Postmodern trends in Russian literature. Literature postmodernism
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Why is the literature of Russian postmodernism so popular? To works that relate to this phenomenon, everyone can relate differently: someone can like them, someone - no, but still read such literature, so it is important to understand, what does she attract readers so much? Perhaps young people, as the main audience of such works, after graduating from school, "crowded" classical literature, (which is undoubtedly beautiful) want to breathe fresh "postmodernism", let somewhere rude, somewhere even incomplete, but such a new one And very emotional.
The Russian postmodernism in the literature falls on the second half of the 20th century, when the people who are brought up in realistic literature, he rendered a shock and bewilderment. After all, the deliberate does not worship the laws of literary and speech etiquette, the use of obscene vocabulary was not inherent in traditional directions.
The theoretical foundations of postmodernism are laid in the 1960s by French scientists and philosophers. The Russian manifestation differs from European, but he would not be so without his "progenitor." It is believed that the postmodern start in Russia was laid when in 1970. Venedict Erofeev creates the poem "Moscow-Petushki". This is a work that we carefully disassembled this, has a strong influence on the development of Russian postmodernism.
Brief characteristic of the phenomenon
Postmodernism in the literature is a large-scale cultural phenomenon that captured all spheres of art closer to the end of the 20th century, which has changed an equally well-known phenomenon "Modernism". There are several basic principles of postmodernism:
- World as text;
- Death of the author;
- Birth of the reader;
- Scriptor;
- No canons: no good and bad;
- Fastish;
- Intertext and intertextuality.
Since the main thought in postmodernism is that nothing fundamentally new the author can no longer write, the idea of \u200b\u200bthe "death of the author" is created. This means in essence that the writer is not the author of his books, as everything has already been written before it, and the subsequent is only the citation of previous creators. That is why the author in postmodernism does not play a significant role, reproducing his thoughts on paper, he is just the one who in a different pretends written earlier, coupled with his personal style of writing, its original feed and heroes.
"The death of the author" as one of the principles of postmodernism gives the beginning of another thought that in the text initially there is no point in the author. Since the writer is only a physical reproducrator of something, which has already been written earlier, he cannot invest his subtext wherever nothing fundamentally can be. It is from here that another principle is born - "the birth of the reader", which means that it is the reader, and not the author invests his meaning in the read. The composition chosen specifically to this style lexicon, character of heroes, main and secondary, city or place where the action unfolds, excites his personal feeling from the read, pursues it to the search for the meaning, which he initially lays independently from the first read lines.
And this particular principle of "the birth of the reader" carries one of the main posts of postmodernism - any interpretation of the text, any minority, any sympathy or antipathy to someone or something has the right to exist, there is no separation on "good" and "bad ", As it happens in traditional literary directions.
In fact, all the above postmodern principles carry a single meaning - the text can be understood in different ways, can be accepted in different ways, someone can sympathize, and someone - no, there is no separation on "good" and " Evil ", anyone who reads this or that work understands it in its own way and, based on his inner sensations and feelings, knows itself, and not what is happening in the text. Reading, a person analyzes himself and his attitude to the read, not the author and his attitude towards this. He will not look for meaning or subtext, laid down by a writer, because it is not and can not be, he, that is, the reader will rather try to find the fact that he himself invests into the text. The most important thing we said, the rest, including the main features of postmodernism, can read.
Representatives
Representatives of postmodernism are quite a lot, but I would like to talk about two of them: about Alexei Ivanovo and Pavel Sanaev.
- Alexey Ivanov is a distinctive and talented writer, which appeared in the Russian literature on the 21st century. He was nominated three times on the National Bestseller Prize. Laureate of Literary Awards "Eureka!", "Start", as well as premiums D.N. Mine-Siberian and name P.P. Bazhova.
- Pavel Sanaev is no less bright and outstanding writer 20-21 centuries. The laureate of the Awards of the magazine "October" and "Triumph" for the novel "Bury me for the plinth."
Examples
Geographer Globe Propyl
Alexey Ivanov is the author of such well-known works as "Geographer Globe Propil", "Touchscreen-on-blood", "Parma's heart", "Gold Bunt" and many others. The first novel is heard mainly by C / F with Konstantin Khabensky in the lead role, but the novel on paper is no less interesting and fascinated than on the screen.
"Geographer Globe is propyl" is a novel about the Perm School, about teachers, about unknown children, and no less unknown geographer, which by profession and not a geographer at all. The book contains a lot of irony, sadness, kindness and humor. This creates a sense of complete presence with occurring events. Of course, as it matches the genre, there is a lot of veiled obscene and very original vocabulary, as well as the main feature is the presence of Jarnong the lowest social environment.
All the narrative, as it were, keeps the reader in tension, and here when it seems that something should get at the hero, it is about to look like this elusive ray of the sun because of gray thickening clouds, as a reader again raises, because luck and well-being of heroes Restricted only by reader's hope for their existence somewhere at the end of the book.
This is what characterizes the story of Alexei Ivanov. His books are forced to think about, attend, empathize with the heroes or somewhere on them to call, perplex or laugh at their sharpness.
Bury Me Behind the Baseboard
Well, to Pavel Sanaeva and his punching of the work on the emotions "Burry me for the plinth", it is a biographical story written by the author in 1994 on the basis of his childhood when he lived in his grandfather's family nine. The main character is Sasha's boy, a second-grader, whose mother, not particularly taking care of his son, gives him to the care of her grandmother. And, as we all know, children are contraindicated to grandparents with grandfathers more than a certain period, otherwise there is either a tremendous conflict on the basis of misunderstanding, or, like the main character of this novel, everything goes much further, right up to problems with the psyche and spoiled childhood.
This novel produces a stronger impression than, for example, "Geographer Globe is propyl" or something else from this genre, since a child is the main character, a child has not yet matured. He cannot independently change his life, somehow help myself, as they could make the characters of the above-mentioned work or "commander-on-blood". Therefore, sympathy for him is much more than to the rest, and it is not angry with him for that, he is a child, the real sacrifice of real circumstances.
In the process of reading, again, the latter social level is found, obscene vocabulary, numerous and very clinging insults towards the boy. The reader is constantly in indignation of what is happening, I want to read the next paragraph, the next line or page to make sure that this horror is over, and the hero escaped from this captivity of passions and nightmares. But no, the genre does not allow anyone happy, so this voltage is tightened with all 200 book pages. The ambiguous acts of grandmothers and mothers, independent "digestion" of everything that is happening from the face of a small boy and the saming of the text is that this novel is read.
Blood hostel
"Communication-on-blood" - the book of Alexey Ivanov already known to us, the history of one student communion, exclusively in the walls of which, by the way, and most of the narration occurs. Roman is impregnated with emotions, because we are talking about students who, in the veins, it boils and boil youthful maximalism. However, despite this some kind of hopelessness and recklessness, they are big lovers to conduct philosophical conversations, talk about the universe and God, judge each other and blame, repent of their actions and justify themselves. And at the same time, they have absolutely no desire to significantly improve and relieve their existence.
The work literally pested the abundance of obscene vocabulary, which at first someone can push away from reading the novel, but even despite this, he is worth reading it.
Unlike previous works, where the hope of something good went out in the middle of reading, it regularly lights up and swells throughout the book, so the final beat the emotions so much and so much worries the reader.
How is postmodernism manifest in these examples?
What a dorm is that the city of Perm is that the house grandmother Sasha Savelyev is the citadel of all the bad thing that lives in people, all of what we are afraid and what we always try to avoid: poverty, humiliation, sorrow, insensite, caustial, vulgarity and other things. Heroes are helpless, regardless of their age and social status, they are victims of circumstances, laziness, alcohol. Postmodernism in these books is manifested literally in everything: in the ambiguity of the characters, and in the uncertainty of the reader in his attitude to them, and in the vocabulary of dialogues, and in the ability to exist the characters, in their pity and despair.
These works are very heavy for susceptible and super-emotional people, but I will not be able to regret read, because each of these books contains nutritious and useful food for reflection.
Interesting? Save on your wall!The literary panorama of the second half of the 1990s. Determined by the interaction of two aesthetic trends: realistic rooted in the tradition of preceding literary history, and new, postmodernist. Russian postmodernism as a literary and artistic flow is often associated with the period of the 1990s, although in fact has a significant history, which has a minimum of four decades. Its occurrence was completely natural and was determined by both the internal laws of literary development and a certain stage of public consciousness. Postmodernism - not so much aesthetics as philosophy, Type of thinking, manner feel and thinking, found in the literature its expression.
The claim for total versatility of postmodernism both in the philosophical and in the literary spheres was obvious to the second half of the 1990s, when this aesthetics and artists, presenting it, from literary marginalov turned into the rulers of the DUM strongly spent the reading public by the time. It was then at the place of the key figures of modern literature, Dmitry Prigi, Lev Rubinstein, Vladimir Sorokin, Viktor Pelevin, deliberately shockting reader. The shock impression of their works in a person brought up in realistic literature is associated not only with external attributes, a deliberate violation of literary and general cultural speech etiquette (use of obscene vocabulary, reproduction of Zhargon the lowest social environment), withdrawing all ethical taboos (detailed deliberately understated multiple image sexual acts and anti-systhetic physiological manifestations), a fundamental refusal of realistic or at least a vital life-due to the motivation of the character or behavior of the character. Shock from a collision with the works of Sorokina or Pelevin was called fundamentally different than before, with an understanding of the reality displayed in them; the doubt of the authors in the very existence of reality, private and historical time, cultural and socio-historical reality (novels "Chapaev and emptiness", "Generation P" V. O. Pelevin); The deliberate destruction of classical realistic literary models, naturally rationally explained causal relationships of events and phenomena, motivation of the actions of the characters, the development of plot collisions ("norm" and "Roman" V. G. Sorokina). Ultimately - doubt about the possibility of rational explanation of being. All this was often interpreted in the literary and critical periodical periodics of traditional realistic oriented editions as a mockery of the reader, literature, a person in general. It must be said that the texts of these writers, filled with sexual or fecal motifs, fully gave grounds for such a critical interpretation. However, strict critics involuntarily became victims of writing provocation, went along the way the most obvious, simple - and erroneous reading of the postmodern text.
Responding to numerous reproaches that he does not like people that he mocks them in his works, V. G. Sorokin argued that the literature - "This is the dead world", and people depicted in the novel or the story - "not people, It's just letters on paper. " The statement of the writer contains the key of the NAH only to its understanding of the literature, but also to the postmodern consciousness as a whole.
The essence is that in its aesthetic basis, the literature of postmodernism is not just sharply oppositional realistic - it has a fundamentally different artistic nature. Traditional literary directions, which include classicism, sentimentalism, romanticism and, of course, realism, one way or another, are focused on reality, which acts as an image of the image. In this case, the attitude of art to reality may be the most different. It can be determined by the desire of literature to imitate life (Aristotelian Mimesis), explore reality, study it from the point of view of socio-historical processes, which is typical for classical realism, to create some ideal models of social relations (classicism or realism N. G. Chernyshevsky, author of the novel " What to do? "), Directly affect the reality, changing the person," forms "it, drawing a variety of social masks-types of their era (social identity). In any case, the principal correlation and correlation of literature and reality is not subject to doubt. Exactly
therefore, some scientists suggest characterize similar literary directions or creative methods as primary Aesthetic systems.
The essence of postmodern literature is completely different. It does not at all possess its task (at least so declared) research reality; Moreover, it is denoted in principle the correlation of literature and life itself, the relationship between them (literature - "This is the dead world", the heroes - "just letters on paper"). In this case, the subject of the literature is not a genuine social or ontological reality, but the previous culture: literary and non-veteral texts of different eras perceived outside the traditional cultural hierarchy, which makes it possible to mix high and low-lying, sacred and stranded, high style and semi-armed spatia, poetry and Blank jargon. The subject of literature is the mythology, mainly socially owned, incompatible discourses, rethinking foglore and literary characters, household clichés and stereotypes, most often incredible, existing at the level of collective unconscious.
Thus, the fundamental difference between postmodernism from, say, realistic aesthetics is that he is secondary The artistic system, exploring not reality, but past ideas about it, chaotic, bizarre and unsystemantly stirring them and rethinking. Postmodernism as a literary easthetic system or the creative method is inclined to deep self-reflection. It produces its own metalayase, a complex of specific concepts and terms, forms a whole body of texts that describe its vocabulary and grammar. In this sense, it appears as a regulatory aesthetics in which the theoretical norms of its poetics formulated theoretical norms are preceded by the previously artistic work.
The theoretical foundations of postmodernism are laid in the 1960s. In the environment of French scientists, post-structuralist philosophers. The birth of postmodernism is lit by the authority of Rolan Barta, Jacques Derrida, Yulia Kristeva, Zhiva Deleaiza, Jean Francois Liotar, who created a scientific structural and semiotic school in France in France, which predetermined the birth and expansion of the whole literary direction in both European and Russian literature . Russian postmodernism is a phenomenon that is quite different from the European, but the philosophical foundation of postmodernism was created precisely then, and the Russian postmodernism would be impossible without it, however, as European. That is why, before turning to the history of Russian postmodern, it is necessary to stop at its main terms and concepts developed almost half a century ago.
Among the works that lay the cornerstone of the postmodern consciousness, it is necessary to highlight Articles R. Bart "Death of the author" (1968) and Y. Kristeva "Bakhtin, word, dialogue and novel" (1967). It was in these works that the basic concepts of postmodernism were introduced and substantiated: peace as text, death author and birth of the reader, scriptor, intertext and intertextuality. At the heart of the postmodern consciousness, there is a thought on the principle of history, which is manifested in the exhaustion of the creative potentials of human culture, the completion of its development circle. Everything that is now, has already been and there will be, history and culture are moving in a circle, in essence, doomed to repeat and trample on the spot. The same happens with the literature: everything is already written, it is impossible to create a new one, the modern wisen of the Will-Neils is doomed to repeat and even the quotation of the texts of his distant and close predecessors.
Similar to the world of culture and motivates the idea death of the author. According to postmodern theority, the modern writer is not the author of his books, because everything he can write is written before it, much earlier. He can only quote, freely or unwittingly, consciously or unconsciously preceding texts. In essence, a modern writer is only a compiler of the previously created texts. Therefore, in the postmodern criticism, "the author is less than an increase like a figure in the very depths of the literary scene." Modern literary texts creates scriptor (eng. - scriptor), hastingly compiling the texts of the former epochs:
"His hand<...> It makes a purely designed (and not expressive) gesture and outlines a certain iconic field that does not have an initial point - in any case, it comes only from the language as such, and he tirelessly calls any idea of \u200b\u200bthe starting point. "
Here we meet with the fundamental idea of \u200b\u200bpostmodern criticism. The death of the author puts doubt on the very content of the text saturated with copyright. It turns out that the text cannot initially be laid out. This is "a multidimensional space where various types of letters are combined and argued with each other; the text is out of the quotes sending to thousands of cultural sources", and the writer (i.e. scriptor) "can only imitate What was written before and itself was written not for the first time. " This Thesis Bart is the starting point for such a concept of postmodern aesthetics, as intertextuality:
"... any text is built as a mosaic of quotes, any text is a product of absorption and transformation of some other text," wrote Y. Kristev, justifying the concept of intertertainment.
At the same time, the infinite number of sources, "filtered" the test deprives its initial value, if ever possessed, entering each other into new semantic ties, to solve which can only reader. Such ideology characterized in general French poststructors:
"The scriptor who came to replace the author carries not passion, moods, feelings or impressions, but only such an immense dictionary from which he draws his letter, who does not know the stop; Life only imites the book, but the book itself is worn from signs, herself Improves something already forgotten, and so indefinitely. "
But why, reading the work, we are in conjunction, what does it still have meaning? Because the meaning in the text does not invest the author, but reader. He in Measure to be released by his talent handles all the principles and ends of the text, putting into it, so his meaning. Therefore, one of the postulates of postmodern world goods is the idea multiplicity of interpretations of the work, Each of which has the right to exist. Thus, the figure of the reader, its significance, immensely increases. The reader that invests the meaning in the work, as it may become to the author's place. The author's death is the fee of the literature for the birth of the reader.
In essence, these theoretical provisions are based on the other concepts of postmodernism. So, postmodern sensitivity It assumes the total crisis of faith, the feeling of modern man of the world as chaos, where all original semantic and value orientations are missing. Intertextuality Assessed by chaotic alignment in the text of codes, signs, symbols of previous texts, leads to a special post-concrete form of the parody - fastish Expressing total postmodern irrigation over the possibility of the existence of a single, once and permanent meaning. Simulacra It becomes a sign that does not indicate anything, a sign of a reality simulation, not correlating with it, according to only other simulats, which create an unreal postmodern world of simulations and lightningness.
The basis of the postmodern attitude to the world of the previous culture is its deconstruction. This concept is traditionally associated with the name of J. Derrida. The term itself, which includes two opposite prefixes ( de - Destruction I. con Creation) denotes a doubleness in relation to the object under study - text, discourse, mythologist, any concept of collective subconscious. The deconstruction operation implies the destruction of the original meaning and its simultaneous creation.
"The meaning of deconstruction<...> It is to identify the internal contradictions of the text, in detecting in it hidden and unsubstituted not only with an inexperienced, "naive" reader, but also escape from the author ("sleeping", according to the expression of Jacques Derrida) of residual meanings, which took place in the heritage from speech, otherwise - The discursive, practices of the past, fixed in the form in the form of unconscious thinking stereotypes, which in turn so unconsciously and regardless of the author of the text are transformed under the influence of the language cliches of the epoch. "
Now it becomes clear that the period of the publisher, who collided simultaneously different epochs, decades, ideological landmarks, cultural preferences, diaspora and metropolis, writers, now living and past five to seven decades ago, created the soil for postmodern sensitivity, impregnated journal pages obvious intertertainment. It is under these conditions that the expansion of postmodern literature of the 1990s was possible.
However, by that time, Russian postmodernism had a certain historical and literary tradition, ascending to the 1960s. For quite obvious reasons until the mid-1980s. It was a marginal, underground, catacombic phenomenon of Russian literature - and in the literal, and in a figurative sense. For example, the Book of Abraha TERS "Walking with Pushkin" (1966-1968), which is considered one of the first works of Russian postmodernism, was written in the conclusion and driving to the will under the guise of letters to his wife. Roman Andrei Bitova "Pushkin House" (1971) I got up in one row with the Book of Abraha Terrta. These works brought together the general subject of the image - Russian classical literature and mythologies generated by more than a century tradition of its interpretation. They became the object of postmodern deconstruction. A. G. Bitov wrote, according to his own recognition, "anti-tech Russian literature."
In 1970, the poem of Venedikta Erofeev is created "Moscow - Petushki"which gives a powerful impetus to the development of Russian postmodernism. Comically stirring a lot of discourses of Russian and Soviet culture, immersing them into the household and speech situation of the Soviet alcoholic, Erofeev, seemed to be a way of classical postmodernism. Combining the ancient tradition of Russian scientific, explicit or hidden quotation of classical texts, studied by heart in school fragments of Lenin and Marx works with the author who experienced by the author-narrator, the situation of a trip in the suburban train in a state of severe intoxication, he sought and the effect of grazing, and intertextual saturation of the work, Possessing truly unlimited semantic inexhaustibility involving the multiplicity of interpretations. However, the poem "Moscow - Petushki" showed that Russian postmodernism is not always correlated with a canon of a similar Western direction. Erofeev fundamentally refused the concept of death of the author. It was the view of the author the narrator formed in the poem a single point of view on the world, and the state of intoxication signed the complete absence of a cultural hierarchy of semantic layers included in it.
Development of Russian postmodernism 1970-1980s. went first in line conceptualism. Genetically, this phenomenon was back to the "Lianozov" poetic school of the late 1950s., To the first experiments of V. N. Nekrasov. However, as an independent phenomenon within Russian postmodernism, Moscow poetic conceptualism took shape in the 1970s. One of the creators of this school was Vsevolod of Nekrasov, and the most vivid representatives - Dmitry Prigi, Lev Rubinstein, a little later - Timur Kibirov.
The essence of conceptualism thought as a fundamental change in the object of aesthetic activity: an orientation is not an image of reality, but on the knowledge of the language in its metamorphosis. At the same time, the object of the poetic deconstruction was the speech and mental clichés of the Soviet era. It was an aesthetic reaction to the late, dead and infused social identity with its exterminated formulas and ideologies, slogans, despicable propaganda texts. They thought as concepts The deconstruction of which was made by conceptualists. The author's "I" was absent, dissolved in the "quotations", "voices", "opinions". In essence, the Total Deconstruction was subjected to the language of the Soviet era.
With particular evidence, the conceptualism strategy manifested itself in creative practice Dmitry Alexandrovich Prigova (1940-2007), creator of many myths (including myth about yourself as modern Pushkin), parody the Soviet ideas about the world, literature, life, love, human and power, etc. In his work, the Soviet ideologies about the Great Labor, the omniplinary power (the image of the Militicant) were transformed and postmodernist. Images-masks in the poems of prigov, "the flickering feeling of the presence is the absence of the author in the text" (L. S. Rubinstein) was the manifestation of the author's death concept. Parodyted quote, the removal of the traditional opposition of ironic and seriously due to the presence of a hundred poetry of postmodernal pastish, and, as it were, the categories of the mentality categories of the Soviet "Little Man" reproduced. In poems "Here, the cranes fly a strip of the scarlet ...", "I found the number on my counter ...", "I'm a smoking chicken ..." the hero's psychological complexes were transmitted, detected the displacement of the real proportions of the world's paintings. All this was accompanied by the creation of quasi fresheners of poetry prigov: "philosophies", "pseudochi", "pseudonecologist", "Opus", etc.
In creativity Lion Semenovich Rubinstein (R. 1947) Realified "a more stringent version of conceptualism" (μ. N. Epstein). He wrote his poems on separate cards, with an important element of his creativity became performance - Presentation of poems, their copyright. Holding and going through the cards on which the Word was written was written, only one verse line was written, it was not written, he as if he emphasized the new principle of poetics - poetics of "catalogs", poetic "card files". The card became an elementary unit of text connecting poems and prose.
"Each card," said the poet, is the object, and the universal rhythm unit, leveling any speech gesture - from the deployed theoretical selection to interjections, from the stage remark to the telephone conversation. The package of cards is an object, the volume is non-book. This is the brainchild "extracepttenberg" existence of verbal culture. "
Special place in the environment of conceptualists is occupied Timur Yuryevich Kibirov (r. 1955). Using technical techniques of conceptualism, it comes to another than his senior comrades on the workshop, the interpretation of the Soviet past. We can talk about peculiar critical sentimentalism Kibirov, who manifested in such poems as "artist Semenu Faybisovich", "Only wipe the word" Russia "...", "twenty sonnets to Sasha weave." Traditional poetic topics and genres are not at all subjected to a cybirovy total and destructive deconstruction. For example, the topic of poetic creativity is being developed in the poems - friendly messages "L. S. Rubinstein", "Love, Komsomol and Spring. D. A. Privhet" and others. On the author's death in this case, it is not necessary to speak: the authority of the author "I "Manifests itself in a kind of lyricism of poems and Kibirov's poems, in their tragicomic painting. In his poetry, the worldview of a person of the end of the story, which is in the situation of cultural vacuum and suffering from this ("Chernovik of the Gugolev Response") is embodied.
The central figure of modern Russian postmodernism can be considered Vladimir Georgievich Sorokina (r. 1955). The beginning of his work that came to the mid-1980s, firmly connects the writer with conceptualism. He did not lose this connection in the next works, although the modern stage of his creativity, of course, is wider than the conceptualist canon. Sorokin - a magnificent stylist; The subject of the image and reflection in his work is precisely style - both Russian classical and Soviet literature. L. S. Rubinstein very accurately described the creative strategy of Sorokina:
"All its writings are a variety of thematically and genre - built, in essence, at one reception. I would have identified this technique as a" hysterical style ". Sorokin does not deal with the description of the so-called life situations - language (mainly literary language), its condition and Movement in time and there is the only (genuine) drama, which occupies conceptual literature<...> Language of his works<...> As it goes crazy and begins to behave inadequately, which is actually an adequacy of another order. It is as defenseless as natural. "
Indeed, Vladimir Sorokin's strategy consists in a ruthless collision of two discourses, two languages, two incompatible cultural reservoirs. Philosopher and Philologist Vadim Rudnev describes this technique:
"Most often, his stories are built on the same scheme. Initially, there is an ordinary, slightly unnecessary juicy parody Sotaartov text: a story about the hunt, the Komsomol Meeting, a session of the partner - but suddenly quite unexpectedly and unmotivated occurs<...> A breakthrough into something terrible and scary that there is, in Sorokin, a real reality. As if Pulino pushed his nose with a canvas with a painted focus, but he found a door there, but something about what was shown in modern horror films. "
The texts of V. G. Sorokina began to be published only in the 1990s, although he began to actively write 10 years earlier. In the mid-1990s, the main works of the writer, created in the 1980s. And already known abroad: the novels "queue" (1992), "Norm" (1994), "Thirtie Love Marina" (1995). In 1994, Sorokin writes the story "Hearts of Four" and Roman "Roman". Already, scandalous fame receives his novel "Blue Salo" (1999). In 2001, a collection of new stories "PIR", and in 2002 - the Roman "Ice", where the author allegedly breaks with conceptualism. The most representative books of Sorokina - "Roman" and "Pier".
Ilyin I. P. Postmodernism: words, terms. M., 2001. P. 56.The postmodern direction in the literature was born in the second half of the 20th century. Translated from the Latin and French languages \u200b\u200b"Postmodern" means "modern", "new". This literary direction consider the reaction to the infringement of human rights, wars and post-war events. It was born from the denial of the ideas of the Epoch of Enlightenment, Realism and Modernism. The latter was popular at the beginning of the twentieth century. But if in modernism, the author's main goal is to find the meaning in the changing world, then postmodernist writers talk about the meaninglessness of what is happening. They deny patterns and put the case above all. Irony, black humor, fragmentation of narration, mixing genres - these are the main features characteristic of the literature of postmodernism. Below are interesting facts and the best works of representatives of this literary flow.
The most significant works
The flourishing of the direction is considered to be 1960 - 1980. At this time, William Berrouza novels were published, Joseph Heller, Philip Dick and Kurt Vonnegut. These are bright representatives of postmodernism in foreign literature. "A man in a high castle" Philip Dick (1963) will transfer you to an alternative version of history, where Germany won in the Second World War. The work was awarded the prestigious Award "Hugo". The anti-war Roman Joseph Heller "Amendment-22" (1961) ranks 11th in the list of the best books according to BBC. The author of the master is ridiculed here by the bureaucracy against the background of military events.Modern overseas postmodernists deserve separate attention. This is Haruki Murakami and his "Chronicles of the Wrinkling Bird" (1997) - full of mystics, reflection and memories of the novel of the Japanese writer himself in Russia. The "American Psychopath" of Britton Ellis (1991) is striking with cruelty and black humor even connoisseurs of the genre. There are simmental screening with Christian Bail in the role of the main maniac (dir. Mary Herron, 2000).
Samples of postmodernism in Russian literature - Books "Pale Flame" and "Ada" Vladimir Nabokova (1962, 1969), "Moscow-Petushka" Venedikta Erofeeva (1970), "School for Fools" Sasha Sokolova (1976), "Chapaev and Emptiness" Viktor Pelevina (1996).
In the same vein, the multiple laureate of domestic and international literary premiums Vladimir Sorokin writes. His novel "The Thirteenth Love Marina" (1984) sarcastically illustrates the Soviet past of the country. Before the absurd, there is a lack of individuality from that generation. The most provocative work Sorokina - "Blue Salo" (1999) - will turn all ideas about the history of the head on the head. It was this novel that erected Sorokina in the rank of classics of postmodern literature.
Influence of classics
The works of postmodernist writers are striking the imagination, erase the boundaries of genres, change the ideas about the past. However, it is interesting that the classic works of the Spanish writer Miguel de Cervantes, the Italian poet Giovanni Bokcchcho, the French philosopher Voltaire, English Romanist Lorenzo Stern and Arab fairy tales from the book "Thousand and One Night", had a strong influence on postmodernism. In the creations of these authors there are parody and unusual forms of narration - the predecessors of the new direction.Which of these postmodern masterpieces in Russian and foreign literature did you miss? Rather, add to your electronic shelf. Pleasant reading and immersion in the world of satire, games of words and stream of consciousness!
All over the world, it is believed that postmodernism in the literature is a special intellectual style, the texts of which are written as it were, and where a certain hero (not author) checks his own conclusions, playing for nothing binding games, getting into different life situations . Postmodernism critics are considered as the reaction of the elite on the widespread commercialization of culture, as the opposition of the general culture of cheap tinsel and gloss. In general, this is a rather interesting direction, and today we present to your attention the most famous literary works in the style mentioned.
10. Samuel Biscket "Molloy, Malone Dies, The Unnamable"
Samuel Bekket - a recognized master of abstract minimalism, whose technique hold the pen allows us to objectively overlook our subjective world, taking into account the psychology of a separate nature. An unforgettable work of the author, "Molloy, Malone Dies, The Unnamable", is recognized as one of the best - by the way, the translation can be found on lib.ru
9. Mark Danilevski "House of Leaves"
This book is a real product of literary art, since Danilevsky plays not only with words, but also the color of words, combining text and emotional information. Associations caused by a color combination of different words help to penetrate the atmosphere of this book, in which there are both elements of mythology and metaphysics. On the idea of \u200b\u200bpainting the words of the author pushed the famous color test of Rorschah.
8. Kurt Vonnegut "Breakfast of Champions"
That's what the author himself says about his book: "This book is my gift to the fiftieth anniversary. In fifty years, I have been so programmed that he behaves guader; I speak disrespectful about the American anthem, I draw the Nazi flag, and scuffs, and any other.
I think that this is an attempt to throw everything out of the head so that it becomes completely empty, as that day fifty years ago, when I appeared on this strongly damaged planet.
In my opinion, all Americans should do so - and white and non-white, which imitate white. In any case, my other people scored all sorts of all - a lot there and useless and ugly, and one with another does not fit and completely does not correspond to the real life that goes out of me, outside of my head. "
7. Jorge Luis Borges "Labyrinths"
This book is impossible to describe without resorting to deep analysis. In general, this characteristic is applicable to most of the works of the author, many of which are still waiting for an objective interpretation.
6. Hunter Thompson "Fear and Loatching in Las Vegas"
The book tells the adventures of lovers of psychotropic drugs in Las Vegas. Through simple, it would seem, the author creates a complex political satir of his era.
5. Bret Easton Ellis "American Psycho"
No other product is able to show the life of ordinary Yappa from Wall Street. Patrick Beitman, the main character of the work, lives the usual life to which the author imposes an interesting focus, in order to show the wrong reality of a similar way of existence.
4. Joseph Geller "Catch-22"
Probably, this is the most paradoxic novel that ever was written. The work of Geller is widely recognizable, and most importantly, recognized by the majority of the literary critics of our time. You can say with confidence that Geller is one of the greatest writers of our time.
3. Thomas Pinchon "GRAVITY'S RAINBOW"
All attempts to describe the plot of this novel will surely fail: this is the symbiosis of paranoia, pop culture, sex and politics. All these elements merge in a special way, creating an unsurpassed literary product of the new era.
2. William Burrow "Naked Lunch"
Too much was written about the effect of this work on the minds of modernity to write about it again. This work occupies a worthy place in the literary heritage of contemporaries of the era - here you can meet elements of science fiction, erotica and detective. This whole wild mix that mysteriously carries the reader, forcing everything from the first to the last page - the truth is not the fact that the reader will understand it from the first time.
1. David Foster Wallace "Infinite Jest"
This work is a classic genre, of course, if you can say about the literature of postmodernism. Again, here you can find sadness and fun, mind and stupidity, intrigue and vulgarity. The opposition of two major organizations is the main line of the plot, which leads to understanding of some factors of our life.
In general, these works are very difficult, and that makes them extremely popular. I would like to hear from our readers who read some of these works, objective reviews - perhaps it will allow the rest of the attention to the books of such a genre.
Postmodernism
The end of World War II marked an important turn in the worldview of Western civilization. The war was not only a clash of states, but also a clash of ideas, each of which promised to make the world perfect, and in return brought the blood river. From here - the feeling of the crisis of the idea, that is, the disbelief in the possibility of any idea to make the world better. There was also a crisis of art ideas. On the other hand, the number of literary works has reached such a quantity that the impression is that everything is already written, each text contains links to previous texts, that is, is a metatext.
In the course of the development of the literary process, the gap between elite and pop culture became too deep, a phenomenon of "works for philologists" appeared, to read and understand which one needs to have a very good philological education. Postmodernism became a reaction to this split, connecting both sectors of multi-layered work. For example, the "perfumer" Zuskind can be read as a detective, and maybe as a philosophical novel, revealing questions of genius, artist and art.
Modernism, investigated the world as a realization of certain absolutes, eternal truths, gave way to postmodern for which the whole world is a game without happy completion. As a philosophical category, the term "postmodernism" spread through the works of philosophers. Derrida, J. Batay, M. Foucault and especially the book of French philosopher J.-F. Liotar "POSTMODERN CONDITION" (1979).
The principles of repeatability and compatibility are converted into the style of artistic thinking with the features inherent in it, grade, citation, reinpected, reminiscence, allyusia. The artist deals not with a "clean" material, but with culturally mastered, because the existence of art in previous classical forms is impossible in the post-industrial society with its unlimited potential of serial reproduction and replication.
The encyclopedia of literary directions and flows submits such a list of features of postmodernism:
1. The cult of an independent person.
2. Tract for archaic, to myth, collective unconscious.
3. The desire to combine, the truth (sometimes polarly opposite) of many people, nations, cultures, religions, philosophies, the vision of everyday real life as the theater of the absurd, the apocalyptic carnival.
4. The use of the gaming style is emphasized in order to emphasize on abnormalities, not authenticity, the prepression of lifestyle dominating in reality.
5. The intentionally bizarre interlacing of different styles of the narrative (high classic and sentimental or rough naturalistic and fabulous, etc.; In the style of artistic, the styles scientific, journalistic, business, etc.) are often intertwined.
6. A mixture of many traditional genre equals.
7. Plots of works - it is easily disguised by allusions (hints) on well-known literature plots of previous eras.
8. borrowing, roll calls are observed not only on plot-composite, and in the rolled, language levels.
9. As a rule, an image of a narrator is present in the postmodern work.
10. Ironity and parody.
The main features of the poetics of postmodernism is an intertextuality (creating its text from strangers); collage and installation ("gluing" of the metering fragments); Use of alluzi; a complicated form, in particular, with a free composition; Brikolazh (indirect achievement of copyright); Saturation of the text of irony.
Postmodernism develops in the genres of fantastic parable, novel-confession, anti-nightopias, stories, mythological stories, socio-philosophical and socio-psychological novel, and others. Genre forms can be combined, opening new artistic structures.
The first postmodernist is considered to be Günther Grass ("Tin Drum", 1959). Outstanding representatives of postmodern literature: V. Eco, H.-L. Borges, M. Pavich, M. Kunder, P. Zyuskind, V. Pelєvіn, I. Brodsky, F. Bebedere.
In the second half of the XX century. The genre of science fiction is activated, which in its best samples is combined with prognostics (forecasts for the future) and antiutopia.
In the pre-war time, there is an existentialism in the world war, existentialism is actively developing. Existentialism (lat. Existentiel - existence) - direction in philosophy and the course of modernism, in which the source of artistic work is the artist, expressing the life of the personality, creating an artistic reality that reveals the secret of being at all. Sources of existentialism were kept in the writings of the German thinker of the XIX century. From Kierkegara.
Existentialism in artistic works reflects the mood of intelligentsia disappointed with social and ethical theories. Writers seek to understand the causes of the tragic unpleasution of human life. The first place is put forward categories of the absurdity, fear, despair, loneliness, suffering, death. Representatives of this philosophy claimed that the only one had his inner world, the right of choice, freedom of will.
Existentialism extends to French (A. Kama, J.-P. Sartre et al.), German (E. Nosak, A. Döblin), English (A. Murdoch, V.Goldіng), Spanish (M. de Unomuno), American (N. Maleler, J. Baldwin), Japanese (Cobo Abe) literature.
In the second half of the XX century. The "new novel" is developing ("Antioman") - genre equality of the French modern novel of 1940-1970, which arises as denial of existentialism. Representatives of this genre - N. Sarrot, A. Rob-Grije, M. Bouotor, K. Simon, etc.
A significant phenomenon of the theater avant-garde of the second half of the XX century. It is the so-called "theater of absurd". For the drama of this direction, there is no place and time of action, the destruction of the plot and composition, irrationalism, paradoxical collisions, the alloy of tragic and comic. The most talented representatives of the "Theater of Absurd" is S. Beckett, E. Ionessko, E. Albi, Frish, etc.
A noticeable phenomenon in the world's second half of the XX century. Magic realism became a direction in which elements of valid and imaginary, real and fantastic, everyday and mythological, probable and mysterious, everyday life and eternity are organically combined. He acquired the greatest development in the Latin American literature (A. Karent "єr, the same. Amada, Garcia Marquez, Vargas Los, M. Asturіas, etc.). A special role in the work of these authors is played by a myth who acts as the basis of the work. A classic example of magical realism is the novel of Garcia Marquez "One hundred years of loneliness" (1967), where the history of Colombia and all Latin America is recreated in mythically-real images.
In the second half of the XX century. Traditional realism develops, which acquires new signs. An image of individual Being is combined with historical analysis, which is due to the desire of artists to realize the logic of social laws (Belle, E.-m. Remark, V. Bykov, N. Dumbadze, etc.).
The literary process of the second half of the XX century. It is determined primarily by the transition from modernism to postmodernism, as well as a powerful development of intellectual trends, science fiction, "magical realism", avant-garde phenomena, etc.
On postmodernism in the West was widely spoke in the early 1980s. Some researchers are considered to be the beginning of postmodernism Roman Joyce "Pominics by FinegaNU" (1939), others - Preliminary Joycev Roman "Ulysses", the third - American "new poetry" of the 40s-50s, fourth think that postmodernism is not a fixed chronological phenomenon, And the spiritual state and "in any era there is a postmodernism" (ECO), the fifths generally express about postmodernism as "one of the intellectual fictions of our time" (Y. Andrukhukhovich). However, most scientists believe that the transition from modernism to postmodernism fell in the mid-1950s. In the 60-70s, postmodernism covers various national literature, and in the 80s it becomes the dominant direction of modern literature and culture.
The first manifestations of postmodernism can be considered such trends as the American School of Black Humor (V. Berrowz, D. Vart, D. Barterm, D. Donlіvі, K. Kizi, K. Vonnegut, D. Heller, etc.), French "New Roman "(A. Rob-Grije, N. Sarrhrot, M. BUTOR, K. Simon etc.)," \u200b\u200bTheater of Absurd "(E. ionesko, with Beckett, J. Chapit, F. Arrabal, etc.) .
The British John Falez ("Collector", "Woman of French Lieutenant"), Julian Barnes ("The History of the World in Nine and Half Chapters") and Peter Akreyd (Milton in America), are the British. Perfume "), Austrian Karl Ransmire (" Last World "), Italians Italian Calvino (" Notchness ") and Umberto Eco (" Rose Name "," Foucot Pendulum "), Americans Thomas Pіnchon (" Entropy "," Sold By No. 49 " ) And Vladimir Nabokov (English-speaking novels "Pale Fire" and others), Argentinee Jorge Louis Bruges (Novels and Essay) and Julio Cortasar ("Game in Classics").
An outstanding place in the history of the newest postmodern novel is also occupied by his Slavic representatives, in particular Czech Milan Kunder and Serb Milorad Pavice.
The specific phenomenon is Russian postmodernism, represented as the authors of the metropolis (A. Bitov, V. Erofeev, veins. Erofeev, L. Petrushevskaya, D. Podigov, T. Tolstaya, V. Sorokin, V. Pelєvіn) and representatives of literary emigration ( V. Aksenov, I. Brodsky, Sasha Sokolov).
Postmodernism claims to express a common theoretical "superstructure" of contemporary art, philosophy, science, politicians, economics, mods. Today they say not only about "postmodern creativity", but also about the "postmodern consciousness", "Postmodern mentality", "Postmodern mindshlorism", etc.
Posthetical pluralism has aesthetic pluralism at all levels (plot, composite, charming, characteristics, chronotopic, etc.), the completeness of the presentation without estimates, reading the text in the cultural context, the creation of the reader and writer, the miphologist of thinking, a combination of historical and timeless categories, Dialogіm Irony.
The leading signs of postmodern literature is the irony, "quotation of thinking", intertertainment, paste, collage, principle of the game.
In postmodern, the total irony reigns, the overall ridicule and mockery from everything. Numerous postmodern artworks are characterized by a conscious installation on an ironic comparison of various genres, styles, artistic flows. The work of postmodernism is always ridicuing previous and unacceptable forms of aesthetic experience: realism, modernism, mass culture. So, the irony wins a serious modernist tragedy, inherent, for example, works by F. Kafki.
One of the main principles of postmodernism is a quote, and for representatives of this direction, the quotation of thinking is characteristic. The American researcher B. Morrіssett called the postmodern prose "Quoted Literature". Total postmodern quotation comes to replace elegant modernist reminiscence. A completely postmodern is an American student joke on how a philologist's student read the "Hamlet" and was disappointed: nothing special, meeting common winged words and expressions. Some works of postmodernism turn into books-quotes. So, the novel of the French writer Jacques Rive "Baryshni from A." It is a collection of 750 quotes from 408 authors.
With postmodern quotation thinking, such a concept as intertextuality is connected. The French researcher Julia Karstєva, which introduces this term into a literary revolution, noted: "Any text is built as a mosaic of the citance, any text is a product absorbing and transforming some other text." French Semiotik Roland Karaulov wrote: "Each text is an iNTERTEK; Other texts are present in it at various levels in more or less in recognizable forms: the texts of the preceding culture and texts of the surrounding culture. Each text is a new cloth woven from old quotes. " Intertext in the art of postmodernism is the main way to build text and is that the text is built from quotes from other texts.
If numerous modernly novels were and numerous modern novels ("Ulysses", Joys, "Master and Margarita" Bulgakov, "Dr. Faustus" T. Manna, "Game in Beads" Gesse) and even realistic works (as Y. Tyanyan proved, Roman Dostoevsky "Village Stepanchikovo and its inhabitants" is a parody of Gogol and his works), then the achievement of just postmodernism with hypertext. This is the text built in such a way that it turns into a system, a hierarchy of texts, at the same time constituting unity and many texts. His example is any dictionary or encyclopedia, where each article refers to other articles of the same publication. You can read such text in equal: from one article to another, ignoring hypertext links; Read all articles in a row or moving from one link to another, exercising "hypertext swimming". Consequently, such a flexible device, as a hypertext, can be manipulated at its discretion. In 1976, American writer Reonon Federman published a novel, which is called - "at your discretion." It can be read at the request of the reader, from any place, tasuya is not numbered and loose pages. The concept of hypertext is connected with computer virtual realities. Today's g_petexts are computer literature, which can be read only on the monitor: by pressing one key, transfer to the historic of the hero, pressing the other - you change the bad end to good, etc.
The sign of postmodern literature is the so-called paste (from Ital. Pasbiccio - Opera, composed of passages of other operas, mixture, Popourry, Stylization). It is a specific parody, which in postmoderism changes its functions. From the Pastosch parodiy is characterized by the fact that now there is nothing to parody, there is no serious object that can be ridiculed. O. M. Freudenberg wrote that only the fact that "Live and Holy" can be paroded. During the day, not postmodernism nothing "lives", and even more so no "holy". Pastіsh also understand the same paroding.
The art of postmodern in nature is fragmentary, discrete, eclectic. Hence this sign as a collage. The postmodern collage may seem new form of modernist installation, but it differs significantly from him. In modernism, installation, although it was composed of non-comparable images, was still combined into some unity of style, technique. In the postmodern collage, on the contrary, various fragments of the collected objects remain unchanged, non-transformations into a single whole, each of them retains its withdrawal.
Important for postmodernism with the principle of the game. Classic moral and ethical values \u200b\u200bare transferred to the game plane, as M. Ignatenko notes, "yesterday's classic culture and spiritual values \u200b\u200blive in the postmodern dead - his era does not live with them, she plays them, she plays them in them, she is their znedіysnyu."
Among other characteristics of postmodernism - uncertainty, deanonіzatsya, karyalivіzіya, theatricality, hybridization of genres, the creation of the reader, the saturation of cultural realities, "dissolving nature" (full destruction of the character as a psychologically and social deterministic character), attitude to literature as to the "first reality" (text Does not displays reality, and creates a new reality, even a lot of reality, often independent of each other). And the most common images of the metaphors of postmodernism is Centaur, Carnival, Labyrinth, Library, Madness.
The phenomenon of modern literature and culture is also multiculturalism, through which a multi-storey American nation naturally implemented a smart uncertainty of postmodernism. The more "grounded" multicult) was previously "voiced" thousands of equidimate unique living American votes of representatives of various racial, ethnic, tender, local and other concrete jets. Literature Multiculturalism includes African American, Indian, Chicanos (Mexicans and other Latin Americans, a significant number of which lives in the USA), the literature of various ethnic groups inhabiting America (including Ukrainians), American descendants of people from Asia, Europe, minority literature of all majer .