"Camp" topic in Russian literature of the 20th century. Camp life in Kolyma stories in
One of the innovative and interesting topics in the literature of the 60s was the topic of Stalinist repression. The national tragedy that covers the whole country has determined the development of Russian literature. Talented authors appeared, opposition to the political regime of Stalin. They, in turn, gave rise to such a unique phenomenon as samizdat. Their books were published abroad, attracting the attention of the global community to the danger of totalitarianism, threatening all people. It was the authors of the "camp prose" that made a huge contribution to the debunk of myths about the grace of a big brother and its comprehensive power, punching the way the freedom of thought and words. In order to characterize this difficult phenomenon in Soviet literature, it is necessary to disassemble the list of camp writers and at least approximately know what they wrote about.
V. Shalamov (1907-1982) - a writer of difficult creative fate. He himself passed through the camp shy. He began his creative path as a poet, and at the end of the 50s-kh-60s he turned to prose. In his stories with a sufficient degree of frankness, a camp of life was transferred with which the writer was not familiar to the hell. He knew how to give bright sketches of those years, show images not only the zacks, but also their guards, heads of the camps, where he had to sit. In these stories, terrible camp situations are recreated - hunger, dystrophy, humiliation of people by peeled criminals. In the "Kolyma stories", the collisions are investigated, in which the prisoner "wings" to prostration, before the threshold of non-existence.
The main idea in his stories V. Shalamov - This is not just the transfer of an atmosphere of horror and fear, and the image of people who at that time managed to keep the best human qualities in themselves. They are ready to come to the rescue, because they have the feeling that you are not only a codkin in a huge car of the suppression, but, above all, a person in the soul lives hope.
Zhigulin "Black Stones": summary
The representative of the memoir direction of the "camp prose" was A. Zhigulin. The story of the Zhigulin "Black Stones" is a complex, ambiguous work. The plot of the story "Black Stones" - Documentary-artistic narration of the activities of the CPM (the Communist Party of Youth), which included thirty boys, in a romantic impulse, united for conscious struggle with the cult of Stalin's personality. Composition in the story "Black Stones" Built as the author's memories of his youth. Therefore, in contrast to the works of other authors, there is a lot of so-called "tribal romance." But at the same time Zhigulin managed to accurately convey the feeling of his era. With documentary accuracy, the writer tells how an organization was born, as a consequence was carried out, which represents this system. Zhigulin clearly outlined interrogation:
"The investigation carried out at all ... There were also records in interrogation protocols. It was assumed to write a word into word - as the accused is responsible. But investigators have consistently attached to our answers a completely different color. For example, if I said: "The Communist Party of Youth," the investigator recorded: "Anti-Soviet organization KPM." If I said: "Assembly," the investigator wrote "a gathering"
The author would warn that the main task of the Soviet regime It was "to penetrate the thought", not even born, penetrate and strangle it before birth. Hence the advance cruelty of the self-adjusting system. For the game to the organization, the game is a half-door, but the deadly dangerous for both parties (about what both parties knew) - ten years of a prison-camp nightmare and broken life. So functions the totalitarian system.
Analysis of the story of Vladimov "Raverny Ruslan"
Another bright work on this topic was the story "Ruslan" Vladimov. This work is written on behalf of the dog, specially trained to drive under the convicts, "make a sample" from the same crowd and scold for hundreds of the verso who risked on the escape of the crazy. Dog like a dog. A kind, smart creature, a loving person more than a person himself loves his relatives, and intended by the velaresses of fate, the terms of birth and education of the camp civilization, to bear the duties of the guard, and if you need the executioner.
In the story of Ruslan, one production concern, for which he lives: this is to keep order, elementary order, and the arrestants would preserve the established system. But at the same time, the author emphasizes that he is too kind in nature (bold, but not aggressive), the gentleman, prudent, proud, in the best sense of the word, he is ready for everything for the sake of the owner, even if you even go to death.
But the main idea of \u200b\u200bthe story of Vladim It is just to show: all the best abilities not only a dog, and a person can be directed in evil. The most holy intentions are reincarnated to sinful: the truth is to deceit, good - in anger. Devotion is transformed into the ability to wrap a person, take the hand, beyond the leg, take a sip, risking, if necessary, and its own head, and turn a stupid bunch of "People", "People" in the harmonic stage of the arrestants.
Analysis of the story of Solzhenitsyn "One day Ivan Denisovich"?
The undoubted classic of "camp prose" is A. Solzhenitsyn. His works on this topic appeared on the outcome of thaw, the first of which was the story "one day of Ivan Denisovich". Initially, the story was even called in the camp: "Shch-854. (One day of the Zeka)." The idea of \u200b\u200bthe story "One Day of Ivan Denisovich" In a small "time-space", many human destinies are combined. This is, above all, Kavuratngen, Ivan Denisovich and film director Caesar Markovich. Time (one day), as it would be poured into the space of the camp, in it the writer focused on all the problems of his time, the entire essence of the camp system. The topic of the Gulag also devoted his novels "In the Circle of the First", "Cancer Corps" and a large documentary and artistic study "Archipelago GULAG", in which he proposed his concept and periodization of the terror unfolded in the country after the revolution. This book is based not only on the author's personal impressions, but also on numerous documents and letters of memoirs of prisoners.
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The article was published in the journal "Vestnik Kemerovo State University", Issue No. 2-4 (62) / 2015. Electronic version on the University website.
"Camp prose" in the context of Russian literature of the twentieth century: concept, border, specificity
The study of works belonging to the thematic direction of camp prose are engaged since the late 1980s. The following domestic literary critic: O. V. Vasilyeva, E. Volkova, V. Esipov, L. V. Zheravin, Yu. V. Malova, A. V. Safronov, I. Sukhima, etc., but the unified concept of "camp prose" It was not identified, because in the main object of research, individual authors or works are becoming, without entering the direction as a whole. Therefore, our article is a generalization of various positions to designate borders and filling this definition, as well as identifying specific features of the direction.
In Russia, the camp experience of several generations is not sufficiently comprehended and not going to truly, he is paid not so much attention, as it would like to some researchers. According to E. Mikhailik (Australia), "It seems that the main audience of the camp literature does not want to not only be half alarm, but in general, it is encountered with an indirectly expressed statement that a society, part of which she fell out of history and confused the balance of social connections, and she herself needs ethical and social evolution. " In the western culture of historians, philosophers, philologists appeal to this topic much more often. "So, in the 90s. XX century In France, an independent direction of "aesthetics of disappearance" appeared (and in relation to the texts of the surviving prisoners of the camps - "Aesthetics of Lazari"), designed not to simply analyze the array of artistic statements about the death camps and crimes of fascism, but seeking to comprehend the flexibility of sensuality, which occurred in the middle of the XX century In Europe, survived a catastrophe. " In Poland, they study (including at school) the works of the Polish camp prose, for example, the book "We were in Auschwitz" Tadeusch Borovsky, Christina Olshevskgo and Janusch Nelletsky, published in Munich in 1946. Although the trend towards oblivion is traced in Poland Since in 2015 "Russia did not receive an official invitation to the 70th anniversary of the liberation of Auschwitz from the Polish side: the event was made not state." D. A. Ardamatskaya noted the importance of overcoming the foregoing experience and the inner essence of the writing of the camp prose: "Certificate in itself is the most important component of the reflection of the catastrophic experience resisting historical amnesia." The reflection and memory of the experience becomes the basis for writing works that embody the credential experience of a person in an absurd reality.
Let us dwell on two review articles dedicated to the camp prose. In 1989, the first review article appears by I. dry. He considers the following works: "Kolyma stories" V. T. Shalamov, "Unclean" L. Overson, "Black Stones" A. Zhigulin, "Life and Fate" V. Grossman. All authors belonging to this area, the researcher considers the methods of the "new prose" of V. T. Shalamov, characterizes them as Vergiliev, and the camp itself as hell, the "dead house", denoting the thematic community and philosophical direction: "Deploying as the undispusted autobiographical The story "New Prose" all the time brings to key questions about the nature of man and human. " Walking after V. Shalamov, I. Surahich uses the term "new prose". Researcher Yu. V. Malova approves the beginning of directly the term camp prose in Essay "On Prose" V. Shalamov. In it, the writer uses the phrase "camp theme", then the direction began to refer to the camp prose, possibly in correlation with the concept of a cautious prose.
In Article 1996, O. V. Vasilyev makes an attempt to trace the evolution of the camp theme. For the opening point of the topic, it takes the story of A. Solzhenitsyn "One Day Ivan Denisovich". Next, in a row, it puts V. Shalamov, who "consciously repels" from the predecessor. The researcher considers the narrative of both authors is extremely similar, only focusing the differences in the angle of view on the camp experience: V. Shalamov takes extreme, presenter situations, and Solzhenitsyn - "medium-statistical" camp of political prisoners. " The next stage in the development of the topic - "Ruslan" Vladimova, where the camp is described by the eyes of a guard dog. This author removed the confrontation of the personality and the system, since "the personal beginning of the individual turned out to be so fastened and depressed by the state that the confrontation" person - the state "lost its meaning." Then O. V. Vasilyeva examines the story of S. Relativova "Zone", which in modern literature almost completed the camp theme, uniting and mixing everything related to the camp in the real and artistic world, including the position of their predecessors. In general, it is possible to identify that the researcher notes in all writers: hell and absurd camp reality. But she also notices that, in fact, this direction only confirmed the type of average, the same as in the military and village prose.
In 2006, O. V. Vasilyeva and A. V. Savelyev separately appeal to the topic of the camp in the work of M. Kuraeva (the story "Night Watch", 1988), consider him, following S. Dovlatov, the writer who introduced ironic The comic view of the idea of \u200b\u200bthe person of the Soviet era, disclosing the lightweight method of the tragedy of camp issues. M. Kuraev, in their opinion, also refuses to define a person through the concepts of "bad" and "good", shows its multiplicity: he "created a model of multipolar space-eyed, when perception, evaluation, awareness of any phenomenon depends on the set of reasons: points vision, visual acuity, convictions perceive, his desire, his skills and even - time of day. "
N. V. Ganucuk, studying the work of V. T. Shalamov, denotes the poetics of camp prose as a global, all-life topic: "The writer is considering the camp as a kind of model of human life, when its in-neractic collisions and contradictions are conjected and exacerbated to the extreme limit."
Yu. V. Malova considers the camp prose as a continuation of the tradition of the "cortish prose" of the XIX century, especially relying on the motives of the "Dead House" F. M. Dostoevsky: "Work on the Camps of the XX century. Essoles from the XIX-M in the image of the cortic (camp, links, prisons) as a "dead home", earthly hell. Ehuma responds to the thought of the world of camp (corks, links), the cast of the "free" life of Russia. " Highlights the historicism of this direction.
The continuity of the traditions of the camp prose from the cavalry also considers the researcher A. Yu. Minerals on the example of the reflection of the "Notes from the Dead House" F. M. Dostoevsky and "Sakhalin Islands" A. P. Chekhov in the works of the 20th century.
I. V. Nekrasov, summarizing the experience of researchers in the monograph of 2003, in particular the opinion of D. Lekuha, describes two directions of the camp prose XX century. A. I. Solzhenitsyn is considered the investigator of the "real-historical" direction, the beginning of the second, "existential", the direction was put by B. T. Shalamov. It is distinguished by the "author's desire to explore the" man in the limit situation ". After Shalamov, according to the researcher, the direction continued to S. Dovlatov. "Real-historical looking for a guilt in external: in Bolshevism, in the burning of God, in the distortion of the essence of a person - in any way, just not in itself. The direction existentially finds courage to recognize: Evil has a generation of a person, it is one of the components of its nature "[CIET. by: 18, p. 36]. So D. Shepheus opposes two directions through the definition of a person and his will take responsibility for what is happening to him.
Creativity V. Shalamov and his "new prose" I. V. Nekrasova considers the basis of the "existential" direction. Under the "new prose", the writer himself understood a specific new method of implementing in the artistic form of understanding of life experience, according to N. E. Tarkan, this "documentability associated with psychologism is one of the noteworthy characteristics of the Shalam's stories, which he called the" new "prose "
M. Mikheev's key point of the "new prose" calls the concept of anti-catharsis proposed by it. "The reception consists in an obvious transfer of himself to the reader - to the place of the dead, or rather, to the place of an unnamed" I ", who watched this murder ... The author deliberately affects the feelings of the reader, forcing him to survive for" I "relief - but at the same Time and docks conscience. That is, anti-catharsis is even more burdened experience instead of relief, or new anxiety, anxiety, doubt - related local relief. " We can find examples of anti-catharsis and in the works under consideration. In the cycle "Resurrection of larch" V. T. Shalamov, a bright example is the story "Silence", where the narrator is pleased with silence, which came after the suicide of the annoying sectarian who singer Psalms and hymns. He does not survive the moment of death, she is so common for the heroes of the camp prose, he thinks about the pressing: now he needs to look for a new partner. In the "nomadic to death" V. Maksimova, one of the heroes kills a person to recoup the cards. And for all this is a normal event, the camp murder even became a reason for the hope of "glue" a group business and get a reward to the Opera Zhundan.
A. V. Safronov in Article 2013 considers a number of camp writers from an interesting point of view (I. M. Guberman, D. Yu. Shevchenko, E. V. Limonov), pushing out from the Gulag Archipelago A. Solzhenitsyn. The researcher reveals the features of the journey genre, inherited by the camp prose, starting his row from the "cautious" literature, in particular "Sakhalin Islands" A. P. Chekhov:
"1)" Road "," Path "," Route "in the role of composite dominant - the heroes of" camp prose "in the literal sense to commit a" journey ": to whom in Siberia, who is in the Far East to Solovetsky Islands ...
2) the perception of prison, camp as a special world, an independent state, the "unknown country".
3) the story "On the natives" (prisoners): History, Hierarchy of the National Society, the Gallery of Prison and Camp Types, the study of the causes of crimes; Relationship between "coarse" and "political", aesthetics and vital philosophy; Language, folklore.
A year earlier, the same researcher published a training manual, where a separate chapter is devoted to the camp prose of the 2nd half of the XX century. In this manual there is a definition of the direction: "Under the" camp prose ", we understand the thematic branch (current) of the Russian artistic and documentary prose, which emerged in the Khrushchev Thaw, which was perceived by the traditions of the" cautious prose "of the X1X century., ... Relying on the tradition" Ethnographic realism and journey genre. In relation to the works of these authors, the consumption of the term "essay - a crime" is also possible. "Camp Prose" is represented in the genres of memoirs, diaries, notes, memories, autobiographies. " The emphasis was made precisely on the traditions of the journey and outlines, with which we cannot agree, since, first of all, the camp prose is artistic works. For example, V. Shalamov argued that his stories had nothing to do with the essay: "To the essay, no relation to the prose" cr "does not. Essaying pieces there are inserted for the worst fame of the document, but only in some way every time dated, calculated. - Living life starts on paper in completely different ways than in the sketch. There are no descriptions in "KR", there is no digital material, conclusions, journalism. In the "kr" case in the image of new psychological patterns, in an artistic study of a terrible topic, and not in the form of "information", not as a collection of facts. Although, of course, any fact in the "cr" is irreversible. "
Summarizing key points indicated by researchers who characterize the direction
camp prose and which are also reflected in the works taken by us for analysis.
1. The space of the camp as Hell, the "Dead House", the absurd of the camp reality (O. V. Vasilyeva, Yu. V. Malova, A. Yu. Mineralov, E. Mikhailik, I. dry).
2. New about the person and his behavior (N. V. Ganuschk, E. Mikhailik, I. V. Nekrasova, I. Sukhikh, N. E. Tarkan).
3. Reflection of the principles of "new prose" derived by V. T. Shalamov (I. V. Nekrasova, I. Sukhikh, N. E. Tarkan).
4. Autobiographism (E. Mikhailik, A. V. Safronov, I. dry).
5. Documentality, historicism (Yu. V. Malova, A. V. Safronov, N. E. Tarkan).
6. Author's reflection (D. A. Ardamatskaya).
7. Camp as a special world, island (A. V. Safronov).
Not all of these items have sufficient deployment, for example, many researchers mention the behavior of a person in a camp reality, but do not specify the characteristic features that have been manifested in the camp. Only O. V. Vasilyeva specifically argues that the type of average person is shown in the works of camp prose, since we cannot agree with, as in various works, a person shows different marks. And in the "Resurrection of the larch", the main character who escaped from Hell, writing poems, cannot be considered by the average person. It is also of particular interest to us to deploy the reflexive character of camp prose, which is reflected in the metatext structure of our works. Turning to the following works of camp prose: "Resurrection of larch" (1965 - 1967) V. Shalamov, "Zone" (1964 - 1989) S. Protlatova and "Komochese to death" (1994) V. Maksimova - We allocate the artistic image of the zone embodied by writers with different camp experience. They are written at different times, relate to different literary directions, camp experience is shown from different points of view and in different volumes, but they all belong to the thematic direction of camp prose with characteristic features.
Based on these works, I would like to consider the general moments in more detail: the special space of the camp, the person in the situation of non-vitality, the reflexive nature of the narration.
The camp is another, a separate world, island. Despite the fact that geographically Kolyma - Peninsula and adjoins the continent, in the artistic world of camp prose, it becomes an island separated from the mainland. This is especially brightly manifested in the works of V. Shalamov, which is also noted by some researchers, for example, N. L. Leiderman: "The concentration camp, who embalted the whole country, facing a huge archipelago"; M. Broer: "It is also often called the" island ", and the rest of the" mainland "or" big earth ". There, on the mainland, they live "upstairs", but by analogy, Kolyma is at the very bottom, "in hell". In the story "For writing", the main character is going for
letter sent to him for the first time in 15 years. He gets to the letter for several days, drives 500 km, sells almost all valuable things. And this complex path of the hero does not even freely, then he will have to return back again. In the story "Boris Yuzhanin", the author explains that "the central parts of Russia on the Kolyma is called" the mainland ", although Kolyma is not an island, and the area on the Chukotka Peninsula, - but Sakhalin lexicon, sending only by steamboats, a multi-day sea path - all this creates the illusion of the island . There is no psychologically illusion. Kolyma is an island. It is returned to "Mainland", to "Greater Earth". And the mainland, and the big land is a vocabulary dictionary: magazine, newspaper, book. "
The image of the camp in these works is described as Hell on Earth, which has already been confirmed by some researchers, where the absurdity becomes the norm of existence, and death moves from an existential concept in the united scope. S. D. D. Himself, analyzing his predecessors and their perception of the camp, writes a hiking textbook phrase: "In Solzhenitsyn, a camp is hell. I think hell is we ourselves. " . But in this case, despite the postmodern character of the "zone", laughter and the game and the game, his concept is even more depressing: if hell are we, people, all, then hell is not just a camp, hell is the whole world, besides Hostile: "On both sides of the prohibition, a single and soulless world was spread." "The world in which I got was terrible," repeatedly emphasizes the hero of the "zone". The camp is a system acting not only within a specific zone, but also within the country and the whole world.
The experience of the Hero of Roman V. Maksimova "Koom to Death" is also characteristic of this regard, which all the orders of the world are seen only by the variants of the camp system, in which the warders and prisoners are replaced. The whole world is described as a trap for a person, the power of nature and the universe will take over him, even the "lit camp" looks "like a toy layout, hastily assembled by a random hand." As a result, for the hero, the world is "a huge mousetrap", which slams down, and the only way out of it is death (for a hero - suicide).
In this space, the special psychology of a person, which was in the border, trying to sort out himself. The key is becoming a philosophical understanding of a person in a situation of non-free. V. Shalamov In their essay "About prose", writes that in his stories "show new psychological patterns, a new in the behavior of a person, rendered to the level of the animal - however, animals make out of the best material and no animal transfers those flour as people suffered . New in human behavior, new - despite the huge literature on prisons and conclusion. " In the story "Thermometer of the Grick Logun" V. Shalamov emphasizes that the government is the main criterion of the plant of the human soul: "Power is a plant. Lowned from the chain of the beast, hidden in the soul of man, looking for the greedy satisfaction with his eternal human essence in the beatings, in murder. " Another example is the story of "Protein", where the crowd of people kills the animal just like that, in the animal nature of a person, thirsty of murder.
According to S. Dovlatov, "the evil is determined by the situation, the demand, function of its carrier. In addition, the accident factor. Unsuccessful coincidence. And even - bad aesthetic taste "; "A person changes unrecognizable under the influence of circumstances. And in the camp - especially. " The situation owns a human choice, and evil exists in it always, as well as good. A characteristic example of duality in the "zone" can be considered the situation with one of the characters - the Maloversman Egorov, whose wife could not sleep because of the Lai Watchtail Camp dog. And he just shot Psa. In fact, he committed a murder, guided by the good goal. And the main character itself passes the difficult path in the course of his service in the thieves camp: from the intellectual with a naive book mentality, imbued with romantic motifs, to the previously unprecedented fall (his meeting with a prostitute). In the last novel, he himself turns out to be concluded, becoming prisoners.
I. dry in the monograph dedicated to the creativity of S. Dittalaova, analyzing the idea of \u200b\u200ba person in the "zone", he also says about the previous tradition: "Solzhenitsyn is absolutely sure that a person who preserved God in the soul will lead out any flour, will overcome, will win ... A person can be killed, but can not be broken. " According to V. Shalamov, if "a person still retained something in himself, which means it was just little beat. The enlightenment "Wednesday of the Lady" is transformed from Shalamov to the absolute, slave dependence of a person from totalitarian integer. Therefore, Shalamovsky stories are "notes from the light" of a person who did not break out, did not return from hell. " So, the position of S. Dovictov turns out to be in some ways between two extremes, and "man man ... however, it would be better to express it - Tabula Race. In other words, anything anywhere. "
Of the three writers under consideration by us, the most severe sentence is releging V. Maximov, showing a person in essence weak, helpless in the mousetrap world. It goes on, on the one hand, and it turns out to be similar to S. Dovlatovy, at the moment of determining the essence of a person, depending on the circumstances, in the other - solidarity with V. Shalamov in the powerlessness of culture (civilization), the loss of which is exposed to all the lowland In man. One of the heroes (doctor in the camp) is confident: "Hungry people are all the same, our culture, dear friend, it is so, light make-up on an ordinary monkey, does not withstand the first serious test like snow or rain."
Three writers also combine the motive of creativity, which reflects the reflection on their lives and the history of the country. They interpret not only texts, but also reality, comprehending and experiencing it with artistic images, which allows us to consider these works on the metyText level.
First, all the main characters of our works are writers. Hero V. Shalamov writes poems and is a reflection of the author-Shalamov. He is a poet, poetry become his salvation, care from hell of reality.
The structure of the "zone" initially has a metate-seater character: the hero writer collects its old novels into a single whole, and the text is created as if before our eyes. His hero reflects not only over the past, but in the course of life, which is sometimes reflected in his view of himself from the third party: "When I was beaten about Ropchinskaya ledgery, the consciousness acted almost calmly:" Human beaten boots. He covers ribs and belly. He is passive and tries not to excite the rage masses ... What, however, vile physiognomy! This tatar is visible lead seals ... ". The circle happened terrible things. "
In the "nomadic to death" V. Maksimova, the hero not only reflects over his own life, but is the author of the historical novel about his father and about the history of Russia. The structure itself demonstrates the reception "Text in the text". A. V. Neckykov determines the genre of "nomadic to death" as a "philological novel": "The presence of numerous lyrical deviations in the novel" Mooring to death "and the use of the reception" Roman in Roman ", which allegedly writes the main character, allows us to talk about the importance of the topic creativity, psychology of the creative process, which makes it possible to determine the genre variety of work as a "philological novel".
Secondly, all three works are built as a description of the past through the present, which dictates the reflexiveness of the author's narration. The "resurrection of larch" begins the story of the "trail", where events reflect the last years of the conclusion of V. Shalamov in the camp, and already from this point he considers the path from the very beginning of the arrival at the camp (the story "Ad He"). S. Dovyttova itself the structure of the construction is presented in the form of letters to the publisher with the application Novel about the experience of the overseer in the camp. V. Maksimova Roman was built as a sequence of changing the description of the events of the present and past, intermitted by the insertions of the "novel in the novel" of the hero himself, who writes his novel in front of the reader, and also comments on it.
Thirdly, creativity becomes a decisive vector for the heroes of the works of "camp prose", as well as for the writers themselves who are experiencing a camp period of their lives by incarnation on paper. In the "Resurrection of Larch", only people creative, creating something new, are able to resist the destruction. For Sergey Dovlatova, the camp experience became one of the jogging for the start of writing fate, and his hero across creativity overestimates its vital foundations. For the Hero of the novel "Koom to death", creativity is a profession, it helps him for some time to keep himself, but in the end the hero still chooses death.
We specify, perhaps an incomplete list of writers, the works of which are included in the circle of camp prose: Vladimov, O. Volkov, E. Ginzburg, V. Grossman, S. D. Tovlatov, A. Zhigulin, V. Kress, M. Kuraev, V. E. Maximov, L. Acceleration, A. Sinyavsky, A. I. Solzhenitsyn, V. T. Shalamov.
Based on the analysis of research on camp prose, and works taken by us as an example ("Resurrection of larch" V. Shalamov, "Zone" S. Dovyttov and "Komochese to death" V. Maksimova), as well as comparison of the obtained conclusions, try To define the concept of "camp prose".
So, the camp prose is the thematic direction that manifested in the development of the Russian literary process of the late 50s - 90s. XX century, creating an artistic image of a camp in creative reflection of writers (eyewitnesses, observers from those who did not see at all or studied on archives, memories), with characteristic features inherent in him.
1. Overall topics and issues: prison, zone / camp, system of Gulag as a whole, non-vital, existential motifs, perception of death and life, material and spiritual.
2. The autobiographical nature of the narration, which is due to personal experience of writers.
3. Documentality and connection with the history (camp existed and developed in a certain historical period), but the documentality is more poetic, artistic embodied document about man and its feelings.
4. Specificity of descriptions, domestic perception of reality (as a result of documentary).
5. The artistic image of the camp, recreated in the individually copyright paintings of the world.
6. Special space: camp as an island separated from the mainland, Moscow and free life; The image of the zone as an hell, "Dead Home"; The image of the camp as a short-term existence with inverted value ideas.
7. The special psychology of a person who has been in the border trying to figure out the "new" world order and maintain individual traits, own borders; Philosophical understanding of a person in a situation of non-free.
8. Special author's reflection on text based on its own experience, reflecting psychological and moral changes in the human soul after testing the hell of the camp life.
I would like to note that we do not apply for the unambiguous characteristics we have given, since our material does not fill out the entire direction of camp prose, but many features are reflected in the works and other authors who have not considered by us.
Literature
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8. Dovlatov S. Zone: (notes of the warder) // Dovlatov S. Collected Works: in 4 tons; Cost. A. Yu. Ariav. SPb.: ABC, ABC-Attikus, 2014. T. 2. P. 5 - 196.
9. Zaitseva A. R. Metaphysics of death in prose Varlam Shalamov // Bassetie of the University of Bashkir University. 2005. T. 10. No. 2. P. 67 - 71.
10. Leiderman N. L. "In the Metal Dark Age" (V. Shalamov. "Kolyma stories") // Leiderman N. L. Postrealism: Theoretical Essay. Ekaterinburg, 2005. P. 139 - 174.
11. Text D. "Hell is ourselves ..." // Literary newspaper. 1991. 11 Jan.
12. Maksimov V. E. Komochessia to death // Maksimov V. E. Favorites. M., 1994. P. 523 - 735.
13. Malova Yu. V. The formation and development of the "camp prose" in the Russian literature of the XIX - XX century: author. ... dis. Cand. Philol. science Saransk, 2003.
14. Minerals A. Yu. "Power-camp-camp" plot-figurative tradition in Russian prose XX century. // Bulletin of the Kemerovo State University of Culture and Arts. 2012. No. 18. P. 106 - 112.
15. Mikhailik E. In the context of literature and history // Shalamovsky collection. Vologda: Griffon, 1997. Issue 2. P. 105 - 129.
16. Mikhailik E. not reflected and does not discard the shadows: "closed" society and camp literature // New Literary Review. 2009. No. 100. P. 356 - 375.
17. Mikheev M. About the "new" prose Varlam Shalamov // Questions of literature. M., 2011. Issue. 4. P. 183 - 214.
18. Nekrasova I.V. Fate and creativity Varlam Shalamov: monograph. Samara: Publishing House of the SSPU, 2003. 204 p.
19. Safronov A. V. Genre peculiarity of Russian artistic documentary (essay, memoirs, "camp" prose): educational and methodical manual; Rode. State University. S. A. Yesenin. Ryazan, 2012. P. 49 - 86.
20. Safronov A.V. After the "Archipelago" (poetics of the camp prose of the late XX century) // Bulletin of the Ryazan State University. S. A. Yesenin. 2013. № 3 (40). Pp. 139 - 154.
21. Sukhikh I. Sergey Dovlatov: time, place, fate. SPb.: ABC, 2010. 288 p.
22. Dry I. This topic came. // Star. 1989. No. 3. P. 193 - 200.
23. Tarkan N. E. Features of the poetics of "Kolym Story" V. Shalamov // Problems of Slavic Culture and Civilization: Materials X International. scientific study. conf. May 22, 2008 Ussuriysk, 2008. P. 322 - 326.
24. Tomnova A. Camp Prose: Special Report. Ether from 01/18/15. Access Mode: http://www.vesti.ru/videos/Show/vid/633010/
25. Shalamov V. T. Resurrection of larch // Shalamov V. T. Collected Works: at 6 tons + t. 7, add. T. 2: Essays of the criminal world; Resurrection of larch; Glove, or cr-2; Anna Ivanovna: Piece / Sost. under-goth. text, approx. I. Sirotinskaya. M.: Book Club Books, 2013. P. 105 - 280.
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Starikova Lyudmila Semenovna - applicant of the Department of Journalism and Russian Literature of the 20th century Kemerovo State University, [Email Protected]
* This work is not scientific work, is not a final qualifying work and is the result of processing, structuring and formatting the collected information intended for use as a source of material during self-training work.
Introduction.
Causes of appeal to this topic. Goals and objectives
Main part
Word about writers. The meaning of Solzhenitsyn, Shalamov in the literature and development of the country's social thought.
Fate of the book "One Day Ivan Denisovich"
a) time and space in the artwork;
b) "Camp with the eyes of a man." The role of episodes in the disclosure of the content.
3) V.T.Shalamov. Fate of books
a) the story "Stonnik" Reception of comparison as a means of disclosure of character, human state;
b) the autobiographical nature of the stories.
4) Experience of the relatively comparable nature of the works of Solzhenitsyn and Shalamov
III. Conclusion.
Bibliography
Goals and objectives.
Show the meaning of Solzhenitsyn, Shalamov in the literature and development of the country's social thought.
Show publicism, concerns of stories to the reader.
Analyze individual episodes, their role in the overall content of the narration, compare the characters of the works of Solzhenitsyn and Shalamov: portrait, character, actions ...
On the material of the works of Solzhenitsyn and Shalamov, show the tragic fate of a person in a totalitarian state.
Introduction.
... People of Spirit and Intellect
Must conscious of their independence
and freedom, its definitude from the inside,
but also their social mission
witness serve justice
by the way of his thoughts and creativity.
The future of humanity depends on
Will be connected in the world
Movement spiritual and social,
And the creation is fair and humane ...
K. Berdyaev.
The topic of captivity, is in-law or prison, was not the discovery of the literature of the 20th century. At the origins of this literary tradition - "Notes from the Dead House" F.M.Dostoevsky. But this topic has never occupied such an extensive place in the literary stream. Politics and literature closely walked only in the 20th century.
Now the literature about the camp is enormous the most famous are the works of Solzhenitsyn, Shalamov, Snowdow. I want to stay on the works of two writers - the founders of the camp prose. I wanted to know not only about the literary feat of two writers, but also to imagine the story of this topic, the features of its artistic solutions and places in the spiritual life of our people in the 60s and today.
"Camping Prose" is the term 20th century. "Notes from the Dead House" F.M.Dostoevsky also told about the experience at Katorga, but there was no definition of the "camp". There were no camps as a massive phenomenon - and it is exactly they ask the topic of works.
Main part.
|
Word about writers.
A.I. Solzhenitsyn.
Born in 1918 in Kislovodsk. He graduated from Rostov University. In 1941, he went to the front, in 1945, when he was already the captains arrested (military censorship) opened his letters to a close friend, which contained a negative assessment of Lenin and Stalin. Until 1953, it was kept in the camps of the general and special type.
In 1956, rehabilitated, works as a teacher in Ryazan. In 1962, the "One Day of Ivan Denisovich" was published in the new world magazine. Solzhenitsyn is experiencing an unprecedented creative rise: at the same time begins: "Gulak Archipelago", (materials flock from the former prisoners from all over the country).
In 1964, the writer was nominated to the Lenin Prize, but did not receive it due to changes in the political course. In 1966, the last time was able to publish a story in the Soviet press.
In 1970, Solzhenitsyn was awarded the Nobel Prize, which he could not receive personally.
At that time, a campaign against the writer intensified in the USSR, because He gave permission to publish in Paris "August 14" and later - "Gulak Archipelago", which sets the history of repression in the USSR from 1918.
In 1974, the writer was expelled from the country. For a long time lived and worked in the USA. The restructuring led to the fact that Soviet citizenship was observed in 1990 Solzhenitsyn, and in 1994 he returned to his homeland.
County books "One Day Ivan Denisovich"
"I have not read anything like this for a long time. Nice clean, big talent No false ... "This is the very first impression of A.Ttvardovsky, who read the manuscript of this story. Tvardovsky took incredible efforts to ensure that Solzhenitsyn's story saw the light.
Varlaam Shalamov wrote: "Dear Alexey Isaakovich! I did not sleep for two nights read the story, re-read, remembered ... "
"I was stunned, shocked," Vyacheslav Kondratyev wrote about his impressions. - Once in life so really realized that it can truth ... "
After the 22nd Congress, when N.S. Khrushchev took a "violent attack on Stalin", Solzhenitsyn decided to give the manuscript "Sh-854" so originally called the story in the magazine "New World". This was the work of the Stalin camps for the first time in the Soviet literature.
The story "One Day Ivan Denisovich".
Time and space in a works of art.
Reading the work, I was interested to know about the attitude of the author to my heroes: the author to relate to one heroes with sympathy, to others from irony, to the third with hostility. I decided to think about: what explains the choice of Shukhov on the role of the central hero.
After reading the story, I set a number of questions for myself:
1) What does a person save in inhuman life? (On the example of the camp in which shukhov was concluded)
2) What is the camp life hold? What is generally holding a person in life?
3) What role does the biography of heroes play the story?
4) Kokov moral subtext situation: Shukhov - Caesar.
Analysis of the work
"The camp with the eyes of a man," said Lev Copellev, transmitting the Tvardovsky manuscript Solzhenitsyn. Yes, with the eyes of Shukhov, because the eyes of the Buinovsky or Caesar would see the camp to others. The camp is a special world with your "scenery", with its realities: zone, zone lights, towers, turntables on the knotters, barracks, lining, barbed wire, boring, head of the regime, condo with the output, full Carener, Poski, Black Bush , soldering, bowl with banda, warders, shmond, dogs, column, object, decorator, brigadier ... Solzhenitsyn recreates the details of the camp life: we see what they eat the tags that they smoke, where they get the kennel, as they sleep, what they get Dress up and shovel, where they work, as they say between themselves and as with the authorities, what they think about the will, which is the strongest of all afraid and what they hope. The author writes in such a way that we will learn the life of the ack not from the side, but from the inside, from "Him".
Solzhenitsyn created on the pages of his works the image of a huge impressive power - "Gulag Archipelago". In the documentary film "Chosennik" is shown compiled by Solzhenitsy Map of the GULAG archipelago. In one of her points - the camp "one day ...".
Tvardovsky considered the "successful choice of hero." According to the author, "The image of Ivan Denisovich was formed from Schukhov's soldier who fought with him to the Soviet-German war (and never sitting), the general experience of captives and personal experience of the author in a special camp by Mason. The rest of the faces are all from the camp life, with their genuine biographies. "
Talking about the camp and stagniki, Solzhenitsyn writes not about how they suffered there, but how they managed to survive, retaining themselves as people. Shukhov forever remembered the words of his first brigadier, an old cubberine's old camp wolf: "In the camp, who dies: who is a bowl licking, who hopes for the Sunchast, but who walks to Kum."
In the "one day ..." there are persons about which the author tells with a big sympathy: this is Brigadier Tyurin, Shukhov, Kavo-Rang Buynovsky, Latvian Kildygs, Senka Kleshshin. The writer highlights another hero, not named by name. Total half-foot is a story about a "high silent old man." He was sitting in prisons and camps the uncountal number of years, not a single amnesty touched him. But he did not lose herself.
His face was exhausted, but not before the weakness of the wick-disabled, and to the stone of the darling, dark. And in hand, large, in cracks and black, it was seeing that there was not much fell to him for all the years to sit apart. "
"Stools" - Camping "Aristocrats" - Lakes: Daytime Barack, Dead Decade, "Observer" Skourcotenko, Hairdresser, Accountant, one of the EHF - "The first bastards, who were sitting in the zone, people of these workers believed below shit."
As we see, in the author's characteristics, short, stingy, the moral aspect is very strong. It is especially noticeable in collision scenes: Buynovsky - Volkovka, Brigadier - TURIN - DERESS. The short episodes that reveal the relationships of the zekov are important: Shukhov - Caesar, Shukhov - Senka Kleshshin. To the best pages of the story need to include the episodes that show the 104th Brigade in the work.
The fates of the heroes are convinced that the story of Totalitarianism Solzhenitsyn did not have been conducted since 1937, and from the first post-beater years. This is a camp for the alarms. Annamed "high silent old man" sits from the first Soviet years. The first Brigadier Shukhov - Kurden was arrested in the "Year of the Great Framer", and the last - Tyurin - in 1933, in the "Year of Victory Kolkhoz". The award for courage in German captivity was a ten-year term for Senka Klevel-Tire ... With the Duma about them, from the memories of Solzhenitsyn began work on the main book "Archipelago Gulag", which opened by the initiation:
Dedicate
everyone who did not have enough life
tell about it.
And yes they forgive me,
that I did not see everything
not everyone remembered
not about everyone guessed
Word about writers Varlame Shalamov.
Born in 1907, and Vologda. His father is a man of progressive views, supported links with reference living in Vologda. The youth ideal of the Varlam becomes the sacrifice of their feat, the heroism of the resistance of the entire power of the autocratic state. In 1926, Shalamov comes in Moscow State University at the Faculty of Soviet law, actively participates in rallies, literary disputes, reading poems. On February 19, 1929, Shalamov was arrested for distributing Lenin's will - "Letter to the Congress" - and sentenced to three years of camp. In 1932, it returns to Moscow, it works in magazines. In 1937, he was again arrested and stayed 17 years in Krymsky camps. In July 1956, rehabilitated, returned to Moscow. Writes poems that are published in the "banner", "Moscow", "youth."
His stories about Kolyma Life are not printed, they return, he died in 1982, and did not see his "Kolyma stories" published.
On the fate of the book
Essays from the camp life spread in Samizdat in 1978. In London, there is a separate book by Shalamov's stories. In 1987, the first works from the "Kolyma Notebooks" appear on the Motherland in 1987.
Kolymskaya Epopea V.T.Shalamova includes collections of stories and essays: "Kolyma stories", "Left Bank", "Essays of the Criminal World" ... There is a great work of "anti-grades" in the tragic epic of Kolyma stories there is no fiction.
Story "Slynik" V. Thalamova
It is better to die standing than to live on your knees.
The story "Slynik" was written by the Russian writer Varlam Tikhonovich Shalamov in the fifties of our century, during his residence in Kalinin Koya region, and refers to the cycle "Kolynsky stories". Like many other writers of that time, Var Lam Tikhonovich became a victim of totalitarianism. Endless references, gold peculiarities, taiga business trips, hospital beds ... In 1949, he began to write his works for the first time in Kolyma. In the documentary-philosophical prose, Shalamov expressed the entire long-suffering experience of superhuman tests in Stalin's strict regime camps. Hunger, cold, beatings and humiliation stopped only after in 1956 the writer was rehabilitated. But this event, alas, was not the end of all suffering suffering. As a writer, the author of many deep works, it was awaited by the worst: boycott from various literary publications, complete ignoring creativity. Shalamov's stories did not printed. This was motivated by the fact that they lacked enthusiasm, only one abstract humanism. But how could a person, so much undergoing from this regime, to bring him diffilams? Despite the fact that his stories were constantly returned by the editor, he continued to write. The hardest state of health did not allow it to do it yourself, so he dictated his poems, memories. Only after five years since the death of the writer, in 1987, his first works were published: works from Kolyma notebooks. Among them is a story reviewed by me.
The stabel is a taiga tree, a cedar relative, growing, thanks to his unpretentiousness, on the mountain slopes, clinging to the roots behind the stones. It is noteworthy in what is able to respond to environmental conditions. In the premonition of cooling or snow dropping, it presses against the surface, spreads. This is the literal meaning of the story, his topic. But it seems to me that this tree for Shalamov is not only the weather predictor. He writes that the stabel is the only evergreen tree in these northern edges, the tree of hopes. Strong, stubborn, unpretentious, he is like a person left alone in the fight against the element. In the summer, when other plants are trying to flourish as soon as possible, overtaking in this each other, the stabel, on the contrary, it is immeasured. He is an unshakable ideologist of the struggle, covered by the warm trees of summer, is not amenable to temptation and does not change its principles. He is constantly alert and is ready to sacrifice himself. Isn't it like people? Remember how Boris Pasternak was subjected to? And a little later, already, it would seem, at all at another time, bullying over Andrei Dmitrievich Sakharov? Yes, these people survived, although they were incomprehensible to the majority and rejected. But many others broke under the torment of totalitarian system. Have they been incorrect to their ideals or just too trusting? Maybe they really blew them away and left after themselves only extinct, cold forest?
Shalamov wrote about the stabel like a too trusty tree: It is only worth to divorce the bonfire as he immediately raises his fluffy green branches. The bonfire will go out, and the stabel, distressed with deception, dropped, listed with snow. According to the author, the senses of man are not so sophisticated. But despite this, people are too often deceived. If the tree after that can return to everyday life, then the person is rare. The appearance of a fire in the life of a cedar can be compared in my opinion, with a period of Khrushchev "thaw". How many people then became victims of deception, betrayal!
As Shalamov wrote, a person has only five feelings. Yes, maybe they are not enough to recognize the changes occurring around, but they are quite enough to penetrate those thousands that mastered the writer. After reading the story, I realized what value it has hope for a person, faith in the best. Like a sprout, an evergreen tree, breaking through the blizzard and strups to the sunlight, hope in the human consciousness makes him believe, defend his ideals. No wonder they say that she dies last. In addition, I did not leave the thought about the exorbitant courage of both a lonely taiga tree, and many people fighting for justice. Review is a study containing a critical assessment. My rebellion of course could help me in criticism, but only when I disagree with something. In this, at first glance, an abstract work is contained so much hidden meaning and various arguments with which I just can not argue that I can only fully share my opinion with the author. If the criticism is positive, I managed the review. And finally, I want to say that it would be wonderful if the fire in the soul of each fighter for justice was burning as hot and bright, as well as firewood from a wonderful taiga tree.
Experience of the relatively comparable nature of the works of Solzhenitsyn and Shalamov.
|
Solzhenitsyn A.I. |
Shalamov V. |
|
Solzhenitsyn leads a narrative from the face of the peasant Shukhov, on behalf of a man. In the story of Solzhenitsyn, the image of the author and his hero does not coincide: the shukhov is completely from the other environment (a different social origin, a different life experience), even the camp is not the one in which the author spent the author. Shukhov is portrayed very truthfully: neither in the actions or in gestures, nor in speech will not notice false. Not a representative of the intelligentsia was chosen in heroes (which is the author), and a person from the people. Yesterday, he, Shukhov, torn away from the peasant work, became a soldier, and today divided the camp life with the officer Buynovsky, with the director Caesager Markovich than - anyone could be in the camp. Neither social status, nor a high professional status, nor education. Hero Solzhenitsyn is also a 40-year-old man. He is married, has children, but there is no incomplete in Shukhov. In the camp he did not get out: worried about his comrades, while working he thinks that Senka "was easier", leaves him to get a job, affectionately thinks about the Gopchik, as a son. It is observed, and the observation helps him survive in the zone. Shukhov complies with the unwritten code of moral laws of the camp: does not learn from work, it does not fit, but is rescued with patience, work. There is no heroism in Shukhov, he is the first of many innocently affected victims of state arbitrariness. 4) Camp Moral Shukhov - moral morality. The experience of the camp is the experience of survival, but the hero of Solzhenitsyn remains not broken, but optimistic. Although Shukhov has a lot of tests ahead, but he knows how to survive - and therefore, it will probably survive "the day passed, nothing is not overshadowed, almost happy," he thinks, soon |
1) Shalamov leads the story of the first person, then from the third. 2) Hero Shalamov ordinary camp "Giving", as the main character says, the wife and daughter remained at home, and the fact that I saw - a person does not have to see and do not even know. Hero Shalamov 40 years old. Everything that he dreams - it is to notice to worry, do not work (even the prison is freedom ...) The hero is formed, from the intelligent medium, but the horizon narrowed it, "Nazi dried up" (he tried it many times). He correlates the events of the camp life surrounding his people with the events and characters of classical literature. Shalamov says about his heroes that these are martyrs. Among them, Barbo - the organizer of the Russian Komsomol, Orlov - the former referent Kirov, Fedhein - Chairman of the collective farm, economist - Shaykin ... Chalam Heroes are judged from the position of humanism, aware of what is happening as madness. There are no heroes, criminals, here martyrs. In the stories of Shalamov, life depreciated. Will killed, pride. Friendship is not tied here, because everyone for himself. The spiritual growth of froze at the level of arrest time. According to Shalamov, the camp is the great sample of the moral forces of man, human morality. |
Conclusion.
1) The books of Shalamov, Solzhenitsyn are the books of warning. The monstrous experiment on humanity is not entitled to existence, the totalitarian state regime is terrible and cruel. We must be grateful to people who survived in inhuman conditions and told the world to the truth about political prisoners.
2) Shalamov and Solzhenitsyn is important to make readers by the participants of what is happening here and now, to create an illusion of presence. Attention to man.
The challenge of Shalamov answer the question: Can a person tolerate more than any animal, especially when it comes to 38 years.
3) books of repressed writers perceive as a document created on biographical material. This is a "steep route" E, Ginsburg, "Black Stones" A. Zhigulin. Simultaneously with these works during the years of restructuring, "Children of Arbat" A. Rybakov, "Faculty of unnecessary things" Y.Dombrovsky, "Ruslan" Vladimirov, were published.
And this is not all works. So the topic continues to remain relevant for writers, and for readers.
Bibliography.
A.I. Solzhenitsyn "One day Ivan Denisovich".
V.T.Shalamov "Kolyma stories."
S.Averintsev magazine "New World" 1998. №12.
E.wolkova "Varlam Shalamov: Duel of the word with absurd".
Magazine "Literature Questions" 1997. №6.
N.A. Berdlev "The fate of a person in the modern world"
The magazine "New World" 1990. №1.
A. Tinin "Solzhenitsyn and we"
The magazine "New World" 1990. №1.
Dictionary to this topic.
Totalitarian, - -th; -New, -rn (book.). Founded on the full domination of the state over all parties to the life of society, violence, the destruction of democratic freedoms and personal rights. T. mode. Totalitarian state.
Dictatorship, s, g.
1. State power, providing the complete political domination of a certain class, party, group. Fascist village D. Proletariat (in Russia: the power of the working class proclaimed the Bolshevik party).
2. No limited power resting on direct violence. Military d.
Repression, or, well usually mN. Punitive measure coming from state bodies. Subject to repression. Victims of repression.
Terror, -a m.
1. An intimidation of its political opponents, expressed in physical violence, up to destruction. Political t. Individual t. (single acts of political killings).
2. Hard intimidation, violence. T. Savior.
arr.terrorist, - -th (to 1 meaning). T. act.
GULAG, -A m. Reduction: the main management of the camps, as well as the branched network of concentration camps during mass repression. Prisoners of Gulag.
Zek, -a m. (simple). The same thing that prisoners.
Three stories (which Dina Rubin itself calls small leaders) were written in the first and most difficult decade of emigration. Absolutely different, they have a kind of general sign, as the artist's registered print, is an angel image; Strange, paradoxical, sometimes almost mocking.
"The image of the angel, the literary angel, the guardian angel, just passes and hardly the homeless - one of my totems in prose, very significant for me." So, in the story "The camera runs out!" The guardian angel appears in the image of the camp guard that when trying to heroine to escape "from the zone, called" Life ", grabs it and drags along the life stage.
And in the story "In your gates", the heroine without an angel does not survive: the life of a person growing into a new homeland is dangerous and difficult. That's just there an angel is in the image of carnival, comforting and cheering. The heroine of the High Water Venetians, suddenly, suddenly, at the Border of the Life and Death of the Heroine, settled at the Al Angelo Hotel, which became fateful.
There is, there is one who sends us salvation. Tale of the 90s is amazed by a variety of tonalities and rhythms: lyrical retreats alternate with expressive monologues, rapid Fabul - with philosophical reflections, syncopes of dialects - with the smoothness of the right speech.
Non-day lampada
Boris Shiryaev Biographies and memoirs Classic Russian spiritual proseThe story "Non-day Lampada" is the most significant work of Boris Nikolayevich Shiryaeva, the Russian writer of the second wave of emigration. Once in the Solovetsky camp in the 1920s, B. Shiryaev described the difficult life of his prisoners, full of suffering, deprivation, but at the same time the restless light of hope.
By connecting the stories about the fate of people, Solovetsky legends and camp folklore, the author created the image of the "hidden" Rus, which from the new power of the Bolsheviks left "in the depths", like an ancient citerion. Having gained saving faith in Solovki, the writer retained it forever and devoted her the main book of his life.
Aleksey Ivanov.
In the mirror (collection)
Varlam ShalamovIt seems to us that in the era of the ubiquitous distribution of gadgets and triumph of the creative class, the image of a person in a tag with a camp tag on the background of the highest clocks was irrevocably passed into the past. Katorga, zone, prison - still Russian topics are still.
Eternally relevant, forever bleeding, ever to give birth to a lot of unrequited issues. The hero of Boris Zemtsov's book, falls on the shone in accordance with the Russian saying "From the Sumy, not from prison." This is not a professional criminal, it is an ordinary person, suddenly (in its fault or without guilt), which turned out to be in unusual circumstances.
The rulers are changing, one social formation replaces another, in all directions progress comes, and the position of a person in captivity in Russia, as it was, and remains synonymous with trouble and pain, theme, measurement, where injustice, humiliation, and sometimes deadly danger.
The old folk wisdom about the "SUMU and about prison" does not lose its relevance and in the twenty-first century. How to survive in captivity? How, not just survive, but also to stay with the person? Who do you choose in allies and mentors? How to build relations with those with whom you have to share the space of the capture, and with those who are authorized by the state to provide order on this space? These topics are the main for Boris Zemtsov.
UDC 821.161.1
"Camp prose" in the context of Russian literature of the twentieth century: concept, border, specificity
L. S. Starikova
The "Camp Prose" in the context of the 20th Century:
Concept, Framework, Specificity
The article considers the history of the formation of a submission of camp prose in literary criticism. The definition of this concept and its characteristics, based on the study of creativity of the three works of various writers, are given: "Resurrection of larch" V. T. Shalamov, "Zone" S. D. Dovyttova, "Koom to death" V. E. Maximova. The camp prose is the thematic direction in the Russian literary process of the late 50s - 90s. XX century, creating an artistic image of the camp in the creative reflection of writers (eyewitnesses, observers from those who have not seen at all or studied on archives, memories), which has the following features: common topics and issues related to the existential camp environment; autobiographical character; documentation; historicism; art embodiment of the image of the camp; Special space (closedness, island, blood pressure); Special human psychology, philosophical understanding of a person in a situation of non-volatility; Special author's reflection over the text.
The Paper Describes The History of the Camp Prose in the Scientific Literature. The Definition of this Concept and Its Characteristics Are Presentes, Based On The Study of Three Creative Works of Various Writers: "The Resurrection of the Larch" by VT Shalamov, Zone by SD Dovlatov, "The Nomadism to Death" by Ve Maksimov . The Camp Prose IS A Thematic Direction In The Russian Literature During The Late 1950s - 1990s XX Creating An Artistic Image of the Camp in A Artistic Image of the Camp in A Creative Reflection of Writes (Witnesses, Observers, Those Who Never Saw Camps But Studied the Archives, Memoirs), With The Following Features: Common Themes and Issues Related to Existential Camp Environment; autobiographical character; Documentary; Historicism; ARTISTIC EXPRESSION OF THE IMAGE OF THE CAMP; Special Space (ISOLATION, Island, Hell); Special Human Psychology, Philosophical Understanding of the Human Situation in Captivity; Special Author "s reflection on the text.
Keywords: camp prose, "New Prose", reflexion, metatext, V. Shalamov, S. Dovlatov, V. Maximov.
Keywords: Camp Prose, "New Prose", Reflection, MetaText, Varlam Shalamov, Sergey Dovlatov, Vladimir Maimov.
The study of works belonging to the thematic direction of camp prose are engaged since the late 1980s. The following domestic literary criticism: O. V. Vasilyeva, E. Volkova, V. Esi-Pov, L. V. Zheravin, Yu. V. Malova, A. V. Safronov, I. Diesh, etc., but the uniform concept of "camp Prose "has not been identified, because in the main object of research, individual authors or works are becoming, without entering the direction as a whole. Therefore, our article is a generalization of various positions to designate borders and filling this definition, as well as identifying specific features of the direction.
In Russia, the camp experience of several generations is not sufficiently comprehended and not going to truly, he is paid not so much attention, as it would like to some researchers. According to E. Mikhailik (Australia), "It seems that the main audience of the camp literature does not want to not only be half alarm, but in general, it is encountered with an indirectly expressed statement that a society, part of which she fell out of history and confused the balance of social connections, and she herself needs ethical and social evolution. " In the western culture of historians, philosophers, philologists appeal to this topic much more often. "So, in the 90s. XX century In France, an independent direction of "Aesthetics disappeared
the news "(and in relation to the texts of the surviving prisoners of the camps -" Aesthetics of Lazari "), designed not to simply analyze the array of artistic statements about the deaths of the deaths and crimes of fascism, but seeking to comprehend the breakdown of sensuality, which occurred in the middle of the 20th century in Europe, survived the catastrophe. In Poland, they study (including at school) the works of the Polish camp prose, for example, the book "We were in Auschwitz" Tadeusch Borovsky, Christina Olshevskgo and Janusch Nelletsky, published in Munich in 1946. Although the trend towards oblivion is traced in Poland Since in 2015 "Russia did not receive an official invitation to the 70th anniversary of the liberation of Auschwitz from the Polish side: the event was made not state." D. A. Ardamatskaya noted the importance of overcoming the foregoing experience and the inner essence of the writing of the camp prose: "Certificate in itself is the most important component of the reflection of the catastrophic experience resisting historical amnesia." The reflection and memory of the experience becomes the basis for writing works that embody the credential experience of a person in an absurd reality.
Let us dwell on two review articles dedicated to the camp prose. In 1989, the first review article appears by I. dry. He considers the following works: "Kolyma stories" V. T. Sha
lamova, "Unclean" L. Overson, "Black Stones" A. Zhigulin, "Life and Fate" V. Grossman. All authors belonging to this area, the researcher considers the methods of the "new prose" of V. T. Shalamov, characterizes them as Vergiliev, and the camp itself as hell, the "dead house", denoting the thematic community and philosophical direction: "Deploying as the undispusted autobiographical The story "New Prose" all the time brings to key questions about the nature of man and human. " Walking after V. Shalamov, I. Surahich uses the term "new prose". Researcher Yu. V. Malova approves the beginning of directly the term camp prose in Essay "On Prose" V. Shalamov. In it, the writer uses the phrase "camp theme", then the direction began to refer to the camp prose, possibly in correlation with the concept of a cautious prose.
In Article 1996, O. V. Vasilyev makes an attempt to trace the evolution of the camp theme. For the opening point of the topic, it takes the story of A. Solzhenitsyn "One Day Ivan Denisovich". Next, in a row, it puts V. Shalamov, who "consciously repels" from the predecessor. The researcher considers the narrative of both authors is extremely similar, only focusing the differences in the angle of view on the camp experience: V. Shalamov takes extreme, presenter situations, and Solzhenitsyn - "medium-statistical" camp of political prisoners. " The next stage in the development of the topic - "Ruslan" Vladimova, where the camp is described by the eyes of a guard dog. This author removed the confrontation of the personality and the system, since "the personal beginning of the individual turned out to be so fastened and depressed by the state that the confrontation" person - the state "lost its meaning." Then O. V. Vasilyeva examines the story of S. Relativova "Zone", which in modern literature almost completed the camp theme, uniting and mixing everything related to the camp in the real and artistic world, including the position of their predecessors. In general, it is possible to identify that the researcher notes in all writers: hell and absurd camp reality. But she also notices that, in fact, this direction only confirmed the type of average, the same as in the military and village prose.
In 2006, O. V. Vasilyeva and A. V. Savelyev separately appeal to the topic of the camp in the work of M. Kuraeva (the story "Night Watch", 1988), consider him, following S. Dovlatov, the writer who introduced ironic The comic view of the idea of \u200b\u200bthe person of the Soviet era, disclosing the lightweight method of the tragedy of camp issues. M. Kuraev, in their opinion, also refuses to define a person through the concepts of "bad" and "good", shows its multiplicity: he "created a model of multipolar space-eyed, when perception, evaluation, awareness of any phenomenon depends on the set of reasons: points vision, visual acuity, convictions perceive, his desire, his skills and even - time of day. "
N. V. Ganucuk, studying the work of V. T. Shalamov, denotes the poetics of camp prose as a global, all-life topic: "The writer is considering the camp as a kind of model of human life, when its in-neractic collisions and contradictions are conjected and exacerbated to the extreme limit."
Yu. V. Malova considers the camp prose as a continuation of the tradition of the "cortish prose" of the XIX century, especially relying on the motives of the "Dead House" F. M. Dostoevsky: "Work on the Camps of the XX century. Essoles from the XIX-M in the image of the cortic (camp, links, prisons) as a "dead home", earthly hell. Ehuma responds to the thought of the world of camp (corks, links), the cast of the "free" life of Russia. " Highlights the historicism of this direction.
The continuity of the traditions of the camp prose from the cavalry also considers the researcher A. Yu. Minerals on the example of the reflection of "Notes from the Dead House" F. M. Dostoevsky and "Sakhalin Islands"
A. P. Chekhov in the works of the XX century.
I. V. Nekrasov, summarizing the experience of researchers in the monograph of 2003, in particular the opinion of D. Lekuha, describes two directions of the camp prose XX century. A. I. Solzhenitsyn is considered the investigator of the "real-historical" direction, the beginning of the second, "existential", put the direction
B. T. Shalamov. It is distinguished by the "author's desire to explore the" man in the limit situation ". After Shalamov, according to the researcher, the direction continued to S. Dovlatov. "Real-historical looking for a guilt in external: in Bolshevism, in the burning of God, in the distortion of the essence of a person - in any way, just not in itself. The direction existentially finds courage to recognize: Evil has a generation of a person, it is one of the components of its nature "[CIET. by: 18, p. 36]. So D. Shepheus opposes two directions through the definition of a person and his will take responsibility for what is happening to him.
Creativity V. Shalamov and his "new prose" I. V. Nekrasova considers the basis of the "existential" direction. Under the "new prose", the writer himself understood a specific new method of implementing in the artistic form of understanding of life experience, according to N. E. Tarkan, this "documentability associated with psychologism is one of the noteworthy characteristics of the Shalam's stories, which he called the" new "prose "
M. Mikheev's key point of the "new prose" calls the concept of anti-catharsis proposed by him. "The reception consists in an obvious transfer of himself to the reader - to the place of the dead, or rather, to the place of an unnamed" I ", who watched this murder ... The author deliberately affects the feelings of the reader, forcing him to survive for" I "relief - but at the same Time and docks conscience. That is, Anti-Qatarsis is even more burdened experience instead of relief, or new anxiety, anxiety, doubt - related to local relief. " We can find examples of anti-catharsis and in the works under consideration. In the cycle "Resurrection of larch" V. T. Shalamov a bright example is the story "Silence", where the story is happy with silence,
which came after the suicide of an annoying sectarian, singing psalms and hymns. He does not survive the moment of death, she is so common for the heroes of the camp prose, he thinks about the pressing: now he needs to look for a new partner. In the "nomadic to death" V. Maksimova, one of the heroes kills a person to recoup the cards. And for all this is a normal event, the camp murder even became a reason for the hope of "glue" a group business and get a reward to the Opera Zhundan.
A. V. Safronov in Article 2013 considers a number of camp writers from an interesting point of view (I. M. Guberman, D. Yu. Shevchenko, E. V. Limonov), pushing out from the Gulag Archipelago A. Solzhenitsyn. The researcher reveals the features of the journey genre, inherited by the camp prose, starting his row from the "cautious" literature, in particular "Sakhalin Islands" A. P. Chekhov:
"1)" Road "," Path "," Route "in the role of composite dominant - the heroes of" camp prose "in the literal sense to commit a" journey ": to whom in Siberia, who is in the Far East to Solovetsky Islands ...
2) the perception of prison, camp as a special world, an independent state, the "unknown country".
3) the story "On the natives" (prisoners): History, Hierarchy of the National Society, the Gallery of Prison and Camp Types, the study of the causes of crimes; Relationship between "coarse" and "political", aesthetics and vital philosophy; Language, folklore.
A year earlier, the same researcher published a training manual, where a separate chapter is devoted to the camp prose of the 2nd half of the XX century. In this manual there is a definition of the direction: "Under the" camp prose ", we understand the thematic branch (current) of the Russian artistic and documentary prose, which emerged in the Khrushchev Thaw, which was perceived by the traditions of the" cautious prose "of the X1X century., ... Relying on the tradition" Ethnographic realism and journey genre. In relation to the works of these authors, the consumption of the term "essay - a crime" is also possible. "Camp Prose" is represented in the genres of memoirs, diaries, notes, memories, autobiographies. " The emphasis was made precisely on the traditions of the journey genre and the essay, with which we cannot agree, since, first of all, the camp is artistic works. For example, V. Shalamov argued that his stories had nothing to do with the essay: "To the essay, no relation to the prose" cr "does not. Essaying pieces there are inserted for the worst fame of the document, but only in some way every time dated, calculated. - Living life starts on paper in completely different ways than in the sketch. There are no descriptions in "KR", there is no digital material, conclusions, journalism. In the "kr" case in the image of new psychological patterns, in an artistic study of a terrible topic, and not in the form of "information", not as a collection of facts. Although, of course, any fact in the "cr" is irreversible. "
Summarizing key points indicated by researchers who characterize the direction
camp prose and which are also reflected in the works taken by us for analysis.
1. The space of the camp as Hell, the "Dead House", the absurd of the camp reality (O. V. Vasilyeva, Yu. V. Malova, A. Yu. Mineralov, E. Mikhailik, I. dry).
2. New about the person and his behavior (N. V. Ga Noshchek, E. Mikhailik, I. V. Nekrasova, I. Sukhikh, N. E. Tarkan).
3. Reflection of the principles of "new prose" derived by V. T. Shalamov (I. V. Nekrasova, I. Sukhikh, N. E. Tarkan).
4. Autobiographism (E. Mikhailik, A. V. Safro-Nov, I. dry).
5. Documentality, historicism (Yu. V. Malova, A. V. Safronov, N. E. Tarkan).
7. Camp as a special world, island (A. V. Safro-New).
Not all of these items have sufficient deployment, for example, many researchers mention the behavior of a person in a camp reality, but do not specify the characteristic features that have been manifested in the camp. Only O. V. Vasilyeva specifically argues that the type of average person is shown in the works of camp prose, since we cannot agree with, as in various works, a person shows different marks. And in the "Resurrection of the larch", the main character who escaped from Hell, writing poems, cannot be considered by the average person. It is also of particular interest to us to deploy the reflexive character of camp prose, which is reflected in the metatext structure of our works. Turning to the following works of camp prose: "Resurrection of larch" (1965 - 1967) V. Shalamov, "Zone" (1964 - 1989) S. Protlatova and "Komochese to death" (1994) V. Maksimova - We allocate the artistic image of the zone embodied by writers with different camp experience. They are written at different times, relate to different literary directions, camp experience is shown from different points of view and in different volumes, but they all belong to the thematic direction of camp prose with characteristic features.
Based on these works, I would like to consider the general moments in more detail: the special space of the camp, the person in the situation of non-vitality, the reflexive nature of the narration.
The camp is another, a separate world, island. Despite the fact that geographically Kolyma - Peninsula and adjoins the continent, in the artistic world of camp prose, it becomes an island separated from the mainland. This is especially brightly manifested in the works of V. Shalamov, which is also noted by some researchers, for example, N. L. Leiderman: "The concentration camp, who embalted the whole country, facing a huge archipelago"; M. Broer: "It is also often called the" island ", and the rest of the" mainland "or" big earth ". There, on the mainland, they live "upstairs", but by analogy, Kolyma is at the very bottom, "in hell". In the story "For writing", the main character is going for
letter sent to him for the first time in 15 years. He gets to the letter for several days, drives 500 km, sells almost all valuable things. And this complex path of the hero does not even freely, then he will have to return back again. In the story "Boris Yuzhanin" the author explains that ". The central parts of Russia on the Kolyma is called "the mainland", although Kolyma is not an island, and the area on the Chukotka Peninsula, - but Sakhalin lexicon, sending only by the vapors, a multi-day sea path - all this creates the illusion of the island. There is no psychologically illusion. Kolyma is an island. It is returned to "Mainland", to "Greater Earth". And the mainland, and the big land is a vocabulary dictionary: magazine, newspaper, book. "
The image of the camp in these works is described as Hell on Earth, which has already been confirmed by some researchers, where the absurdity becomes the norm of existence, and death moves from an existential concept in the united scope. S. D. D. Himself, analyzing his predecessors and their perception of the camp, writes a hiking textbook phrase: "In Solzhenitsyn, a camp is hell. I think hell is we ourselves. " . But in this case, despite the postmodern character of the "zone", laughter and the game and the game, his concept is even more depressing: if hell are we, people, all, then hell is not just a camp, hell is the whole world, besides Hostile: "On both sides of the prohibition, a single and soulless world was spread." "The world in which I got was terrible," repeatedly emphasizes the hero of the "zone". The camp is a system acting not only within a specific zone, but also within the country and the whole world.
The experience of the Hero of Roman V. Maksimova "Koom to Death" is also characteristic of this regard, which all the orders of the world are seen only by the variants of the camp system, in which the warders and prisoners are replaced. The whole world is described as a trap for a person, the power of nature and the universe will take over him, even the "lit camp" looks "like a toy layout, hastily assembled by a random hand." As a result, for the hero, the world is "a huge mousetrap", which slams down, and the only way out of it is death (for a hero - suicide).
In this space, the special psychology of a person, which was in the border, trying to sort out himself. The key is becoming a philosophical understanding of a person in a situation of non-free. V. Shalamov In their essay "About prose", writes that in his stories "show new psychological patterns, a new in the behavior of a person, rendered to the level of the animal - however, animals make out of the best material and no animal transfers those flour as people suffered . New in human behavior, new - despite the huge literature on prisons and conclusion. " In the story "Thermometer of the Grick Logun" V. Shalamov emphasizes that the government is the main criterion of the plant of the human soul: "Power is a plant. Lowned from the beast chain hidden in the shower
a person is looking for the greedy satisfaction with his eternal human essence in the beatings, in murder. " Another example is the story of "Protein", where the crowd of people kills the animal just like that, in the animal nature of a person, thirsty of murder.
According to S. Dovlatov, "the evil is determined by the situation, the demand, function of its carrier. In addition, the accident factor. Unsuccessful coincidence. And even - bad aesthetic taste "; "A person changes unrecognizable under the influence of circumstances. And in the camp - especially. " The situation owns a human choice, and evil exists in it always, as well as good. A characteristic example of duality in the "zone" can be considered the situation with one of the characters - the Maloversman Egorov, whose wife could not sleep because of the Lai Watchtail Camp dog. And he just shot Psa. In fact, he committed a murder, guided by the good goal. And the main character itself passes the difficult path in the course of his service in the thieves camp: from the intellectual with a naive book mentality, imbued with romantic motifs, to the previously unprecedented fall (his meeting with a prostitute). In the last novel, he himself turns out to be concluded, becoming prisoners.
I. dry in the monograph dedicated to the creativity of S. Dittalaova, analyzing the idea of \u200b\u200ba person in the "zone", he also says about the previous tradition: "Solzhenitsyn is absolutely sure that a person who preserved God in the soul will lead out any flour, will overcome, will win ... A person can be killed, but can not be broken. " According to V. Shalamov, if "a person still retained something in himself, which means it was just little beat. The enlightenment "Wednesday of the Lady" is transformed from Sha Lamikov to the absolute, slave dependence of a person from totalitarian integer. Therefore, Shalamovsky stories are "notes from the light" of a person who did not break out, did not return from hell. " So, the position of S. Dovictov turns out to be in some ways between two extremes, and "man man ... however, it would be better to express it - Tabula Race. In other words, anything anywhere. "
Of the three writers under consideration by us, the most severe sentence is releging V. Maximov, showing a person in essence weak, helpless in the mousetrap world. It goes further, on the one hand, and it turns out to be similar to S. Dovlatalov at the moment of determining the essence of a person, depending on the circumstances, in the other - solidarity with V. Shala-Mov in the powerlessness of culture (civilization), the loss of which is exposed All lowland in man. One of the heroes (doctor in the camp) is confident: "Hungry people are all the same, our culture, dear friend, it is so, light make-up on an ordinary monkey, does not withstand the first serious test like snow or rain."
Three writers also combine the motive of creativity, which reflects the reflection on their lives and the history of the country. They interpret not only texts, but also reality, comprehending and experiencing it with artistic images, which allows us to consider the data of the work on the metacetical level.
First, all the main characters of our works are writers. Hero V. Shalamov writes poems and is a reflection of the author-Shalamov. He is a poet, poetry become his salvation, care from hell of reality.
The structure of the "zone" initially has a metate-out character: the hero writer collects its old novels into a single whole, and the text is created as if before our eyes. His hero reflexes not only over the past, but also in the process of life, which is sometimes reflected in his opinion on himself from the third party: "When I was beaten near the Ropchinsky Forestry, the consciousness acted almost calmly:" Human beaten boots. He covers ribs and belly. He is passive and tries not to excite the rage masses ... What, however, vile physiognomy! This tatar is visible lead seals ... ". The circle happened terrible things. "
In the "nomadic to death" V. Maksimova, the hero not only reflects over his own life, but is the author of the historical novel about his father and about the history of Russia. The structure itself demonstrates the reception "Text in the text". A. V. Neckykov determines the genre of "nomadic to death" as a "philological novel": "The presence of numerous lyrical deviations in the novel" Mooring to death "and the use of the reception" Roman in Roman ", which allegedly writes the main character, allows us to talk about the importance of the topic creativity, psychology of the creative process, which makes it possible to determine the genre variety of work as a "philological novel".
Secondly, all three works are built as a description of the past through the present, which dictates the reflexiveness of the author's narration. The "resurrection of larch" begins the story of the "trail", where events reflect the last years of the conclusion of V. Shalamov in the camp, and already from this point he considers the path from the very beginning of the arrival at the camp (the story "Ad He"). S. Dovyttova itself the structure of the construction is presented in the form of letters to the publisher with the application Novel about the experience of the overseer in the camp. V. Maksimova Roman was built as a sequence of changing the description of the events of the present and past, intermitted by the insertions of the "novel in the novel" of the hero himself, who writes his novel in front of the reader, and also comments on it.
Thirdly, creativity becomes a decisive vector for the heroes of the works of "camp prose", as well as for the writers themselves who are experiencing a camp period of their lives by incarnation on paper. In the "Resurrection of Larch", only people creative, creating something new, are able to resist the destruction. For Sergey Dovlatova, the camp experience became one of the jogging for the start of writing fate, and his hero across creativity overestimates its vital foundations. For the Hero of the novel "Koom to death", creativity is a profession, it helps him for some time to keep himself, but in the end the hero still chooses death.
We specify, perhaps an incomplete list of writers, the works of which are included in the circle of camp prose: Vladimov, O. Volkov, E. Ginzburg, V. Grossman, S. D. Tovlatov, A. Zhigulin, V. Kress, M. Kuraev, V. E. Maximov, L. Acceleration, A. Sinyavsky, A. I. Solzhenitsyn, V. T. Shalamov.
Based on the analysis of research on camp prose, and works taken by us as an example ("Resurrection of larch" V. Shalamov, "Zone" S. Dovyttov and "Komochese to death" V. Maksimova), as well as comparison of the obtained conclusions, try To define the concept of "camp prose".
So, the camp prose is the thematic direction that manifested in the development of the Russian literary process of the late 50s - 90s. XX century, creating an artistic image of a camp in creative reflection of writers (eyewitnesses, observers from those who did not see at all or studied on archives, memories), with characteristic features inherent in him.
1. Overall topics and issues: prison, zone / camp, system of Gulag as a whole, non-vital, existential motifs, perception of death and life, material and spiritual.
2. The autobiographical nature of the narration, which is due to personal experience of writers.
3. Documentality and connection with the history (camp existed and developed in a certain historical period), but the documentality is more poetic, artistic embodied document about man and its feelings.
4. Specificity of descriptions, domestic perception of reality (as a result of documentary).
5. The artistic image of the camp, recreated in the individually copyright paintings of the world.
6. Special space: camp as an island separated from the mainland, Moscow and free life; The image of the zone as an hell, "Dead Home"; The image of the camp as a short-term existence with inverted value ideas.
7. The special psychology of a person who has been in the border trying to figure out the "new" world order and maintain individual traits, own borders; Philosophical understanding of a person in a situation of non-free.
I would like to note that we do not apply for the unambiguous characteristics we have given, since our material does not fill out the entire direction of camp prose, but many features are reflected in the works and other authors who have not considered by us.
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Starikova Lyudmila Semenovna - applicant of the Department of Journalism and Russian Literature of the 20th century Kemerovo State University, [Email Protected]
Lyudmila S. Starikova - Post-Graduate Student at The Department of Journalism and Russian Literature of the 20th Century, Kemerovo State University.
(Scientific Director: Ashcheulova Irina Vladimirovna - Candidate of Philological Sciences, Associate Professor of the Department of Journalism and Russian Literature of the twentieth century, Kemp.
Research Advisor: Irina V. Ashcheulova - Candidate of Philology, Assistant Professor AT The Department of Journalism and Russian Literature of the 20th Century, Kemerovo State University).