The value "Other Prose. "Other" prose: the head of new art in Russian literature

Modern Russian literature is heterogeneous and diverse on its aesthetic principles and philosophical installations. It develops in line with three artistic systems - realism, modernism and postmodernism, in which there are their currents. The most popular and fruitful of them is realism.

The artistic system of realism includes three directions (currents): neoclassical (traditional), conditionally metaphorical, "other prose".

"Other prose." In the early 1980s, works of authors appeared in the literature, which opposed their ideas to generally accepted. Official literature put a person on a pedestal, he mowed him as the creator and the Creator of his destiny and happiness, forced to believe that one person is able to change the world. In his works, representatives of the "other prose" showed a complete dependence soviet man From the household environment, it is just a small codkin in a huge car.

Three currents can be distinguished in the "other prose": "historical", "natural", and "ironic avant-garde". But this division is quite conditionally, since the features of the works of one flow can be inherent in the creations of authors of other directions.

The works of the "historical" flow showed the events of history from the new side. Despite the well-known opinion and political assessment, the unusual of the angle allows you to better understand and change the inconsistent happened. The hero of the "historical" works is a person who is inseparable from the history of his country. Historical events affect the fate of a person, changing it. But the writers of this flow considered the Soviet person from a humanistic point of view, and not with political or social.

Representatives of the "historical" prose: M. Kuraev.

"Natural" during the "other" prose is characterized by an image of cruel reality. Naturalists describe in detail the negative sides of life in detail, truthfully depict dark moans of public consciousness, which were not previously shown in the literature. Themes of the works of steel and non-statutory relations in the army, and afghan War, cynicism, alcoholism, prison life. The authors only show real phenomena and actions, but do not give any assessment to the events and heroes. The objective story, as close as possible to the reality, to which the "naturalists" sought, allows the reader to form his own opinion about what is happening.

Representatives of the "natural" current: S. Kalled, Yu. Stefanovich, M. Paley, Gabyshev, O. Ermakov, L. Petrushevsky, S. Dyshev.

Ironic avant-garde is a flow that takes its origins from the ironic story of the 1960s. In their works, "avant-gardists" beat, the famous plots were paroded. Life events depicted in works are so fantastic and unusual that sometimes they seem unreal.

Writers- "Avant-gardists" destroy stereotypes, ridicule the techniques and plots of classical literature.

Representatives of the "Ironic avant-garde": V. Piezuha, S. Dovlatov, E. Popov, M. Weller.

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"Other" prose combines the authors whose works appeared in the literature in the early 1980s, which opposed the officially official strategy. Exposing the myth of a person - the creator of his happiness, the active position of which transforms the world, writers showed that the Soviet man depends entirely on the household environment, he - the grave, thrown into the whirlpool of history. They peered into reality, seeking in search of truth to reach the bottom, discover what was obscured by the stereotypes of official literature.

"Other" prose is the generating name of very different in its stylistic manners and thematic attachments of the authors. Some of them are prone to the image of an automated consciousness in a stagnant circle of existence (A. Ivanchenko, T. Tolstaya), others turn to dark "corners" social Life (S. Kalled, L. Petrushevskaya), others see modern man Through the cultural layers of the past epochs (E. Popov, Vic. Erofeev, V. Piezuh). But with all the individuality of writers, united "under the roof" "other" prose, there are general features in their work. This is an opposition of official, a fundamental refusal to follow the current literary stereotypes, flight from everything that may be regarded as an injection. "Other" prose depicts the world of socially "shifted" characters and circumstances. It is usually externally indifferent to any ideal - moral, social, political.

In the "other" prose, three currents can be distinguished: "Historical", "Natural" and "Ironic Avangard". This division is quite conditionally, since historical Rakurs Inherent in the works that are not included in the "historical" prose, and an ironic attitude to reality is generally a peculiar sign of the whole "other" prose.

The separation of "other" prose to "historical", "natural" and "ironic avant-garde" is convenient when analyzing artistic specificity works and corresponds to the internal logic of the literary situation. The "historical" current is an attempt to look at the events of the story that previously had a clearly transparent political assessment, inadvertent eyes. Non-standard, the unusualness of the angle allows you to deeper to understand the historical fact, sometimes and overestimate it.

In the center of "historical" ages - a person whose fate is historically, but not in a pathoral sense. It is inextricably linked with the pipetimes of the existence of the Soviet state. This is a person who has a country history as his own past. In this sense, the work of the "historical" flow is genetically related to the novels and the leaders of Yu. Dombrovsky, Yu Tridonov, V. Grossman, whose heroes were tried by history.

But in contrast to the traditional realism, the "historical" prose examines the phenomenon of the Soviet person from the point of view of the general systemic, not social or political.

In the "historical", as in the whole "other" prose, the concept of history is a chain of accidents that affect the life of a person, changing it in the root. Moreover, the clutch of accidents can create completely fantastic combinations, it would seem impossible in life and nevertheless absolutely realistic. That is, the "historical" prose draws fantastic from the most public life, exposing her and mating with the life of a separate person.

How to download a free writing? . And reference to this essay; "Other" prose at the end of the XX century Already in your bookmarks.

Poetry is a poetic, i.e. rhythmically organized artistic speechUnlike prose that does not have a certain ordered rhythm. Initially, under the poetry understood the art of the word at all, and prose was considered all the uneximiced works (scientific, philosophical, etc.). Very bright, although at the level of the naive perception of his hero, shows the difference between prose and poetry Moliere. In the "Misdenin in the nobility", Mr. Jourden asks advice from their teacher, how to write a love note. Philosophy teacher.
The neoclassical prose appeals to the social and ethical problems of life, based on the realistic tradition, so sometimes in criticism you can find the definition of "traditional" prose. The means and receptions of a realistic letter, inheriting the "teacher's" and "preaching" focus of Russian classical literature, writers- "Traditionalists" are trying to create a picture of what is happening, to comprehend it, to educate the necessary ideas about the norm of social and moral behavior. For realistic writers, society's life is the main content. In neoclassical prose, a public, communal hierarchy of values, characteristic of Russian
The "natural" course of the "other" prose genetically dates back to the genre of a physiological essay with its frank detailed image of the negative aspects of life, interest in the "bottom" of society. Writers- "Naturalists" are not inclined to mask the terrible and cruel reality, where the dignity of a person is trapped, where the fragile is a line between life and death, where the murder is perceived as a norm, and death is like getting rid of bullying. Showing the dirt of life, "Chernukhu", "Naturalists" only state the facts. Unlike those writers of traditional directions that are inclined
"Ironic avant-garde" - the "other" prose, which is repelled from the aesthetics of "youth", "ironic" to the 60s (V. Aksenov, F. Iskander, V. Winovich). But if you go further, then genetically "ironic avant-garde" is associated with the tradition of Russian "extended" prose (A. Sinyavsky), which begins with Gogol and continues in the work of K. Vagynova, D. Harms, L. Support, partly M. Bulgakov. In the works of "ironic avant-garde", typological features of the style can be distinguished. This is a conscious orientation on the book tradition, the game element,
Why the song "Sacred War" became the emblem of patriotism soviet people During the Great Patriotic War? In the song "Sacred War" V. Lebedeva-Kumach, all the power of hatred for fascism and love for the Motherland was expressed. The song sounded and called "Get up, the country is huge!", And the oath "we will give feedback to the scenters", and the definition of the war as folk and sacred. Words reflected the entire gamut of the feelings that owned people; They were simple and intelligence, and Music A. Alexandrova was easily remembered. This is I.
The originality of the Heroes of the Rustic Prose Vasily Shukshina Rustic Prose takes one of the leading places in Russian literature. The main topics that are affected in the novels of such a genre can be called eternal. These are issues of morality, love for nature, good Relationship People and other problems are currently relevant at any time. Leading place Among the writers of the second half of the 20th century, Viktor Petrovich Astafyev ("King Fish", "Shepherd and Shepherd"), Valentin Grigorievich Rasputin ("Live and Remember", "Farewell to Materia"), Vasily
For almost half a century, we enhance Pushkin [Jarea] bones, believing that I erect a monument to him in his own project. It comes out, he also presents us the only [Yamb] experience of the afterlife [Dactyl]. In Pushkin, you can judge - we trust him [amphibery]. A. bits. "Freedom of Pushkin!" (Cyt. According to the book of Yu. B. Orlitsky, p. 803.) The new monograph of the most famous Russian stationee is a kind of second part of his "scientific dilogy", the first book of which applies primarily to theoretical problems of the relationship of verse and prose

the case of texts, which has developed in the 1970-1980s outside the official soviet literature, ignored and not recognized by it.

It is important to immediately distinguish between D. P. and dissident creativity: it was not fundamentally ideological from the very beginning. The method of vision here was all ill-founded, gloomy skepticism, the chapter of the corner was easily indifference, multiplied by doubt. Again, it was not a doubt of the expuscators, but rather something like a fair sartrov nausea. According to the "other texts" it was possible to understand that the authors are sick of everything: moralism and politicians, pathos and lyrical confessional, classical literature and religion, family institute and any institutions in general. A special rejection was called by the teacher's tradition of Russian classics.

The man in D. P. did not sound proudly, he did not sound anything at all - he, rather ... Smeft. Highlight physiological ones. But at the same time he remained absolutely closed, his actions had no excuses or motivations. Hence the permanent insaneness. The actors of D. P. are often inadequate, just insane and are subject to the most unusual mania and phobiam. At the same time, on their more detailed drawing the authors simply do not consider it necessary to spend time. Enough name, age, gender, pairs of portrait features - almost like in the questionnaire. The familiar system of speech breaks and the familiar syllable becomes as far away with the reception, as, for example, Zaomu (before being reliably buried in the era of futurists) or the "stream of consciousness".

Violence reflected in speech is responded by violence, overwhelming the plots. Murder and suicide are no longer extraordinary; Interesting ways and details. And even a lot more: beating and humiliation, detailed pornographic scenes, all kinds of sex perversions, torture, cannibalism, coprophagia. Overlong, again, it turns out to be too human reactions to all this: all the same secretions from too much shock, cries of pain or pleasure. Enjoy even, perhaps more. Indeed, the heroes of D. P. are able to enjoy absolutely from everything. They make life savor death. But - no misentropy. D. P. (and in this its strange relationship with Dostoevsky, even more - with Gogol) - scandaling internally, it is abounding absurd situations. Even the most terrible scenes are described so that they look first as the monstrous absurdity, rather, not frighten, but cause a smirk. Such, for example, "Lucky Mans" Yuri Mamleev, who turn own life In the dyed circus. However, Mamleev, which declares moderate conservatism, some kind of reflection still remains. Vladimir Sorokin and Egor Radov go further: all humiliation, insults and torment pass as part of a cold-blooded game, no one is experiencing anything, only reacts to a variety of stimuli. There are already all the characters - something like a human ornament on the surface of language playing. Sorokin is infinitely tausing styles, using one, but always with a trouble-free reception: at some point, a thoroughly built, linear, similar to the whole Russian literature, the story goes crazy. And the monstrous Kavardak begins, with all the signs already listed; However, most of all, Sorokin loves human faeces and anthropophagia, radical children. Accordingly, one world looks like a scene from a distorted socially owned novel, and the other is like a hallucination of the knee-up. Scoat cocktail from psychedelic and good mysteries offered in his stories Julia Kisin. Typologically similar to the Sorokinsky approach and Sasha Sokolov, but here it is thoroughly cracked old-forming style becomes too intrusive: Characters, situations, metaphors are crushed, and for harsh Russian seats, but they come even faster than Monsters Sorokina and Mamleev.

Close to D. P. and Viktor Erofeev, skillfully connecting pornography, eschatology and moderate traditionalism in his novels. However, it turns out best - this is the invoice to russian Classic For any reason. His ghost of moralism, it seems that Erofeeyev's scary is much larger than the most dying leisure colleagues on the workshop. Not so at Edward Limonova. His early, the most famous texts are full of deepest sincere despair; He is being cruel, rebellious and torments his flesh all new pleasures, because it is afraid to be in the situation of bourgeois, predictable - from here and its further famous transformation into own hero, rejuvenation of life on the stated plot.

Alternative culture. Encyclopedia

Another prose

the body of the texts, which established in the 1970-1980s outside the official Soviet literature, ignored and not recognized by it.

It is important to immediately distinguish between D. P. and dissident creativity: it was not fundamentally ideological from the very beginning. The method of vision here was all ill-founded, gloomy skepticism, the chapter of the corner was easily indifference, multiplied by doubt. Again, it was not a doubt of the expuscators, but rather something like a fair sartrov nausea. According to the "other texts" it was possible to understand that the authors are sick of everything: moralism and politicians, pathos and lyrical confessional, classical literature and religion, family institute and any institutions in general. A special rejection was called by the teacher's tradition of Russian classics.

The man in D. P. did not sound proudly, he did not sound anything at all - he, rather ... Smeft. Highlight physiological ones. But at the same time he remained absolutely closed, his actions had no excuses or motivations. Hence the permanent insaneness. The actors of D. P. are often inadequate, just insane and are subject to the most unusual mania and phobiam. At the same time, on their more detailed drawing the authors simply do not consider it necessary to spend time. Enough name, age, gender, pairs of portrait features - almost like in the questionnaire. The familiar system of speech breaks and the familiar syllable becomes as far away with the reception, as, for example, Zaomu (before being reliably buried in the era of futurists) or the "stream of consciousness".

Violence reflected in speech is responded by violence, overwhelming the plots. Murder and suicide are no longer extraordinary; Interesting ways and details. And even a lot more: beating and humiliation, detailed pornographic scenes, all kinds of sex perversions, torture, cannibalism, coprophagia. Overlong, again, it turns out to be too human reactions to all this: all the same secretions from too much shock, cries of pain or pleasure. Enjoy even, perhaps more. Indeed, the heroes of D. P. are able to enjoy absolutely from everything. They make life savor death. But - no misentropy. D. P. (and in this its strange relationship with Dostoevsky, even more - with Gogol) - scandaling internally, it is abounding absurd situations. Even the most terrible scenes are described so that they look first as the monstrous absurdity, rather, not frighten, but cause a smirk. Such, for example, "laundry people" Yuri Mamleev, who turn their own life into a dyed circus. However, Mamleev, which declares moderate conservatism, some kind of reflection still remains. Vladimir Sorokin and Egor Radov go further: all humiliation, insults and torment pass as part of a cold-blooded game, no one is experiencing anything, only reacts to a variety of stimuli. There are already all the characters - something like a human ornament on the surface of language playing. Sorokin is infinitely tausing styles, using one, but always with a trouble-free reception: at some point, a thoroughly built, linear, similar to the whole Russian literature, the story goes crazy. And the monstrous Kavardak begins, with all the signs already listed; However, most of all, Sorokin loves human faeces and anthropophagia, radical children. Accordingly, one world looks like a scene from a distorted socially owned novel, and the other is like a hallucination of the knee-up. Scoat cocktail from psychedelic and good mysteries offered in his stories Julia Kisin. Typologically similar to the Sorokinsky approach and Sasha Sokolov, but here it is thoroughly cracked old-forming style becomes too intrusive: Characters, situations, metaphors are crushed, and for harsh Russian seats, but they come even faster than Monsters Sorokina and Mamleev.

Close to D. P. and Viktor Erofeev, skillfully connecting pornography, eschatology and moderate traditionalism in his novels. However, it turns out best of all - this is an invoice to the Russian classics for any reason. His ghost of moralism, it seems that Erofeeyev's scary is much larger than the most dying leisure colleagues on the workshop. Not so at Edward Limonova. His early, the most famous texts are full of deepest sincere despair; He shared, rebellious and torments his flesh all new pleasures, because it is afraid to be in the situation of bourgeois, predictable - from here and its further famous transformation in his own hero, rejuvenation of life according to the storytended plot.

Of course, the expired bile and poison D. P. initially did not apply for a folding school. But it is enough that she was cut down and chosen for the entire century of violent goaling and sensitive leadership, censorship and a revolutionary narrowing, shop subordination and Scholarsky must. That is, there was a peculiar Sanation of Literature, in many respects, one-sided, but sufficient to release the next generation of writers from heavy ghosts of the past.

Conditional metaphorical direction in domestic prose The end of the XX century appears as a reaction to the existence of ideological censorship. Its origins is the "fantastic" realism submitted in the work of N. Gogol, V. Odoyevsky, M. Bulgakov, E. Zamytina. The peak of the development of conditionally metaphorical prose falls on the mid-1980s. Since the late 1970s, such works appear as "Altist Danilov" V. Orlova, " Living water"V. Krupina," Rabbits and Blinds "F. Iskander. Myth, Fairy Tale, Scientific Concept, Fiction Magoria form a fancy, but recognized by contemporaries peace.

The conditionally metaphorical prose in real life detects absurd and alogure, in the usual course it is guessing catastrophic paradoxes. It uses fantastic assumptions, tests acting persons Unusual opportunities, infernal temptations, more precisely and brighter show the essence of reality, hidden on the convention of forms and techniques. Environment does not contradict a realistic basis, but serves as a means of concentrating the author's concept of life.

This literary direction is not peculiar to the psychological volume of characters. Here are depicted by nadudividual or imperote-minded processes of human existence. Even in the case when the heroes have some only them inherent in characteristics, as central characters Roman Proverbs A. Kima "Father-Forest" Nikolai, Stepan and Gleb Turaev, their individuality embodies not as much as a certain character philosophical idea. The hero may be completely deprived of psychological definiteness and act as a sign of a certain idea. Thus, in the novel V. Pelevin "Life of Insects" Anthropomorphic insects simulate a number of universal behavioral situations inherent in Russian reality of the 1990s. The principle of the artistic embodiment of reality is expressed in the orientation on the forms of the secondary convention. In a conditionally metaphorical prose, several types of conventions are used:

1. B. fabulous Type of conventionality The meaningfulness of the characters, objects or situations of the fairy tale is often filled modern meaningsThe plot is actualized. An unrealistic impetus to a further real reversal of events may be a miracle. ("Altist Danilov" V. Orlova). In the fabulous type of conventionality, simplicity is obligatory: a clear development of the plot, not interrupted and unbagging characters. Creating a fabulous world, the author at the same time exposes his conditional character. Installation on fiction is that the author, and the reader, as it were, recognize in advance that the fiction is worth the usual reality. Here there is a combination of traditionally fabulous and social or real-domestic ("rabbits and blows" F. Iskander).

2. B. mythological The type of conventions are recreated by the depth archetypical structures of consciousness (causal relationships are violated, various types of space and time are combined, the twin character of the characters is detected). In the fabric of the works may include original layers of national consciousness, preserving mythological elements ("Pegii Dog, Running the Edge of the Sea", "And the longest last day"

3. Fantastic The type of conventionality implies a kind of projection into the future or into some kind of closed, the space of reality, transformed socially, morally, politically, and etc. This is especially brightly manifested in the genre of anti-nightopia, represented in such works as "LAZ" and "LOGY OUR PATH" V. Makanina, "New Robinsons" L. Petrushevskaya "Shay" T. Tolstoy, "Notes of Extremist" A. Kurcchatkin. Fantastic conventionality offers a picture of such reality, a condensed image of which, as it were, in itself generates fantastic images. In this case, household realities can be combined with fantastic; Dwymiria arises - the parallel existence of mystical, otherworldly and real reality ("peace and laughter" Y. Mamleev, the "life of insects", "yellow boom", "the recession and a sixpath" V. Pelevin, "Kysh" T. Tolstoy).

In the conditionally metaphorical prose, plot-composite structures of parables, parabolas, grotesque, legends are used. The techniques and forms of parables are generally characteristic of the prose of the second half of the 20th century, looking for an exit to the moral first-pool of human existence, seeking to save the means of expression.

One of the central receptions of the presentation social device The world in a conditionally metaphorical prose is grotesque, which allows the phenomenon to such an extent that it is perceived as unreal.

An important feature of the conditionally metaphorical prose is that its signs are universal in nature and manifest themselves in the literature of various directions: realism, modernism, postmodernism. So, the conditional metaphorism underlies the design artistic Mira in and realistic works V. Makanina, A. Kurcchatkin, and in the postmodern novels V. Pelevin and T. Tolstoy.

Artistic texts

Iskander F. Rabbits and fluffs.

Kim A. Father-forest. Island island. Village of Centaurs.

Kurcchatkin A. Notes of extremist.

Makanin V. LAZ. Long our way.

Pelevin V. Insect life. Reasancer and sixpath.

Petrushevskaya L. New Robinsons.

Thick Cas.

Main literature

Nemzer A. Literature today. About Russian prose. 90th. M., 1998.

additional literature

Balburov E.A. Poetic space Anatoly Kima // Balburov E.A. Literature and philosophy: two faces of the Russian Logos. Novosibirsk, 2006.

Basinsky P. Anatoly Kurcchatkin. Extremist notes (construction
Metro in our city) // New world. 1991. № 6.

Davydova T. T. Roman T. Tolstoy "Kysh": problems, images of heroes, genre, narration // Russian literature. 2002. No. 6.

Pronon A. V. The inheritance of civilization: about the novel T. Tolstoy "Kysh" // Russky literature. 2002. No. 6.

"Other Prose"

"Another prose" is the general name of the flow of literature, which united in the 1980s of various in their stylistic principles and thematic interests of the authors. The work of such writers written in the 1980s, M. Palei, L. Petrushevskaya, EVG, refer to the "other prose" written in the 1980s. Popov, S. Kalled, M. Kuraev, Golovin, Vic. Erofeev, Yu. Mammeev, V. Narbikova, Vyach. Piezuh et al.

The unifying sign of the "other prose" was the oppositionality of official Soviet culture, a fundamental refusal to follow the streetypes of the socialist realism in the literature and ideological surgery. In the works of "other prose" a world of socially shifted, deformed characters and circumstances is depicted. Some writers turn to the problem of an automated consciousness in a canned circle of existence (T. Tolstaya, M. Paley), others turn to the dark, often host the monstrous form, the processes of social, household life (L. Petrushevskaya, S. Kalden), the third depicts the existence of a person in modern world Through the prism of the culture of the past epochs (Evg. Popov, Vyach. Piezuh) or through the perception of historical events (M. Kuraev).

The dominant feature of the "other prose" is external indifference in relation to any ideal (moral, philosophical, religious, political, social, etc.). The copyright position here is deprived of a clear expression, as a result of which the illusion of "nozzles" arises, the effect of cold objectivity and impersonal or even indifference of the author ideological senses Your work. Writers "Another prose" are fundamentally refused to whitewashing, preaching, which traditionally distinguished Russian literature from others european literature. The rejection of morality leads to the destruction of the dialogical relations of honey by the author and the reader in the moral and philosophical aspect. The author portrays events and characters without giving the depicted no ethical evaluation.

Unlike conditionally metaphorical prose, in the works of this literary formation are not created fantastic worlds. The "other prose" phantasmagoria is declared the essence of ordinary reality, its social and domestic manifestations. By virtue of this, the leading conceptual characteristics here are accidents and absurds that manage the fate of people.

The authors of the "other prose" adhere to the thoughts that vital chaos is the reverse side and direct investigation of the hypocrisy observed in the private and public life of a person. Therefore, in most of their works in the center of the image there are destroyed life and moral decay characterizing existence modern society. Absurdity is not here artistic receptionHe appears as the idea and essence of the very universe. The absurdity grows out of social, historical, household reality, it turns out its internal quality and determines the value guidelines simulated in the work of the University.

Especially bright these features of the "other prose" are viewed in written in the 1980s. Works L. Petrushevskaya (Tale "His Circle", "Time Night", "Observation Playground", "Medea" stories, "On the road of God Eros", "Mother Edipa", "New Robinsons"). Existential sensations in her prose arise due to the fact that for the characters "Genesis-in-world" is replaced by the existence of in everyday life, in which heroes are only able to realize themselves. The author deliberately separates himself from the heroes of the narration, and they themselves talk about their lives passing under the sign of spiritual and material poverty. The only value here is irony in relation to the world, and to its fate. L. Petrushevskaya does not give any estimates of the actual reality. The man in her works is entirely subordinated to Rock, and he remains only to carry the burden of his physical existence.

In the "other prose" special meaning Acquires time and as a parameter of the structural organization of text, and as a category of ontological order. The main properties of temporality here are static, alienation, leaving the gaps in the life of the characters. The image of the time grows to a large-scale image of a dead end historical Development human civilization (for example, " The night Watch"M. Kuraeva," Smered Cemetery "S. Kaltedina," Time Night "L. Petrushevskaya). A solid flow of increasing entropy, in which a person is alienated from himself and from others, predetermines the impossibility of other life, except for the one that is revealed in reality.

Despite the heterogeneity of the texts united in the "other prose", several main lines of development of this literature can be distinguished. As part of the "other prose" there are three main flows: historical, "natural", "Ironic realism".

At the heart of the historical line is to understand the events of the story, which previously had an unambiguous political assessment, from the position of the person-in-world, and not a person-in-story. The purpose of such works is to understand and revaluation historical factsexempt from ideological layers. So, in the posts of M. Kuraeva "Captain Dixtein" and "Night Watch" The history of Russia is understood as a personal existence of a person whose fate is deeply historical. The story is a chain of accidents that affect the life of a person, radically transforming it, and the absurdity and phantasmagoria of life peripetia grows from the historical destiny of the country.

"Natural" during the "other prose" genetically dates back to the genre of the physiological essay " genuine school"XIX century with a frank detailed image of the negative aspects of life and public" bottom ". The heroes of the works here are marginals, people who are displaced outside the society. Writers state the facts of social disadvantaged, scrupulously describing various spheres of public life: non-statutory relations in the army ("Stroybat" S. Kaltedina "), War in Afghanistan (" Baptism "O. Ermakova), domestic cynicism, private existence (" Medea "," Time Night "" L. Petrushevskaya, "Cyberia from the Owl Canal" M. Paley). The characters of these works are entirely dependent on the medium, turn out to be produced and contribute to strengthening and inflicting its norms and canons. Life is often depicted as fulfilling once and forever approved ritual, and only disturbing the ritual order, the hero can gain the inner spiritual integrity ("His circle" L. Petrushevskaya, "Evgesh and Annushka" M. Paley).

The main features of "ironic realism" are conscious orientation on the book literary tradition, game start, irony as a way to relation to the world, an image of anecdotic life situations. The model of the Universum in the prose of "ironic realists" is built on the verge of naturalism and grotesque. Such an artistic strategy is inherent in the works of the 1980s. Vyach. Piezuha ("New Moscow Philosophy"), EVG. Popova ("Aunt Musya and Uncle Lev", "At the time of my youth", "Nadezhda's low-speed Bark), Vic. Erofeev ("Anna's body, or the end of the Russian avant-garde"), Golovin ("Dead Birthday"). The absurd aspects of life appear in their works extremely realistic. Here the features of postmodern poetics are most clearly accented. It is not by chance that most writers of this course of "other prose" in the literary situation of the 1990s. Positioned themselves as representatives of the culture of postmodernism.

Presenting in the 1980s. The artistic phenomenon due to more socio-cultural, circumstances rather than aesthetic, with changes in the socio-political situation in the country in 1990 - 1991. "Other Prose" ceases to exist as a literary community. Her representatives, having developed individual poetics in counteracting official literature, in the future diverge on various literary areas from realism (M. Kuraev, S. Kalid) to postmodernism (T. Tolstaya, Evg. Popov, Vic. Erofeev, etc.).

Artistic texts

Golovin G. The birthday of the dead man.

Ermakov O. Epiphany.

Kalin S. Humped cemetery. Stroybat.

Kuraev M. Captain Dixtein. The night Watch.

Palem M.Evgesh and Annushka. Cyberia from the water channel. Wind deposit.

Petrushevskaya L. Your circle. Time night. Medea. Viewpoint. New Robinsons.

Popov Evg. Aunt Musya and Uncle Lev. At the time of my youth. Skirt Bark "Hope".

Piezuh. Vyach. New Moscow philosophy.

Thick River Okkerville. Day.

Main literature

Nafagina Bl. Russian prosecock of the XX century. M., 2005.

additional literature

Kuritsyn V. Four from the generation of janitor and watchdis (about the work of writers T. Tolstoy, V. Piezuha, V. Erofeev, E. Popova) // Ural. 1990. number 5.

Lebedushkina O. Book of kingdoms and opportunities // Friendship of peoples. 1998. No. 4.

Slavnikova O. Petrushevskaya and emptiness // Questions of literature. 2000. № 2.

Literature postmodernism

Postmodernism as a cultural phenomenon of the second half of the 20th century becomes the result of the collapse of social, political, philosophical, religious utopia. Initially, postmodern aesthetics arises in Europe, and later it is also being implemented in the cultural space of Russia. In the situation of the catastrophic state of the world, there is a feeling of the impossibility of creating in the previous system of aesthetic coordinates, provoking the search for an adequate response to the changes occurring in the human worldview. By virtue of this, in philosophy and in the art of postmodernism, the central ideology of the "end of the literature", the "end of the style", the "end of history" is developed, marking the completion of those moral and philosophical ideas about the universe, which determined the human being until the middle of the XX century.

The methodological justification of postmodern aesthetics is the philosophy of poststructuralism, developed in theoretical works of J. Deleaiz, R. Barta, Yu. Kristeva, M. Fouco, J. Derrida and a number of other representatives of the humanitarian thoughts of the second half of the 20th century. World B. artistic concept Postmodernism is perceived as chaotic organized text, in which there is a fracture of axiological constants, which does not allow to build a clear hierarchy of values. This leads to the denial of the opposition "True - false": each truth about the world can be discredited.

The central characteristic of the postmodern poetics is intertextuality. Each work is conceived by postmodernists as only only a part of the infinite text of world culture, which is a dialogue of various art Languagesinteracting at different levels of the text organization. Intertextuality, which is the inclusion in the work many "other people's" texts, quotes, images, alluzius, creates the effect of destroying the author's will, reduces his creative initiative. With the concept of intertextuality, the idea of \u200b\u200bthe "death of the author" as an individual creator of the artistic work is closely related. The authorship is canceled, since the voices of many other authors appear in the text structure of the text, in turn also by the protruding translators of the uniform text of world culture.

Postmodernist intertertainment is created on the principle of the game, it turns into a gaming reception. In such a chaotic game, words, images, symbols, quotes are included, which contributes to the emergence of postmodern irony, understood as a fundamentally disordered broken artistic world. Irony in Poetics Postmodernism is not a mockery, but by the reception of the simultaneous perception of two contradictory phenomena producing relativistic understanding of being.

The literature of postmodernism is based on a dialogic relationship, where the dialogue does not flow between the author's and someone else's system of values, but between precedent aesthetic discourses.

In Russian literature postmodernism arises in the 1970s. Signs of postmodern poetics are observed in the works of such writers of "second culture" as veins. Erofeev (poem "Moscow - Petushki"), A. Bitov ("Pushkin House", "Flying Monks"), Sasha Sokolov ("School for Fools", "Palisandria"), Yuz Aleshkovsky (Kangaroo).

The flourishing of postmodernism falls at the end of the 1980s - 1990s. Many authors ranked for postmodernists came out of the "other prose", within which the individual letter was developed, organically fit into a new cultural context. Postmodern aesthetics is at the heart of Vic. Erofeeva, V. Pelevina, V. Sorokina, T. Tolstoy, Evg. Popova, A. Queen, DM. Galkovsky, Yu. Koval, M. Kharitonov, Vyach. Piezuha, N. Sadur, Yu. Mamleev, etc.

In the early 1990s Russian postmodernism begins to position himself as a leading aesthetic direction, which determines the development of not only literature, but of all domestic culture.

Russian postmodern literature He wasometric in its manifestation. Its trunk varieties are conceptualism (social art) and Neurokko.

Soc-Art is the practice of creating texts through the use of the language of socially owned art. Ideological stamps, clichés, slogans are included in the postmodern work, in which they enter into cooperation and collision with others cultural codes. This leads to the destruction of a mythologist of socialist realism. So, many works V. Sorokina are based on parody of stereotypes soviet culture. In such works of the writer, like the "hearts of four", "meeting of the Zombom", "First Saturday", "Thirtieth Love of Marina", " Blue Salo"There is a debunk of ideas, subjects, symbols, the patterns of social realism, implemented through a yarnically stylized connection of the discourses of official Soviet literature. The plots of these works are similar to the plots of rustic prose, production novel and other species of the literature of socialism. The heroes recognizable: a worker, activist, veteran, pioneer, Komsomolets, a striker of socialist labor. but scene development It turns into absurdity, there is a kind of "hysterical style", which destroys Soviet public ideals.

Conceptualism is drawn not only to Soviet ideological models, but in general, to any concepts in order to identify from insolvency. Every ideologized consciousness here is exposed to exposure. If social art, playing with well-established canons and stereotypes, turns them inside out, then conceptualism considers philosophical, religious, moral, aesthetic values From various points of view, depriving the right to apply for truth. Verification of various axiological systems is presented in the conceptualistic novels of Vic. Yerofeyev "Russian Beauty" and "Pocket Apocalypse", Evg. Popova "Patriot soul, or various messages to Ferfichkin", "Master Chaos", "On the eve of the day before", V. Pelevina "Omon Ra", V. Sorokina "Roman".

In modern postmodernism, a new way of modeling a universum associated with the virtualization of being is produced. Newest information Technology, the development of the Internet affects the structural organization of the text, the technology of its creation, the semantics of the work, becoming elements of the content, events, the objective world. Thus, computer technologies determine the originality of a number of works by V. Pelevin ("Prince of Gosplan", "Generation" P "," Horror's helmet. Creature about Teshe and Minotaur "), generating a virtual reality in which there are characters.

Otherwise, the universion is constructed in another kind of postmodern literature - Neurokko. The potics need to discover the "other prose", modernist aesthetics, conditional metaphorism, naturalism. Artistic excess as the dominant principle of creating text is manifested in the "physicality" of the descriptions and collage fragmentation of the story of A. Queen ("Head Gogol", "Lady Peak", "Man-Language", "Be Bosch", "Instinct No. 5"), In the ornamental stylist, T. Tolstoy ("see"), in the creation of the domestic realities of ritual mysteries from V. Sharov ("Old Girl", "Trail to Trail", "Resurrection of Lazarus"), in poetry and spiritualization of physical pathologies . Mamleyev ("Peace and Hochot", "Runners", "Wandering Time"), in the transfer of accents from the text to the notes to it at DM. Galkovsky ("Infinite Tupik"). Stylistic redundancy in prose Narokokko contributes to intertextual ties, turning the text into the total dialogue with the previous world culture.

An important feature of Russian postmodernism, distinguishing it from many postmodern works of European writers and the United States, is commitment to ontological issues. Despite the declared denial of any positive meaning, domestic postmodernists inherit Russian classic literature, traditionally immersed in solving spiritual and moral issues. Refusing to ideology of their own creativity, most of the authors of the postmodern offer their conceptual vision of the world. Thus, in Prose V. Pelevin rethink and approve as a true way of existence of the idea of \u200b\u200bZen-Buddhism ("Chapaev and Emptiness", "Life of insects", "Yellow Arrow"). In the novels A. Queen, the idea of \u200b\u200bpreserving the moral principles as the only form of confronting the metaphysical evil ("Man-language", "Be Bosch"). In the works of V. Sharov, combining the features of post-financial prose, the spiritual meanings of the Old Testament are updated and, as a central ideology, a disorder is put forward as a strategy for conversion of the world order.

Thus, the literature of postmodernism, expressing the crisis state of modern culture, rejecting any ideology and stateing the absolute relationship of human being, however, produces its own axiological representations. This allows you to perceive this aesthetics not so much as a denying value adoption of the world, how much emphasizing the need for a new value system that takes into account the experience of the former historical eras and adequate modernity. Russian postmodernism confirms the pattern of the emergence of a non-traditional literary direction at the end of the 20th century, the essence of which is the approval of the multipolar world and openness in relations with other directions modern literature - realism, post-formalism, modernism, non-fedimentalism, etc.

Artistic texts

Bitov A. Pushkin House. Flying monks. Jobs.

Galkovsky dm. Infinite deadlock.

Erofeev veins. Moscow - Petushki.

Yerofeev Vic. Life with an idiot. Russian beauty.

Koval Yu. Souver.

Korolev A.Head of Gogol. Man-tongue. Be Bosch. Instinct No. 5. Lady Peak.

Mamleev Yu. Peace and laughter. Rods. Wandering time.

Pelevin V. Chapaev and emptiness. Insect life. OMON RA. Generation "P". Horror helmet. Creature about Tales and Minotaur

Popov Evg. Genuine story "Green Musicians". On the eve of the day before. Patriot's soul, or various messages to the ferfuccin. Master Chaos.

Sokolov, Sasha. School for fools. Palisandria.

Sorokin V. Hearts four. Blue fat. Novel. Thirtieth love Marina. Ice. Day of the Ochrichnik.

Thick Cas.

Kharitonov M. Fate lines, or Milashevich's chest.

Sharov V. Before and during. Old girl. Resurrection of Lazarus. Furniture in the next.

Main literature

Bogdanova O.V. Modern literary process (To the question of postmodernism in Russian literature of the 70-90s of the XX century). St. Petersburg., 2001.

Bogdanova O.V. Postmodernism in the context of modern Russian literature (60-90s of the XX century - start XXI century). St. Petersburg., 2004.

Skopanova I.S. Russian postmodern literature. M., 1999.

Modern Russian literature (1990s. - The beginning of the XXI century.) / S.I. Timine, V.E. Vasiliev, O.V. Voronina and others. St. Petersburg., 2005.

additional literature

Lipovetsky M. Russian Postmodernism: Essays historical poetics. Ekaterinburg, 1997.

Leiderman N., Lipovetsky M. Modern Russian literature: 1950-1990s. In 2 volumes. T. 2 1968-1990. M., 2007.

Nafagina Bl. Russian prosecock of the XX century. M., 2005.

Postmodernists about postculture. Interview with modern writers And critics. M., 1998.

Epstein M. Postmodern in Russia: literature and theory. M., 2000.