Suchergebnisse

В статье изучается нарративная организация романа В.А. Слепцова «Трудное время». Взятые за основу тезисы К.И. Чуковского о «тайнописи» слепцовского романа и рассуждения У. Брумфилда о русском романе как социальном проекте определяют методологию исследования. «Тайнопись» рассматривается как свойство импликации, распространяемое на героев и объекты эстетической действительности. Предпринятый опыт изучения повествовательной структуры как нарративного целого, определяемого не только идеологическими, но и эстетическими задачами, позволяет интерпретировать произведение вне контекста полемического романа 1860-х гг. как своеобразный «реквием» по «новому человеку», прозвучавший из демократического лагеря. ; The paper deals with the narrative organization and narrative features of Vasily Alekseevich Sleptsov's novel Hard Times. This matter is investigated on the material of research papers, articles and monographs of Korney Chukovsky, Valeriy Sazhin, William Brumfield and others. Sleptsov's novel is investigated as a social project that depended on the ideology and aesthetic processes of the second part of the 19th century. In the first part of the paper the reputation of Vasily Sleptsov is studied as a phenomenon of the history of Russian literature. So, facts, opinions and suggestions are a complex myth which depended on the literature texts and contexts. Continuing the thoughts of William Brumfield, the author of the paper presumes a different interpretation of the writer and his worldview. In the second part of the article an attempt is made to descript the cryptography of the plot (by Korney Chukovsky). The narrative structure is determined by several narrative techniques. So, one narrative tactic presents a folksy world with "hard eventfullness". Genesis of this type is physiological sketches (by Alexander Levitov, Nikolay Uspensky, sketches of Vasily Sleptsov himself). The other tactic presents the social provincial world (by Ivan Turgenev, and his epigones Nadezhda Khvoshchin-skaya, Nikolay Veseniev and others). Narrative diversity is explained by the competition of these two strategies. As is known, the basis of the plot conflict of the novel is the emergence of the commoner Rya-zanov, who is a friend of the landowner Shchetinin. It must be noted that Ryazanov, compared with Bazarov or Rakhmetov, is a moralizing hero; he is verbose and not always consistent in his words. Following the tradition of Turgenev, Sleptsov uses the principle of the story and the implications of information failure, but the "inner man" of Ryazanov almost always coincides with the "outside", the consciousness of the hero, his inner speech is a thing in itself, a blackbox not available for the perception of the reader. If to consider Ryazanov in the context of semantic derivation of a new man, he represents the traditional type of a superfluous man. Consistently considering ideas and ideals, colliding heros with the uncreative reality of the novel, Sleptsov tests Chernyshevsky's utopian projects and the romantic world vision of Turgenev's Bazarov. So, the motif of impotence and powerlessness is general in the narrative structure of the novel, which is connected with Nikolay Nekrasov's lyrical plot of "Knight for an Hour". In the conclusion it is shown that the novel could be considered outside the context of the polemical novel of the '60s as a kind of "Requiem" on the "new man" that came from the democratic camp. Hard Times in this way not only foreshadows the socialistic and communistic ideology, but also shows the exhaustive evidence of the impossibility of its realization, i.e. finding a common language between the two social worlds. Results and observations which the paper presents can be used in teaching the history of Russian literature of the 19th century.

В статье на материале романов Н.Д. Хвощинской «Свободное время» и В.А. Слепцова «Трудное время» изучаются семантические свойства провинциального времени в беллетристическом произведении. Несмотря на разные эстетические установки писателей, тексты Хвощинской и Слепцова характеризируются общностью, заключающейся в сходных способах репрезентации повседневности. Провинциальное время, зачастую «заслоняя» моноцентрического героя, предстает в произведениях овеществленным, буквально погруженным в материю, быт. Кроме того, время в анализируемых произведениях становится имплицитным выражением авторского самосознания. Для женщины, писавшей под мужским псевдонимом, и разночинца, вышедшего из дворянской среды, провинциальный мир становится способом авторефлексии. ; The paper deals with the conceptions "provincial chronotope" and "provincial time" in the context of the Russian prose of the 19th century (novels Svobodnoe vremya [Free time], Kto zh ostalsya dovolen [Who is glad], Poslednee deystvie komedii [Last act of the comedy] by Nadezhda Dmitrievna Khvoshchinskaya (Zayonchkovskaya), and Trudnoe vremya [Hard time] by Vasily Alekseevich Sleptsov). The definition "provincial time" is compared with the definition "provincial chronotope" in the context of Mikhail Bakhtin's theory. As M. Bakhtin writes, "Time here is devoid of moving forward Day is never a day, year is not a year, life is not life It is ordinary, everyday domestic cyclical time. Time is uneventful and seems like it almost stopped It is a thick, sticky time crawling in space." The quote shows the provincial chronotope is a-narrative. In fact, it represents a quasi-event as part of the indiscrete eternity. But the main part of the phrase is connected with the ontological character of the provincial time. The interpretation of the provincial chronotope as "ordinary, everyday domestic cyclical time" presents another phenomenon important for Russian culture. It can be called "everydayness". In the paper, the provincial time is studied as a narrative, phenomenol-ogical and plot-forming category. Despite the fact that Nadezhda Khvoshchinskaya and Vasily Sleptsov belong to different social, politic and worldview poles and types of literature, the sense of time, its phenomenology can be recognized as an integral feature. Their texts are characterized by common narration strategies that consist in the representation of everyday life, the implementation of the so-called "provincial plot" (close to Balzac's The Human Comedy). The esthetic worldview of Vasily Sleptsov is a chaos of material events; the art world of Khvoshchinskaya is the order of different elements. So, comparison of these texts from the esthetic point of view is not quite adequate. However, the definition of the category of time allows to find inner connections realized in the form as a self-contained element of a literary text rather than through the naaration tradition. In the works under study, time is definitely spatial, and some time slots, representing a continuous existence, are virtually inseparable in the topology of the text. The provincial chronotope, devoid of limits and abysses, presents reality as a sequence of senseless events and episodes where the human and humanity lose significance. The author believes it is in this context that we should understand Bakhtin's statement about the provincial chronotope as "ordinary, everyday domestic cyclical time". The development of this model of time demonstrates its importance in the Russian literature of the 19th century. In particular, Anton Pavlovich Chekhov felt this elusive flow of time very subtly, many of his stories represent the image of the same actions and the same decorations on a new level of understanding of time, literature and life. In this case, the description of the provincial time should be taken into account as its essence is embodied, is fixed in the material substance. Results and observations of the research could be extended to other texts on "provincial" plots and could also be used in teaching the history of Russian literature of the 19th century.