Petrushevskaya time night summary. Time is night
Annotation
The collection of Lyudmila Petrushevskaya includes her new stories and novels, as well as works already known to readers. The heroes of Petrushevskaya are the people we meet at work, ride the subway, live in the same entrance. Each of them is a whole world that fits into one story, and therefore each such story contains the dramatic and emotional charge of the whole novel. Lyudmila Petrushevskaya is the most traditional and most modern phenomenon in our current literature. It is traditional to archaic and modern to shock. The eternal and the momentary are linked in her work, like the root and the leaves.
Lyudmila Petrushevskaya
Lyudmila Petrushevskaya
Time is night
They called me, and a woman’s voice said: “Sorry to bother you, but here after mom,” she paused, “after mom there were manuscripts. I thought maybe you could read it. She was a poet. Of course, I understand you are busy. A lot of work? Understand. Well then, I'm sorry.
Two weeks later, a manuscript arrived in an envelope, a dusty folder with many sheets of paper, school notebooks, even telegram forms. The subtitle is "Notes on the Edge of the Table." No return address, no last name.
He does not know that when visiting, you cannot greedily rush to the mirror and grab everything, vases, figurines, bottles and especially boxes with jewelry. You can't ask for more at the table. He, having come to someone else's house, fumbles everywhere, a child of hunger, finds somewhere on the floor a little car drove under the bed and believes that this is his find, is happy, presses it to his chest, shines and informs the mistress that this is what he has found for himself, and where - drove under the bed! And my friend Masha, it was her grandson who rolled her present, an American typewriter, under the bed, and forgot that she, Masha, rolls out of the kitchen in alarm, her grandson Deniska and my Timochka have a wild conflict. Nice post-war apartment, we came to borrow until retirement, they all already floated out of the kitchen with oily mouths, licking their lips, and Masha had to return for us to the same kitchen and think about what to give us without prejudice. So Denis pulls out the little car, but this one clung to the unfortunate toy with his fingers, and Denis has just an exhibition of these cars, strings, he is nine years old, a healthy watchtower. I tear Tim away from Denis with his typewriter, Timochka is embittered, but they won't let us here anymore, Masha was already thinking when she saw me through the peephole! As a result, I take him to the bathroom to wash, weakened from tears, hysterics in someone else's house! That's why they don't like us, because of Timochka. I behave like an English queen, I refuse everything, from which everything: tea with crackers and sugar! I drink their tea only with my own bread, I pluck it out of the bag involuntarily, because the hunger pangs at someone else's table are unbearable, Tim leaned on crackers and asks if it is possible with butter (the butterdish is forgotten on the table). "And you?" - Masha asks, but it is important for me to feed Timofey: no, thanks, anoint Timochka thicker, would you like Tim, more? I catch the sidelong glances of Deniska, who is standing in the doorway, not to mention his son-in-law Vladimir and his wife Oksana, who has gone down the stairs to smoke, who comes right there to the kitchen, knowing my pain perfectly, and right in front of Tim says (and she looks great), says:
And what, aunt Anya (it's me), does Alena come to see you? Timochka, does your mother visit you?
What are you, Dunechka (this is her childhood nickname), Dunyasha, didn't I tell you? Alena is sick, she constantly has babies.
Mastitis??? - (And it was almost like, from whom is this her breastfed, from whose milk?)
And I quickly, grabbing a few more biscuits, good creamy crackers, take Tim out of the kitchen to watch TV into a large room, let's go, "Good night" soon, although at least half an hour before that.
But she follows us and says that it is possible to declare for Alena's work that the mother abandoned the child to the mercy of fate. Is it me, or what, the mercy of fate? Interesting.
What work, what are you, Oksanochka, she is sitting with a baby!
Finally, she asks, is it, perhaps, from the one that Alena once told her about on the phone, that she didn’t know that it happens and that it doesn’t happen, and she cries, wakes up and cries with happiness? From that? When Alena asked for a loan for a cooperative, but we did not have it, did we change the car and repairs at the dacha? From this? Yes? I answer that I do not know.
All these questions are asked with the aim of not going to them anymore. But they were friends, Dunya and Alena, in childhood, we rested side by side in the Baltic States, I, young, tanned, with my husband and children, and Masha and Dunya, and Masha was recovering after a cruel running after one person, had an abortion from him, and he stayed with his family, not giving up anything, neither Tomik's fashion model, nor the Leningrad Tusya, they were all known to Masha, and I added fuel to the fire: because I was familiar with another woman from VGIK, who was famous for her wide hips and the fact that she later got married, but a summons came to her house from the dermatovenerologic dispensary that she missed another infusion for gonorrhea, and with this woman he broke from the window of his Volga, and she, then student, ran after the car and cried, then he threw an envelope from the window to her, and in the envelope (she stopped to pick it up) there were dollars, but not much. He was a professor on the Leninist subject. And Masha stayed with Duna, and my husband and I entertained her, she languidly walked with us to the tavern, hung with nets, at Majori station, and we paid for her, we live alone, despite her earrings with sapphires. And she, on my plastic bracelet of a simple modern shape, 1 ruble 20 kopecks Czech, said: "Is this a napkin ring?" “Yes,” I said, and put it on my arm.
And time has passed, I'm not talking about how I was fired, but I'm talking about the fact that we were and will be with this Masha at different levels, and now her son-in-law Vladimir is sitting and watching TV, which is why they are so aggressive every evening, because now Deniska will have a struggle with his father to switch to "Good night". My Timochka sees this program once a year and says to Vladimir: “Well, please! Well, I beg you! " - and folds his pens and almost kneels down, it is he who copies me, alas. Alas.
Vladimir has something against Tima, and he is generally tired of Denis like a dog, my son-in-law, I’ll tell you a secret, is clearly running out, is already melting, hence Oksanin’s poisonousness. The son-in-law is also a graduate student on the Leninist topic, this topic sticks to this family, although Masha herself publishes whatever she likes, the editor of the calendar editorial office, where she gave me some money too languidly and arrogantly, although I helped her out by quickly scribbling an article about the bicentennial of the Minsk Tractor Plant, but she wrote me a fee, even unexpectedly small, apparently, imperceptibly for myself, I came forward with someone in co-authorship, with the chief technologist of the plant, as they rely on, because they need competence. Well, then it was so hard that she told me not to appear there for the next five years, there was some remark that what could be the bicentennial of the tractor, in what year was the first Russian tractor produced (rolled off the assembly line)?
As for Vladimir's son-in-law, at the moment described, Vladimir is watching TV with red ears, this time some kind of important match. A typical anecdote! Denis was crying, opened his mouth, sat down on the floor. Timka climbs to help him out to the TV and, clumsy, blindly pokes his finger somewhere, the TV goes out, the son-in-law jumps up with a yell, but I’m ready for everything, Vladimir rushes into the kitchen for his wife and mother-in-law, he didn’t stop himself, thank God, Thank you, I came to my senses, I did not touch the abandoned child. But already Denis drove the alarmed Tim, turned on whatever was needed, and already they were sitting, peacefully watching the cartoon, and Tim was laughing with a special desire.
But not everything is so simple in this world, and Vladimir pounded women thoroughly, demanding blood and threatening to leave (I think so!), And Masha enters with a sadness on her face as a person who has done a good deed and is completely in vain. Behind her is Vladimir with the face of a gorilla. Nice man's face, something from Charles Darwin, but not at such a moment. Something base is shown in him, something despicable.
Then you don't have to watch this movie, they are yelling at Denis, two women, and Timochka has heard enough of these screams ... He just starts to twist his mouth. Nervous tic like that. Shouting at Denis, they shout at us, of course. You orphan, orphan, that's such a lyrical digression. It was even better in the same house, where Tima and I went to see very distant acquaintances, there is no telephone. They came, entered, they are sitting at the table. Tim: "Mom, I want to eat too!" Oh, oh, we walked for a long time, the child is hungry, let's go home, Timochka, I just ask if there is any news from Alena (the family of her former colleague, with whom they seem to call back). A former colleague gets up from the table as in a dream, pours us a plate of fatty meat borscht, oh, oh. We didn't expect this. There is nothing from Alena. - Is she alive? - I didn’t come, there’s no phone at home, and she doesn’t call to work. Yes, and at work a person here and there ... I collect contributions. What is. - Oh, what are you, bread ... Thank you. No, we will not be a second, I see you are tired from work. Well, maybe only Timofeyka. Tim, would you like meat? Only to him, only to him (suddenly I cry, this is my weakness). Suddenly, a shepherd bitch rushes out from under the bed and bites Tim's elbow. Tim screams wildly with his mouth full of meat. The father of the family, also somewhat vaguely reminiscent of Charles Darwin, falls out from the table screaming and threatening, of course, pretending that in ...
From the outside it may seem that there was no night at all - that wonderful night time when everything begins and unfolds so slowly, smoothly and majestically, with great anticipations and expectations of the very best, with such a long, incessant darkness throughout the world - it may seem that there was no such night at all, so everything turned out to be crumpled and consisting of continuously alternating periods of waiting and preparation for the most important thing - and, thus, the precious night time passed, until, kicked out of the same house, the walkers drove in three cars to another house, so that from there, as if frightened, scatter ahead of time to their homes, before dawn, with the only thought to sleep before work, before getting up at seven in the morning - and this is exactly the argument that you need getting up at seven in the morning, and was decisive in the scream that accompanied the expulsion of the walking people from house number one, in which they gathered from eight in the evening to celebrate a big everyday life - defense of the dissertation of Ramazan, the oppressed father of two children.
Thus, it cannot be said that it was precisely the desire to sleep before having to get up at seven in the morning that separated everyone - this consideration, which was so often repeated in the cry of Ramadan's relatives, did not bother anyone and did not settle in anyone's subconscious, so that then, unidentified , to rise from the depths and dispel the warm company that all this long night so fiercely held together, kicked out of one decent family house and flew in three taxis to look for shelter in another house; no, the thought of seven o'clock in the morning would not have stopped anyone, especially since at the moment when it was so often pronounced by Ramadan's relatives, it sounded funny, ridiculous, helpless and smacked of old age and close death, a desire first of all to fall asleep and rest, and all the walkers were full of hopes and a childish desire to unwind, swing all night, talk and dance and drink at least until the morning.
It was this aspiration that caused understandable opposition from Ramadan's relatives, who were forced to accept all this monstrously alien company to them, in which there were drunk people completely unfamiliar to them, so that the head of the house had to restrict the dispensing of alcohol on the table and kept several bottles with him. especially strong drinks, giving a glass to the chosen ones, who have not yet had time to get drunk.
And Ramadan, powerlessly cursing, then yelled that why was it that yesterday, in his defense, someone Pankov stood up all night as he wanted, and no one said a word to him, because it was his night, do you understand? Its night. And right there, sitting Ramazan's wife, quiet and mournful Ira, was pale from humiliation, from shame to take part in all this fuss of Ramazan's relatives and Ramadan himself, from the shame of being exposed to all these people, in front of whom the pale Ramadan was screaming helplessly, that he loves his Irka, from the other end of the table, and shouted that he was sending to well ... all his relatives, who on his night do with him what they want, but they all went to the well ...
At this time, one of the guests of Ramadan, the most drunk and noisy, was already lowered down the stairs and left who knows where, leaving his corduroy jacket on a hanger, because he was forcibly put on a coat right on a festive white shirt, and he did not understand anything, it is obvious that they do with him, and did not say a word that he still had his jacket somewhere here. This guest was also mourned by Ramadan in his mournful speeches, periodically rounded off with the same phrase that he sends everyone to the train ...
Girls' house - 46
OCR David Titievsky: March 2, 2002
"House of Girls": Vagrius; Moscow; 1999
annotation
The collection of Lyudmila Petrushevskaya includes her new stories and novels, as well as works already known to readers. The heroes of Petrushevskaya are the people we meet at work, ride the subway, live in the same entrance. Each of them is a whole world that fits into one story, and therefore each such story contains the dramatic and emotional charge of the whole novel. Lyudmila Petrushevskaya is the most traditional and most modern phenomenon in our current literature. It is traditional to archaic and modern to shock. The eternal and the momentary are linked in her work, like the root and the leaves.
Lyudmila Petrushevskaya
Time is night
They called me, and a woman’s voice said: “Sorry to bother you, but here after mom,” she paused, “after mom there were manuscripts. I thought maybe you could read it. She was a poet. Of course, I understand you are busy. A lot of work? Understand. Well then, I'm sorry.
Two weeks later, a manuscript arrived in an envelope, a dusty folder with many sheets of paper, school notebooks, even telegram forms. The subtitle is "Notes on the Edge of the Table." No return address, no last name.
* * *
He does not know that when visiting, you cannot greedily rush to the mirror and grab everything, vases, figurines, bottles and especially boxes with jewelry. You can't ask for more at the table. He, having come to someone else's house, fumbles everywhere, a child of hunger, finds somewhere on the floor a little car drove under the bed and believes that this is his find, is happy, presses it to his chest, shines and informs the mistress that this is what he has found for himself, and where - drove under the bed! And my friend Masha, it was her grandson who rolled her present, an American typewriter, under the bed, and forgot that she, Masha, rolls out of the kitchen in alarm, her grandson Deniska and my Timochka have a wild conflict. Nice post-war apartment, we came to borrow until retirement, they all already floated out of the kitchen with oily mouths, licking their lips, and Masha had to return for us to the same kitchen and think about what to give us without prejudice. So Denis pulls out the little car, but this one clung to the unfortunate toy with his fingers, and Denis has just an exhibition of these cars, strings, he is nine years old, a healthy watchtower. I tear Tim away from Denis with his typewriter, Timochka is embittered, but they won't let us here anymore, Masha was already thinking when she saw me through the peephole! As a result, I take him to the bathroom to wash, weakened from tears, hysterics in someone else's house! That's why they don't like us, because of Timochka. I behave like an English queen, I refuse everything, from which everything: tea with crackers and sugar! I drink their tea only with my own bread, I pluck it out of the bag involuntarily, because the hunger pangs at someone else's table are unbearable, Tim leaned on crackers and asks if it is possible with butter (the butterdish is forgotten on the table). "And you?" - Masha asks, but it is important for me to feed Timofey: no, thanks, anoint Timochka thicker, would you like Tim, more? I catch the sidelong glances of Deniska, who is standing in the doorway, not to mention his son-in-law Vladimir and his wife Oksana, who has gone down the stairs to smoke, who comes right there to the kitchen, knowing my pain perfectly, and right in front of Tim says (and she looks great), says:
- And what, aunt Anya (it's me), does Alena come to see you? Timochka, does your mother visit you?
- What are you, Dunechka (this is her childhood nickname), Dunyasha, didn't I tell you. Alena is sick, she constantly has babies.
- Chest ??? - (And it was almost like, from whom is this her breastfed, from whose milk?)
And I quickly, grabbing a few more biscuits, good creamy crackers, take Tim out of the kitchen to watch TV into a large room, let's go, "Good night" soon, although at least half an hour before that.
But she follows us and says that it is possible to declare for Alena's work that the mother abandoned the child to the mercy of fate. Is it me, or what, the mercy of fate? Interesting.
- What work, what are you, Oksanochka, she sits with a baby!
Finally, she asks, is it, perhaps, from the one that Alena once told her about on the phone, that she didn’t know that it happens and that it doesn’t happen, and she cries, wakes up and cries with happiness? From that? When Alena asked for a loan for a cooperative, but we did not have it, did we change the car and repairs at the dacha? From this? Yes? I answer that I do not know.
All these questions are asked with the aim of not going to them anymore. But they were friends, Dunya and Alena, in childhood, we rested side by side in the Baltic States, I, young, tanned, with my husband and children, and Masha and Dunya, and Masha was recovering after a cruel running after one person, had an abortion from him, and he stayed with his family, not giving up anything, neither Tomik's fashion model, nor the Leningrad Tusya, they were all known to Masha, and I added fuel to the fire: because I was familiar with another woman from VGIK, who was famous for her wide hips and the fact that she later got married, but a summons came to her house from the dermatovenerologic dispensary that she missed another infusion for gonorrhea, and with this woman he broke from the window of his Volga, and she, then student, ran after the car and cried, then he threw an envelope from the window to her, and in the envelope (she stopped to pick it up) there were dollars, but not much. He was a professor on the Leninist subject. And Masha stayed with Duna, and my husband and I entertained her, she languidly walked with us to the tavern, hung with nets, at Majori station, and we paid for her, we live alone, despite her earrings with sapphires. And she, on my plastic bracelet of a simple modern shape, 1 ruble 20 kopecks Czech, said: "Is this a napkin ring?" “Yes,” I said, and put it on my arm.
And time has passed, I'm not talking about how I was fired, but I'm talking about the fact that we were and will be with this Masha at different levels, and now her son-in-law Vladimir is sitting and watching TV, which is why they are so aggressive every evening, because now Deniska will have a struggle with his father to switch to "Good night". My Timochka sees this program once a year and says to Vladimir: “Well, please! Well, I beg you! " - and folds his pens and almost kneels down, it is he who copies me, alas. Alas.
Vladimir has something against Tima, and he is generally tired of Denis like a dog, my son-in-law, I’ll tell you a secret, is clearly running out, is already melting, hence Oksanin’s poisonousness. The son-in-law is also a graduate student on the Leninist topic, this topic sticks to this family, although Masha herself publishes whatever she likes, the editor of the calendar editorial office, where she gave me some money too languidly and arrogantly, although I helped her out by quickly scribbling an article about the bicentennial of the Minsk Tractor Plant, but she wrote me a fee, even unexpectedly small, apparently, imperceptibly for myself, I came forward with someone in co-authorship, with the chief technologist of the plant, as they rely on, because they need competence. Well, then it was so hard that she told me not to appear there for the next five years, there was some remark that what could be the bicentennial of the tractor, in what year was the first Russian tractor produced (rolled off the assembly line)?
As for Vladimir's son-in-law, at the moment described, Vladimir is watching TV with red ears, this time some kind of important match. A typical anecdote! Denis was crying, opened his mouth, sat down on the floor. Timka climbs to help him out to the TV and, clumsy, blindly pokes his finger somewhere, the TV goes out, the son-in-law jumps up with a yell, but I’m ready for everything, Vladimir rushes into the kitchen for his wife and mother-in-law, he didn’t stop himself, thank God, Thank you, I came to my senses, I did not touch the abandoned child. But already Denis drove the alarmed Tim, turned on whatever was needed, and already they were sitting, peacefully watching the cartoon, and Tim was laughing with a special desire.
But not everything is so simple in this world, and Vladimir pounded women thoroughly, demanding blood and threatening to leave (I think so!), And Masha enters with a sadness on her face as a person who has done a good deed and is completely in vain. Behind her is Vladimir with the face of a gorilla. Nice man's face, something from Charles Darwin, but not at such a moment. Something base is shown in him, something despicable.
Then you don't have to watch this movie, they are yelling at Denis, two women, and Timochka has heard enough of these screams ... He just starts to twist his mouth. Nervous tic like that. Shouting at Denis, they shout at us, of course. You orphan, orphan, that's such a lyrical digression. It was even better in the same house, where Tima and I went to see very distant acquaintances, there is no telephone. They came, entered, they are sitting at the table. Tim: "Mom, I want to eat too!" Oh, oh, we walked for a long time, the child is hungry, let's go home, Timochka, I just ask if there is any news from Alena (the family of her former colleague, with whom they seem to call back). A former colleague gets up from the table as in a dream, pours us a plate of fatty meat borscht, oh, oh. We didn't expect this. There is nothing from Alena. - Is she alive? - I didn’t come, there’s no phone at home, and she doesn’t call to work. Yes, and at work a person here and there ... I collect contributions. What is. - Oh, what are you, bread ... Thank you. No, we will not be a second, I see you are tired from work. Well, maybe only Timofeyka. Tim, would you like meat? Only to him, only to him (suddenly I cry, this is my weakness). Suddenly, a shepherd bitch rushes out from under the bed and bites Tim's elbow. Tim screams wildly with his mouth full of meat. The father of the family, also somewhat vaguely reminiscent of Charles Darwin, falls out from the table screaming and threatening, of course, pretending to be about the dog. That's it, there is no more road for us here, I kept this house in reserve, for a completely extreme case. Now that's all, now, as a last resort, it will be necessary to look for other channels.
Ay, Alena, my distant daughter. I believe that the most important thing in life is love. But why do I need all this, I loved her madly! Madly loved Andryusha! Endlessly.
And now everything, my life is over, although no one gives me my age, one even made a mistake from the back: girl, oh, she says, excuse me, woman, how can we find such and such a back street here? He himself is dirty, sweaty, apparently a lot of money, and looks kindly, otherwise, he says, the hotels are all occupied. We know you! We know you! Yes! Wants to spend the night for free for a pound of pomegranates. And some other small services, but put the kettle on, use up the sheets, put the hook on the door so that you don't beg - everything is calculated in my mind at the first glance. Like a chess player. I'm a poet. Some people like the word "poetess", but look what Marina or the same Anna with whom we are almost mystical namesakes, there are several letters of difference: she is Anna Andreevna, me too, but Andrianovna. When I speak occasionally, I ask you to declare this: the poet Anna - and the name of my husband. They listen to me, these children, and how they listen! I know children's hearts. And he is everywhere with me, Timofey, I am on stage, and he sits down at the same table, by no means in the auditorium. He sits and wrinkles his mouth, my grief, a nervous tic. I joke, pat Tim on the head: “Tamara and I are a couple,” and some idiots organizers begin: “Let Tamarochka sit in the hall,” they don't know that this is a quote from a well-known poem by Agnia Barto.
Of course, Tim replied - I’m not Tamarochka, and closes in on myself, doesn’t even say thank you for the candy, stubbornly climbs on stage and sits down with me at the table, soon no one will invite me to perform because of you, do you understand? An introverted child to tears, a difficult childhood. Silent, quiet child at times, my star, my little baby. A bright boy, he smells of flowers. When I took out his tiny pot, I always told myself that his urine smells like chamomile meadow. His head, when not washed for a long time, his curls smell like phlox. When washed, the entire baby smells unspeakably, fresh baby. Silk legs, silk hair. I don't know anything more beautiful than a child! One fool Galina at our former work said: that would be a bag (fool) made of children's cheeks, an enthusiastic idiot who, however, dreamed of a leather bag, but she also madly loves her son and said at one time, a long time ago, that his ass is so arranged, you can't take your eyes off. Now this ass is regularly serving in the army, it's already over.
How quickly everything fades, how helplessly to look at yourself in the mirror! You are the same, but that's all, Tim: baba, let's go, he tells me immediately upon coming to the performance, he can't stand it and is jealous of my success. So that everyone knows who I am: his grandmother. But what to do, little one, your Anna must earn money (I call myself Anna). For you, an obsessive bastard, and for Baba Sima, thank God, Alena uses alimony, but Andrei needs to be thrown for the sake of his heel (I'll tell you later), for the sake of his life crippled in prison. Yes. Speech is eleven rubles. When and seven. At least twice a month, thanks to Nadechka again, low bow to this wondrous creature. Once Andrei, on my instructions, went to her, took the vouchers and, scoundrel, borrowed ten rubles from the poor! With her sick legless mother! How I then beat my tail and wriggled in agony! I myself, I whispered to her in front of a full room of staff and the same indefinite poets like me, I myself know ... Mother herself has been in the hospital for what year ...
What year? Seven years. Once a week, the flour to visit, everything that I bring, eats immediately greedily in front of me, cries and complains about the neighbors that they eat everything at her place. Her neighbors, however, do not get up, as my older sister told me, where did such complaints come from? Better you don't go, don't mess up the water here for our patients. That was exactly what she put it. Recently I said again, I came with a break of a month due to Tima's illness: do not walk firmly. Firmly.
And Andrey comes to me, demands his own. He's with his wife, so live, I ask. Requires what? Why, I ask, are you pulling from your mother, tearing them away from Sima's grandmother and the baby? To which, to which, he replies, let me rent my room and have so many rubles without you. How is your room, I am amazed again, how is yours, we are registered: Baba Sima, me, Alena with two children and only then you, plus you live with your wife. You are entitled to five meters here. He counts aloud for sure: since a room of fifteen meters costs so many rubles, from somewhere he insists on this crazy figure, divided by three, there will be such and such a sum of thirty-three kopecks. Okay, he agrees, you pay for the apartment, divide it by six and take it away. In total, you owe me exactly one million rubles a month. Now so, Andryusha, in that case, I tell him, I'll file for you for alimony, is it good? In this case, he says, I will inform you that you are already receiving alimony from Timka's dad. Poor! He doesn’t know that I’m not getting anything, but if he knew, if he knew ... Instantly he would go to Alenushka’s job to yell and apply for I don’t know what. Alena knows this argument of mine and keeps away, away, away from sin, and I am silent. Lives somewhere, takes pictures with a child. For what? I can calculate: alimony is so many rubles. As a single mother, this is so many rubles. As a nursing mother, there are still a few rubles from the enterprise for up to a year. How she lives, I can’t put my mind to it. Maybe the father of her baby is paying the rent? She herself, by the way, hides the fact with whom she lives and whether she lives, she only cries, having come almost twice since the time of childbirth. This was Anna Karenina's date with her son, and this was me in the role of Karenin. It was a date due to the fact that I talked to the girls at the post office (one girl of my age) so that they could talk to such and such, let him leave this Timochka's money alone, and the daughter on the day of alimony appeared on the doorstep angry, ahead pushes a red carriage (which means we have a girl, I thought briefly), she herself is spotty again, as in the old days, when a busty shouting aunt fed Timka, and yells: "Gather Timka, I take him to ... her mother." Timochka howled in a thin voice, like a kutenok, I began to very calmly say that she should be deprived of her right to motherhood, how can you throw a child on an old woman like that, and so on. This setera. She: “Timka, we’re going, we’ve gotten sick with this one,” Timka switched to screeching, I just grin, then I say that for the sake of fifty children she’ll hand over to a mental hospital, she: you gave your mother to a mental hospital, and I: “For you and gave it up, for your reason, ”a nod towards Timka, and Timka squeals like a pig, his eyes are full of tears and does not go either to me or to his“ ... her mother, ”but stands, sways. I will never forget how he stood, barely able to stand, a small child, reeling from grief. And this one in a carriage, her stray, also woke up and started screaming, and my busty, broad-shouldered daughter also screams: you don't even want to look at your own granddaughter, but this is for her, this is for her! And, shouting, laid out all the amounts on which she lives. You live here like that, but she has nowhere, she has nowhere! And I calmly, smiling, answered and essentially, that let him pay her, the one who repaired this to her and washed away, apparently, for the second time no one can stand you. She, my mother daughter, grabbed the tablecloth from the table and threw it two meters in front of me, but the tablecloth is not such a thing that it could kill someone, I took the tablecloth away from my face - that's all. And we have nothing on the tablecloth, a plastic tablecloth, no crumbs for you, good, no glass, no iron for you.
It was rush time, the time before my retirement, I get two days later than her alimony. And my daughter chuckled and said that I shouldn't be given these alimony, because they would go not to Tim, but to others - to what others, I cried, raising my hands to the sky, look what we have in our house, half a loaf of nigella and pollock soup ! Look, I screamed, wondering if my daughter had sniffed out anything that I was buying pills for one person with my own money, the code name Friend, comes up to me in the evening at the doorstep of the Central Pharmacy, mournful, handsome, middle-aged, only some kind of face puffy and dark in the dark: "Help, sister, the horse is dying." Horse. What kind of horse? It turned out that among the jockeys, his beloved horse is dying. At these words, he gritted his teeth and grabbed my shoulder heavily, and the weight of his hand pinned me to the place. The severity of the male hand. Bend or plant or lay - as he pleases. But in the pharmacy, according to the horse prescription, the horse dose is not given, it is sent to the veterinary pharmacy, and it is generally closed. And the horse dies. You need at least a pyramidon, in the pharmacy it is, but they give a meager dose. Need help. And like an idiot, as if under hypnosis, I ascended back to the second floor and there I convinced a young saleswoman to give me thirty pills (three kids, grandchildren, lie at home, evening, a doctor only tomorrow, tomorrow there may not be amidopyrine, etc.) and bought on their own. It's a trifle, the money is small, but my Friend did not give it to me either, but wrote down my address, I wait for it from day to day. What was in his eyes, what tears stood without shedding when he bent down to kiss my hand that smelled of vegetable oil: then I specifically kissed it, indeed, vegetable oil - but what to do, otherwise chicks, rough skin!
Horror, the moment comes when you need to look good, and here is vegetable oil, a semi-finished product of disappeared and inaccessible creams! Here and be a beauty!
So, away from the horse, especially since when I gave three leaflets with pills to my greedy, tenacious, swollen sore hand, a ghoul with big ears emerged from somewhere, quiet, mournful, hanging his head in advance, he came up with a wrong step and loomed from behind, interfering our conversation and writing the address on the matchbox with my own pen. The friend just dismissed the ghoul, carefully writing down the address, and the ghoul danced from behind, and after another kiss in vegetable oil, the Friend was forced to retire in favor of the distant horse, but they immediately divided one package, ten, and, bending down, began to bite pills out of a piece of paper. Strange people, is it possible to consume such a horse dose even in the presence of a fever! And that both were sick, I have no doubt about it! And were these pitiful pills that I got from me intended for the horse? Is this not a deception? But it will be revealed when a Friend calls at my door.
So, I cried out: look at whom to spend, - and she suddenly replies, bursting into tears, that at Andrey, as always. Cries jealously for real, like in childhood, well? Will you eat with us? Let's eat. I sat her down, Timka sat down, we dined last, after which my daughter forked out and gave us a little bit of money. Hooray. Moreover, Timka did not go to the carriage even once, and the daughter went with the girl to my room and there, among the manuscripts and books, apparently, opened the stray one and fed it. I looked through the crack, a completely ugly child, not ours, bald, swollen eyes, fat and crying in a different, unusual way. Tim stood behind me and pulled my hand to leave.
The girl, apparently, is their typical deputy director, with whom she was attached, as I learned from the excerpts from her diary. I found where to hide it, on the cabinet under the box! I still wipe the dust off, but she hid it so cleverly that only the search for my old notebooks forced me to radically shovel everything. How many years it has lain! She herself, in each of her parishes, was all worried and climbed the bookshelves, and I was worried if she would take my books for sale, but no. A dozen pieces of the worst news for me!
“Please, no one read this diary even after my death.
Oh Lord, what mud, what mud I plunged into, Lord, forgive me. I have fallen low. Yesterday I fell so terribly, I cried all morning. How scary it is when morning comes, how hard it is to get up for the first time in life from someone else's bed, dress in yesterday's underwear, I rolled my panties into a ball, just pulled on tights and went to the bathroom. He even said "why are you ashamed." What am I ashamed of. What seemed familiar yesterday, his pungent smell, his silky skin, his muscles, his swollen veins, his fur covered with dew drops, his body of an animal, baboon, horse - all this in the morning became alien and repulsive after he said that he apologizes, but at ten in the morning he will be busy, he must leave. I also said that I had to be in one place at eleven, oh shame, shame, I cried and ran into the bathroom and cried there. I cried under the shower, washing my panties, washing my body, which had become a stranger, as if I were watching it in a pornographic picture, my foreign body, inside which some chemical reactions were going on, some kind of mucus was seething, everything was swollen, ached and burned , something happened such that it was necessary to stop, finish, crush, otherwise I would have died.
(My side note: we'll see what happened nine months later.)
I stood in the shower with a completely empty head and thought: everything! He doesn't need me anymore. Where to go? My whole past life was crossed out. I can no longer live without him, but he does not need me. All that remained was to throw myself somewhere under the train. (I found it because of what - AA) Why am I here? He's already leaving. It's good that last night, as soon as I came to him, I called m from him (This is me - A.A) and said that I would be with Lenka and would stay overnight with her, and my mother shouted something encouraging to me like “I know which Lenka’s have, and you don’t have to come home at all” (what I said was this: “What are you, my girl, the child is sick, you’re a mother, how can you”, etc., but she had already hung up in a hurry, saying: "well, bye" and not hearing "what's good here" - AA) all somehow froze over the table, began to think about something, and then, apparently, decided something, but I noticed all this. Maybe I said too bluntly that I would stay with him for the night, maybe it was impossible to say that, but I said just that with a kind of selfless feeling that I was giving him all of me, you fool! (Namely - AA) He stood gloomily with a bottle in his hand, but I didn't care at all. Not only did I lose control of myself, I knew from the very beginning that I would follow this person and do everything for him. I knew that he was the deputy director for science, I saw him at the meetings, and that was all. Nothing of the kind could have entered my head, the more I was shocked when in the buffet he sat down at a table next to me without looking, but after saying hello, a big man and much older than me, his friend sat down with him, a bayun and a fluff, a talker with very good hair and sparse facial hair, weak and light, he raised and grew a mustache and in them he looked like some kind of movie actor like a policeman, but he himself was almost a woman, about whom the laboratory assistants said that he was weird and in the middle of events could suddenly run away into the corner and shout "don't look here." And what this means, they did not explain, they themselves did not know. This talker immediately began to speak to me, and the one who was sitting next to me was silent and suddenly stepped on my foot ... (Note: Lord, whom I raised! it was somehow strange to cough, I woke up, and he just barked: hav! hav! and could not breathe air, it was scary, he exhaled, exhaled, cringed into a ball, became grayish, the air came out of him with this barking, he turned blue and could not breathe, and everything just barked and barked and began to cry from fright. We know this, we went through this, nothing, this is swelling of the larynx and false croup, acute pharyngitis, I experienced this with children, and the first thing: you need to sit down and calm your feet in hot water with mustard and call an ambulance, but all at once If you do not do it, you will not get through to the ambulance, you need a second person, and the second person at this time, see what he writes.) The one who was sitting next to me suddenly stepped on my foot. He stepped on again without looking, but burying himself in a cup of coffee, but with a smile. All the blood rushed to my head, it became stuffy. Two years have passed since the divorce from Sasha, not so many years, but nobody knows that Sasha did not live with me! We slept in the same bed, but he did not touch me! (My comments: this is all nonsense, but I coped with the situation, sat the baby down, began to iron his hands, persuade him to breathe with his nose, well, little by little, well, well, with his nose like this, don't cry, eh, if there was a second person next to him to warm up water! I carried him to the bathroom, literally started boiling water there, began to breathe, he and I got wet in these vapors, and he gradually began to calm down. Sunny! Always and everywhere I was alone with you and I will stay! concerns her personally, but she is a beast when it comes to children! And what does your mother write here? - AA) We slept in the same bed, but he did not touch me! I didn't know anything then. (Commentary: scoundrel, scoundrel, scoundrel! - A.A.) I did not know what and how, and I was even grateful to him that he did not touch me, I was terribly tired with the child, my back always bent over Tim ached, two blood flowed in a stream for a month, I did not ask any girlfriends about anything, none of them had ever given birth, I was the first and thought that it should be so - (comment: stupid you are stupid, I would tell my mother, I would immediately guess that the scoundrel is afraid that she will become pregnant again! - A.A.) - and I thought that this was the way I needed it, that I couldn’t, and so on. He slept next to me, ate (comments are unnecessary - A.A.)
- drinking tea (burping, urinating, picking his nose - A.A.)
- shaved (favorite pastime - A.A.)
- I read, wrote my term papers and laboratory papers, slept again and snored quietly, and I loved him tenderly and faithfully and was ready to kiss his feet - what did I know? What did I know? (have pity on the poor - AA) I knew only one single case, the first time when he invited me to go for a walk in the evening after dinner, the nights were still bright, we walked, walked and went to the hayloft, why did he choose me? During the day we worked in the field, picked up potatoes, and he said “are you free in the evening?”, And I said “I don’t know,” we rummaged at one of the turned up ridge, he with a pitchfork, and I crawled after him in canvas mittens. It was sunny, and my Lenka shouted: "Alena, be careful!" I looked around, a dog was standing next to me and squinting, and something eerie stuck out under his belly. (So, give the girls to work on the collective farm - AA) I jumped back, and Sashka swung his pitchfork at the dog. In the evening we climbed into the hayloft, he got in first and gave me his hand, oh, that hand. I ascended like fluff. And then they sat like fools, I took this hand away from him, no need, that's all. And suddenly someone rustled right next to him, he grabbed me and bent me down, we froze. He covered me as if at the front with his body out of danger so that no one would see me. He protected me as his child. I felt so good, warm and comfortable, I snuggled up to him, this is love, it was already impossible to tear it away. Who was there further rustling, I already did not care, he said that it was a mouse. He tried to persuade me that the pain would pass the next time, do not shout, be silent, you need to gain strength, gain strength, and I just pressed against him with every cell of my being. He climbed into the bloody mess, into rags, as he pumped my blood with a pump, the straw under me was wet, I squeaked like a rubber toy with a hole in my side, I thought that he tried everything in one night, which I read and heard in the hostel from others, but I didn't care, I loved him and pitied him like my son and was afraid that he would leave, he was tired.
(if my son was like that! There are no words - A. A.) -
As a result, he told me that there is nothing more beautiful than a woman. And I could not tear myself away from him, stroking his shoulders, hands, stomach, he sobbed and also pressed against me, it was a completely different feeling, we found each other after separation, we were in no hurry, I learned to respond, I understood that I was leading him in the right direction, he tried to achieve something, looked for it and finally found it, and I was silent, everything
(That's it, stop! As the Japanese poet wrote, a harmonium was brought to the lonely teacher. O children, children, you grow and take care, you live, you endure, the words of one Chalda cleaner in a rest house, she spread the swallow's nest with a stick so that they would not shit on the porch, with a stick I put it in there and beat it, and a chick fell out, quite large)
heart was beating hard, and it was as if he
(stick, stick)
pleasure, that's what it's called
(and can he be a man, the son of the poet Dobrynin said drunk on the phone, breathing heavily as after a fight, can he be a man who is being torn up like a loofah, I don’t know who he had in mind)
- I ask no one to read this
(Children, do not read! When you grow up, then - A. A.).
And then he began to scramble, lay down, clung to, groaning through his teeth, hissed "sss-sss", burst into tears, shook his head ... And he said "I love you." (This is what mankind calls debauchery - AA) Then he rolled in the pale light of morning, and I stood up, like an empty shell of my own, trembling, and on weak cotton feet I picked everything up.
Essay text:
When I got acquainted with the prose of the cruel realism of Lyudmila Petrushevskaya, a particularly strong emotional impression on me was made by the story Time is Night, in which, in my opinion, this tradition of modern literature is very consistently traced.
The work has a frame composition and opens with a short preface, from which we learn the history of the appearance of the main text of the story. The author was reportedly called by a woman asking him to read her mother's manuscript. So before us appears the diary of the poetess Anna Andrianovna, revealing the tragedy of the life of a large family.
In the story Time is Night, we find almost all the main themes and motives that sound in the art of L. Petrushevskaya: loneliness, madness, illness, suffering, old age, death.
At the same time, the method of hyperbolization is used: the extreme degree of human suffering is depicted, the horrors of life are presented in a concentrated form, and many naturalistic-repulsive details arise. Thus, we get the impression of being completely immersed in the insoluble everyday problems of the heroes of the story.
It is to the lyric poet, Time of Night, from my point of view, that can be considered one of the most striking examples of shock prose, as many critics define the work of L. Petrushevskaya.
What is the world of the characters in the story? This is a closed circle of difficult life circumstances: a cramped apartment in which three generations of people live, an unsettled life, social insecurity, the impossibility of obtaining reliable information.
Petrushevskaya shows the living conditions and situations in which the existence of heroes is closed, and in a peculiar way draws signs of these situations: from empty plates, darned linen, half a loaf of nigella and pollock soup to abortions, divorces, abandoned children, crazy old women.
At the same time, it can be noted that the text of Anna Andrianovna's manuscript is extremely physiological, it widely uses vernacular (grab, fumble, poke, poke around, go crazy, snatch, etc.) and even abusive vocabulary (dialogues between the poetess and her daughter, Andrey's remarks) ...
It seemed to me that in the world of the heroes of the story there is no idea of real time. This is where, I think, one of the meanings of the title of this work arises: at night time is not felt, as if it freezes. Anna Andrianovna, and Alena, and Andrei, who live by momentary problems, by everyday ruins, do not feel the time.
On the other hand, night is a time of intense spiritual life, occupied with reflections, recollections, introspection. At night, poetry is written, diaries are kept, as the storyteller does: at night you can be alone with paper and pencil.
From my point of view, the time of night is also a constant feeling by all the characters in the story of longing, depression, spiritual severity, a premonition of new problems and tragedies: Everything hung in the air like a sword, our whole life, ready to collapse. In addition, it seems that the characters are constantly wandering in the dark, moving by touch. Ay, Alena, my distant daughter; My poor, impoverished daughter, ay, and Anna Andrianovna's exclamations, in my opinion, determine the tone of the whole story.
Thus, Petrushevskaya depicts a world in which a person is not aware of the value of his life and the life of other people, even those closest to him. In this work, we observe a terrible state of separation, alienation of loved ones: parents do not need children, and vice versa. So, Anna Andrianovna writes about her children: They did not need my love. Rather, they would have died without me, but at the same time, I personally interfered with them.
Finally, the time of night is a state of unbelief, a world without God. In this case, hell is portrayed as a continuation of life. It is the darkness and darkness of human existence. You can notice the absence of a religious principle in the worldview of all the characters in the story. Only the narrator herself has this idea, and even that is vague and indefinite. And only at the end of the diary she asks everyone for forgiveness and directly addresses God: Lord !!! Save and have mercy!
This state of mind inspires thoughts of hopelessness, the end of existence. My life is over, Anna Andrianovna declares several times. Such reflections vary infinitely and become the theme of the entire story. How quickly everything fades, how helplessly to look at yourself in the mirror! You are the same, but already everything ...; ... how the avalanche began to melt life, the storyteller regrets. She beat her tail and wriggled in agony, so figuratively she defines her position in life.
Who is to blame for this endless suffering? Anna Andrianovna find the simplest explanation: O deceiving nature! Oh great! For some reason she needs this suffering, this horror, blood, stench, sweat, mucus, convulsions, love, violence, pain, sleepless nights, hard work, it seems that everything is fine! But no, and everything is bad again.
It can be noted that the way of presenting events in this work is also typical for the artistic manner of Petrushevskaya. So, in the text of Anna Andrianovna's manuscript, there are often no causal relationships, logical explanations of the characters' actions. It seems to me that this is done on purpose in order to increase the horror of the perception of the events described.
The lack of development of the characters of the story serves the same purpose. For example, we do not know what poems Anna Andrianovna writes. It is difficult to understand who Alena really loves and why she left her son, but she herself is raising two other children. It is not entirely clear why her brother Andrey was in jail.
At the same time, it can be noted that a certain schematism of the characters makes them generalized types, universal images. Before us, for example, the image of an innocent victim appears, in which almost all the heroes of the story find themselves.
So, Andrei is a victim of his truthful, but vulnerable nature, * a sufferer who overshadowed eight friends with his chest. Timothy is a victim of family strife, a diet of hunger, a withdrawn child to tears. Alena is a victim of the unfaithful men who left her. Anna Andrianovna herself is a victim of everyday circumstances and her life views. You can also designate more specific human types: an orphan (Timofey), a mother of a family (Anna Andrianovna and Alena as opposites of this image), a forgiven (Alena), an outcast (Andrey).
This sketchiness also presupposes the ambiguity of the characters, a different understanding of the essence of their characters. For example, who is Alena really a stupid woman and a bad mother? Or an unsatisfied person seeking love and understanding and therefore suffering? Or maybe this is just an adventurer, an irrepressible nature, thirsty for adventure? We cannot unequivocally answer these questions and give an objective assessment of the heroine.
However, the most difficult character in the story seems to me to be the narrator herself. I got the most controversial impression about her. Is this a woman who sacrificed everything for the sake of her family, or an unlucky poetess-graphomaniac (by Alena's definition) who made her children unhappy?
At first, the first definition seems to be true. However, behind the scanty lines of the diary, Anna Andrianovna's second nature also appears: a mentally unbalanced woman, a despotic person who steals and reads her daughter's diaries, eavesdrops on her telephone conversations under the door. She declares this almost with pride: All the news was mine.
The negative attitude of Anna Andrianovna to almost all the other characters in the story is also alarming. This is evident in the way she describes them in her diary. For example, the husband of one familiar with the physiognomy of a gorilla; the designated passer-by is dirty, sweaty; own mother cobra; daughter is a busty noisy aunt; the daughter's friend is a blacksmith with a mustache; the daughter's husband is a scoundrel and a scoundrel.
At the same time, we again have an idea of the circle of life, the recurrence of situations and circumstances. So, Anna Andrianovna's mother called her husband a parasite and a dodger.
The narrator's mental health also raises doubts. So, a strange story with pills for a horse, described by Anna Andrianovna herself, indicates the possible presence of hallucinations in her. On her crazy
the procession is hinting and the orderlies of the psychiatric hospital at the end of the story: you yourself need, you need to go to the madhouse!; Yes, you need a doctor with a syringe!
In general, the theme of illness and madness is typical of L. Petrushevskaya's prose. In the story Time is Night, this theme reaches its ultimate development. Disease is the natural state of heroes. Each of them bears the stamp of not only spiritual suffering, but also physical degeneration. Schizophrenia is the ancestral curse of the entire family. Little Timofey's paternal grandmother and Anna Andrianovna's mother suffer from this disease. Alena is registered at the dispensary.
However, I think that the motive of illness acquires a more philosophical, expansive meaning here: the whole world is spiritually sick, but people do not see and do not understand this. The narrator rightly suggests that there are many more madmen out there, outside the hospital. At the same time, she believes that the main thing in life is love. Anna Andrianovna, paradoxically, loved her unlucky daughter, son, grandson, mother, and explains it in her own way: This is how nature intended, to love.
So, in the story Time for Night, a terrible, suffering, cruel world is shown, the reverse side of human relations is depicted. However, exposing the sinful essence of man, L. Petrushevskaya, like her heroine, nevertheless loved her reader. In my opinion, in this way this unusual writer makes us realize the contradictions of our own life and encourages us to comprehend our position in the world: ... fat, saggy, dirty, come to your senses, people! You are like insects, but you demand love ...
In my opinion, the author has fully succeeded!
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INTRODUCTION
CHAPTER 1. PROSPECTS OF STUDYING LITERARY WORKS THROUGH THE CATEGORY OF ART SPACE AND TIME
1.1 Ideas of M.M. Bakhtin in the study of literary works through the categories of artistic space and time. Chronotope concept
1.2 Structuralist approach to the study of works of art through the categories of space and time
1.3 Ways of studying artistic space and time in the literary experience of V. Toporov, D. Likhachev and others
CHAPTER 2. FEATURES OF SPATIAL-TIME ORGANIZATION OF STORIES BY L. PETRUSHEVSKAYA
2.1 The apartment as the main topos of the living space
2.2 Structure and semantics of natural space
CONCLUSION
REFERENCES
INTRODUCTION
Lyudmila Stefanovna Petrushevskaya is a modern prose writer, poet, playwright. She is on a par with such modern writers as Tatyana Tolstaya, Lyudmila Ulitskaya, Victoria Tokareva, Viktor Pelevin, Vladimir Makanin and others. It stands in the same row - and at the same time stands out in its own way, as something, of course, out of this row, not fitting into any rigid framework and not subject to classification.
The appearance of the first publications by Lyudmila Petrushevskaya caused a sharp rejection of the official criticism. Recognition and fame came to the writer in the second half of the 1980s, after significant changes in the political and cultural life of the country. In 1992, her novel Time for Night was nominated for the Booker Prize. For her literary activity, Petrushevskaya was awarded the International Pushkin Prize, the Moscow-Penne Prize for the book The Ball of the Last Man, and finally, she won the Triumph Prize. Despite all this premium splendor, Lyudmila Petrushevskaya is one of the few Russian prose writers who continue to work without slowing down either the pace or the quality of their writing.
It is important for us that in the center of Petrushev's stories is a person who lives in a special time and space. The writer shows a world far from prosperous apartments and formal receptions. She depicts an awkward life in which there is no meaning. In her stories, she creates an autonomous, existing world according to her own laws, often terrible from the disastrous and hopeless situation within this world of its inhabitants. Accordingly, access to the work of Petrushevskaya through the study of the spatio-temporal paradigms of her artistic world seems to us extremely promising. From all of the above it follows relevance our researchaniya.
The work of the prose writer and playwright Lyudmila Petrushevskaya caused lively controversy among readers and literary critics, as soon as her works appeared on the pages of thick magazines. More than thirty years have passed since then, and during this time numerous interpretations of her work have been published: book reviews, scientific and journalistic articles. In his critical assessments, the writer was destined to go from almost "the ancestor of Russian chernukha" to the recognized classic of literature of recent decades. Despite the recognition that Petrushevskaya received, the controversy around her works, accompanying the writer from the very first publications, continues to this day. The main body of research is magazine and newspaper criticism.
Serious studies of the work of this author appeared relatively recently (1990s - early 2000s), while individual publications began to appear a dozen years earlier, in the late 1980s, after the first works were published. A. Kuralekh A. Kuralekh A. Life and being in the prose of L. Petrushevskaya turned to the study of Petrushevskaya's creativity // Literary Review. - M., 1993. - No. 5. - S. 63 -67. , L. Pann Pann L. Instead of an interview, or the experience of reading L. Petrushevskaya's prose. Far from literary life
metropolis // Star. - SPb., 1994. - № 5. - P. 197 - 202., M. Lipovetsky, Lipovetsky M. Tragedy and you never know what else // New world. - M., 1994. - № 10. - P. 229 - 231., L. Lebedushkina Lebedushkina O. Book of kingdoms and opportunities // Friendship of peoples. - M., 1998. - No. 4. - pp. 199 - 208., M. Vasilyeva M. Vasilyeva It happened // Friendship of peoples. - M., 1998. - № 4. - pp. 208 - 217. et al. In most of the studies, the prose of L. Petrushevskaya is considered in the context of the work of contemporary prose writers such as Y. Trifonov, V. Makanin, T. Tolstaya and others. , and the most researched aspects of the writer's creative heritage include the theme and image of the "little man", the themes of loneliness, death, fate and destiny, the peculiarities of the image of the family, the relationship of a person with the world and some others. It is noteworthy that, although the artistic space and time in the works of L. Petrushevskaya was not specially studied, many critics and scientists pointed out the prospects of studying this particular level of poetics. So, for example, E. Shcheglova in her article "A Suffering Man" talks about the archetypes of Petrushevskaya and focuses on the features of the spatio-temporal paradigm of her artistic world. She writes that the writer, reproducing a mass of the most difficult everyday circumstances, depicts not so much a person, but precisely these circumstances, not so much his soul as his sinful bodily shell. The author of this article notes: “Her man falls into the darkness of circumstances, like a black hole. Hence, apparently, the writer's addiction to accumulation signs these circumstances - from empty plates, holes and all kinds of stains and ending with countless divorces, abortions and abandoned children. Signs reproduced, I must say directly, aptly, fearlessly and exclusively recognizable, since we all live in the same painful and oppressive life, but, alas, rarely reveal something (more precisely, someone) worthwhile after them"[Shcheglova 2001: 45].
Interesting in this direction is the work of N.V. Kablukova "The Poetics of Drama by Lyudmila Petrushevskaya". The researcher notes that the categories of space and time, not only in drama, but also in creativity as a whole, are characterized as follows: “The semantics of artistic space determines the loss of a sense of reality in a person at the end of the Soviet era, leading to the destruction of reality itself; the hierarchy of everyday - social - natural spaces is violated; the values of the material-objective environment in which it would seem that modern man is immersed (a lifeless life) is deformed; fundamental is the unrootedness of a person in modern civilization - movement in the spaces of reality ”[Kablukova 2003: 178]. OA Kuzmenko, studying the traditions of storytelling in the writer's prose, devotes a separate paragraph to the study of “his” and “alien” world in the Petrushevskaya microcosm.
Studying the categories of space and time in the work of a writer, researchers often focus their attention on threshold situations. So M. Lipovetsky in his article "Tragedy and you never know what else" notes that the threshold between life and death is the most stable observation deck of Lyudmila Petrushevskaya's prose. “Its main collisions are the birth of a child and the death of a person, given, as a rule, in inseparable fusion. Even drawing a completely passing situation, Petrushevskaya, firstly, still makes it a threshold, and secondly, inevitably places it in the cosmic chronotope. A typical example is the story "Dear Lady", which, in fact, describes a mute scene of parting of failed lovers, an old man and a young woman: "And then a car, ordered in advance, came, and everything ended, and the problem of her appearance on Earth too late and too early disappeared. him - and everything disappeared, disappeared in the whirl of stars, as if nothing had happened ”” [Lipovetsky 1994: 198].
Literary critics and literary critics quite often in their works turn to the elements of poetics, through which they try to reach both the definition of the ways of depicting the artistic world of Lyudmila Petrushevskaya, and the methods of worldview, comprehending the author's aesthetic position. From our point of view, it is through the categories of artistic space and time that one can understand the artistic world of the writer Petrushevskaya, see the root causes of the tragedies of her hero.
Respectively, novelty our work is determined, firstly, by an attempt to study the features of the artistic world of Petrushevskaya through the categories of artistic space and time on the scale of a special study; secondly, to offer "his" version of the interpretation of the laws of the world of the heroes of L. Petrushevskaya.
Object researches become such works of L. Petrushevskaya as "Own Circle" (1979), "The Way of Cinderella" (2001), "Country" (2002), "To the Beautiful City" (2006) and others, already in the names of which there are images spatially -temporal nature. In addition, in choosing an object, we were guided by the fact that we studied works with the most typical situations that characterize the spatial boundaries of Petrushevskaya's characters, their relationship with the world.
Subject research is the level of spatio-temporal organization of works, i.e. all those elements of the form and content of a work of art that make it possible to reveal the specifics of the writer's artistic world in this aspect.
Target the work consists in identifying the features of the spatio-temporal organization of the artistic world in the stories of L. Petrushevskaya. To achieve the goal, it is necessary to solve the following tasks:
· As a result of the analysis to reveal the peculiarities of the organization of artistic space and time in the works of L. Petrushevskaya - the stories "Country", "The Way of Cinderella", "Happy End", etc .;
· Describe the semantics of the main chronotopes in the stories of L. Petrushevskaya;
· To consider the specifics of artistic space and time, which are the basis of L. Petrushevskaya's world modeling.
Theoretical and methodological basis This research is mainly composed of the works of M.M. Bakhtin, Yu.M. Lotman, D.S. Likhachev, V.N. Toporov, in which general theoretical and methodological issues of the study of artistic space and time, as well as studies of domestic critics and literary critics are considered dedicated to the work of L. Petrushevskaya and writers of her generation (M. Lipovetsky, A. Kuralekh, L. Lebedushkina, etc.)
We consider the main methods of our research to be systemic-holistic, structural, textological and comparative-typological approaches; in the process of work, we use elements of motivational analysis.
Practical value The work consists in the possible application of the research results obtained in the professional activity of a language teacher in lessons and optional classes in Russian literature of the twentieth century.
Approbation results were carried out at the "Mendeleev Readings" (2010), the material of this work was published in a collection of student scientific papers, and was also used during state practice in the preparation and conduct of extracurricular activities in literature (grade 10).
Work structure... The final qualifying work consists of an Introduction, two chapters, a Conclusion and a list of used literature (51 titles), an Appendix, where it is proposed to develop an extracurricular reading lesson for students in grade 11.
CHAPTER 1. PROSPECTS OF STUDYING LITERARY WORKS THROUGH THE CATEGORY OF ART SPACE AND TIME
As you know, in every work of literature through the external form (text, speech level), the internal form of the work is created - the artistic world existing in the minds of the author and the reader, reflecting real reality through the prism of creative intention (but not identical to it). The most important parameters of the inner world of a work are artistic space and time.
The interest of literary scholars in the categories of space and time at the beginning of the twentieth century was natural. By that time, the "theory of relativity" of A. Einstein had already been formed, not only scientists, but also philosophers became interested in this problem. It is important to note that interest in the categories of space and time was due not only to the development of science and technology, discoveries in physics, the emergence of cinema, etc., but also to the actual fact of the existence of man in the world, which has an extension in space and time.
Interest in these categories in the perspective of cognition of artistic culture arises gradually. In this regard, the works of philosophers and art critics were of great importance (for example, the book by PA Florensky "Analysis of spatiality and time in works of art", 1924/1993). The fundamental ideas in the study of these categories as elements of the poetics of works of art are developed by M.M. Bakhtin. He also introduces the term "chronotope" into scientific circulation, denoting the interconnection of artistic space and time, their "cohesion", mutual conditioning in a literary work.
In the 60s and 70s. In the twentieth century, the interest of literary critics in the problem is growing, representatives of various schools and traditions are engaged in it. For example, in the mainstream of structuralism, Yu.M. Lotman. Special sections on the nature of artistic space and time appear in the book by D.S. Likhachev on the poetics of ancient Russian literature. Toporov V.N., M.M. Steblin-Kamensky, A.M. Pyatigorsky. The tendency to interpret spatio-temporal paradigms through myth is also characteristic of V.E. Miletinsky, who continues the mythopoetic tradition.
In modern research, the ideas of M.M. Bakhtin are actively used (his "chronotope" has gained extreme popularity), Lotman's experience of studying literary texts through the category of artistic space, and an approach to studying the spatio-temporal features of the artistic world in line with mythopoetics is also widespread.
1.1 Ideas of M.M. Bakhtin in the study of literary works through the categories of artistic space and time. Chronotope concept
For M.M. Bakhtin's spatial and temporal representations, captured in a work of art, constitute a kind of unity. The essential interconnection of temporal and spatial relations, artistically mastered in literature, M.M. Bakhtin called it "chronotope" (which literally means "time-space"). This term is used in mathematical natural science, and was introduced and substantiated on the basis of Einstein's theory of relativity. The scholar transferred it to literary criticism almost as a metaphor; the expression of the continuity of space and time (time as the fourth dimension of space) is significant in it. The chronotope is understood by him as a formally meaningful category of literature.
In the literary and artistic chronotope, spatial and temporal signs merge into a meaningful and concrete whole.: “Time here thickens, becomes denser, becomes artistically visible; space is intensified, drawn into the movement of time, plot, history. Signs of time are revealed in space, and space is comprehended and measured by time ”[Bakhtin 2000: 10].
Chronotop, according to M.M. Bakhtin, performs a number of important artistic functions. So, it is through the image in the product of space and time the epoch becomes visual and plot-oriented, which the artist comprehends aesthetically, in which his heroes live. At the same time, the chronotope is not focused on adequately capturing the physical image of the world, it is person-oriented: it surrounds the person, reflectsahis connections with the world, often refracts in himself the spiritual movements of the PersianOpressing, becoming an indirect assessment of the right or wrong choice,andwhat the hero wants to know, whether or not his litigation with theandthe attainability, attainability or unattainability of harmony between personalOstew and peace. Therefore, separate spatio-temporal images and chronotopes of works are always carried in self value sense.
Each culture understood time and space in its own way. The nature of artistic space and time reflects those ideas about time and space that have developed in everyday life, in science, in religion, in the philosophy of a particular era. M. Bakhtin investigated the main typological spatio-temporal models: chronicle chronotope, adventurous, biographical, etc. In the character of the chronotope, he saw the embodiment of types of artistic thinking. Thus, according to Bakhtin, traditionalist (normative) cultures are dominated by an epic chronotope, transforming the image into a complete and distant legend from modernity, while in innovative and creative (non-normative) cultures, a novel chronotope dominates, focused on living contact with an unfinished, becoming reality. About this M.M. Bakhtin writes in detail in his work "Epic and Novel".
According to Bakhtin, the process of mastering the real and historical chronotope in literature was complicated and intermittent: they mastered some certain aspects of the chronotope that were available in given historical conditions, only certain forms of artistic reflection of the real chronotope were developed. Bakhtin examines several of the most important chronotopes of novels: the chronotope of the meeting, the chronotope of the road (path), the threshold (the sphere of crises and fractures) and the adjacent chronotopes of the staircase, front hall and corridor, street, castle, square, and the chronotope of nature.
Consider the chronotope of the meeting. This chronotope is dominated by a temporal tone, and it is distinguished by a high degree of emotional-value intensity. The associated chronotope of the road has a wider volume, but somewhat less emotional and value intensity. Meetings in the novel usually take place on the "road." The "road" is a prime location for casual encounters.
On the road ("high road"), the spatial and temporal paths of the most diverse people intersect at one point in time and space - representatives of all classes, states, religions, nationalities, and ages. Here you can accidentally meet those who are normally separated by social hierarchy and spatial distance, here any contrasts can arise, different destinies can collide and intertwine. This is the tying point and the place of events. Here time, as it were, flows into space and flows through it, forming roads.
The metaphorization of the path-road is varied: "life path", "embark on a new road", "historical path", but the main pivot is the flow of time. The road is never just a road, but always either for everyone or part of a life path; the choice of the road is the choice of the life path; the crossroads are always a turning point in the life of a folklore person; leaving home on the road with returning home - usually age stages of life; road signs are signs of fate [Bakhtin 2000: 48].
According to M. Bakhtin, the road is especially beneficial for depicting an event controlled by chance. This makes clear the important plot role of the road in the history of the novel.
The chronotope of the threshold is imbued with a high emotional-value intensity; it can be combined with the motive of the meeting, but its most essential replenishment is the chronotope of the crisis and the turning point in life. The very word "threshold" already in speech life (along with its real meaning) acquired a metaphorical meaning and was combined with the moment of a turning point in life, a crisis, a life-changing decision (or indecision, fear of crossing the threshold).
Against the background of this general (formal-material) chronotopicity of the poetic image, as an image of temporary art, depicting a spatial-sensory phenomenon in their movement and formation, the peculiarity of genre-typical plot-forming chronotopes is clarified. These are specific romance-epic chronotopes that serve to master the real temporal reality, allowing the essential moments of this reality to be reflected and introduced into the artistic plane of the novel.
Each large significant chronotope can include an unlimited number of small chronotopes: each motif can have its own specific chronotope.
Within one work and within the creativity of one author, following Bakhtin, we can observe many chronotopes and relationships between them specific to a given work or author. Chronotopes can turn on each other, coexist, intertwine, change, compare, contrast, or be in more complex relationships. The general nature of these relationships is dialogical, but this dialogue is outside the world depicted in the work, although not outside the work as a whole. He enters the world of the author and the world of readers. And these worlds are also chronotopic.
The author is a person who lives his own biographical life, he is outside the work, we meet him as a creator in the work itself, but outside the depicted chronotopes, but as if on a tangent to them. The author-creator moves freely in his time: he can start his story from the end, from the middle and from any moment of the depicted events, without destroying the objective course of time in the depicted event.
The author-creator, being outside the chronotopes of the world he depicts, is not just outside, but, as it were, on a tangent to these chronotopes. He depicts the world either from the point of view of the hero participating in the depicted event, or from the point of view of the narrator, or a dummy author, or leads the story directly from himself as a purely author.
The considered chronotopes can be the organizational centers of the main plot events of the novel. In the chronotope, plot knots are tied and untied, they belong to the main plot-forming meaning.
Along with this, chronotopes have a pictorial meaning. Time takes on a sensually visual character in them; plot events in the chronotope are concretized, overgrown with flesh, filled with blood. An event can be reported, informed, and precise indications of the place and time of its occurrence can be given. But the event does not become an image. The chronotope, on the other hand, provides an essential basis for showing and depicting events. And this is precisely due to the special condensation and concretization of the signs of time - the time of human life, historical time - in certain areas of space. This creates an opportunity to build an image of events around the chronotope. It serves as a prime point for the development of scenes in the novel, while other connecting events, located far from the chronotope, are given in the form of dry information and message.
Thus, the chronotope, as the predominant materialization of time in space, is the center of pictorial concretization, embodiment for the entire work. All the abstract elements of the novel - philosophical and social generalizations, ideas, analyzes of causes and effects gravitate towards the chronotope and through it are filled with "flesh and blood", become involved in artistic imagery. Such is, according to Bakhtin, the imageandthe ultimate value of the chronotope. In addition, M. Bakhtin identified and analyzedandhe identified some of the most characteristic types of chronotopes: meeting chronotope, roads, etc.Ovincial city, square, etc.
1.2 Structuralist approach to the study of works of art through the categories of space and time
Yuri Mikhailovich Lotman described the artistic space as "a model of the world of a given author, expressed in the language of his spatial representations." Namely: "The language of spatial relations" is a kind of abstract model, which includes as subsystems both spatial languages of different genres and types of art, and models of space of varying degrees of abstractness, created by the consciousness of different eras "[Lotman 1988: 252].
According to Lotman, the plot of narrative literary works usually develops within a certain local continuum. A naive reader's perception tends to identify it with the local attribution of episodes to real space (for example, to geographic space). The idea that an artistic space is always a model of a certain natural space, which has grown in certain historical conditions, is far from always justified.
Space in a work of art simulates different connections of the picture of the world: temporal, social, ethical, etc. In this or that model of the world, the category of space is difficult to merge with those or other concepts that exist in our picture of the world as separate or opposite.
Thus, Lotman's artistic model of the world "Widenstate "sometimes metaphorically takes on the expression of completely non-spatial relations in a modeling streamToworld tour.
In the classification of Yu.M. Lotman art space mOcan be point, linear, planar or volumetric... The second and third can also have horizontal or vertical directionality. Linear space may or may not include directionality. In the presence of this feature (the image of a linear directed space in art is often a road), linear space becomes a convenient artistic language for modeling temporal categories ("life path", "road" as a means of character development in time). The concept of the border is an essential differential feature of the elements of "spatial language", which are largely determined by the presence or absence of this feature both in the model as a whole and in certain of its structural positions [Lotman 1988: 252]. According to the scientist, the concept of a border is not characteristic of all types of space perception, but only to those who have already developed their own abstract language and separate space as a certain continuum from its concrete filling.
Yu.M. Lotman argues that “the spatial limitation of text from non-text is evidence of the emergence of the language of artistic space as a special modeling system” [Lotman 1988: 255]. The scientist proposes to make a thought experiment: take some landscape and present it as a view from the window (for example, a drawn window opening acts as a frame) or as a picture.
The perception of this (one and the same) pictorial text in each of these two cases will be different: in the first it will be perceived as a visible part of a larger whole, and the question of what is in the part closed from the view of the observer is quite appropriate.
In the second case, the landscape, framed on the wall, is not perceived as a piece cut out of any larger real-life view. In the first case, the painted landscape is felt only as a reproduction of some real (existing or capable of existing) species, in the second it, while retaining this function, receives an additional one: being perceived as an artistic structure closed in itself, it seems to us correlated not with a part of the object, but with some a universal object, becomes a model of the world.
The landscape depicts a birch grove, and the question arises: "What is behind it?" But he is also a model of the world, reproduces the universe, and in this aspect the question "What is outside of it?" - loses all meaning. Thus, Lotman's spatial delimitation is closely related to the transformation of space from a collection of things that fill it into some kind of abstract language that can be used for different types of artistic modeling.
The absence of a border feature in texts in which this absence is the specificity of their artistic language should not be confused with a similar absence of it at the speech level (in a specific text), while retaining it in the system. Thus, the artistic symbol of the road contains a prohibition on movement in one direction, in which the space is limited (“go off the path”), and the naturalness of movement in that in which there is no such border. Since the artistic space becomes a formal system for the construction of various, including ethical, models, the possibility arises of the moral characterization of literary characters through the corresponding type of artistic space, which already acts as a kind of two-dimensional local-ethical metaphor. So, in Tolstoy, several types of heroes can be distinguished (of course, with a great degree of convention). These are, firstly, the heroes of their place (of their circle), the heroes of spatial and ethical immobility, who, if they move according to the requirements of the plot, then carry with them their own locus. These are heroes who are not yet able to change or who no longer need it. They represent the starting or ending point of the trajectory - the movement of the heroes.
The heroes of the motionless, "closed" locus are opposed by the heroes of the "open" space. Here, too, two types of heroes are distinguished, which can be conventionally called: heroes of the “path” and heroes of the “steppe”.
The hero of the path moves along a certain spatial and ethical trajectory. Its inherent space implies a ban on lateral movement. Staying at every point in space (and the equivalent moral state) is thought of as a transition to another, followed by it.
Tolstoy's linear space has a sign of a given direction. It is not unlimited, but represents a generalized possibility of movement from the starting point to the final one. Therefore, it receives a temporal sign, and the character moving in it receives a trait of internal evolution. artistic chronotope petrushevskaya
An essential property of moral linear space in Tolstoy is the presence of the sign of "height" (in the absence of the sign of "width"); the movement of the hero along his moral trajectory is an ascent, or a descent, or a change in both. In any case, this feature has a structural distinction. It is necessary to distinguish the character of the space inherent in the hero from his real plot movement in this space. The hero of the "path" can stop, turn back or stray to the side, coming into conflict with the laws of his inherent space. In this case, the assessment of his actions will be different than for similar actions of a character with a different spatial and ethical field.
Unlike the hero of the "path", the hero of the "steppe" is not prohibited from moving in any lateral direction. Moreover, instead of moving along a trajectory, this implies the free unpredictability of the direction of movement.
At the same time, the movement of the hero in the moral space is connected not with the fact that he is changing, but with the realization of the inner potency of his personality. Therefore, movement here is not evolution. It also has no temporary sign. The function of these heroes is to cross boundaries that are insurmountable for others, but do not exist in their space.
Artistic space, according to Lotman, is a continuum in which characters are placed and an action is performed. Naive perception constantly pushes the reader to identify the artistic and physical space.
There is a grain of truth in such a perception, because even when its function of modeling extra-spatial relations is exposed, the artistic space necessarily retains, as the foreground of the metaphor, the idea of its physical nature.
Therefore, a very significant indicator will be the question of the space into which the action cannot be transferred. The enumeration of where certain episodes cannot occur will outline the boundaries of the world of the modeled text, and the places where they can be transferred will give variants of some invariant model.
However, artistic space is not a passive receptacle for a hero.Os and plot episodes. Correlation of it with the actors and the general model of the world created by the artistic text convinces us that the language of the artistic space is not a hollow vessel, but one of the components of the common language spoken by the artistic work.
The behavior of the characters is largely associated with the space in which they are located, and the space itself is perceived not only in the sense of real extension, but also in a different - common in mathematics - understanding, as “a set of homogeneous objects (phenomena, states, etc.). ), in which there are spatially similar relationships. "
This allows the possibility for one and the same hero to alternately fall into one or another space, and, passing from one to another, a person is deformed according to the laws of this space [Lotman 1988: 252].
In order to become sublime, the space must be not only vast (or limitless), but also directed, being in it must move towards the goal. It must be expensive. “Road” is a certain type of artistic space, “path” is the movement of a literary character in this space. A "way" is a realization (complete or incomplete) or a non-realization of a "road".
With the appearance of the image of the road as a form of space, the idea of the path as a norm for the life of a person, peoples and humanity is also formed.
The language of spatial relations is not the only means of artistic modeling, but it is important, as it belongs to the primary and basic. Even temporal modeling is often a secondary superstructure over spatial language.
Since for Lotman, as a structuralist, it was important to determineecasting the structural features of the text, he interprets and artisticTmilitary space as a structural element of the text.
Structureorganandthe underlying nature of the artistic space is due to the fact that the center of any spatio-temporal paradigm, according to Lotman, isI amthere is the hero of the work. Lotman makes significant additions to the metOprelogical potential of the category of artistic space and time, indicating the possibilityfnew typologies of spatial features in the fabric of the work through the system of antinomies (top - bottom, one's own - someone else's, closed - open, everyday - sacred etc.), in terms of quality and characterTodirectivity (point, linearched, planar, etc.).
1.3 Ways of studying artistic space and time in the literary experience of V. Toporov, D. Likhachev and others
Today, not one scientific literary forum is complete without a report on a topic, wherever the categories of artistic space and time appear. This is due to the fact that these categories have a rich methodological potential and open up great opportunities for researchers in the study of both individual personalities and the literary era as a whole.
We find vivid examples of the scientific significance of the categories of artistic space and time in works on mythopoetics, where the study of specific mythological schemes involves observing the space-time parameters of the phenomenon. For example, one of the representatives of the mythopoetic tradition V.N. Toporov in his works actively refers to the category of artistic space. One of the scientist's important attitudes is the distinction between “individual” and common space. The scientist writes: “Each literary era, each major direction (school) builds its own space, but for those within this era or direction,“ their own ”is assessed, first of all, from the point of view of a common, uniting, consolidating, and their“ individuality ”is “His own” discloses only on the periphery, at the junctions with the other that precedes or threatens him as a replacement in the near future ”[Toporov 1995: 447]. "NSOwanderlust of childhood "," space of love "," new space "- prandmeasures of spatial and mythological models that we can find in Toporov's works and the use of which can be useful in studyingestudies of literature of any period.
According to V.N. Toporov, each writer builds his own space, voluntarily and involuntarily correlating it with general spatial models. Moreover, according to Toporov, is promising study of individual PersiansOnaliy precisely through the myth and the category of artistic space... It is no coincidence that in one of his works he makes the following reservation: “At the disposal of the author of this article there are several sketches devoted to the individual images of space by a number of Russian writers (Radishchev, Gogol, Dostoevsky, Druzhinin, Konevskaya, Andrei Bely, Mandelstam, Vaginov, Platonov, Krzhizhanovsky, Poplavsky, etc.) [Toporov 1995: 448].
Interesting are Toporov's observations on the semantics of specific geographic images in the literature. For example, analyzing the image of St. Petersburg as a mythological space, the scientist introduces minus space concept, i.e. space that does not exist, or denies, is the opposite of traditional, familiar space.
Artistic space, according to Toporov, isea certain frame in which the meanings of the mythological, archetypal and symbolic nature are fixed. In addition, the artistic space isI amis an important attribute of individual creativity and mythmaking, allows the researcher to come to an understanding of the unique phenomena of lettersatours, their structure and mythological content.
A review of modern studies devoted to the study of artistic space and time in the perspective of studying various historical and literary phenomena allows us to draw some conclusions about the nature of these categories and their methodological significance. Rhythm, space and time in literature and art. - L., 1974 .; Gabrichevsky A.G. Space and Time // Questions of Philosophy. - 1990. - No. 3. - p. 10 -13 .; Prokopova M. V. Semantics of spatio-temporal landmarks in L. N. Martynov's poem "Ermak" // From text to context. - Ishim, 2006, pp. 189-192 - and many others. etc.
Literary works are permeated with temporal and spatial representations, infinitely diverse and deeply significant. There are images of biographical time (childhood, adolescence, maturity, old age), historical (characteristics of the change of eras and generations, major events in the life of society), cosmic (the idea of eternity and universal history), calendar (change of seasons, weekdays and holidays) , daily (day and night, morning and evening), as well as ideas about movement and immobility, about the correlation of the past, present, future.
According to D.S. Likhachev, from era to era, as ideas about the changeability of the world become wider and deeper, the images of time acquire more and more significance in literature: writers are more and more clearly and time dimensions ”[Khalizev 2002: 247].
No less versatile are the spatial pictures present in the literature: images of closed and open space, earthly and cosmic, really visible and imaginary, ideas of near and distant objectivity.
The location and relationship of spatio-temporal images in the work is internally motivated - there are also “life” motivations in their genre conditioning, there are also conceptual motivations. It is also important that the spatio-temporal organization is of a systemic nature, forming as a result “the inner world of a literary work” (DS Likhachev).
Moreover, in the arsenal of literature there are such artistic forms that are specifically designed to create a spatio-temporal image: a plot, a system of characters, a landscape, a portrait, etc. When analyzing space and time in a work of art, one should take into account all the structural elements and artifacts present in it.apay attention to the originality of each of them: in the character system (contrust, mirroring, etc.), in the structure of the plot (linear, oneadirected or with backtracking, running ahead, spiral, etc.), withOsupply the proportion of individual elements of the plot, as well as identify the nature of the landscape and portrait, carry out a motivational analysis of the workeniya. It is equally important to look for motivations for the articulation of structural elements and, ultimately, to try to comprehend the ideological and aesthetic semantics of the space-time image that is presented in the work.
CHAPTER 2. FEATURES OF SPATIAL-TIME ORGANIZATION OF STORIES BY L. PETRUSHEVSKAYA
This chapter analyzes the stories of L. Petrushevskaya from the point of view of their spatio-temporal organization, an attempt is made to understand the root causes of the heroes' tragedies in the special artistic world of the writer.
2.1 The apartment as the main topos of the living space
Even Bulgakov's Woland said that "the housing problem has spoiled the Muscovites." Both during the years of Soviet power and in the post-Soviet period, housing problems were among the main everyday problems of our fellow citizens (and not only Muscovites). It is no coincidence that the apartment becomes the main topos in the everyday space of the heroes of L. Petrushevskaya.
The heroes of Petrushevskaya are inconspicuous people tortured by life, quietly or scandalously suffering in their communal apartments in unsightly courtyards. The author invites us to office offices and stairwells, introduces us to various misfortunes, immorality and lack of meaning in existence. There are few happy people (heroes) in the world of Petrushevskaya, but happiness is not the goal of their life.
At the same time, everyday everyday problems also narrow their dreams, and can significantly limit the space of their life. It is in the apartments (with varying degrees of coziness) that events take place in the stories "Own Circle", "The Way of Cinderella", "Happy End", "Country", "To the Beautiful City", "Children's Party", "Dark Fate", " Life is theater ”,“ Oh, happiness ”,“ Three faces ”and others. Of the many options for apartments and flats, communal apartments, etc. a certain generalized topos of “an apartment from Petrushevskaya” is formed, in which a sophisticated reader can discern the features of other apartments well known in literature and culture (from Dostoevsky to Makanin).
Let us dwell on the most typical examples: the stories “To a Beautiful City”, “Country” and “Cinderella's Way” are surprisingly consonant with each other at the level of spatial organization (as if events are taking place next door), although the content of these two stories is different.
In the story "Country" the apartment is a kind of refuge where the mother of an alcoholic lives with her daughter. Here, as such, there is no description of the world of things, objects, furniture, thus the reader has a feeling of the emptiness of the space in which its inhabitants live. We read at the beginning of the story: "The daughter usually plays quietly on the floor while the mother drinks at the table or lying on the couch." We see the same thing at the end of the story: "The girl really doesn't care, she is quietly playing on the floor with her old toys ..." L. Petrushevskaya's story "Country" and all other works are cited from an electronic document with the address: http://www.belousenko.com/wr_Petrushevskaya.htm . A double repetition speaks of the hopelessness of the situation, and repeated emphasis on the fact that it is quiet in the apartment further enhances the feeling of emptiness, gloom and even lifelessness. The heroine, being in the confined space of the apartment, does not seek to change her life. The only thing she still cares about is to fold in the evening "My daughter's little things for kindergarten, so that everything is at hand in the morning." She revives only when she goes to visit with her daughter, i.e. leaves the space of his home and finds himself in another space, alien, completely opposite, where there are people, communication, and therefore life. She feels here as if she were her own, and she was kind of accepted, but when she "Gently calls and congratulatessomeonehappy birthday, pulls, mumbles, asks how life is going ...waiting ", until she is invited, then in the end "Hangs up and runs to the grocery store for another bottle, and then to the kindergarten for her daughter."
The heroine of the story "Country" finds herself in a situation of lifelong loneliness, loss of hope. This is a person thrown overboard of life due to his inability to realize himself, who is outside of society, outside of society, therefore, outside of human ties and communication. This woman has lost confidence in life, she has no friends or acquaintances. The consequence of all this is her loneliness, isolation in space.
Similar events could happen to anyone, anywhere. However, as one Roman philosopher Seneca said, "as long as a person is alive, he should never lose hope." Each has its own "country" in which he can plunge "in moments of spiritual hardship."
The story "To a beautiful city" is very consonant with this story. After reading it, one gets the feeling that this is the beginning of the story that is described in "Strana". The image of an alcoholic mother from "Strana" is correlated with the image of Anastasia Gerbertovna, and the daughter of an alcoholic is reminiscent of Anastasia's daughter, Vika, also Gerbertovna. Petrushevskaya does not skimp on details in describing Vika's appearance: “A scarecrow of seven years old, everything is crooked and oblique, the coat is not on the right button, the tights have slipped out, the boots have been worn down by more than one generation of flat-footed children, with socks inside. Light shag hangs. " The mother is not much different from the daughter: "Wow, girl, hair like a drowned woman's hanging separately, the skull shines, her eyes are sunken." These two portrait descriptions characterize not only the heroines, but also the space in which they live. It becomes clear that a mother and her daughter live in poverty, they have nothing to wear, nothing to even eat. The story begins with Alexey Petrovich (graduate student, devoted student of Larisa Sigismundovna, Nastya's mother), once again takes Nastya and Vika to the buffet, where the child eats greedily ("like the last time in his life").
Nastya's family, even at the time when Nastya was still a child, never lived in abundance, but there was always enough for food. After the death of Larisa Sigismundovna, Nastya's life deteriorated significantly. And these deteriorations were primarily reflected at the level of space. Exactly the topos of the apartment becomes an indicator of human well-being in the world of Petrushevskaya.
While Nastya's mother was alive, she tried to do everything possible for her daughter and granddaughter: she “I changed my St. Petersburg apartment for a room closer to my father, when she moved in with the child, she also made plans, apparently, to buy both, to make repairs, but no. There was no money, no energy. " Larisa Sigismundovna fought until the last day, trying to find at least some place where she would be paid. She was a very good teacher, gave lectures, gave all of herself to work, sparing no effort to feed her household. Already knowing about my illness, "Larissa<…>she took on more and more new work, wrote her doctoral dissertation on her last legs, at the same time teaching her useless science of culturology in three places ”. Even lying in the hospital, Larisa ran away after the radiation sessions to finish reading her lectures, because " paid specifically for the allotted hours, and not for the absence of an employee due to illness» ... Everything that we learn in the story about Nastya's mother speaks of her active life position, which cannot be said about Nastya herself.
The time has come when the Herbertovns were left alone. With the departure of Larisa Sigismundovna, life in the apartment stops, to some extent even dies. This can be seen at least from the following passage: “When there was a commemoration, Lara's friends set a table in the house of the deceased, and there was genuine poverty, no one even suspected that this could be a broken piece of furniture, cracked wallpaper.” An image of a space arises where objects, furniture have not just lost their purpose, have become not in demand by man, they have changed their quality (“ broken furniture, cracked wallpaper "). This suggests that the heroine's world is in decline. The outer world of things is a reflection of her inner world. The image of the space in which Nastya lives with her daughter explains the behavior of the heroine. Nastya does not strive for an active life, she has no desire to correct the situation in which she and Vika found themselves. This "natural habitat" overwhelmed Nastya so much that she does not even have the strength to get up on time: “The poor have few opportunities and often do not have the strength to even get up on time, as it turned out, because the young mother Nastya went to bed late and got up when she got up, she has already formed a natural habitat in the company of the same poor people who cannot lie down all night, are awake, they talk about, smoke and drink, and during the day they sleep in fives on the couch. "
It is noteworthy that the apartment at Petrushevskaya is a space of a special type of people: as a rule, the unfortunate owner of the apartment receives guests as unfortunate as himself. The space of Nastya's apartment attracts the same "poor and unfortunate" as Nastya herself. She is a “kind soul,” as Valentina said, so she cannot refuse anyone, drive out of the house. From here the apartment turned into an "ugly nest" full of "Sprawling guys in shorts and girls in underwear because of the heat." L. Petrushevskaya writes in her story that “This rookery vividly resembled either a dugout in the taiga, where it was heatedly heated, or the last day of Pompeii, only without any tragedy, without these masks of suffering, without heroic attempts to carry someone out and save them. On the contrary, everyone tried not to be carried out of here. They looked indirectly towards Valentina, who was busy around the child, waiting for this aunt to disappear. "
All my mother's friends and acquaintances try to help Nastya: they try to find at least some kind of work for her, bring food home (but "you can't get enough food"), help with housing, and so on. In return, they receive sidelong glances not only from her “friends”, but also from Nastya herself. She is embarrassed to let people into her space who want to do good for her and Vikochka, but freely lets those who eat the last supplies in the house, that there is even nothing to feed the child. Those. the space in which the heroine of the story lives is more open to “strangers” who have already become “theirs” for Nastya.
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