Elite and massive literature erosion of borders. Section I of the notion of elite and mass literature

Today I would like to talk about the modern literature and those genres and types that have already managed to work out. Classical division on epic, lyrical and dramatic genus with the genres inherent in them I do not take into account. It will be about the modern book and what is now popular and fashionable.

First of all, modern literature can be divided into two types:

- Fikshn. (FICTION - Fiction)

- Non-Fikshn (Non-Fiction is not illuminated literature).

With non-Fiksh, everything is more or less clear: these are scientific, incomparatory and pseudo-contaminated works on psychology, nutrition, learning, education of children, etc. Someday we will definitely talk about this form and genre division inside it.

Artistic literature in the modern literary process is mostly susceptible to "Western" influence. What is fashionable and selling "They", we are trying to apply in our market. Hence the division of literature on four main types:

- Classic

- ELITARIAN LITERATURE

- Mainstream

- genre literature.

About everything in order.

1. Classic it is now experiencing difficult times: in terms of criticism. Tolstoy is increasingly called the "dull graphoman", Dostoevsky - "Paranoyom", Gogol - "recycling of primary material". There are more and more stereotypes of stereotypes, ready to criticize any writer, whose authority seemed to be indisputable. However, the classic continues to be popular among thinking readers who are accustomed to high-quality literature.

2. ELITARIAN LITERATURE It originated as an antipode of the mass, as the main "competitor" and "enemy". Elite literature was created in narrow circles of writers, clergymen, representatives of the highest society and was saturated with vocabulary and images available and understood only by a certain layer. In the modern world, the concept of elite literature is somewhat blurred: due to the rapid dissemination of information, fashion for all unusual and wishes to be "not like everyone else", elite literature goes into the masses. Creativity V. Velevina can serve as a bright example: in "zero" everyone read his novels, but few people understood what they were talking about.

3. Mainstream (from English. Mainstream -Full flow, the main flow) is a realistic prose that displays what happens here and now. " Very popular today. At the heart of the plots of realistic prose - the fate of real people, their (as well as writing) life principles and worldview. For mainstream, psychologism is characterized, the realism of images and phenomena, the focus on philosophy. It is important here not so much bastard as the inner development of the hero, his thoughts and decisions, its transformation. In my opinion, the western term "mainstream" does not exactly indicate the essence of this genre, because still the "main flow" in the modern book market is not a realistic prose, but genre (and serial) literature. About her below.

4. So, Genre literature . Here you should designate the categories existing in it:

Detective

Fiction

Fantnesia

Love story

Thriller

Mystic

Movie / Action

Adventures

Historical novel

Avangard

As you can see, genres are very similar to cinematic. And essentially, the books belonging to the genre literature are reminded by movies: there are a lot of action, the main role is played by Fabul and plot collisions, i.e. The so-called "outer side". Each of these areas have its branches. So, the detective is divided into historical, ironic, psychological, etc.

For genre literature, a certain framework is characterized, which is why it is often criticized and accused of "predictability". But, tell me where the predictability is that separated lovers at the end of the book will meet? It is just a framework of the genre, known as the writer and the reader. Special skill of the writer is to create a unique, unique world with interesting characters in all the well-known frameworks that can reach the reader.

The writer, like no other, should understand the modern genres to orient your work on a specific reader. Because exactly the reader determines what it is interesting for him to read at the moment - about the invasions of zombies or the problems of self-identification of the hero in the context of the global financial crisis)).

Alisa Ivanchenko, Assistant Editor in the Literary Agency "Behemot"

Features of the formation of mass literature of the XX century.

§ 1. "Transitional epochs" and the phenomenon of mass literature.

§ 2. Development of mass literature at the beginning of the 20th century.

Early prose A.P.hekhova and literary hierarchy of the stroke of ages

Ways to develop mass literature at the beginning of the 20th century.

§ 3. An adventurous novel of the 1920s and the path of development of the mass literature of the XX century.

Travel theme in the adventurous novel of the 1920s. 120,

Mysterification and parody of the adventurous novel of the 1920s

An adventurous novel of the 1920s and the newspaper

Cinematicity of adventurous novel

Fiction as a "median" field of literature

§ 1 The way from the adventurous novel to fiction as a strategy for the development of creativity of writers.

§ 2 Phenomenon of female fiction.

§ 3 "MIDL literature" in the context of the modern literary process

§ 4 Modern memoir fiction.

§ 5 Project B.Akunin "Genres" as a stage in the development of modern fiction.

The poetics of modern domestic mass literature.

§ 1. Writer- sociocultural situation - reader: Dominants for the development of modern mass literature. - image of the reader as an organizing dominant mass literature

§ 3. Female detective: Creativity A.Marinina and the development vectors of the genre.

§ 4. Poetics of everyday mass literature.

§ 5.Tipological features of the loving novel of the turn of the XX-XX1 centuries.

§ 6. Transformation of classical text in modern mass literature.

§ 7. Poetics title in mass literature.

§eight. Lexico-stylistic peculiarity of modern mass literature

Introduction of the dissertation 2005, Author's abstract on philology, Chernyak, Maria Alexandrovna

Significant changes that occurred in the cultural space of Russia at the end of the 20th century, naturally affected the literary process. Transformations are found in different spheres of literary space; The qualitative and quantitative ratios of the works of different genres have changed.

In the late 1990s, there was obvious marginalization and commercialization of certain layers of culture; Literature began to turn into one of the channels of mass communication, which is pronounced in modern literary practice. The era of relativism assumes many equal approaches to reality. In this regard, the treatment of mass literature becomes especially relevant and necessary. Mass literature, being one of the most notable manifestations of modern culture, remains a theoretically unstatic phenomenon.

Complex processes characterizing the current state of mass literature can be investigated only against the background of the literary life of the previous decades of the XX century.

The relevance of the dissertation study is determined by the need to understand the Russian mass literature of the 20th century as a holistic object of literary studies, studying the genesis of this facility in the 20th century, determining the specifics of mass literature and the main features of its poetics.

The term "mass literature" is sufficiently conditional and denotes not so much the breadth of the spread of one or another edition1, how much

1 Often, the term "mass Literacy" will be listed only to the growth of mass publishers: "Mass should be called any work that arose in the postguteneberg era and today in a certain genre paradigm, which includes detective, fantasy, fantasy, melodrama, etc. in Western literary studies in relation to Similar literature uses the terms "trivial", "Formular", "paralytera", "Popular Literature" (Zorka 1998, Mendel 1999, Dubin 2001).

Commercialization of writing activities and its involvement in market relations, an increase in the number of readers associated both with a powerful development of book publishing and book trade, and with an increase in the educational level, has become prerequisites for the formation of mass literature. Since 1895, when new mass forms of booksproduction and book publishing have developed, new mass form of booksproduction and book publishes, in the US, the "Bookmen" magazine began to print lists of bestsellers. Today, the word "bestseller" (from the English. Bestseller. - "Well-selling" book), losing the litter "Economy", acquired a different stylistic color, and denotes an entertaining, successful, fashionable book. The separation of literature on the mass and elite is associated primarily with the qualitatively new existence of literature in industrial society and with the end of the existence of writing in closed salons and academic circles (Huyssen 1986, Docker 1995, Gudkov, Dubin, Strada 1998).

The massive literature acts as a fairly universal term resulting from the distinguishing of fiction on its aesthetic quality and denoting the lower literature tier, which includes works that are not included in the official literary hierarchy of their time and remain alien "dominant literary theory of the epoch" (rantblat! 992: 6). Terms of modern technical progress "(Belokurov S.P., Drubieko C.B. Russian literature. End of XXvek.-SPb., 2001, p.239).

The range of problematics fundamentally changes the vision of the literature, and accordingly, the structural consideration of any literary facts, as well as the cultural artifacts. "The categories of poetics are obviously moving: from the period by the period and on the literature to literature they change their appearance, meaning, join new connections and relationships, develop into special and excellent systems. The nature of each such system is due to the literary consciousness of the era.<.> The artistic consciousness of the era is being implemented in her poetic, and the change of the types of artistic consciousness determines the main lines and directions of the historical movement, "the modern scientists (Averintsev, etc. 1994: 78) say.

In the domestic and Western studies of recent years, the question of the general structural crisis of humanitarian disciplines has repeatedly raised. So, for example, M.Gronas sees the way out of this crisis in colonization (mastering new subject areas, not yet occupied by neighboring disciplines, but already representing social value) and expansion (seizure of other people who are already employed by neighboring disciplines of subject areas (this strategy is called interdisciplination) (Gronas 2002).

M. Epstein insists on a special synthetic path of humanitarian sciences, some generative theory of the XXI century, which "does not just explore what has already formed in the humanitarian field, but herself gives rise to" families "of new concepts, genres, disciplines" (Epstein 2004: 17) . The author introduces the term "Abduction (Abduction - literally" abduction "," scalation ") - the removal of the concept from that categorical series (discipline, school, concept) in which it is fixed by tradition and transfer it to another series or multiple rows of concepts; A logical reception based on expansion work with theoretical concept (Epstein 2004: 824), which seems very accurate when developing a new toolkit for analyzing the mass literature of the 20th century, as the appeal to such texts inevitably displays the researcher to expand the boundaries of philological analysis.

An interesting example of the development of a new conceptual apparatus, new means of explaining sociocultural realities, their adequacy and effectiveness seems to be a study of R.Dandarntone "High enlightenment and literary bases in the pre-revolutionary France". The author, based on the fact that in the intellectual history of the excavation of the lower layers require new methods and new materials, not deepening in philosophical treatises, and searching for archives, makes the assumption that "Education was something much more terrestrial than the alpine intellectual atmosphere Which describe the authors of textbooks, and makes sense to doubt in too mental, too metaphysical picture of intellectual life in the eighteenth century "(Darnton 1999).

They will say that criticism must only engage in works that have visible dignity; I do not think another essay in itself is negligible, but wonderful in its success or influence; And in seven respects, moral observations are more important than the observations of literary, "these words, which sounded modern at the end of the 20th century, were told by A.S. Pushkin 150 with overnight years ago (Pushkin 1978: 309).

Today it is obvious that attention to the works of the "second row" not only expands the cultural horizon, but radically changes the optics, because the variety of mass culture is a variety of types of sociality1. The problem of mass literature is included in the wide context of the sociology of culture, and the sociology of literature in particular.

1 An example of the expansion of the field of modern literary studies can be an article L.Pletneva, which establishes the connection of the story of N.V.Gogol "Nose" with a lobal picture "Interesting about the nose and a strong frost". If now we can easily put the chesting text in one row with a folk song or the epic, then in the XVIII-XIX centuries, these genres have been compared. In the romantic design of the literary space, the texts generated by the lower urban culture did not find themselves. Lubki occupied that niche, which television series, comics, posters and detectives in bright covers (Pletnev 2003: 123) are held in our time.

The multi-levelness of the literary process is a fact recognized as fresh literature. Obviously, the picture of the history of literature XX century. It will be really complete only when it reflects the literary stream, often simply ignored, called paralyterature, literature, mass, third-rate, unworthy attention and analysis. In 1924, V.M. Zhirmunsky noted that "Issues of the literary tradition require a broad study of the mass literature of the Epoch" (Zhirmunsky 1977).

In the 1920s, no social prerequisites for the formation of literature were considered not only in the works of formalists: innovative works of A. Beletsky, A. Serbakina and others deserve attention to the work of A. BELINOVA, when, by the definition of A. Belinkov, "Real History Artistic literature gave way to a thorough description of good books,<. > The science of literature turned into "the life of wonderful people", and a question mark left the literary criticism "(Belinkov 2002: 509), the sociology of literature as a discipline was not developed. The first studies appear in the early 1990s (Gudkov, Dubin 1994, Dobrenko 1997, Dobrenko 1998, Gudkov, Dubin, Strada 1998, Dubin 2001, etc.).

The reader, its horizons, interests, tastes, expectations make up the subject of sociology of literature1. The sociology of literature in its modern understanding, of course, is also divided into order, and tasks, and in the subject of study with the vulgar sociology of Plekhanov, A. Lunacharsky, V. Pereverzeva, and others, analyzing the text depending on the compliance or inconsistency of political tasks, An extended party, from the "psychoidology" of the era. The task of modern sociology of literature

1 The problem field of sociology of literature includes studies of the social organization of literature: the roles of the writer, criticism, literary critic and their cultural and historical genesis; Taste standards for various categories of reading public. Sociology of literature systematically examines the folding of basic literary canons and the dynamics of authorities (the composition of the "exemplary" authors- "Classics"), as an integral part of literary studies, it was the consideration of the existence of literature in society as a specific institution with its structure and resources (literary culture, canons, traditions , authorities, standards for creating and interpreting literary phenomena.).

The leader of the Konstantian school of the receptive aesthetics of H.-R. Yauss associated changes in the interpretation of the work with the change of his perception by readers, with different structures of regulatory expectations. The application of the recipe aesthetics methodology to the history of literature as a sociocultural institution allows to see the influence of extralytic factors (Gudkov, Dubin, Strada 1998) on the actual literary evolution.

Works dedicated to the problems of studying the reader are divided into two large categories: on the one hand, those belong to the phenomenology of an individual reading act (R. Hungarden, V.izer, etc.), on the other hand, those engaged in a germerticity of public response to text (Gadamen, H.R. Yayuses, etc.). The recipe approach sums up a modern researcher to the need to make new parameters of genre identification, determining the system of genre signals, mental dominant, which is generated in the process of reader's perception and defining a new "genre law" (Bolshakova 2003).

In philological science, a tradition was long ago, according to which the "high" spheres of creativity were personalized and recorded, while "low" perceived as some kind of non-anonymous artistic space. L.Gudkov and B.Dubin in a deep and innovative study "Literature as a Social Institute" write about the dangers of selection of literary flow and retaining the regulatory, hierarchical structured structure of culture (Gudkov, Durbin 1994: 67). The nature of the perception of new works and evaluation of the most popular genres, mass poetics,

In various scientific publications of the magazine "New Literary Review" (№ 22, 40, 57, etc.), a question was raised about the actualization of interest in the phenomenon of mass literature, about a multi-level approach to the literary work, the multivarrence of aesthetic creativity and perceptions, different (by goals, functions, historical, social, cultural "accessories", etc.) aesthetic, including competing.

The interdependence of the aesthetic and social, diversity of the needs, "serviced" by the literary work as a phenomenon, social speech, with this approach are relevant than ever. And the category of genre, style,<.> Traditional oppositions of classical and avant-garde, elite and mass must appear in new lighting "(Benedictova 2002: 16). It is impossible not to recognize the correctness of the words of the sociologist L.Gudkov: "Agree - after all, this is a strange science of literature that does not occupy 97% of the literary stream, what is called" literature "and what reads the overwhelming majority of people? Maybe we will reduce the whole biology for butterflies? " (Gudkov 1996).

The need for a serious scientific study of domestic mass literature came in the mid-1990s, and was due to a sharp change in the structure of the book market. "A kind of emancipation of the reader occurs, his liberation from the dictatorship of the former literature the centerrist ideology and pressure of the high taste standards, and therefore - the expansion and approval of the semantic role of literature. The symptom of this is the process of turning the literary criticism to the revaluation and understanding of the phenomenon of mass literature, although this process is currently at the very beginning, "Sociologist Natalia Zorkka (Zorka 1997: 35) wrote in 1997. However, in almost ten years, the situation has practically not changed, the mass literature remained in the field of view only the literary criticism and sociologists of literature. The relationship of literary and ideological structures (Dubin 2003: 12).

The inclusion in the field of view of a new material, traditionally qualified as non-model or as border phenomena of literary culture, naturally found the limited means of a tutorial of literary analysis. "Appeal to the" mass literature "is often unnecessary emotions, in relation to it there are very contradictory points of view. The reason for this lies not only in the fact that the definition of the subject of the discussion is difficult, but also because those who are engaged in such literature are inevitably faced with a number of methodological and value problems. The dilemma consists, for example, in the fact that the occurrence and impact of such literature largely depends on the extralectric context. The methods of its research inevitably go beyond the traditional disciplinary boundaries "(Mentsell 1999: 57). The phenomenon of mass literature will certainly derive any researcher to interdisciplinary issues related to both sociology and cultural studies, and with philosophy and psychology.

It was practically no language suitable for an adequate description of modern mass literature. If in Western literary criticism, the study of the phenomenon of popular literature is presented quite widely (Kitsch 1969, Brooks 1985, Taylor 1989, Radway 1991, Woodmansee 1994, Rosenfeld 1999, etc.), in Russia, the works of mass literature are actively discussed in the literary criticism of recent years, but It was not the subject of a special literary scientific research. At the same time, the phenomenon of modern mass culture in all its polyphonicity is actively discussed by representatives of various humanitarian professions (philosophers, cultural scientists, sociologists, literary critics), as evidenced by the work of recent years (mass success of 1989, Chertnichenko 1994, Mazurin 1997, Sokolov 2001, mass culture Russia 2001, Popular Literature 2003).

Methods of study of the phenomenon of mass literature inevitably go for traditional disciplinary boundaries. Such an expansion of the field of philological studies is extremely important, since changes in the modern literary process are largely due to a change in the circle of reading, the eligibility of requests and tastes of the mass consumer, which correspond to the fundamental basics of mass culture. It is no coincidence that Yu.M.lotman insisted that the concept of "mass literature" is "the concept of sociological. It concerns not so much the structure of this or that text, how much of its social functioning in the general system of texts that make up this culture "(Lotman 1993: 231).

In this regard, there was a need to develop a special literary instrumentation, in which the role of related, especially psychological and social, disciplines not abolishing, but complementary poetics and aesthetics. It is impossible not to agree with D.S. Likhachev, believed that "Science can develop only when there are different schools and different approaches to the material (Likhachev 1993: 614).

In different periods of the development of the literature, a different attitude to the folk (mass) culture was observed, most often it was negative and indifferent. A.V. Chernov in a deep study "Russian fiction of the 20-40s of the XIX century" on a wide material of a poorly studied fictionalistic prose of the XIX century proves that "the fiction turned out to be a form of literature, most adequately responding with the aesthetic needs of time: it is precisely the most expensive extensive expansion of the scope of literature while maintaining the orientation on the average aesthetic standard "(Chernov 1997: 148).

V.G. Belinsky, as you know, considerable attention that paid the folk literature and sociocultural mechanisms for success and recognition, asking the ironic question: "Sometimes one ingenious writer is hardly for the whole century: is it really necessary to follow that sometimes the whole century society should be completely without literature? " (Belinsky 1984: 31).

In the middle of the XIX century. M. Saltykov-Shchedrin, reflecting on the degree and nature of the popularity of a literary work, wrote: "Works representing a living interest in this minute, the writings that the appearance into the light was welcomed by general noise, gradually forgotten and surrendered to the archive. However, they do not have the right to ignore them not only contemporaries, but even remote offspring, because in this case the literature is, so to speak, a reliable document, on the basis of which it is easier to restore the characteristic features of the time and find out its demands "(Saltykov-Shchedrin 1966 : 455).

Interest in the mass literature arose in Russian classical literary criticism (A. Pipin, S.Vergerers, V.Sipovsky, A.Veselovsky, V.Pertz, M.Sepransky, V. Adrianov-Peretts, etc.) as opposition to the romantic tradition of studying outstanding writers , isolated from their era surrounding and opposed to it.

Mass literature arises in a society that has already a tradition of a complex "high" culture and is allocated as an independent phenomenon when it becomes, first, commercial and, secondly, professional. A.A. Panchenko quite rightly wrote: "Our ideas about" high "and" low "," trivial "and" original "," elitar "and" mass "," oral "and" written "literature are more determined by current sociocultural priorities than relevant sociocultural priorities, rather than Abstract criteria forms, aesthetics and poetics. Therefore, even within the framework of a relatively short historical period, you can observe the most controversial opinions about certain gradations of the "elegant" and "non-elegant literature" (Panchenko 2002: 391). It is necessary to emphasize that often those works that traditionally relate to low genres were perceived later as texts with undoubted aesthetic advantages.

The relevance of circulation to the mass literature is determined by another factor noted by B.Dubin: "In the second half of the 1990s, the Middle Man became the main person in Russia: High crushed, the low rose to chicks, everyone became average. Hence, a significant role of "average" literature in the study of Russia of the 90s (by the way, the "average" means also indirect, intermediate, binding) "(Dubin 2004). Indeed, mass literature XX century. It makes it possible to evaluate and experience huge social changes in Russian society.

A new feature of a modern mass culture is its progressive cosmopolitan nature associated with the processes of globalization, erasing national differences and, as a result, - - Sidelice of motives, plots, techniques. "Mass culture as the newest industrial modification of the folklore (hence its clispitude, the repeatability of elements and structures) is no longer on the language of a specific national culture, but on the transnational code of" maskultural "signs identified and consumed in the world" (Zenkin 2003: 157). In one body, V. Velevin and P.Kuelo, B. Akunin and H. Muraki, V.Sorokin and M. Pavich are found in one cult. Mass literature not only provides the reader the opportunity to choose "his" text, but also fully satisfies the passion of a mass person to peep, interest in gossip, bikes, jokes.

The phenomenon of modern culture living in the conditions of the "global supermarket" is associated for the American researcher D.Sibruk with the concept of "noise" - a collective stream of consciousness in which "mixed politics and gossip, art and pornography, virtue and money, the glory of the heroes and the fame of murderers "(Sibruk 2005: 9). This "noise" contributes to the emergence of a powerful cultural experience, the moment that Sibruk calls "Noubrau" (Nobrow) - not high (haghbrown), not low (lowbrow), and not even average (middlebrow) culture, but existing in general outside the taste hierarchy ( Sibruk 2005: 19). Indeed, the concept of artistic taste becomes essential in determining the phenomenon of mass culture.

The mass culture occupies an intermediate position between the ordinary culture, masterful by the person in the process of its socialization, and a specialized, elitar culture, which requires a certain aesthetic taste and educational level. The mass culture performs the function of the cultural symbol translator from a specialized culture to everyday consciousness (Orlova 1994). The main function is to simplify and standardize the transmitted information. This feature determines the features of the discourse of the mass culture. The mass culture operates the extremely simple extended culture technique. "It is traditional and conservative, focused on the average language semiotic norm, since it is facing a huge readership, auditorium and audience" (Rudnev 1999: 156).

Conceptual significance has the idea of \u200b\u200bYu.M.lotman that the massive literature remains stable preserves the forms of the past and almost always represents a multilayer structure (Lotman 1993: 213). Interest in mass literature in literary studies of the last decade is quite natural, since changes in everyday consciousness are largely due to changes in the reading circle.

Mass literature is created in accordance with the requests of the reader, often very far from the main directions of culture, but its active presence in the literary process of the era is a sign of social and cultural changes. To comprehend the characteristics of the mass literature, the originality of its genres and poetics - it means not only to determine the essence of this sociocultural phenomenon, to identify the complex relationship between the "big" and "secondary" literature, but also to penetrate the inner world of our contemporary.

The literary process of any era inevitably implies conflicts and alternation of old and new genres; Canons for which the main direction of literature lives, can change over time. When discussing the question of artistic and mass literature, it is important not to be limited to aesthetic estimate, but try to comprehend the literary process in terms of the dynamics of genres and their relationship. As a rule, it was during the period of public shocks that the boundaries are blurred between genres, their interpenetration increases and attempts are made to reform the old genres and create new ones to give the fresh breath of culture as a whole. In the classic article "Literary Fact" (1928), Y. Tynyanov wrote: "In the era of the decomposition of some genre, he moves from the center into the periphery, and in his place from the little literature, from her backyards and low-rise phenomenon in the center of the new phenomenon (this And there is a phenomenon of "canonization of the younger genres", which V. Shklovsky speaks of). So became a boulevard an adventurous novel, this is now becoming a Boulevard psychological story "(Tynanov 1977: 258).

In the antithesis of "high literature", mass art acts as creating a different explanation of life - a cognitive function is put forward forward. This double nature of the "primitiveness" of mass literature, manifested and in relation to other constructive principles, determines the inconsistency of its function in the overall cultural system (Lotman 1993).

As indicative, for example, a discussion unfolding on the pages of the magazine "Banner" "Modern Literature: Noah's Ark?" (1999). One of the questions suggested by the editors sounded like this: "Multipleness in the literature is a sign of social cultural disadvantaged?". Despite the diverse, often contradictory points of view, j, the discussion participants came to the conclusion that the "flow phenomenon" turned inside out yesterday's value guidelines, becoming a sociocultural reality of the transition era of the turn of the XX-XX1 centuries.

Yu.M.lotman identified the role of mass literature in the era of the emergence of the new literary system, therefore, and the new aesthetic paradigm as a whole: "The erosion of the boundaries between the high and low, elite and massive means of their association in the process of perception - the characteristic expression is not only another transition of aesthetic Paradigms, but also the distinctive features of the content of what is happening "(Lotman 1993: 134).

Mass culture is a mandatory median component of any cultural and historical phenomenon, it is in it that there are reserves for innovative solutions of future eras. A vivid example of the implementation of fictional structural plants, a far-stirring framework of mass literature, evidence of the "process of erosion of genre boundaries" the works of V. Velevina, A.Slapovsky, A. Korolev, M. Leglera, V.Tocareva, and others are becoming multilayer in semantic terms. The narration, through the literary literature, playing on the effect of recognition and specific texts, and literary traditions, and mass literature genres.

An artificial ideological system, what long years has been socialism, deprived Russian literature of normal development. After all, it is the free dialogue between mass and elite literature determines the health of culture. "In the 20th century, Russia fell out of the necessary cycle of culture, which forces the mass society to translate folklore, soil culture in Maskolt. From here, a piece master, an artist (in the same way, sofocals and aristofanes appeared, are born from the universal, worldwide mass culture. It is fading and mastering the form created by Maskolt: the form is obtained folk, and the content-auto, "- said A. Geongis (Genis 1999: 78).

In Soviet times, often contrary to the socially owned canon, fiction developed, which is a kind of "median" space of literature; In this niche, the creativity of V. Katayev, V. Kavlerina, Sun. Ivanova, I. Ilf and E. Petrov, V. Panova, K. Pouustovsky and many others.

By the end of the 1970s, the tailed of the Soviet reader to the plot novel, the detective and melodrama poured into the massive forces of the waste paper, for the coupons for which the collections of the English and Swedish detective can be purchased, A. Dumuon's novels, M.Dryuon, A. Krishti, and others. Modern writer N. Krychuk with annoyance writes about the conclusion of the people of his generation from the development of world mass literature: "Almost all life has passed without fiction, adventures and detectives. It's a pity. Those who drove out such literature in childhood are happy people. Detectives and adventures take the headache of eternal questions for a while, pretending to deal with you gymnastics of the mind and the skills of fleeting insight and compassion "(puffer 2001).

Only by the 1990s, the polyphonicity of domestic culture is beginning to restore in the 1920s. Moreover, the mass reader of the 1990s was the same way as the reader of the 1920s, - from the passion by a foreign detective and Western melodrama to the gradual creation of domestic mass literature, which today is actively developing and finds its place in the modern literary process.

Yu.M.lotman wrote that the distribution within the literature of the sphere of "high" and "low" and mutual tension between these areas makes literature not only by the sum of texts, but also a single text, a holistic fiction discourse: "Depending on historical conditions, From the moment that this literature is experiencing in its development, one or another trend can take the top. However, it is not able to destroy the opposite: then literary development would stop, since its mechanism, in particular, consists in tenant between these trends "(allocated by me - M.Ch.) (Lotman 1993: 145). Therefore, the appeal to the poetics of mass literature (with all its stereotype and customization) seems relevant.

In mass literature, there are rigid genre-thematic canons, which are formal-substantial models of prosaic works, built according to a certain storyline and having a common subject, established by a set of actors and types of heroes. Content-composite stereotypes and aesthetic patterns are based on all genre-thematic varieties of mass literature (detective, thriller, fighter, melodrama, fiction, fantasy, costume-historical novel, etc.), it is they form "genre expectations" of the reader and "seriality »Publishing projects.

Sociologist Y.Levada calls stereotypes ready-made templates, "foundry forms that are cast by public opinion flows. Social stereotypes reflect two features of public opinion: the existence of extremely standardized and simplified forms of expression and the prediction, the primacy of these forms in relation to specific processes or acts of communication.<.> The stereotype not only allocates statistically an average view, but sets the norm simplified or awarded a sample of socio-approved or socially permissible behavior "(Levada 2000: 299). Stereotypes are set and updated by the media, the medium of communicating itself, including massive literature, for the works of which is characterized by the ease of assimilation that does not require special literary and artistic taste, and the availability of people of different ages, different social layers, a different level of education.

Mass literature, as a rule, quickly loses its relevance, comes out of fashion, it is not intended to reread, storage in domestic libraries. It is no coincidence that in the XIX century, the detectives, adventure novels and melodramas were called "carriage of fiction," railway religion "," one-time literature ". The collapse of the "used" literature has become a summary of today.

An important function of mass literature is the creation of such a cultural context in which any artistic idea is stereotyped to be trivial in its content and in the method of consumption, corresponds to subconscious human instincts, contributes to compensation of unsatisfied desires and complexes, creates a certain type of aesthetic perception that affects the perception of serious phenomena of literature in a simplified, devalued form.

A variety of mass culture is a variety of social imagination, types of sociality, cultural means of their constitution. The definition of "mass" does not require the author of the creation of a masterpiece: if the literature "mass", then to it, to its texts can be treated without much respect, as a draw, as if disavorring. This package involves the replicability of techniques and structures, the simplicity of the content and primitiveness of expressive funds.

The study of mass literature as one of the components of the literary process allows you to trace the dynamics of its existence in the 20th century, to allocate actualization periods.

The study of artistic mentality peculiar to transitional epochs gives reason to talk about the uneven development of different types and different cultural reservoirs. A.Gurevich on the material of the Middle Ages comes to the relevant and in relation to the literature of the 20th century by conclusions that, despite the fact that the massive literature and literature of the educated class were different in type, there were no deaf borders between them: "The promssed was buried in the medieval Intellectual, however was suppressed by this "lower" layer of his consciousness by cargo by cargo "(Gurevich 1990: 378).

For mass literature, in which the predictability of the turns of the plot and the ways to solve the conflict are extremely high, it is fundamentally important that the concept of "formula" ("Tale of Cinderella", seduction, testing of loyalty, catastrophe, crime and its investigation, etc.) are important. Which introduced J. Cweweli into the scientific paradigm. The American researcher considered "literary formulas" as "the structure of narrative or dramatic conventions used in a very large number of works" (Cavelyti 1996). Its caveleti method describes as a result of the synthesis of the study of genres and archetypes, which began with "poetics" of Aristotle; Studies of myths and symbols in Folishorist comparatus and anthropology. By definition of Cavelti, "the formula is a combination, or synthesis, a number of specific cultural stamps and more versatile narrative forms or archetypes. In many senses, it is similar to the traditional literary concept of the genre.

Formular literature is primarily a kind of literary creativity. And therefore, it can be analyzed and evaluated, as any other type of literature. " In the concept of Cavelti, the change in the role of the writer is important, since the formula allows him to quickly and qualitatively write a new product. Originality

1 "Mass literature could be called a shadow with a high-quality, but shadow luminescently bright, simplifying and adjusted to the extreme limit, including the caricature, all that is accumulated by a fiction tradition. Thus, the educational and educational intentions of high literature are degenerated here to coarse didactics, communicativeness - to flirting with the reader and playing with its basic instincts, "said S. Chuprinin (Chuprinin 2004). It is welcomed only when it enhances the expected experiences, without changing them.

Literary samples fix most effective or for some reason the most acceptable methods for removing stresses characteristic of this sociocultural situation. "The functional importance of literary formulas is to develop agreed definitions of reality, and hence both in achieving sociocultural stability" (Gudkov, Durbin 1994: 212).

The field of mass literature of the 20th century is wide and varied. The rapid change of names on the field of mass literature is connected with the fact that, trying to survive and dominate, Maskolt creates the Erzats-Beauty and Erzatz heroes. "Since they cannot facilitate genuine suffering and saturate the real wishes of the mass person, a quick and frequent change of symbols are required," the critic of T.Moskvina (Moskvina 2002: 26). It is difficult to agree with this statement, because the stereotypes of mass culture are usually unchanged (they attract the reader), and only the decoration field is rapidly changing.

In this study, the object of analysis became "Formular literature", that is, those genres of mass literature, which have undergone the most significant transformation at the end of the 20th century - a detective and Russian love romance. Over the framework of the study, the formation of mass literature, represented by modern fantastics and fantasy. These genres, in line with which, in the 20th century, created significant works, are devoted to serious studies of recent years (black 1972, Kagarlitsky 1974, Geller 1985, Osipov 1989, Chernyshev 1985, Katz 1993, Malkov 1995, Kharitonov 2001, Gubalovsky 2002).

The increased scientific interest in the phenomenon of mass literature is determined by the desire to abandon the established stereotypes, to comprehend the patterns and trends in the development of a multi-tech and polyphonic literary process of the late XX century. It seems a fundamentally significant problem of literary and aesthetic gradations, inevitably getting up when handling the mass literature. Of particular importance acquires the study of the nature of the triad "Classic - fiction - mass literature".

The update of the conceptual apparatus includes the rethinking of literary categories. One of the actualizing components of the paradigms of literary concepts becomes "fiction" as a "median" field of literature, which includes works that are not distinguished by a pronounced artistic originality. These works appeal to eternal values, strive for enraged and informality. Belletristism, as a rule, meets the living readership of contemporaries due to the response to the most important trends of the epoch or appeal to the historical past, autobiographical and memoir intonation. Over time, she loses its relevance and falls out of readership. If the classical literature opens a new reader, then the fiction, conservative in essence, as a rule, confirms the well-known and meaningful, thereby certifying the sufficiency of cultural experience and reading skills.

The desire to identify the fundamental formal-meaningful differences between fiction from the classical works of Russian literature affected in a number of recent scientific research. A significant scientific contribution to the study of this problem was the work, built on the material of Russian literature Hush-X1x centuries. (Pulchritudova 1983, Gurvich 1991, Markovich 1991, Vertinina 1998, Chernov 1997, Akimova 2002).

The preparation of new ideas in the boundaries of the "average" consciousness in the boundaries of the "averaged" consciousness; In fiction, new ways are approved, which are inevitably exposed to replication; Individual signs of literary work are transformed into signs of genre. Top in the essay "The merchants and artists" speaks of the need for fiction so: "Fiction is a beautiful, necessary, in demand, which performs a social order serving not seraphim, and creatures are simpler, with peristaltic and metabolism, i.e. We are with you, - is sharply needed to society for his own public health. It is not yet to be blocked by boutiques - I want to go to a shop, buy a bun "(fat 2002: 125).

Fictionalism and massive literature are the concepts close, often used as synonymous (for example, I.A. Gurvich in its monograph does not allocate mass literature, considering the entire volume of "light" literature by fiction (Gurvich 1991)). The term "mass literature" in the works dedicated to the literature of Hush-X1x centuries, means the value "bottom" of the literary hierarchy. He acts as an appraisal category resulting from the placement of fiction on its aesthetic quality and suggests the consideration of artwork "vertical". To the characteristic features of the mass literature of the XIX century. E.M. Pulchritudova refers such elements as the embodiment of conservative political and moral representations and, as a result, the limitlessness, the lack of characters and psychological individuality of the heroes, a dynamically developing effect with an abundance of incredible incidents, "False Documentalism", that is, an attempt to convince the reader in the reliability of the most incredible events (Pulchritudova 1987). Obviously, at the end of the XX century. These features can be detected, which indicates the constancy of the main ontological signs of mass literature.

The leader of the cultural and historical school I.Ten considered a literary work as a snapshot with the surrounding morals and evidence of the famous state of mind, "as the necessary source of information for the creation of the" History of Mural Development "(TEN 1996). In the "art philosophy", I.Ten emphasized that the morals, thoughts and feelings refracted in the literature depend on the national and socio-group traits of people. In this regard, the scientist allocated six steps of "racial" signs, each of which corresponds to its "level" of art: 1) "Fashionable" literature, which is interested in the reader 3-4 years; 2) the "generation" literature, which exists as much as the type of hero embodied in them; 3) works reflecting the "main nature of the era"; 4) works that have embodied national character; 5) works in which the "basic nature of the era and race" can be found and in the structure of the language and myths of which "one can foresee the future form of religion, philosophy, society and art"; 6) "Forever living works", which express "type close to all groups of mankind" (Tenner 1996, Kruchakov 1983).

Obviously, the ideas of the Tan remain relevant at the turn of the XX-XXI centuries. If the same hierarchy is applied to the modern literary process, the first two levels will place massive literature (the works of A.Marinina, P.Dashkova, D. Dontsova, E. Topoli, A.Kyvinova, A. Sustorova, etc.) and popular fiction of the ages of the centuries (works of V.Tokareva, Storebakova, A.Slapovsky, B.Akunina, V. Velevine, V. Tuchkova, etc.).

Today, when there are practically no uniform criteria for the assessment of artistic works and a coordinated hierarchy of literary values, it becomes an obvious need to look at the newest literature as a kind of mulliteness, that is, as a conglomerate of equal, although different-depleted in nature, as well as disordered in terms of performance of literature . A modern continuation of the theory of I.Ten can be considered the literary hierarchy of the newest literature, presented by four levels: 1) high-quality literature (and synonymous to him - off-road literature, serious literature, high literature); 2) actual literature focused on self-reflection, experiment and innovation; 3) massive literature ("Chivo", "verbal chewing", trivial, market, low, kich, "trash literature"), characterized by aggressive totat, readiness not only to occupy empty or poorly oblique niches in literary space, but also to outcompite competitive types of literature from the usual positions; 4) MIDL literature (type of literature, stratification, located between high, elite and mass, entertainment literature generated by their dynamic interaction and, in fact, relieving the eternal opposition between them) (Chuprinin 2004).

It is fundamentally significant that it is often about the choice of the reader of the "his" level of artistic text (from the "philological novel" to the "gangster detective", from Romanov L. Yulitskaya to the ironic detective G. Kulikova, from B.Akunina's novels to the lower historical fiction and etc.) affects belonging to a particular strategy of society. In cultural studies, the object of cultural stratification are groups that differ in value orientations, ideological positions, activities in various fields of cultural practices.

Stratification of the book market is found, for example, in publications of domestic historical fiction. The founder of the mass historical fiction, designed for the reader, looking for entertainment, can be considered Vpikul ("Requiem Caravan RS\u003e -17", "Word and Case", "Wealth", "Favorit", "Dogs of the Lord", etc.). Folk Histori (Butchers 2002) - a multifaceted phenomenon, including an adventurous novel, and saloon, and zhitsky-monarchical, and patriotic, and retro-detective (V. Souvorov "Icebol", A.Bushkov

Russia, which was not ", A.Razumovsky" Night emperor ", D. Balashov" Moskovskiy states "," Will and Power "," Mr. Great Nonogorod ", S.Valyansky and D.Calyuzhny" Other History of Russia ", A. Kudri "Ruler Alaska", E.Ivanov "God's dearness we, Nikolai Second.", E. Sukhov "The Brutal Love of the Soviet"). This genre is designed for a specific reader, which is satisfied with the story built on gossip and jokes. Historical fiction depends on political sentiment in society. Exactly "White Detective" series, dedicated to BeloEmigrant Movement, monarchical folk-histori series "Romanovs. Dynasty in novels "and others. The reader belonging to other social groups chooses the historical fiction of E. Maradzinsky, L.Uffovich, L. Tretyakova, etc.

Social stratification allows differentiation of social roles and positions of representatives of certain sectors of society, which is inevitably reflected in the characteristics of social groups of readers, consumers of literary products. It is worth agreeing with S. Chuprinin, who believes that the pyramidal device for domestic literature in our eyes was replaced by a different-story urban building, and the writers were separated by their tracks<. .>, focusing no longer at such a cathedral category, as a reader, but on the target audience discrepancies between<. .>. The concepts of the trunk and marginal ™ are loss of today the evaluation meaning, the stratification "vertical" is replaced by the "horizontal" adoption of a different type of literature, the choice of which is becoming a personal matter and writer and reader "(Chuprinin 2004).

Appealing to the phenomenon of mass literature of the 20th century involves scientific understanding theoretically little developed and extremely relevant for the modern literature problems of literary reputation, reader's reception, sociology of literature, etc. The circle of these issues actualizes and the problems of the reconstruction of the historically student context, the correlation of the creative discourse of the writer with other types of artistic discourse .

The purpose of the dissertation study consists in the theoretical substantiation of the site of the domestic mass literature of the 20th century in the historical and cultural and literary context, in determining the ontological and typological originality of the mass literature of the 20th century and its relationship with the artistic consciousness of the massive reader as a common form of cultural practice. The goal is determined by the main objectives of the study:

1. Enjoy theoretical and methodological and historical and literary prerequisites for the study of the phenomenon of Russian mass literature

2. Give a conceptual substantiation of mass literature as a border cultural phenomenon.

3. Consider sealing mass literature in the typological series of transitional eras, reveal a diverse processes in a mosaic of various artistic phenomena of literature of the XX century.

4. Display the organic interconnection of the processes characteristic of the domestic mass literatrus of the first quarter of the XX century and the turn of the XX-XX1 centuries.

5. Artistic techniques repeated in the mass literature of the 20th century, to show the stability of the determining traits of the poetics of mass literature, which remain in the decrepitation of the XX century.

6. Show the dependence of mass literature from the main social and cultural dominant of the era; To identify the nature of the mutual relationship of the author of the mass literature and reader.

7. Show the place of mass literature in the literary process, to identify its impact on the development of subcultural fields and processes in the "elitarious" culture; On a concrete material, show the interaction of domestic fiction and mass literature.

Scientific novelty research. For the first time, Russian mass literature becomes the subject of a variety of research, is considered in a wide historical and cultural context of the XX century. The subject of special consideration is characteristic of the model of creating works of different genres, the genesis of these models is revealed, dependence on the cultural and ideological climate of the epoch.

Research methods. The work uses an integrated approach dictated by the specifics of the material under study, accumulating a variety of cultural and artistic phenomena. The subject of the study led to the involvement of analyzing models created by various schools and literary references during the dominance of the historical and literary approach and the methodology of recipe aesthetics.

The main provisions of the dissertation endowed with the defense:

1. The active presence of mass literature in the literary process of the Epoch is a sign of social and cultural change in society. The study of mass literature as a mandatory component of culture is necessary to create a complete picture of the history of Russian literature of the 20th century.

2. The inclusion in the field of the study of the material traditionally qualifies as "non-model" or as border phenomena of a literary culture, detects the limited traditional parameters of literary analysis; The study of the phenomenon of mass literature requires an appeal to interdisciplinary issues related to sociology, cultural studies, psychology.

3. Appeal to the phenomenon of domestic mass literature of the 20th century involves scientific understanding of theoretically lowered problems and extremely relevant problems of the literary reputation, reader reception, sociology of literature, etc. The circle of these issues highlights the reconstruction of the historical and literary context, the correlation of the creative The discourse of the writer with other types of decisions, literary and social institutions and non-discursive practices.

4. The study of the genesis of mass literature of the 20th century indicates its intensification into transition epochs (silver century, the post-revolutionary literary situation, the border of the XXH-XX1 centuries). The phenomenon of transitional eras consists in changing the method of functioning of the main factors of artistic consciousness. The transitional era suggests the variability of aesthetic experiments, the eclectics of artistic development associated with the liberation of culture from the dogma. Such a view of the study of the phenomenon of mass literature allows us to be seen in the mosaic of various artistic phenomena of literature of the 20th century. Integrity, fix the repetitive processes that have already been in typologically similar crisis era.

5. To identify the genesis of mass literature, a particular importance is of the study of the ratio "Classic - Fiction - Mass Literature". Belletristism, being the literature of the "second row", is fundamentally different from the literary "Niza", represents a "median" field of literature, which includes works that are not distinguished by a pronounced artistic originality, entertaining and cognitive in their own, appealing to eternal values. Formal-content features of the fiction code can be found in the works of writers belonging to different literary periods (V.Katayev, V.Kavherin, I. Grekova, V.Tokareva, B.Akunin, etc.).

6. The distinctive features of the poetics of mass literature are the formility, deployment of stereotypes, cinematographicity, transcoding and a game with the texts of the classical literature, the activation of stamps, genetic ascending both to the Russian culture of the beginning of the 20th century, and to the phenomena of Western culture.

7. A systematic study of the phenomenon of mass literature addresses the appeal to the category of the author and the reader who change their "ontological" nature, which is associated with a change in the "transitional epochs" of their status.

8. The boundaries between different literature reservoirs are on the turn of the XX-XX1 centuries. Blurred, since a set of stamps and samples, labeling one or another genre of mass literature, is used by representatives and the so-called "MIDL literature", and modern postmodernism.

Chapter 1. Structural and typological understanding of the concepts of mass and elite.

1.1. Phenomena "Mass" and "elitar" in a diachronic aspect. .

1.2. Mass and elitar in post-classical and postmodern cultural concepts.

1.3. Formal-meaningful principles and stylistic dominants of postmodern poetics.

Chapter 2. Deconstruction of the mass and elite as a way to represent the postmodern picture of the world.

2.1. Postmodernism as a removal of dichotomy of the mass and elite: anthropocentric aspect (on the example of the novel by Viktor Erofeev "Terrible Court").

2.2. Functions of mass and elite literature in the artistic picture of the world L. Petrushevskaya.

2.3. Functioning of classical text in the novel

V. Sorokina "Blue Salo".

Chapter 3. Bispasacy of mass and elite as

The basis of building a postmodern picture

World in the work of V. Pelevin.

3.1. Destruction as a way of displacement of a narrative strategy from mass to elite discouss.

3.2. Multi-level organization Roman V. Pelevina "Generation" P "" as the implementation of the principle of "double letter".

3.3. Mythopoetics, intertextuality, irony as methods of expanding the artistic space in Prose V. Velevine.

The dissertation (part of the author's abstract) on the "picture of the world of postmodern literature: the typology of the mass and elite"

The picture of the world of the Epoch of postmodernism, the dominant of which is a person of post-industrial society, is determined by the ratio of mass and elite in a single cultural paradigm. Modern literature does not produce a final behavior model, a fixed attitude to reality. B. Literature Hush-X1x centuries, for example, in focus of attention are the framework imposed on humans, which determine his behavior, offering the possibilities and rules of interaction with the world in the "Man / Peace" space; In the literature of socialism, the hero compares its actions with the requirements of the world soul and will, with socially significant goal. Postmodernism does not offer a model of perception and building a picture of the world, and highlights the absence of these models. Attitude towards the world is not determined by the production or search for rigid forms, but by the delimitation carried out by belonging to elite or mass through the choice of aesthetic, axiological, cultural coordinates. The bulk phenomenon will be considered by us in the paradigm of modern mass culture, focused on the production of secondary, designed for the averaged taste, standardized in the form and content and involving the commercial success of values, a significant role in the production and representation of which the mass communication is played; The elite phenomenon is like a product of creation and consumption of a highly educated part of society, alien stereotypes and cults of a mass society and designed as fully and aesthetically divertly reflect reality, summarizing, presenting all human experience in concentrated form. The criteria for the elitism of the work of culture, in our opinion, the following. Firstly, this is an unexpected semantic design of the facility of elite creativity, the exclusivity of the semantic load introduced by it in a given context of the semantic load, underlined by the originality of the vision or the scale of undertaken. Secondly, the focus on the development of new axiological levels, controversy with generally accepted views and norms or, on the contrary, to preserve individual cultural values, views, norms in an inviolable form. Thirdly, this is the use of specific iconic systems and semantic designs when building communicative models, to perceive the high level of intelligence, extensive and deep knowledge. We will immediately disclaim that the categories of mass and elitism will be considered from the standpoint of aesthetic (beautiful / ugly), phenomenological (learned / unrecognizable), pragmatic (sold, materially significantly, in demand / irrelevant, has no commercial value, languid), historical (new ways broadcast information, the growth of educated people in need of more intellectual and informative, but at the same time entertaining and accessible to the perception of literature, etc. ). The main interpretive dominant for consideration of the analyzed reservoir of Russian literature is the diffusion of mass and elite. On the postmodern picture of the world as a holistic idea, the method of conceptualization of reality allows us to speak the fact that the literature of postmodernism is not limited to the literary text, but is determined by the author and reader, cultural reservoirs of modern and preceding epochs, human behavior models, etc. Based on the said, we consider it possible and appropriate to consider the picture of the world of postmodern literature through the prism of the mass and elite.

The relevance of the topic is due to the need to study the peculiarities of mass and elite as socio-cultural and aesthetic and philosophical phenomena in the picture of the world of postmodern literature, in demand and at the same time absence in the domestic literary criticism of special summarizing work on a formulated problem.

Postmodernism arose in the 20th century, when the "production" of mass culture was carried out in the "industrial" scale, and the universal nature of its existence determined the rapid seizure of the overwhelming part of the audience. It is often referred to as "omnivorous": it combines everything in culture, someone else's linearity in development leaves "conflict" of classical thinking through support on the principles of complementary and variability. The boundary between mass and elitar not only lost clear outlines, but also turned out to be practically erased under the influence of the widespread informatization of the Company and the mass media dominance, which changed the process of broadcasting, processing, reproducing and perception of information.

Characteristic for the postmodernitic situation diffusion between high and massive art, folk culture, folklore. But the language of the mass culture of postmodernists is not used in the usual functional value, but as a sign dominant currently, there is a cultural situation currently or occurring. That is, it is laid in the function of an interpretational semiotic coordinate system that requires its special reading. Thus, by deconstructing the objects of the Macerat, their language paradigm acquires a badge, which gives rise to it in the historical process and, thereby bringing to the elite discourse. Mass culture, which is initially perceived as clisited, flat, trivial, in the postmodern text is subject to deconstruction. By a priori's ironic attitude to it, the authors of the postmodernists themselves, laid down at the level of its genetic code, allows it to aesthetize it as the original, alternative, "other" in relation to the elite through the author's irony, the implementation of the principle of rhizomatic relations, the spanning, language mask and meta-language games. The texts of the "high" literature "included in the context of the postmodern text, here they gain a new sphere of existence, without losing, even rather gained, thanks to intertextual connections, a large badge for the reader who can catch them. However, through simultaneous inclusion in the space of postmodern text, hypertext, they are adapted for the mass reader.

It should be noted that the study of the typology of the mass and elite in the postmodern picture of the world by analyzing the phenomenon of texts, polemic in the external and internal levels, is relevant not only for the study of Russian literature of the end of the XX - early XXI century, but also for a holistic vision of the literary process as a whole. The problem of universal massation, waste from support to primary culture, from complication to entertainment and visibility, from the actualization of semantic and aesthetic dominant to ready-made "surrogates" is in modern socio-humanitarian sciences not only relevant, but also one of the central. In literary review, the main problems associated with the functioning of the text are the correlation of the latter with a constant reality, the influence of its newest information systems, the problem of the "primary" and "secondary" reality relationship. To transfer their ideas, broadcasting its painting of the world, postmodernist authors use modern text broadcast mechanisms, a wide range of graphics: for example, visual (design of the cover, focused on creating a certain psychological effect, the use of commercially successful images); installation (creation of theatrical effect, the development of a certain image of the author and text - for example, a scandal with Vladimir Sorokin, "bloated" in the media, imagineercy V. Pelevin, etc.), graphic support and design of text, ways of representing the artwork (audio) and T .. This creates the impression of the availability and proximity of the text and the author, has an additional impact on the emotional perception of their creativity.

We believe that the mass and elite as the space of reader reception is one of the main criteria for the delimitation of modern literature from the standpoint of its perception, since this is an explanation of the features of the worldview of a modern person, the method of presenting the picture of the world, the ratio of correlation with the outside world, the development of relations with reality, The method of identifying the world, the features of the structuring of the modern cultural space in the available images, symbols and mythologies. Postmodern literature has the level of access (decoding, understanding) that sells and anticipates the horizons of waiting and mass, and the elite reader, when it is able to prolong the action, thought, knowing a few steps forward and at the same time enter the intellectual game and with the text, and with Itself, implementing its vision of the world through the text. Consequently, the reader implements its potential expectation, participating in the creation (creation) of this result. Today, the reservoir of the literature analyzed by us largely determines the reading expectations, and, therefore, is one of the most demanded by a wide reader audience.

In connection with this object, the study served as the postmodern picture of the world, embodied in the works of Russian writers-postmodernists of the late XX - early XXI century.

The subject of analysis is the typology of mass and elite in Russian postmodern literature.

Study material - novels and the story of Russian writers-postmodernists. Based on the large volume of the available material, we stopped only on prose, not referring to small forms, as well as poetry and dramaturgy and limiting the works written not earlier than the 90s. XX century And, therefore, accessible to the wide audience *. The name of the in-depth analysis was the novel of Vladimir Sorokina "Blue Salo", the story "Month in Dakhau"; Roman Ludmila Petrushevskaya "Number One, or in the Gardens of Other Opportunities"; Roman Viktor Erofeeva "Scary Court"; Victor Pelevin's novels "Generation" P "", "Horror's helmet: Creature about Taja and Minotaur", Tale "The Life of Insects", "Relator and Sixpal", "Prince of Goslana". The third chapter work is dedicated to the study of creativity, since on the example of its prose, in our opinion, you can most fully trace the diffusion between high and massive art in the postmodern picture of the world. Additional sources were the literary-critical work of the postmodernist writers themselves, actively participating in the development of the theory of postmodern poetics, as well as a cultural metatext involved in the analyzed works of texts and cultural signs.

The methodological basis of the study is a combination of an integrated approach, historical and genetic, system-typological methods for analyzing the organization of artistic text; An intertextual analysis technique is used. The structuralist and poststructuralistic approaches had a certain impact on the research methodology. The author of the thesis relies on theoretical provisions put forward by MM Bakhtin, Yu.M. Lotman, M.N. Epstein, as well as a number of foreign scientists. In the process of research, the fundamental concepts of the cultures of W. Eco, J. Bodriyar, J. Delease and F. Gwattari.

The work is attempted to practically analyze the texts of Russian writers-postmodernists in order to identify features

It should be noted that making theoretical generalizations, we also relied on the work of Russian writers (often very conditionally attributable for postmodernists), starting with C. 60s. XX century The functioning of the mass and elite in the picture of the world of postmodern literature. Based on the claimed goal, research tasks can be presented as follows:

Consider the phenomena "mass" and "elite" in a diachronic aspect, to identify the features of their organization in post-classical and postmodern cultural concepts;

To allocate in the literature of postmodernism, formal-meaningful principles of mass literature and stylistic dominants of postmodern poetics, serving to expand the artistic space of the postmodern text;

Identify links, ways to interact and function mass and elite in postmodern discourse;

Comprehend the ideas of the new anthropology that established in the framework of the postmodern paradigm of thinking;

Prove that the bispasacy of mass and elite is the basis for building the postmodern picture of the world.

The scientific novelty of the work is due to the fact that the previously proposed for analysis of the texts of the texts was considered mainly from the standpoint of the study of the work of individual personalities and / or specific works in the context of writer's creativity, private aspects of postmodern poetics; Studies were conducted from the standpoint of historical functionalism, when postmodernism was considered as a legitarious, explained, a logical stage in the development of Russian literature. As an attempt to give an analysis of the typology of the mass and elite in the picture of the world of postmodern literature, the analysis is made for the first time.

The theoretical significance of the dissertation work is to identify typological grounds and dominant picture of the world of postmodern literature. The possibility of theoretical understanding of the specifics of modern Russian postmodernism as a phenomena of culture and literature from the standpoint of consideration of the mass and elite as the space of reader reception is shown. An adequate theoretical characteristic of the studied phenomena allows to give active use in the dissertation categories of postmodern discourse, which are not only descriptive, but also explanatory potential.

The practical significance of the thesis is determined by the possibility of using the results of work for further study of modern Russian literature, the understanding of the work of domestic writers to. XX - beginning. XXI centuries. The results of the study can be used in university courses (special courses) to study the modern literary process.

The main provisions endowed with the defense:

1. The phenomena of the world's opposisable in the classic culture in the post-concrete picture of the world is a single formation, the alloy is traditionally elite and mass traits. The diffusion of the mass and elite is the foundation on which postmodern aesthetics is based. All methods of postmodern letters are aimed at creating a synthetic form, where, by deconstruction, traditionally massive acquires the traits of the sign, references and thus becomes the component of the literary "vert.".

2. Based on the fact that in postmodern texts, elite components can be reduced to mass reading, and the components of the mass literature can perform the functions traditionally characteristic of high literature, the position of the perceive subject seems to be determining it - its intellectual level, aesthetic position, readiness to engage in postmodernist game with text, etc. Therefore, we tend to assert that postmodern literature, which has its goal overcoming the stereotype of thinking and perception, is potentially elitar.

3. We believe that such important determining dominants of postmodern poetics as mythologism, intertextuality, quotality, irony carry out a binding strategy, intended to merge the phenomena of mass elite in an inseparable complex with often indistinguishable components, which is provided by the mapping in the post-concrete literature Text "reflecting its variability and non-requesting.

4. Destruction in the postmodern text is, in our opinion, a way to overcome the mass discourse. Designed to ensure the transition from mass reading to the elite perception of artistic creativity, the motives of destruction serve as a compulsory displacement of the borders of perception and the expansion of the reader reception field.

5. Due to the aesthetic pluralism of modern culture and accessibility, at the same time, almost any information field, the picture of the human world of the XXI century determines the diffusion of characteristic traits of mass and elite crops. The postmodern poetics based on the same cultural and typological foundations, alien to any hierarchies, causal relations, assessments and logic of division on the center and the periphery, has the possibility of the most complete and individually-oriented implementation of the horizon of reader expectations of the actors of various intellectual and cultural levels, in the traditional Practice distanced to each other.

Approbation of work. The work was tested at international and regional scientific conferences. The main provisions of the dissertation study are reflected in 8 publications in Moscow (2002, 2004), Yekaterinburg (2004), Izhevsk (2006), Stavropol (2003, 2004, 2007).

The thesis consists of administration, three chapters, conclusion and bibliographies, including 256 sources. Work volume - 206 pages.

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• Poetic philosophical aspects of the embodiment of the "virtual reality" in the novel "Generation" P "" Viktor Pelevina

• Poetic philosophical aspects of virtual reality in the novel "Generation" P "" Viktor Pelevina 2005, Candidate of Philological Sciences Shulga, Kirill Valerevich

• Language features of the manifestation of the hypertext model of the world: on the material of Roman D. Galkovsky "Infinite Tupik" 2009, candidate of philological sciences Maksimova, Ekaterina Sergeevna

• Semiotic and synergistic interpretation of the features of the implementation of intertertainment and interdiscursivity categories in postmodern artistic discourse 2009, Doctor of Philology Oliseko, Natalia Sergeevna

Conclusion of dissertation rUSSIAN LITERATURE, SANKOVA, Alena Aleksandrovna

Conclusion

Summing up the study, we come to a number of conclusions.

1. The dialectic of mass and elite in the culture of the 20th century becomes one of the main problems for sociology, psychology, cultural scientists, anthropology, art history. The transition of society from the industrial development to the post-industrial stage of development leads to averaging of culture, as a result of which the values \u200b\u200bthat once ever do only become available to the masses, and the mass culture itself varies significantly, acquiring features that were inherent in folk and high culture. Postmodern art marked the transition from the dichotomy of high and massive, dominated in aesthetics of the XIX - XX centuries, to their diffusion.

2. Theoretical understanding of the ratio of mass and elite culture in the post-classical and postmodern paintings of the world was directly related to those public and cultural processes, which determined the specifics of the functional manifestations of these phenomena. Despite the fact that the question of the ratio of mass and elite was in the avant-garde of cultural consciousness, it is possible to state openness in the post-classical philosophy of the problem of determining, the ratio and functioning of the mass and elite in the cultural environment. In various versions of post-classical cultural and philosophical concepts, mass culture ceases to be a permanent object of criticism, and the idea of \u200b\u200bits convergence with a high culture begins to appear more fruitful. Postmodernism, fueling and massive and elite discourses on the positions of equal components, in fact, closely approaches the binding, behind which the problem of low, mass culture in its opposing ideals of elite culture turns into a quasi-problem.

3. As a modern direction in the culture of postmodernism, it is primarily characterized, first of all, as a certain ideological complex of specifically, emotionally painted representations at the level of artistic text. The main formal-meaningful principles of postmodern literature should include the intertextuality, the extrancestraper of its any hierarchy, eclecticism, the playing strategy of the postmodernist letter, polystyption, quotation, dichotomy high and low at all narrative levels, the dissolution of the plot in style, deconstruction of the artistic space, the destruction of spatio-temporal and semantic coordinates, diffusion of genres, the disappearance of reality, the death of the author, anti-autopoly, collapse of rationalism, logocentricism and phallotrism, postmodern irony.

Thanks to the "double letter" strategy, the postmodern text provides the possibility of polyvariant reading, actualizing the meanings laid in it, which gives grounds to recognize it equally interesting and massive and elite reader. Others, defining dominants of postmodern poetics, such as mythologism, intertextuality, quotation, irony carry out a binding strategy, intended to merge the phenomena of the mass elite in an inseparable complex with often indistinguishable components, which ensures the mapping in the post-concrete literature "Peace as text" in the postmodern literature reflecting Its variability and non-requesting.

The style of the positiveness of the postmodern text is appropriate to determine as the implementation of its formal-meaning principles, the representation of its picture of the world. In our opinion, the text can be considered postmodern only when it is adequate to the perception and mass, elite readers.

4. Deconstruction of the mass and elite serves as the basis of the postmodern thinking paradigm. By slick spatial, chronological, formally informative boundaries, violation of the logic of the functioning of the language, the development of the storyline, the formation of the images of the heroes of the work, etc., used as a "material" and typical for the poetics of mass literature, acquire the nature of the elite discourse, occurs "Oblining »Mass art.

Thus, we can argue that in the postmodern theory, acting on the principles of nonlinearity, multivariate, openness, marked a new stage in understanding the functioning in the modern culture of "mass" and "elite", and the literature of postmodernism removes opposition between mass and elite, uniting them In a single cultural paradigm, communicating into a global hypertext.

Please note the scientific texts presented above are posted for familiarization and obtained by recognizing the original texts of theses (OCR). In this connection, they may contain errors associated with the imperfection of recognition algorithms. In PDF the dissertation and the author's abstracts that we deliver such errors.

purpose of work

Determine what kind of literature should include a series of books Georgie Chkhartishvili (Boris Akunina) about Erast Fandorina

Tasks of work

· Select the features of the concepts of elite, mass literature;

· Determine the signs of the above-mentioned discharges in the context of modern literature, bring specific examples;

· Consider the work of Boris Akunin in accordance with the selected characteristics of various categories of literature;

· Enjoy your conclusion with specific examples.

Section I of the notion of elite and mass literature.

Mass literature

In the modern reader community, fiction is considered to be divided into two groups:

"Elitar" literature (about 3% of the total flow of the published works)

commercial / massive literature (everything else, i.e. 97%)

ELITARIAN LITERATURE

Elite literature, its essence is associated with the concept of elite (ELITE, Franz. - Elected selected, selected) and is usually opposed to cultures of people, mass.

Literary crituals consider elite literature as the only ways to preserve and reproduce the basic meanings of culture and possessing a number of fundamentally important features:

Criteria elite literature

She is more "long-playing" (longer remains "in the top")

She can carry a full-fledged ideological charge

She satisfies not only primitive tastes

It is less temporable and predictable

Her recipe is harder to reproduce

The main way of separating fiction from simply mass literature is to check the time. Belletristism continues to be reprinted after many years, while the mass literature is clearly "tied" to his epoch. All other criteria do not allow a clear border clearly.

Mass literature

Mass literature is part of a large-scale mass culture unit.

For mass work, it is characterized by ease of assimilation, which does not require special literary and artistic taste and aesthetic perception, and the availability of different ages and segments of the population, regardless of their education.

Mass culture - the generation of the industrial and post-industrial epoch associated with the formation of a mass society. The attitude to it researchers of various profiles - cultural scientists, sociologists, philosophers, etc., ambiguously. However, it scares and repels its aggressiveness and pressure, the lack of any moral and moral restrictions, other leads to delight, the third shows the indifference.

Criteria of mass literature

Circulation (dubious criterion, because elite literature is not always small, and the mass literature does not always beat the circulation records);

The brevity of glory (there is a mass of writers of the second row, which also quickly go into non-existence and are not representatives of the mass literature);

General accessibility, clarity (elite literature does not have to be foggy and understandable only by a narrow circle of intellectuals);

Commercialization (elite literature does not deny the idea of \u200b\u200bprofit as such, the same Pushkin received a good fee for his works and did not consider it "wrong");

The lack of high ideas, ideological charge in general, entertainment (elite literature also does not always preach high values, while in the mass literature there is a manifestation of certain ideas of philosophical or political nature, which are close to the author);

Orientation for primitive taste? (How to determine the degree of primitiveness? Who will conduct an examination?);

Satisfy the simplest needs? (elite literature may well satisfy them, and mass literature can develop logical thinking or educating citizenship);

High demand, commercial success, formation of groups of "fans";

Template (repeatability, recognition, predictability);

The priority of the work on the person (there is no personality of the author, there is a creative task);

Poverty of expressive means, the limited vocabulary (criterion is almost impossible to apply to translated works, because competently made artistic translation can smooth out the shortcomings of the original text, and vice versa, the urgent translation will worsen the quality of the perception of the original. In addition, in some cases it is possible active, but ineptly applications expressive means - i.e. purely formally the language is "rich", but decoration is perceived by the reader as an excessiveness);

The ability to reconstruct the creative process (not playback, but decrypting technology).

In mass literature, as a rule, we can detect essays of public morals, the picture of the life of the city.

In general, it should be recognized that the separation of mass literature from Nemassova is an extremely difficult task. A specific work may have a number of signs, but at the same time not to be a sample of mass literature.

Commercial and non-commercial literature.

Due to the fact that mass literature is often correlated with the concepts of commercial success and commercial profits, it is necessary to consider this side of the problem.

Commercialization of literature is associated with the concept of copyright and the author's fee. It is impossible to extract profits in the conditions of uncontrolled distribution of works on informal channels (for example, with oral transmission).

In the ancient world literature, the concept of authorship did not exist or it was weakened. Oral forms of verbal creativity are poorly linked with personal authorship: with each new performance, the work grows with a large or smaller number of changes, and the source (the first narrator, writer) is forgotten.

The first condition for the extraction of profits from the literature becomes the appearance of a typography and an increase in circulation.

Written literature gives more opportunities to preserve the author's name, however, a psychological installation that exists in society is played here. For example, written literature in ancient Russia was not focused on emphasizing the authorship, and in ancient Greece, on the contrary.

If the authorship, as such, there is already in the ancient written literature, then further steps towards the legal recognition of copyright, as well as the opportunity to extract financial benefits from literary work significantly later.

But it should be noted that the concepts "commercially favorable project" and "mass literature" coincide only partially - i.e. There are massive works that were created for the sake of profits and allowed this profit to receive. At the same time, a part of the massive works in commercial is the low-speed - profit orientation does not imply automatically that profits will be obtained in the desired volume. Finally, there are works of "elitar", which were originally created "without regard to" on commercial demand, but who eventually brought a gigantic profit to copyright holders.

Heroes in mass literature.

Heroes operate in recognizable social situations and typical environment, facing problems close to the mass reader. It is not by chance that critics say that the massive literature to some extent replenishes the overall fund of artistic humanity.

The design of a positive hero is based on the principle of creating a superman, an immortal, ethical sample. Any feats are subject to a similar hero, he can reveal any crimes and shower any criminal. This is a hero-scheme, a mask hero, usually devoid of not only individual character traits, biographies, but also a name.

Section II "Adventures of Erast Fandorin"

The history of one of the most famous detectives of Russia saw the light relatively recently-first book about Eraste Petrovich Fandorin was published in 1998 in Russia and the last recently in 2015. There are only fourteen "fragments" of this detective mosaic:

1) 1998 - "Azazel"

2) 1998 - "Turkish Gambit"

3) 1998 - Leviathan

4) 1998 - "Death of Achilles"

5) 1999 - "Special orders"

6) 1999 - Stat Counselor

7) 2000 - "Coronation"

8) 2001 - "Lover of Death"

9) 2001 - "Death Lover"

10) 2002 - "Diamond Chariot"

11) 2007 - "Jade Knights"

12) 2009- "Theater Theater"

13) 2012- "Black City"

14) 2015- "Planet Water"

The essence of the work is sufficient simple; The life of a person who works for the state and investigates the most complex and confusing cases. At the same time, it is not monotony, fails with each book we see it developed.

The plot of books is rich in amazing turns, unexpected events are fully changing the state of the main character. In fourteen interrelated works. Boris Akunin managed to fully portray the life of the main character, clearly describe each period of his life intellectual growth and self-development. Also, the author very accurately prescribes his biography in which there are no spaces.

The popularity of Boris Akunin and his books.

(over the past decade 2000-2010)

As the-Village edition writes, one of the largest bookstores "Moscow" on the eve of the New Year has published its own rating of the most purchased authors. It turned out simplified, reflecting only the most massive trends, but at the same time indicative picture. These are precisely those books that most of all bought, which they said, writes Pro-books.ru. True, not all of them will remain in the history of literature.

The most popular books of the decade:

(Only books about Erast Fandorin)

6. Boris Akunin "Diamond Chariot" (19,61 Ex.)

8. Boris Akunin "Lover of Death" (17 561 Ex.)

9. Boris Akunin "Lover of Death" (16,786 Ex.)

16. Boris Akunin "Jade Rosary" (13,315 copies)

(For example, the first three places)

1. Boris Akunin (198,051 Ex.)

2.Polo Coelho (118,723 Ex.)

3.joan Rolling (90 581 Ex.)

The most purchased books of each year:

2001 - Boris Akunin "Lover of Death" (12,065 Ex.)

2002 - Joan Rolling "Harry Potter and Philosopher's Stone" (10 111 copies)

2003 - Paolo Coelho "eleven minutes" (9,745 copies)

2004 - Joan Rolling "Harry Potter and the Order of Phoenix" (7 292 Ex.) 2005 - Oksana Roby "Casual" (8,838 copies)

2006 - Sergec Minaev "Dukhless: a story about an unreal person" (9 463 copies)

2007 - Joan Rolling "Harry Potter and the Deathly Hallows" (5,567 ex.) 2008 - Evgeny Grishkovets "Asphalt" (6,922 copies)

2009 - Boris Akunin "Falcon and Swallow" (4,655 copies)

2010 - Boris Akunin "Theater Theater" (4,710 copies)

The main character

Erast Petrovich Fandorin

Boris Akunin about Erast Fandorina:

"If we talk about the detective components of my books, then I am a follower of Conan Doyle." - B.Akunin.

"In the life of Fandorin's prototypes, I unfortunately do not know.

There are several literature. This, strictly speaking, those predecessors, whom I also took as the basis of this chemical formulas of an absolutely positive hero, from my point of view. Such is impossible to be beautiful, very strong, incredibly noble, mysterious, in which all women fall in love, and it remains cold and indifferent. In the literature, it is probably most likely like Gregory Aleksandrovich PechorinaI, as a character, do not really love, because it is pretty nasty. But he is impressive, beautiful, spectacular man. In terms of speech defects (Fandorin is stuttered), it looks like another my favorite character, on the colonel Nestens from the "White Guard"which, however, did not stutter, and Kartvil, but it does not matter. "

Fandorin's character embodied the ideal of the XIX century aristocrat: nobility, education, devotion, incorposity, loyalty to the principles. In addition, Erast Petrovich is good, he has impeccable manners, he has been successful at the ladies, although always alone, and it is unusually crazy in gambling.

Development of Erast Petrovich Fandorin

for 14 books

(For example, consider the first three and 10th.)

The 1st book of 1998 - "Azazel". About the extraordinary detective of Eraste Fandorin. He is only twenty years old, he is naive luck, fearless (or stupid), noble and attractive. Young Erast Petrovich serves in the police department, on the debt of the service and attendant of the heart investigates an extremely confused case. At the end of the book, he loses his beloved (Elizabeth) and it strongly affects his condition, he becomes closed, harsh, more realistic looks at life, no already former youthful romance.

2nd 1998 - "Turkish Gambit" about the detective of Erast Fandorin. 1877, the Russian Empire participates in the most common Russian-Turkish war. Pava in despair after the death of his beloved, Erast Petrovich goes to the Balkans as a Serbian volunteer. Fandorin participates in the Russian-Turkish war. Silent battles fall out on his share, and captivity (which will adversely affect his reputation in Japan). After the successful completion of the case "Turkish Gambit", Fandorin, despite the dizzying suggestions of the Jeancarm Governance, asks to appoint it to serve "where far away" and receives the appointment of the Secretary of the Embassy of the Russian Empire in Japan.

3rd Leviafan -1998 - 1878. On the way to the place of service, Fandorin revealed a series of mysterious killings that took place in Paris and on the Leviafan passenger ship, was a mimic novel in India with one of the passengers, Clarissa Stump, which caused the delay of his arrival in Japan (his arrival is described in the diamond book The chariot in the volume "between the lines" so immediately to it).

10th 2002 - "Diamond Chariot"

"Catcher Stream" - The action of the first volume "Catcher Stream" begins in 1905, with a meeting with the headquarters of Rybnikov. In the midst of the Russian-Japanese War - in Russia, a network of Japanese agents is very successfully operating, but on the way they are experienced and molded by Erast Petrovich Fandorin.

"Between the lines"- (After events in the book "Leviafan"), the second volume "between the lines" transfers us to Japan in 1878. This is the story of the love of the young diplomat of Erast Fandorin and the fatal beauty Midori - love that changed his whole life.

Now consider the work in which the author

prescribed everything in the most detailed

(biography, mental state)

"Diamond Chariot" Tom "Between Lines"

"Between lines" - 1878 year. Yokohama, Japan. Literally from the first minutes after arriving at the "Country of the Rising Sun", Fandorine again turns out to be involved in political and criminal intrigue, whose participants also become both the most prominent Japanese politicians, and gangsters from Yokohama's Tits, as well as the mysterious Ninja Sybodi. Fandorin acquires friendship and devotion to the former robber Masahiro Siem, whose life and honor (which was valued by Masya more than life) saved the famous Fandorinskaya luck in gambling. Masahiro (Masa) becomes from now on Vasninerina Fandorin and his faithful companion in all adventures. In addition, Erast Petrovich meets the beautiful Kurtizanka O-Yumi (real name Midori). There is a passion between Midori and Fandorin, which, it would seem, managed to melt that crust of ice, which was covered with the heart of Erast Petrovich after the death of Lizonki. The youthful joy of life, which the author described very well through the actions, and Fandorin's thoughts is reversed. Midori turns out to be a daughter of the last chapter of the ancient clan of Sinobi Miyov Tamba. Thanks to Momi, Fandorin meets the skills of Ninja. With the help of Midori, Masy and Tamba Fandorin dismisses the tangle of intrigue and punish the main Akunin (villain). But, according to the fatal coating of circumstances, Midori has to sacrifice his life for the sake of Erast's salvation (as a result, it turns out that it remains alive, and even gave birth to him an extramarital son, but all this will remain forever mystery for Fandorin). After the "death" of Midori Fandorin finally closes his heart and gives all of himself to study the art of "sophisticated" - Syncoti. His mentor becomes Momori Tamba. This period of life Erast Petrovich is covered in the second volume of the novel "Diamond Chariot".

If you compare the novel "Diamond chariot"

with the criteria of mass and elite literature, it can be easily attributed to the elite literature.

But I look the overall picture of a series of detective

romanov "The Adventures of Erast Fandorin".

Therefore, we will pass on the criteria mass and then elite literature.

Criteria of mass literature

(Most of them, unfortunately, does not give a reliable result when applied, especially if the criteria are used separately, and not in the complex):

1- The shortness of glory?; The shortness of glory is the concept of relative, but the first books are well buying for fifteen years. -

2- total accessibility, clearer; Yes, it is so most of the works about Erast Fandorin (especially the first) are available to different ages and segments of the population, regardless of their education. +.

3- Commercialization (Mass literature does not deny the idea of \u200b\u200bprofit as such); Yes, Boris Akunin does not deny what he writes and for the sake of profit. +

4- The absence of high idea, ideological charge in general, entertainment (elite literature also does not always preach high values, while in the mass literature there is a manifestation of certain ideas of philosophical or political nature, which are close to the author); This criterion is very shaky, yes, in most books there are no special intricateness. +.

5- Satisfying the simplest needs; Books about Erast Fandorin satisfy far from only the simplest needs, and they are full. -

6- template (repeatability, recognition, predictability); Works are unpredictable, yes Fandorine wins the final victory, but at the same time he suffers fails loses friends close to. -

7- Poverty of expressive means, limited vocabulary (criterion is not only for translated texts); Many researchers celebrate the postmodernity of the texts of Akunin, its ironic and exquisite game with classical literature. The language of the works of Akunin deserves a separate conversation. Beauty, thin irony, allusions, quotes - all this is an integral component of Akunin texts.

8-in mass literature, as a rule, one can detect essays of public morals, the picture of the life of the city. No, in these books that are unrecognizable to us situations and the situation. -

We had three coincidences with mass literature, out of eight.

Criteria elite literature

1- It is more "long-playing" (longer remains "in the top") the book about Erast Fandorina is very long-playing and many are still included in the top of the most read and sold books of Russia- +

2- It can carry a full-fledged ideological charge-possible, in a detective genre should not look for a serious ideological component. However, it is possible to identify the ideological component characteristic of Japanese culture - this the idea of \u200b\u200blife as a way. In addition, in the works you can meet the arguments of the heroes on philosophical topics: about life and death, about the fate of a person, about the possibility of influenced by the fate and others. Do not forget about the code of the "noble husband" code, with whom Fandorin's actions begins The most raising the problem of justice, conscience, morality and law in their interaction. -, +.

Conclusion

The main way of separating fiction from simply mass literature is to check the time. Belletristism continues to be reprinted after many years, while the mass literature is clearly "tied" to his epoch. All other criteria do not allow you to clearly hold the border. - Well, we can not know now. But I hope that these books will be interesting for the next generations.

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