An incorrigible idealist and romantic, Platonov believed in "the vital creativity of the good", in "peace and light" stored in the human soul, in the "dawn of the progress of mankind" on the horizon of history. A realist writer, Platonov saw the reasons forcing people to “save their nature”, “turn off their consciousness”, move “from inside to outside”, without leaving a single “personal feeling” in their souls, “lose their sense of themselves”. He understood why “life temporarily leaves” this or that person, subordinating him without a trace to a fierce struggle, why “inextinguishable life” now and then goes out in people, giving rise to darkness and war around.

A. Platonov belongs to those few authors who heard in the revolution not only "music", but also a desperate cry. He saw that good desires sometimes correspond to evil deeds, and in the plans of good, someone provided for the strengthening of his power the destruction of many innocent people, allegedly interfering with the common good. Everything that was published from the works of Platonov until the last years could not give a complete picture of either his power as a writer, or do the work on the formation of human spirituality, which turned out to be within the power of such works as "The Pit", "Chevengur", " Juvenile Sea. Platonov is not like anyone else. Everyone who opens his books for the first time is immediately forced to abandon the usual fluency of reading: the eye is ready to glide over the familiar outlines of words, but the mind refuses to keep up with the times. Some force delays the perception of the reader on every word, every combination of words. And here is not the secret of mastery, but the secret of man, the solution of which, according to Dostoevsky, is the only thing worthy of devoting one's life to it.

The heroes of Platonov speak of "proletarian substance". Platonov himself spoke of "socialist substance". In these terms, he includes living people. Platonov's idea and man do not merge. The idea does not close the person tightly. In his works we see precisely the “socialist substance”, which strives to build an absolute ideal out of itself.

Of what does Platonov's living "socialist substance" consist? Of the romantics of life in the fullest sense of the word. They think in large-scale universal categories and are free from any manifestations of egoism. At first glance, it may seem that these are people with asocial thinking, since their mind does not know any social and administrative restrictions. They are not pretentious, inconvenience

life endure easily, as if not noticing them at all. Where these people come from, what their biographical past is, it is not always possible to establish, since for Platonov this is not the most important thing.

They are all changers of the world. The humanism of these people and the quite definite social orientation of their aspirations lies in the set goal of subordinating the forces of nature to man. It is from them that we must expect the achievement of a dream. It is they who will someday be able to turn fantasy into reality and will not notice it themselves. This type of people is represented by engineers, mechanics, inventors, philosophers, visionaries, people of liberated thought.

The heroes of Platonov's romance are not involved in politics, as such. Because they view the completed revolution as a settled political issue. All who did not want this were defeated and swept away. And also because they are not involved in politics, that in the early 20s a new

In 1926, Andrey Platonovich Platonov wrote the satirical story "The City of Gradov". This story was written in less than three weeks, under the influence of Tambov impressions: in Tambov, Platonov was sent to work in the melioration department of the provincial land administration ....

Platonov's work attracts a lot of attention from researchers, and, according to the most conservative estimates, the number of works dedicated to the writer has reached a thousand. Platonov's father, Platon Firsovich Klimentov, worked as a mechanic in the railway workshops, his mother ...

The phenomenon of Andrei Platonovich Platonov attracts the attention of modern criticism, which is trying to unravel it with varying degrees of success. The writer's work is difficult to interpret, giving rise to directly opposite interpretations, always leaving...

Plato's world is the world of workers, craftsmen, inventors. The craft of a working person who wants to get to the bottom of any thing, to the “heart” of any device, is surrounded by Platonov with rare respect. Only the Platonic hero has a simple view of the locomotive...

The myth of 1990s literature.

The universal use of myth as the fundamental principle of being begins in the late 1960s. There is an intensive comprehension of national culture. The works of Ch. Aitmatov, F. Iskander, V. Rasputin, Belov, Astafiev appeared. In their works, the national folklore type of mythologism was presented, i.e. one episode of the myth or some archetypal images are used (for example, the king-fish)

Over time, works began to appear in which not only famous mythological characters were used, but also individual motifs from the worlds of mythology (for example, the motif of transformation).

The writers of this time paint a conditional world that exists both open and closed. A vivid example of the creation of a conditional world is the work of A. Kim. In Kim's prose, the ancient Chinese idea is realized that the whole world is controlled by Tao - a single indivisible life-giving principle (the story "Lotus"). The plot-the main character-artist comes to his homeland to say goodbye to his mother, but parting is accompanied by a whole series of transformations, built on the archetypal idea of ​​the transition from one life to another. The mythological basis is used, which reveals its own history of the movement of the people of the spirit, but the main thing is not the plot, but the mythology of the characters, their speech, the speech of nature, animals. The hero is aware of this transition from real to unreal space.

"Father-forest" - a clear idea of ​​the environment is given. The forest is a world that takes on a universal scale. In the center - the world of vegetation and the world of people. The world of people is the Turaev family. The world of vegetation - the spectrum of voices of trees and a snake. Trees are higher beings, they personify virtue, they are engaged in mental work. Turning to mythology, the writer combines the Christian image and the Buddhist idea of ​​contemplation as the highest virtue. The people in the novel are three representatives of the Turaevs. The forest becomes the basis on which a whole system of symbols is layered.

The novel "Centaur" - the writer combines the ancient myth and the description of the most ancient world deprived of a share of civilization. There are two worlds in the novel: the visible world and the invisible. The visible world is inhabited by centaurs, Amazons, which is controlled by a phallic force, instincts in it. The invisible world is half-spirits, they cannot stop the catastrophe that is foreseen by the visible world.

Fazil Iskander novel "Sandro from Chegem" ...

Since the late 80s, the term "women's prose" (ZHP) has appeared. Her attitude is ironic. It appeared around the 19th century, images of women began to appear in literature as independent characters: a housewife, a secular lady, a Turgenev girl, the image of a business woman. ZhP is considered a phenomenon that was predetermined by the social. Reasons. Main - arr. feminist movements; the formation of an exclusively female circle of movement. Prose for girls (Charskaya), “Keys of Happiness” by A.N. Verbitskaya. The formation of an exclusively female circle of reading, a topical topic (the creation of a new person) is indicated in the work of Verbitskaya.

At present, the same processes are being studied in ZhP as in other research literature.

O. Slavnikova in the article “Patience of Paper” notes that women have always been pioneers in sod-ii: women had to publish under male names.

In the 80-90s of the 20th century, women's prose had to break into literature. In 1988, the first literary group of women writers "New Amazons" appears.

The process of formation of women's prose begins with the publication of various almanacs and collections (S. Vasilenko "Unremembering Evil"). Such collections become a kind of manifestos of women's prose. The main thesis of the collections was that they sounded the conclusion that prose should be divided into good and bad, and not male and female.

S. Vasilenko, N. Sadur, O. Slavnikova, Vishnevskaya, Matveeva, Fields, Shcherbakova, Bogatyrev.

Some female names do not belong to female prose in terms of writing style (Tolstaya).

The term ZhP denotes works with characteristic problems, namely, women's prose talks about the position of a woman, about her fate, about relations with the outside world, the opposite sex. But different from the ladies' novel. Outwardly, these concepts are similar, but different information can be reported in a ladies' novel; a standard situation is described in a ladies' novel.

Critics notice that in such works there is a satisfaction of urgent needs for emotions. These novels use a melodramatic plot, but the conflict is manageable.

49. Creativity T. Tolstoy.

Tolstaya Tatyana Nikitichna (b. 1951), prose writer. Born and raised in Leningrad in a large family of a professor of physics, son of the famous Russian writer A.N. Tolstoy. Graduated from the Department of Classical Philology of the Leningrad University. Having married a Muscovite, she moved to Moscow, worked as a proofreader. The first story by T. Tolstoy "They sat on the golden porch ..." was published in the journal "Aurora" in 1983. Since that time, 19 stories have been published, the short story "The Plot". Thirteen of them compiled a collection of stories "They sat on the golden porch ..." (Fakir, Circle, Loss, Dear Shura, Okkervil River, etc.) In 1988 - Sleepwalker in the Fog.

Tolstaya belongs to the "new wave" in literature, is called one of the brightest names of "artistic prose", rooted in the "fiction prose" of Bulgakov, Olesha, which brought with it parody, buffoonery, celebration, eccentricity of the author's "I". The debut of Tatyana Tolstaya in 1983, immediately attracted the attention of critics. Her first collection of short stories, published in 1987, caused a flurry of reviews in Russia and abroad. She was virtually unanimously recognized as one of the brightest authors of the new literary generation. To date, the volume of what has been written about Tolstoy (dozens of articles, X.'s monograph) is several times greater than the volume of her prose. Interestingly, Tolstaya struck readers not with the content of her stories, but with the exquisite complexity and beauty of their poetics.

The demonstrative fabulousness of her poetics attracts attention. This feature is especially noticeable in stories about childhood, such as “You love - you don’t love”, “They sat on the golden porch”, “A date with a bird”.

The world in Tolstoy's prose appears as an infinite number of contradictory tales about the world, conditional, aware of their conditionality, always fantastic and therefore poetic. The relative integrity of this kaleidoscopic picture is given by the languages ​​of culture - also different and contradictory, but nonetheless based on a certain unified logic of creativity, with the help of which these fairy tales are continuously created and reproduced by each person, at every moment of his life. The beauty of mutual transformations and overflows of these fairy tales allows you to smile gratefully at life - "running by, indifferent, ungrateful, deceitful, mocking, senseless, alien - beautiful, beautiful, beautiful." Such a philosophy removes the modernist opposition of the lone creator of living individual realities to the crowd living in impersonal, and therefore dead, stereotypes.

"Sleepwalker in the Fog" The heroes of Russian literature of the 19th century were busy searching for the meaning of life, finding their place in a complex and contradictory world, constantly changing, directly dependent on wars, political upheavals, changes in social systems and other historical events. Already at the beginning of the story, Tolstaya shows the state, the mood of the hero: “Having gone through earthly life to the middle, Denisov thought. He thought about life, about its meaning, about the frailty of his earthly, half-used existence...” The protagonist lives as if in a fog. And his thoughts are hazy, vague: he thinks about the possibility of "the existence of Australia", he even tries to compose a work about it. He tries to invent, compose poetry - nothing works for him. His profession is unclear, but judging by his mood, he is dissatisfied not only with himself, but also with the life around him. It looks like the main character and another character - Laura's dad, Denisov's mistress. He was dubbed "ideological rot" and expelled from the institute for "a report on the relationship of birds with reptiles ... and they had a scientific secretary named Ptitsyn, so he took it personally." Lauryn's dad now makes a living by writing phenologist notes for magazines. And it is he who walks in his sleep, he is a somnambulist. Recognizable realities allow us to attribute the action to the era of stagnation: in the world of rabbits and boas, total shortages and blat, lines for meat, socialist competitions, party committees, local committees and the brewery named after Stenka Razin, somnambulists roam among businessmen, among imaginary healers who heal from photographs, and rest into a terrible mess. But the ending of the story sounds hopeful, open. There is also an irony about the meaning of being: the hero subjected env. The reality is doubted. The work raises the problem of loneliness, when a person cannot switch from one space to another, is in a closed space. okr. The reality where Laura and others like her live is one reality. The other is the reality of Denisov, who is trying to perpetuate his name. The third reality is that of Laura's father. A sleepwalker is a person who is looking for himself in reality. Sleepwalker in the fog - a man who broke free.

50. Sergey Dovlatov (1941 -1990) On September 3, 1941, Sergei Dovlatov was born in Ufa - a famous prose writer, journalist, a prominent representative of the third wave of Russian emigration, one of the most widely read contemporary Russian writers in the world. He himself turned his biography into a literary work. The reader of Dovlatov knows much more about his life than the most knowledgeable biographer can tell. Family (“Ours” cycle), studying at the university, exclusion, service in the internal troops (the book “Zone”), first literary experiments, literary underground, the “Citizens” group (which, in addition to Dovlatov, included B. Vakhtin and Vl. Maramzin) , Leningrad literary environment of the late 1960s, communication with Brodsky ("The Invisible Book"), work as a journalist in Estonia ("Compromise" cycle), editor in the children's magazine "Koster", publication of an unsuccessful (official) story-essay in the magazine " Youth", a ban on the publication of a collection of his stories, endless refusals from Soviet publishing houses and magazines, work as a guide in the Pushkin Reserve (the story "Reserve"), emigration ("Branch", "Foreigner"), a brief but stormy history of the life and death of the newspaper "The New American", edited by Dovlatov ("The Invisible Newspaper"); literary success in the USA, publications in the New Yorker magazine (where, before Dovlatov, only Nabokov was published among Russian writers) - all these plots, sometimes with numerous variations, are described by Dovlatov himself. Unless his early death and phenomenal popularity in post-Soviet Russia (his three-volume edition was reprinted three times over the course of two years) remained outside of Dovlatov's prose. At the same time, Dovlatov's autobiography is very literary. It is no coincidence that his prose evokes so many associations. So, I. Serman, emphasizing that "the main character of Dovlatov's prose is himself", immediately compares this hero with such a literary character as Ostap Bender; Vic. Toporov finds similarities between Dovlatov's autobiography and the New York school (Salinger, Updike, Roth, Below), A. Genis and P. Weil build Dovlatov's autobiographical hero into a number of "superfluous people" in Russian classical literature. Outwardly, without going beyond the limits of realistic lifelikeness, Dovlatov at the same time exposes precisely the literary side of life - unconsciously following the postmodern principle "the world as a text." Working with autobiographical material, where the authenticity of the story is confirmed by a photograph on the flyleaf of the book, gives this combination a special poignancy and paradox. In this sense, Dovlatov, who began writing at the end of the 1960s, does not continue, but starts from the “confessional prose” of the “thaw”. In this prose, the hero was the literary shadow of his generation, its plenipotentiary. In Dovlatov, the life of the author is a reflection of purely literary, often phantasmagoric plots and collisions. Strictly speaking, Dovlatov steadily transforms autobiographical material into metaphors, or rather, into anecdotal parables. Two interrelated themes occupy him throughout his work: the relationship between literature and reality, on the one hand, absurdity and norms, on the other. It is easy to see in these themes a connection with the most important artistic and philosophical subjects of postmodernism, growing around the problem of simulation and simulacra, on the one hand, and dialogue with chaos, on the other. Already in the early book "The Zone", which tells about the author's service (in the book, the lyrical hero bears the name Boris Alikhanov) in the camp guard, Dovlatov accompanies the camp stories with commentary letters to the publisher, Igor Efimov. The camp world in these comments is placed in a fairly wide literary context. The first thing that immediately catches your eye is the direct convergence of camp aesthetics with socialist realism. On the other hand, Dovlatov in one phrase brings the camp and the cult of the classics of the 19th century together: “I am interested in life, not prison. And - people, not monsters. In general, references to the classics are here consistently irreverent. In the list of classics, after Tolstoy, Pushkin, Lermontov, Dovlatov is followed by the anecdotal Rzhevsky. These seemingly divergent motifs of Dovlatov's auto-commentary actually hit one spot: they undermine faith in the connection between life and literature, the hope that literature is capable of changing ugly reality. This faith and hope unite the world of the zone - with socialist realism and the mentoring of Russian classics. Dovlatov, on the other hand, defends his non-belonging to this great tradition. Dovlatov at the very beginning of the "Zone" says that the "truth" was revealed to him behind bars - the truth, he says, is that consciousness exists parallel to reality, it does not depend on reality, does not reflect it and does not affect it: World The one I got into was terrible. In this world, they killed for a pack of tea. The world was terrible. But life went on. The ratio of good and evil, grief and joy - remained unchanged. In essence, the fundamental incompatibility of literary - and more broadly: cultural, rational, conscious - experience with reality gives Dovlatov a sense of absurdity as the norm of life. If for Shalamov and Solzhenitsyn the zone is primarily the space-time of violence, then for Dovlatov the zone is, first of all, the most visually visible realization of the absurd as a universal principle of being. It is the absurdity that forms the special, Dovlatov, unity of the world of the zone and the unity of the zone with the world. So, according to Dovlatov, there is no significant difference between the guards, in general, "free" and prisoners.

Paradoxical epicness, growing on the basis of absurdity, becomes a hallmark of Dovlatov's style. Dovlatov's epic kinship with the world is affirmed primarily through the author's unusual position in relation to the absurd characters and circumstances he describes. Dovlatov's hero has nothing to teach the reader.

It was no coincidence that he wrote his best books about Russia in America, and again it is no coincidence that Branch, Foreign Woman, and Invisible Newspaper are much weaker in their artistic quality than Zapovednik, Nashi, and Suitcase. Dovlatov needed an epic distance in order to treat his own fate and environment as an epic legend, allowing for many interpretations and interpretations, among which there are no longer true and false - everyone is equal. The epic style also explains such an important feature of Dovlatov's prose as repetition. Dovlatov quite often repeats himself, retelling the same stories, anecdotes, scenes two, three, or even four times. Dovlatov uses absurdity as such a law, i.e. the law is the absence of law, as well as logic, meaning, expediency. The originality of Dovlatov's poetics is explained precisely by the fact that it is based on this oxymoron combination of absurdity and epicness. Not only plot, but structural repetitions are characteristic of Dovlatov's style. Many of his stories are built as a chain of structurally similar episodes.

Dovlatov's absurdity does not make the world comprehensible, it makes the world understandable. And this is perhaps the most amazing paradox of Dovlatov's poetics.

In Dovlatov's writing style, the absurd and the funny, the tragic and the comic, irony and humor are closely intertwined.

Dovlatov saw the moral meaning of his works in the restoration of the norm. Depicting the random, arbitrary and ridiculous in his works, Dovlatov touched on absurd situations not out of love for the absurd. For all the absurdity of the surrounding reality, the hero of Dovlatov does not lose his sense of normal, natural, harmonious. The writer makes his way from complicated extremes, contradictions to unambiguous simplicity. The desire to "restore the norm" generated Dovlatov's style and language.

The Leningrad youth of the writer is dedicated to the collection Suitcase - the story of a man who did not take place in any profession. Each story in the Suitcase collection is about an important life event, difficult circumstances. But in all these serious, and sometimes dramatic, situations, the author "packs his suitcase", which becomes the personification of his emigrant, nomadic life. In Chemodan, the Dovlatian rejection of globalism again manifests itself: only that worldly trifle that he is able to “carry with him” is dear to a person. In this collection, the author analyzes the contents of his suitcase, taking a mental look at his entire life in his homeland. Each item in the suitcase is a separate story, comical and sad at the same time, connected with difficult circumstances and whole layers of memories. In each story, the main character, who is both the only narrator and the author of The Suitcase himself, introduces the reader to one or another thing that has made a difficult journey abroad with him. Each of these things can only be dear to that part of the memory that wakes up at the sight of it - the author himself, with a bitter smile, makes it clear that they are not suitable for anything except to kindle a small fire of nostalgia. Gradually talking about each of them, the hero also talks about his life, eventually becoming a close friend to the reader. "Suitcase" is one of those works by Dovlatov, in which his ability to write ironically and easily is most clearly manifested, making the reader smile even in the most sad moments. Despite the fact that Dovlatov himself never considered himself a "real writer", it is precisely the writer's talent that is clearly visible in "Suitcase" - the author holds the reader's attention, does not let him go away for a minute, gives him the opportunity not only to spend time for an unconditionally interesting reading, but also thinking about your own life. For Dovlatov, Suitcase is an autobiographical work. In this book, he writes primarily about himself and what happened to him before emigrating. Despite the fact that sometimes the fate of the author presented him with a lot of unpleasant surprises, Dovlatov manages to maintain an inexhaustible optimism that is felt in every line and thanks to which the whole book leaves a light, pleasant impression. Perhaps that is why "The Suitcase" has become one of the author's most popular works - translated into a number of foreign languages, it attracts the attention of more and more representatives of a vast readership, and many of them are not limited to a single reading of the book, periodically returning to it again and again.

28.Themes and genre originality of poetic creativity of V. Vysotsky. Vladimir Vysotsky (1938-1980) to some extent went further than Galich in developing the possibilities of the romantic grotesque. In his poetry there is no longer a romantic dual world, but the consciousness of the lyrical hero embraces a huge social world, torn by screaming conflicts, and absorbs them all, in the most impossible, grotesque, explosive combinations, into itself. Like Galich, Vysotsky has many "role-playing" poems, but Vysotsky's distance between the character and the author is much shorter. For him, a character is a form of expression. Of course, it is easy to “notice the difference” between the author and the subject of such poems as “Comrade Scientists”, “Dialogue at the TV”, “Chess Crown Honor”, ​​“Letter to the Agricultural Exhibition” or “Letter from the Agricultural Exhibition”. But what about the early “thieves” texts (“Tattoo”, “Ninka” or “Silver Strings”), what about songs on behalf of tramps, climbers, pirates, robbers, athletes, penal battalion soldiers, and even on behalf of a pacer, an airplane (“I am a Yak fighter”) or a ship? And "Hunting for wolves" - here the monologue on behalf of the wolf certainly becomes one of the most significant manifestos of the lyrical hero Vysotsky. And even in such clearly “role-playing” texts as “Police Protocol”, “Lecture on the International Situation” or “Letter to the Editor of the TV Program “Obvious - Incredible” from Kanatchikova Dacha”, it is not so much the author’s distance from the characters that is striking, but the joy of reincarnation and the opportunity on behalf of the "other" to express "one's own". The lyrical hero of Vysotsky ultimately appears as a collection of many different faces and faces, including some that are far from being the prettiest. It is not for nothing that in one of the later poems “I got chills again” (1979), Vysotsky’s lyrical hero cracks down on a boor, goon, lumpen - the “other” sitting inside the “I”. Such a “proteic” type of lyrical hero, on the one hand, has a unique gift for multilingualism - he is open to the world and to some extent represents an “encyclopedia” of voices and consciousnesses of his era. This quality determines the phenomenal popularity of Vysotsky - in his poems, literally everyone could hear the echoes of their personal or social experience. The theatricality of Vysotsky's poetry goes back to the tradition of carnival and, in particular, to such a version of carnival culture as Russian buffoonery. It is significant that Vysotsky's most ridiculous "tale" texts, as a rule, are based on socio-philosophical metaphors that go far beyond the limits of a specific "material" - always grotesque. Thus, "Dialogue at the TV" is built on the consistent exposure of the similarities between a television circus performance and the life of a "simple Soviet man" full of dignity. In the same way, Letter from Kanatchikov's Dacha likens fashionable myths of popular culture, such as the Bermuda Triangle, to clinical insanity. The hero of Vysotsky feels great in the midst of social chaos, he himself is an integral part of it, and therefore often the grotesque fantasies of his most “untied” characters turn into unexpectedly accurate prophecies: for example, “A lecture on the international situation, read by those sentenced to 15 days for petty hooliganism to camera” (1979) is today perceived as a summary of post-Soviet political events, where both the collapse of the USSR and the triumph of the “new Russians” are guessed. On the other hand, such seemingly comic poems as “Tattoo”, “She was in Paris” or “A letter from an agricultural exhibition” or even “Ninka” - it is precisely thanks to the grotesque texture that they express the energy of love more strongly than such sugary, purely lyrical, love hymns as “If I am rich, like the king of the sea” or “Here the paws of the fir trees tremble in weight “The polyphony of Vysotsky’s liar embodies a special concept of freedom. The freedom of the author in Vysotsky's poetry is the freedom not to belong to any one truth, position, faith, but to connect, match them all, in sometimes screaming contrasts within oneself.

The image of a singer racing in a sleigh “along a cliff, over an abyss, along the very edge” has not without reason become a kind of emblem of Vysotsky’s poetry. This image is all gossip of grotesque oxymorons: the hero of the poem drives the horses with a whip and at the same time begs them: “A little slower, horses, a little slower!” He asks: “At least I’ll stand on the edge a little more?” and at the same time he knows for sure in advance: “And I won’t have time to live, I won’t have time to finish singing.” In essence, Vysotsky quite often chooses his characters according to their ability to "life on the edge." His favorite poetic "roles" are strong characters, put by fate in an extreme situation. This commonality erases for Vysotsky the differences between Hamlet and a criminal, a climber and a pirate, a man and a machine, a wolf and a stallion. It is characteristic, for example, that verses about the war in his poetry appear simultaneously with stylizations of a “criminal” song, forming such striking combinations as, for example, “Penal Battalions” (1964). Poetry for Vysotsky is the ultimate expression of freedom, and therefore, it cannot be carried out outside an extreme situation, otherwise than "at life on the edge." The difference between this artistic strategy and the traditionally romantic model is expressed in the fact that "both top and bottom in Vysotsky's ethical system often act as equivalent goals of the movement"1. Therefore, his angels “sing with such evil voices”, to paradise is likened to a “zone” (“Apples of Paradise”). The lyrical hero of Vysotsky, even in the trajectory of his flight, reproduces the model of that “here” from which he is so eager to escape and which, as we have seen (for example, in the poem “My Gypsy”), is characterized precisely by the absence of stable boundaries between morally and aesthetically opposite states and values. Quite naturally, motives of self-destruction, self-destruction arise in Vysotsky's lyrics: the author and the lyrical hero quite consciously build their lives as a race over the abyss in order to more acutely experience the disastrous delight of freedom: in the poem "The History of Disease" (1977-1978), one of the most autobiographical and most terrible texts of the late period of his work. Self-destruction is a logical payment for the will to integrity in a carnival world that has lost integrity, knows no boundaries between good and evil, truth and lies, filled with many arguing and incompatible truths. The grotesque "logic of reversal", in which "everything happens the other way around" in relation to the conscious goal set by a person, also turns into the lyrical hero Vysotsky. Vysotsky could not reconcile
romantic maximalism of his lyrical hero (“I don’t love”) with his omnivorousness, openness to “alien” words and “alien” truth. It is this grotesque combination of the will to integrity with the fundamental rejection of integrity that turns all of Vysotsky's poetry into a kind of "open text" that goes beyond
limits of the social epoch that gave birth to it.

"I dont like"
Optimistic in spirit and very categorical in content, the poem by B.C. Vysotsky "I do not love" is a program in his work. Six of the eight stanzas begin with the phrase “I don’t love,” and in total this repetition sounds eleven times in the text, ending with an even sharper denial “I will never love this.”
What can the lyrical hero of the poem never be able to put up with? What vital phenomena does he deny with such force? All of them characterize him in one way or another. Firstly, it is death, a fatal outcome, which is difficult for any living being to come to terms with, life's hardships that make one distract from creativity.
The hero also does not believe in unnaturalness in the manifestation of human feelings (be it cynicism or enthusiasm). Strongly hurts his interference in his personal life. This theme is metaphorically emphasized by the lines (“When a stranger reads my letters, looking over my shoulder”).
In the fourth chapter, gossip hated by the hero is mentioned in the form of versions, and in the fifth he exclaims: "It's a shame to me, since the word "honor" is forgotten and if in honor there are slander behind the eyes." There is a hint here of the Stalinist era, when, on false denunciations, people were put to death, imprisoned, exiled to camps or to an eternal settlement of innocent people. This theme is also emphasized in the next stanza, where the lyrical hero declares that he does not like "violence and impotence." The idea is emphasized by the images of "broken wings" and "crucified Christ".
Some thoughts throughout the text of the poem are repeated to one degree or another. The work is thus saturated with criticism of social disharmony.
The well-fed confidence of some is combined with the broken wings (that is, the fates) of other people. At B.C. Vysotsky, on the other hand, always had a heightened sense of social justice: he instantly noticed any violence and impotence around him, for he himself felt them when he was not given permission to perform in concert for a long time. Creative inspiration gave wings to new achievements, and numerous prohibitions broke these wings. Suffice it to note the fact that the poet, who left such an extensive creative heritage, did not publish a single collection of poetry during his lifetime. What justice to B.C. Can Vysotsky speak after that? However, the poet did not feel himself inwardly in the camp of the weak, those innocents who are being beaten. He also experienced the burden of popular love and fame when his songs became popular, when people tried their best to get a ticket to the Taganka Theater to meet B.C. Vysotsky as an actor. B.C. Vysotsky understood what an attractive power this glory possesses, and the image of the needle of honors in the fourth stanza of the poem eloquently testifies to this.
In the final stanza, another remarkable image appears - “arenas and arenas”. It symbolizes the attempts of all kinds of hypocrisy in society, when "a million is exchanged for a ruble", that is, they are exchanged for a small amount in the name of some false values.
The poem “I don’t love” can be called a life program, following which a person is able to maintain such qualities as honesty, decency, the ability to respect himself and maintain the respect of other people.

19. The image of the righteous matryona in the story of Solzhenitsyn.

Solzhenitsyn was one of the first to define in Russian literature of the second half of the twentieth century a range of topics and problems of “village prose”, which had not been raised or hushed up before. And in this sense, the story "Matryona Dvor" occupies a very special place in Russian literature.
In this story, the author touches upon such topics as the moral and spiritual life of the people, the relationship between power and man, the struggle for survival, the opposition of the individual to society. The writer focuses on the fate of a simple village woman, Matrena Vasilievna, who worked all her life at the state farm, but not for money, but for “sticks”. She got married before the revolution and from the very first day of family life she took up household chores. The story "Matrenin Dvor" begins with the fact that the narrator, a former Soviet prisoner Ignatich, returns to Russia from the steppes of Kazakhstan and settles in Matryona's house. His story - calm and full of all sorts of details and details - gives everything described a special life depth and authenticity: “In the summer of 1956, from a dusty hot desert, I returned at random - just to Russia.”
Matrena Vasilievna is a lonely woman who lost her husband at the front and buried six children. She lived alone in a big old house. “Everything was built long ago and soundly, for a large family, and now there lived a lonely woman of about sixty.” The theme of the home, the hearth in this work of Solzhenitsyn is stated very sharply and definitely.
Despite all the hardships and hardships, Matryona has not lost the ability to respond to someone else's misfortune. The heroine is the keeper of the hearth, but this sole mission of hers acquires true scale and philosophical depth under Solzhenitsyn's pen. In the simple life of Matrena Vasilievna Grigorieva, that same unostentatious righteousness shines through, without which Russia cannot be reborn.
She suffered a lot from the Soviet regime, worked tirelessly all her life, but she never received anything for her work. And only love and the habit of constant work saved this woman from everyday longing and despair. “I noticed: she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug potatoes. Or with a bag under her arm, she went for peat. And then with a wicker body - for berries in a distant forest. And she bowed not to the office tables, but to the forest bushes, and having broken her back with a burden, Matryona returned to the hut already enlightened, pleased with everything, with her kind smile.
Without having accumulated “wealth” and without having acquired any “good”, Matrena Grigorieva managed to preserve for those around her a sociable disposition and a heart capable of compassion. She was a rare person with an immensely kind soul, who did not lose the ability to respond to someone else's misfortune.
The image of the righteous woman Matryona in the story is contrasted by Thaddeus. In his words about the marriage of Matryona with his brother, fierce hatred is felt. The return of Thaddeus reminded Matryona of their wonderful past. In Thaddeus, nothing faltered after the misfortune with Matryona, he even looked at her dead body with some indifference. The train crash, under which both the room and the people who transported it, was predetermined by the petty desire of Thaddeus and his relatives to save on small things, not to drive the tractor twice, but to get by with one flight.
Many after her death began to reproach Matryona. So, the sister-in-law said about her: “... she was unclean, and she didn’t chase after furnishing, and she wasn’t careful; ...and stupid, helping strangers for free.” Even Ignatich admits with pain and remorse: “There is no Matrena. A family member was killed. And on the last day I reproached her for her quilted jacket.
But if you think about it, would many of us be able to help strangers “for free” without striving to accumulate goodness or distribute it to others? But Matryona was able to Solzhenitsyn in his story "Matryona Dvor" seeks to warn the reader that righteousness is slowly leaving our lives, and this process is very dangerous, as it is associated with the destruction of the fundamental foundations of the national character. Together with Matryona, thousand-year-old Russia goes into the past, into oblivion. And only

15. How the main figure of village prose soon begins to be perceived Valentin Rasputin. At the beginning of his creative path, he wrote things imbued with "taiga romance", but gradually left the sixties and came to soil. The difference between Rasputin and other representatives of rural prose is that he managed to give his works a moral and philosophical sound. Rasputin raises the question of whether the moral values ​​accumulated in the people's consciousness over decades and centuries should also disappear in the technocratic era along with obsolete tools, and answers it in the negative. Rasputin defends a Christian attitude to life. Following God's truth, a sense of catholicity, an inextricable connection with one's homeland, love for all living things, caring for the family, readiness to decorate the earth with one's work - this is the philosophical system of Rasputin's heroes. In the center of his works is the image of the Russian land, which is personified by the village, and the image of a Russian person living on this land. Although Rasputin tells about the present, he emphasizes the traditional, patriarchal in the characters of his heroes. Such are Kuzma (“Money for Mary”), Anna (“Deadline”), Daria (“Farewell to Matyora”), driver Egorov (“Fire”). Rasputin is interested in the same patriarchal type, but presented in different modifications, of different ages, male and female.
Kuzma is a man of a patriarchal warehouse, who continues to see a single big family in the village, that is, he lives by the ideas of the Russian community. He is guided by the relevant norms in his behavior. When his wife Maria, due to illiteracy, gets into trouble (shortage), Kuzma expects help from members of the common family, as he views the villagers. He has a dream about a collective farm meeting, where money would be collected for Mary. [Retelling of the episode.] This is a dream, but the reality is very different from it. Going around yard after yard, Kuzma says nothing - everything is already known - and people behave in different ways. Who shares the last, and who shows complete indifference and callousness. The author seeks to show that in the village there is a disintegration of communal ties, which were not strengthened, but only shattered by collectivization. “Life has become better, but they themselves have become worse.” Kuzma's last hope is his brother, who left for the city many years ago. Kuzma goes to the city, finds his brother's house, presses the bell, hears footsteps - and at this the author ends the story. We do not know if brother will help brother or will also show callousness.
Rasputin endows people with a rich inner world who are morally beautiful, who, although outwardly unpretentious, have not achieved success in life, but this is true human beauty. Such is his old woman Anna, typologically related to Matryona. She never left her village, she doesn’t understand many modern problems, but she lives according to Christian commandments and, as it were, “reports” to God in daily prayers for every day she lives. This is an eternal worker, a person infinitely attached to her land, a wonderful mother. Old Anna morally surpasses her educated urban children, whose culture turns out to be only a set of propriety and superficially learned stereotypes. In the face of the death of their mother, they were given, as it were, a “deadline” to be morally reborn, but the rebirth did not happen. The author condemns these people.
In the person of the old woman Daria, the writer showed the keeper of the original Christian ideas about good and evil, about the duty of man. The unusual character of the heroine is that she is an old “philosopher”, a very wise being. She lacks book knowledge, but by nature she has a sharp mind and enough life experience. The prototype of Daria is the grandmother of the writer himself. Daria acts as a defender of Orthodox traditions, a small homeland, nature being destroyed, she defends a careful attitude to God's world, which people should not destroy.
Ivan Petrovich Yegorov, the protagonist of the story "Fire", appears in Rasputin as a man striving to live according to his conscience, which Solzhenitsyn also called for. He sees that, torn from their familiar environment, having lost touch with their native village, yesterday's peasants cease to be a single world, on whose judgment everyone depended in one way or another. They begin to be indifferent to the national heritage. In relationships, too, indifference is established. Through the mouth of the hero, the writer warns of the catastrophic nature of the chosen path. The stories "Farewell to Matyora" and "Fire" contain eschatological motifs. Introducing such motives, the author makes it clear that if people do not revive the best moral qualities, they will destroy the world and perish themselves. As for Voznesensky, for Rasputin true progress is moral progress. Although Valentin Rasputin continues to compose today, the years of the post-thaw era remain the pinnacle of his work. In our time, it began to repeat itself and slipped into right-wing conservative positions.

33. Search for the truth of life in Astafiev's story The Sad Detective.

Victor Astafiev in the novel addresses the topic of morality. He writes about the everyday life of people, which is typical of peacetime. His heroes do not stand out from the gray crowd, but merge with it. Showing ordinary people suffering from the imperfection of the surrounding life, Astafiev raises the question of the Russian soul, the originality of the Russian character.
Various pictures of the provincial life of the city of Veisk pass before the reader's gaze. The general bleak picture of the life of the city - almost unpunished hooliganism, alcoholism, spiritual and physical poverty, dirt, abuse, arbitrariness - all this is written in gray, gloomy colors.
The novel shows "the current intelligentsia and the current people." The work tells about the life of two small towns: Veisk and Hajlovska, about the people living in them, about modern customs.
Life in Veisk and Khailovsk flows in a stormy stream. Young people, drunk to such an extent that a person turns into an animal, rape a woman who is suitable for them as a mother, and the parents leave the child locked in an apartment for a week.
All these pictures, described by Astafiev, horrify the reader. It becomes scary and creepy at the thought that the concepts of honesty, decency and love are disappearing.
The main character is police officer Leonid Soshnin. He - a forty-two-year-old man who received several injuries in the line of duty - should retire. Having gone on a well-deserved rest, he begins to write, trying to figure out where there is so much anger and cruelty in a person. Where does she keep him? Why, along with this cruelty, does the Russian people have pity for the prisoners and indifference to themselves, to their neighbor, an invalid of war and labor?
The childhood of Leonid Soshnin, like almost all children of the post-war period, was difficult. But, like many children, he did not think about the complex issues of life. After his mother and father died, he stayed with his aunt Lipa, whom he called Lina. The period when Soshnin was a policeman is also described, he caught criminals, risking his life. Soshnin recalls the past years, wants to write a book about the world around him.
He married the girl Lera, whom he saved from molesting hooligans. “There was no special love, it’s just that he, as a decent person, could not help but marry a girl after he was accepted in her house as a groom.”
Leonid Soshnin always thinks about people, the motives of their actions. He has a heightened sense of responsibility for everything and everyone, with a sense of duty, honesty and the fight for justice "Why and why do people commit crimes?" He reads many philosophical books to understand this. And he comes to the conclusion that "thieves are born, not made."
“Life is communication with people, caring for loved ones, making concessions to each other.” After he realized this, his affairs went better: they promised to publish the stories and even gave an advance, his wife returned, and some kind of peace began to appear in his soul.
Leonid Soshnin is a man who finds himself among the crowd. A person lost among people, entangled in thoughts. The author wanted to show the individuality of a person among the crowd with his thoughts, actions, feelings. His problem is to understand the crowd, to merge with it. It seems to him that in the crowd he does not recognize people whom he knew well before. Among the crowd, they are all the same and kind, and evil, and honest, and deceitful. They all become the same in the crowd. Soshnin is trying to find a way out of this situation with the help of books that he reads, and with the help of books that he himself is trying to write.
Soshnin is a diagnostician of the moral decay of society, the violation of all ties between people, between generations, between man and nature. Thinking about the problems and vices of society, thinking about how to fix them, such a hero begins with himself. V. Astafiev wrote: “You always have to start with yourself, then you will reach the general, national, universal problems.” The main character Soshnin believes that we invented the riddle of the soul ourselves in order to keep silent from others. Features of the Russian character, such as pity, sympathy for others and indifference to ourselves, we develop in ourselves. The writer tries to disturb the souls of the reader with the fate of the characters. Behind the little things described in the novel, the problem posed is hidden: how to help people?
The life of heroes causes sympathy and pity.
The events described take place in peacetime, but one cannot help but feel the similarity and connection with the war, for the time shown is no less difficult. Together with V. Astafiev, we think about the fate of people and ask ourselves: how did we get to this point?
The main character really looks like a sad detective. Responsive and compassionate, he is ready to respond to any misfortune, a cry for help, to sacrifice himself for the benefit of complete strangers. The problems of his life are directly related to the contradictions of society. He cannot but be sad, because he sees what the life of the people around him is like, what their fates are. Soshnin is not just a former policeman, he benefited people not only on duty, but also at the call of the soul, he has a good heart

21.Man and history in Y. Trifonov's story "The House on the Embankment".

In the story "The House on the Embankment" Y. Trifonov continues to explore the inner world of man, his relationship with the real world. The writer is trying to understand how a person changes over time and whether he changes at all, how and under the influence of what, his system of moral values ​​and life principles is formed. It is with the aim of solving this problem that the plot time of the story is organized - these are three time layers: the end of the 1930s, 1946 - the beginning of the 1950s, 1972 -1974. In each time layer there are two houses, two worlds that are in opposition to each other.

In the first time layer - this is Deryuginsky Lane and the Big House opposite. These two houses are the complete opposite of each other: the first is the house of professors, influential people with luxurious apartments and elevators, the second is the abode of the lower strata of the population, a brothel of various kinds of punks. Deryuginsky Lane is a house from the 1930s. Glebov. The contrast that the boy observed, getting from his communal apartment to the Big House, could not but affect the formation of his character, did not affect his consciousness. Already in childhood, a feeling of envy arises in Glebov, still subconscious, implicit, at the same time he commits his first betrayal. It should be noted that the world of childhood depicted by Y. Trifonov was by no means happy, all the events of childhood were dramatic, and at the same time, this whole world of childhood participated in the formation of Glebov's character. Glebov was greatly influenced by his father, whose excessive caution, while observing the basic rule: "keep your head down", were natural features in the behavior of many people of that time, in fact, signs of the time ("Stalinism"). These features were carefully disguised by Glebov Sr. under the mask of frivolity and fun, behind which, however, constant tension and fear for his family were hidden. It is not surprising that he does not want to turn to Shulepnikov for help, does not dream of owning an apartment in the Big House, as he understands that "it is much freer to live without your own corridor." Glebov was embarrassed and uncomfortable for his father when he was insincerely kind to Levka, and, perhaps, at that time a sense of pride arose in Dimka, a desire to achieve the same position in society as Levkin's stepfather. It is important to note here that Glebov had a great advantage over Levka, namely, he had a house, a family where love, warmth, inner, spiritual comfort, mutual understanding reigned. The house allowed Glebov to feel more confident in life, he gave him roots that Levka did not have.

The Deryuginsky small house is opposed in the story by the Big House on the Embankment. In the first time slice, it appears mainly as the house of Levka Shulepnikov. Levka's huge apartment is a special material world, which is the envy of Glebov. A nursery with bamboo furniture, carpets on a sparkling parquet, boxing gloves, a globe, a movie camera - all this for Glebov is a symbol of power over classmates. Thus, both of these characters are given by the author surrounded by the material world, through its perception. And here the reader sees the first difference between the guys. Levka, unlike Glebov, is less dependent on the material world. He does not seek to use it as some kind of leverage on classmates in order to gain authority and respect. A sense of camaraderie is still important to him, he chooses his friends not by equality of social status, but by those who are really interesting to him. He has no sense of revenge (story with "dark"). Levka in childhood is morally purer and higher than Glebov, human qualities are more important for him than material ones, during this period he is the bearer of universal human values, human virtues. However, Levka has no home, no roots, and in their absence lies the reason for his fall. Constant moving from apartment to apartment, which were one luxury of another, a series of "fathers", with none of whom he had spiritual ties, warm family relations, just as he did not have them with his mother, to a large extent contributed to the disappearance of human beings in him. qualities: generosity, kindness, cordiality, human participation, empathy. Already in 1946 - early 1950s. Shulepa becomes dependent on the material world, on luxury and convenience items. At the same time, his environment is also changing: now they are friends - "scoundrels". Shulepa began to choose friends based on their usefulness, but not on their human qualities. As a result, he turns into an indifferent, mentally deaf person who is not really interested in or touched by anything.

Changed in the 1940s - early 1950s. and Glebov. At this time, Glebov becomes a "resident" of two houses (Deryuginsky Lane, Bolshoy Dom), but, in fact, he does not have a house either there or there. Gradually, he moves further and further away from his home, as he can no longer live in it. The Deriuginsky house appears to him as a cage, a miserable dwelling, and he is ashamed of it. At the same time, he becomes more and more a slave to things. He almost does not see people, or rather he does not see human in them, he sees how high their ceilings are in the apartment, what chandeliers, cabinets, paintings and so on. At this time, the feeling of envy deepens, its quality changes - it becomes evil. Children's daydreaming develops into a persistent desire to achieve their dreams by any means and methods. And he, blinded by the material world, goes to betrayal, makes his choice, exchanging Sonya's love for material wealth.

Having moved to the third time layer, in the 1970s, we see that Glebov achieved everything he aspired to: there is a cooperative apartment, a two-story dacha, a car. Achieved, surrounded himself with the material world, sacrificing Sonya's love. But the material world did not bring satisfaction and joy to Glebov, at the end of his life's journey, he bitterly realizes this, summing up his life and youth, "when he was still dreaming, languishing with insomnia and miserable youthful impotence, about all that then came to him , without bringing joy, because it took away so much strength and that irreplaceable thing that is called life ... "The end of the path of Levka Shulepnikov is sad, who, sinking lower and lower, turned out to be at the end of his life path an employee of the crematorium, a gatekeeper, a guardian of the kingdom of the dead - it was as if he no longer existed among the living, and even his surname was different - Prokhorov.

The daughter of the Ganchuks, Sonya, is the exact opposite of her parents. The main thing that distinguishes her from them, and from all the other heroes of the story, is her spiritual qualities. It is outside the material world, as if above it, does not depend on it. On the contrary, Y. Trifonov constantly emphasizes her human virtues: the ability to help and empathize with people, hospitality and cordiality, kindness, but most importantly - "painful and unselective pity for others, for everyone in a row." Sonya's pity testifies to Sonya's Christian love for all people. An important feature of her character is the ability to love sincerely and devotedly, the way she loved Glebov, surrendering to this love entirely. Sonya is a unifying principle, the center of not only her house, but also the cottage in Bruskovo, and the house in Deryuginsky Lane. She acts in the story as the guardian of the house, as she brings love and peace to this house.

In Y. Trifonov's story "The House on the Embankment" everyday time and historical time are intricately intertwined both in the fate of an individual and in the common fate. A person comes into contact with history in his everyday existence, far from always recognizing the historical in everyday life. Y. Trifonov endowed only one hero with this gift - Anton Ovchinnikov, securing for him the role of the bearer of historical memory. For Y. Trifonov, life is a stream. At the same time, the stream is a symbol of history, time, that which is more powerful than man. Not all people succeed in passing through the life stream, but all those who have passed it are invariably tested by time. Time reveals and emphasizes the negative qualities of Glebov, Shulepnikov, but at the same time it reinforces and sets off the purity and spiritual beauty of others (Sonya, Anton). Thus, Yu. Trifonov emphasizes the need for the existence in each person of an individual moral culture, without which the spiritual existence of a person is impossible. It is necessary for a person in order not to commit immoral acts, so that he can look into the past with a clear conscience, not being ashamed and not trying to forget it, so that he does not hate his childhood, as Glebov hates him, who, having committed another betrayal, was in a hurry to leave over time, so as not to remember those shameful deeds that have settled in the soul with an unpleasant weight

16 .The connection of village prose with the problem of "man-nature" in Astafiev's story "King fish".

Never before has the problem of the relationship between man and nature been as acute as in our time. How to transform the earth to preserve and increase earthly wealth? Renovating, saving and enriching the beauty of nature? This problem is not only ecological, but also moral. In the modern world, there is a discrepancy between the gigantic opportunities that a person armed with technology receives and the morality of this person.
Man and nature, their unity and confrontation are the main themes of Astafyev's work "King-fish", which the writer himself called as "narration in stories." This book was written under the influence of the author's trip to the Krasnoyarsk Territory. The main focus of the story, which consists of twelve stories, is ecological. But Astafiev speaks in it about the ecology of the soul, when "man was forgotten in man." The writer believes that each person is personally responsible for everything that happens in the world. “It just seems to us that we have transformed everything, and the taiga too ... - says Astafiev. - We inspire ourselves as if we control nature and what we wish, we will do with it. But this deception succeeds until you stay with the taiga eye to eye, until you stay in it and heal it, then only ... you will feel its cosmic spaciousness and greatness.
The writer calls for the restoration of natural resources, for the economical use of what we have, for the skillful organization of the hunting and fishing economy of the country: “Who will argue against the need, against the benefits for each of us of millions, billions of kilowatts? Nobody, of course! But when will we learn not only to take, take - millions, tons, cubic meters, kilowatts - but also to give, when will we learn to take care of our house, like good owners?
The writer is concerned about the scale of the ongoing poaching, in which a person is already beginning to lose his human dignity. Violation of the laws on hunting leads to the violation of moral laws, to the degradation of the individual. “That's why I'm afraid,” the writer notes, “when people unbelt in shooting, even at an animal, at a bird, and in passing, effortlessly, shed blood. They do not know that having ceased to be afraid of blood ... they imperceptibly cross that fatal line beyond which a person ends and ... looks, without blinking, the low-browed, fanged muzzle of a primitive savage.
The danger of the collapse of man's natural ties with nature and with other people is the main problem that is considered in the "Tsar Fish". Any person who has done evil in relation to the world, especially to its defenseless and most vulnerable representatives - children, women, old people, animals, nature, is punished by life even more cruelly. So, for his rudeness, predation, drunken revelry, the Commander pays with the death of an innocent girl Taika, and Ignatich, being on the verge of death, understands that he is punished for insulting his bride. The clash of kindness and heartlessness, comradely attitude towards people and selfishness can be traced in the characters of the main characters - Akim and Goga Gertsev. Their dispute is a clash between consumer soulless and merciful, humane attitude to nature. If for Akim nature is a nurse, then for Gertsev she is more a stepmother than a mother. The writer claims: whoever is ruthless, cruel to nature, is also ruthless, cruel to man. If Goga did not consider people to be either friends or comrades, he “lived by himself and for himself,” then to Akim any person he met in the taiga was his own. There is a fight between Gertsev and Akim due to the fact that Goga, having drunk the front-line soldier Kiryaga, exchanged his only front-line medal for a bottle and melted it down. Akim compares this to robbing a beggar. Gertsev answers him: “I don’t give a damn about the old women, this dirty cripple! I am my own god!" Elya was also on the verge of death, whom Goga took with him to the taiga, accustomed to answering only for himself, thinking only about himself. Saved Elya Akim, for whom it was a natural act. This simple and kind person considers his main duty on earth to work and help his neighbor. But Gertsev was punished by life itself. He died in a duel with nature. The hero of the story "The King-fish", which gave the name to the whole story, Ignatich, the elder brother of the Commander, in a duel with the king-fish, personifying nature, having experienced a deep shock, managed to escape. In the face of impending death, he recalls his entire life, recalls the most bitter, shameful - abuse of a girl. He did not raise his hand to a single woman, he never did anything wrong again, he did not leave the village, hoping with humility, helpfulness "to get rid of guilt, to pray for forgiveness." And he perceives his meeting with the king-fish as a punishment for the sin of youth, for insulting a woman. “Forgiveness, are you waiting for mercy? - Ignatich asks himself. - From whom? Nature, she, brother, is also feminine! .. Accept ... all the torment in full for yourself and for those who are currently under this sky, on this earth, torturing a woman, doing dirty tricks on her. This repentance, spiritual cleansing, awareness of the fatality of the poacher's attitude to life helps to free Ignatich. Whoever can repent, see the light, he is not lost for life. That is why the king-fish does not take him with him into the cold dark water. Relations of kinship are established between the world of nature and man.
Viktor Astafiev claims with all his work that only morally strong, spiritually whole people are able to "hold the world on their shoulders, resist its decay, decay."

17 .The camp theme in the work of V. Shalamov.

The cycle of "Kolyma Tales" consists of 137 works and is divided into five collections: "Kolyma Tales", "Left Bank", "Shovel Artist", "Resurrection of the Larch", "Glove, or KR-2". They are adjoined mainly by journalistic "Essays on the Underworld", containing, in particular, an original critical understanding of the experience of depicting the criminal, camp world in literature - from Dostoevsky, Chekhov, Gorky to Leonov and Yesenin ("On a Mistake in Fiction", "Sergey Yesenin and the world of thieves ", etc.).
The essay, documentary-autobiographical beginning becomes the basis of large-scale artistic generalizations in the cycle. Here they found a creative embodiment of Shalamov's reflections on the "new prose", which, in his opinion, should get away from excessive descriptiveness, from "teaching" in the spirit of Tolstoy and become "the prose of living life, which at the same time is a transformed reality, a transformed document" , declare itself as a "document about the author", "prose, suffered as a document". This future "prose of experienced people" affirms a special understanding of the artistic role of the author-narrator: "The writer is not an observer, not a spectator, but a participant in the drama of life, a participant not in a writer's guise, not in a writer's role" . At the same time, the camp theme is interpreted by Shalamov as a way to a broad understanding of the historical experience of individual and national life in the 20th century: "Isn't the destruction of a person with the help of the state the main issue of our time, our morality, which has entered the psychology of every family?" Sharply arguing with A. Solzhenitsyn, for whom the reflections on the “persistence” of a person in front of the System, which could be the core of a positive experience taken from camp life, were extremely significant, Shalamov in a letter to Solzhenitsyn dated November 15, 1964 called such a “desire to necessarily portray those who survived "- "a kind of spiritual corruption", because, from his point of view, the camp generates irreversible, destructive changes in consciousness and acts as an exclusively "negative experience for a person - from the first to the last hour."
In Shalamov's camp epic, these initial ideas are largely refined and corrected in the process of artistic study of reality and the characters' characters. The short story became the main genre of the cycle, conveying the sharpness of the rapidly overlapping, often absurd circumstances of a prisoner's life on the verge of non-existence in an extremely dynamic plot drawing. Shalamov succeeded "in the structured art forms of the novel to capture something that, in principle, cannot be structured - a person who finds himself in super-extreme situations" .
Various problematic and thematic levels are singled out, the most important "cuts" of camp life, comprehended in "Kolyma Tales".
The central subject of the image is the camp fate of ordinary Soviet citizens serving a prison sentence on political charges: front-line soldiers, engineers, creative intelligentsia, peasants, etc. she turns into an obliging "heel scratcher" ("The Snake Charmer", "Typhoid Quarantine"), and before the big and small authorities ("At the stirrup"), before the logic of camp reality that destroys the soul and body ("Single Measurement"). On the other hand, the author comprehends, as a rule, situational manifestations of simple humanity, sincerity (“Dry rations”, “Bread”, “Carpenters”), doomed to harsh suppression and dissolution in the camp environment, sometimes associated with a lingering religious feeling (“Apostle Paul” ), as well as instinctive, social, intellectual, spiritual and moral resistance to the camp, expressed with varying degrees of awareness ("On the show"

INTRODUCTION

1. The problem of time and space in philosophy

1.2 Space

1.3 Time in a literary work

2. Time in the work of S.D. Krzhizhanovsky

2.1 "I live in the distant future"

2.2 Space in the language of Krzhizhanovsky's prose

2.3 Time in the language and prose of Krzhizhanovsky

2.4 "Chronotope Man" in Krzhizhanovsky's stories "Memories of the Future" and "The Return of Munchausen"

Conclusion

List of used literature

INTRODUCTION

Time belongs to the categories most actively developed in science, philosophy, and artistic culture. A person does not think of himself outside of time, except for the states of consciousness described in religious literature, when the counting of minutes stops and contact with God acquires absolute significance. Literature as the art of the word models its own worlds, which are built according to the coordinates given by objective reality - spatial and temporal. Writers form their fictional worlds based on personal concepts of the meaning of human life, vision of the world, understanding of truth, goodness, eternity...

S. Krzhizhanovsky - unknown to a wide circle of readers, whose work is an interesting stage in the development of world literature, presents us his ideas about man and Time.

Objective.

Explore the artistic features of the prose of Sigismund Dominikovich Krzhizhanovsky. Find the connection between the concepts of time-space, man-hero.

Task.

On the example of the stories "Memories of the Future" and "The Return of Munchausen" by S.D. Krzhizhanovsky, find the main philosophical views on the topic of the problem of the concept of time and space in human self-consciousness, and also trace the features of the artistic embodiment of this topic in the texts of the works.

Relevance.

From ancient times to the present day, one of the most urgent questions of mankind is "What is Time?", "What is a person in this time?", "Is it possible to control time?". Despite the fundamental nature of this issue, the concept of time is widely used in the film industry, literature, art and other areas of our daily life, it becomes a familiar paradoxical sphere, which not everyone manages to penetrate.

Significance in practice.

It is possible to use the materials of this research work when studying the course of Russian literature, the course of philosophy and cultural studies, as well as for preparing for various seminars, etc.

1. Time problemand spacein philosophy

Space and time were considered either as objective characteristics of being, or as subjective concepts that characterize our way of perceiving the world. Two points of view on the relation of space and time to matter are considered to be the main ones: the substantial concept (Democritus, Plato), the relational concept (Aristotle).

The substantial theory, according to which space is the order of mutual arrangement of bodies, and time is the order of the sequence of successive events, was dominant until the end of the 19th century.

The relational theory of space and time received confirmation of its correctness in the general theory of relativity. Space and time express certain ways of coordinating material objects and their states. Modern scientists are inclined to the idea of ​​a single and objective space-time continuum. The universality of space and time means that they exist, penetrating all the structures of the universe.

Despite the fact that time and space have been studied by mankind for 2,500 years, we cannot say today that we know these categories better than before. We invented the clock, we measure space in the units of measurement that have become familiar, but still we don’t know the essence ...

The paradox and the first difficulty lies in the fact that the categories of time and space belong to the fundamental, that is, indefinable categories, and they are usually used as if they had an obvious meaning.

1.1 Time

The first and old as the world question: "What is Time?". The literature devoted to this problem is immense: starting with the works of Plato, Aristotle, Plotinus and other Neoplatonists, or, say, from ancient Indian ("Moksha-dharma") or ancient Chinese ("I-ching") treatises, through innovative, almost phenomenological the spirit and method of reflection of Augustine in the XI book "Confessionum" up to studies on the nature of time by Kant, Husserl, Heidegger, Sartre, Merleau-Ponty, Bakhtin, at the other extreme - Vernadsky, the founder of chronosophy D. T. Fraser, I. Prigogine.

We will forever desire a solution and, following St. Augustine, we will be able to say: "What is time? Until I am asked, I know it. And if they ask, I am lost." From space, Jorge Luis Borges believed, we can abstract, but not from time. Henri Bergson said that time is the main problem of metaphysics. By solving this problem, humanity will solve all riddles.

At the same time, the search for objective coordinates expressed in the language system - the pronouns "where", "when" - can be objectified based on the definition of a specific level, a kind of axiom that allows one to build more or less clear contours of concepts.

We are still, wrote Borges, experiencing the embarrassment that struck Heraclitus: no one will enter the same river twice ... The waters of the river are fluid, we ourselves are like a river - also fluid. Time passes. The invention of the concept of eternity allows us to reason in terms of space - eternity contains (place) time. But time is not subject to static. Plato said that time is a fluid image of eternity. The river metaphor is inevitable if we are talking about time. The gift of eternity, eternity allows us to live in sequences. Duration, one-dimensionality, irreversibility, uniformity are properties of time. One of the brightest spatial images of time is an hourglass:

Sand grains run to infinity

The same, no matter how much they flow:

So for your joy and sorrow

An untouched eternity rests.

H.L. Borges

1.2 Space

Speaking of time, it is worth saying a few words about space. The human mind cannot operate with the thought of time without reference to the category of space: in language, time exists for us in vocabulary that traditionally belongs to spatial categories. Let's remember the image of the river.

Instruments for measuring time underlined o-spatial - hourglass, clepsydra, mechanical watch. Either the flow of one into another, or a journey around the circle of the dial ... " But something great and elusive seems to be a topos - that is, a place-space" (Aristotle).

Martin Heidegger encourages us to listen to language. What is he talking about in the word "space"? Prostration speaks in this word. It means: something spacious, free from obstacles. Space brings with it freedom, openness for human settlement and habitation. The extension of space brings with it terrain ready for this or that habitation. The philosopher denies emptiness as nothing. Emptiness is a released, collected space, ready to release something. Again, language suggests the direction of thought...

1.3 ATremme in a literary work

Dividing the types of art into spatial and temporal, Mikhail Bakhtin summarized many years of experience in the perception of masterpieces. But, with all the evidence, why is literature and music denied spatial expression? Even in the pre-literate era, the word stretched over space to at the same time turn out to be an arrow of time shot from the bow of a folklore text (existing in an oral (!) form).

Take, for example, fairy tales. Roads, eternal crossroads, the time from birth to marriage or a feat passes instantly - "how long, how short." The binary world of folklore texts is also growing in literature, but the author who has declared himself, who has opened himself, needs something immeasurably more. The temptation to test oneself in the role of a demiurge is great, and the writer, sculpting the first line, is already building his "coordinate system".

In fact, art projects a world of imaginary realities (or observable, but subjected to the author's subjective interpretation), built in such a way as to focus people's attention on those moral, ethical, aesthetic and other problems that are actualized in this work. At the same time, the problems raised are presented in a vivid, emotionally colored form, awakening the reader’s response emotional experience, his conscious or hidden correlation of himself with the subject of experience, and with all this, they “educate” him on this example, cause in him the desire to appropriate the experience of someone else. understanding.

Unlike other forms of cognition of the world, which analytically divide it into separate cognizable fragments, segments and objects, art in general, and literature in particular, strives for cognition and figurative display of reality in its holistic, synthesized form through the creation of its complex models. The Russian philosopher and literary critic MM Bakhtin noted that the author cannot become one of the images of the novel, because he is "creative nature", and not "created nature". The author must maintain his position of outsideness and the excess of vision and understanding associated with it. A metaphor for a puppeteer whose puppets come to life, like Pinocchio, and enter into a lively dialogue with the author...

The approach to the study of spatio-temporal structures in literary criticism is formed in the context of the development of scientific thinking in the twentieth century. The psychology of personality can no longer do without the study of spatio-temporal relations. The term itself " CHRONOTOP" - was introduced into the scientific language by A. Ukhtomsky, later this synthetic term was used by M. Bakhtin: "We will call the essential interconnection of temporal and spatial relations, artistically mastered in literature, the chronotope ... The chronotope is a formally meaningful category of literature." M. M. Bakhtin, under the influence of Einstein's ideas, introduced this term (time-space) into literary criticism, it was he who first showed that the chronotopes of different authors and different genres differ significantly from each other.

The interaction of two processes (double activity: the text and the reader) allows the reader, on the basis of the narrative structure of the text, to form a model of his own being, the signifier of which is a certain deep question of human existence, and the signifier is the message itself (plot, narration) in its artistic originality.

This interaction allows the text to be realized as a carrier of information, i.e. to be read, meaningful and alive, to realize the timeless essence of the book. According to Gadamer, understanding does not primarily mean identification, but the ability to put oneself in one's place. another and examine yourself from there. Thus, the reader's consciousness appropriates the worlds created by the author. The concept of time, realized by literary works, serves the understanding of being.

The term "concept" itself goes back to the Latin conception - the ability to understand. In Russian, the word "concept" is used primarily in the sense of the concept. Philosophers often define concept and concept as the concept of an absent object of perception. .

2. Time in creativitye S. Krzhizhanovsky

2.1 " I live in the distant future"

The writer, whose work will be discussed, was "simultaneously both the subject and the object of the irrational "minus" space: he created according to some of his own" internal "matrices, in which the" natural "psycho-mental is almost inseparable from the" cultural ", but it, too, this "minus"-space, created it in its own way. This is how V. Toporov notes the isomorphism of the creator and the creation of Krzhizhanovsky.

The name of Krzhizhanovsky, a writer who is now rightfully put on the same level as Kafka and Borges, Bulgakov and Platonov, became known to the general reader mainly due to the creative efforts of V. Perelmuter, whose introductory articles precede the collections of the writer's works. The researcher writes: “Krzhizhanovsky knew that Russian literature had come at the wrong time: “I live in the margins of a book called Society. He also knew that the "mistake of fate" is not hopeless: "I live in such a distant future that my future seems to me the past, obsolete and decayed"

Throughout his life, the writer tried to publish a book, but all attempts were unsuccessful. Krzhizhanovsky was constantly in a "reader's vacuum"; during the life of the author, the reader did not see his books. True, some of the most well-read editors still knew the name of the author. But the circle of these persons was extremely narrow, and the writer could not expand it.

One of the distinguishing features of Krzhizhanovsky's prose is the pivotal meaning of the plot, the actual plot technique, genetically related to the "poetics of the title" invented by him. According to the writer, "the world is a plot. It is impossible to create a plot without a plot." The words constructed by the writer to create the effect of a special reality ("nety", "est", "loktizm", "Zdesevsk") continue the tradition of spatial and linguistic experimentation (V. Podoroga) in Russian literature, with all this, the texts of Krzhizhanovsky's works are not fully correlated with organized literary and artistic directions.

The phenomenon of Krzhizhanovsky's prose is primarily linguistic. S. Krzhizhanovsky builds a special moral and ethical horizontal, along (deeper) which he settles pseudo-real and obviously fictional loci. Krzhizhanovsky consistently implements the didacticism characteristic of Russian literature, for this the writer draws on a whole "arsenal" of playful "potentials" of the language, which he deliberately uses indirectly.

Metaphors and comparisons used in the texts of his works are mainly intellectual and associative, often "played" on the grammatical deformation of the word, its instantaneous transformation, for example, from a noun into a verb and vice versa (short story "Stumps"). Chess coordinates, graphic metaphors of the Chinese book of changes, missing syllables become a kind of "talking" intervals in discursive stream. The writer's artistic system occupies a special place both in a single period of Russian literature - the 20-30s - and in the general historical and literary context of Russian literature.

2.2 Space in the language of Krzhizhanovsky's prose

The world modeled by the writer has spatio-temporal coordinates constantly shifting to the moral realm. The writer introduces us, indeed, into a strange world. A world that can surprise both the narrator himself and, of course, the reader.

And in fact, at first the narrator is surprised at a very mysterious stranger, ridiculously comparing (!) His pocket watch against a painted (that is, clearly not real!) dial on the sign of a watch store, then he, the narrator, began to be perplexed about the very fact of existence in the city of immense a huge number of such painted clocks ("Crack Collector"). Moreover, the most important oddity does not escape the narrator's eye: the arrows on many of them for some reason "show" the same time - twenty-seven minutes past one. These dials have their own secret, yet inaccessible to the understanding of the narrator and the reader, the meaning.

The story is built on the principle of a kind of "matryoshka": the narration is inserted into another narration. The personal narrator, on behalf of whom the story is being told, a writer by profession, reads to the assembled friends his fairy tale "The Crack Collector" - about a strange collector who was interested only in all the cracks possible in this world that furrowed the surface of stones, boards, stoves, furniture and other material objects. These gaps are evidence of the steadily impending aging, the death of things. The world, alas, is fragile as long as there are insidious gaps prone to spread and growth.

And it is they, exciting and ubiquitous, that are tearing our world apart, bringing space into a state of imbalance, utter destruction.

Space itself lends itself to easy changes even on the part of a person - we can easily move objects in a room, see and analyze a new room for us, freely navigate in this reality for us ... We are accustomed from birth to the fact that space is organized, that it is divided. Transformations of space are due to the desire of a person to surround himself with only the necessary, functional and convenient.

As noted in E. Fedoseyeva’s study of the game component in S. Krzhizhanovsky’s prose, the sense of proportion often betrays us and we find ourselves either in a rarefied expanse of solitudes rotating on non-intersecting orbits, or in the crowded real world of Pushkin’s undertaker, where things lose their “realness” and space becomes hostile to man. Every new day we travel in space, not noticing the matter that permeates this degree of reality. Space is just an outer shell of a stronger energy. And the apparent homogeneity of reality is easily transformed and rebuilt into an inhomogeneous viscous system of coordinate dependencies. Coordinates of time and space...

2. 3 Time in the language of Krzhizhanovsky's prose

Time is much more persistent than space. A thin second hand pushes the entire array of life on and on. To resist her is the same as to die. The thrust of space is much weaker. The space endures the existence of soft armchairs, inviting to immobility, night shoes, gait with a flare. ... Time is sanguine, space is phlegmatic; time does not squat for a fraction of a second, it lives on the move, while space - as it is usually described - "lay down" behind a horizontal bump ... / "Salyr - Gul" /

Time and space appear in Krzhizhanovsky as subjects of action. The importance of both is undeniable. But can we influence time as easily as we can influence space? Time organizes us for itself. With the onset of night, we are used to going to bed, but the night does not come at the snap of our fingers. Experiments on seven good Fridays in Max Steerer's week were unsuccessful. Rather, time is accustomed to clicking left and right, transforming a person's life in accordance with some arbitrary periods.

Space, for the most part, is real, material. It is real and visible. Time is intangible, it runs ahead of us, a person cannot overtake it. Space and time appear in Krzhizhanovsky as individual psychotypes. Time is strong and mobile. Given Krzhizhanovsky's reference to the psychological type, time is socially adapted to the greatest extent.

In the duel "time - man", of course, time has the greatest power, however, a certain potential is also provided to man, allowing him to plan a fight against invincible time. In most of Krzhizhanovsky's texts, there is a clear predominance of interaction (struggle) with time as a subject (subjects).

And just here a new variable adjoins the time-space link, a new factor that can possibly defeat the established opinion about the invincibility of time as the fundamental factor of being, and space - the outer shield of this matter.

2. 4 " Hman - Chronotope" in the stories of S.D. Krzhizhanovsky " Memories of the futureeat" and" Return of Munchausen"

For Krzhizhanovsky, the plot engine in "Memories of the Future" is Stehrer's invention of the Time Machine, as a kind of non-material device that allows, through mechanical manipulations, to achieve direct interaction (duel, war) with time. "We need space in order to construct time, and thus determine the latter by means of the former." (Kant. Treatises and letters - M: 1980 - p. 629). "I'm not interested in arithmetic, but in the algebra of life," wrote Krzhizhanovsky.

The writer considered his works to closely convey reality. Much of his stories are problematic. These are personified thought processes carried out by actors. The protagonist in "Memories of the Future" is deprived of bright personal characteristics: there is no portrait characteristic, there is no social circle, contacts with people are minimized. The only character who awakens human feelings in Shterer is a roommate in a boarding house, a sick, slowly fading Ihil Tapchan.

To the mind of the time researcher, the frail Jewish boy from Gomel seemed to be probably a vessel giving a high leakage of time, rapidly sinking to the bottom, a mechanism with a disturbed regulator status, unduly quickly releasing the spiral winding.

Defying time, Stehrer finds himself outside the scope of generally accepted morality: he does not keep in touch with his father, as soon as he plunges into work on creating a machine, he enters into a relationship with a woman only when he needs financial assistance - again, to develop an invention.

You see, it's not about pleasing people. But in attacking time, striking and overturning it. Shooting at a shooting range is not yet a war. And then, in my problem, as in music: an error of five tones gives less dissonance than an error of a semitone.

It should be noted that Krzhizhanovsky uses a third-personal form of narration - from the position of an omniscient author. The author's consciousness distances itself in relation to the problems solved by the characters. In "Memories of the Future" the narrator even uses a kind of "adapter" - a biographical source (Sterer's biography written by Iosif Stynsky).

Reliability is emphasized by the use of documentary evidence of the hero himself (Ikha's diary, Shterer's manuscript "Memories of the Future"). The material of the manuscript itself is direct evidence of the content of the future tense - a kind of phantom, Steerer does not tell anything to those who have gathered to listen about the future society - there is no physical opportunity to describe what he saw using speech. The hero is partly equated with TIME, ceases to exist for the world of people and dissolves in time.

The time of Krzhizhanovsky is not the frozen time of Newtonian physics and only partly abstract time of Kant. In Krzhizhanovsky's story, the category of time is given in Einstein's dynamic coordinates, and time itself is considered as a phenomenon of human consciousness. The multiplicity of time is the idea that unites the philosophy of Einstein and the work of Krzhizhanovsky. Time = Life = Consciousness - this is Krzhizhanovsky's formula for time. Thus, the concept of time is inextricably linked with the self-consciousness of the human person.

Krzhizhanovsky uses the cultural experience of mankind for new scenarios of his ideas. Using the mundane, mundane as a foundation, which is adjacent to the existential and real mystical breakthrough - this is the writer's formula for success. His attention could not bypass the figure of Munchausen, firmly entrenched in the literary world. And in "The Return of Munchausen" the comicality of human existence is manifested, where fiction is equated with reality.

A certain balance is being created, where Baron Hieronymus von Munchausen is already acting as a ballast. This character is the peak for understanding the diffusion of time and space in a person, creating a new dual pseudo-reality that has occurred through a "sick" consciousness and an indescribable fantasy. It was Baron Hieronemus von Munchausen - the character who synchronized with time as much as possible.

Probably, many of us in childhood read the fairy tale "The Return of Munchausen". In it we see those fables, that fantasy that even a child could figure out. The flight on the core, the rescue from the swamp, the horse tied to the weather vane - this is all just fiction. At the same time, in the work of Krzhizhanovsky, we relate to this same fiction, this rather sick fantasy, already through a philosophical context, through viewing the truth behind the lie given by the writer.

The spatial representation of the world in "The Return of Munchausen" is represented by alternating changes of places and action scenes. The baron's constant trips to one country or another create the effect of Munchausen's presence everywhere and at once. And apparently it is! Baron, could freely travel half the world in just a couple of days, collect everything at once. It looks like he was driven by the wind. The flight of smoke can only be compared with it ..

The word "smoke" and its various lexical forms in the work of SD Krzhizhanovsky "The Return of Munchausen" occurs 40 times. The word fog - 14 times. The image, the model of Smoke is the dominant feature in the work. After all, if the clock is a symbol of time, being is a tonic, then only the connection of Smoke, as an "instant", second phenomenon, can speak of the value of a unit of time. Fog is a veil of uncertainty both of the baron himself and of the "time" where he exists.

SMOKE - a volatile substance that is released during the combustion of the body; the flying remnants of a combustible body, when it decomposes in air, by fire. (Dal's Dictionary)

Indeed, the main character is like smoke. He, in constant "connection with time" becomes stunted, burns out from the inside, dies from every new moment, despite his age.

"... the face of Munchausen: unshaven cheeks retracted, the Adam's apple broke through a line with a sharp triangle, necks, from under the convulsive stroke of the eyebrows looked the centuries that had fallen to the bottom of the eye sockets; the hand, embracing the prickly knee, fell out of the sleeve of the dressing gown from a shriveled shriveled sheet, dressed in a network of veined bones ; the moonstone on the index finger lost its game and went out ... "

Sad picture. The once famous, "living" and "inanimate" Baron Munchausen "extinguished". Now for him there is neither the meaning of life, nor the desire for fantasy.

But the life of the heroes of the works is constantly influenced by a very important aspect of human existence - Time. And along with the study of heroes, the question of the manifestation of time, as a special hero of both works, in space is very interesting.

Krzhizhanovsky in "Memories of the Future" represents the space of "Russia" and in the example of each individual "point" within the country, the influence of time on the "evenness" of the course of time is shown. The hero formulates the idea of ​​a “gap” of time, when cataclysms and revolutions occur during the divergence of the past and the present…

In this work, the writer presents us with a completely personal utopia, in which the solution of the formulas for victory over time enables a person to create "his own reality".

All this, as well as the "war of time" allows the hero to join this battle and find answers to all his questions in it. The surname Shterer (from German stein - stand, sterbe - die) gives a dynamic coloring to the hero, as "dying" inside himself, stopping time. Death "haunts" the hero on his heels, gradually destroying both the consciousness of Shterer and those close to him. With the death of Iha, Max "crosses" the line of "waiting" and begins active actions to defeat time. The name Maximilian (from Latin maximum - the greatest) gives confidence even before the completion of the work that we will learn the maximum about time and get even more questions about it.

Maximilian takes revenge on time, and time "attacks" in response with his dexterity, speed ... He is not connected with society, goes to where there is a worthy opponent - TIME ... Stehrer's alter ego - death, read in the hero's surname, there is a certain assemblage point the space of TIME, which is not contained by human consciousness, as pure energy, absolute substance.

As we know, the baron lived all his life in illusions and legends, being the author of these ... Merdace veritas (from lies - truth) - this is Munchausen's motto. This is not even his position in life ... This is his job! A diplomat whose truth and falsehood penetrate each other irrevocably. The diffusion of truth and falsehood makes readers, like the German poet Weiding, ask themselves the question: "Is Baron Hieronymus von Munchausen himself not a new invention of Baron Hieronymus von Munchausen???". It seems to be a paradox, but people cannot do what the most venerable baron demonstrated to us. His trick with the book makes you admire and fear at the same time. Is time and space so easy to overcome? Is the key nearby? I want to find him, but then what?

End of the world? Ruin? Destruction? Further, what S.D. Krzhizhanovsky "saw" in "Memories of the Future" - emptiness, discharge of individual days and years ... The Baron understood the essence of "this key", which he carried with him in his pocket, and, not wanting to stay, goes to pages of books, to the "highest security point".

This was not the end of my acquaintance with the scientific and artistic world of Moscow... I visited a modest collector who collects cracks, attended the grand meeting of the "Association for the Study of Last Year's Snow"...

In the context of The Return of Munchausen, this episode gives a new idea. Isn't Krzhizhanovsky himself lying to us? And immediately we return to the sacred words of Hieronymus von Munchausen - merdace veritas.

Confession to a person with whom both opinions and possibilities diverge is a strange step. Apparently the baron is tired of the "mouse running around", he wants to retire, to find himself in the "truth". Now "Lie" and "Truth" change places - the tandem of dominance of the Lie over the truth has collapsed.

... Could I think that I would someday confess, tell myself, like an old whore in the bars of the confessional, let the truth into my tongue. You know, as a child, my favorite book was your German collection of miracles and legends, which the Middle Ages attributed to a certain Saint Nobody ...

In the future, Munchausen is waiting for an even greater test of "fire". A person who despises the ill-fated "length-width-height", who feels the thread of time, who lives in step with it on the hands of the clock, becomes a condemned slave ... A slave of his own fantasy fruit ... A slave of his "Work", enclosed on the pages of an old book ...

Here under the morocco cover

waiting for the judgment of the living, flattened in two dimensions

peace disturber measures

Baron Hieronymus von Munchausen.

This man, like a true fighter,

never deviated from the truth.

all his life he fenced against her,

parrying facts with fantasies, -

and when, in response to blows,

made a decisive attack -

I testify - the Truth itself

avoided the person.

For his soul, pray to Saint Nobody.

Man is not just a body. The alter ego of oneself constantly influences us, regardless of desire. And here is the paradox - we can "bite ourselves on the elbow", "see our back". But sometimes it is the Second Self that becomes the First Self. And then Eastern wisdom is recalled: "It is better to expect an enemy to strike from the front than a friend from behind."

... You can not turn to face your "I" without showing your back to your "not-I". And of course, I wouldn't be Munchausen if I thought about looking for Moscow... in Moscow. It is clear that by accepting the "USSR" task, I thereby received a moral visa to all countries of the world, except for the USSR ... and built my own MSSR ...

Internal non-existence and loss of time, loss of human essence leads the baron to the only right way out - to leave this world, not his world, and go to the pages of books, where he can continue his careless existence, waiting for a new MSSR, a new smoke in his head, a new turning the hands on the dial...

Sigismund Krzhizhanovsky begins to double the reality given to us. And he does this through interspersing the mental into the material. The essence is simple - the topography of the world doubles in the labyrinth of thinking. Remain real and saber.

And from here the usual understanding of the word FALSE goes back many points. When reading a text, there is not so much a change of concepts as a reassessment of the values ​​of both the author himself and the reader.

The refraction that is created by the baron sets in motion the mechanism of temporal-spatial identification. Now you will never accurately understand the mixture of man-time-space. Perhaps it is impossible for anyone to make the world for himself so skillfully ... No one normal.

Refraction, (astron.), deviation from the original direction of the beam of light coming from the luminary, when it penetrates into the earth's atmosphere, as a result of which the luminary seems to be higher than its actual position ...

Weeding - the only writer who had the "highest quota of access" to Munchausen's mind, to his thoughts, his actions - freely exercised power over the baron. How did he do it? - everything is simple! He was the creator of the baron. But in reality, the creation of a pseudo-ego, which, fixated on itself, will continue to evolve into new pseudo-egos, leads to only one inevitable finale - complete destruction!

At the end of both stories we see a terrifying picture. The Baron creates his last miracle, which is a displacement of the time-spatial framework of the world. The dissolution of Munchausen will subsequently lead Unding into a void, a rarefied time. Losing yourself in this space-time. A picture similar to Shterer from the story "Memories of the Future". Time is an all-consuming machine, but only a few come into direct combat with this adversary.

The systemic nature of creating a script for a work, vision of the beginning and end by 100% by the author - this is the hallmark of SD Krzhizhanovsky's prose.

The reverse turn of characters in space, the descent from racing on the highway with a stronger opponent in advance is the last chance to stay alive in the game over time.

Sigismund Dominikovich brings the reader to the realization of the particular, authenticity of human life. He easily puts man - time - space on one level. He equates them and creates a new artistic being - "man-space-time".

Conclusion“You can’t get used to life if there is unlife behind, a gap in being ... Time itself was going towards me, then here is the real, astronomical and general civil, to which, like compass needles to the pole, the hands of our clocks are stretched. Our speeds hit each other, we foreheads collided, the time machine and it's time, a bright glare in a thousand suns blinded my eyes ... My car died on the way. Burns on the fingers and across the frontal bone are the only trace left by it in space "(" Memories of the Future "). Based on of our research, we can confidently identify some of the main features of Krzhizhanovsky's prose. plot technique, genetically related to the "poetics of the title" invented by him; We also see another phenomenon of Krzhizhanovsky's prose - linguistic. The words written by the writer to create the effect of a special reality of the word ("nety", "est", "loktism", "Zdesevsk") continue the spatial and linguistic experiment. into the mental color palette. The infusion of time-space into the human model, using the examples of Stehrer and, especially, Munchausen, creates a personal theory of the writer about the existence of a united space-time model of the four-dimensional dimension, in which a person should become the control link. The philosophy of "I", which arose at the beginning of the 19th century, caused the first scientific version of the philology of "I". A hundred years later, "I" philosophy and "I" philology again reveal their relevance (though already in the "I" and "other") in the works of M. Bakhtin and other philosophers. The name of Sigismund Krzhizhanovsky, who attracted the "love of space" to himself, "brought the call of the future closer, can be included in this circle with full confidence. And the following words can become the visiting card of the writer: Sigismund Dominikovich Krzhizhanovsky Supply of fantasies and sensations. List of used literaturecheers 1. Bart P. S/Z.-M., 19942. Bakhtin M.M. Under the mask - M., 19963. Borges Jorge Luis Works in three volumes. Volume I, Volume II. - Riga: Polaris, 19944. Brudny A.A. Psychological hermeneutics. - M., 19985. Dymarsky M.Ya. Problems of text formation and artistic text (based on Russian prose of the 19th - 20th centuries). 2nd edition. - M., 20016. Krzhizhanovsky S.D. The play and its title // RGALI7. Krzhizhanovsky S.D. Tales for geeks. - M., 19918. Krzhizhanovsky S.D. Collected works in five volumes. Volume I, II, III, IV - St. Petersburg// Symposium, 20019. Losev A.F. From early works. dialectic of myth. - M., 199010. Malinov A., Seregin S. Reasoning about the space and time of the scene / / Metaphysical research. Issue 4. Culture. Almanac of the Laboratory for Metaphysical Research at the Faculty of Philosophy of St. Petersburg State University, 1997. C. 111-12111. Nancy Jean-Luc. corpus. - M, 199912. Ortega y Gasset H. Time, distance and form in the art of Proust13. Podoroga V. Expression and meaning. M., 199514. Self-awareness of European culture of the XX century: thinkers and writers of the West in place of culture in modern society. - M., 199115. Tvardovsky K. Lecture at Lviv University on November 15, 189516. Text: aspects of the study of semantics, pragmatics and poetics / Collection of articles. - M., 200117. Explanatory dictionary of the Russian language, edited by D.N. Ushakov18. Toporov V.N. Myth. Ritual. Symbol. Image: Studies in the field of mythopoetic: Selected works. - M., 199519. Tyupa V.I. Artistic analytics. - M., 200120. Philosophical dictionary. / Ed. I.T. Frolova. - 6th ed. - M., 199121. Heidegger Martin. Being and time. M., "Republic", 199322. Shklovsky V.B. On the theory of prose. - M., 1983

Chelyabinsk State Academy of Culture and Arts

Faculty of Culture

Test

on Russian literature

"Peculiarities of Women's Prose"

Fulfilled: 2nd year student

SSO Group No. 208

Extramural

Pryamichkina L.V.

Checked: L.N. Tikhomirova

Chelyabinsk - 2008

1. The literary process at the end of the 20th century

2. Features of L. Ulitskaya's short prose

3. The originality of the artistic world in the stories of T. Tolstoy

4. The specifics of "women's prose"

Bibliography

1. The literary process at the end of the 20th century

In the mid-80s of the 20th century, with the “perestroika” taking place in the country, the Soviet type of mentality collapsed, the social basis of a universal understanding of reality collapsed. Undoubtedly, this was reflected in the literary process of the end of the century.

Along with the normative socialist realism that still existed, which simply "left" into mass culture: detective stories, serials - a direction where the artist is initially sure that he knows the truth and can build a model of the world that will show the way to a brighter future; along with postmodernism, which has already declared itself, with its mythologization of reality, self-regulating chaos, the search for a compromise between chaos and space (T. Tolstaya "Kys", V. Pelevin "Omon Ra", etc.); along with this, in the 90s a number of works were published that are based on the traditions of classical realism: A. Azolsky "Saboteur", L. Ulitskaya "Merry Funeral", etc. Then it became clear that the traditions of Russian realism of the XIX century, despite the crisis novel as the main genre of realism, not only did not die, but also enriched, referring to the experience of returned literature (V. Maksimov, A. Pristavkin, etc.). And this, in turn, indicates that attempts to undermine the traditional understanding and explanation of cause-and-effect relationships failed, because. realism can only work when it is possible to discover these causal relationships. In addition, post-realism began to explain the secret of the inner world of a person through the circumstances that form this psychology, he is looking for an explanation for the phenomenon of the human soul.

But until now, the literature of the so-called “New Wave”, which appeared back in the 70s of the XX century, remains completely unexplored. This literature was very heterogeneous, and the authors were often united only by the chronology of the appearance of works and the general desire to search for new artistic forms. Among the works of the "New Wave" there were books that began to be called "women's prose": T. Tolstaya, V. Tokareva, L. Ulitskaya, L. Petrushevskaya, G. Shcherbakova and others. And there is still no unanimous decision on the issue of the creative method these writers .. After all, the absence of "established taboos" and freedom of speech enable writers of different directions to express their own without restrictions. artistic position, and the aesthetic search for oneself became the slogan of artistic creativity. Perhaps this explains the lack of a unified point of view on the work of the New Wave writers. So, for example, if many literary critics define T. Tolstaya as a postmodernist writer, then with L. Ulitskaya the situation is more complicated. Some see her as a representative of "women's prose", others consider her as a "postmodernist", and still others as a representative of modern neo-sentimentalism. There are disputes around these names, mutually exclusive judgments are made not only about the creative method, but also about the meaning of the allusions, the role of the author, the types of characters, the choice of plots, and the manner of writing. All this testifies to the complexity and ambiguity of the perception of the artistic text of the representatives of "women's prose".

2. Features of L. Ulitskaya's short prose

One of the brightest representatives of modern literature is L. Ulitskaya. In her works, she created a special, in many ways unique artistic world.

First, we note that many of her stories are not about today, but about the beginning of the century, the war or the post-war period.

Secondly, the author immerses the reader in the simple and at the same time oppressed life of ordinary people, in their problems and experiences. After reading the stories of Ulitskaya, a heavy feeling of pity for the heroes and at the same time hopelessness arises. But always behind this, Ulitskaya hides problems that concern everyone and everyone: the problems of human relationships.

So, for example, in the stories “The Chosen People” and “The Daughter of Bukhara”, with the help of very insignificant private stories, a huge layer of life is raised, which for the most part we not only do not know, but do not want to know, we are running from it. These are stories about the disabled, the poor and beggars (“The Chosen People”), about people suffering from Down syndrome (“Daughter of Bukhara”).

Not a single person, according to L. Ulitskaya, is born for suffering and pain. Everyone deserves to be happy, healthy and prosperous. But even the happiest person can understand the tragedy of life: pain, fear, loneliness, illness, suffering, death. Not everyone humbly accepts their fate. And the highest wisdom, according to the author, consists precisely in learning to believe, to be able to reconcile with the inevitable, not to envy someone else's happiness, but to be happy yourself, no matter what. And only those who understand and accept their destiny can find happiness. That is why, when Down syndrome patients Mila and Grigory in the story “The Daughter of Bukhara” walked down the street, holding hands, “both in ugly round glasses given to them for free,” everyone turned to them. Many pointed their fingers at them and even laughed. But they did not notice someone else's interest. After all, even now there are many healthy, full-fledged people who could only envy their happiness!

That is why the miserable, beggars, beggars at Ulitskaya are the chosen people. Because they are wiser. Because they knew true happiness: happiness is not in wealth, not in beauty, but in humility, in gratitude for life, whatever it may be, in the awareness of their place in life, which everyone has - Katya, the heroine, comes to this conclusion story "The Chosen People" It is simply necessary to understand that those who are offended by God suffer more, so that it would be easier for the rest.

A distinctive feature of L. Ulitskaya's prose is a calm manner of narration, and the main advantage of her work is the author's attitude towards her characters: Ulitskaya captivates not just with interest in the human person, but with compassion for her, which is not often seen in modern literature.

Thus, in the stories of L. Ulitskaya there is always an exit to the philosophical and religious level of understanding life. Her characters, as a rule, - "little people", old people, sick, poor, outcast people - are guided by the principle: never ask "for what", ask "for what". According to Ulitskaya, everything that happens, even the most unfair, painful, if it is correctly perceived, is certainly aimed at opening a new vision in a person. This idea is at the heart of her stories.

3. The originality of the artistic world in the stories of T. Tolstoy

One of the brightest representatives of "women's prose" can be called T. Tolstaya. As noted above, the writer herself identifies herself as a postmodernist writer. It is important for her that postmodernism has revived "verbal artistry", a close attention to style and language.

Researchers of Tolstoy's work note not only the intertextuality of her stories, which reveals itself both in the themes of the works and in poetics. Literary critics distinguish the following cross-cutting motives in her work:

The motif of the circle (“Fakir”, “Peters”, “Sleep well, son”, etc.). The circle in Tolstoy acquires the meaning of fate, which does not depend on a person. The circle is the myth of the hero, his extremely condensed space-time.

motive for death;

The motive of the game ("Sonya", etc.)

A pervasive motif, one might even say a pervasive problematic of Tolstoy's stories, a problematic that comes from Russian classical literature, is the question of "discord between dreams and reality," the motive of loneliness. The hero of Tolstoy is a "small", ordinary person looking for himself in the world. Its characters live in an invented illusory world, they cannot escape from the vicious circle destined once and for all by fate, an escape from reality. But, despite this, they do not lose faith in life, hope for the embodiment of a romantic dream in reality.

Let us consider in more detail the features of T. Tolstoy's prose using the story "Peters" as an example.

Before us is a story about the life of a “little” person raised by a grandmother. At first glance, there is nothing strange: “mother ... fled to warm lands with a scoundrel, dad spent time with women of easy virtue and was not interested in his son,” so the boy was raised by his grandmother. But, after reading the story, you remain in some confusion from the disorder of this life and the hero himself. In order to trace how the psychological world of the hero is revealed, and to understand why such an impression remains from the story, it is necessary to find out what the hero’s relationship is with the world of things, with other people, and, finally, the relationship between the hero’s dreams and reality.

We note right away that the main methods of revealing the characters of the characters in the story are detail and detail. With flat feet, a femininely spacious belly, his grandmother's girlfriends liked him. They liked the way he came in, how he "keep quiet when the elders talk," how he "didn't crumble the biscuits." Grandmother raised Peters as an old man, an adult, which is why she was outraged when the boy began to behave like a child at the holiday: spin in one place and scream loudly. Grandmother treated the child equally and the grandfather, who died. She didn't need a little boy, she needed a card-playing partner who would brighten up her lonely days and keep her out of trouble. Just as she completely absorbed her grandfather's personality (“she ate it with rice porridge”), she also absorbed Peters's personality. But something is happening inside the boy: he was “waiting for events”, “in a hurry to be friends”, he wants to be friends, he just doesn’t know how to do it: “Peters stood in the middle of the room and waited for them to start making friends.” And Peters did not know how to be friends, because communication with people was replaced by a plush hare. And there is a completely obvious parallel: the hare is Peters himself. The hare listened to Peters, believed and was silent, and Peters listened to his grandmother, was silent and believed. The image of this plush hare will accompany Petrs all his life.

Another vivid metaphor in creating the image of the hero is the Black Cat, Black Peter, the hero of the card game played by the boy and his grandmother. “Only the cat, Black Peter, did not get a couple, he was always alone, gloomy and ruffled, and the one who, by the end of the game, drew Black Peter, lost and sat like a fool,” and the Cat always, as the hero admits later, always got only to him. So are people: women always “shied away” from him when he wanted to get acquainted, and men “thought to beat him, but, looking closer, thought about it.” He also did not have a partner, no one wanted to "play" with him. The leitmotif of the story and his whole life was the phrase "no one wanted to play with him."

Even as an adult, Peters cannot break out of this circle, as childhood driven inside does not allow him to grow up. He is infantile and goes through life with this childhood. He has a childish perception of reality, childhood dreams.

He perceives women as dolls, as a thing (“well, give me at least something,” Peters turns to an imaginary rival), because he himself is like a thing. He wants a relationship with Faina, but is inactive, waiting for her to start "befriending" him. He can only see off the “godlessly young” Valentina with his eyes. He married “somehow in passing, by accident” to a woman who replaced his grandmother (“a firm woman with big legs, with a deaf name ... her purse smelled of stale bread, she took Peters everywhere with her, tightly squeezing his hand, like a grandmother once). And it becomes clear that “a cold chicken youth who has not known either love or will - neither a green ant, nor a merry round eye of a girlfriend”, which Peters carries home in a musty bag, is Peters himself, who, in fact, has not seen life itself.

Peters' life is a "shadow theater", a dream. It is emphasized all the time that life goes on, everything moves: “someone else’s mothers were running, fast, dexterous children were screeching and running”, “ice passed along the Neva”, “and dawn, dawn ...”, “new snowdrifts”, “spring came, and spring was leaving”, “celebrating the New Year”, etc. But this life, this movement passed by Peters. Since childhood, he was surrounded only by old things, black paints: “silver spoons eaten from one side”, old chests, old smells, “black girl”, “black greens”, spring “yellow bouquet”, etc. There is a lot of pink around Peters: delicate red moles, a hairless body, a pink belly, rich vanilla air. And a very important detail are the eyes. Grandpa's eyes are shiny glass eyes, Peters's are small, short-sighted, upside-down. Inverted glass soul. Everything happens detached from him, without touching him.

In this vein, two episodes with a window are significant. If in the middle of the story the hero, “carefully wrapping his throat with a scarf so as not to catch a cold of the tonsils,” decided to fall out of the window, but could not open it, since he himself carefully sealed it for the winter and was sorry for his work; then at the end of the story, “old Peters pushed the window frame”, and the real Life burst in through the open window. At the end of the story, the antithesis of life and sleep clearly emerges. Throughout his life, Peters "slept soundly and heard nothing" and "lived through a dream." And suddenly one day, when his wife left him, and with her the image of his grandmother, he "carefully opened his eyes and woke up." Here, at the open window, behind which the “new children” were busy, the hero is reborn, he leaves the vicious circle, the programmed life. If earlier, frightened by life, he closed himself from her, and she passed by, now “Peters smiled gratefully at life,” and even though she is a stranger, indifferent, running past, she is “beautiful, beautiful, beautiful.” We understand that the hero has not lost faith in life, and maybe he will continue to live in his invented illusory world, but now he does not repel life, but accepts it as it is. And therein lies the rebirth of Peters.

4. The specifics of "women's prose"

Such different, not alike writers. And at first glance, there is nothing that could unite them. And yet, it is not by chance that the term “women's prose” appeared in literary criticism. These are not just works written by women writers. There is something else in them that unites V. Tokareva, L. Petrushevskaya, D. Rubina, L. Ulitskaya, N. Gorlanova, T. Tolstaya and others.

It so happened historically that the works were written by more men. But "female prose" has always occupied a special place in literature, because no man can convey the world the way a woman perceives it. The "female" view of the world is manifested in the fact that a lot of attention is paid to such concepts as home, family, fidelity, husband and wife, love, personal life, individual, and not public. Often the characters, building their relationship with the outside world, must first of all deal with the attitude towards themselves, which speaks of the deep psychologism of "women's prose".

“Women's prose” is, one might say, books “about life”. Here famously twisted plots with invincible lone heroes. Most often this is a household story, a plot that can happen behind any windows. But that's not important. What is important is what the characters think about everything that happened, what lessons they, and the reader with them, learn, what is the author's position in relation to his characters. Therefore, the genre of "women's prose" can be defined as a work of everyday life with frequent philosophical digressions.

The hero of "women's prose" is a thinking hero, reflecting on the meaning of life; a hero deprived of a harmonious "form of personal existence"; the heroes of "women's prose" are ordinary people.

In the works related to "women's prose", we will not encounter vulgarity, stamping, clichédness, since they contain life itself, unique and unrepeatable.

Thus, the features of the study of the socio-psychological and moral coordinates of modern life can be attributed to the features of "women's prose": detachment from topical political passions, attention to the depths of the private life of a modern person. The soul of a specific, "little" person for "women's prose" is no less complex and mysterious than the global cataclysms of the era. And also, the range of general issues solved by "women's prose" is the problems of relations between a person and the world around him, the mechanisms of degrading or preserving morality.

Bibliography

1. Abramovich G. L. Introduction to literary criticism. - M., 1976.

2. Zolotonosova M. Dreams and phantoms // Literary review. - 1987, No. 4.

3. Lipovetsky M. "Freedom black work" // Questions of Literature. - 1989, No. 9

4. Leiderman N.L. and others. Russian literature of the XX century. - Yekaterinburg, 2001

5. Tolstaya T. Peters // New World. - 1986, No. 1

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Continuing to write short stories and short stories, in 1855 Turgenev published the novel Rudin, followed by the novels The Noble Nest (1858), The Eve (1860) and Fathers and Sons (1862) with enviable frequency.

In Soviet scientific and educational publications, as a rule, emphasis was placed on those socio-historical realities appearing in these novels (serfdom, tsarism, revolutionary democrats, etc.), which were topical for Turgenev’s contemporaries and in many ways determined the sharpness of their perception of each of his “fresh” works (the critic N.A. Dobrolyubov even believed that Turgenev had a special socio-historical intuition and was able to foresee the emergence of new real life types in Russia; however, one can also conclude something opposite - that Turgenev voluntarily or involuntarily provoked the emergence of such life types from his prose, as young people began to imitate his heroes).

A similar approach to Turgenev's prose from its socio-historical side, associated with the official priority attitude of the Soviet era to literature as a form of ideology, inertially flourishes to this day in high school, but is hardly the only true one (and in general hardly contributes to aesthetic perception and understanding of literature). If the artistic significance of Turgenev's works were determined by those long-gone social conflicts that were refracted in their plots, then these works would also hardly have retained a genuine interest for the modern reader. Meanwhile, in Turgenev's stories, short stories and novels, something else is invariably present: the "eternal" themes of literature. With the dominant approach, they are only briefly mentioned in the process of educational comprehension of Turgenev's works. However, almost thanks to them, these works are read with enthusiasm by people of various eras.

First of all, Asya, Rudin, Noble Nest, Fathers and Sons, etc. are stories and novels about tragic love (On the Eve, where Elena successfully marries her beloved, but he soon dies of consumption, varies the same theme). The force of life circumstances gradually literally “squeezes out” the internally weak Rudin from the Lasunsky estate, despite the fact that Natalya fell in love with him. In The Noble Nest, Liza goes to a monastery, although she loves Lavretsky - after it turns out that his wife, who was considered dead, is alive. An unexpected death strikes Yevgeny Nazarov in "Fathers and Sons" just when he - contrary to his favorite anti-feminist rhetoric and unexpectedly for himself - fell in love with Anna Odintsova (Turgenev specifically emphasizes the irresistible irrational force of the love feeling that gripped the hero by making his heroine by no means a young girl like Asya, and a widow - moreover, a widow with a rather scandalous reputation in the eyes of the provincial society, constantly slandering Odintsova).

In Turgenev's novels, the "eternal" (at least for Russian literature) question-theme invariably passes, which can be conditionally designated "What is to be done?" (using the title of the novel by N.G. Chernyshevsky). Disputes about the ways of development of Russian society and Russia as a state are almost certainly conducted here (this is manifested to the least extent in the novel “On the Eve”, the main character of which is a fighter for the freedom of Bulgaria). The reader of the beginning of the XXI century. may be internally far from the specific problems discussed here and relevant in the time of Turgenev. However, the writer's novels have their own cultural and historical cognition. In the disputes of the heroes of Turgenev, the real history of the Fatherland was refracted. In addition, the very atmosphere of such disputes on socio-political issues perfectly corresponds to the Russian mentality, so that the modern reader easily and organically "accepts" this layer of Turgenev's plots, even a century and a half later, vividly following the twists and turns of the discussions of Rudin and Pigasov, Lavretsky and Mikhalevich, Lavretsky and Panshin, Bazarov and Pavel Kirsanov - besides, sometimes these or those moments in them are involuntarily successfully “projected” onto the problems that are again relevant today.

As if from our time came the superficial arrogant chamber junker Panshin, who is largely of the same type as Pigasov. Panshin, full of contempt for Russia and uttering banalities that allegedly “Russia is behind Europe” and “we must necessarily borrow from others” (and that he would “turn everything around” if he had personal power), is easily defeated in an argument patriot Lavretsky. Lavretsky is calmly convinced that the main thing for Russians is "to plow the land and try to plow it as best as possible." However, the Westerner Potugin from the novel Smoke (1867) will be “prepared” at the will of the author much more thoroughly (Potugin is an outstanding figure), and it will be much more difficult for Grigory Litvinov to resist his anti-Russian rhetoric.

Further, in all these novels, the motif of "noble nests" is carried out, which in our time, with its nostalgia for old Russia and noble culture, can find its grateful readers. In The Nest of Nobles, this cultural and historical motif is especially strong - several dozen pages at the beginning of this short, as always with Turgenev, novel are occupied with the history of the Lavretsky family, which is in no way directly connected with the plot (Fyodor Ivanovich Lavretsky is the son of a nobleman and peasant woman Malanya Sergeevna, - such was in reality, for example, the writer VF Odoevsky).