Polina Panchenko. Framework components of the Collection "Left Bank" - Varlam Shalamov and Concentration World

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Polina Panchenko. Framework components in the cycle V. Shalamov "Left Bank"

The beginning of the text includes various components: the name of the author, title, subtitle, dedication, epigraphs, preface, etc. Elements of the "Framework Complex" contribute to forecasting, reconstructing the expected text. One of the main components of the text is the title - "The first sign of the text, which gives the reader a whole set of ideas about the book. It is how it makes most of all forms the need from the reader the preposition of the text, becomes the first step towards his interpretation. "
The importance of consideration of the title as cyclical factor notes E.V. Ponomareva in the article "The phenomenon of the heading and final complex in the Russian novelist of the 1920s." The researcher points to the fact that a special phenomenon in the period 1920s. Representing "ensemble" artistic unity and cyclingation can be viewed as two interrelated phenomena: as a tendency and as well-established genre (or super-gas) unity, and the analysis of the framework complex allows you to clearly trace these two trends in a small prose. Consider the features of the framework elements in the cycle V. Shalamov "Left Bank". There are many classifications of heading complexes. The basis of typology in this study, we have a classification proposed by E.V. Ponomareva in the above work.

First of all, you need to contact the title of the entire cycle. The "left bank" means a real topos (this is how the coastal coast called the coast, the place where the camps were in the Kolyma region), the site of the majority of the works of the cycle. Chronologically, the stories events are dispersed. An important clarification of the title is contained in the letter V.T. Shalamov to A.I. Solzhenitsyn. The addressee writes that "... camp Kolyma is a huge body located on the eighth parts of the Soviet Union. On the territory of this in the worst times there were up to 800-900 thousand prisoners.<. . .>" Other remark on the name "Left Bank" find in a letter to N.Ya. Mandelshtam. V.T. Shalamov indicates that the "left bank" is the official geographical name The village where the author lived six years. " Indeed, the works included in the cycle structure are diverse: it is the life of camps located on the left bank of Kolyma, and camp hospitals, and Moscow prisons in which future religious people sit. The title of the cycle, on the one hand, is generalized: neither a specific camp nor the camp hospital is indicated, thereby installing a typical coverage of what is happening, the total coverage of what is happening: not only mental, but also geographical. Appealing to the traditional idea of \u200b\u200bthe left bank of Kolyma, the author expands the semantic traditions of images.
Thus, the toponymic title is used by V.T. Shalamov as a kind of fastening, combining individual works in a single author's ensemble.

Before you directly contact the header complex of the "Left Bank", it is necessary to pay attention to the fact that the cycle has a dedication that allows you to explain some of the characteristics of the narrative, in particular, violation of intracycled chronotope, installation, the discreteness of the narration as the stories themselves and the cycle in Overall. The entire collection is devoted to Irina Sirotinskaya. The fact of initiation is enshrined in the letter V.T. Shalamov to I.P. Sirotinskaya. In the text of the initiation there is a key phrase: "Infinite memory".
It is the "memory" dictates the nature of the whole story: images and events come to the author as it were from the past, its memory snatches memorable episodes. "Infinity" of the author's memories is expressed in the composition of the cycle: V. Shalamov has the stories in such a way that they sometimes flow out one of the other ("Jews Procurator", lepers "), the greater part of them are arbitrary, allowing you to create an open structure. Dedication assumes conceptual and shape: marked with a shaped fabric, the style texture of a work that allows associative installation.

He has a dedication also the last story "Centralization". The author indicates the name of the addressee, which speaks for itself: Nadezhda Yakovlevna Mandelshtam. It is in this context is an intertextual nature: it is a biographical element that acts in an inseparable connection with the name of her husband, O.E. Mandelstam, actually with the books of memories N.Ya. Mandelstam, in which she describes links, interrogations, arrests of the poet, who deceased in a renovine camp in Magadan. Letters N.Ya. Mandelstam to V.T. Shalamov testify that she highly appreciated the story of the writer.

Most of the title has a character character, contains a direct indication of the object. Heroes are called by profession ("geologists"), by office ("Head of the Hospital"), according to the scholarship ("Academician"), by generic affiliation ("Descendant of the Decembrist"); separate group Present stories with anthroponymic title ("Ivan Fedorovich", "Lida"). Several titles have not only a character character, but also additional shades: alluzion ("The Procurator of the Jews"), metaphorical ("unimited", "descendant of the Decembrist").

However, when analyzed, general structural moments are allocated. So, in the story "Geologists", the characters stated in the title arise on the pages of the work not immediately. Their appearance is preceded by a dialogue of one of the heroes, Crista, with the head of the hospital. In their replicas, newly arrived in the hospital are indicated as "stage", "guests":

"- Listen, Crist," said the boss, "guests will bring you.
"The stage will arrive," said the Commissioner. "

The key phrase is the replica of the hospital chief: "No one should know about these people." The crime will have to have disinfection of the new stage, which appears at the moment when the designated procedure should be completed: no earlier.

At the time of stage, the author gives his description, a kind of group portrait, which is built on a contrast with camp staff: "The crowd of officer stakes broke up, the golden stellar pursuit of Peshark - all the attention of visitors and meeting was given to a small group of dirty people in creating any rags - But not executed, no - still their, civil, investigative, renewed on the bedding on the floors of the prison chamber. "

Then arises quantitative composition Groups: Twelve men and one woman. The last one is endowed with the last. The reader recognizes it when one of the arrestants invites it to go through the procedure of disinfection of the first woman. The rest of the geologists continue to remain unrecognized. They disappear from the page pages as unexpected, as they arise. This is emphasized by the final replica of the author-narrator ("Geologists disappeared into one of the nights"). Thus, geologists are only an episode from the life of the camp residents, the stability of the hospital-camp system is emphasized, the realistic effect is enhanced.

As in the previously analyzed by the story, there is a deception of reader expectation in the presented works. In the story with the Character title "Lida", the Name carrier appears only after an extensive exposition, where, in particular, it is explained that the heroine in the life of Crista is the will of the case. Keyword In its appearance - "Illumination": "Insurance came, as always, suddenly. Suddenly, after a terrible tension - the voltage is not mental, not the forces of the heart, but the entire creatures of Crysta.<. . .> But insight came. Lida ... "

Numerous repetitions, suggestions built on pickups, are designed to emphasize the intense work of the thought of the hero, the result - the appearance of the name of the Lida, and therefore, and possible salvation, because it can make an "mistake," skipping one letter in the personal case of Crysta, "Error" at the price of five-year passport instead of a year, and this whole life. However, after the name of Lida, the author returns the reader to the biography of Crista. Even the dating of the appearance of the Lida is an element of chance, approximate ("Two years ago, a duty doctor from the prisoners took Krista to the side"). After the help provided by the Lida, he completely forgets about it, because she is already a person from the past, "non-free" life. The final not only sums up the events, but demonstrates the plot output to a new ideological level. The name of the heroine develops into a multi-valued symbol.

Another pole of the character title represents the story of the "Head of Hospital". The plot of the work is based on an episode from the life of the hospital, which refers to 1948, which is directly indicated in the work. The head of the hospital is not honored by the personalized name, he is assigned the name "Dr. Doctor", which sounds in the presented context of ironic-sarcastically.
"Less the head of the hospital was a doctor, could and wanted to treat people. "Head of the Hospital" - a much more appropriate name for a person who emphasizes his position, not a profession and a calling, which is enhanced by the facts from the biography of Dr. Dr.: "The doctor discovered a conviction in my personal case in Literon" KrtD ", and Dr. Dr. was a cheeky , the political officer who sent a lot of "KrtD", and here in his hands, in his hospital, who graduated from his courses, appeared the Feldsher to be liquidated. "

The intermediate group is occupied by the following stories with character call: "Academician", "Unimited", "Descendant of the Decembrist". In the center of the story of these stories, end-to-end characters of the "Left Bank" cycle are: Golubev, Crysta, Andreev.

In the story "Academician" character marked in the title, and is not named after. Hero-antithesis in the story protrudes Golubev. The opposition of characters is emphasized throughout the work, the author opposes the liveliness and youth academician of untimely old age, glorifying Golubeva: "The popular academician opened the door himself. He was young, spillway, with quick black eyes and looked much younger, freshly pupid "; "In a huge mirror with a bronze frame standing in the front, they were reflected both - academician in a black suit with black tie, black-haired, black-eyed, gladkolic, movable, and a straight figure of Golube and his tired face with many wrinkles, similar to deep scars."

In the story "Unimection" the real name of the hero is not named. The narrative is conducted from the first person. The opposition of the heroes of the "uncontrolled" and the head of the medical practice of Nina Semenovna occurs at the ideological level. Heroes - antagonists life experience, according to the ideological position, which seems like a young doctor inappropriate and impossible in the proposed life circumstances.

The lack of a clear logic in the location of the character titles says, in our opinion, that the location of the stories is subject to the idea laid in dedication ("Memory"): people pop up from memory due to those or other events, creating a varied picture of the "left bank" .

The chronotopic title inside the cycle is isolated, one of the stories is entitled "in the receiving rest", as well as the general title of the cycle, it has a similar feature: the lack of accurate spatial definition. Such a very generalized name indicates how it seems to us, about the maximum widespread value. created by the artist Image. However, the chronotopic definition is mixed with metaphorical meaning. Why is the author focusing on the reception room? This is the first place in the hospital, where the prisoners described in the story of the event are reflected in the concentrated form of "life" if it can be called that, morals of Kolyma camps.

The double attribution occurs in the stories of the "descendant of the Decembrist", "Procurator of the Jews", "Lesse", "Uninstalistic." The title "Procurator of Judea" has a clearly allusion character, which was repeatedly indicated by researchers.

The stories of the "descendant of the Decembrist", "lepers" and "unimited" have a clearly metaphorical character.

"Levels" is not only the actual disease by leprosy, but also also a disease of society. The title "Desquence of the Decembrist" is intended to emphasize the persistence of one of the characters of the story of Alexander Georgievich Andreev, the leader of the Society of Polcotorzhan.

Another type of title, asking the plot perspective: " The last fight Major Pugacheva "," aortic aneurysm "," a piece of meat "," special marking "," on lend lodge ". The title group is of a subject matter with the designation of an important story detail: "Diamond Map", "Gagarina Princess Necklace". From the story of one of the heroes of the last work, we understand that the subject presented in the title is a turning point in the biography of Mirolyubov. Gagarina Princess Necklace - Cause for memories. Arriving once, the item is a spring for the development of the plot.

In the title of the story of the aortic aneurysm, the name of the disease was made from which Ekaterina Glovaksky is dying as a result, one of the steady sick women. A terrible diagnosis discovered by the doctor Gennady Petrovich Zaitsev, it turns out to be persistently unnoticed by those who could delay the death of Glovak.

"A piece of meat" is the appendix, which is removed by Golubev, and the hero himself, who voluntarily goes to surgery to stay in the camp hospital, and, as a result, avoid more serious punishment. The "piece of meat" Golubev is for doctors who calmly do a meaningless operation.

Closes the "Left Bank" cycle, the title of which is multi-equity and knocked out of the cycle header system, it can be attributed as a title, a labeling phaniscover, which is indirectly indicated on the genre-style features of the work.

According to "Dictionary foreign words", The word" center "has several values: in the first value -" saying, judgment of a moral nature ", in the second sense with the litters" outdated "," legal "-" sentence ". The title of the story brings together two of these values. Constantly, the story is a memory-emotion that puts the point in the cycle of stories. The factological basis of the work turns into the flow of impressions, experiences splashing on the reader. Thus, what happened to the hero, as well as with millions of the same prisoners, becomes a sentence of society.

Interest represents the formal structure of the header complex in the "Left Bank" cycle. The title differ in the homogeneity of the structure: 13 of the 25 stories have one-track names of nominative, and therefore there is a sense of integrity, the same type, a steady picture is created.

Other titles are built according to the "SUDN. + SUT. " - "Procurator of the Judea", "Descendant of the Decembrist", "Aortity Aneurysm", "Head of the Hospital", "Piece of Meat") or "Ad. + SUT. " ("Diamond Card", "The Best Praise", "My Process", "in the receiving rest").

An equally important framework component of the text is the presence of dating, because artistic unity is both contextual links and meanings. With this in mind, the author's plan becomes more understandable. The importance of dating works in ensemble unity notes E.V. Ponomareva in the article "The phenomenon of the heading and final complex in the Russian novelist of the 1920s." The researcher points to the principle of dating in "Stories from the East" B. Pilnyak, in particular, "Date 1927 is indicated only at the end of the cycle, under the last work, while the first three are actually created a year earlier. As a result, the author gets the opportunity to target the date for the reconstruction of the conceptual meaning of the macrotek, that is, this element of the heading and final complex, in fact, is a marker not only the possibilities, but also the need, the feasibility of the perception of the text is in this way - in a similar meaning field. "

Dating is indicated by V. Shalamov at the end of each story. However, the works are not located in chronological orderWhat points to a certain copyright. V. Shalamov also deprives their works of subtitles, epigraphs, which indicates the concentration of the author or on the heroes, or on the subject matter, or on events (in accordance with the title of the work).

All of the above makes it possible to conclude that it is often the author with the help of the title deceiving readership, but this allows you to deploy a story in the associative plan. The title differ in the same type of structure, which demonstrates a certain author's installation.

Under the composition usually understand the syntagmatic organizedness of the plot elements. Thus, the paradigmatic exhaustion of the elements of this level should precede the study of syntagmatic consistency.

However, as we have seen, the calculation of the plot elements depends on the main oppositions, and these latter, in turn, can only be allocated within a predetermined semantic field (the allocation of two mutually additional subsets is possible only if there is a predetermined universal set). It follows from this that the problem of the frame - the boundaries separating artistic text From neette, - belongs to the number of fundamental.

The same words and suggestions that constitute the text of the work will become differently shaped on the story elements depending on where the trait will be drawn by the degradation of text from neette. What is on the outer side of this feature is not included in the structure of this work: this is or not a work, or another work. For example, in theater XVIII. in. The benches of particularly privileged viewers were installed on the stage so that the audience in the hall at the same time saw on stage and spectators and actors. But in the artistic space of the play, located inside the limiting frame, only the actors fell, so the viewer saw on the scene of the audience, but did not notice them.

The frame frame can be an independent work of art, but it is on the other side of the boundary of the trail, and we do not see it when we look at the picture. At the same time, it is only for us to start considering the frame as some independent text so that the canvas disappeared from our field artistic view - It turns out to be on the other side of the border. The curtain, painted specifically for this play, enters the text, the curtain is not changing - no.

Matching curtain with a flying seagull for each of the plays that put on the scene of the theater, separately - is outside the text. But it is worth it to introduce all the theater productions as a single text (this is possible in the presence of ideological and artistic communities between them), and individual plays as the elements of this unity, and the curtain will be inside the artistic space. It will be an element of the text, and we can talk about its composite role.

An example of impermeability of the framework for semantic connections is the famous Hermitage "Cash Maria Magdalene" Titian. The picture is inserted in workshop work frame depicting two semi-naked men with swirling mustache. The compound of the plot of the picture and the plot of the frame gives rise to a comic effect. However, this compound does not occur because, considering the picture, we exclude a frame from our semantic field - it is only an embodied border of the artistic space, which is a holistic union.

We should pay attention to the frame as an independent text, as the picture turns into its border and does not differ in this sense from the wall. Paint frame, scene ramp, screen boundaries make up borders artistic Mira, closed in his versatility.

These are related theoretical aspects of art as a modeling system. Being spatially limited, the work of art is a model of the limitless world.

Frame frame, ramp in the theater, beginning and end of literary or musical Work, surfaces, exciting sculpture or architectural constructions From the artistically turned off the space, all these are various forms of general pattern of art: the work of art is the final model of the infinite world. Already because the work of art in principle is the display of infinite in the final, integer in the episode, it cannot be built as copying the object in the forms inherent in it. It is a display of one reality to another, that is, always translation.

We only give the only one and extracted from the scope of art, an example showing the connection between the problem of the boundary and the convention of the object display language in some other.

The initial position of the Lobachevsky geometry is the denial of the fifth postulate of the Euclide, according to which it is impossible to carry out more than one straight line, parallel to this directly. The opposite assumption completely breaks with the familiar visual representations and, as it seems, the means of "used" (on the terminology of Lobachevsky) geometry techniques on the plane cannot be depicted. However, it is worth how the Klein Mathematics Mathematics did, apply a circle on the usual euclide plane and start considering only its interior, excluding the circumference and an extra-door region, as it will be possible to clearly simulate the provisions of Lobachevsky geometry.

It is enough to take a look at the drawing to make sure that inside the circle (which in its deliberation acts as the display of the entire space of Lobachevsky, and the chords conducted in it are replaces - the position of Lobachevsky on the possibility of conducting one point two parallel to the third direct (here - chord ) performed. It is the nature of the separation of space that allows the usual geometry inside the circle to consider as the Lobachevsky geometry model.

The above example is directly related to the problem of the frame in art. Modeling a limitless object (reality) by means of finite text, the work of art is not replaced by its space (or rather, not only part) of the image of life, but also all this life in its totality. Each individual text simultaneously simultaneously and some private and universal object.

So, the plot of "Anna Karenina", on the one hand, displays some tapering object: the fate of the heroine, which we can well compare with the fate of individual surrounding us in everyday reality, people. This object endowed normal name And all other signs of individuality, only a part of the universum displayed in the art is. Next to the fate of the heroine in this sense, you can put countless other destinies. However, the same story, on the other hand, is a display of a different object that has a tendency to unlimited expansion.

The fate of the heroine can be represented as a mapping of fate of all the women of a certain era and a certain social circle, every woman, every person. Otherwise, the peripetia of her tragedy would be initiated by a purely historical interest, and for the reader, far from the special tasks of studying the morals and the life, which have already become the property of history, would simply be boring.

It can, therefore, highlight in the plot (and wider - in any narrative) two aspects. One of them, in which the text simulates the entire university, can be called mythological, the second, which displays any episode of reality - the phaance. It can be noted that artistic texts belonging to reality only on the mythological principle are possible. These will be texts that are displayed all through individual episodes, but in the form of pure entities, such as myths.

However, artistic texts, constructed only by the headquarters, apparently impossible. They will not be perceived as a model of some object, perceiving as the most this object. Even when the "literature of the fact", the chronicle of Jigs of Vertova or "Cinema-Verite" seek to replace the art of pieces of reality, they inevitably create models of universal nature, mythologizes reality, at least the fact of installation or not inclusive of certain parties to the object in the field of view of the cinema.

Thus, it is the mythologizing aspect of the text that is primarily associated with the frame, while the phabuline tends to destroy it. Modern artistic text is constructed, as a rule, on the conflict between these trends, on the structural stress between them.

Almost this conflict is most often recognized as a dispute between the idea that the work of art is a conditional display of the object ("generalization"), as beloved and realists XIX. c., or the most object ("thing"), as found, for example, futurists and others associated with avant-garde, directions in the art of the XX century.

The exacerbation of these disputes, that is, actually disputes about the nature of the convention in art, will invariably exacerbate the problem of the borders of the text. Baroque statue that does not fit on the pedestal, " Sentimental journey"Stern, demonstratively ending" not by the end ", Pilandell's plays, or performing Meyerhold, carrying the action for the ramp," Eugene Onegin ", scene junction, or "Book about the fighter" "Vasily Terkin", which is opposed to the stationery "cases" as life, his infinity :)

Without start, without end -
Not suitable in "Case"! -

all this different forms conflict between the mythological and head aspects of the text.

The above is particularly significant due to the problem of the framework in the verbal artistic text. Frame literary work Consists of two elements: beginning and end. A special modeling role of categories of the beginning and end of the text is directly related to the most common cultural models. For example, for a very wide circle of texts, the most common cultural models will give a sharp marking of these categories.

For many myths or texts of the early Middle Ages will be characterized by an increased role of the beginning as the main border. This will correspond to the opposition of the existing as created as non-existent. The act of creation is to create - there is an act of the beginning. Therefore, there is something that has the beginning. In this regard, the approval of its land as culturally, historically and the state existing in medieval chronicles will often be issued in the form of a narrative of the "beginning" of its land. So, the Kiev chronicles as follows as follows itself:

"CE TEATING WAITING YOUR YEARS EVERYTHING EVERYTHING ESTABLISH LANGUAGE, who in Kiev initiated the first princes and the Russian land began to eat." The "Tale of Bygone Years" itself is a story about the principles. Not only the earth, but also childbirth, surnames exist if they can point out on their own initial.

The beginning has a defining modeling function - it is not only a certificate of existence, but also replacing a later category of causality. Explain the phenomenon - it means to indicate its origin. So, the explanation and assessment of any fact, for example, the killing of the Prince of Brother will be implemented in the form of an indication of the one who performed this sin. A similar system of representations will reproduce Gogol in the "terrible revenge", where any new crime acts as a consequence of the initial sin, but as this, the growing first act of murder. Therefore, all crimes of descendants increase the sin of the founder of events.

This can be compared with the approval of Grozny, that Kurbsky destroyed his soul to their flight - already dead - ancestors. It is significant we are talking Not about descendants, but about the ancestors. The text is not facing the end, and to the beginning. The main question is not "what ended", and "where did it come from".

It should not be thought that this type of "mythologization" is peculiar only to the "Tale of Bygone Years" or, say, "Tale of the Mount-Zlophatia", where the fate of "good well done" is preceded by such an entry:

And at the beginning of the century of this washed
Created the sky and earth
God created Adam and Eve ...
... Ino, the evil tribe is human:
At the beginning I went unbelievously ...

The desire to explain the phenomenon with an indication of its origins is very in a wide circle Completely modern cultural models, such as the evolutionary-genetic stage of science, which, for example, say, learning a language as a structure of language history, and an analysis of the functions of artistic text in the team - the search for the origin of texts. This does not question the importance of such studies, but only indicates the connection of them with certain types of the odds of cultural models.

Culture models with highly recorded starts in a certain way related to the appearance of texts delivered only from one, initial point of view.

You can name the texts that are considered "deliberate" if they start. The end is fundamentally excluded - the text requires continuation. These are the chronicle. These are texts that cannot end. If the text broke out, then or its successor should be found, or the text begins to be perceived as incomplete, defective. Receiving an "end", the text becomes incomplete. Fundamentally outdoor character has such texts as the topical members of the Noeley type, which should continue as the events develop. In the same principle, "singer in the village of Russian warriors" Zhukovsky and "House of Crazy" Waikov are built.

It could also be indicated on the works published by chapters, issues that continue the author after the text of the text became known to the reader: "Eugene Onegin" or "Vasily Terkin". It is characteristic that at the time of the transformation of the "collected mothers of chapters", published throughout the years, in a book, a single text, Pushkin did not give him signs of "eye-mindedness", but weakened and the function of the beginning: giving a parody of the classic entry into the seventh chapter Poem ("Though late, and Inexium"), Pushkin stressed the "originalness" of the poem. Similar transformation survived and Terkin.

The features of the same constructive principle can also be discussed in the compositions of the series Novel, novels or movies, continued because the authors can decide to "kill" the hero's reader who has already fallen into the reader or exploit the commercial success of the initial works.

As it is indisputable that the modern literary log is perceived as a certain extent as a single text, then here we are dealing with the construction that gives a fixed start and "open" end.

If the beginning of the text in one way or another is associated with the modeling of the cause, the end activates the sign of the target.

From eschatological legends before utopian teachings, we can trace the wide representation of cultural models with a marked end, with a sharply reduced modeling function.

Due to the varying degrees of commencement of the beginning or end in cultural models of different types Ahead is the birth or death as the main points of being, there are plots of type "Birth of a man", "three deaths", "Death of Ivan Ilyich". It is the strengthening of the modeling function of the end of the text (a person's life, as well as its description, perceived as special texts that enclose information in great importance) causes a protest against the end to consider as the main media value. There is an oxymumerous in this system, the expression "meaningless end", "meaningless death", the stories devoted to the meaningless death, the unsolved destination of the heroes:

I spit about what he did not accomplish
For which he hurried from us ...

(A. A. Blok)

Lermontov in a letter from M. A. Lopukhina dated August 28, 1832 two poems were placed nearby. One says about the desire to abandon the meaningful and targeted human being for the sake of natural life of nature:

For what I was not born
This blue wave? -
…………………

Not afraid of the flour of hell,
Paradise would not be delivered;
…………………

Would be waited from birth
Live and finish my life! -

In another - an open controversy with the idea that the meaningfulness of life was concluded at her end:

The end! How doubling this word
How many are little thoughts in it!

It would be possible to compare the allocation of the model simulating function in each of the "Hero of our time" novel and the muffleness of it in the text of the novel as a whole. Personal fate of Pechorin "ends" long before the end of the text: the death of the hero is reported in the "preface" to his "magazine", that is, in the middle of the text, and the company ends like a half-word: "I couldn't achieve anything from him: he Generally does not like metaphysical debates. " The poem "Sasha" is consciously created as an excerpt that does not end.

Meanwhile, it is obvious that, for example, for modern domestic thinking, the modeling of the end is very significant (cf. desire to read books from the end or "pry" at the end).

This is especially essential due to the problem of the framework in the verbal artistic text. The framework of the literary product consists of two elements - the beginning and end. Let us give an example of the end function as a text frame. In the literary work of the new time with the concept of "end", certain storylines are associated. So, Pushkin in the passage "You for" Onegin "advise, others ..." identified typical "end" situations:

You advise you for "Onegin", friend,
Again to make me autumn leisure.
You tell me: he is alive and not married.
So, another novel is not over ...

This does not exclude the fact that the text can demonstrately end the "non-conveyance" ("Sentimental Journey" Stern) and that certain types Violations of the stamp can, in turn, turn into stamps.

Consider the most screen view of the "end" of the text, for example, Happy End. If the hero dies, we perceive the work as ending tragically. If he marries, makes a great discovery or improves the production indicators of its company, as having a happy ending. At the same time, it is not deprived of interest that the experience of the end of the text as a happy or unfortunate includes completely different indicators than if it were about a genuine event.

If we, telling about the valid historical factI took place in the last century, reported that the main acting person was now died, we will not perceive this message as sad: we know in advance that a person who acted a hundred years ago, now can not be dead. However, it is worth choosing the same event subject artistic workHow the position is radically changing. The text ends with the victory of the hero - and we perceive the story as having a happy end, the text brings the story before his death - and our impression changes.

What is the case here?

In the artwork, the course of events stops at the moment when the narrative is broken. Then nothing happens, and it is understood that the hero, who is alive by this moment, will not die at all, the one who achieved love will not lose her, which won will not be defeated in the future, for anyone further action Eliminated.

Double nature reveals art model: displaying a separate event, it simultaneously displays the whole picture of the world, telling about tragic fate Heroine - tells about the tragicity of the world as a whole. Therefore, for us, we mean a good or bad end: it testifies not only to the completion of one or another plot, but also about the design of the world as a whole.

It is significant that in cases where the final episode becomes the original for the new narrative (the end of life for a Christian is the beginning of the afterlife; the happy end of the "Seville Village" becomes the initial dramatic situation for the "Figaro marriage", etc.), he clearly realizes how new story. The frequent endings of narrative plots of type are not accidental: "But this is already a completely different story," but about it next time. "

However, in the modern narration of the category of beginning and end of the text, another role is played. Getting started reading a book, watching a movie or play in the theater, the reader or the viewer may not be fully aware or completely not aware of which system the text offered to it is encoded. It is natural, interested in getting the most complete picture of the genre, text style, those typical art codes that he should intensify in his mind to perceive the text. Information about this he draws, mainly at the beginning.

Of course, the question of this, turning sometimes in the struggle of the text and the stamp, can stretch to all the work, and very often the end acts as "anti-penny", Point`a, parody or any otherwise rethinking the entire text coding system. This, in particular, is achieved by the constant de-latomatization of the applicable codes and the limiting decrease in text redundancy.

And yet the coding function in the modern narrative text is attributed to the beginning, and the plot- "mythologizing" - by the end. Of course, because in the art, the rules exist to a large extent then to create the possibility of artistically significant violations, in this case, this typical distribution of functions creates the possibilities of numerous variant deviations.

Lotman Yu.M. Structure of artistic text - M., 1970

In modern literary critic frameit is used in two adjacent values. First, its use emphasizes the special status of the artistic work as aesthetic reality,the opposite reality is primary, is one of the basic conditions for creating an art illusion.

However, the other "frame" is always present in the text of the work - those components that are graphically separated from the main text of the work and whose main function - the creation of an installation reader on its aesthetic perception. Most full list Framework components includes: name (pseudonym)author title, subtitle, dedication, epigraph (s), preface (entry, administration)(All these components of the "beginning" of the text in the aggregate are called header complex);author notes,copyright afterword, inner title,compound table of Contentsdesignations of timeand placescreating a work. In dramatic works to the framework text also include copyright remarks, scenic instructions(including verbal scenery), list of actorsand others. Framework can be like external(related to all of the work) and internal(Arching the beginning and end of its parts: chapters, songs, etc.). The equivalent of framework text can be the placement of works in the heading of the magazine ("Prose", "Poetry") or the thematic compilation ("Moscow Story", "Poetry Day").

In the process of developing literature, not only the composition of the framework text is changed, but also its functions.At first, each of its components makes an advantage of an official role (the title "calls" the text and informs the reader about its content, it commented on it, etc.). But with the complication of the principles of the artistic thinking "neutral" before the components of the text are becoming more and more aesthetically significant, "drawn" into the artwork of the work, participate in sense formation. The connection of the framework components with the basic text of the work in some cases is so strong that with their withdrawal, the work loses a significant part of its semantic and figurative potential (for example, the preface "from the publisher" to "the leads of the late Ivan Petrovich Belkin" Pushkin, author's notes in "life and the views of the tristrama Shender, Gentleman "L. Stern, the system of internal title in the" intricate syloplisy-se simplicissimus "of Grimmelshausen).

The most important "timeless" function of framework text - structuring.The presence of frame components gives the work of the feasibility, emphasizes its external and internal unity. Their organizing role is especially obvious in works with complex composition,including stylistically inhomogeneous components ("Decameron" Bokcchchcho; "Don Quixote" Servantes). In the author's cycles, it is the presence of a common "frame" clearly identifies the relationship of all components of the literary ensemble of parts (poems, stories, essays, etc.), their subordination is a single plan ("essays Bosa" Ch.Dikkens; "Flowers evil" Sh. Bodler). Framework components, as a rule, most clearly detect the author's presence in the work, its orientation on a specific addressee. A large role in "establishing contact" between the reader and the book belongs to the header complex and copyright prefaces that create a certain installation of perception. But artistic text, functioning at the same time and how separate work, and as part of the literature in general, enters "dialogic relations" not only with the reader, but also with other texts. Allyzive title, epigraphs ( most of which are quotes), genre subtitles (implying the presence of a certain literary series) emphasize the openness of the borders of the text, its correlation (sometimes through irony and denial) with the texts of other authors and other eras.

The most important aspect of learning framework text is the intratheral functions of each of its components.

Title: attaches completion, collens; Forms at the reader preciousness Text, can SOD. Information about raised into the contract. Problems, main characters, time and place Dn, Emotz. Hero assessment, etc. Inner title Listed in the table of contents. Organize text space book, separating and marking it rel. Completed fragments. Sometimes advertising F-JU. There are scene, chronotopic, character, title-comments. Author's name. It enriches the name of the text, bringing add to it. Means (complex lit. and the cult. - Eastor. Associations in the consciousness of the reader). Pseudonym. Signal F-I (speaking pseudonyms like M. Gorky * hint on a biography *). Epigraph. Predictive F-I. May post. about main topic or the idea of \u200b\u200bthe contract. Created. Intertextual connections. Preface. (Not to be confused with the prologue). Description creative principlesimplemented in the contract Preparation of the reader to adequately. innovations. Polemics with criticism. Special group - artistic, yawl. part of the world. ("From the publisher" in the "Peters of Belkin"). Afterword. (Not the same as an epilogue). F-I are similar to the preface. In Sovr. LIT-RE meetings. rarely. Notes. Do not have a strictly fixed position in the text structure. OSN. F-I - serve as explaining to the text. May be replicas in lit. Spots of a writer with criticism, create a special iron. context, create an excellent look at the writing point of view.

In modern literary criticism, the term frame (or frame) is used in two adjacent values.

First, its use emphasizes the special status of the artistic work as aesthetic reality, the opposite reality of the primary. Like the frame in painting, Rampa in the theater, the black field of the screen in the cinema, the frame of the literary work is one of the main creations of artistic illusion. Admission that emphasizes this - always implied - frame, maybe exposing conditionalityAs an introduction to the artistic text of the biography of the author and about the history of the creation of a work, reflections on characters, etc. This kind of retreat from the plot is numerous in Evgenia Onegin Pushkin: "Onegin, good my friend, / Born on the Breaks of Neva ... "," ... Powst my novel / I finished the first chapter ... ". Here the narrator is present not only as a voice, he appears as a person, emphasizing his intermediary function between the world, where "live" his heroes (Onegin, Tatiana, Zaretsky), and alleged readers (addressee).

However, the other "frame" is always present in the text of the work - those components that graphically separated From the main text of the work and whose main function - the creation of the reader at its aesthetic perception. The most complete list of frame text components includes:

Framework can be like external (related to all of the work) and internal (Arching the beginning and end of its parts: chapters, songs, etc.).

The equivalent of framework text can be the placement of works in the heading of the magazine ("Prose", "Poetry") or the thematic compilation ("Moscow Story", "Poetry Day").

Structure framework components The text of the work is largely determined by its genre. The most important of them for epic and dramatic works, lyrics of "large forms", Laro-epos - title. It is often absent in poems (its function in this case takes on the first line). The text of the play is difficult to imagine without a list of actors and the designation of the one who own the corresponding replicas. The composition of the framework of the framework also affects the literary conventions that dominate the one or another historical era of the development of national literature. So, in the Western European literature of the XIV-XVIII centuries. Solemn and magnificent initiations are very common (often wearing purely formal, etiquette). Before mid XIX. in. Stable tradition to predict the works of extensive prefaces, which explains the author's intention and the features of its incarnation. Kind of identifying sign romantic poems - Epigraphs that create a certain emotional attitude from the reader.

In the course of the development of the literature, not only the composition of the framework text is changed, but also its functions. At first, each of its components makes an advantage of an official role (the title "calls" the text and informs the reader about its content, it commented on it, etc.). But with the complication of the principles of artistic thinking "neutral" before the components of the text are becoming more and more aesthetically significant, "drawn" in fashion system Works, participate in sense formation. The connection of the framework components with the basic text of the work in some cases is so strong that with their withdrawal, the work loses a significant part of its semantic and figurative potential (for example, the preface "from the publisher" to "the leads of the late Ivan Petrovich Belkin" Pushkin, author's notes in "life And the opinions of the tristrama Shender, Gentleman "L. Stern.

The most important "timeless" function of the framework text is structure-forming. The presence of frame components gives the work of the feasibility of completion, emphasizes its external and internal unity. Their organizing role is particularly obvious in works with a complex composition, which includes stylistically inhomogeneous components (for example, insertion genres). Thus, the narrative of the misfortunes of the wandering knight and his faithful legguns, Novels about the shepherds and beautiful cowgirls, the sonnets of Amadis Gallsky and his horse barbecue would simply cease to be perceived by the reader as part of one whole, if they were not united by Server-General Kiheot Laman. " In copyright cycles, where every individual text (lyrical poem, story or essay) can be considered as relatively independent work, It is the presence of a common "frame" it most clearly detects the relationship of all parts, their subordination to a single plan ("Mirgorod" of Gogol, lyrical cycles, books: "free jamb" by A. Blok, "My sister-izm" B. Pasternak).

Framework components are emphasized dialogic The nature of the work, its conversation to the perceiving entity. This is most clearly detected in initiations. A large role in establishing contact between the reader and the book as a whole belongs to the header complex, which creates a certain installation of perception of the work.

But the artistic text, functioning at the same time both as a separate work, and as part of a single whole, called literature, enters the "dialogic relationship" not only with the reader, but also with other texts. Epigraphs (most of which quotes), genre subtitles (meaning the presence of a certain literary series) emphasize the openness of the borders of the text, its correlation (sometimes through irony and denial) with works of other authors and other eras.

Krzhizhanovsky on the poetics of the title and other components of the framework text.

These are excerpts from his book that Cenette

A dozen-other letters leading to thousands of text signs is called calling. The words on the cover cannot but communicate with the words hidden under the cover. Moreover, the title, because it is not in the separation from a single book body and since it, in a parallel cover, inserts text and meaning, - has the right to issue itself for the main book.

The title is limited to area. Moreover: Signs of titles, from century to century, are tightened, naturally sealing phraseology.

... In most cases, from the concept of "title" only artificially can exclude the name of the author. The fact is that the writer name, as they climb the fame, turns from its own in the nominal, thereby participating in the nine, i.e. calling book; Borrowing among the title, the name seems to receive from them entitled and a special predictive meaning: Augustine, Rousseau, Lero Tolstoy, unlike the writers of the book of books, whose names are often very long, also began with the words "confession", too much to add to it Anything ... except name.

Initially, the capital sheet is omnant. The book thinks as it were for a self-written, it's curious that even a philosopher is quite late by I. Fichte, who released his first work unsigned, repeatedly returns to the statement that "the subject should state himself, using writing, as his own body."

Indeed: initially the author is only the "body" in the body of the book, and his name, if she appears on title page, then somewhere in the end of the title, lined in Melkobukvye. Pseudonym in. Annensky "Nobody" is only a reminiscence about those times when the writer was nobody, and did not even claim to the title of a dozen letters. True, several giant names are Aristotle, Augustine, - serve as shelter with a set of unwitting, hiding inside names-Colossos, like Aheyan inside the Trojan horse, - only in order to tie their writings with the old philosophy and theological tradition.

In Russian, for example, the old original and transferable book prevails, pushing individual names, general designation religions, people, class, sometimes even citiesIn which it includes, dissolving how private in general, author: "My tips for my, the creation of Christian, whoes in his minority. Ambassador Ed. 1816." Or "Plow and Sokh, written by a steppe nobleman. M. 186". IN last caseWhen the class class or the amount of the author is closely associated with the theme, the topic forces sometimes half off the name to the full disclosure.

Pseudonym first trying to hide the author, but, obey common fate The name on the title sheet, gradually evolves from hiding, latent forms to forms, it is possible to fully disclose the future "Potment" (the story of the author's name, - all this is almost an adventure life of "Pottentable", only gradually revealing its potency). The protective color is gradually changing on the color signal. If I first "Pottenat" a book enjoys a pseudonym as a gray cloak hiding it, then later he puts on over his name a pseudo-name, as bright and deftly tailored clothes, sometimes even emphasizing certain features. After all, a simple sense of title should remind the entiament to the titleblate, where all the letters on the account, and the letters of his name can be allowed only by passing through understanding: on the capital sheet, which should be a solid meaning, condensation of the text in the phrase, pseudo- Names do not look like pseudonyms, but "real" names, literary not expressing anything. The young writers of Glyckberg and Bugaev, who have turned themselves at the request of the title block in black and white, absolutely used the place allotted by the printing house under the names, to transmit that internal lighting, more precisely, the genuine name that sounds through all their lines.

Book speech, the laconic phraseology of life, giving it in annealing, reaches this by logical and artistic selection. Thus, the chief technique has to have a matter of not with verbal raw materials, with artistic recycled material: the lady through a larger sieve of the text should reconnect through the title list. Clear: This kind of art aimed at art, the adversarification of art requires great sophistication and complex skills.

15. The world of heroes of the work in epic, drama and lyry-epic. Its conventionalness and systemicity.

Character (Lat. Persona - Especially, Face, Mask) - A kind of artistic image, a subject of action, experiences, expressions in the work. Synonymized with such concepts as a literary hero, a personal person, but is the most neutral. The concept of a character is the most important when analyzing epic and dramatic works, where it is the characters that make up the basis of the objective world. In Epos, the hero may be a narrator (narrator), if he participates in the plot (Grinev Captain's daughter"). In the lyrics, recreating primarily the inner world of man, the characters are depicted fragmentary, in an inextricable connection with the experiences of a lyrical subject. The illusion of his own life of characters in lyrics compared to the epic and drama dramatically weakens. How would it be widely interpreted by the subject of knowledge in artistic literatureHis center make up "human essences, i.e. First of all social. " With regard to epic and drama, these are characters (Greek. Character - a sign, distinctive trait), i.e. Publicly significant features that are manifested with sufficient divergence in the behavior of people. The highest degree of character is the type (Greek. Typos - imprint, print). The character appears on the one hand, as character, on the other, as an artistic image that embodies this character with a particular degree of aesthetic perfection.

In accordance with their status in the structure of the work, the character and nature have different evaluation criteria. Unlike the characters causing an ethically painted attitude, the characters are valued primarily from an ethical point of view, i.e. Depending on how brightly, they fully embody the characters.

Facilities of character disclosure perform in the work of various components and details of the objective world: the plot, speech characteristics, portrait, costume, interior ... special equipment salary image are different incoming heroes. The character sphere is not only separable individuality, but also collective heroes (their prototypes are a choir in ancient drama).

Another way to study the character is exclusively as a participant in the plot, the acting person (but not as character).

The basis of the objective world of epic and dramatic works is usually a system of characters (consists of elements - characters and structures - "relatively steady way of communication of the elements) and the plot. The character system is a certain ratio of characters.

For an understanding of the main problemary hero, secondary characters can play, with the various properties of his character. To create a character system, you need at least two characters, but the equivalent of this may be the split character, marking various starts in man, as well as its transformation (in the animal, insect - "transformation" of kafki).

The principle of "savings" in the construction of the character system can be combined with the use of twins or collective images, mass scenes, in general with the multicreroinance of works.

Epic and drama have a lot in common and opposed to lyrics. The world of heroes are created in epic and drama, which is in another time and space than the author and reader. The most important thing in the world of the hero is the system of characters and the event system. The subject organization of speech is the difference between an epic and drama. For drama is characterized by speech of heroes. Here it is impossible to not touch the question of the extraception time and space, because the heroes in their speech inform us about the events of insignificant and cast. (Example - "Woe from Wit": Maxim Petrovich - Century Catherine, Frenchman from Bordeaux).

Organization of the speech of characters in drama

The dialogue between servants or secondary characters about the main characters (maybe about the extraordinary events). The dialogue gradually displaces a monologue - he is more life-like, natural. Types of dialogues: a dialog duel (in a drama based on a sharp conflict, when one of the heroes should win - the rhetorical direction of the dramatic replica).

· Monologue

A secluded monologue on the scene. The form of psychological analysis, an example - a monologue of Katerina. The form of the report to the reader about the extraceptional events, an example is a monologue of Osip in the "Revolution".

The speech ratio of the narrator and speech of the heroes is different. The epic work can be without speech characters. It may be borne by the comment of the narrator, which is extremely important and can reduce the speech of the characters.

Who says? The point of view of the narrator. Typology of narratives:

3. I-taller (narrator from 1 person) - the eyewitnesses of all events, writes about his impressions. The self-awareness of this narrator is close to the author (example - "Hunter's Notes" Turgenev). I a storyteller can express a completely alien consciousness - a tale as a form of narration (example - Leskov "Enchanted Wanderer")

4. Speech of the narrator (3 person), but passed the speech of the character - "sliding" point of view (an example - "War and Peace" - the speech of the author, who transmits the state of Pierre - the eyes of Pierre, from his point of view). Formally - 3 face, the author-narrator is almost omniscient, but in fact it is a "sliding" point of view.

The lyrical subject is an autopsychological or role-playing. The object of the experience of a lyrical entity is its own "I" - in this case it is called the lyrical hero. Subjects that may be the object of perception, the experiences of a lyrical subject (and the lyrical hero close to it), by analogy with epic and dramatic works You can call the characters. The most important way to create character-acting patterns in lyrics are their nominations, often characterizing not so many characters as the relationship to them is a lyrical entity. The term nomination (lat. Nomina - name) indicates the name process and its result (name). There are primary nominations (names, nicknames, pronouns), directly calling the character, and secondary, indicating its qualities, signs. The combination of different nominations is the path to creating an image. Ontologically opposed to epic and drama in the aggregate. The main subject of knowledge in lyrics is the inner world of man, his consciousness. Inner world It may be described regardless of what led to such a state ("and boring and sad") universal character: each reader can present himself in moments of spiritual adversity. Lyrics from naturalism far away. Stereotypical state expressions few people are interested. but external world Lyrics also displays. Lyrics:

1. Meditative (meditatio - reflection). "And boring and sad"

2. Descriptive (landscape). Lyrical entity exists like a voice (there may not be here)

3. Descriptive-narrative (limieryapic). The main thing is still feeling. "Reflections from the front entrance" of Nekrasov. Nekrasov is a library, he appears characters.

Who says? The lyric works sometimes do not have a title of lyrics:

1. Avtopsychological - a lyrical entity is psychologically close to the author, transmits its value system. Most of the lyrics are autotsychologically. (But it was not immediately - Lomonosov and Kantemir have no). Holder of one one of the first to introduce biographical and personal details. "Lyrian diary" poet

) Combide them in turning on them into an independent phabuline or non-Fabular unit - frame . It is also used in cinema (for example, in the filmalman "deep at night").

Cycle framing[ | ]

In the so-called cyclical frame, there is a more or less mechanical compound of a number of independent narrative units, the introduction of which is usually motivated by a conversation or dispute of the acting persons by framing a story or references of the author of the frame for certain cases.

The cyclic framing technique is already presented in the literature of the ancient and feudal east (India, Persia, Arabia) and the ancient West. It reaches high perfection in them and through transfers and imitation goes into literature new Europe. In the latter, two cyclic framed traditions are connected: running from the east of a framing story with a more or less strong saturation of didactism and coming from the antiquity technique for incorporating narrative illustrations in the form of speech speech and conversation. In framed by the conversations of the actors of the recreation members of the Renaissance ( "Decameron" Bokachcho, "Heptameron" Margarita Navar "The Canterbury Tales " Chosera) Both techniques organically merge, overcoming a significant mechanical nature of O. with novelist inserts.

The reception was used by the authors of fairy tales, for example, Jambattist Bazil ("fairy tale") and Wilhelm Gauf (Almanaci Fairy Tales).

Organic character is framed in romantics collections ( "Fantasy" Tick "Serapionov Brothers" Gofman "Russian nights" ODOevsky, "Tale of Belkin" Pushkin), since the frames of the conversation become the form of expression of the same philosophical and aesthetic ideas that narrative inserts, and motivate the very nature of the latter. Some novels of the same era ("Manuscript found in Zaragoza", "Melm") were written in t. N. Basic style (story in the story).

Framing of realistic prose[ | ]

Framing of realistic story is organically fused with the frame-framed fabula: it or justifies those or other features of its deployment, contrary to the usual forms of realistic narration (the introduction of fiction, anticipation of the action in time, the motivation of the characteristics of the tale - archaisov, dialectisms, etc.), or reinforces those or other instructions fiction of the reality of the reported (indication of the place and time, the story of the witness, etc.). Therefore, the framing of a separate story can easily be compressed to one introductory phrase and even before the subtitle (cf., for example, the subtitles of the case of Chekhov " Story Poddenzbut", " Story of the old sailor" etc.).

Literature [ | ]

The article uses the text from the literary encyclopedia 1929-1939, which switched to the public domain, as the author - R. S. - died in 1939.