's new prose was born from the need for truth, the desire for truthful evidence of life. The looking glass he depicted suddenly became a mirror, looking into which contemporaries were uncomfortable.

The writer was one of the first, openly, vividly, in an artistic form, spoke about the horrors of totalitarianism and, with his works, pronounced a harsh sentence on this inhuman phenomenon of Russian history.

The largest and most capacious artistic comprehension arbitrariness that reigned during the Stalin cult of personality, during totalitarianism, and moreover, Ion Druce called “One Day in the Life of Ivan Denisovich” the understanding of the very mechanics of arbitrariness.4 History is shown by A.I. in the features of the Russian national character. This is the dominant of the writer's work, and it is she who, first of all,

1 See: Borev Yu.B. Literature and literary theory of the XX century. Prospects for the new century // Theoretical and literary results of the XX century. / Ed. Yu.B. Boreva, N.K. Geya, O.A. Ovcharenko et al.

2 Allaback, Steven. Alexander Soizhenitsyn. New York, 1979; Barker, Farncis. Solzhenitsyn: politics a form. London, 1977; Burg, David; Feifer, George. Solzhenitsyn. New York, 1972; Carter Stephen. The politics of Solzhenitsyn. New York, 1977; Dais, Pierre. The life and creative path of the Russian writer A.I. Solzhenitsyn. Paris, 1973; Ericson, Edward E. Solzhenitsyn: The moral vision. London, 1980; Lukacs, Gyorgy. Solzhenitsyn / Transi, from the Germany by Wiilian David Graf. London, 1970; Mjjdy, Christopher. Solzhenitsyn: A documentary record. London, 1970; ScannellMichael. Solzhenitsyn. A Biography. New York, 1983.

4 Druce I. On the courage and dignity of man // Friendship of peoples. 1963, No. 1. S. 180. Determines the interest in him of all those who study the Russian language and Russian literature.

The success of this study largely depends on the comprehension of the national identity of the Russian people - the bearer of culture and language. Here the linguistic aspect is closely intertwined with the philosophical, since it is the knowledge of the Russian linguistic personality and its deep national traits- ideals, aspirations, beliefs, philosophy of spirit - all this together allows a foreigner to become a successfully working Russianist. These are the main motives that determined the author's interest in the work of AI Solzhenitsyn.

A very important topic in the writer's work is criticism of Stalinism and totalitarianism in general. It is revealed in the well-known experience of researching the "Gulag Archipelago",5 published for the first time abroad, in the story "One Day in the Life of Ivan Denisovich" (in the first publication, the genre of "One Day in the Day of Ivan Denisovich" was defined as a story - see 4.7), in a cycle of camp stories and, in fact, in all his works.

The second dominant is the Russian person as he is, open to the world, - permeates all the work of A. Solzhenitsyn, and is very brightly, expressively revealed in the stories "One Day in the Life of Ivan Denisovich" and "Matryona Dvor" ("There is no village without a righteous man"), in a cycle of stories united symbolic name"Tiny". Already on the material of these works, it is possible to give the Chinese reader a complete picture of AI Solzhenitsyn as a writer and citizen.

Our dissertation is called "The problem of personality in the early prose of AI Solzhenitsyn (small forms)". It's all about prose. In critical literature, the definition of "Solzhenitsyn's early work" is often found in relation to the first of his published works - the stories "One Day in the Life of Ivan Denisovich" and "Matryona Dvor" ("There is no village without a righteous man"), which have already become classics. But this definition is not entirely accurate.

5 Solzhenitsyn A. The Gulag Archipelago: In 3 tg. M.: Ed. Art, 1990. since AI Solzhenitsyn wrote other works much earlier, which, therefore, can be called early. They were written in the Gulag and in exile and were not published then.

The writer himself speaks of this in his famous memoirs “A Calf Butted an Oak”. And in 1999, a wonderful book by A.I. Solzhenitsyn “Rubbing his eyes” was published, and very serious attention should be paid to it. It was made up of the earliest works written by the writer during the years of repression. In the annotation prefaced by these hitherto unknown texts, they are provided with brief explanations.6

DOROZHENKA. - Started in 1947 on Marfino's sharashka; completed in 1952 in the Ekibastuz camp. Everything was composed orally, in memory, on paper, passages longer than 20-30 lines were never written down and, after memorization, they were immediately burned. The author first wrote down the entire text in the autumn of 1953 in exile (Kok-Terek) and buried it in the ground before leaving for the cancer clinic. This recording was burnt by the author in September 1965, after another part of the archive was seized by the KGB. However, a typewritten reprint of Dorozhenka was already kept by friends, and it was the only one preserved (there was also a second copy of the reprint, but it was burned by the keeper in October 1964, during the fall of Khrushchev).

CAMP POSTS. - All written orally, in memory - from 1946 to 1952, and taken out of the camp. In 1953, a few more verses were added to the reference. All of them were recorded in the autumn of 1953 and buried in the ground. This recording also had to be burned in September 1965, but there were already reprints. The last poem is "Death is not like an abyss." - written in Dzhambul, in December 1953, after a medical verdict. Since then, the author has not written poetry.

LOVE THE REVOLUTION. - An unfinished story. It was conceived as a prosaic continuation of Dorozhenka. It was supposed to continue a long stretch - with the history of the creation and combat life of "one reconnaissance division." Chapters 1-5 were written in 1948 on Marfino's sharashka. At the stage from Marfino in 1950

6 Solzhenitsyn A. Rubbing his eyes. M., 1999. The author left these sheets with an employee of the Marfin Institute A.V. Isaeva. Returning from exile, I received them with gratitude from her in 1956. In Ryazan in 1958, chapters 1-5 were rewritten again, small excerpts for chapters 6 and 7 were added to them. Further work did not go.

WIPE YOUR EYES. - The essay was written in 1955 (the year of exile) in the Tashkent cancer clinic, where it was impossible to do any covert work. Never been modified. The entire composition of the volume is printed for the first time."

In the book "Rubbing his eyes" is published (in facsimile transmission) the appeal of the writer himself to the readers: "

Here are placed my works of prison-camp-exiled years. They were my breath and life back then. Helped me survive.

They quietly, unobtrusively lay for 45 years. Now that I'm in my 80s, I thought it was time to print them.1

The trilogy "1945" (plays "Feast of the Victors", "Prisoners" and "Republic of Labor"), also written in these years, was already published by me twenty years earlier and is not included here.

This collection of the earliest works of Solzhenitsyn once again testifies to the versatility of the writer's work.

The bulk of this book consists of two extensive cycles of poetry, "Dorozhenka" and "Camp Poems." In addition to them, the book includes a documentary essay "Rubbing Your Eyes" and an unfinished story "Love the Revolution". The writer himself also recalls the plays, which were also waiting for publication for a long time. One can also add here the film script "The Tanks Know the Truth", created in 1959, but published much later9 and less well known. It is especially interesting that its art form is another bright manifestation"life-like" manner of depiction in Solzhenitsyn's prose. AT

8 Ibid. C. 3.

9 In 1981 it was published abroad (Collected Works in 20 vols. T.8. Vermont, Paris). In Russia, published in the magazine "Friendship of Peoples". 1989. No. 11. pp. 70-132. script triumphs poignant tragic conventionality, connecting the means of expression of different kinds of arts, different stylistic trends.

From all this, it can be concluded that among the earliest works of Solzhenitsyn, apart from the first edition of the novel "In the First Circle" (1955-1958) and the essay, there is only one attempt at artistic prose - an unfinished story. Therefore, it is precisely Solzhenitsyn's first published works, his recognized masterpieces One Day in the Life of Ivan Denisovich and Matrenin Dvor (A Village Can't Stand Without a Righteous One), that give an idea of ​​the origin of his philosophically rich and delicately honed "small prose".

The work of A.I. Solzhenitsyn is devoted to a huge number of works by Russian and foreign writers, critics, publicists. Researchers are not always unanimous, but agree on the main thing: A.I. Solzhenitsyn is a truly Russian writer, whose work not only belongs to fine literature, but symbolizes and reflects the spiritual power of the Russian people, remaining under any historical conditions "a humanist people, a strong spirit and Solzhenitsyn is one of the writers who participated in the creation of unsurpassed literature - literature "created by the energy of creative resistance and people with extraordinary fortitude."10

Our appeal to the work of A. I. Solzhenitsyn is also due to the resonance caused by the visit of the writer to Taiwan in 1982 - at the official invitation of the Wu San-Len Fiction Prize Foundation.

On October 23, he delivered a fiery speech in Taipei - an appeal to the Taiwanese people under the slogan "Free China". This speech was immediately circulated,11 received a wide response in the press. It was noted that

10 Kozhinov V.V. An essential, but almost meaningless problem of Russian literature of the 20th century // Theoretical and Literary Results of the 20th Century / Ed. Yu.B.Boreva, N.K.Gey, O.A.Ovcharenko and others.

11 ggSlJS^MBWlHlffl (The Voice of Solzhenitsyn). Sit: YabVDAAFZI^, 1982.C.373. the arrival of A.I. Solzhenitsyn, his support for the Republic of China in international aspirations became vivid embodiment the hopes of our people for the solidarity with them of the progressive part of humanity.12

In his speech, AI Solzhenitsyn said that Taiwan, "for a third of a century now, has been showing the world at what a high level of development all of China could have been if it had not fallen under communism." He called Taiwan "the bastion of national reconstruction" and called on the peoples of the world to scorn political confrontation and restore the international status of the Republic of China. The writer regarded his visit to Taiwan as "evidence of the mutual friendliness and trust of the Chinese and Russian peoples." A.I. Solzhenitsyn expressed the hope that these peoples would preserve "national prudence"

13 and will not allow "sliding into communism", resisting the pressure of its cruelty. The speech of the Russian anti-communist giant, as our press called him, found a response in the hearts of the Taiwanese people, who long ago expressed their position in assessing freedom, independence and choosing a path.

It was not difficult to foresee Beijing's reaction to these events, which followed immediately. “For what reason did A.I. Solzhenitsyn visit Taiwan?” - this was the headline of one of the communist newspapers (dated 10/29/1982). According to the newspaper, the reason lies in the fact that the anti-communist writer is allegedly on a mission to interfere with the negotiations of the Republic of China with the government of the communist mainland China.14

The Taiwanese could have heard about AI Solzhenitsyn long before the writer's arrival in Taiwan, back in 1974, when Solzhenitsyn was awarded the Nobel Prize in Literature. This event, of course, was covered in the media.15 After that, materials about the life of

12 IsSJg^>ir^&i: (Solzhenitsyn and His Visit to Taiwan-Republic of China)0 ^MOJ , Sk^jc , ^o: S^Sff , 19830 C. 240.

13 SB&JSiSiBiiS: teSfc^Ho Sit, 24/10, 1982; -Sjb, 18-26/10, 1982; $So-Sjb, 18-26/10, 1982; China Post-Taipei, 18-26/10, 19820

Ifto: 4>a«fiatto 29.10. i982o

15 ^A^ifoSiS (Art for man "s sake) o Sit: MffifKtt, 19740 of the writer16 and translations of individual works of the writer into English. Translations into Chinese were not long in coming (although in most

1 7 own - from English): "Speech at the Nobel Prize" (1974),

Gulag Archipelago" (1974 and 1976), "Red Wheel" - "August the Fourteenth", 19 "A calf butted with oak" (1976 - translated from Russian

2o 22 languages), “Cancer Ward”, “One Day in the Life of Ivan Denisovich”, “The Incident at the Kochetovka Station”, 23 “In the First Circle”, “Stories” and “Baby”, 24 responses

25 for the visit of A.I. Solzhenitsyn to the USA, for the publication of The Red Wheel, for the return of A.I. Solzhenitsyn to Russia26, etc.

But A. I. Solzhenitsyn’s speech “Free China,” personally addressed to the people of Taiwan, attracted special attention. During Solzhenitsyn's address to the Taiwanese, Wang Zhao-hui, professor of Russian studies at Zheng-chih State University, acted as an interpreter. Professor Wang Zhao-hui taught the history of Russian literature at the Department of the Russian Language for over 40 years and specialized in the history of Russian literature XIX century. He - -belongs to translations from Russian into Chinese of books of memoirs and essays literary life

A.I. Solzhenitsyn "A calf butted with an oak tree" and articles about the writer and connections

28 of his work with the traditions of Russian literature.

Professor Wang's work was the first step in Taiwan's Solzhenitsian. Currently, libraries in Taiwan have

17 (Art for man "s sake) 0 Sit:, 19740 1918-1956o - £: lb: ISHZHJY: 1974, (abbreviated text); YYSH ^ v,

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28 See: Wang Zhao-hui. Solzhenitsyn and Russian literature of the 19th century // Collection of works of the teacher. University Chinese culture. Taipei, 1983. i Y&EZgY+L/SHYASHYYAZI-pH: LLYY, 1983 "significant literature - the works of A.I. Solzhenitsyn, articles about him, translations of his works into various languages ​​(see: Supplement).

It is not possible to cover the work of A. I. Solzhenitsyn in one study, deeply comprehending and revealing its essence, to generalize everything that has been said about him, especially since the personal credo of the writer, with all the seeming accessibility of his works, appears in a complex philosophical context. As Professor Wang Zhao-hui accurately noted in the article "Alexander Solzhenitsyn and His Ideal Russia", published in the newspaper "Tzi-li" (October 24, 1982) as a response to the writer's visit to the Republic of China, "the trinity of ol

The faiths of A. I. Solzhenitsyn are religion, land, homeland-Russia. Without comprehending the philosophical meaning that AI Solzhenitsyn put into these concepts, without understanding the essence of his civil "I", it is difficult to understand his faith - and especially for a foreigner - the meaning and historical significance of his work.

Religion for A.I. Solzhenitsyn is not just the performance of religious rites, it is the Orthodox spirituality of the Russian people, which, as the writer believed, “is more important than the coverage of its territory or even economic wealth; the recovery and prosperity of the people is incomparably more expensive than any external

OL goals". Such an understanding of religion as spirituality, the inner freedom of a person gives us the key to understanding the ideological content of the writer's works - starting with the stories "One Day in the Life of Ivan Denisovich" (1962) and "Matryona Dvor" ("The village does not stand without a righteous man") (1963).

The writer's faith in the land, which, in his opinion, "contains not only economic significance, but also moral"31 (highlighted by us. -Lee), helps to read his short poetic stories - "Tiny", helps to understand the character of Matryona, which overcame the weakening of the desire for land, generated by the peasants by the Soviet regime. A. I. Solzhenitsyn believed that it was the weakening of the thrust to the earth that posed a great danger to

29: ¡¡bSHIFSho, SHSHSH, 10/24/1982,

31 Ibid. folk character.

And, finally, Motherland - everything that is written by A.I. Solzhenitsyn, is dedicated to Russia, its history (“Red Wheel”, “March 17th”, “August 14th”, etc.), its people.

A Russian person, presented in a generalized image of an intellectual, a peasant, a prisoner, an officer, etc. - in fact, the main aspect in the work of AI Solzhenitsyn. One Day in the Life of Ivan Denisovich and Matrenin Dvor give us a vivid idea of ​​the Russian national character, of the traits that the writer cherishes in a person. It is the images of Shukhov and Matrena that embody the life philosophy of the author, the choice facing

32 people: what is more important - "to be or to have"?

A.I. Solzhenitsyn affirms the philosophy of natural being, survival through self-affirmation, and not through animal instinct, which in camp life revealed negative traits in people, such as predation, acquisitiveness, betrayal - first of all, in oneself.

The moral attitudes of A. I. Solzhenitsyn seem to be in tune with ancient Chinese wisdom, which also affirmed natural being as the highest value human soul as the ideal of insight. “A man who has seen his sight,” said the philosopher Hong Tzu-cheng, “does not think about anything, does not worry about anything.” The highest value of life in Buddhist philosophy lies in the calm contemplation of its truth.

In the heroes of the first works of A.I. Solzhenitsyn, there are features of holiness inherent in the wanderers glorified in Russian literature - truth seekers, holy fools, righteous people. features of modern man, without which he is unthinkable, namely the idea of ​​free

32 This is the title of one of the sections of the book by L.Ya. To be or to have? (Around the story "Matryona Dvor") // From Gorky to Solzhenitsyn. M., 1995. S. 85.

33 Aphorisms of old China // Comp. and trans. V.V. Malyavin. M., 1991. S. 61.

34 Analysis goodie proposed in: The positive hero in Russian Literature. USA, Stanford Univ. Press, 1975. personalities and the idea of ​​life as a victim", - these moral concepts became for the hero a means of protection from the hypocrisy and vulgarity of life.35

What has been said, it seems to us, fully applies to the heroes of A.I. Solzhenitsyn - the prisoner Shukhov and the peasant woman Matryona. Therefore, our attention in this study is drawn to these characters. The SUBJECT of the research is the moral position of the writer, his philosophy of life reflected in the images of the characters. In this matter, A.I. Solzhenitsyn rose to a high level of generalization: his heroes personify the Russian person as a person with a special, national character. A.I. Solzhenitsyn became the first Russian writer who, in a very peculiar way, realized the idea of ​​establishing a Russian person on the example of the life stories of a prisoner and a peasant woman. "Heaven bestows wisdom on one person to dispel the ignorance of the whole crowd," says the Chinese

T / G wisdom expressed by Hong Tzu-chen, which can be said about the heroes of A.I. Solzhenitsyn. ■

The RELEVANCE of the study is due to the fact that the work of A.I. Solzhenitsyn is of great interest for study, since he is a modern writer and at the same time a classic who has taken an honorable place in the history of world literature (the book chronicle records the appearance of more than a dozen articles on the writer’s work every month). Despite the huge amount of work, a number of issues are still not sufficiently investigated. First of all, these are problems related to understanding the changes that have occurred in Russian Soviet literature after the publication of the writer's early works, as well as problems related to the methods and methods of creating a text.

35 Lai Yingquan. The Tradition of Biography of Saints in Russian Literature of the 20th Century (According to B. Pasternak's novel "Doctor Zhivago") // Bulletin of the Faculty of Russian Language and Literature. Issue. 1. Taipei: University of Chinese Culture, 1998, p. 203.

36 Aphorisms of old China. // Comp. and trans. V.V. Malyavin. M., 1991. S. 61.

THE SCIENTIFIC NOVELTY of the work lies in the fact that it attempts to look at the work of AI Solzhenitsyn from a "foreign" point of view, and not even from the point of view of a European. On the one hand, this allows us to comprehend the writer's work as deeply national, to clearly feel the continuity of the traditions of Russian philosophical thought and Russian literature, on the other hand, to see his universal significance. For the first time, early prose of small forms is considered in a complex way: interconnections and differences in the concepts of Russian philosophers are emphasized.

Appeal to the system of characters of the "small" prose of the writer made it possible to notice that his characters are close to the hagiographic archetype characteristic of the Russian mentality. The plot of "Matryona's Yard" is built according to the laws of the hagiographic genre, which in turn is associated with the original title of the story "A village does not stand without a righteous man."

The PURPOSE of this work is to study the early prose of small forms ("One Day in the Life of Ivan Denisovich", "Matryona's Dvor" and the cycle "Tiny") by A.I. Solzhenitsyn. To achieve the main goal, it is supposed to solve the following TASKS: I

Review and systematize the literature about AI Solzhenitsyn in Taiwan, including his stay in the Republic of China in October 1982;

Describe the civil and literary feat of AI Solzhenitsyn and consider how the personality of the writer was refracted in his "small" prose;

Consider the concepts of personality and national character in Russian philosophy of the 19th-20th centuries;

Show the connection of the writer's worldview with the concepts of Russian philosophers of the 19th-20th centuries. and its distinguishing features, its originality. Pay attention to the correlation of A.I. Solzhenitsyn’s creativity, his philosophy with the traditions of Chinese philosophical thought in considering the problem of man;

Consider the problem of personality in early prose of small forms

AI Solzhenitsyn, to show its deep connection with the traditions of Russian classical literature;

Determine the artistic features of the writer's work, the specifics of the writer's language and show its connection with the position of the author - a philosopher and a person.

The work uses historical-literary and comparative-typological research methods developed in the works of M.P. Alekseev, V.M. Zhirmunsky, D.S. Likhachev, V.P. Toporov, V.E. Khalizev,

B.V. Kolesova. Also used) is the method of stylistic analysis of the text, which has developed in the works of L.S. Kovtun, B.A. Larin, D.M. Potsepni, O.N. Semenova, Yu.S.

THEORETICAL SIGNIFICANCE of the work lies in the consideration of the early prose of small forms of Solzhenitsyn in the unity of typological and historical approaches to it, in the experience of correlation of the national character of A.I. his work all over the world.

PRACTICAL SIGNIFICANCE of the work lies in the fact that this study designed to facilitate understanding of the work of the Russian writer by foreign readers. It can also support the work of translators.

BASIC PROVISIONS OF THE THEsis.

The high artistic value of A.I. Solzhenitsyn is associated with the features of truthful documentary. Being both a "historical" and a "human" document, these works "conduct" a direct conversation about a person.

In the concepts of early works small form AI Solzhenitsyn clearly manifests the etymological memory of the word. Biblical meanings coexist with folk ones. All this confirms the thesis about the closeness of the writer to nationally oriented philosophers.

The story “Matrenin Dvor” (“There is no village without a righteous man”) is compositionally built on the principle of the hagiographic genre; in the images of Shukhov and Matrena, AI Solzhenitsyn embodied the best features of the Russian national character: patience, kindness, conscience, purity, etc. The traits important for the writer are especially highlighted in his characters due to the contrast of their character with the character and life position of other characters shown by Solzhenitsyn and by no means accidental (Matryona - Thaddeus). Such contrast was characteristic of ancient Russian life (I.P. Eremin).

The value of the works of A.I. Solzhenitsyn, including the stories “One Day in the Life of Ivan Denisovich” and “Matrenin Dvor” (“A Village Doesn’t Stand Without a Righteous Man”), for a Chinese specialist in Russian literature and just a reader, is that they are closely associated with reflections on philosophical categories: morality, morality, projected onto the personality of a person who is in the space of national life, religious beliefs, cultural traditions. Despite the differences in the interpretation of the personality in its movement towards “perfection, the enduring value of a person as an individual remains common to the Chinese and Russians, the morality of which is determined not by power, but by the spiritual wealth of the people.

The first of the writer's published works served as MATERIAL for the study: the story "One Day in the Life of Ivan Denisovich", with which he entered the literature, his next work - the story "Matryona Dvor" ("There is no village without a righteous man"), as well as a cycle of lyrical miniatures "Tiny". The value of these works of A.I. Solzhenitsyn lies in the fact that it was in them that the peculiarities of the poetics of his prose developed, and a unique author's style of narration was developed. For a Chinese reader and for a specialist in Russian literature, they are also interesting because they are closely related to serious topics: reflections on the philosophical categories of morality, morality, projected onto the personality of a person who is in the space of national life, religious beliefs, cultural traditions. Despite the differences in the interpretation of the personality in its movement towards perfection, the enduring value of a person as an individual, whose morality in society is determined not by power, but by the historically developed spiritual wealth of the people, remains common to the Chinese and Russians.

COMPOSITELY, the work consists of an Introduction, four chapters, a Conclusion, a Bibliography and an Appendix. They consistently generalize the thoughts of researchers of AI Solzhenitsyn's work, their assessments, highlights that help to choose guidelines in the vision of the analyzed material; commented on the main provisions of the philosophy of personality, projected onto ideas about the Russian national character - in relation to the work of AI Solzhenitsyn; the works chosen by us are analyzed from the point of view of the problem of personality, its reflection in the artistic structure of prose, and the originality of the solution of the problem.

APPROBATION of dissertation materials are performances at annual interuniversity and. international scientific conferences at the universities of Taiwan, a scientific report at the Second International Congress of Russianists (Moscow, 2004) "Speech portrait of the characters of A.I. I. Solzhenitsyn (Czech Republic).

Based on the results of the study, nine scientific articles and a monograph "The Problem of Personality in the Early Works of AI Solzhenitsyn" were published in Russian (Taiwan, Taipei, 2005). Some provisions of the dissertation are also covered in the author's monograph “The early work of A.I. Solzhenitsyn. Literary and philosophical aspect (Taiwan, Taipei, 1998).

Similar theses majoring in Russian Literature, 10.01.01 VAK code

• The hero as an object of violent influence and as a subject of value "independence" in the work of A.I. Solzhenitsyn in the 1960s 2007, candidate of philological sciences Churikov, Georgy Aleksandrovich

• Reflection of the socio-political views of A. I. Solzhenitsyn in journalism and literary and artistic criticism 2003, Candidate of Philological Sciences Kostrova, Olga Kazimirovna

• Functions of artistic speech in the prose of A.I. Solzhenitsyn in the 1990s 2010, candidate of philological sciences Khitraya, Anna Aleksandrovna

• "Dostoevsky" theme and form in A.I. Solzhenitsyn 2007, candidate of philological sciences Sashina, Anna Sergeevna

• Prose by L. I. Borodin 1994, candidate of philological sciences Kazantseva, I. A.

Dissertation conclusion on the topic "Russian Literature", Lee Hsi-mei

4.10. Conclusions.

1. The problem of personality is connected with the problem of the relationship between the author and the characters of a work of art. All the personal characteristics of the characters are a reflection, sometimes very peculiar, of the personality of the author who created them.

2. In the early prose of A.I. Solzhenitsyn, we meet with different cases of the realization of the image of the author: in “One Day in the Life of Ivan Denisovich” - the author most of all corresponds to the concept of “trusted friend”, in “Matryona’s Yard” he is displayed as a character, Ignatich, and in “Tiny” it is “speaking on its own behalf”. But in all cases, the "spiritual personality" of the author remains the same, unchanged, it is illuminated by his inner mind, which, in turn, was the result of his4 life experience. Personal empirical experience gives the works of AI Solzhenitsyn a special property - authenticity and confession.

3. With his first published works “One Day in the Life of Ivan Denisovich” -i. "Matrenindyard"! AI Solzhenitsyn produced an aesthetic "explosion", before. depths of the soul. shocked readers all over the world. This was a consequence of the structural and content structure of his works, a consequence of the impact of the artistic system in which the author's intention was embodied. - In the poetic structure of the analyzed works, the realization of the personal!<""вч>in particular, with specific solutions to the image of the author, with spatio-temporal characteristics, with the choice of value orientations of his characters, their archetypes, with compositional features, selection) 1>. linguistic means, with the most important concepts of early prose. Themed and; formal elements motivate and justify each other, contributing to the creation of a complex aesthetic content.

2001. S. 96-97.

TO. . .11V. I-.O\u003e "I swarm" 1.1

4. In the analyzed stories, the narrator is presented in different ways. But no matter how he is expressed, his point of view, his personal characteristics are always present in the text. First of all, the author showed himself in the ways of constructing a narrative text, in the “general approach” to the described material, to the selection of its elements, characters.

5. The general position of the author determines and expresses this position the temporal and spatial organization of AI Solzhenitsyn's early prose. The presence of various types of chronotopes is aimed at creating images that are associated with the concept of immutable eternal truths developed by mankind over the millennia* of its existence.

6. A.I. Solzhenitsyn manifested itself in the cycle of miniature stories "Tiny", filled with the power of life-affirmation. Observing the world of nature, conducive to reflection, the writer thinks about life outside of political events, sees images of personified ■ nature, capable, in his opinion, of ousting from human life the images of the Gulag, the collective farm, power as a stronghold of cruelty and violence. All the stories in the Tiny series are instructive. The writer is concerned here with questions of morality, he deeply experiences, together with his lyrical hero, the collapse in the surrounding reality of the moral norms of society: the oblivion of faith, the loss of the memory of the dead, the destruction of nature, indifference to the defenders of the Motherland who fell in battles.

Each short story, written in the tradition of poems in prose, recreates a "picture ... of nature, but in harmony with the mood of the lyrical hero. "Tiny", and meaningful and poetic, written in bright, figurative language, which can serve as a response to opponents of A.I. Solzhenitsyn, who reproached him in violation of the norms of the Russian language.

The Tiny cycle continues. the tradition of poems in the prose of I.S. h ■ V,1 ".1; fud! !. "

7. An important role in the works is assigned to nature - nature as part of human existence, nature as. the habitation of man, which forms his spiritual world. With mean, but expressive colors in the description of nature paintings, the writer enhances his feelings. Shukhova, with bright strokes, sketches the landscapes of Matryona's native courtyard and village, bringing her feelings into harmony, removing the bitterness of a humiliating life - all these are images of "internal Russia", where the author would like: and the author "to get lost and get lost" after the camp. The plot-forming role of pictures of nature is also clearly felt - for example, disturbing twilight and silence - as a harbinger of Matryona's death.

8. In the composition of the stories of A.I. Solzhenitsyn, such a close truth-documentary is also manifested! ¡line;, prose: being both "historical" and "human?" m document, > these works "lead" a direct conversation about a person. The composition of the "small" prose of the writer is organized in such a way that the positions of the author, the narrator and the protagonist intersect. This makes the works "open" to the reader, and the impression of the authenticity of life shown by the author significantly enhances its sound.

9. At the archetype level; in "small> xprose; xA.I. Solzhenitsyn refers to the type of hagiographic-idyllic hero,! which is written by E.M. Meletinsky and V.E. Khalizev.

10. The language of the writer's works¡ is close in many respects vernacular. The very theme of the works - the opposition of the national character to the totalitarian regime - was determined< стиль ¡первых i шедевров"-рассказов писателя. При этом чужое слово (термин М.М.Бахтина), сказовая стилизация органически вплетается в авторский текст.

11. Author's *^ picture; world, ".¡reflected in the work, is largely complemented by a conceptual picture) -¡peculiar signals in which the author's position is manifested,""his emotional and aesthetic assessment" of the phenomenon. Such concepts in the analyzed works include

354 Parolek R. Evokace uméleckého,modeIu

CONCLUSION

1. A.I. Solzhenitsyn belongs to the writers whose work is not just connected with the facts of his own biography, but is based on personal experience - everyday and spiritual. Solzhenitsyn consistently built the life of his heroes in accordance with the aspirations and tasks that he, as a person, set for himself. The first works of the "small" form of A.I. Solzhenitsyn became the writer's first claim for a place of honor in the history of progressive Russian fiction, which won the recognition of readers due to its deep content, humanistic ideas, responsibility to humanity, and first of all - to the Russian people.

Personality of the Russian i. writer about Alexander ■ Isaevich Solzhenitsyn as an artist of the word and as a citizen is huge, planetary. Its core is a truly Russian national character in the best features of its manifestation: in its fair intransigence, denial of the cruelty of people and power, following the best traditions: Russian culture.

Solzhenitsyn's work is full of deep civic meaning. AI Solzhenitsyn - the conscience of Russia, as many compatriots call him, - revealed to the world the truth about totalitarianism, which struck a great country for many years. AI Solzhenitsyn fulfilled his civic duty to the Motherland with such force of personal convictions!! and: :truth,: what's in! ¡ the eyes of the people of the whole world has become a symbol of the struggle: for; on the right: a person, o for "Mnational dignity, for

355 worthy LIFE. :G,:V

2. Works by A.I. Solzhenitsyn, being an artistic

355 The Russian press ("Izvestia", "Segodnya") noted that on the eve of A.I. Solzhenitsyn, on December 11, 1998, the newspapers received numerous requests from people to tell about the writer's further creative plans. ; "" -.211 document of the era, "historical. document", were at the same time a "human document" - thus the "historical document" acquired a special humanity.

Solzhenitsyn "develops the connection, weakened after the October Revolution, between Russian classical literature of the 19th" - early 20th centuries and the progressive literature of Russian modernity. This alone is the great merit of the writer in front of world culture, for Russian classical literature is its invaluable asset. The continuity of traditions is manifested, in particular, in the fact that his characters are colored by the reflection of the images of the righteous, a person glowing with the inner light of puffiness, delicacy, kindness.

3. AI Solzhenitsyn's work should be considered in a philosophical context. The ideological position of A.I. Solzhenitsyn in creating the image of the Russian national.^1 .character echoes the ideas of Russian Slavophiles (although: long-suffering, loftiness of spirit, Christian inner faith and genetic ability for life-affirmation:. This aspect of A.I. Solzhenitsyn’s work is very interesting for readers of pluralistic nationality, and for comparing the writer’s view of a person Hi understanding of personality and national character in a different philosophy and a different folk morality. The philosophical thought underlying the interpretation of the personality of the heroes by A.I. Solzhenitsyn is very close to the Chinese reader,. despite: oga differences; in an abstract ideal: according to Orthodox morality! i-ev > Absolute "Rich" personification of the divine personality; in accordance * with the "Buddhist! morality, professing the Tao as the path of self-propulsion of man - in the impersonal ideal of truth. Both the Christian and Buddhist philosophical concepts of personality, which determine the national character, agree on one thing: the value of “a person’s personality is in life according to conscience, in spirituality and readiness to make / moral choice in actions, in the line of behavior. ¡:i. . about v. -.h. on ¡chi.vych. and Al. Eun a. and j

Thus, the value of L.I. Solzhenitsyn’s stories “One Day in the Life of Ivan Denisovich” and “Matryona’s Dvor” for the Chinese reader lies in the fact that they are closely related to serious topics - reflections on the philosophical categories of morality, morality, projected onto a person’s personality, including - in the conditions of national life, .religious views, cultural traditions. Despite the differences in the interpretation of the individual in the sense of its movement towards perfection, the enduring value of a person as an individual remains common to the Chinese and Russians, whose morality in social terms is determined not by power, but by the historically developed spiritual wealth of the people. 1 ¿l

For expression; A. Solzhenitsyn chose a hero for his moral and philosophical views, well;: - him.! m known thanks to personal experience - prisoner Shukhov and on the example of one day of his camp life - without declarative comments and political assessments - showed unnaturalness, inhumanity! and the inevitable doom of the authorities, which allowed the ~Gulag as the norm of life, where ¡ people ended up at the slightest spiritual movement of disagreement with this government.

4. It is difficult to overestimate the historiographical value: of the analyzed works, especially for the foreign reader. But if knowledge about the era of totalitarianism ¡v1 Russia/! ©¡.the policy of terror and depersonalization of people, gleaned from ^ library: sources,; are too dry, distant and lifeless, then the artistic reflection of the era by the writer not only enriches the reader with knowledge, but also: makes a much stronger impression - amazing! because the; projects problems of a national scale onto a “little!-person”; and a personality, which often does not receive reflection in the mirror of history. : :

5. In the stories "One Day in the Life of Ivan Denisovich" and "Matrenin Dvor" A.I. Solzhenitsyn gives: serious;! Destroying criticism of the Soviet system. This topic is covered by 1 ¡example? images of prisoners of Stalin's camps and people from the hinterland - rural workers. The appeal to the image of a camp hero is motivated by the fate of the writer, and the appeal to the image of a rural worker is his faith in the rural community, which most clearly reflects the true Russian identity and embodies the true Russian national character. A.I. Solzhenitsyn sees an essential side of this character in the vitality of the individual, not broken by the difficulties of camp and collective farm life. In the images of Ivan Denisovich and Matryona, a deep moral idea was manifested and a calm, but deliberately merciless blow to totalitarianism was expressed. And most importantly - by totalitarianism in the souls of people.

It is interesting to note that AI Solzhenitsyn's irreconcilable position in relation to evil and violence was expressed by him not only in exposing Soviet totalitarianism, but also later - in exposing the vices of the West, where he was exiled. That is why / as noted by the famous German writer Heinrich Bell, who met the exile - in L974 in Germany at the gangway of the plane, A.I. Solzhenitsyn is international in his work, because "he made a revolution in the minds of people, a And the response is in all parts of the world. "". oh! 6 it is ico dust, and,

6. The attention of readers to the work of iA-.I.Solzhenitsyn, of course, is also determined by his skill as a writer. In the entire structural and content system of One Day in Ivan Denisovich, in all its artistic imagery, in everyday life * "shown in the story of hard camp life, in the conversations of the prisoners' disputes, in their confrontation, the writer nowhere makes declarations," from himself” “But at the same time, one feels the enormous power of the author’s influence on the reader and a fierce protest against violence against a person.

The artistic psychological analysis is given very subtly and precisely: only one day in the life of a prisoner is shown; and before your eyes all of Russia, like the Gulag archipelago, covered with camps - a name that has become a household name.

356 Op. Quoted from: Russian literature of the XX century: In 2 volumes - Vol. 2: 1940-1990s // Ed. L.P. Krementsova. M.: Academy, 2002. S. 259. .v . , >lds." .< , íi-.мкг и!Opíi\ . г i, , J"т " I

It seems to us that the images of Matrena Grigorievna and Ivan Denisovich Shukhov already give a sufficient idea of ​​the Russian national character - an idea without which it is difficult to comprehend Russia, to understand the history of this country that survived and defeated totalitarianism. In the mean remarks, remarks, actions of Ivan Denisovich Shukhov, an outwardly dim, but deep -life position, the desire to survive spiritually, not to accept the "game" of "morons" - a game imposed general rules dictated by the hierarchy existing both in the camp and outside it. We see the same thing in the image of the peasant woman Matryona, reduced to poverty, who did not receive a penny from the "collective farm" for her forty years of work, but retained her spiritual strength and dignity to live righteously, "according to her conscience.

By deploying two such different, but in some ways close images, the artist, as it were, completes the circular metaphorical construction: prisoner Ivan Denisovich is trying hard in the camp. live1 with as ■. "in the wild", but the simple peasant woman Matryona, whose fate! all the way! The next food recreates the life of people "in the wild", - lives like in a prison. The circle closes in prison - as in freedom, and in freedom - as in prison. In these extreme conditions, as the writer shows, the original features of the Russian national character were very clearly manifested.

To live according to conscience, ^ not > mimicking,; fenced off from the laws of power and performing everyday human labor - this is what these heroes of A. Solzhenitsyn draw their strength from. The moral strength of the heroes of AI Solzhenitsyn, their national identity determine the unflagging interest in his work of all those who study Russia.

The national identity of Shukhov's Chile Matryona does not manifest itself too clearly. Between. the fact that these are. heroes, / ^ carefully thought out by the author, representatives of the indigenous, according to A. Blagov, a special "mainland" breed of the Russian people, excluding the fall - betrayal, squealing, "preservation on someone else's blood." Their morality is spontaneous, natural but strong.

Thus, the cognitive: and "aesthetic meaning of creativity

Solzhenitsyn as an artistic chronicle of the history of Russia, in this case, the Stalinist period, and as an affirmation of the moral traits of the Russian folk character - no doubt. *"

7. Following the author of the book about AI Solzhenitsyn Zh. Niva, we note that the writer tried to avoid "an ideological word, a speech with a lie built into it" 357 . The author's language is saturated with folk dialect, neologisms, it is unique both lexically and syntactically. But “the strength of AI Solzhenitsyn's artistic talent is expressed not only in the original veracity of the language. Attention is drawn to the writer's skill in depicting the characters and, in particular, their portrait characteristics, the contrast of the depicted characters. Shukhov and Matryona are shown as rather contradictory, like any living person - they coexist with Christian humility and rebelliousness of spirit, resourcefulness and unpretentiousness, great life experience and childish purity, everyday struggle for physical survival - with the main thing, which is seen in the preservation of conscience , sympathy for one's neighbor, spirituality, fidelity to the covenants ¡ancestor with the book. I! ■>

8. Everything that was created by A.I. Solzhenitsyn!, ”- and“ One Day in the Life of Ivan Denisovich ”, and“ Matrenin Dvor ”(“ It Doesn’t Stand Yuelo Without a Righteous One ”), and his other stories, and“ Tiny ”, and the script “The Tanks Know the Truth”, and the novels “In the First Circle”, “Cancer Ward”, and -,. Artistic canvas-research (“Red Wheel”, “March of the Seventeenth”; and “August of the Fourteenth”) - everything is written about Russia and her history. . Analysis of the specifics of language, composition and others artistic features The early prose of the writer already gives an idea of ​​the variety of structural and meaningful forms of expressing the depth of Russian spirituality, which was continued in his later work. .then L i i "ChhA.-chshiim.

9. A.I. Solzhenitshu | no doubt, "¡ entered the history of world culture. One of his main merits is that through artistic creativity

357 Niva J. Solzhenitsyn. M.: Hood. literature19 §2.;, S.L34.^<л, ■ \!Г. (.4""" он раскрыл философское значение проблемы личности, ее жизнеутверждения и нравственного выбора вне зависимости от национального контекста. Но именно на трагическом опыте России в период тоталитарной истории он сумел показать миру античеловеческое лицо государственного террора, пытающегося уничтожить самое ценное в человеке - личность. Категория личности в трудах русских философов - классиков определяется как феномен поведения человека, имеющего всегда право сопротивляться власти, если она безнравственна и аморальна. У А.И.Солженицына эта идея проходит красной нитью через все творчество и художественно выражается в теме жизнеутверждения героя - заключенного и крестьянки/ПисательСиспытал"на своей судьбе горький опыт века - лагерь, тюрьму, гонения. Он передал этот опыт каждому из нас, предостерегая: никогда, ни при каких условиях не потерять в себе человека. На Западе о российском ГУЛАГе писали в сороковые, пятидесятые годы, но точный язык впервые был найден! А.И.Солженицыным.

Modern researchers emphasize the relevance of Solzhenitsyn's work, including the actual sound of his early prose. "Time passes, and the phenomenon of Solzhenitsyn begins to be perceived in a new way. The primitively politicized 1 reading of his works now looks hopelessly archaic and inadequate; or, perhaps, the intellectual and religious-ethical depth of Solzhenitsyn's texts, sometimes not noticed, is becoming increasingly important , and not understood in the heat of political passions. -a .. "

However, even now >we are "only: c) at the very beginning of the path to a true understanding of the creative insights of the great writer. This path has a beginning,

358 but as long as literature exists, it will have no end."

1I >.,.111 Lroch 1SSh1S. . „I and > :e 11apm<:\1, 1

358 Spivakovsky P.E. Academician Alexander Isaevich Solzhenitsyn (on his 85th birthday) // Izvestiya Rossiiskoi Akademii Nauk. Ser. lit. and language. M.: Nauka, 2003. T. 62. No. 6. S. 67.

I, "LaChhMMMSL.11111!" I. and

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The writing

On the issue of moral issues in Solzhenitsyn's prose, I would like to draw attention to the story "Matryona's Dvor", which was originally called "A village is not worth without a righteous man." And this righteous man is Matryona Vasilievna, a lonely woman of about sixty, without means of subsistence, but infinitely kind, ready to give what little she has. And the people around her eagerly take it, and even condemn Matryona for gratuitous responsiveness - "stupid, helped strangers for free." Solzhenitsyn draws such an image of the real Russian soul. Meanwhile, Matryona had a very hard time in life - her husband went to war and did not return, all six children died - "they did not live up to three months and were not sick with anything." The heroine has no money, because she is not given a pension; she is sick, but she is not considered an invalid, she has worked all her life on a collective farm, but has not earned anything, except for “sticks”. In order to receive her meager pension, Matryona needs to collect a lot of information and visit many instances, for which the heroine simply does not have the strength.

As a result, "many injustices with Matryona were heaped up." But she did not become embittered, did not blame anyone for her troubles. This woman "had a sure way to regain her good mood - work", she devoted herself entirely to people. Truly, the defining word for the character of this heroine is kindness, “good mood”, “kind smile”.

And when Matryona's life began to improve and she began to receive a pension, her fellow villagers began to envy her: “What about a pension? The state is momentary. Today, you see, it gave, and tomorrow it will take away. But even the disease did not visit the heroine for some time, Matryona began to communicate more with her sisters, her friend.

But, probably, it is not given to Matryona to be happy. At Epiphany, she did not have holy water - somewhere the bowler hat from the church had gone. Although the heroine cannot be called a devout believer, she had a holy corner in her hut. On holidays, Matryona lit a lamp, “only she had fewer sins than a rickety cat. She choked mice ... ”Following this, her husband’s brother, still handsome and stately Thaddeus, appears in Matryona’s house. We learn that in order to somehow brighten up a lonely life, the heroine once took up Thaddeus's daughter, Kira. Matrena always felt the need to pour her love into someone, to give goodness. So she raised her adopted daughter, who became the only person who sincerely loved Matryona. The heroine gives the upper room to this girl so that she and her husband can build a house. And then it turns out that Thaddeus also has views on Matryona's property. The tragedy occurs when transporting logs through a railway crossing - the sleigh gets stuck, and "Matryona also suffered there, between the tractor and the sleigh." She simply could not stand still, help her relatives. All of them were knocked down by a locomotive, "squashed into meat."

But even after the death of the heroine, the people around her do not let up. The main issue for them remains the division of Matryonin's property - who has a hut, who has a goat, who has a barn. And Matryona's cordiality, simplicity are remembered with "contemptuous regret": she was dirty, and did not chase after furnishing, after outfits. What is the reason that some strive for external well-being, while others - for something higher, more spiritual? Matryona was different from her fellow villagers, so she was, as it were, out of society, and remained misunderstood. But, despite this, without people like Matryona, humanity cannot exist, she is a true righteous man, without whom "neither the village, nor the city, nor our whole land stands."

Distinctive feature creativity of A.I. Solzhenitsyn is that he explores the Russian character. In the story "Matrenin Dvor" the author's goal is realized in the development of the image of the main character. Matrena Vasilievna is a simple, lonely old woman. The author does not give us a detailed portrait of her. It is important for him to portray not so much the external beauty of a simple Russian peasant woman as her inner world: "Those people always have good faces who are at odds with their conscience." Many troubles and sufferings befell Matryona, with her "many injustices were heaped up." But the main thing in the image of the heroine is kindness (“good mood”, “kind smile”), which conquers all hardships and worries in the soul.

The heroine is, as it were, outside of society, merging with nature, preserving the primordially Russian way of life. Darkness, ignorance, superstition (“she was afraid of fire”, “lightning”, bad omens, “foreign delegations”, “artificial satellites”) are combined in her with sincere religiosity (“she went to church five miles away”, “every business started "with God").

In Matryona, there is no thirst for hoarding, money-grubbing, which her sisters-in-law, neighbors, relatives possess. She did not seem to notice life's troubles, but did not pay attention to insults. The heroine, as it were, finds herself in the center of the eternal confrontation between good and evil, trying to connect the edges of the abyss. Only after the death of Matryona, people were able to truly appreciate the spiritual beauty of this woman. Even after the terrible death of her "face remained intact, calm, more alive than dead."

It is no coincidence that Solzhenitsyn wanted to call his story “A village cannot stand without a righteous man,” since it is Matryona who is the true righteous man: “... she is the same righteous man without whom the village cannot stand.” The realistic authenticity of the depicted events leaves a special imprint on the image of Matryona - her life is not only a symbol of righteousness, but also a tangible confirmation of the primordially good essence of the national character. It is on such people that all human life rests.

In the 11th issue of the Novy Mir magazine for 1962, a story by an unknown author, One Day in the Life of Ivan Denisovich, was published. It was that rare case in literature when the publication of a work of art in a short time became a social and political event.

“The story “One Day in the Life of Ivan Denisovich” lived in our literature for only a year,” wrote the critic of the “New World” V.Ya. Lakshin, - and caused as many disputes, assessments, interpretations as no book has caused over the past few years. But she is not threatened with the fate of sensational one-day trips, which will be argued about and forgotten. No, the longer this book lives among readers, the more sharply its significance in our literature will become clear, the more deeply we will realize how it was necessary for it to appear. The story about Ivan Denisovich Shukhov is destined for a long life.

It is known that the significance of a work of art is determined by the fact that its creator made a new contribution to the history of literature. Today we are going to answer the following questions in class:

- What new did Solzhenitsyn's story bring to readers?

- Why "the story of Ivan Denisovich Shukhov is destined to a long life"?

- What is the secret of such success?

Columbus Archipelago

The novelty of the topic comes through already in the first paragraph: “At five o'clock, as always, the rise struck - with a hammer on the rail at the headquarters barracks. The intermittent ringing weakly passed through the panes, which were frozen two fingers thick, and soon died down: it was cold, and the warden was reluctant to wave his hand for a long time. Never before has the action taken place in a camp.

We read the final lines of the story with the words: “Shukhov fell asleep completely satisfied ...” What struck you the most in Solzhenitsyn's story? The everydayness of the events described, the contrast between the hero’s well-being and the reader’s perception: the “satisfied” hero, “almost a happy day” - the horror that the reader experiences in the process of reading.

Let's hear the impressions of the first readers. Among them, the well-known literary critic M. Chudakova: “Slowly, like a corpse well rolled up in a tarpaulin, accidentally picked up by a ship’s cable, a carefully flooded, hitherto invisible world with its laws of morality and life, with its detailed regulations, floated up from the bottom of socialism into the light of literature. behavior… We found ourselves in a terrible, but finally our own, non-fictional country…”

The slightly opened crack in the "top secret" world of the Stalinist gas chamber revealed one of the most terrible and burning secrets of the century.

At home, you should have found in the text the answer to the question: “What are the heroes of the story serving time for?” In response to the question, briefly introduce each of the characters. Subtotal: just listing the “crimes” committed by the heroes in comparison with the terms received for them is a stunning indictment of the state system, which ruthlessly destroys its own people.

Criticism of the 60s saw in Solzhenitsyn's story a denunciation of individual violations of the law in Stalin's time, which was publicly announced from the rostrum of the XX Party Congress N.S. Khrushchev. That is the only reason why the story was able to see the light of day. In this, the position of the author coincided with the ideology of the Khrushchev “thaw”. However, the author was far from socialist ideals and, not being able to openly declare his position, nevertheless reveals it in places. In the book “The calf butted with the oak” A.I. Solzhenitsyn writes: “I was accepted with a bang, while I was, apparently, only against Stalin's abuses, here the whole society was with me. In the first things, I disguised myself before the police censorship - but in this way also before the public. The next steps I inevitably had to open myself up: it was time to speak more precisely and go deeper and deeper.”

Author's position and official ideology

To How and in what differences did A.I. Solzhenitsyn with the official ideology of the 60s in the story "One Day in the Life of Ivan Denisovich"? Student's report (individual homework).

The student pays attention to the episodes in which they sound:

- criticism of the whole system of legislation(Regarding the “best opinion on Soviet legislation” of the captain Buinovsky: “Dudi-dudi, Shukhov thinks to himself without interfering, Senka Klevshin lived with the Americans for two days, so they rolled up his quarter, and you spent a month hanging around on their ship - so how long should I give you?"; "Kildigs himself was given twenty-five. This period used to be so happy: they gave everyone a comb for ten years. And from the forty-ninth such a band went - everyone at twenty-five, regardless. without dying, - well, live twenty-five ?!);

- disbelief in justice and the possibility of a free life in the country(Shukhov is finishing his term, but does not believe in the possibility of release: “Will they even let them go free? Won’t they hang dozens more for nothing?” After all, “no one has ever had an end to the term in this camp.” If you run out of ten - they will say you have one more”);

- radical rejection of the entire state system(Solzhenitsyn’s hero feels, if not hostility, then at least the alienation of Soviet power to him: everywhere we see the use of third-person pronouns “they”, “theirs”, when it comes to state orders: “Does the sun really obey their decrees?”, “Millions have already been let down through the pipe, so they think to catch up with chips”);

- spiritual opposition of the writer, the religious basis of his attitude(the views of the believing author are manifested not only in sympathy for Alyoshka the Baptist, who is serving time for his faith, but also in the remark of Brigadier Tyurin: “All the same, You are, the Creator, in heaven. You endure for a long time, but you beat painfully”; and in reproach to Ivan Denisovich, who went through a search with a hacksaw and forgot to pray with gratitude, although at a difficult moment he “loftily” turned to God with a prayer: “Lord! Save me! Don’t give me a punishment cell!”; And in the spelling itself (with a capital letter, not only the name of God , but also a pronoun referring to Him);

- idealization of pre-kolkhoz life(“In the camps, Shukhov repeatedly recalled how they used to eat in the villages: potatoes - in whole pans, porridge - in pots, and even earlier, without collective farms, meat - in healthy chunks. Yes, they blew milk - let the belly burst. " Now he “with his whole soul languishes over a handful of oats”, which he immeasurably fed to horses from a young age”).

Thus, we can assert that already the first printed work of Solzhenitsyn is a story not about “individual violations of socialist legality”, but about the illegality, more precisely, the unnaturalness of the state system itself.

For several decades, Soviet literature sought to embody the image of the new man. The hero of Soviet literature was supposed to be an unbending fighter and active builder of socialism, a youth of the "steel generation", a "real man", a hero of socialist labor. The “thaw” of the 60s contributed to the emergence of a new hero - the bearer of mass consciousness, the “simple Soviet person”.

- Who is Ivan Denisovich Shukhov?

What kind of person is he and what impression did he make on you?

- Is this a new hero for Soviet literature?

- And for the Russian? With whom can he be compared?

Ivan Denisovich has a lot in common with a simple Russian peasant of the classics of the 19th century, with the same Platon Karataev, with Leskov's heroes. At the heart of his moral ideas are traditional, Christian values. We see Shukhov's gentleness, helpfulness, his peasant cunning, his ability to adapt to unbearable conditions and be content with little. The kindness and pity of the protagonist for others, not only for Alyoshka and the captain, but also for Fetyukov, who lost his sense of human dignity, the ability to understand even his guards and guards (forced people) and sympathize with them - all this testifies to the return of Russian literature to eternal humanistic values .

In the face of the quiet and patient Ivan Denisovich, Solzhenitsyn recreated an image of the Russian people, almost symbolic in its generalization, capable of enduring suffering, bullying of the communist regime and the thieves' lawlessness of the Archipelago and, despite this, endure in this “tenth circle of “hell””, while maintaining kindness to people, humanity, condescension to human weaknesses and intolerance to meanness.

The novelty of the hero Solzhenitsyn, who did not correspond well to the generally accepted ideas about the "builder of communism", was not liked by all Soviet critics.
Let's read the opinion of the critic N. Sergovantsev: “The author of the story tries to present him as an example of spiritual fortitude. And what perseverance is there when the hero’s circle of interests does not extend beyond an extra bowl of “baland” (October magazine, 1963).

-Do you agree with this statement? During the eight years of hard labor, Ivan Denisovich learned the daily struggle for existence: to hide a trowel, to snatch a tray from a prisoner with a touch, to “mow down” a couple of bowls of gruel, learned to store forbidden things: a needle in a hat, a knife in a slot, money in a lining. He also comprehended the wisdom that in order to survive, a prisoner must leave pride: “...groan and rot. And you will rest - you will break. ” But with all this, Shukhov did not lose the main thing - a sense of human dignity. He knows for sure that for a ration and for a sip of shag smoke one cannot grovel. "He was not a jackal even after eight years of hard labor - and the further, the more firmly established."

The strength of Solzhenitsyn's hero lies in the fact that despite all the inevitable moral losses for a convict, he managed to keep a living soul. Such moral categories as conscience, human dignity, decency determine his life behavior. Ivan Denisovich did not succumb to the process of dehumanization even in the camps, he remained a man. So the story about the Soviet camps grows to the scale of the story about the eternal strength of the human spirit.

Spiritual Foundations of Confrontation

- What saves Shukhov? What, in Solzhenitsyn's opinion, keeps a person in the camp?

It is difficult to save life in hard labor, but it is even more difficult to save the “living soul”. In The Gulag Archipelago, Solzhenitsyn devotes a separate chapter, The Soul and Barbed Wire, to the problem of the moral choice of everyone who finds himself behind barbed wire. The writer moves us from the political to the spiritual plane: “The result is not important ... but the SPIRIT!”

In the camp, a person faces a great choice, if he chooses life “at any cost”, then as a result he loses his conscience: “This is a great crossroads of camp life. From here - the roads will go to the right and left; one will rise, the other will fall. If you go to the right, you will lose your life; if you go to the left, you will lose your conscience.” A person who decides to survive at any cost inevitably degrades: he becomes a snitch, a beggar, a dish-licker, a voluntary overseer. And we see many such examples in Solzhenitsyn's story: foreman Der, jackal Fetyukov, informer Panteleev. Another path leads to moral ascent and inner freedom: “Ceased to be afraid of threats and not chasing rewards, you became the most dangerous type in the owl's opinion of the owners. For how can I take you?”

- Give examples of such living souls, not broken by inhuman conditions. Find and read the description of the Yu-81 campsite. What does this portrait show?

This is the righteous Alyoshka the Baptist, blessing the prison, and the wiry old man X-123, in a dispute with Caesar, expressing the views of the author himself on art: “Geniuses do not adjust the interpretation to the taste of tyrants”, “No, to hell with your “how”, if it does not awaken good feelings in me, ”and camp resident Yu-81. “Shukhov was told about this old man that he was sitting in the camps and in prisons innumerable, how much Soviet power costs, and not a single amnesty touched him, and as one dozen ended, they thrust him a new one.”

Among the souls not broken by the inhuman conditions of the camp, of course, is main character who, in his own way, managed to adapt to life in a special class. Therefore, the story about the prisoner, who “could not allow himself” and “the further, the more he asserted himself,” acquires a comprehensive meaning. In a country where everything is aimed at the corruption of souls, to preserve the “living soul” is a lofty feat! The writer believes in the unlimited spiritual powers of man, in his ability to withstand the threat of bestiality.

Features of the language manner of the writer

- What impression did Solzhenitsyn's language make on you? Give examples of argotisms, colloquial vocabulary. Is their use justified?

The image of a new, unprecedented reality needs new linguistic means. For many years, Solzhenitsyn, a deep admirer of Vl. characters. The Russian language in Solzhenitsyn's prose often appears in motion from the bookish to colloquial colloquial. The writer in the story “One Day in the Life of Ivan Denisovich” creates his own vocabulary of language expansion, reveals the connotation of the word by deforming it, cutting it down, shortening it, endowing the root stem of the word with unexpected prefixes and suffixes.

- Give examples of such words created by the writer.

“Unsmoked”, “crossbones”, “unsupportable”, “arrogantly”, “wear out”, “attentively”, “not shed”, “get used to it”, “saw it”, “shyly”, “satisfied”, etc.

- Who is telling the story about one day of Ivan Denisovich? Is the speech of the author similar to the speech of the hero?

Wanting to recreate the inner world of the hero, his inner speech, through which a certain way of thinking is visible, Solzhenitsyn uses a special form of narration - the so-called indirect speech. This is a narration on behalf of a neutral narrator, but sustained completely in the speech manner of the hero. Each feeling, look, assessment, the whole world is conveyed through the perception of the former collective farmer, and now a prisoner, Ivan Denisovich Shukhov: “Only protecting them is on someone else’s blood ... he went a little ... where you get warm ... go take it out, don’t spill it! .. the whole body separates ... people have changed…”

Results

- Let's formulate conclusions about the significance of Solzhenitsyn's story in the history of Russian literature.

1. Solzhenitsyn was Columbus, who paved the way to the unknown islands of the Archipelago, discovered and described the unknown nation of prisoners.
Following the works of Solzhenitsyn appeared " Kolyma stories» V. Shalamov, «Immersion in darkness» by O. Volkov, «Faithful Ruslan» by G. Vladimov and other works on this topic.

2. The writer discovered the “simple Soviet man”, created an almost symbolic image of the Russian people in its generalization, capable of enduring unprecedented suffering and preserving a living soul.

3. Solzhenitsyn's story marked a turn to traditional moral values ​​forgotten by Soviet literature. “The talent and courage of A. Solzhenitsyn manifested itself in the fact that he began to speak in the voice of great literature, the main difference of which from insignificant literature is that it is occupied with the categories of good and evil, life and death, the relationship between man and society, power and personality”(A.Belinkov).

4. Solzhenitsyn gave a lesson in courage and courage to all Soviet writers. “He proved that one can and should write without thinking about either the internal or the external censor”(V. Kaverin). “It’s no longer possible to write the way they wrote until recently”(G. Baklanov). “When Solzhenitsyn appeared and saved the honor of Russian literature, his appearance was like a miracle”(A. Jacobson).

5. For the first time in Soviet literature, criticism of the entire system, of “advanced ideology,” was voiced. “Solzhenitsyn opened our eyes, tightly wired with ideology, insensitive to terror and lies”(J. Niva).

6. The story revealed the spiritual opposition of the writer, a return to the religious foundations of the worldview. “This was a turning point not only in the history of Russian literature, but also in the history of the spiritual development of each of us”(M. Schneerson).

7. Solzhenitsyn was an innovator in the field of language. “The event was language itself; they plunged headlong into it ... It was that great and powerful, and, moreover, a free language, intelligible from childhood ... The Russian language hammered with force, like a key, from the first lines - playing and almost physically perceptibly quenching thirst ”(M. Chudakova).

Notes

Lakshin V.Ya. Friends and Foes of Ivan Denisovich // Lakshin V.Ya. Journal paths. M., 1990. S. 73.

Chudakova M.O. Through the stars to the thorns // Chudakova M.O. Literature of the Soviet past. M., 2001. S. 340, 365.

Literature

1. Lakshin V.Ya. Friends and Foes of Ivan Denisovich // Lakshin V.Ya. Journal paths. M., 1990.

2.Leiderman N., Lipovetsky M. Between chaos and space // Novy Mir. 1991. No. 7.

3. Niva J. Solzhenitsyn. M., 1992.

4. Chudakova M.O. Through the stars to the thorns: Change of literary cycles // Chudakova M.O. Literature of the Soviet past. M., 2001.

5.Schneerson M. Alexander Solzhenitsyn. Sowing, 1984.