Metaphorical prose. Development of conditionally metaphorical prose at the end of the 20th century and the beginning of the 21st century
Perestroika 1988 - 91(or 93, or 99 or 2001) - perestroika and destruction of the USSR. 1993 – parliament against Yeltsin, shooting of parliament. De-Sovietization of culture. Lack of stabilizing factors, rejection of literary centrism, commercialization of the literary process.
Zero, Putinism is the same as everything in the previous period in italics. There are “new twenty-year-olds”, new realists. Prilepin “Sankya” 2005. Makanin “A Successful Story about Love” 2000, Pelevin “Tambourine for the Lower World”, “Akiko”. Battle studies are developing.
The main artistic method is postmodernism, marginal, specific method, already outdated in the West. Rehabilitation of the concept of “patriotism”" Films about the Second World War are starting to be made. State Prize "Zvezda" Lebedev. Actualization of interest in history.
1990s– diversity of the literary process—literature’s search for new artistic techniques. The “collage” (“mosaic”) type of consciousness of readers, the invasion of electronic media and the Internet into everyday life is a change in the traditional connections between literature and readers in Russian culture. Type compositional organization of the text, which is based on editing technique genetically related to cinematography, as well as an appeal to poetics of imitation + author's reflective passages. The principles of traditional realism are combined with techniques characteristic of the poetics of different variants of postmodernism. The author is in free dialogue with the heroes of the work and with the consciousness of the potential reader who is given freedom of interpretation and evaluation.
By the beginning of the 21st century the criticism proposes models for the coexistence of many literatures within Russian literature, “multiliteratures”, but with a significant expansion of its aesthetic capabilities at the same time its social influence is declining. Departure from literary centrism- nothing good! Attitudes toward experimentation, overcoming critical realism, playful forms. Postmodernist literature moved from marginal during the 90s to the rank of relevant and (or) fashionable. Literature that continues classical traditions is being squeezed out the offensive, on the one hand, of mass culture, on the other - of postmodern literature, fundamentally not distinguishing between “mass” and “elite”.
Modernism :
1) a special idea of the world as discrete, having lost its value foundations;
2) the perception of the ideal as lost, left in the past;
3) the value of the past while denying the present, understood as unspiritual;
4) reasoning in a modernist text is conducted not in terms of the social relevance of the heroes, not at the level of everyday life, but at the level of the universe; we are talking about the laws of existence;
5) heroes act as signs;
6) the hero in modernist prose feels lost, lonely, can be described as “a grain of sand thrown into the whirlpool of the universe” (G. Nefagina);
7) the style of modernist prose is complicated, the techniques of stream of consciousness, “text within a text” are used, often the texts are fragmentary, which conveys the image of the world.
Modernism of the beginning and end of the twentieth century was generated by similar reasons - it was a reaction to the crisis in the field of philosophy (at the end of the century - ideology), aesthetics, strengthened by the eschatological experiences of the turn of the century.
Insidemodernism , in turn, two directions can be distinguished:
1) conditionally metaphorical prose;
2) ironic avant-garde.
Conventional metaphorical prose - these are texts V. Makanina (“Laz” ), T. Tolstoy (“Kys” ). The convention of their plots is that the story about today extends to the characteristics of the universe. It is no coincidence that there are often several parallel times in which the action takes place. The genre of texts of conventionally metaphorical prose is difficult to define unambiguously: it is a parable, and, often, satire, and a hagiography, in short, a dystopia. Special problems: man and team, personality and its development. Dystopia claims that in a society that claims to be ideal, the truly human is disavowed. At the same time, the personal for dystopia turns out to be much more important than the historical and social; All these features are realized in T. Tolstoy’s novel “Kys”.
Postmodernism:
1) the idea of the world as a total chaos that does not imply a norm;
2) understanding of reality as fundamentally inauthentic, simulated (hence the concept of “simulacrum”);
3) the absence of all hierarchies and value positions;
4) the idea of the world as a text consisting of exhausted words;
5) a special attitude towards the activities of a writer who understands himself as an interpreter, and not an author (“the death of the author”, according to the formula of R. Barthes);
6) non-distinction between one’s own and someone else’s word, total quotation (intertextuality);
7) use of collage and montage techniques when creating text.
The work of V. Erofeev “Moscow-Petushki” is considered the ancestral text of Russian postmodernism. Here and Makanin and Pelevin , and Tolstaya.
“New Realism” and Prilepin’s prose
The epithet “new” speaks of new realities and modern challenges that authors have to face. They are truly new for Russia and unique in many ways. The collapse of the empire, wars, social injustice, terrorism and growing protests. To this we can add the romanticism and radicalism of the younger generation.
Hence another important point - sociality. The writer must be included in modernity, feel its currents in order to broadcast it into eternity.
“New realism” is not a copying of reality, but a hope for its reconstruction. The epithet “new” certainly emphasizes the method, but it equally illustrates the call for a new reality. And in this regard, “new realism” is a force of protest. This is an opposition, an alternative, indicating that the world around us can and should change. Only this is a call to new realities, not in a purely artistic virtual space, but in the real dimension.
A romantic situation of conflict with the surrounding reality is born. A hero appears - a wanderer, a wanderer, a restless soul. He does not accept the laws and structure of the world, and therefore becomes unsettled in it. There are few ways of self-realization: personal autonomy, withdrawal, or explosion, rebellion, open confrontation. This is what Sankya Tishin, the hero of the novel, does Zakhara Prilepin "Sankya".
“New Realism” combines elements of various literary genres, the sublime and the mundane, because its task is to present the world in its entirety. “New Realism” does not indicate a fixation only on the realistic method of writing.
He is in search of a language and intonation adapted to modern times. “New” literature is in a situation of searching for direct contact with the audience. It cannot exist outside the reader, without him. But this is not a simplification at all, but the entry of the text into the world.
“New realism” is the literature of the younger generation, a way of self-identification for authors who have just entered literature. For the “new realism” the concept of “Russianness” is extremely important. “New realism” is a direct belonging to Russian culture and tradition; it is one of the manifestations of a nation facing the real danger of losing its identity.
A specific feature of the writer’s artistic world is that the author always goes beyond the main problem lying on the surface, expanding the conflict to a universal scale. Thus, in the novel “Sankya” the writer addresses not only to questions of the inertia of the modern state apparatus and the emergence of revolutionary-minded youth, ready for the most desperate acts, but at the same time examines the problems of the modern world order as a whole, where chaos, nonsense and general decay reign.
He portrays the era of the 90s of the 20th century as a time of turning point, the loss of former values and ideals, where there is almost no hope for revival. People in this world are doomed to suffering and death, and the tragedy is enhanced by the fact that this also applies to young people (it is young people who are the heroes of the writer’s books). In the novel “Sankya,” young “rebels” are doomed to death or long torment for their attempt to forcibly rebuild the socio-political system.
Hero– young, but initially mentally sensitive, agile, capable of reflection and deep analysis of himself and the people around him; This hero is strong, integral, bright, capable of achieving a lot in life and realizing a lot. But precisely because the disorder of the modern world is comprehensive and hopeless, according to the writer’s concept, even the best people here are forced to fight to the last for their existence and for their happiness. Thanks to the presence of temporal realities and the creation of full-bodied human characters, the author’s works seem absolutely reliable and relevant.
One of the most remarkable features of Prilepin’s work is the use in one work (be it a voluminous novel or a short story) of a variety of contrasting artistic means and techniques in order to most fully express the content and issues.
One of these author’s techniques is the unique construction of a plot-compositional structure. In the novel “Sankya” the writer combines several storylines, each of which is significant and independent in its own way, and thus expands the novel’s context. Prilepin uses the principle of multidimensionality in the depiction of heroes and characters, and does this not through voluminous descriptions and authorial intervention, but due to laconic but capacious characteristics , as well as appealing to psychological techniques for creating an image.
Another characteristic feature of the writer’s artistic world is use of a variety of language techniques and means . The author is not afraid to experiment with language and turn to its most diverse layers: in Prilepin’s works there are both slang words and vernaculars, as well as archaic expressions.
In addition to the variety of lexical content, the content of books is enriched contrast of style dominants (from naturalism to sentimentality).
Let's consider the main trends in Russian prose of the 2nd half of the 20th century.
Lyrical prose
The main quality of the prose of the second half of the 1950s was the confessional principle, fully manifested in lyrical prose, and above all in the diary genre. The genre of the lyrical diary allowed the author to create an atmosphere of trust with the reader and express a subjective point of view on historically significant events. The personified narrator, on whose behalf the diary is narrated, creates the effect of authenticity of what is depicted and sets a certain perspective of the narrative: the reader perceives everything through the prism of the point of view of the hero-narrator. “Vladimir Country Roads” (1957) by V. Soloukhin, “Day Stars” (1959) by O. Berggolts, “The Ice Book” (1958) by Y. Smuul - all these works became examples of lyrical diary prose. The work of the remarkable storyteller Yu. Kazakov is also associated with lyrical prose. In his works, the depiction of human feelings dominates the plot, which explains the impressionistic style inherent in the writer’s work.
"Youth prose"
Confessionalism is also characteristic of a short-lived movement in the literature of the 1960s, called “youth prose.” This prose managed to express its generation; its heroes are ordinary high school students, students, and most often city dwellers. The initial impulse for the hero’s conflict with the reality around him was the inconsistency real life, far from ideal, with romantically naive bookish ideas about it. The leaders of the movement were L. Gladilin (“Chronicle of the Times of Viktor Podgursky”, 1956), V. Aksenov (“Colleagues”, 1960; “Star Ticket”, 1962), A. Kuznetsov (“At Home”, 1964). “Youth prose” is associated with the renewal of artistic speech, the manifestation of ironic pathos, the romanticization of heroes and their relationship to life and each other. The authors of this movement turned to the literary experience of foreign writers, including the famous American writer E. Hemingway.
"Village Prose"
One of the main trends in literature of the second half of the 20th century was rural prose (late 1960s - 1980s). Origins village prose go back to the acute social journalism of V.V. Ovechkin (essays “District everyday life”, 1952-1956), E.Ya. Dorosha (“Village Diary”. 1956-1970), programmatic article by writer F.A. Abramov “People of a collective farm village in post-war prose” (1954), works by V.F. Tendryakov, “lyrical prose” by Yu. P. Kazakov, early stories V. P. Astafieva, V. A. Soloukhina. As village prose developed, two varieties emerged. Writers such as V.F. Tendryakov, B.A. Mozhaev analyzed in their works socio-historical problems associated with tragic pages in the fate of the peasantry. The attention of another branch of village prose was focused primarily on the inner world of villagers. It was in this environment that the writers V. I. Belov and V. G. Rasputin saw the hero-carrier moral values, opposing the lack of spirituality and commercialism of the average person. The ideology of this type of village prose was fully manifested in “A Habitual Business” (1966) and “Carpenter’s Stories” (1968) by V.I. Belov, “Farewell to Matera” (1976) by V.G. Rasputin. The combination of both tendencies, manifested in village prose, is characteristic of such writers as F.A. Abramov, V. M. Shukshin, V. P. Astafiev, E. I. Nosov.
A significant role in the formation of ideological and artistic guidelines of village prose was played by early works A.I. Solzhenitsyn " Matrenin Dvor"(1959) and "One Day in the Life of Ivan Denisovich" (1962). Although the latter is considered one of the first signs of camp prose, main character in it he is a village peasant, steadfastly enduring the hardships of life thanks to the peasant acumen. In the story “Matryona’s Dvor,” the simple peasant woman Matryona endures no less courageously all the hardships that befell her “free” lot.
"War Prose"
The desire for confessionality and subjectivization of the epic image marks the work of front-line writers who actively declared themselves during the “thaw” period. In connection with their works at the turn of the 1950s and 1960s, the literary-critical lexicon was replenished with the concept of “military prose.” This is precisely the name given to the artistic movement that united epic works front-line writers.
Front-line writers, on the one hand, adopted the literary and artistic experience of Viktor Nekrasov, whose story “In the Trenches of Stalingrad” (1946) was published immediately after the Victory, and on the other hand, they expressed the same tendencies that were inherent in “youth”, “confessional” prose." It is no coincidence that the favorite genre of “military prose” has become the lyrical story, the hero of which is a young man who has not yet had a significant life experience, yesterday's schoolboy, student or graduate of a military school. The cross-cutting plot of the “front-line story” is the process of character formation in tragic circumstances.
In general, V. Bykov, a Belarusian writer whose work was part of multinational Soviet literature, remained faithful to the theme and genre. Parable - characteristic feature his works, which was first noticed by L. Adamovich. This is also his story “Sotnikov” (1970), which forces the reader to think about the strength and weakness of the human spirit, regardless of specific historical circumstances.
On the other hand, the epic beginning of M. Sholokhov’s story “The Fate of Man” (1956) is associated with the development of large epic genres exploring the theme of the Great Patriotic War. One of the first voluminous works, which shows not only military heroism, but also the tragedy of military defeats at the beginning of the war, is K. Simonov’s trilogy “The Living and the Dead” (1959 - 1971), written in the chronicle genre.
Since the 1980s, works dedicated to modern army everyday life and wars have appeared in literature. Let's name here “Afghan Stories” (1989) by O. Ermakov and the novel “Afghan” (1991) by E. Pustynin.
Historical prose
In the works of V. Shukshin, Yu. Trifonov, B. Okudzhava, A. Solzhenitsyn and others, she received further development historical prose. At the same time, V. Shukshin and Yu. Trifonov tried to find answers to modern questions in history; B. Okudzhava’s narrative combines different layers of history, this technique allows the author to identify eternal questions that are also relevant for our time; A. Solzhenitsyn is interested in turning points national history, in which the destinies of individual people and the people as a whole are manifested in one way or another.
"City Prose"
The name of the prose writer Yu. Trifonov is associated with the development of the urban, or intellectual, movement in literature. Object artistic analysis in Yu. Trifonov's stories "Exchange" (1969), "Preliminary Results" (1970), "Long Farewell" (1971), "Another Life" (1975) there is a gradual degradation of personality. Unlike “village prose,” which inherited the soil tradition, “urban” prose was formed on the basis of an intellectual tradition. At the same time, both movements raised problems of devaluation of morality in modern society, destruction of the “self” in the personality of a contemporary. " Urban prose” also depicted an incomplete person, deprived of a positive active principle. The title of one of Yu. Trifonov’s stories, “Exchange,” symbolizes the process of moral uncertainty of modern man. Among the writers close to him, Trifonov named V. Rasputin, Yu. Kazakov, A. Bitov.
It was in Bitov’s prose that the problem of “not one’s own” life in “unreal time” was fully revealed. In the novel “Pushkin House” (1964-1971), the writer, independently of foreign authors, used literary and artistic techniques characteristic of postmodern works: author’s commentary on the text, essayism, variability of plot moves, intertextuality, demonstration of the fictionality of the narrative, etc.
Conventional metaphorical prose
At the turn of the 1970s and 1980s, works of conventionally metaphorical prose appeared in Russian literature, in whose realistic narrative the authors introduced fantastic characters, folklore and mythological motifs and plots. These techniques allow us to correlate contemporary events with a timeless plan and evaluate the current moment from the perspective of eternity. Such are the stories “The White Steamship” (1970) and “Pied Dog Running by the Edge of the Sea” (1977) by Ch. Aitmatov, the novels “Squirrel” (1984) by A. Kim and “Violist Danilov” (1981) by V. Orlov and others.
The prose writers who entered literature at the turn of the 1970s and 1980s, V. Makanin, R. Kireev, A. Kim and others, already demonstrated a worldview and artistic principles different from traditional realism: dispassionate narration, lack of an unambiguous author’s assessment, ambivalence of the hero, game start.
Dystopia
In the 1980s - 1990s. The genre of satirical dystopia was addressed by such writers as F. Iskander (“Rabbits and Boas”, 1982) and V. Voinovich (“Moscow 2042”, 1986), detective dystopia was written by A. Gladilin (“French Soviet Socialist Republic”, 1987) , dystopian “catastrophes” were created by V. Makanin (“Laz”, 1991) and L. Leonov (“Pyramid”, 1994). The emergence of the dystopian genre in the last decades of the 20th century is very natural, since the ideologies of the society of “developed socialism” by this time were devoid of real content. Hopes for the realization of a socialist utopia were not justified.
In the 1990s, the prose of already established realists A. Astafiev, V. Rasputin, V. Belov, G. Vladimov was also permeated with a tragic worldview.
Book materials used: Literature: textbook. for students avg. prof. textbook institutions / ed. G.A. Obernikhina. M.: "Academy", 2010
EXPLANATORY NOTE
Elective course programspecialized trainingin literature "Modern Russian Literature"for 10G (humanitarian) class created on the basis of the Federal component of the state standard of basic general education and corresponds to the curriculum of MBOU Lyceum No. 7 for the 2013-2014 academic year.
The course program is designed for 2 academic year(2013-2014 academic year – 10th grade, 2014-2015 academic year – 11th grade), 68 hours are allocated for each year of study (two hours per week).
The subject of study is Russian literature of the 80-90sXXcentury and beginningXXIcentury.
The literature of this period is unusually diverse in style, genre and ideological terms. The state of modern literature in the program of this course is presented as the existence and interaction of different directions, into which, based on common features, are combined those that are significant for modern reader works. They are also studying individual works, defy classification, but complement the picture of modern literature.
Target course - to form an idea of the main phenomena and trends in the development of Russian literature in recent decades; teach schoolchildren to navigate the constantly changing, diverse world modern literature, independently evaluate works of different movements and be able to evaluate them.
The objectives of the course determine the solution of the followingtasks:
Expanding and deepening knowledge about the specifics of development and the problems of modern literature.
Deepening knowledge of literary theory, developing the ability to use modern literary terms.
Development of creative abilities of students.
In addition, this course helps to solve the problems of literary education: to educate the reader, to teach the student to reflect on what he read, drawing lessons from it, primarily moral ones.
When constructing this course, we took into account the knowledge that students receive in literature lessons in grades 10 and 11. Thus, in the classes of a specialized course in the 10th grade, works of neoclassical (“traditional”) prose are studied, since the concepts of romanticism, sentimentalism, and realism are already familiar to them and there is an opportunity to present “related” literary phenomena in modern literature. The concepts of postmodernism, “other prose,” and conventionally metaphorical prose are introduced in the 11th grade, when students already have an idea of modernism.
For analysis, mostly small-volume texts (stories and tales) were selected, which allows us to analyze the work in more detail in class and focus not only on understanding the content, but also identifying artistic originality text. When compiling this program, preference in the selection of works by contemporary authors was given to works that touch on the spiritual and moral problems of society and the individual. Analysis of such works will help students when passing the Unified State Exam not only in literature, but also in the Russian language in selecting arguments for their own point of view on the problem raised by the author.
The course sessions are structured in the form of a “round table”, where all participants in the educational process are equal. Theoretical material is presented both through the teacher’s lecture and through reports and messages from students. The result of studying each thematic block is creative written work (reviews, essays, complex analyzes thin works), and as a result of working with some works, reading conferences are held, at which students share their perception and assessment of the characters, plots and the writer’s work as a whole.
The course ends with a final test.
COURSE CONTENT
Introduction
Features of the literary process of the late twentieth century. Social and political situation in Russia. The heterogeneity of Russian prose in its aesthetic principles and ethical and philosophical guidelines.. Features of the literary process of the late twentieth century. Social and political situation in Russia. Neorealism and postmodernism. Three currents of modern prose: neoclassical, conventionally metaphorical and “other prose”
General characteristics neoclassical prose as a new realistic, continuing and developing the tradition of realism in Russian classical literature
The story of V. Rasputin"Fire": folk character truth-seeking peasant in the story. Problems of good and evil, the responsibility of an honest person for his actions and for everything that happens around him.
Story by V. Rasputin"To the same land": theme of nature and man, faith and unbelief; the tragedy of circumstances and the inner beauty of a person in the story.
Story by V. Rasputin"Izba" The connection between the story and hagiographic literature.
Tale"Ivan's daughter, Ivan's mother." The problem of connections between generations, spiritual and moral problems of the individual in the era of “perestroika”.
The civic pathos of V. Astafiev’s works, the continuation of the traditions of Russian literature, the defining features of which are the laws of truth and conscience, and high moral demands.
General characteristics"The Sad Detective" Astafieva.
The problem of crime and punishment in the story of V. Astafiev"Lyudochka" , moral problems of heroes.
Author's position in the works of V. Astafiev, ways of expressing it. “Cruel realism” of V. Astafiev’s prose. Story"Flying goose."
A. Pristavkin“The golden cloud spent the night.” The author's humanistic position. The meaning of the title of the work.
Religious theme in Russian prose. Story-parable by L. Borodin"Visit". The problem of pride and humility, truth and sincerity of faith in the story.
Analysis of the content of the story by L. Borodin"The Third Truth" Subject civil war. Features of the composition, the problem of moral choice.
Story by A. Varlamov"Loch." The problem of faith and unbelief. The hero of time in the story.
Moral maximalism, faith, spirituality in the story by A. Varlamov"Hello. Prince! The conflict between “personal” and “public” in the story. The image of a hero of the time, whose inner world is morally perfect, whose impulses and aspirations are pure.
Realistic works addressed to the sphere of feelings (works of a sentimental nature). Sincerity, clarity, transparency of language, moral pathos of these works.
"Psychological" prose.
V. Makanin"A table covered with cloth and a decanter in the middle." A portrait of time in the story, created using the psychological situation and psychological characteristics of social types. Traditions of Tolstoy and Dostoevsky in the story.
Story by V. Makanin"Caucasian prisoner." Russia and Asia in the story. The collision of two worlds, two ways of thinking, two ways of life. The theme of beauty in the story.
Military theme in neoclassical prose .
G. Vladimov"The General and His Army." Tolstoy's traditions in the depiction of war. Russian national character in the novel.
Characteristics of O. Ermakov’s cycle"Afghan Stories" . The idea of the absurdity of any war: stories“The last story about the war”, “Boots cannot trample the soul.”
Story by O. Ermakov"Mark of the Beast" The meaning of the story's title. Connecting the specifics of the image with biblical and mythological symbolism. The meaning of the ending of the story.
E. Nosov “Apple Saved”, “Pocket Flashlight”. The moral beauty of the common man.
The ideal of goodness and beauty in the stories of V.F. Potanin “Above the Unsteady”, “Blue Pearl”.
About morality in the language of poetry. A. Dementyev, N. Palaguta, N. Zhdanov, Yu. Levitansky and others. Modern author's song.
Country theme in modern prose.
Tale by B Ekimov"Shepherd's Star" . Problems of the story, characteristics of the characters.
Stories by B. Ekimov“Queue for the next world”, “On the Cossack farm”. The problems of villagers are the problems of the whole country (poverty, drunkenness, injustice on the part of those in power). Portrayal of a positive beginning in folk life, strong characters, morally stable and integral.
The meaning of the concept of “women's prose”. Author's individuality, originality of style, non-standard approaches to modern problems.
Characteristics of the creativity of V. Tokareva and G. Shcherbakova. Stories and novellas from the collection “Cat on the Road” by V. Tokareva. Problems “at the everyday level”, their ironic and sensitive tone.
The emotional life of G. Shcherbakova’s heroes. The story "Door to another life." Inner world heroes of the story.
Family theme in the works of L. Ulitskaya. The story "Medea and her children." The problem of responsibility for those who live nearby.
The reasons for the emergence of conditionally metaphorical prose. Creating a bizarre, but recognizable to contemporaries, world with the help of myth, fairy tale, phantasmagoria. Characteristics of heroes. The use of allegory, grotesque, fairy-tale, mythological, and fantastic conventions in works.
The story of F. Iskander “Rabbits and Boas.” The history of the creation of the story and its genre originality. Fairytale type of convention. Depiction using a totalitarian metaphor social system and the mechanisms of its action. Type of social behavior.
Dystopia by L. Petrushevskaya “New Robinsons”. The theme of escape from civilization into nature. Features of the story's construction. An apocalyptic picture of the death of civilization.
A. Adamovich “The Last Pastoral”. The theme of enmity between people. Two plots of the story that define the moral and philosophical space of the work.
A novel-parable by A. Kim “Father-Forest”. Genre originality and the meaning of the name. Ethical and philosophical problems. The theme of freedom. Problems of “suffering” and “loneliness”. Cross-cutting images, space and time in the work of A. Kim.
The story of V. Pelevin “The Life of Insects”. Metaphors in the work. Compositions of the story. Problems of fathers and children. The role of quotes and reminiscences in a work.
"Other Prose"
“Other prose” (“new wave”, “alternative literature”) as a literary phenomenon. Variety of stylistic manners and themes. the role of reminiscences in “other prose”. Identification of three trends in “Other Prose”: “historical”, “natural”, “ironic avant-garde”.
Story by L. Petrushevskaya “Your Circle.” Features of style. The uniqueness of the characters' characters. Man and environment, man and time in the story. The author's position and ways of expressing it.
The story “Sonya” by T. Tolstoy as a work of “ironic avant-garde”. Composition and plot. Anecdote as a plot-forming element. Eternal themes in the story.
The novel “Kys” by T. Tolstoy. General characteristics of the novel.
The concept of postmodernism.
General characteristics of V. Erofeev’s story “Moscow-Petushki”.
General characteristics of Sasha Sokolov’s work “School for Fools”
V. Narbikova “Balance of the light of day and night stars.” General characteristics.
Literature reviewXXIcentury. Fantasy and remake in modern Russian literature.
THEMATIC PLAN
10th grade
TOPIC NAME
QUANTITY
HOURS
Introduction.
Neoclassical (traditional) prose
General characteristics of neoclassical prose as a new realistic, continuing and developing tradition of realism in Russian classical literature. Stylistic trends of non-classical prose
The artistic and journalistic branch of neoclassical prose.
Creativity of V. Rasputin 80s - 2000s
Civil and moral pathos of V. Astafiev’s works
A. Pristavkin “The golden cloud spent the night.” The author's humanistic position.
Religious theme in Russian prose. Parable story by L. Borodin “Visitation”, story “The Third Truth”.
PupdateA. Varlamova “Loch”, “Hello. Prince! Hero of time in stories.
Realistic works of a sentimental nature (review).
"Psychological" prose . V. Makanin “Table covered with cloth and a decanter in the middle,” story by V. Makanin"Prisoner of the Caucasus"
Military theme in neoclassical prose. G. Vladimov"The General and His Army."
Characteristics of O. Ermakov’s creativity. Theme of war. The story "Mark of the Beast"
The moral beauty of the common man. Creativity of E. Nosov, V. F. Potanin.
About morality in the language of poetry.
Seminar on the topic " Moral issues in works of modern prose"
Test based on works of neoclassical prose.
Final lesson.
Reserve
Total:
68
THEMATIC PLAN
11th grade
TOPIC NAME
QUANTITY
HOURS
Introduction. Reviewing what was covered in 10th grade
Country theme in modern prose. Creativity of B Ekimov.
"Women's Prose". Characteristics of the creativity of V. Tokareva and G. Shcherbakova
Family theme in the works of L. Ulitskaya
Conditional metaphorical prose.
Peculiaritiesconditional metaphorical prose.
The story of F. Iskander “Rabbits and Boas.” Depiction using a metaphor of a totalitarian social system and the mechanisms of its action
Dystopia by L. Petrushevskaya “New Robinsons”.
A. Adamovich “The Last Pastoral”. Theme of enmity between people
A novel-parable by A. Kim “Father-Forest”. The theme of enmity between people.
The story of V. Pelevin “The Life of Insects”. Problems of fathers and children
"Other Prose"
“Other prose” as a literary phenomenon.
Story by L. Petrushevskaya “Your Circle.” Man and environment, man and time in the story
The story “Sonya” by T. Tolstoy as a work of “ironic avant-garde”. Novel "Kys".
The concept of postmodernism.
Creativity of V. Erofeev, Sasha Sokolov, V. Narbikova.
Literature reviewXXIcentury
Final lesson.
In-class essays of an analytical nature
Final standings
Reserve
Total:
68
TRAINING LEVEL REQUIREMENTS
As a result of studying the ELECTIVE COURSE, the student must
know/understand
Signs of modern literary trends;
The creativity of writers and poets of recent decades and the principles of their creative style;
Creation Requirements creative works: reviews, reviews, essays.
be able to
Characterize and evaluate the main characters, know the problems of the works and their ideological meaning;
Evaluate a work based on personal perception;
Competently express and justify your attitude towards work of art, give a message or report at literary theme, participate in a conversation, debate,
Write essays of different genres;
To navigate the modern literary process.
SOURCES OF INFORMATION
Literature for students
1. In the world of literature, 11th grade; textbook for educational institutions of humanitarian profile, /ed. A.G. Kutuzova. M.: “Drofa”, 2002.
2. Russian literature of the 20th century, grade 11; textbook-workshop for educational institutions / ed. Y.I.Lysogo - M. “Mnemosyne”, 2005.
3. Modern Russian literature; textbook a guide for high school students and those entering universities, /ed. B.A. Lanina, M.: “Ventana-Graf”, 2006.
4. Chalmaev V.A., Zinin S.A. Russian literature of the 20th century: textbook for grade 11; in 2 parts - M.: "TID "Russian Word", 2006.
Literature for teachers
Gordovich K. D. History of Russian literatureXXcentury. – St. Petersburg, Specialist, 2000
Nefagina G. N. Russian prose of the second half of the 80s - early 90sXXcentury. Minsk: ed. Center "Econompress", 1998
Chuprynin S.I.. Russian literature today. – M: Olma-press, 2003
Chalmaev V. A. Russian prose of 1980 - 2000 at the crossroads of opinions and disputes\\ Literature at school - 2002, No. 4, 5.
Internet literary resources
“Bukinist” – mybooka.narod.ru
“Debut” – www.mydebut.ru
“Babylon” – www.vavilon.ru
“Graphomania” – www.grafomania.msk.ru
“Interactive fiction” – if.gr.ru
“Modern Russian poetry” – poet.da.ru
Development of conditionally metaphorical prose at the end of the 20th century beginning of XXI century.
In 1990, in the article “Wake of Soviet Literature,” Viktor Efreev, a representative of “new literature,” announced the beginning of a new period in modern Russian literature - postmodernist.
The term “postmodernism” (from the Latin past - “after” and the French moderne - “modern”, “newest”) appeared during the First World War. In 1947, the English historian A. Toynbee used it to characterize the modern era of world culture. This term immediately “came into circulation” in the West, and then in Russia, but already in the 80s.
Even at the beginning of the 20th century, the world seemed stable, reasonable and orderly, and cultural and moral values seemed unshakable. The man clearly knew the difference between “good” and “bad”, “high” - from “low”, “beautiful” - from “ugly”. The horrors of the First World War shook these foundations. Then came World War II, concentration camps, gas chambers, Hiroshima... Human consciousness plunged into the abyss of despair and fear. The faith in higher ideals that previously inspired poets and heroes has disappeared. The world began to seem absurd, crazy and meaningless, unknowable, human life - aimless... The highest ideals collapsed. The concepts of high and low, beautiful and ugly, moral and immoral have lost their meaning. Everything has become equal, and everything is equally permitted. It is on this basis that postmodernism emerges.
IN lately postmodernism is the main direction of modern philosophy, art and science. It is characterized by an understanding of the world as chaos, the world as a text, an awareness of the fragmentation and fragmentation of existence. One of the main principles of postmodernism is intertextuality (the correlation of the text with other literary sources).
The postmodern text forms a new type of relationship between literature and the reader. The reader becomes a co-author of the text. The perception of artistic values becomes multi-valued. Literature is seen as an intellectual game.
Postmodernism, therefore, is something like the fragments of a broken troll mirror that fell into the eyes of the entire culture, with the only difference that these fragments did not cause any particular harm to anyone, although they confused many.
Postmodernism was the first (and last) movement of the 20th century that openly admitted that the text does not reflect reality, but creates a new reality, or rather, even many realities, often completely independent of each other. After all, any history, in accordance with the understanding of postmodernism, is the history of the creation and interpretation of a text. Where then does reality come from? There is simply no reality. If you like, there are various virtual realities - it is not for nothing that postmodernism flourished in the era of personal computers, mass video, the Internet, with the help of which they now not only correspond and hold scientific conferences, but even make virtual love. Since reality no longer exists, postmodernism has thereby destroyed the most important opposition of classical modernism - the neo-mythological opposition between text and reality, making unnecessary the search, and, as a rule, the painful search for boundaries between them. Now the search has stopped: reality has not been finally discovered, there is only text.
Postmodernism is dominated by general confusion and mockery of everything; one of its main principles has become “cultural mediation,” or, to put it briefly, a quote. “We live in an era when all the words have already been said,” S.S. Averintsev once said; therefore, every word, even every letter in postmodern culture is a quotation.
Another fundamental principle of postmodernism is the rejection of truth. Different philosophical movements understood truth in different ways, but postmodernism generally refuses to solve and recognize this problem - except as a problem of a language game, they say, truth is just a word that means what it means in the dictionary. What is more important is not the meaning of this word, but its meaning, its etymology, the way it was used before. “In other words,” writes Piatigorsky, “truth” is a word that has no other meaning than what this word means. Postmodernists see truth only as a word, as an element of the text, as, in the end, the text itself. Text instead history. History is nothing more than the history of reading a text."
Postmodernism researcher Ilya Ilyin writes: “... postmodern thought has come to the conclusion that everything accepted as reality is in fact nothing more than an idea of it, which also depends on the point of view that the observer chooses and the change of which leads to a radical change in the representation itself. Thus, human perception is declared doomed to “multiperspectivism”: to a constantly and kaleidoscopically changing series of perspectives of reality, which in their flickering do not make it possible to understand its essence.”
In literary criticism there are different classifications of works of postmodernism, for example, V.A. Agenosov identifies the following trends within the literature of postmodernism:
1. Dystopian prose, “warning”, “social current” (V. Aksenov “Island of Crimea”, V. Voinovich “Moscow. 2042”, A. Kabakov “Defector”, A. Kurchatkin “Notes of an Extremist”, V. Makanin “ Laz").
2. Conventional metaphorical prose (F. Iskander “Rabbits and Boas”, V. Orlov “Violist Danilov”, A. Kim “Squirrel”, V. Pelevin “Life of Insects”).
3. “Other”, “cruel” prose, “prose of forty-year-olds”. (L. Petrushevskaya “Own Circle”, T. Tolstaya “Somnabula in the Fog”, “Seraphim”, “Poet and Muse”, S. Kaledin “Building Battalion”, “Humble Cemetery”, V. Pietsukh “New Moscow Philosophy”, V . Makanin “Underground or Heroes of Our Time”, etc.)
But V.V. Agenosov argues that any division is always conditional and, as a rule, one should talk about belonging to a particular movement not of a specific writer, but of a specific work.
D.N. Murin identifies the following main trends of postmodernism:
Simulacrum, i.e. “simulation of reality”, composition of the plot as a typical one.
Tightness. This is not literature for the reader, but primarily for itself. The text is interesting as such, and not because of what it reflects (reproduces) in real life.
The world as a text. Any phenomenon of life, “located outside the artist, can be the subject of his composition, including those already created in literature and art. Hence the centenity, i.e. use of “other people’s” thoughts, images, quoting without quotation marks, etc.
Lack of hierarchical ideas about spiritual and moral. Artistic values. The world is one in the mountains and the distant, high and low, spiritual and everyday.
Adhering to the classification of V.A. Agenosov, I would like to dwell separately on the conditional metaphorical prose of the late 20th century. In this sense, V. Pelevin’s work “The Life of Insects” is very interesting. But first, a little about the author himself.
Viktor Olegovich Pelevin is a Moscow prose writer. Author of several novels and collections of short stories. His writing career took place entirely in the 90s - a few years from the beginning author of avant-garde prose. Known only in narrow circles, he turned into one of the most popular and read writers. His texts are often republished and actively translated abroad: England, the USA, Japan, and many European countries. In 1993, the Small Booker Prize (for the best collection of short stories) was awarded to Pelevin for his first book, The Blue Lantern. Four years later, a huge scandal surrounding the Booker jury’s refusal to include the novel Chapaev and Emptiness in the list of finalists for the award sealed its Olympic status as a “modern classic.”
The writer got two higher education: at the Moscow Energy Institute (specializing in electromechanics) and at the Literary Institute, worked as an engineer and journalist. In particular, he prepared publications on Eastern mysticism in the journal Science and Religion, and was the editor of the first translations of books by Carlos Castaneda. Placing the realities of Soviet life in the context of an occult-magical worldview became a characteristic stylistic device that determined the main features of Peleven’s prose. V.A. Chalmaev in the article “Russian prose 1980-2000. At the crossroads of opinions and disputes” classifies V. Pelevin’s prose as “fantasy” and says that “Pelevin’s fantasy is not fantasy, not a way to unravel the unknown world, not the art of creating a world that can be seen by, say, a dislocated consciousness, a conditional world parallel to the existing one. Fantasy is a displacement of the real and the imagined, the probable.
Pelevin’s inclusion in the “corporation” of science fiction writers is connected primarily with historical factors: for several years he took part in the activities of the Moscow seminar of science fiction writers (head of the seminar V. Babenko), the first publications of his stories appeared on the pages of popular science magazines in the sections of science fiction and in SF collections. He was repeatedly awarded “fantastic” prizes: for the story “Omon Ra” (“The Bronze Snail”, “Interpression”), the stories “The Principle of the State Planning Commission”, “The Werewolves of the Middle Zone” and other works. The author indeed uses in his prose some techniques specific to the fantasy genre, but in general his work does not fit into any genre framework and is difficult to classify.
For example, with some of Pelevin’s texts it is difficult to decide whether to classify them as fiction or essays.
The author often uses the post-modernist technique of palimpsest - creating his own texts with the active use of fragments of others. At the same time, a number of his works are openly parodic in nature. We see this in “The Life of Insects,” when the queen ant Marina reads in the newspaper “Flying over the enemy’s nest. On the fiftieth anniversary of the pupation of Arkady Gaidar...”, or creates her own poems in the spirit of Marcus Aurelius. But since it is the attitude of the audience that forms the completeness of a literary work, all genre definitions are extremely conditional. “Omon Ra”, originally announced as a story, is presented in recent publications as a novel, which is not entirely justified by the volume of the text, but can be explained by an indication of the genre-forming development of the personality of the main character, from an infantile teenage worldview moving to a cynical adult.
The themes of Pelevin's stories are varied: the writer revives many mythological stories using modern Russian material. What was important for the perception of his work was that these works were imbued with, as they would say in the Soviet Union, “anti-communist pathos.” In them, ordinary phenomena of Soviet (and then post-Soviet) reality receive an original interpretation and are presented as a manifestation of powerful and evil magical rituals, or absurd rituals performed ineptly and incompetently. However, it is difficult to call such works politicized; the ritualization of reality plays a supporting role in them. As for the main content of most of Pelevin’s works, it is associated with a description of states of consciousness that perceives a discursively presented picture of the world as reality. Soviet reality turns out to be a kind of hell, where the hopeless experience of specific states of mind appears as hellish torment. Controversies constantly flare up around Pelevin’s works: some critics define them as the apotheosis of lack of spirituality and mass culture, others consider the writer to be something of a guru of postmodern literature. However, among the critical opinions there are also quite reasonable ones. D. Bavilsky’s remark about the cinematic quality of Peleven’s texts deserves attention - they are constructed as a director’s script, as a sequence of paintings, united only through the unity of the viewer’s gaze. It is impossible not to recognize as relevant the reflections of I. Zotov on the fate of “burimetic” prose, which is created according to the principle of burime and in which the semantic significance of text elements is muted, bringing to the fore the way of connecting these “lost meaning” elements. Indeed, the avant-garde tradition, which revolutionarily explodes the monotony of the literary language from within, plays an important role in the literature of the last two centuries, and each generation puts forward its own symbols of creative freedom - Lautreamont, the futurists, “Naked Lunch” and “Moscow conceptualism” - but the majority of Burime remains in desks of writers who find no meaning in a literary career, and few of them can be more than just a symbol of creative freedom. Therefore, the question naturally arises: is there this “something more” in Pelevin?
Pelevin, with equal ease and professionalism, operates with various styles of “high” and “low” culture, professional languages and everyday language that eschews artifice. Rehabilitating the expressive capabilities of engineering student colloquialism is one of the author’s merits that is worthy of all praise.
The connection between such stylistic omnivorousness and elements of fantastic poetics seems to me quite remarkable. The point here, of course, is not the period of the writer’s apprenticeship in a seminar of science fiction writers, but the claim to myth-making that defines the genre features of modern science fiction. A superficial consideration of no matter how serious and deep problems is connected not with the natural vulgarity of the fantastic genre, of course, but with the need, as it were, to re-include into the speech horizon (that is, on equal, equally significant grounds) various innovations of the humanities and technical sciences, each time as if re-search for the basic formula of everyday life.
According to the remark of A. Genis, Pelevin writes in the genre of fable - the “moral” from which the reader himself must extract.
Pelevin's prose is characterized by the absence of the author's appeal to the reader through the work in any traditional form, through content or artistic form. The author does not “want to say” anything, and all the meanings that the reader finds, he reads from the text on his own. Numerous experiments with styles, contexts, and artistic forms serve Pelevin to organize such a form of authorship, reducing the relationship between the author and the reader up to its complete abolition.
“I don’t have heroes in my books. There are only characters there,” says Pelevin in an interview. Demonstration of the basic structures of consciousness through which a speech picture of the world is created gives rise to that amazing feeling of trusting closeness of the reader to the character. Which many readers of Peleven’s prose encounter. But one should not mistake simplicity for naivety: the author himself is not in the text, he always hides behind some kind of mask. Love. Friendship, divine revelation - all these are just linguistic images, the reconstruction of which Pelevin does not intend to stop anywhere. Creating a scattering of subjective realities, he does not want to self-identify with any of its elements.
Pelevin’s special metaphorical style, richness of vocabulary, understanding of the mythological background of various cultural phenomena, apt irony, free combination of various cultural contexts (from the “high” to the most marginal) played a role in the novel “The Life of Insects” (1993), a kind of paraphrase of “The Divine Comedy" by Dante. Developing the techniques of postmodern aesthetics, the writer paints a multifaceted picture of the Soviet universe, the inhabitants of which interact with each other in two equal bodily modes - people and insects. The different layers of this universe are united by a magical connection: every action in one of the layers is immediately echoed in the others, sometimes intensifying in resonance; the life of insect people turns out to be an unshakable, mutually agreed-upon simulation of acts of existence. In a similar way, according to the principle of universal coherence and mutual agreement in the absence of a hierarchical vertical (similar to the principle of “rhizome” declared by the French philosophers Deleuze and Guattari as a way of functioning of the unconscious), the structure of the novel itself is built - one of the most remarkable experiments with artistic form in the Russian literature. literature.
Plan:
1. Carnival traditions in Fazil Iskander’s philosophical fairy tale “Rabbits and Boas”:
· Present different points of view on the work of F. Iskander in general, and specifically on the philosophical fairy tale “Rabbits and Boas.” What do you mean by the concept of “philosophical fairy tale”?
· Explain the assumption that “the analyzed text is an extended quotation from the author.” Is it possible to talk about the allegorical nature of the images in the analyzed work?
· Identify the specifics of the relationships between characters that characterize the hierarchical structure of society (boa constrictors, rabbits, natives). What are the foundations of rabbit statehood? What are the specifics of the life of boa constrictors? Can the concepts “ cauliflower", "bright future", "hypnosis", "fighting the internal enemy", etc.? Do they have historical parallels?
· How is the theme of the intelligentsia presented in the fairy tale? Describe the images of Python, the First Poet, the Resourceful, the Thoughtful, the Chief Scientist, the Desired. What is the essence of betrayal, according to the author? What is fear and how to overcome it?
· Describe the dynamics of the relationship between rabbits and boa constrictors. How does the transition from hypnosis to strangulation occur? Do boa constrictors, like rabbits, have a submission reflex? What is its nature? Bring text examples talking about the false democratization of society. Do you agree with this? Are there similar phenomena in modern life? Is it possible to eradicate them? If “yes” - then how, if “no” - then why? Are there psychological allusions in the text? Comment on 2 - 3 examples.
· In modern Russian literature, the work “Rabbits and Boas” is usually considered in the carnival tradition. Formulate such concepts as “carnival”, “literary mask” (based on research materials by M. M. Bakhtin). How do they apply to this work? What carnivalistic features are present here, and what is missing from the narrative from such a point of view? Is this always distinctive feature conditionally metaphorical prose?
2. Fairy tale convention in T. N. Tolstoy’s novel “Kys”
· Define the terms common in modern literary criticism: “other literature”, “women’s” prose, conventionally metaphorical prose, “new wave” prose, metafiction.
· How can one explain the fact that in the first paragraph of the novel “Kys” the author almost literally reproduces the beginning of A. N. Tolstoy’s novel “Peter the Great”? Point to others compositional features works.
· Is there a color opposition in the novel “dark - light” (“multi-colored - monochromatic”), indicating either the different states of the hero, or the spiritual essence of the character? What is the plot implementation of contrasts in the work?
·Difference between the mythopoetic space of “Kysi” and the cliché of a closed space as one of the individual features of T. N. Tolstoy’s style.
·Give examples of allusions in the work. Why does the author highlight hidden references to E. Zamyatin’s novel “We”? Can “We” be called the ancestral text to “Kysi”? What place does R. Bradbury’s experience “Fahrenheit 451” occupy in the narrative context of T. Tolstoy’s novel under study? Determine the general leitmotifs and features of the author’s interpretations of reality.
· Point out the folkloric nature of the writer’s style and the unique semantics of the characters’ names. Why is everyday life detailed in the text?
·How is power represented in the novel? Where do the prohibitions come from? How are they explained and what actually lies behind them? How does the author formulate the myth about the Disease?
· Art world T. N. Tolstoy is completely permeated mythological motifs. Reveal the essence of some of them (for example: circle, fate, etc.). Explain the mythological images (Kys, Paulinus bird, spinach fish). Why do people need them?
Are there mythologies in the text? Point to Kys as a synthesis of psychological, mythological and philosophical principles in man.
·Consider the use of archaic speech as a method of stylizing the work. Build semantic chains: a term accepted in the reality created by the author is a commonly used word (for example, worm - worm, woodworm - squirrel, etc.). Could this be seen as one of the combinations of language games in the narrative? Justify your point of view. List other forms and types of language games in the text, especially pointing out the interweaving of simulacra in the novel.
3. The grotesque nature of A. Kim’s narrative system in the novel “Village of Centaurs”:
· The author defines his narrative as a grotesque novel. How do you understand this? Why does the grotesque become the main technique for depicting the relationships of characters within the narrative space? What other techniques does the writer use? Give specific examples.
· Is it possible to talk about the depiction of the semi-antique world of centaurs and Amazons as a special chronotope? What separates the ordinary world from the country of Centauria? Under what conditions is the transition possible?
· Why did the centaurs consider people and wild horses their enemies? What did the people of Centauria inherit from people, what did they inherit from horses? Why does the author constantly compare them to a crowd and associate them with an animal body?
· Are Gnes, Mata, Kekhuribal, Hiklo, Passius typical representatives of the centaur people? What makes Pudu unique? What significance did the centaurion have for the village, what did it mean for the leader?
· A. Kim dwells in detail on the description of the horse invasion. What were the reasons for the invasion, and how did the clash end?
· The author of the work introduces the Centaur vocabulary into the narrative, graphically highlighting it. Why is he doing this? Why does eldorai become, on the one hand, a symbol of life for centaurs, and on the other, an attribute of animal instinct? Compile a dictionary of Centaucan words. What lexical groups predominate in it? Why?
· The story raises the theme of life and death. Who rules the world according to Kim? What is beyond death?
4. Existence as a way of understanding the world in the novel - the mysteries of A. Kim “Collecting mushrooms to the music of Bach”:
· Give a detailed description of mystery as a cultural phenomenon and a special literary genre. How are its main parameters manifested in A. Kim’s novel “Picking Mushrooms to the Music of Bach”? What, in your opinion, is the writer’s innovation in the development of this genre modification?
· Describe the figurative system of the novel. What connects the heroes with each other? How does the author characterize them? Determine Izawa’s civic position, the art criticism concept of Raffaela Vesalli, the essence of the debate about the music of Sir Abrahams and the Rose of Magellan. What historical images are introduced into the text as observers? Why?
· The novel explores the problem of brotherly relationships. How do Cain and Abel, Izawa and Genjiro, Tanji and Rohei behave? What pattern does the author emphasize? Why? Do you agree with the writer's position?
· What place do biblical allusions play in the story? What biblical images does the author pay particular attention to? Why? What does this mean? Justify your answers with examples from the text.
· Explain why the text is named this way. What is the significance of HDSM, THE MUSHROOM NIGHTMARE for understanding the title?
· Can Redin the Monkey be called the center of the story? Give reasons for your answer. What is the mystery of the Russian soul and its highest purpose? Why is it fair to apply the term existence of the soul in relation to this particular hero?
· Determine the compositional functions of interludes. Are they related? Why?
· What significance do the images of Kukushkin, Alvin, Chaliapin, Ecclesiastes, Roman have for the narrative? What meaning does the Angel of Music carry?
· Determine the setting of the novel. Can we say that all the heroes met after death? How, in this case, should the ending of the work be interpreted?
5. The concept of “creatiff” in the creative interpretation of V. O. Pelevin (using the example of “Helmet of Horror”)
· Can “creatiff” be considered as new genre in literature? Justify the graphical feature of “creatiff”. What associations arise and why? What dramatic and prosaic features does this work have? Support with examples from the text.
· Determine the possibility of isolating an intermediary interpreter. Given the formal form and style of the Internet chat, are the chat parameters respected? Why does the author limit the number of user characters? What is the reason for this?
· Give detailed characteristics to the following characters: IsoldA, Organizm, Ariadna, UGLI 666, Nutscracker, Monstradamus, Romeo - y - Cohida, Stiff _ zo Sschitan, paying special attention to the name received through the system. Why does the author call them “names - covers”?
· What is the Helm of Terror? Who is Theseus? What is the essence of the labyrinth? Is there an association in the text between the labyrinth and the structure of the brain, the dead ends of consciousness and fate? How does this manifest itself? Provide specific text examples.
· When considering interpretation as a way of creating a plot, identify the donor texts from which the compositional mosaic is assembled. Can the analyzed work be called hypertext? Justify your answer.
· Indicate the non-linearity of the analyzed text, while pointing out the many parallel and perpendicular plots. Which of them keep the author within the compositional framework?
· Can a text be considered a game? If “no,” then why? If “yes,” then by what rules is it conducted?
· What symbols are found in the text? What are their functions and principles of use? Explain the following key concepts and hermeneutical pointers: 666, cornucopia, Asterix, Monica Lewinsky as Gioconda, cahiba, Nebuchadnezzar, Caroline Kennedy's favorite poet.
· What is the significance of dreams for revealing the essence of what is happening? Why can only Ariadne see them?
· How are biblical quotations introduced? What is the point of referring to the Book of Books? What explains the proximity of such quotes with elements of psychoanalysis?
· How do you understand the meaning of the ending? What is the essence of the wishes to the author from Stiff _ zo Sschitan, UGLI 666, Minotaur, Theseus? Why are they placed not at the end of the work, but on the flyleaf of the publication?
· Can this text be considered a “retold myth”? Are there mythologies in the work? Identify and explain the presence of a simulacrum. Give a detailed analysis of the “consciousness of the unconscious” found in the work. Can the text be considered an example of a seterature? Why?
Literature:
1) Weil, P. A. Modern Russian prose / P. A. Weil, A. S. Genis. – M.: Flinta, Nauka, 1999.
2) Ivanova, N. B. Laughter against fear, or Fazil Iskander / N. B. Ivanova. - M.: Vagrius, 1999.
3) Kovalenko, A. G.“The Writer at Play”: version by V. Pelevin / A. G. Kovalenko // Homo Luders as a reflection national culture and social variation of language / Materials of the international scientific and practical conference April 19 - 21, 2006. – St. Petersburg: Nevsky Institute of Language and Culture, 2006. – P. 191 - 194.
4) Shargunov S. V. Boa constrictors swallowed a rabbit. Something about the “new Pelevin” / S.V. Shargunov. - Literature at school. - 2004. - No. 5. - P. 43 -5 2.
5) Epstein, M. N. Postmodernity in Russia: literature and theory / M. N. Epshtein. – M.: Flinta, Nauka, 2000.
