Platonov Military stories. Message of the "secret man" about the military prose Andrei Platonova

The work is devoted to the study of prose A. P. Platonov period of the Great Patriotic War, the core of which was the stories written about the war in war. The known unknown - so you can determine the situation in literary criticism with the military stories of the writer, which led to the relevance of the study. Studying this most important period of creativity A. Platonov, where the gift of the artist-thinker, philosopher, historian, was revealed brightly and in a new way, is carried out in the context of writer's creativity and relationships with the historical and literary time process.

Writer Andrei Platonovich Platonov (1899-1951) - an eyewitness and a participant in the most important events of the national life of the first half of the past century. Throughout creativity, A. Platonov led his artistic chronicle: "Epifan gateways", "inextriced man", "City of Grads", "Cheving", "Kotlovan", "Trick", "trash can", "14 red hut", " Happy Moscow, "inspired people", "the recovery of the dead", "Noah's Ark". A special chapter in it was the prose of the period of the Great Patriotic War. The creative installation of the writer is to convey to the reader the intimate essence of the "beautiful and fierce world". It is not interested in the external, social, cutting of the story, and its deep "substance of existence" (the basic concept of the artistic philosophy of Platonov). In the working Tetradei A. Platonova, 1942, we read: "We must go there, in supercount, in the" low "reality, where everyone seeks to leave" 1.

1 Platonov A. Notebooks: Materials for biography. M., 2000. P. 235. The reference to this publication is given in the main text, indicating the source name (ZK) and Pages.

In effort, a unique Platonic language was introduced in effort and express "supercount": a unique and technologically sophisticated (technique, engineering - a profession and another passion of Platonov), an internally discussion and monolithic, frank and always containing default figurines. S. Zalygin said about the work of A. Blotonova: "There is a rare artists who know how to contribute not only to unidentification as such, but no matter how much its nature, the methodology and the procedure for its existence in the world" 2. A. Platonova style is extremely subjective, but there is no ideological installation on the subjectivity of the writer. D. Zatonsky, such a type of artistic creativity identified as "semiomimetic, for he, not at all copying the surface, visible forms of being, seeks to touch his complex contradictory, it is the" inexplicable "essence" 4.

A. Platonov is involved in the "indigenous turn of the art of the 20th century on the reproduction of the world of phenomena to the incarnation of the world of entities" 5. The writer has no allegorical clarity of images, unambiguous estimates, indisputable thoughts. In his works, the same event may not coincide with themselves, which is a plurality that does not fold into a total whole, especially a person -New, in many ways the experimental form of "matter of existence". "As far as the person is an unstable, agitated creature is trembling, hesitable, difficult, tormented and painful, etc.," Platonov reflected, -pad - impossible, unstable "(ZK, 154). Nature is also associated with human history: "People and animals are some creatures: among animals there are morally even higher creatures than people" (ZK, 213). Variations of this topic we find in all creativity

2 Slagin S. Fairy Tales of Realist and Realism of the Fairy Tale (Sketch of Creativity Andrei Platonova) // Saligin S. Literary Care. M., 1982. S. 175.

3 Record Platonov in the working notebook: "It is very important !! All art is concluded in order to go beyond the limits of their own head, filled with a pathetic, liquid, tired substance. Subjective life - in the facility, in another person. This is all the mystery "(ZK, 101-102).

4 Zatonsky D.V. Modernism and postmodernism: Thoughts on the eternal dealership of elegant and the abundant arts. Kharkov; M., 2000. P. 316.

5 Keba A. V. Andrey Platonov and world literature of the 20th century: typological ties. Kamenets-Podolsky, 2001. P. 3.

A. Platonova. The interactiveness of nature and history, the mystery of their convergence in a person, dramatically not balanced, not found by him, despite all the efforts and sacrifices, a place in the space of life, according to Platonov, do not downgrade, and many times increase the responsibility of people for the world history. Hence the stressful attention of the writer to the "work" of history. The revolutionary time threw them as a historically necessary movement forward and at the same time a new round of the human tragedy: "The revolution was conceived in dreams and carried out (first time) for the performance of the most ever who did not come true" (ZK, 171). Recording 1935 Aphoristically expressing the consciousness of non-effectiveness to this most important historical tasks. Epic confirmation of this thought we find in "Cheving", "Kotlovan", "Juvenile Sea", "Happy Moscow".

In a rich event of the first half of the 20th century, the writer allocated the Great Patriotic War, which was determined by the epoch. Andrei Platonov felt and conscious of the special content of the Great Patriotic War, which for him was not another war in the long list of internal and external bloody litter of Russia, but a different war, which became a business of life - to save the homeland and protect the world from fascism. For the writer of a large social temperament, blood interested in everything that is happening, these four years have become time of shocks and discoveries:

War with extreme speed forms new characters of people and speeds up the process of life. One Red Army said: The battle is life at high speed. It's right. Life at high speed means that a great many people are formed, and such characters that could not be formed before and which may never be repeatedly repeated as a similarity in another person. The literature service, as the service of the eternal glory and the eternal memory of all the dead and all living, increases with this circumstance in its meaning and is becoming even more indispensable "(ZK, 280).

A new understanding of life and a person who has opened by the writer, demanded a tense artistic search. Prose these years, where the genre of the story is dominated, is the most important stage of the creative evolution of Platonov. "It was a difficultly mined quantity," V. Vasilyev notes, - whole and indivisible for quality education, because the writer was guided in comprehending the war not geography, not a spectacular case or an event, but I learned the philosophy of public existence in the war from the ordinary, And for another journalist of the non-winy and uninteresting material. "6 The prose of" fiery years "is distinguished as a special artistic phenomenon and other researchers. "Platonov's military stories," writes S. Semenov, - a special page in his work; She was born his life itself, who directly touched everyone, the life of a deadly misfortune and the limit test "7.

At the same time, the heritage of the Writer of War years remains one of the least about the studied pages of his creativity. N.V. Kornienko, preceding the publication of materials of the International Scientific Conference "For the River Potudny" ", dedicated to the 50th anniversary of the death of A. P. Platonov and the problems of studying the final period of his creativity (in the current literary practice of determined by the 2nd half of 1930 -H-1951), states: "It turned out that the sources of this period of life and creativity of the writer is quite approximately approximately and about the huge continents of the creativity of Platonov the second half of the 1930s and the 1940s we write, while only touching them, but not immersing Fundamental questions: sources of text, dating, literary addressees and literary contexts, etc. "9.

The situation with the military stars A. Platonova reflects the general problems of studying (more precisely - the unexploding) of the literature of the period of the Great Patriotic War. Following the Epoching Event Russian Soviet

6 Vasilyev V. Andrei Platonov. Essay of life and creativity. 2nd ed. M., 1990. P. 273-274.

7 Semenova S. Russia and Russian people in the border situation. Military stories Andrei Platonova // "Country of philosophers" Andrei Platonova: Problems of creativity. Vol. 4. Jubilee. M., 2000. P. 139.

8 See: Andrei Platonovich Platonov: Life and Creativity: Bibbibbr. decree. M., 2000.

9 Kornienko N. V. From the editor // "Country of philosophers" Andrei Platonova: Problems of creativity. Vol. 5. Jubilee. M., 2003. P. 3. Literature 1941-1945 (as involved) traditionally allocated in a separate period10. This is a tribute to the gratitude memory of Russian literature, which "entirely devoted himself to the noble cause of the defense of the Fatherland" 11. V. M. Akimov called the literature of the military years of the "Literature of the National Self-Spacement" and emphasized her "Special spiritually straightening the importance" in standing by the person and the people against death, in the restoration of the destroyed "structure" of the People's Soul, in the preservation of the Russian word12. However, the artistic specifics of the works of military years are often derived from the extraordinary circumstances of historical reality and ethical necessity for the artist to get into the common series of people's fighting with fascism and are also reduced to them.

The literature of war passed the censorship of the end of the Stalinism's era, then the editing of the time "thaw", in the 1970s it turned out to be "forgotten", unclaimed even with ideological and problem lighting the topic "Literature - War": At this time, the focus of readers' attention Critics, literary criticism - post-war works about the Great Patrioticinal14. And today there are no chronicles of the literary life of 1941-1945, as there are no generalizing research on the issues of sources, publications, censorship, textuality, poetics, artistic literature codes of the Great Patriotic War. The study of Creativity A. Platonova of the War years is preparing a scientific base for fundamental research in this area.

10 cm, for example: essays of the history of Russian Soviet literature: in 2 t. Part 2. M., 1955; Ershov L. F. History of Russian Soviet literature. 2nd ed., Add. M., 1988; Akimov V. M. From block to Solzhenitsyn. The fate of Russian literature of the 20th century (after 1917): a new admission-guidebook. St. Petersburg, 1994; Russian literature XX century: studies. Manual for studies Higher. Ped. studies. Vehicles: at 2 t. T. 2: 1940-1990s / Ed. L. P. Krementsova. 2nd ed., Pererab. and add. M., 2003.

11 Russian literature of the XX century: studies. Manual for studies Higher. Ped. studies. establishments. T. 2. P. 4.

12 Akimov V. M. From block to Solzhenitsyn. P. 81-82.

13 "In prose (wars. - S.) dominated the enemy genre. Journalism was given to Dan. M.Sholokhov and L. Leonov, I. Ehrenburg and A. Tolstoy, B. Gorbatov and V. Vasilevskaya, many other prose. In passionate declarations of authors, the horrors of war, the blatant cruelty of the enemy, the combat valve and patriotic feelings of compatriots.<.>

During the war years, artwork works of world importance were not created, but the everyday fellow of Russian literature, its enormous contribution to the victory of the people over a deadly enemy could not be revalted, nor forgotten "(Russian literature of the 20th century: studies. Manual for studies . Higher. Ped. studies. institutions. T. 2. P. 5.9).

14 cm., For example: Bocharov A. Man and War: The ideas of socialist humanism in the post-war prose about the war.2., Extras. M., 1978.

Military stories A. Platonov played an important role in the Russian Soviet literature of the Great Patriotic War, dividing its patriotic pathos, but have "faces not a general expression." They differ from the previously written by the artist. What is the difference - the main issue of the study.

T. A. Nikonova in the article "Man as a problem in the military stories of Platonov" writes: ". Platonov presents its" literary direction ", offers its own philosophy and universal interpretation of the old problem" Man and World "" 15. The coefficient of non-traditionality, originality in the artistic picture of a person and the world from the writer so high, considers the researcher, which has a paradoxical investigation: "Platonov belongs to the number of artists outwardly monotonous (italics. - I. p.)" 16. It is connected with this one of the methodological problems of studying the heritage of Platonov, because whatever work or the period of creating a writer is not considered - it is necessary to conduct a special analysis in particular "." Platonov writes one, never in his mind is not interrupted text. External circumstances are changed (revolutions, Collectivization, war), but does not change the main thing - a tense thought about a person, his inexhaustibility and manifold, his elusive nature. This circumstance is important to recall due to the fact that the military prose of Platonov variations is closely related to its reflections of previous decades and can be considered Only taking into account the holistic context of Platonovsky creativity "17.

The subject of scientific understanding in the dissertation work elected the artistic world of Military stories A. Platonov in its internal dynamics and the relationship of the components of the artistic structure, in cooperation with the preceding and subsequent work of the writer and the literary time process. In such a format, the study of prose

15 Nikonova T. Man as a problem in the military stories of Platonov // "Country of philosophers" Andrei Platonova: Problems of creativity. Vol. 5. P. 371.

16 ibid. P. 371.

17 is there. P. 372.

A. Platonova period of the Great Patriotic War is held for the first time. This consists of scientific novelty of work.

The category "Art World" actively entered the domestic philological theory and practice at the turn of the 1960-1970s and works productively at present. In 1968, the article D. S. Likhacheva "Interior World of Artwork" 19 was published in the journal "Questions of Literature", in many respects determined and stimulating further scientific understanding of the concept of "artistic ll world". Synonymous concepts, widely used in scientific use: "Artistic picture of the world", "Artistic image of the world" and "Art Model of the World".

Universal category, conceptually formed according to the principle of semantic parallelism (the world is real - the world is artistic), manifest analysis of works of art in the inseparable unity of artistic form and art content and turned out to be in demand in literary criticism in a wide range: from the study of the poetic structure of a separate work before identifying the specifics of world-revealing in literature generally. With regard to a separate author, we can talk about the "artistic world" of one work, a number of works that form a new artistic unity, creativity.

As an object of scientific research, the category "Artistic (poetic) world" believes the artistic reality created by the writer in its systemic integrity and uniqueness. Ji. V. Chernets notes:

18 cm, for example: Bocharov S. G. On artistic worlds. M., 1985; Gachev G. National Images of the World: General issues. Russian. Bulgarian. Kyrgyz. Georgian. Armenian. M., 1988; Chudakov A.P. Word - Thing -Mir. From Pushkin to Tolstoy: Essays of the poetics of Russian classics. M., 1992; Uncompressive V. S. Pushkin. Russian picture of the world. M., 1999; E. A. Approok Art Mikhail Bulgakov. M., 2001; Semenova S. The world of prose Mikhail Sholokhov: from poetics to world population. M., 2005.

19 Likhachev D. S. Internal world of artwork // Questions of literature. 1968. number 8.

20 Fedorov V. On the nature of poetic reality. M., 1984; Chernets L. V. World of Work // Russian Literature. 1995. No. 2; Chappers. M. The image of the world in the word writer. St. Petersburg, 1997; Khrenov N. A. Artistic picture of the world as a cultural problem // Space of life: to the 85th anniversary of Academician B. V. Raushenbach / Sost. T. B. Knyazevskaya, E. V. Saico. M., 1999; Baksansky O. E., Kucher £ N. Modern cognitive approach to the category "Image of the World" (methodological aspect) // Questions of philosophy. 2002. No. 8; Liquid V. S., Sokolov K. B. Art and picture of the world. St. Petersburg, 2003; Schukin V. G. On the philological image of the world (philosophical notes) // Questions of philosophy. 2004. No. 10.

By its structure, the world of the work is comparable with real: it includes persons in their external and internal (psychological) features, events, nature, things created by man, it has time and space "21. But lives "Peace", embodied in the Word, according to its laws: "The world of the work can be shaped, crushing on the subsystems structured in different ways, various in the degree of detailing of the depicted: as part of the whole inserts in it are inserted novels, episodes, dreams of heroes, Their own writings "22 V.N. Toporov believes that" the concept of "world", the model of which is described, it is advisable to understand as a person and the medium in their interaction; In this sense, the world has the result of processing information about the environment and the human itself. " O. E. Baksansky and E. N. Kucher define the image (picture) of the world as a "hierarchical system of cognitive representations", which "are hypotheses, one way or another interpreting reality" 24.

The artistic picture of the world will have its language painting (Logos). N. D. Harutyunova in the fundamental work "Language and the world of man" considers the role of a semiotic concept "image" in the formation of consciousness and comes to the following conclusions: "In the concept of the image, the idea of \u200b\u200bform, conceivable abstract from the substance and therefore reproducible. Separating from the natural matter of her, the form (image) merged with a fundamentally different "partner" - the spiritual (ideal) category. The concept of form from the field of nature passed into the sphere of culture. . I change the definition of the opposition "Form - Matter" the ratio "Form - meaning" called by man.<.> So, the image is a category of consciousness, and not reality. Images are immersed in consciousness in a fundamentally different network of relations relatively to the one that determines the place of their originals (pre-conversations) in the real world. Consciousness deployed for

21 Chernets L. V. The world of the work. P. 70.

22 ibid. P. 75.

23 topors V. N. Model of the world // Myths of the peoples of the world. Encyclopedia: in 2 tons. T. 2. M., 1992. P. 161.

24 Baksansky O. E., Kucher E. N. Modern cognitive approach to the category "Image of the World". P. 69. They are a new context, in which the reorganizing painting of the world associative relationships acquire a special role. "25

The artistic picture of the world is secondary, poetically reworked information about man and the environment, therefore in it valuable "its" special in one) is what gives new aesthetic information.

The artistic world is always called, the author, even when the author is unknown, because in this case the name of the work becomes the name of the article (the author of the word about the regiment Igor "). Even folklore, where the collective author is a people, necessarily has a national name.

Gachev, exploring national images of the world, concludes:

And the national is in time (together with land and life on it), but his period of circulation, his "year" is probably different than the year historical. Despite the fact that all nations under one sun and the moon and almost the same sky go are involved in a single world historical process (and this cover, the roof combines them and equates each other), they walk along different land and different life and history have, - That is, from different soil grow. And hence the values \u200b\u200bcommon to all nations (life, bread, light, house, family, word, poem, etc.) are located in a different ratio. This special structure of common for all peoples of elements (although they are understood at the most affected, have their own emphasis) and is the national image, and in

26 Simplified terms - model of the world. " Methodological installation on identifying a special relationship of common objects and concepts keeps its paramount importance in the study of the work of a separate writer - both at an intertextual aspect (the artistic world of the author -forgety poetic worlds) and in intrathecteal (dialectics of the special and general inside this artistic structure in the dynamics of its development).

Artistic text - a complex structure, stable and dynamic at the same time. The basic component of the artistic structure that determines its "fluid", "plastic" stability, - image: "human ability

23 Harutyunova N. D. Language and the world of man. 2nd ed., Add. M., 1999. P. 314, 318.

26 Gachev G. National Images of the World. P. 46 ^ 7. Create a single image of an individual object, synthesizing in it conflicting impressions and scattered observations, truly amazing.<.> This mechanism acts as if by itself: the image is synthesized, revealed by consciousness, from the vague and unclear becomes more and more definite, it is approaching, moving to a close-up. This phenomenon of the signed image of the image P. A. Florensky called the reverse perspective "27.

When studying the phenomenon of the "self-dispersion of the image", the main "unit" of the analysis is elected in philological studies - "the movable component, which is woven into the fabric of text and

28 Existing only during the confluence with other components. " Moting analysis showed its effectiveness in the study of the specifics and systemic patterns of artistic worlds, revealed in Word29.

About the unique artistic world of Platonov Ji. Shubin, whose work played an important role in the formation of Platonic studies, wrote: "In the artistic world of Platonov, as in every space (space as an antithesis of chaos), there is its own structure, its own order created by a complex system of metaphor. In a number of these metaphors, the ideas and concepts occupy a special place. It's like a "hollow concept", and this cavity can therefore accommodate everything, the whole world. " Thus, the principle of integrity in the study of the artistic world of the writer is assumed, whether a separate work is considered, a block of works, a period of creativity. In the amount of the entire creativity of Platonov, conceptually significant "repeat" and "return" - the factory-progressive movement of the content and form.

At the same time, the art phenomenon of Platonova is such that at the level of the idiosity of a separate work, we can talk about the presence in

27 Harutyunova N. D. Language and the world of man. P. 321.

28 Gasparov B. M. Literature leitmotifs: Essays of Russian literature of the 20th century. M., 1994. P. 301.

29 cm., For example: Cofman A. F. Latin American Art Image of the World. M., 1997; Epstein M. N. "Nature Peace, Cache of the Universe.": The system of landscape images in Russian poetry. M., 1990.

30 Shubin L. search for the meaning of a separate and general existence: about Andrei Platonov: works of different years. M., 1987. P. 181. It is "art worlds" in the plural (different ontological points of view, each of which has its own figurative and conceptual expression). With this interconnection of the "artistic worlds" of each individual work - the "artistic world" of Platonov's creativity, the question of military prose as a special period of his work, where there are significant internal changes in the poetics and the production of his artistic thinking, remains open, and the declared topic "Art World Military stories A. Platonova "- a scientific hypothesis requiring a detailed justification.

The study material was the artistic prose A. Platonov of the military years:

Publications of 1941-1946 in the newspaper "Red Star", magazines "Banner", "October", "New World", other publications of wartime;

Collections "Under the skies of the Motherland" (1942), "Armor" (1943), "Stories about the Motherland" (1943), "In the direction of the sunset" (1945), "Soldier's Heart" (1946);

Manuscripts and machinery of works stored in Rgal Foundations;

Draft sketches to the story "spiritualized people" (reserve archive M. A. Platonova in had RAS);

The main building of the works of the writer, its notebooks, publicistics, literary and critical articles, letters;

Fiction and publicist of the 1940s.

The history of texts. In 1939, in the year of the fortieth of Andrei Platonov, World War began, the second in his life and in the history of the 20th century, in 1941 she became Patriotic. Platonova's front biography opened a trip to the Leningrad Front in July 1941 (in the direction of NKPS political management), which gave the first materials and impressions. Then return B.

Moscow, evacuation with family in Ufa in the fall-in winter 1941/42, expectation of the call. In 1942, Platonov was called into the current army as a military correspondent of the Red Star newspaper. In his military biography, the Kursk arc of the summer of 1943, a spring offensive in Ukraine in 1944, fierce winter battles on the Eastern Front of 1944-1945. In February 1946, Major of the administrative service of A. Platonov, already seriously ill, will be demobilized.

In August 1941, the story "God's Tree" was written; 1941 dated Masterscript story "Grand-soldier", one of the copies of which is located in the archive of unpublished in the publishing house "Soviet writer" among manuscripts that did not enter the collection of the first months of the war "Great J 1

Patriotic War" . In Platonovsky Fund, Ragal stored a draft letter of Platonov, which allows you to clarify the time to create a "grandfather-soldier". The exact address and the addressee in the letter are not specified (refers to Plato to Natalia Aleksandrovna. - I. S.). We are talking about three stories that the writer plans to publish. We give the works as they are filed by the author:

In the sky midnight "- in this form, in which it was reduced<ен> and edited for "mall<одой> Gv<ардии>"

1) God tree

2) Boy on the dam [For<урнала> "Pioneer"]"

At the bottom of the date - "4.YIII 41" and postscript: "Manuscript, if p<асска>w will be rejected, please return me "32.

Platonov highlights underline two new stories (since "in the sky

11 midnight "published earlier, and the writer indicates the" acceptable "version of the editorial editor). "Boy on the dam" as you can assume

31 stories "God's Tree", "Grandflower" dated: Kornienko N. V. Text history and biography A. P. Platonova (1926-1946) // here and now. 1993. № 1.S. 278.282.

32 Rgali, f. 2124, ON. 1. Ed. xp 37, l. one.

33 First Pubert: Platonov A. Over Pyrenei // Lit. gas. 1939. June 5; Second Publ.: Platonov A. In the sky of midnight: the story // Industry of Socialism. 1939. No. 7. P. 10-15. the appealing "in the title of the pilot-scene canvas of the work - one of the first options for the name of the story" Grand-soldiers "; Magazine "Pioneer" -Prediced place of publication.

From the letter it follows that the story of "grandfathers" was written by Platonic, as well as "God's Tree", by early August 1941. Weightly confirms this fact that the "grand soldier" was published in 1941 in the 10th issue of the journal "Pioneer" 34. This is the first of the well-known publications of Platonov War Time, but it did not pay attention to modern criticism, and later researchers of Platonov's creativity. The explanation of this among other reasons is that the work has entered the "Children's" journal and with a margin per year from the main building of the military stories of Platonov (a huge period for the war).

Fame to the writer in the literature of 1941-1945 brought the second story of the story - "Armor" (as a rule, with him, both from the "first", and the reference of the publications of the military stories of Platonov). The abbreviated version of the "armor" was published in the "Red Star" on September 5, 1942, deployed - in the October issue of the journal "Banner", where he met under the cover of one room with the publication of the end of the poem A. Twardovsky "Vasily Terkin" - a visible testimony of how Long pierced Platones to the reader.

The last months of 1942 became turning: the works of the writer begin to actively print the central newspapers and magazines "Red Star", "Red Banner", "Red Fleets", "October", "Banner", "New World", "Spark". Copyright compilations "under the skies of the Motherland" (1942),

Armor "(1943)," Stories about Motherland "(1943)," In the direction of sunset "

34 Platonov A. Ded-Soldier: Story // Pioneer. 1941. No. 10. P. 18-23.

35 Platonov A. Armor: Story II Banner. 1942. No. 10. P. 93-100; Tvardovsky A. Vasily Terkin: Poem (ending) // ibid. P. 101-108.

36 Platonov A. Under the skies of the Motherland: Stories. Ufa: Bashkosisdat, 1942. Content: Peasant Yagafar; Grandfathers; Tree of Motherland; Iron old woman; Story about dead old man; Light life.

37 Platonov A. Armor: Stories. M.: Voarmorizdat, 1943 (front of a redflower). Content: Animate People; Old man; Armor; Tree of Motherland; Grandmaker.

38 Platonov A. Stories about the Motherland. M.: Art. lit., 1943. Content: spiritualized people; Story about dead old man; Armor; Iron old woman; Grandfathers; Peasant Yagafar.

1945) 39, "Soldier's Heart" (1946) 40. The last collection "Soldier's Heart", as well as the first published work of Platonov of the War years, was addressed to children.

The works of Andrei Platonov, written about the fighting people and for him, had soldiers' fate themselves: many were wounded, others fell in hand-to-hand with censorship, others were missing. The collection "Stories, was" prepared by the writer in 1942 will not reach the reader. The book "In the direction of the Sunset", represented by Platonic to the Publishing House "Soviet writer" on August 28, 1943, will be published only in 1945 (signed to press 14/111 1945). To her discussion, the publisher attracted four reviewers: Criticov A. Gurvich and A. Mitrofanov, writers of the city of Storm and Vl. Bakhmetyev41. After long, intense collegial discussions in the collection "In the direction of the sunset" there were 10 stories left, each of which was a tough editorial editor, whereas they should have been 18: "The composition of the national team: 1. in the direction of the sunset<солнца> 2. Mother 3. Nick<одим> Maxim<ов> 4. Dormant Cow 5. Officer and Sold<ат> 6. Cross<янин> Yagafar 7. Mal.<енький> Sold<ат> (crossed out. - I. S.) 8. House<ашний> Foci 9. Sampo 10 three soldiers 11. Fight in a thunderstorm 12. Rose 13. Officer<ер> Simple 14. On the Mountain River 15. Yves<ан>. Great 16. Sch.<астливый> Korneflood 17. Among the people 18. Stories Art. serge<анта>»42.

In the papers of Platonov, we find several records in the composition of the book, including the litters "for owls. Pisat. Add "and" Got, to the Council. Pisat. "43, from which it follows that the writer wanted to introduce into the collection, perhaps as

39 Platonov A. In the direction of sunset: stories. M.: OV. Writer, 1945. Content: in the direction of sunset; Mother; Nikodim Maximov; Good cow; Officer and soldiers; Home; Sampo; Three soldiers; Fight in a thunderstorm; Rose girl.

40 Platonov A. Soldier's heart: Stories: (for media, and art. Age) m.; L.: Detgiz, 1946. Content: labyrinth assault; Ivan Toloklyo - the worker of war; On the Mountain River; On good land. The collection is rarely mentioned in the studies, therefore we will focus on it a little more. The book includes 4 works - all the stories were published earlier, perhaps, therefore, the book about the war for children was not interested in literary critics. Meanwhile, this small book represents undoubted historical and literary interest - as the last collection of military stories, published during the author's life. When reprinting Platonov managed in some cases to get rid of the censor editing of the former publications, restore its word.

41 History of the publication of the collection "In the direction of sunset" Dana: Kornienko N. V. Text history. P. 283- 287.

42 Ragali, f. 2124, ON. 1, units. xp 99, l. eighteen.

43 in the same place, l. 17,19,20,22. Replacing the "selected" stories "Seventh Man", "Officer Reflections", "Empty", "the recovery of the dead", "Essays about the Soviet Soldier", "Good Kuzya", "His grandmother", "Kurdyum's fighter defeated four Germans." But no product from the author's "additional lists" in the collection has not passed. "In the direction of the sunset", the book, in which there was literally "half" from the made by the author of the composition, is the most voluminous large-scale collection of military stories of Platonov's military assembly in the number of works included in it. At the same time, this is the least "Platonovsky" collection from published during the war - so radically edited all the works included in it.

In 1943, ideological controls were tightened and censored requirements in the field of literature and art44. The first stage of the war ended, when before the threat of defeat and the national catastrophe "it became clear that the protection of the country and to victory could be called only from the depths of the national history, addressing the forces of popular self-defense, for the thousand-year-old patriotic feeling" 45. Now, in 1943, the Great Patriotic Blood is hard, but irreversibly became a victorious war and had to have ideologically impeccable lighting 46.

Platonov's works are increasingly passing to print. The editorial office of "Banner" in 1943 rejected the stories of "Reflections of the Officer", "All Life", "Hut grandmother" (entered the magazine 18 / ix, and 21 / ix, i.e. after 3 days, put into the archive of unpublished manuscripts - With numerous litters and reviewer questions) 47. In the magazine "October", among other refuses, Platonov in publications of 1943-1944 again, "reflections of the officer", as well as "empty", "Aphrodite". Against the List

44 The Moscow meeting of the writers in the spring of 1943 became sad, in the spring of 1943, on which the results of the two-year work of writers were summed up in the context of war and new objectives of literature were formulated. A much of what was created in wartime, starting with the poem A. Twardovsky "Vasily Terkin", in which his fellow on the poetic workshop N. Aseev did not see the right artistic reflection of the peculiarities of the Great Patriotic War.

45 Akimov V. M. From block to Solzhenitsyn. P. 82.

46 "The Great Patriotic War of the Soviet Union against the imperialist aggression of fascist Germany - the heroic period in the history of the country of the victorious socialism" (essays of the history of Russian Soviet literature: at 2 pm. 2. M.: Publishing House of the Academy of Sciences of the USSR, 1955. P. 127 ).

47 Ragali, f. 618, OP. 12, units. xp 53.

Dana manuscripts. " Platonova often stands to "take a manuscript." 48 In 1943, he works on the story of the stories "On the living and dead" 49, but it will not be released. The final book of the War "All Life" will not be published, whose manuscript was given to the "Soviet writer" publishing house in early September 194550.

1946 became the last year of the lifetime publications of the military works of Platonov: Detgiz issued a collection of stories about the war for children of senior and middle-aged "Soldier's Heart"; In the "Red Star" a story was published about the Hero of the Great Patriotic War Guards Colonel Zaitsev "Start of the way" 51; In the "light" - "resident of his native city" 52; In the "New World" - "Ivanov Family" 53.

In 1946, a new round of world confrontation will begin - the so-called "Cold War", it escorts the political hysteria on the same side of the Iron Curtain. The campaign to combat excitesment in the Soviet literature was officially launched on August 14, 1946 (the date of publication of the decision of the Central Committee of the CSP (b) "On the magazines" Star "and" Leningrad "). Andrei Platonov will fall under the flywheel of the exposure and repression at the end of 1946. After the defeat criticism of the story "Family Ivanova", it is stopped typing. In their work papers, after the list of works and books, most of which were never published during the life of the writer, Platonov left a record: "The attitude of words - the victim to society for understanding. Nature, essence - one-end, SCRIP "54.

48 "Take a manuscript:

In cr. Star 1. Size<ышления> officer<ера> 2. Russian Matryoshka 3. Spring

October 1.<ышления> OF.<ицера> 2. Empty<ушие> 3. iv.<ушка> Bab.<ушки> 4. House<ашний> The hearth ", etc. (Rgali, f. 2124, on. 1, units. Xp. 99, l. 23).

49 version of the book, presented in Dedgiz on October 28, 1943: 1. Grand-soldier 2. Little soldier 3. The recovery of the dead 4. Iron old woman 5. Hut grandmother 6. All life 7. Good Kuzya 8. Cow

9. The seventh person is 10. July thunderstorm 11. Vorobya's journey (Ragali, f. 2124, On. 1, units. XP. 99, l. 24).

10. Maltsev machinist 11. Ivanov family (boldly crossed out. - I. S.) "(Rgali, f. 2124, on. 1, units. XP. 99, l. 14).

Platonov A. A resident of his hometown: (Essay about painting I. P. Konshina) // Spark. 1946. No. 38-39. P. 29-30.

Platonov. Family Ivanova // New World. 1946.№ 101-1. P. 97-108.

54 Ragali, f. 2124, ON. 1, units. xp 99, l. 25

In the period of thaws, the return of Andrei Platonov's creativity in the domestic literature began to be thawed. Return from the war and its front-line works. In 1957, the story of Platonov "Son of the People" 55 was published in the collection "Front Sketches about the Great Patriotic War". In 1958, the works of the military years appeared in "Selected Stories" Platonov56. A separate book stories about the war came to the post-war reader in 1963 called "spiritualized people" 57. Over the next decades, military stories are reprinted with certain periodicity. The most thorough edition of the Writer's military stories, although today, already obviously, the incomplete, prepared by V. M. Akimov in 1986, and again the book gets the F Q name "spiritual people". Package of new wartime materials (biographical data, memoirs, Artistic works, journalists) are contained in the monograph N. V. Kornienko "Text History and Biography A.P.Platonova (1926-1946)" (1993), collective monographs: "Andrei Platonov: World of Creativity" (1994), "Andrei Platonov : Memories of contemporaries: Materials for the biography "(1994), periodicals had RAS" "" "Country of philosophers" Andrei Platonov "and Irley RAS" Problems of creativity Andrei Platonova: Materials and research ".

Military stories in criticism and literary criticism. In the first response of reviewers and critics to front-line prose, A. Platonova often sounded the idea that the facts and phenomena of reality are in effect by the author so much reflection, as artistic complicated that the philosophy is tested and becomes the center of the plot. This is the "wise" of the author in the historical situation, which seemed to demand a journalistic clarity, confused and felt. Reviewer G. Storm, working with manuscript

55 Platonov A. Son of the people: (story) II front essays about the Great Patriotic War. M., 1957. T. 2.

36 Platonov A. Favorite stories / entry. Art. F. Levina. M., 1957. "Platonov A. Candicated people: military. Stories. M., 1963.

58 Platonov A. Toughness people: Stories about war / Sost. and entry Art. V. M. Akimova. M., 1986.

In the direction of sunset "and giving tribute to the artistic skill of Platonov, saw the" undoubted danger "of his worldview, opposing the presentity:" The meaning of this confrontation in the following: the evil ripe in the world; It detects himself in the war that brought unheard of disasters and suffering to the Russian people; At the same time, the author does not distinguish between the world, from which "Tigers" and "Ferdinand" and the world, lying on this side of the front craw on us; The whole world is "anger", he is not ready for children in it. "59. Another reviewer V. Bakhmetyev also believed that publishing military stories of Platonov could be possible only under the condition of "amputation there" 60.

But also on the outlet of the press (already "surgically" edited) works were read as "dropping" from the ideological task of time. In 1944, critic Sun. Lebedev was outraged: "Instead of writing the truth of life, he (Platonov. - I. S.) composes ridiculous, non-existent people, imposes them aluminum, cliking thinkers, distorting this appearance of people of our homeland" 61. The theoretical of the socialist realism V. Yermilov in 1947 put the point in the discussion (condemnation) of Platonov's creativity. The story "Ivanov Family", which completes the Military Epos of the Writer, V. Yermilov appreciated as slander on the entire Soviet people and the socialist lifestyle, the main argument of criticism: "A. Platonov always writes parables. It is so written that a story about "some" Ivanovo and his family "62 is also written.

After decades, literary crits allocate in military stories

Platonova Ethical Dominant. According to a number of researchers, the writer "1 became hostage of Soviet patriotism. L. Ivanova believes that in the military

39 cyt. By: Kornienko N. V. The history of the text. P. 284.

60 there. P. 287.

62 Ermilov V. Slander's story A. Platonova // Andrei Platonov: Memories of contemporaries: Materials for biography. M., 1994. P. 467-468.

63 E. Niman believes that Platonov bowed his head in front of the "Stalinskoy utopia" in his work before the war - in a number of works of the 1930s on the family topic, which symbolize not only the author's "renunciation from an early ideal, but also a promise of a new order "(Naiman E." From the truth there is no prose Platonov sounds a special intonation of sermons and is weakened, and there is no psychological aspect of the image64. A. Kretinin writes about "semantic affairs" and coagulation of philosophical subtext65.

M. Koh concludes that "in wartime, the problem of death takes a purely ethical value from Platonov" 66. V. Chalmaev, for his part, believes that Platonov "War, this" country of despair ", with incredible labor, often with rational violence turned into a" country of hope "that the artist is looking for an excuse of death in her space (sometimes on a philosophical basis ideas N. F. Fedorova and K. E. Tsiolkovsky) and consolation for a person who have lost their loved ones. In our opinion, convincing excuses, the unity of "nature" and "ideas", the facts and generalizations he never found "67. Both authoritative researchers interpret the military prose Platonov in the spirit of rational ethimism. The question arises: is it possible that the topic or problem in the artistic work has a "purely ethical decision", the "idea" existed outside the "nature".

The above points of view only mean a difference that exists in a platonic examination of the Wisitor's military prose. Soviet criticism, traditional poetics, structuralism and postmodernism, as part of a slow reading school and "intensive reading", and simply from different researchers are different versions of Platonov text. It makes you remember the thought of the writer: "All truths are limited. Each truth is Dayt.<вительна> Within, - taken more, she is false and delusion "(ZK, 227). In the creative behavior of the artist, she has implemented as respect for the position of each reading. For us, this thought of Platonov exit ": Andrei Platonov between two utopias // Russian Studies: quarterly fiction of Russian philology and culture. 1994. No. 1. P. 137).

64 Ivanova L. A. "War" and "Peace" in the works of A. Platonov of the military years // Creativity A. Platonova: articles and communications. Voronezh, 1970. P. 78.

65 Kitinin A. A. Mythological iconic complex in the military stories of Andrei Platonov // Creativity Andrei Platonova: research and materials. St. Petersburg., 2000. KN. 2. P. 147.

66 Koh M. The theme of death of Andrei Platonova // "Country of philosophers" Andrei Platonova: Problems of creativity. M., 1994. P. 260.

67 Chalmaev V. Andrei Platonov (to a hidden person). M., 1989. P. 429.

68 Book of literature, which A. Platon prepared in the late 1930s, he called "reader reflections." It became another motivation to focus on the works of Platonov of the period of the Great Patriotic War. This is a period with your "assignment" in the history of Russia, in universal history. His distinctive features, as we will try to show, has the artistic world of Platonov's military prose.

Turning to the work of Platonov for military years, it seems important to put a copyright understanding of the tasks of the literature of the Great Patriotic War period - to read Platonov with the help of Platonov. The task that we put and tried to decide - to clarify, specify a number of fundamental, from our point of view, the positions of reading Platonovsky military epic.

Andrei Platonov meditated a lot about the relationship of art and life, necessary and due in them. In his notebooks, in the fields of manuscripts of 1941-1945, an ethical-aesthetic program of military years is deployed, where creative reflection is adjacent to intuitive insights, comprehension written - with the wording and substantiation of new artistic principles. The ethical need for the work of the period of the Patriotic War, the writer saw in the creation of works, "full truths of reality" (ZK, 279). At the same time, he emphasized the role of "private concreteness", which ensures completeness, which means the truth of artistic memory: "If the domestic war is still living and, so to speak, the private concreteness of the Patriotic War is ever in the future power of oblivion, then how people can see for themselves Weaching from the Great, but already lasting events. It is particularly private concreteness here, because the literature is dealing with a separate person, with his personal fate, and not with the stream of nameless creatures "(ZK, 279-280).

The dissertation refers to the type of historical and literary study. In the course of the analysis of the literary material of the period of the Great Patriotic War, the author relied on the principle of historicism, systemic, comparative-typological and structural-semiotic research methods.

The theoretical and methodological basis of the study was the works on the overall poetics, history and theory of literature S. S. Averintsev, M. M. Bakhtina, S. G. Bocharov, A. N. Veselovsky, B. M. Gasparov,

A. F. Losev, D. S. Likhacheva, Yu. M. Lotman, I. P. Smirnova, V.N. Toporova, Yu. N. Tynyanova, B. A. Uspensky, O. M. Freudenberg, R. Jacobson.

On the problems of the history and social psychology of the Great Patriotic War, the methodological base was the work of E. S. Senavskaya,

B. T. Aiskova, N. D. Kozlova.

The study of military stories A. Platonov was carried out in continuation and supported on the work of predecessors and modern research researchers A. Platonov - in the dialogue with them. These are Research O. Yu. Aleinikova, E. A. Antonova, K. A. Barbish, S. G. Bocharova, V. V. Vasilyeva, V. Yu. Vigigina, Günther, M. Geller, S. P. Zalina, M. A. Dmitrovskaya, A. A. Drydin, L. V. Karaseva, L. I. Kolesnikova, N. V. Kornienko, S. I. Krasovskaya, O. A. Kuzmenko, T. Langraka, O. Lasunsky, N. M. Kalygin, O. Meerson, M. Yu. Mikheeva, E. G. Mushchenko, E. Nimana, T. A. Nikonova, N. G. Poltavtseva, V. A. Switivsky, V. P. Skobelev, S. G. Semenova, E. Tolstoy-Segal, L. P. Fomenko, A. A. Kharitonova, R. Khotel, V. A. Chalmaeva, L. A. Shubin, E. A. Yablokova, other authors.

Platonov's poetics are determined as "strange poetics" (E. Tolstaya-Segal), "Poets" (V. Vyugin). I. P. Smirnov, believing the secret of the inalienable quality of fiction, believes that in the literary work "the surface of the Tynopisi is valuable only as what we are in forces to overcome" 69. As the structure-forming principles of Platonic poetics, researchers call "violation of semantic valence" (R. Khotel), the organization of the text "On mutually exclusive

69 Smirnov I. P. Roman Tyne "Dr. Zhivago". M., 1996. P. 26. Beginning "(T. Langrak)," Copyright "as a narrative strategy of Platonov (N. Kornienko), the principle of" reversibility "(E. Apple), the reception of" non-construction "(O. Meerson) , "Isomorphism" (E. Thick-Segal), "Shape Reduction" (V. Viugin). These provisions became started in the course of work with the "secret texts" of Platonov.

In the study of military stories, we relied on the approaches and methods of texture analysis, which are given in the works of E. Antonova, I. Dolgov, V. Vyugigina, N. Kornienko, T. Langraka, A. Kharitonova.

The stated topic led to an appeal during analysis to the main corpus of the writer of other periods of creativity. In 2000, an academic edition of the story "Kotlovan" was published, prepared by the staff of the Institute of Russian Literature (Pushkin House). It includes materials of the creative history of the work (manuscript, draft sketches, typewritten variants of the text, as well as the dynamic transcription of the manuscript "Kotlovan"); Thus, the reader was first given the opportunity to "get information about real sources of text and trace its change at all stages of the author's work over the story" 70. In 2004, the first volume of the scientific edition of the writings A. Platonov was published, which is preparing the Institute of World Literature named after A. M. Gorky. The task of the publication is "to present the most complete set of all the artistic works of the writer, to restore the reliable appearance of the classic on the basis of the previous experience and re-prompted and open sources, lay the fundamental basics of further work on the study of one of the unique phenomena of Russian culture XX century." 71 . The above-mentioned publications, accompanied by thorough comments, became a support when studying the creative laboratory of the writer.

To date, there are a number of monographic studies dedicated to the analytical decryption of the artistic structure.

70 from the editorial // Platonov A. Kotlovan: Text, materials of creative history. St. Petersburg., 2000. P. 3.

71 from the editorial // Platonov A. Works. T. 1. KN. 1. M., 2004. P. 5. Platonovsky Mettetext: N. M. M. Malygin "Aesthetics Andrei Platonova" (1985) and "Andrei Platonov:" Returns "poetics" (2005) 72; O. Meerson "" Free thing ". The poetics of non-construction from Andrei Platonova "(1997), K. A. Barsh" Poetics of Prose Andrei Platonov "(2000) 74, V. Yu. Vyigina" Andrei Platonov: Poetics of the riddles (essay in the formation and evolution of style) "(2004) 75.

In the "Aesthetics of Andrei Platonova", one of the first domestic monographs about the work of Platonova, N. M. Malygina focused on the formation of the art method A. Platonov in the context of the literary process of the 1920s and 1930s, the formation of symbols, supporting for everything Creativity writer. The study of the aesthetic principles of the "symbolic realism" of Platonov was continued by N. Malygina in the articles "Images-symbols in the works of A. Platonov", "Transformation of the images and motives of Platonov's early prose in the play" Noah's Ark "", the textbook "Artistic War of Andrei Platonova" , other studies that in a revised and complementary form entered the monograph "Andrei Platonov:" Returns "poetics."

O. Meerson in the book "Free thing". The poetics of non-construction from Andrei Platonov "explores recipe functions (reversible to the reader) of language violations, which are a kind of artistic rule in Platonov. Lack of surprise - "Normalization of abnormal" - in the artistic world of Platonov gave the basis of O. Meerson to determine his poetics as a poetic of non-sustaining. The writer created a literary model in which "Freedom of Things" (events, that is, the object of knowledge or reaction). Castle freedom of hero responding to her (subject

72 Malygina N. M. Aesthetics Andrei Platonova. Irkutsk, 1985. She is: Andrei Platonov: Poetics "Returns". M., 2005.

73 Meerson O. "Free thing": the poetics of non-construction from Andrei Platonov. 2nd ed. Novosibirsk, 2001. The first ed. kn. O. Meerson - Berkeley Slavic Specialties, 1997.

74 Barst K. A. Poetics of Prose Andrei Platonova. St. Petersburg., 2000. In 2005, 2nd ed.: Barst K. A. Poetics of Prose Andrei Platonova. 2nd ed., Add. SPb., 2005.

VIUGIN V. Yu. Andrei Platonov: poetics of the riddles (essay in the formation and evolution of the style). St. Petersburg., 2004. Cognition or reaction to the event) "76. The functional task of such a literary model "free thing" is to destroy the idiomatic inertia of the reader's perception.

Poetics of Prose Andrei Platonova "K. A. Barbeta represents the first experience of the systemic description of the main parameters of the artistic ontology and anthropology of the writer. The author traces the relationship between the artistic codes of Platonov and scientific ideas, the hypotheses and discoveries of the XIX-XX centuries (Darwin's teachings, the historical materialism of Marx, the theory of Einstein's relativity, the Second Law of Thermodynamics and Neevklidov Geometry of Lobachevsky-Minkowski, the concept of the Novosphere of Vernadsky, Anthroposophy of Steiner, etc.). During the creative dialogue with the scientific and philosophical ideas of Platonov, he created his unique concept of a person in his relationship to the Universe, which was based on the 1920-1923 "Hypothesis of Living Earth" and inexpensively inhabitant

77 with her human body. " At its database and formed, K. Barst, a unique picture of the universe on Platonov, where the "substance of existence"

78 presents the "third reality" and operates "the unified principle of the total equality of substance and energy, interconnecting each other" 79. We note the scientific relevance of the very formulation of the problem of the nature of the artisticity of A. Platonov and approaches to its decision proposed by the researcher.

His version of the art model of Prose Platonov was suggested by V. Vyugin in the monograph "Andrei Platonov: poetics of riddles (essay of the formation and evolution of style)." The scientific hypothesis that V. Vyugin puts forward and develops, "the principle of mysteriousness", its aesthetic functions and the ideological background in the artistic world of Platonov. The author stipulates that in his intention it was not "detailed description

76 ibid. P. 6.

11 Barst K. A. Poetics of Prose Andrei Platonova. 2nd ed. P. 449.

78 ibid. P. 13.

79 ibid. P. 81. Platonic poetics, but only one of its faces, albeit the fundamental "80. Comparing the artistic structure of the works of Platonov with the structure of the folklore riddle, V. Vyugin comes to the conclusion that "mysteriousness" as some structural involvement in the specific genre of the parea inherent in most of the works of Platonov in the 1920s and the first half of the 1930s; Then, starting from the 2nd half of the 1930s, in the work of the writer, the refusal of the "Riddle Style" can be traced. The study involved a large archive material, on the basis of which the analysis of which is concluded about the "reduction of form" as one of the main laws of Platonov's poetics.

In the above-mentioned monographs on aesthetics and poetics of Platonov, the attention of researchers focused on the works of 1920-1930s, when the artistic worldview of Platonov was formed, and then, from the second half of the 1920s, the "classic" platonists, the author "Cevenegigra", enjoyed "And" pit ". Military stories (and wider - prose of the 1940s) or not in the list of sources, and observations over them for "general conclusions" are not made at all, as in the book O. Meerson, or are represented by implicit, minimal number of works and appeals to them during Analysis, as in the studies of N. Kalygina, K. Barke, V. Viugina. But even such a "shredded" inclusion of works of the 1940s in the analysis of the general picture of Platonov's creativity allowed the authors to draw conclusions about changes in the poetics and worldview of Platonov's final period of creativity.

The question of the contexts of Platonov's creativity, his connections with literary, folklore, philosophical traditions of Russian and world cultures today is studied quite intensively. The problem is setting in the works of E. Tolstoy "Literary Material in Prose A. Platonova" (1980), "To the issue

80 Viugin V. Yu. Andrei Platonov: Poetics of Riddles. P. 8.

81 So, N. Malygina indicates the semantic expansion of the concept of "Resurrection" (Malygin N. M. Aesthetics Andrei Platonova. P. 36), transformation of the images and motives of the writer's early prose (it. Transformation of images and The motives of early prose in the play "Noev Ark" // Malygin N. M. Andrei Platonov: Poetics "Returns". P. 316-321). About the literary allusion in the prose of Andrei Platonova: Preliminary observations "(1981)," ideological contexts A. Platonov "(1981). N. Malygina, T. Langrak, V. Zolotonosov, A. Keba, E. Yablokov, N. Dazhina, M. Dmitrovskaya, E. Rozhentsev, others. Today, the long-range contexts of Platonovsky creativity are sometimes better than the neighbor82. However, the modern Platonov domestic historical and literary context is not only the background of his works; These close relationships help to better understand the genius of Platonov, who spoke about the same otherwise. Example

Q7 Tom - Article V.Turbina "July 16, 1933. Andrei Platon and the newspaper, "which allowed to read the story of the" trash veter "in a new way through a modern writer newspaper material -" Time Language ".

The attention of the researchers, along with the mythological iconic complex at Platonov, the last time is increasingly attracted by the Christian cultural code in the works of the writer of different periods: biblical images, quotes, reminiscence, other text elements, ascending to Christian culture (Agiographic motifs84, Type of Yurody85, genre about / martyrdom, etc.). Christian motives and images, the biblical subtext in Platonov are considered in the works of O. Aleinikov, M. Geller, Günther, A. Drydin, N. Kornienko, L. Karaseva, O. Kuzmenko, E. S. S. Semenova, E. Apple.

As the contextual consideration, Christian motives, elements of Orthodox culture and spirituality, included in Platonic in the artistic narration, become one of the mechanisms

82 See: Keba A. V. Andrei Platonov and World Literature of the 20th Century: Printing Communications. Kamenets-Podolsky, 2001. There is no such thorough analysis of the creativity of Platonov in contextual relations with modern domestic literature.

83 Turbin V. N. July 16, 1933: Andrei Platonov and the newspaper // Turbin V. N. Shortly to Aquarius. M., 1994. P. 311-348.

84 Aleinikov O. Agiographic motifs in the prose of Platonov about the Great Patriotic War // "Country of Philosophers" Andrei Platonova: Problems of Creativity. Vol. 5. P. 142-148.

85 Gunther N. N. Ortreat and "Mind" as opposite points of view from Andrei Platonova // SPRACHE UND ERZAHLHALTUNG BEI Andrei Platonov. BERN, 1998. P. 117-133.

86 Kuzmenko O. A. Shining Rose 11 Kuzmenko O. A. Andrei Platonov. Vocation and fate. Kiev, 1991. P. 129-149. Measond formation in the structure of its works. At the same time, Christian elements act as a sign text in the new text. While in new formal-semantic relations, a variety of Christian elements in the artistic work are recognized by the reader: they are perceived by him as previously encountered, having a certain place, functions and significance in the cultural tradition. Receiving a new combination in a relevant context, the familiar model "recoded" (Yu. M. Lotman), generating a new meaning, which, however, does not cancel the traditional cultural semantics. Christian elements act in the artistic work of the overall text "territory" for the author and reader. To identify what their function in the military epic Platonov is one of the tasks of this study.

The purpose of this work is to consider the specifics of the artistic world of the Writer's military stories in the context of creativity and time. The study of the peculiarities of poetics and semantics of the military epic Platonov clarifies and deepens our understanding of creativity of one of the most vibrant and complex writers of the 20th century as a holistic artistic object existing in time. On the other hand, a comparative analysis of the military works of Platonov with the work of other authors of the period of 1941-1945 introduces a number of significant additions and adjustments to the established characteristics of the Russian Soviet literature of the period of the Great Patriotic War.

Research tasks:

Study the history of the texts of military prose, to conduct a comparative analysis of various lifetime publications of works and manuscripts;

Follow the traditional Platonov topics, images, motives, plots, scenes in the artistic world of military prose.

Find out what new formal-meaning elements and mechanisms of sense formation show themselves in the artistic structure of military stories;

Determine the place and functions of Christian images and motifs in the military prose of the writer;

Consider concept trails and their role in the artistic world of military stories;

Analyze the features of the poetics and artistic thinking of Platonov in the historical and literary time process.

Military stories A. Platonov were first reviewed in the light of the universal category "Art World". Three interrelated levels of research - the inner world of the work, the features of the poetics of the Mettetext of military stories, the artistic world of Military epos A. Platonova and its place in the Poetic Space of the Writer - allow you to trace the dialectics of a special, isolated and common in the creative evolution of A. Platonov. During the study, the methodology and methodology of studying art codes of metaphysical issues of military works of Platonov (ontological, epistemological, naturalophilosophical, religious aspects of artistic creativity) were developed, which can be used to study other artistic worlds in the literature of the Great Patriotic War. The formulation and solution of the above tasks and problems consists of scientific novelty and theoretical significance of the study.

Practical significance of work. The dissertation materials can be used in the preparation of the scientific publication of military stories; In further studies of the artistic specifics and evolution of creativity, A. Platonov, primarily the final decade of the 1940s; in the process of developing new (or at least for adjusting the established) approaches to the study of the history of Russian literature of the period of the Great Patriotic War; In university lecture courses on the history of Russian literature of the XX century, special courses and special seminars on the work of A. Platonov.

The essence of the scientific hypothesis, endowed to defense. Stories A. Platonova 1941-1946 form a complex artistic whole - a large epic web, organically grew out of a small epic form: they are distinguished by the problem-thematic community, through socio-moral and religious-philosophical collisions, the uniform principles for building the character system and the figurative structure, Genre and narrative author's strategies. Great Patriotic War A. Platonov identified as an era of the epoch: this is the time of consolidation of a person and the world before the deadly threat of fascism, when the Russian man and the Russian world were called to the "Spacious Sphere of Historical Being" (M. Bakhtin) for the performance of historical debt instead of falsely understood Revolutionary Messiance. Responding to changes in the "text" of life, supporting images and concepts, constituting the artistic world A. Platonov, acquire a new content, a new configuration of the components of the poetic system and the value hierarchy are lined up. The trinity of the image is maintained: anthropomorphism, naturomorphism, theomorphism, but the forms and semantics of their interaction are changed. Theomorphism acts as a structure-forming principle of artistic peacekeeping, forming the image of the temple of the world as an alternative to historical reality and at the same time its real opportunity.

The following provisions are made on the defense:

1. Platonian metatext of war years thematically and poetically inherits the preceding creativity of the writer and at the same time in a new manifest semantic substitution repeated in it.

2. Heroic truth and tragic truth - such a new artistic synthesis give the aesthetic, philosophical and ethical installations of a writer in the stories about the war in war.

3. In the situation of "ethical necessity", in which the writer was put by the Patriotic War, an important mechanism of semantic expansion of artistic text, the actualization of intimate meanings and collisions

Platonova becomes "One-touch" - an artistic sign, which is not coincident with artistic.

4. The concept of "intration" in the stories of 1941-1946 is complemented and deepened by the concept of "spirituality". The "spirituality" becomes a conceptual center of the world modeling and folk characterology.

5. Polypersonalism is the leading principle of organizing the character system. Heroes of military stories differ in world viewing, nature and fate, but they are aesthetically equal: who is not worthy of "eternal glory", he is preserved in the artistic world of Platonov "Eternal Memory of All the Dead and All Living."

6. The image of the "family of the family" crystallizes in the prose of war years. The highest senses of life - love and peace - find the artistic realization in the figurative "parallel" Mother ". The image of the mother integrates the main meanings of the" live mystery of the world "from Platonov, helps to reveal the metaphysics of Russia, the moral origins of the people's life, which war not only did not cancel but helped the tragic awareness.

7. Artistic thinking of A. Platonov archetyapically, which determines the feature of the artistic historicism writer. The idea that animals and plants are "accomplices" of the history and "our contemporaries", from the arsenal permanent writer. In the work of the war years, the idea of \u200b\u200bthe "General Conglomerate" (equality of existence in Chaos), one of the central in the philosophy of the tragic in Platonov in the 1920s and 1930s, replaces the other - about the need to combine the efforts of people and nature in the search for "roads to the Divine" On their equal opportunities of admission and participation in the divine space of life. Platonov's military prose space - land and people "under the skies of the Motherland."

8. A variety of text elements that rise to Christian culture, focusing in military stories existential problems and at the same time give an alternative historical reality. Ideal images of the world-Temple and Russia-Temple.

Approbation of work. The results of the study were presented in the reports and discussed at the I-XVII Annual International Platonic Seminars (1990-2006, Irly RAS (Pushkin House), St. Petersburg); international conferences dedicated to the work of A. P. Platonova (1997, 1999, 2001, 2004, had RAS. A.M. Gorky, Moscow); International Conferences "Evangelical Text in Russian Literature of the XVIII-XX Century: Quote, Reminiscence, Motive, Plot, Genre" (1993, 1996, 1999, 2002, 2005, Petrgu, Petrozavodsk); Scientific Conference dedicated to the 90th anniversary of the birth of A. Platonova (1989, Pip Lee RAS (Pushkin House) Leningrad); I Russian Zamyatinsky readings "Creativity Evgenia Zamyatina: Problems of studying and teaching" (1992, TSU them. G. R. Dervin, Tambov); All-Russian Conference "Children's Literature: History and Modernity" (2003, Petrgu, Petrozavodsk); V International Platonic Persons "Andrei Platonov: A Query of the Century and Voronezh Contexts", dedicated to the 105th anniversary of the Birthday of the Writer (2004, VSU, Voronezh); At the meetings of the Department of Russian Literature of Petrozavodsky State University.

According to the results of the study at the Philological Faculty of Petrozavodsky State University, special courses "Creativity A. Platonova: traditions and innovation", "Creativity A. Platonov: interpretation problems." The main provisions of the thesis are set out in scientific publications, among which the monograph "inside the war" (poetics of military stories A. Platonov) "(Petrozavodsk, 2005). The total amount of work published on the topic of the dissertation study, 26.2 pp.

The structure of the dissertation work includes the introduction, 4 chapters, conclusion, bibliography and application.

Conclusion

The artistic image of the world keeps colossal information of copyright, national, universal experience - this is "Memory of Memory" (A. White). At the same time, the image is a movement, variability - "news". Outside the element of the novelty, the artistic image loses its events already in the "private" scale of the author's creativity, in parallel losing them and in the overhangorm process. This dialectic image has become a starting point in the study of the artistic world of Military stories A. Platonov, asked the parameters of their study - in the context of creativity and time.

The stories of Platonov The period of the Great Patriotic War form a complex artistic whole - a large epic web, organically grown out of a small epic form: they are distinguished by the problem-thematic community, through socio-moral and philosophical collisions, uniform principles for building the character system and figurative structure, genre and narrative strategies author. Platonic metatext of fiery forties thematically and poetically inherit the preceding creativity of the writer and at the same time in a new manifests semantic substitution repeated in it.

If you think about the work of the writer, then the "fortieth-fatal", where the issues of life and death, good and evil, freedom and necessity, faith and doubts, love and hate, lost, losing metaphysical abstract on the battlefield, is the time of Platonov by vocation : Participate in the case of nationwide and universal salvation. This is the time of consolidation of a person and the world before the overall fatal threat of fascism, the time when the Russian man and the Russian world are designed to the spacious sphere of historical being "(M. Bakhtin) for the performance of historical debt instead of falsely understand the revolutionary messianism. For the writer, the Great Patriotic War is not a change of historical scenery, not a new socio-political background, but an epochal event, which opens the intimate content of life. Responding to changes in the "text" of life, supporting "images and concepts" (Ji. Shubin), constituting the artistic world of Platonov, take into account the new content, the new configuration of the components of the artistic system and the value hierarchy are lined up.

Platonic divided patriotic pathos of time. The writer of the tragic vision of reality, he is an artistic word (the main instrument and act of the writer) took part in the heroic struggle of the people to defend the Fatherland. Patriotism as an ethical constant, heroic and tragic as aesthetic biteline identified ideological and artistic peculiarity of Platonov's military prose. The creative task that the writer gives itself and implements in the works of the military years, is to create "eternal memory" literature: "Eternal Glory" of the heroes and the "eternal memory of all the dead and all living things." This task perfectly corresponded to the small epic genre of the story. Each next product allowed the writer to take another one, a different event, another character - and to tell them in a new way, therefore, add and fill the previously written. As the ideological and thematic and poetic whole stories of 1941-1946 gave a stereoscopic artistic picture of the Russian life of the period of the Great Patriotic War - in a variety of details and integrity of the tragic and great event.

Heroic truth and tragic truth - such an artistic synthesis give ethical, philosophical and aesthetic installations of the writer in the stories about the war in war. In the works of 1941-1946, the heroic topics are expanded: not only the "sacred war" receives heroic light from Platonov, but life as such, where the ontological conflict of life and death lasts in everyday life, and life wins. Plants, animals, "born" land - Heroes of life in Platonic stories. The hero of life is both a person who wins the spiritual, moral victory over death in a variety of her larva: fear, egoism, indifference, embodiments, despair, finally, the enemy. Such different characters of the story of "Grandfare", "Peasant Yagafar", "spiritualized people", "Iron old woman", "There is no death! (Semidvory Defense) "," Rose Girl "," Flower on Earth "is equally necessary to a writer for the artistic representation of the" heroic truth "(" Rose Girl ").

In parallel, the heroic is expanding and the zone of tragic, which traditionally characterizes at Platonov "All Life". The tragic truth is present in the artistic world of military stories from the reception of the "speech reservation" ("armor") to the genre model ("Sampo"). Where tragedy is rolled up to the details, a separate statement of a narrator or hero, a landscape, a portrait, motive, he is supported and deployed in the subtext, in the plot of the "second plan" - through the connection with the whole of Platonov's creativity, with literary and other contexts. In the situation of "ethical need" of the Patriotic War, the innermost meanings and plots are often pronounced by the writer, in his own definition, "single-end" - a special artistic sign that does not coincide with the artistic whole, whereby the semantic text expansion occurs in the zone of the stylistic conflict.

The collision text - the subtext leads in military stories from the socio-political surface of the historical conflict into the ontological depths of the problems of the "Eternal War": the eternal struggle of life and death, good and evil, truth and lies, and the main isna of this struggle, shows Platonov, continuing the traditions of classical Russian literature - man's soul. "Candine-loved people" (1942) - a central work, in a certain sense, the Mettextoxt of the prose of Platonov military years. In the artistic structure of the work, the general trend of the military stories of Platonov to cyclization and the novelization is viewed, we find a set of basic topics and problems, the key to the figurative decision. The story is a long-term narration, its artistic space absorbs the front and rear, the realities of the socio-historical and intimate, mental life of a person, the artistic time - the past and present, MiG and Eternity. The study of the history of the work, the analysis of its inner world in the context of time and creativity made it possible to revise the version of the "traditional" literature in the literature for the Soviet literature of the period of war the heroic content of the story (V. Poltoratsky, O. Kuzmenko).

Candidual people "to present are reprinted by the last lifetime publication of the story in the collection of A. Platonov" Stories about the Motherland ", which was released at the end of 1943, but it was in this edition that the largest number of text bills and editorial editor that violates the will of the author. Black sketches for the story, letters and notebooks, finally, the full author's text (the typewriter prepared by Platonic for publication in the journal "Banner") show that the dramatic principle, generating artistic meaning, plays an important role in organizing genre, scene, narrative structures story.

A comparative analysis of the motifs of rage and the beast in the story "spiritualized people" and in the literature of the Great Patriotic War revealed features in the semantics and the functions of these motives at Platonov. In the Patriotic War, the love of his people and sacred hatred for the enemy. The themes of "Sacred Love" and "Sacred Hate" merge in journalism and artistic literature of military years in a single paphos. "Noble rage" - a variant of "sacred hatred" in the works of Ji. Leonov, other authors. The motive of the "beast" characterizes the enemy in the literature of the Great Patriotic War and becomes an antithesis of the motive of the People's "Yarest-Wrath".

A. Platonov, like artists-contemporaries, wrote the Great Patriotic War as "sacred", but the tragically universal meaning of the death occurrence was kept in the semantic field of work. In the motive structure of the story, "spiritualized people" broken the border "His - someone else's". The leitmotif of the rage is absorbed into himself - reproduced, but with the preservation of positive connotations - the topic of the enemy. The motive of the beast is also one-time, but used in the story of the story for the characteristics of the defenders of the Motherland: it is "inspired people" open in themselves in death "Beast" as a catastrophic consequence of war. "Explanation" of such a motive organization found in the works of Platonov of the 1920s and 1930s, in the evolution of the writer's views on history and nature. Nature, according to Platonov's philosophy, is a full participant in historical processes, it spawned and keeps the humanistic start of life, while the story is impregnated with zoological hatred. These beliefs did not allow Platonov in the military prose to paint the image-motive of the enemy-beast. The enemy is designated in a number of Platonov's stories as a "beast" (mostly through the word Hero), but in the artistic world of the writer's military prose there are no bright, memorable images and paintings specified by this characteristic. The motive of the beast in "spiritualized people" is a sign of the historical tragedy of mankind in its full volume: in the pre-war works of the writer, the motive-image of the beast characterizes the domestic revolutionary history ("Kotlovan") and fascism ("trash can"). The diffusion of the motifs of rage and the beast in the plot of "spiritualized people" cancels Paphos Retribution.

The musical motives of the story- "Requiem", as defined his Platonov, lead the tragic themes of separation of forever, loss, mortal limit of man. At the same time, they actualize the Christian subtext of the plot. The defenders of the Fatherland are dirty love and true defenders, but in their very death they argue the highest values \u200b\u200bof life, restore its harmony, embody (return) to life its ideal starts. As the main signs of the Christian themes in the artistic structure of the story, the "cross" (episode of the game of children in the cemetery) and the free quotation of the prayer "Eternal memory", which were introduced into the central episodes. With support for the memory of pretexts of Platonovsky creativity, they give Easter coverage of the plot.

The poetic code of the beginning, the musical theme and the motive structure of "spiritualized people" are actualized by the Blokovsky subtext in the story. Comparative study of "spiritualized people" and poem A. Bloka "Girl sang." It showed that the "direct contact" with the poetic masterpiece of the block at the beginning of the story serves as a starting point for the further free use of motives and images from the bloc repertoire, which is filled with new content; This is "a multi-step process, whose final product (implicit operations) is distancing from the source" 548. Note that the Blokovsky subtext supports and strengthens the Christian layers of meanings in the semantics of the work. In the typological similarity of the motive and figurative structures, the genre solutions of the work have a different content. Stans "Girl sang." The block has become another prophecy of the coming diseases of Russia. "Candidual people" - the work of "permissions" (B. Zaitsev), where the person and the people show Platonic, in the cleansing catastrophe of the Great Patriotic War stood out and discovered the true meanings and values \u200b\u200bof being. The story "spiritualized people" integrates the most important meanings of the military stories of Platonov.

In the artistic picture of the world at Platonov, the landscape and natural images play an important role. In military stories, landscape images of the field and wood are of particular importance, symbolically representing national life in the coordinates of time and eternity, war and the world. Exterpassed, discovered by fire and killed by projectiles, "ablodential" during

348 Smirnov I. P. Immediately (elements of an intertextual analysis with examples of creativity

B. L Pasternak). St. Petersburg., 1995. S. 56. The battles "to the bones" Mother Earth, the nature of Russia - the accusation is not only an enemy, as in the works of Ji. Leonova and M. Sholokhov, the literature of the military years as a whole. In Platon's stories, the defenders of the Fatherland are represented in the stories of Platonov, the defenders of the Fatherland. With natural philosophical issues (numerous landscapes of "native ashes", "Pogorelicins") enter the military stories of Platonov's motifs of repentance and the vow of the Fatherland soldier in front of the Russian land and the world. Taking on behalf of war and cleansing the work of life - an important point in the spiritual biography of Platonovsky Hero.

In the image of the hero, shaped parallels "Man-tree", "Flower". This is a symbolic character of the hero exit from the "animal history". With the significance of the figurative parallel "Man-Plant" during the entire creativity of Platonov, such a high content, as in military prose, was not previously nearing. Characters "Cheving", which crave to "stop history", believe the tree "alien" communism of nature. Alexander Dvinov managed to cut out the protected forest to the construction of socialism, since the "long-life" tree does not fit into the revolutionary pace and the ideology of life. In the Chevengur Commune, Saturdays are satisfied, where not only destroy the property, but also clutch gardens.

In military stories, metaphorical images of "Human-Tree" and "People-Tree" ("God's Tree", "Young Major") represent the ideal content of the life of an "animated homeland" and "spiritualized people", deployed from the present and future vertical Standing and growing a tree from the ground - to the sky. In the figurative parallel "Person-Flower", "Child-flower" semantic focus in the multi-valued symbolism of the flower is not done on the structural, short, limbs, but on the beauty and perfection - "color" of life ("Girl Rose", "Flower on Earth" ).

The image of a person, the human soul, who writes Platonov in military stories, is an important term of the common artistic picture. In the military gallery Platonov - portraits of the Fatherland soldier ("young officer", "among the people", "There is no death! (Defense of Semidvory)"), Military childhood ("iron old woman", "Little Soldier", "Parsley (Fear of Soldier)" , "Return"), old age ("Story about the dead old man", "Old Nicodem", "a resident of his native city"), despair ("Seventh Man"), stupidity ("Happy rootpod"), martyrs ("Rosa girl), The enemy ("emptying"). Never before at Platonov, a detailed description of the hero did not occupy such a place as during the war years. This is due to the ethical-aesthetic installation of the writer to save in the memory of art, if possible, all individual features and thickets of a person, generation, people, a doomed war on a feat and death. Platonov continues to write in the war the image of the "human soul", artistically explore her secrets. In the portrait of a man of military time, as in the preceding works of the writer, physics, biological data and metaphysics, existential of man are conjugate.

In military stories, the image of the "people-families", cohesive blood and spiritually, conscious of their obligations to nature and the Earth, crystallizes. The end of the author and the heroes of its works of 1920-1930s about the single organism of life, the universal partnership, the family-family finds its implementation in the Great Patriotic War. Platonov writes in war, like A. Tvardovsky, and M. Sholokhov, the life of the people. He is looking for an integral integral that would express the spiritual essence of the "Holy War" and the people who defends their right to live freely "under the skies of the Motherland." The writer was important to show that the person who had to protect his native land, and in the tragic circumstances of death, merciless martial arts with fascism can discover the meaning of life and death, the meaning of love. These are the highest senses who are guided by the people in the Patriotic War, find the artistic realization in the shaped parallel "Mother" ("lightweight people", "Sergeant Shadrin", "Officer and Peasant (among the people)", "the recovery of the dead") . The mother's topic is deployed from Platonov to the entire figurative system. In the military stories of Platonov, the image of the mother integrates the main meanings of the "live mystery of the world", helps to reveal the metaphysics of Russia, the moral origins of the people's life, which war not only did not cancel, but helped the tragic awareness. The image of the mother exposes the guilt of the son in front of the mother for the ruined war world, for born to live, but killed. This wine is connected in Platonov's stories from the mother of the mother in front of the children, which she gave birth to the world, where so much evil. The image of the mother simultaneously becomes at Platon, the highest poetic and moral justification of the nation of the people in this terrible war.

The writer understood how the Russian world would be empty, where the "color" of national life was destroyed. More importantly, it was for him that the "beautiful world", which in the suffering and death opened people among the rage and hate of war. From the diary of the writer: "Och<ень> It is important. The fact that, in essence, is killed - not alone. Great picture of life and. dead souls and opportunities. The world is given, what would he be with the activities of the dead, is the best world than valid: that's what dies in the war. " (ZK, 231). Art, according to Platonov, should keep in the eternal memory of this "best world than valid", the knowledge of which was mined in the very death.

In the works of Platonov of the 1920s - the beginning of the 1930s, the tragic-phenomenon of the space of life, which is catastrophically imperfect, denies itself, and therefore all the ways of exiting it are justified, which only can find a person in history. The image of an ontologically imperfect world, where a person "prisoner" of nature and history passes through the works of Platonov on 1920-1930s from early journalism, poetry and stories to the novel "Happy Moscow". In this world, the sirota man rebetes against a disastrous life. However, in the second half of the 1930s, anthropological claims for the universe were removed in Platon's art philosophy. In the stories of the 1930s, the family-of-country, the Heroes of Platonov in social and family-household collisions re-opened the relationship of all things, humbly adopt the laws of universal natural existence, returning to the traditions and values \u200b\u200bof the national culture of the past: cooperation with nature, family, home. The living space of Platonovsky Hero is tragically narrows, but in this small space of work and family, he performs the moral duty of life ("among animals and plants (life in the family)", "Machinist's wife", "Potutan River"). The art formula of the "Beautiful and Furious World", reflecting the dichotomy of the world, where a person is not free to cancel the tragic dialectic of nature, but maybe it is obliged to make his own, human, the choice, appears in Platonov in the story of 1940 "Yarrest driver (in a beautiful and violent world) "

In military stories Platonian hero, choosing in the death historical duel with fascism as a personal life guide "Good truth" ("spiritualized people"), knows the joy of gaining the meaning of life. Heroes of Platonov are not concerned about glory, they are important to save their homeland, close people, their human dignity and multiply good in life. It is such a person, with a family ideal, a great conscience and modesty, appears in the artistic world of the military stories of Platonov the main face of the story in which the world is contemplated. The artistic philosophy of History at Platonov is focused on Pushkin tradition ("Captain's daughter", "Copper Horseman"). The Declaration "Pushkin - Our Comrade" in the work of the military years is confirmed and artistically implemented by Platonic already in one of the first stories "God's Tree", written in August 1941.

The concept of "intration" remains basic in the work of the writer of the period of the Great Patriotic War. The word "mystery" forms a volumetric lexico-semantic unit in the works of 1941-1946. At the same time, the concept of "intration" is complemented and deepened by the concept of "spirituality". The "spirituality" becomes the conceptual center of the national characteristics of Platonov period of the Great Patriotic War.

In tragic, often having a way out only in death, but at the same time opening the sacred meanings of the life of the circumstances, on the conviction of the writer, there was a birth of a new one - a man - a man: "And this is a great, patient knowledge, in which one seam is connected and a deep understanding of the value of life and Death in the name of the people, as the best thing about the life of a simple true person. " (261).

During the war years, the idea of \u200b\u200bthe "secret world" is evolving. The idea that animals and plants are "our contemporaries", from Arsenal unchanged at Platonov. The thirst for inclusive, true equality displays a writer beyond the traditional artistic anthropologism. K. Barst writes: "In Platonov's works there are no value differences between alive creatures, as well as between the creature and substance" 549. In the work of the military years, a new vision of the problem is traced. This is evidenced by the writer's diaries. Reflecting the end of the 1930s: "People and animals are some creatures: among animals there are morally even higher creatures than people. Not a staircase of evolution, but mixing living beings, general conglomerate "(ZK, 213). Lines from the front notepad Platonov marked on June 22, 1944: "Nature is not one of the roads to the Divine?" (ZK, 253). In the first case, we are talking about "mixing", "General Conglomerate", in other words about the equality of existence in Chaos, in the second - on the search for "roads to the Divine", that is, about equal opportunities for admission and participation in the divine space of life.

Analysis of the artistic structure of military stories does not allow to determine Platonic text as an anthropomorphic. In the works of the writer, the anthropomorphic characteristics of the external in relation to the person of the world, as before, are balanced by the natomorphic representation of a person who in the Platonian image is deprived of autianity. However, a person who himself for himself is a problem and a mystery cannot fully understand and explain its existence and through nature; He is not excreted, according to Platonov, from natural (as well as social) laws of necessity and

549 Barst K. A. Poetics of prose Andrei Platonova. M., 2000. P. 225. Not coming down to them. Can't realize yourself through people and nature. "The essence where the true live mystery of the world is stored" (ZK, 274), does not open in the plane of socio-natural relationships.

Platonov, like his characters, was fascinated by the secret being, where life is limited every time and finite in its concrete, natural and historical, and inexhaustible, incomprehensible in endless manifestations and metamorphoses. The exit from the gnoseological impasse of the innervation of life, in which atheistic consciousness inevitably turns out to be inevitably, in the Platonic artistic world is in its very intimateness, in the life of wonderful opportunities, until a certain point in an unknown man. Therefore, in Platonovsky plots, a moment of existential insight and transformation plays an important role, where the person and the world exceed themselves, are divine perfection. The art model of the world at Platonov religious on his deep essence and approves the reality of infinitely more than the reality of the visible peace and man. The mystery of man in the artistic world Platonov borders with some more great and deep mystery. This mystery remains in his texts with an unnecessary name of God, hidden the default figure - and still allegorically designated.

No matter how paradoxically, but it is a religious idea (the idea of \u200b\u200b"communication") largely defines the Platonic poetics of "co-opinion" (approplaes of different, including ontologically different, points of view). R. Hadel believes that the "synthesis" tendency is viewed by Platonic already in the second half of the 1920s: "Chevengur is an attempt to" tense "rapprochement of communist views, promoted by the writer and publicist at the beginning of the twenties, and the world who for young Platonov It is introduced primarily by the generation of his father "550. This path remained dramatically unfinished, but the vector of spiritual quest for the author is marked: "But all the mystery is that we have a good people, it is good" charged "ancestors. we

350 Hodel R. Angle - Konosonasching, an objective story - a tale (at the beginning of the novel Chevangur) II SPRACHE UND ERZAHLLHALTUNG BEI Andrei Platonov. BERN, 1998. P. 149. We live stepfather inheritance, do not live it "(ZK, 271). Like his hero Major Mahonin from the story "Officer and Peasant (among the people)", in the atheistic cold of time and personal doubt the writer warmed with "warm faith of the people."

Platonov was tirelessly looking for "among the people" the answers to those questions that could not solve personally, where they did not trust their mind. The question of faith is one of them. He was constantly returned to this topic throughout his creativity, reflected, tried to decide, doubted. We give two records from the 1944 writer diaries: "God is a unique and presserving in the creature, unlike anything, no one, disappearing and wondering. Holiness is the loss of life, loss and divine. Och<ень> IMPORTANT ": We read on the back of the sheet:" No, all divine is the most everyday, prose, boring, poor, patient, gray, necessary, which has become in fate - and internally consonant with every fate "(ZK, 250. In both cases, it is emphasized Platonov. - I. S.). The writer for whom the people was not only the main "object" of the artistic study, but also the main spiritual "authority", could not pass by "Why" inheritance "and" faith of the people "in his work. In the situation of the Patriotic War, the appeal to the spiritual experience of the past becomes vital and for the people, and for the People's writer Platonov.

In the early prose of the writer, the main symbol of the Christian faith is a cross-proposed inversion: a cross made of wood "turns" in the artistic world "Cheving" into a dying tree, which is about to rot and falls to the ground. This is the point of view of the Hero-child Sasha Dvinov, representing in the novel by the tragedy of the revolutionary bogotrusity of the people. In an understanding of Chevinggur Communards, this is a "marginal" cross, which has lost the New Testament and the symbol of the struck of human existence and death. It would be possible to talk about the dominant negative semantics of the image of the cross in the novel, if it were not for the image of the "Old Cross". In the zone "Respost" everything in the artistic world

Platonova "still alive", filled with love and sympathy. In the eyes of the World Revolution of the heroes "Cheving", the threat of physical death "saves" the chief Christian symbol of faith from "metaphysical death". Inversion degradation was subjected to the word of the story of the icon of Our Lady in the story of the "Motherland of Electricity". In military stories, the symbols of the cross and the icons were introduced into the artistic world of works with the minimum accompanying "comment" of the narrator, they are given the opportunity to say "for themselves" and represent the folk faith.

Heavyweight people "," God's Tree "," Girl Rosa "," the recovery of the dead "- these military stories" call "another integral" quality "of Platonovsky text - theomorphism. The semantics of the trails in military stories speaks about it. Anthropomorphism, naturomorphism, the theomorphism is a unique artistic Logos of Platonova, the unique interaction and changing hierarchy is determined by their complex interaction and changing hierarchy.

Understand the specifics of the theomorphic principle of Platonov, the mechanisms of the thematic and aesthetic "coexistence" of theomorphism, anthropomorphism and naturomorphism in its works help work records of the writer: "God has become directly eTc., which was divided among everything - and so as if destroyed.<.> He dissipated in people, because he disappeared into them, and it is impossible to be that it was not, he cannot be forever in the scattle, in humans, outside himself "(ZK, 157). Heretical, from the point of view of church dogmatics, the reflection of Platonov, who has "his" understanding of Christ and Christianity, paradoxically "spiritualized world" in his works, revitalize the row from the "Second Message to Corinthians" of the Apostle Paul, where he transmits the Word of God: "You are the temple of God Living, as God said:" I will eat in them and will go to them. "" (2 Cor. 6: 16).

In the work of the period of the Great Patriotic War, Platonov retains artistic trinity of the image: anthropomorphism, naturomorphism, theomorphism, but their value position changes. The theomorphic principle of the image plays a structure-forming role in the artistic picture of the world of military stories. A variety of text elements that enter the Christian culture, focusing in prose of military years existential problems and at the same time give an alternative historical reality. The ideal images of the world-Temple and Russia-Temple.

In the War Years Platonov's notebook there is a drawing. The hand of the writer shows the plain Russian space: in the center - the church with the bell tower, around - the sky, forest, meadow, human dwelling (ZK, 276). In the picture, inscriptions are made-explanations: "Sky", "clouds", "the forests grow mighty", "the difference grows here", "And here the mother lives in the hut." The semantic center of the painting - God's temple is not verbally, it is recognized ("Reads") without words. The drawing, on the one hand, refers to the Voronezh realities of the childhood of Platonov, on the other - gives the projection model of the artistic world of military stories.

The Military Prose Andrei Platonova is the most important stage of his creative evolution. Ignoring this period, it is unlikely possible to correctly decide on his artistic space. Platonov is a whole writer who has evolutionary changes in the artistic and philosophical picture of life, the stronger emphasizes the constancy of leading ideas and principles. I 1941-1946 stories constitute the artistic and philosophical core of the Writer's military prose, but do not exhaust it. Stories, essays, scenarios for theater and cinema, unfinished works (including the plans of large epic cloths), criticism, essistics, diaries, epistolary heritage - a short list of the writer created during the war years. This is a variety of multilay unity we tried to take into account when considering the artistic world of the Writer's military stories. The dissertation study is the beginning of the study of the heritage of the Writer of the Great Patriotic War period and the evolutionary processes of Platon's Creativity of the final decade. In the 1940s, as in the 1920s, in the 1930s, an intensive artistic search for a writer continued, his creative reaction to changes in historical reality, its catastrophic turns remained the same sensitively aggravated, if not more piercing - touching Life "Nude Heart" ("Return"),

Appeal to the work of Platonov of the fortieth military years, the study of archival materials and lifetime publications, the analysis of the artistic world of military stories showed how "approximately" we know the literature of the Great Patriotic War - a whole period of the history of native literature. Those literary collisions with whom we got in the course of the study of the Military epic Andrei Platonov (interaction of essay and roman forms at M. Sholokhov, genre distribution of themes and motives at A. Tvardovsky and JL Leonov, "Blokovsky Canon" in poetry and prose of military years) , indicate the need to "return" literary criticism for the work of the period of the Great Patriotic War.

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