Nikolai Vasilyevich Gogol. About undeciphered Gogol, sense of humor, fight against formalism and Homer's publications
Mann Yu V
Nikolai Vasilyevich Gogol
Nikolai Vasilyevich Gogol
GOGOL Nikolai Vasilievich, Russian writer.
Literary fame for Gogol was brought by the collection "Evenings on a Farm near Dikanka" (1831-1832), saturated with Ukrainian ethnographic material, romantic moods, lyricism and humor. The stories from the collections "Mirgorod" and "Arabesques" (both - 1835) open the realistic period of Gogol's work. The theme of the humiliation of the "little man" was most fully embodied in the story "The Overcoat" (1842), which is associated with the formation natural school. The grotesque beginning of "Petersburg tales" ("The Nose", "Portrait") was developed in the comedy The Inspector General (staged in 1836) as a phantasmagoria of the bureaucratic-bureaucratic world. In the poem-novel "Dead Souls" (1st volume - 1842), satirical ridicule of landowner Russia was combined with the pathos of the spiritual transformation of man. The religious-journalistic book Selected Places from Correspondence with Friends (1847) provoked a critical letter from V. G. Belinsky. In 1852 Gogol burned the manuscript of the second volume of Dead Souls. Gogol had a decisive influence on the establishment of humanistic and democratic principles in Russian literature.
Family. Childhood
The future classic of Russian literature came from a middle-class landlord family: the Gogols had about 400 serf souls and over 1,000 acres of land. The writer's ancestors on his father's side were hereditary priests, but the writer's grandfather Athanasius Demyanovich left the spiritual career and entered the service of the hetman's office; it was he who added to his surname Yanovsky another - Gogol, which was supposed to demonstrate the origin of the family from Colonel Evstafiy (Ostap) Gogol, well-known in Ukrainian history of the 17th century (this fact does not find sufficient confirmation). Father, Vasily Afanasyevich, served at the Little Russian Post Office. Mother, Marya Ivanovna, who came from the Kosyarovsky landlord family, was known as the first beauty in the Poltava region; she married Vasily Afanasyevich at the age of fourteen. In the family, in addition to Nikolai, there were five more children. Childhood future writer spent in his native estate Vasilievka (another name for Yanovshchina), visiting with his parents in the surrounding places - Dikanka, which belonged to the Minister of the Interior V.P. Kochubey, in Obukhovka, where the writer V.V. Kapnist lived, but especially often in Kibintsy, the estate of a former minister, a distant relative of Gogol on his mother's side - D. P. Troshchinsky. With the Kibintsy, where there was an extensive library and home theater, connected early artistic experiences of the future writer. Another source of strong impressions for the boy were historical legends and biblical stories, in particular, the prophecy about the Last Judgment told by his mother with a reminder of the inevitable punishment of sinners. Since then, Gogol, in the words of the researcher K. V. Mochulsky, constantly lived "under the terror of the afterlife retribution."
"I started thinking about the future early..." Years of study. Moving to Petersburg
At first, Nikolai studied at the Poltava district school (1818-1819), then took private lessons from the Poltava teacher Gabriel Sorochinsky, living in his apartment, and in May 1821 he entered the newly founded Nizhyn High School of Higher Sciences. Gogol studied rather averagely, but he distinguished himself in the gymnasium theater - as an actor and decorator. The gymnasium period includes the first literary experiments in verse and prose, mostly "in a lyrical and serious kind", but also in a comic spirit, for example, the satire "Something about Nizhyn, or the law is not written for Fools" (not preserved). Most of all, however, Gogol was occupied at this time with the idea of public service in the field of justice; such a decision arose not without the influence of Professor N. G. Belousov, who taught natural law and was later dismissed from the gymnasium on charges of "free-thinking" (during the investigation, Gogol testified in his favor).
After graduating from the gymnasium, Gogol in December 1828, together with one of his closest friends, A. S. Danilevsky, arrived in St. Petersburg, where a number of blows and disappointments lay in wait for him: he could not get the desired place; the poem "Hanz Küchelgarten", written, obviously, back in the gymnasium time and published in 1829 (under the pseudonym V. Alov), meets with murderous responses from reviewers (Gogol immediately buys up almost the entire edition of the book and sets it on fire); to this, perhaps, love experiences were added, which he spoke about in a letter to his mother (dated July 24, 1829). All this makes Gogol suddenly leave Petersburg for Germany.
Upon his return to Russia (in September of the same year), Gogol finally manages to decide on a service - first in the Department of State Economy and Public Buildings, and then in the Department of Appanages. Bureaucratic activity does not bring satisfaction to Gogol; but his new publications (the story "Bisavriuk, or Evening on the eve of Ivan Kupala", articles and essays) pay more and more attention to him. The writer makes extensive literary acquaintances, in particular, with V. A. Zhukovsky, P. A. Pletnev, who introduced Gogol to A. S. Pushkin at home in May 1831 (obviously on the 20th).
"Evenings on a Farm Near Dikanka"
In the autumn of the same year, the 1st part of the collection of short stories from Ukrainian life "Evenings on a Farm near Dikanka" was published (the 2nd part appeared next year), enthusiastically received by Pushkin: "Here is real gaiety, sincere, laid-back, without affectation, without stiffness And in some places what poetry!...". At the same time, the "gaiety" of Gogol's book revealed various shades - from carefree banter to gloomy comedy, close to black humor. For all the fullness and sincerity of the feelings of Gogol's characters, the world in which they live is tragically conflicted: natural and family ties are being terminated, mysterious unreal forces invade the natural order of things (fantastic relies mainly on folk demonology). Already in "Evenings ..." Gogol's extraordinary art of creating an integral, complete and living according to its own laws artistic cosmos was manifested.
After the release of the first prose book, Gogol became a famous writer. In the summer of 1832 he was met with enthusiasm in Moscow, where he met M. P. Pogodin, S. T. Aksakov and his family, M. S. Shchepkin and others. Gogol's next trip to Moscow, equally successful, took place in the summer of 1835. By the end of that year, he left the field of pedagogy (from the summer of 1834 he held the post of associate professor of general history at St. Petersburg University) and devoted himself entirely to literary work.
"Mirgorod" and "Petersburg" cycles. "Inspector"
The year 1835 is unusual in terms of the creative intensity and breadth of Gogol's ideas. This year the following two collections of prose works are published - "Arabesques" and "Mirgorod" (both in two parts); work began on the poem "Dead Souls", the comedy "Inspector General" was basically completed, the first edition of the comedy "Grooms" (the future "Marriage") was written. Reporting on the writer's new creations, including the forthcoming premiere of The Inspector General at the Alexandrinsky Theater in St. Petersburg (April 19, 1836), Pushkin noted in his Sovremennik: "Mr. about him in our magazine. By the way, Gogol also actively published in Pushkin's journal, in particular, as a critic (the article "On the Movement of Journal Literature in 1834 and 1835").
"Mirgorod" and "Arabesques" marked new artistic worlds on the map of Gogol's universe. Thematically close to "Evenings ..." ("Little Russian" life), the Mirgorod cycle, which combined the stories "Old-world landowners", "Taras Bulba", "Viy", "The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich", reveals abrupt change perspective and pictorial scale: instead of strong and harsh characteristics - vulgarity and facelessness of the townsfolk; instead of poetic and deep feelings - sluggish, almost reflex movements. The ordinariness of modern life was set off by the colorfulness and extravagance of the past, but the more strikingly manifested in it, in this past, a deep inner conflict (for example, in "Taras Bulba" - a clash of individualizing love feeling with community interests). The world of "Petersburg stories" from "Arabesques" ("Nevsky Prospekt", "Notes of a Madman", "Portrait"; they are adjoined by "The Nose" and "The Overcoat" published later, respectively in 1836 and 1842) is the world modern city with its sharp social and ethical conflicts, character breaks, disturbing and ghostly atmosphere. Gogol's generalization reaches its highest degree in The Inspector General, in which the "prefabricated city" seemed to imitate the life of any larger social association, up to the state, the Russian Empire, or even humanity as a whole. Instead of the traditional active engine of intrigue - a rogue or an adventurer - an involuntary deceiver (the imaginary auditor Khlestakov) was placed at the epicenter of the conflict, which gave everything that happened an additional, grotesque illumination, amplified to the limit by the final "silent scene". Freed from the specific details of the "punishment of vice", conveying, first of all, the very effect of a general shock (which was emphasized by the symbolic duration of the moment of petrification), this scene opened up the possibility of a variety of interpretations, including the eschatological one - as a reminder of the imminent Last Judgment.
In June 1836 Gogol (again together with Danilevsky) went abroad, where he spent a total of more than 12 years, except for two visits to Russia - in 1839-40 and in 1841-42. The writer lived in Germany, Switzerland, France, Austria, the Czech Republic, but for the longest time in Italy, continuing to work...
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Memories of my parents-
Sofia Yakovlevna
and Vladimir Yakovlevich Mann
Literature about Gogol, as you know, is huge and grows every year. The biography of the writer, his creative path, influence on other writers and on other types of art, etc. are being studied.
The author of the proposed book did not want to repeat the well-known, and he focused his attention on some important, from his point of view, facets of Gogol's poetics. At the same time, he hopes that the reader will also discover how these facets are connected, making up a more or less integral image poetics of Gogol.
As for the category of "poetics", as is well known, there is a twofold - narrower and broader - understanding of it. The first is limited to problems of poetic speech and style. The second involves the study of not only speech, but also other structural moments xy< дожественного текста.
V. V. Vinogradov, in particular, speaks of a broad understanding of poetics: “Poetics as a science about the forms, types, means and methods of organizing works of verbal and artistic creativity, about the structural types and genres of literary works, seeks to cover ... not only the phenomena of poetic speech, but also the most diverse aspects of the structure of works of literature and oral folk literature ". And then V. V. Vinogradov names some problems of such poetics: motives and plot, techniques and principles of plot composition, artistic time, composition as a system of combination and movement of speech , functional-stylistic and ideological-thematic plans, plot-dynamic and
poetic
"Vinogradov V.V. Stylistics. Theory of speech. Poetics. M., Publishing House of the Academy of Sciences of the USSR, 1963, p. 184,
speech characteristics of characters, genre specifics, etc.
In this book, poetics is understood in this broad sense. However, the book does not and cannot give a continuous description of all the diverse aspects of Gogol's poetics, in particular, the problems of style (this would require many books), and only seeks to outline some of the lines connecting them. And this means that along with the usual aspects of poetics (composition, plot construction, principles of characterization, etc.), we also consider those that, as it were, carry out the unification and coordination of various levels of the artistic whole. Such are the problems of the real and the fantastic, the correlation of spiritual and physical abilities, the problem of the "general situation", etc. The very proposition of these problems is prompted by Gogol's evolution; in other words, their sequence in Izveto a greater extent predetermined by the natural movement of Gogol's artistic system, although this movement, of course, is by no means limited to the above-mentioned problems.
All that we have just said is the most necessary preliminary clarification of the topic. Its detailing and specific development is a matter for further presentation.
Is it necessary in conclusion to stipulate that the book does not claim to be the final solution of the questions posed? To solve them means, in a certain sense, to exhaust the work of a great writer - a task that no other author seems to have been able to achieve. Especially in relation to such an artist as Gogol.
Chapter first GOGOL AND CARNIVAL BEGINNING
The formulation of this problem can serve as a key to entering the poetic world of Gogol. After all, as shown by a number of works - the works of M. Bakhtin in the first place - the carnival principle embodies a special type of folk laughter culture, which has had a strong influence on art and fiction for many centuries. M. Bakhtin identified the stamp of carnivalization in the works of Rabelais, emphasizing that, “although he was coryphaeus folk choir only in the Renaissance, he revealed with such clarity and fullness the peculiar and difficult language of the laughing people that his work sheds light on the folk laughter culture of other eras ". The logical question is how Gogol's work, separated from" coryphaeus of the folk choir" for three centuries and representing the most characteristic comic writer of modern times.
I. SOME PRELIMINARY REMARKS
First of all, let us recall the main features of the carnival beginning. Gogol has evidence in this sense that is almost as graphic as the well-known description of the Roman carnival in Goethe's Journey to Italy. On February 2, 1838, Gogol informed A. Danilevsky from Rome: “Now is the time for carnival: Rome is walking recklessly” “And then a detailed report followed, which we present almost in full.
1 Bakhtin M. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. M., Artistic letter Tour, 1965, p. 518.
“An amazing phenomenon in Italy is carnival, and especially in Rome - everything that is, everything is on the street, everyone is wearing masks. Whoever does not have any opportunity to dress up, he will turn his sheepskin coat or smear his face with soot. Entire trees and flower gardens drive through the streets, a cart is often dragged all in leaves and garlands, the wheels are adorned with leaves and branches and, turning, produce an amazing effect, and in the wagon sits a train completely in the taste of the ancient Ceres festivities or the picture that Robert painted. There is perfect snow on Corso from thrown flour. I heard about confetti, never thought it would be so good. Imagine that you can pour a whole sack of flour in the face of the prettiest woman, even if it be Borghesi, and she will not get angry, but will repay you in the same way ... Servants, coachmen - all in fancy dress. €5 in other places, only the people go out and disguise themselves. Here everything is mixed together. The freedom is amazing .. * You can speak and give flowers absolutely whatever you like. You can even climb into the carriage and sit down in front of them ... For intrigues, the time is surprisingly happy. With me, many stories of the most romantic are tied ... "
At the time of the carnival action, a new system of human relations is established, a special type of connection arises. Their starting point is a deviation from the rules and norms, both social (Gogol noted several times that cheerful carnival communication and courtship does not know reverence for nobility - “even if it be Borghesi”), and moral, ethical (“wonderful liberty ... "). Naturally, the change is most felt by the lower ones. Gogol's description all the time spontaneously slips to the point of view of the "commoner", who suddenly joyfully saw the opportunities that opened up before him, "
Gogol recorded the central moment of the carn-ball transformation - a change in appearance with the help of a mask, a turned-out sheepskin coat, or simply smearing with soot. Changing clothes - "there is a renewal of clothes and
1 Vsevolod Miller, who explored the links between the Western European carnival and Russian Shrovetide, wrote: “Carnival is a holiday, mainly for servants: even now, in some places in Germany and Russia, at this time, crowds of workers go around the owners’ houses with music and receive handouts, and in Georgia, on a farewell evening at Shrovetide, in the past, the gentlemen were obliged to complete obedience to their servants, as in Rome ... ”(Miller Vs. Russian Maslenitsa and Western European Carnival, M., 1884, p. 18),
its social image” Ί , it conveys that topographic< ческую динамику, которую Бахтин называет перемещением «верха в низ» (возможным, по крайней мере, в трех планах: в космическом - земля вместо неба; сопи-* альном - низшие сословия и классы вместо высших; наконец, индивидуально-биологическом - органы низших человеческих функций вместо головы как органа сознания и мышления).
The shooting of confetti (that is, with plaster, chalk or flour balls), which Gogol liked, is also interesting - it carries out the softening and travesty of everything terrible, characteristic of carnival, from bloody battles to eschatological teachings. Travestyed death enters as a moment in the general non-stop self-movement of life, in that co-penetration of opposite principles, which M. Bakhtin calls ambivalence: “Destruction and dethronement are associated with rebirth and renewal, the death of the old is associated with the birth of the new: all images are related to the contradictory unity of the dying and the emerging world" 2 .
Finally, from Gogol's description it is clearly seen that the soul of the carnival worldview is the wholeness restored for some time, the indivisibility of folk life. Everyone, without exception, enters into action (“... everything that is”). The Roman carnival, which preserved the tradition to the greatest extent, struck Gogol with the universality of the festivities: “In other places, only the people go out and disguise themselves. Here everything is mixed together” (cf. Goethe: “The Roman carnival is a festival that is given, in essence, not to the people, but to the people themselves” 3). The bearer of the carnival principle is “not a separate biological individual and not a bourgeois egoistic individual, but people, moreover, a people, in its development, eternally growing and renewing” 4 .
In conclusion of our brief description of the carnival beginning, in connection with Gogol's note, it should be emphasized that the tradition of the philosophical interpretation of the carnival did not arise today, and this in itself already confirms the importance and stability of its meaning. Under a different name (as the beginning of Dionysus)
1 Bakhtin M. Creativity Francois Rabelais..., p. 91,
2 Ibid., p. 236.
3 Goethe. Sobr. op. in 13 volumes, vol. I. M., Goslitizdat, 1935, p. 510.
4 Bakhtin M, The work of Francois Rabelais.,., p, 24,
and in connection with another task (the origin of the tragedy was described by F. Nietzsche’s set of carnivalization ideas. In the cult of Dionysus, a new, lost system of relations arises: “Under the magical influence of the Dionysian principle, a person not only restores ties with his own kind, but also alienated, hostile or enslaved nature again celebrates the feast of reconciliation with his lost son - a man. The earth voluntarily gives him its gifts, and predatory animals peacefully come out to him from the deserts and crevices of rocks. The chariot of Dionysus is showered with wreaths and flowers, "a panther and a tiger walk in its team" 2. Emphasized author of "The Origin of Tragedy" and social displacement "from below -. to the top", as well as the general tendency towards ambivalence (the penetration of opposite principles) and the overcoming of everything ossified, stable, traditional. "The slave becomes a free man; all motionless , the hostile barriers that need, arbitrariness or "rude fashion" have erected between people are crumbling. In the gospel of world harmony, everyone feels with his neighbor not only united, reconciled, fused, but simply one being ... By singing and dancing, a person expresses himself as a member of a higher community: he has forgotten how to walk and talk and is ready to fly away dancing up. His fascination speaks with his gestures and behavior” 3 . The fascination in the cult of Dionysus - and this is ultimately the most important thing - is the all-subordinating power of the general: the element of Dionysus "not only does not respect the individual, but strives
DESTROY THE INDIVIDUAL AND RELEASE WITH THE HELP OF MISTY *
a sense of unity” 4 . “Dionysian art seeks to convince us of the eternal joy of existence: however, this joy should not be sought in phenomena, but behind them. We must understand how everything that comes into being must be prepared for a painful death. We must see the horror of individual existence and at the same time not be numb: metaphysical consolation immediately pulls us out of the turmoil of changing images ... Despite fear and suffering, we are happy, but not like
1 Wed. the magnificent green decoration of the wagons noted by Gogol, reminiscent of the "ancient Cererins of the festival."
2 Nietzsche Fr. Die Geburt der Tragodie. Oder Griechen thum und Pessimismus. Neue Ausgabe. Leipzig, S. 5.
3 T a m e, p. 6.
4 N i e t s z c h e Fr, Die Geburt der. Tragedie..., S, 7,
individuals, but as a kind of living principle, with the birthing power of which we have merged together "", In the eternal | indestructible, unobstructed common life, individual pain and suffering dies away, the grain of individual existence sinks.
II, elements of carnivalization in gogol
Turning to Gogol's work, one can already be an* riori sure that we will find in it many elements of carnivalization. After all, if the latter determined a whole type of folk laughter culture, then, as M. Bakhtin emphasized, its influence extends over many eras, practically right up to our time. The whole question is in the meaning, as well as in the real specific gravity of these elements ...
In a number of stories from the "Evenings" cycle (where, for obvious reasons, the manifestation of the folk carnival element should be felt more strongly than in other Gogol's works), we first of all encounter the characteristic attitude deviations from the rules. From the great< вил социальных, а также моральных и этических. Это установка персонажей, но она совпадает с установкой выбранного момента времени (ярмарки, гулянья в майскую или предрождественскую ночь), в которое отменяется принятый тип людских связей, возникает новый мир отношений - мир, отступающий от социальных и моральных (мы пока говорим только о них) правил.
In the "May Night ..." the lads furiously played pranks, made "pranks", showed themselves to be "God knows what kind of brawlers." Levko thought about calming them down (they had a good time), but when he found out that his father was dragging after Ganpoya, he again dragged his comrades to tricks: “Wait a minute, you old horseradish, you will know from me ... how to beat off other people's brides!” Here, filial disrespect is multiplied by disrespect for authority (Levka's father is the Head), besides, all this is accompanied by carnival disguise "("dress up, whoever gets into anything!"), Turning the sheepskin coat inside out, as well as public abuse and ridicule.
The deviation from the rules can also be seen in the fact that the drunken Kalenik got out of obedience: “Well, head, head. I'm my own head." And then - a colorful scolding in
1 Niets z ehe Fr. Die Geburt der Tragödie..., c. 92-93,
The face of the head itself: “What is my head? Let him die, son of a dog! I spit on him! To have him, the one-eyed devil, run over by a cart! That he douses people in the cold ... ""
Woven into the fair or pre-holiday and festive night action love affair, sometimes approaching - at least in the "Sorochinsky Fair" - to the history of funny tricks of lovers (for the time being, we leave aside all the moments complicating this story - primarily moments of fantasy). The tradition of merry tricks of lovers, with overcoming various intrigues set in the way of loving parents, rivals, etc., with the indispensable triumph of lovers in the finale - this tradition went into the ancient layers of art that had undergone carnivalization, in particular, in the commedia dell'arte. From the point of view of the carnival moment, it is also very important that three stories from "Evenings" end with the union of lovers, an agreement on a wedding, or (as in "The Night Before Christmas") on-Lalom of life new family. After all, a wedding is an indication of a continuing life, its new stage, a new knot in the ever-flowing and unstoppable general stream 2 (we again leave aside the moments that complicate this finale for Go-G.OL),
Does this mean that Gogol's creativity entirely inherits the carnival tradition? M. Bakhtin, judging by his short article “The Art of the Word and Folk Laughter Culture (Rabelais and Gogol)”, which is an
1 A commentary on the last phrase can serve as a comedy "The Simpleton, or the Cunning of a Woman Outwitted by a Soldier." The comedy was composed by the writer's father, Vasily Afanasievich Gogol, the author of a number of dramatic works (of which only the mentioned "Simple Man" has come down to us). In this comedy, answering the soldier’s remark: “How can you sell last bread?”, Roman says: “...Shki scho sell the last xni6, damn it! cold water” (Osnova, 1862, No. 2, section 6, p. 39). So the bosses (sshak - a picky boss) punished the peasants who were short of money. A vivid detail of Ukrainian life (perhaps through the father's comedy) entered Gogol's story.
2 The ambivalent meaning of the wedding in the carnival (Shrovetide) action is emphasized by Sun, Miller: “Indicating with its pancakes a memorial character, Maslenitsa, on the other hand, is a special holiday of the beginning of a new life, a holiday of the newly married, young, the triumph of a newly formed family, just like the Romans , after parental days, celebrated the celebration of the establishment of marriage, Malronalia ”(Miller Sun, Russian Maslenitsa and Western European Carnival, p. 22),
appendix to the book on Rabelais, was inclined, it seems, to answer this question in the affirmative. great job about Gogol, his point of view, no doubt, would have been developed more fully and differentiated. However, today there is already a tendency to draw the most cardinal conclusions about Gogol's carnival laughter and its resemblance to the artists of the Renaissance. The question is fundamental enough to be avoided or limited to a general answer.
III. TWO DIRECTIONS FROM THE GENERALITY OF ACTION
Let's pay attention to the strange, still clearly misunderstood finale of the "Sorochinsky Fair", the first story "Evening- * Ditch". Events are crowned with a happy ending, the young have united, Khivri's opposition has been neutralized, everyone is cheerful - and a general dance begins. ;
“A strange, inexplicable feeling would have seized the spectators * lei, at the sight of how, from one blow with the musician’s bow ..., everything turned, willy-nilly, to unity and passed into harmony. People, on sullen whose faces It seems that a smile did not slip for a century, they stamped their feet and trembled their shoulders. Everything rushed. Everyone was dancing." We will continue the quote later. In the meantime, we note that this place is clearly correlated with another - when the Cherevik family, and with them the readers of the story, first saw the view of the fair.
“You must have heard a distant waterfall rolling somewhere, when the alarmed neighborhood is full of hum, and a chaos of wonderful, obscure sounds whirls before you. Isn't it true, isn't it those same Feelings that will instantly seize you in the whirlwind of a rural fair, when the whole people coalesces into one huge monster and moves with its whole body in the square and through the narrow streets, shouting, cackling, thundering? Noise, abuse, lowing, bleating, roaring - everything merges into one discordant dialect. Oxen, sacks, hay, gypsies, pots, women, gingerbread,
1 "Gogol's positive, 'bright' high-pitched laughter, which grew up on the soil of folk laughter culture, was not understood (in many respects it is not understood to this day)." (Context. 1972, Literary and theoretical research. M., Nauka, 1973, p. 254; reprinted in the book: Bakhtin M. Questions of literature and aesthetics. M., Fiction, 1975),
hats - everything is bright, colorful, discordant, rushing about in heaps and scurrying about before your eyes. Differing speeches drown each other, and not a single word will be snatched out, will not be saved from this flood; not a single cry is pronounced clearly.
The predominant note of this description is unity in diversity and chaos. An imperious, all-subduing force dominates over the flickering and discordance of details. The particular cannot stand apart, separate (“... not a single word will be snatched out ...”), it drowns in the general. Twice there is a view of the all-fascinating water element: a “rolling waterfall” - at the beginning and a “flood” - at the end. Between them - the climax of the scene - the image of a people fused into a huge monster, moving "with its whole body." In the carnival beginning, the fusion of people into a single being, the "physical contact of bodies" is a sign of the indivisible community of the people's beginning. "The people feel their concrete sensual material and bodily unity and community" ".
IN final scene- the same power to subdue the elements, the same universality of participation (“everything was rushing”, “everything was dancing”), the same transition of the folk group to a single action, supported by a single pattern of dance. However, picking up the main motif of the fair scene, the finale then sharply dissonances with it. The finale argues with the scene of the fair, limits and refines it. “... But an even stranger, even more inexplicable feeling would have awakened in the depths of the soul at the sight of old women, on whose dilapidated faces the indifference of the grave wafted, jostling between a new, laughing, living person. Careless! even without childish joy, without a spark of sympathy, whom drunkenness alone, like a mechanic of his lifeless automaton, forces to do something similar to a human one, they quietly shook their tipsy heads, dancing after the merry people, not even turning their eyes to the young couple.
The image of dancing old women is the first "strangeness" of the final scene. M. Bakhtin believes that we are facing a typical carnival moment: “the image of dancing old age (almost dancing death)" 2 . But it's not. Before us is not so much dancing as imitating dance old age. A moment of mario-inaccuracy is introduced into her behavior, a lifeless execution of the prescribed
1 Bakhtin M. Creativity Francois Rabelais,.., p. 277.
2 Context. 1972, p. 250.
will. And in the actual carnival fun, one can feel the wild " * tat of universal force, however, it merged with the oncoming flow of individual will. The dancers, the old women, have no such will: the action of universal force here is like a mechanical compulsion ("like a fur "nickname of your lifeless automaton") .
On another occasion, in connection with the figures of laughing pregnant old women from the collection of Kerch terracottas stored in the Hermitage, M. Bakhtin wrote: “This is a very characteristic expressive grotesque. He is ambivalent; this is a pregnant death that gives birth to death ". This characteristic is not applicable to the old women from the Sorochinskaya Fair. They do not participate in the cycle of life - they imitate it. They are not joyful (cf. laughing old age); on the contrary, their persistent joylessness, gloominess ("without childish joy, without a spark of sympathy") are in ominous contrast with the dance movements they produce. They do not bear the fruit of a new life in them - they only have "the indifference of the grave."
One “strangeness” of the finale is followed by another. The merriment and the noise of the dance subside: “Isn’t it true that joy, a beautiful and fickle guest, flies away from us, and in vain does a lonely sound think to express fun? In his own echo, he already hears sadness and the desert, and wildly listens to him. Is it not so that the frisky friends of a stormy and free youth, one by one, one by one, are lost in the world and finally leave one of their old brothers? Bored left! And the heart becomes heavy and sad, and there is nothing to help it.
The thread to this conclusion is hinted at by a phrase; "A strange inexplicable feeling would take possession of seelem..." 2 After all, there are no spectators in the actual collective dance action: “There are neither guests nor spectators at the carnival, all participants, all hosts” 3 . In other words, Gogol's story introduces an outside point of view - the narrator (who has not yet participated in the story or has participated very limitedly). This is his interested, admiring and at the same time detached view of the people's fun, unity, harmony. This is his non-participation in the general action, resulting in a sad sigh
1 Bakhtin M. The work of Francois Rabelais..., p. 31.
3 Bakhtin M. The work of Francois Rabelais..., p, 271,
"abandoned". Does the dancing mass plunge into the haze of the past? Or literally leaves an alien observer? In any case, what is left is a sharp dissonance to the undivided wholeness of the carnival beginning. Moreover, this inconsistency arises no longer on the basis of mechanical lifelessness (as in dancing old women), but under the influence of some deeper, although not yet revealed spirituality (“boringly abandoned” - a direct harbinger of the final phrase “The story of how he quarreled Ivan Ivanovich with Ivan Nikiforovich”: “... boring in this world, gentlemen”). Thus, we can state two directions in which a departure from the universality and integrity of folk action is being made. One - in the direction of a mechanical imitation of life, foreshadowing the moments of death, automatism, mortification - the whole complex of motives of "dead souls" that are so significant for the mature Gogol. The other direction is in the direction of some kind of deep, languishing in the rebbe and suffering spirituality.
Pravmir continues to publish a series of interviews with those who today create Russian culture in the broadest sense of the word. These are scientists, artists, writers, philosophers, poets, priests. Among them are those who remember almost the entire 20th century, and young people. The genre of unhurried conversation allows you to closely acquaint the reader with the interlocutor. This project, prepared jointly with the Ministry of Culture of the Russian Federation, will be our contribution to the formation of the corps oral history Russia and its culture, history that has voices and faces. Each interview is accompanied by a video, photographs and other illustrations. Today our interlocutor is Yuri Vladimirovich Mann.
Yuri Vladimirovich Mann is one of the largest domestic literary critics, a specialist in the culture of romanticism and the work of Nikolai Vasilyevich Gogol. Doctor philological sciences(1973). Author of the monograph "Gogol's Poetics" and many others.
About fears: Stalin, state secrets, "scrapping" and sanitary checkpoints
I am a native Muscovite, and, basically, I have lived all my life in this city. My parents are people, as they say, of low rank. Father is an engineer-economist, mother was a typist-stenographer. This profession is considered not very prestigious, but she was a master of her craft.
I don’t know how it is now, but before the war, the engineer could not provide for a family of three, so my mother decided to earn extra money and went to stenographer courses. Prior to that, she entered a medical institute, and I remember that Professor Kablukov, a chemist, drew attention to her and urged her to study in every possible way. In general, all my ancestors are musicians or doctors. But I had to leave the institute and take up shorthand.
And she was a high-class typist-stenographer, they were called "parliamentary" ones. As you understand, this had nothing to do with parliament - we didn’t even have it at that time. It’s just that parliamentary is a special qualification: typists write for five minutes at a meeting, and then immediately decipher it. Then they write and decipher again, so that at the end of the meeting there was already finished text. Therefore, they are called parliamentary - this is aerobatics in shorthand.
My parents are non-partisan, although I can’t say that they were against it. Soviet power. An ordinary family, we didn’t talk about politics, if something was said, then, probably, secretly from me.
The family was not subjected to repression, although distant relatives still ended up in the camps, but they were distant relatives, and the father and mother were just small people, no one touched them.
Although my mother, as a stenographer of a very high rank, was invited to work at the Ministry of the Tank Industry, and not for anyone, but for the minister. First it was Zaltsman, and then Malyshev. And I remember my mother told me that he had outstanding organizational skills.
They often worked at night, because they were always waiting for Stalin's call - he liked to call at night and did sometimes call. But even regardless of these calls, they worked around the clock - and secretaries-stenographers usually worked according to such a schedule - they work a day, they rest for two days. With this night work, my mother acquired severe hypertension, which they could not treat then, and she died of a stroke before she reached the age of sixty.
When I compare modern life with the past, and when everyone says that they lived in fear all the time, this, of course, was. But at the same time, there are many factors involved. On the one hand, everyone was afraid, and on the other hand, there are a lot of things that modern point vision should have frightened, no one was frightened.
For example, my mother worked as a secretary and stenographer for the Minister of Tank Industry. We lived not far from here in a communal apartment, and we did not have central heating - it was installed only after the war. And before that there was a “Dutch” stove and, accordingly, firewood.
But during the war there was no firewood. The room was small and another slightly larger. How were they heated? They closed the door and lived in this dark room. In the same place, they cooked on a kerosene stove or stove. Thus, the room warmed up to about eight or ten degrees Celsius. Then they bought an iron stove "potbelly stove", which they put in the room, a pipe immediately went out, and tea was boiled on this stove.
There is no firewood. What to do? And my mother brought full string bags of draft paper, just think, from the office of the Minister of Tank Industry. And neither her mother nor the guards who let her through had the thought to see what was there. But there could be some military secrets.
That is, on the one hand, they were afraid, and, on the other hand, they did not understand anything at all, and those criteria that today give rise to fear and fear did not work then.
By analogy, also to the question of fear, I recall another episode. I am a student of the ninth or eighth grade, we are accepted into the Komsomol. What is needed for this? To do this, you need to listen to one or two lectures about the Komsomol, then we learned the charter, passed the corresponding, if not an exam, then a test. That's all.
And then I take it, and blurt out: “Well, we did everything, we only have to go through the sanitary checkpoint.”
Now it doesn't say anything, but then it was very important. Because everyone who came to Moscow from the evacuation was taken through the sanitary checkpoint and looked for lice. Fleas are nothing. The most dangerous is lice. Passed - that means everything, you can live in peace.
And I take it and blurt out this, so to speak, “joke”. So what? I wasn't afraid of anything. Can you imagine if I had been denounced for such anti-Soviet statements, what would have happened to me? But nobody did. I successfully survived.
I didn't know what to be afraid of? I am for Soviet power. Well, guess what, it's an innocent joke. And only when the Komsomol committee of the school approved me, the secretary of the Komsomol organization, Bondarchuk (he later entered the history department of Moscow State University and became a prominent scientist, studied Italy) said: “Yurka, what are you talking about the sanitary inspection room?” Everyone knew, and all the bureau members laughed. That's all.
We also had an old house. Now, by the way, there is a bank there, no one lives there anymore. And, despite the fact that our house was to be demolished, we were waiting for this event with horror all the time. After all, what did it mean to break a house in Moscow? They didn’t give apartments, but gave two thousand rubles in the teeth - go and build somewhere near Moscow. In part, it was even a plan to free Moscow from superfluous people, not checked and not nomenklatura.
But in the end we were not relocated anywhere. Mom ran all the time to the executive committee, found out if our house was “on the red line”. This special expression meant that the house was to be demolished. I don’t remember what they told her: either she is, or she will be placed there.
But the war began, and it was no longer up to that. And after the war, imagine, I discovered that this house was being restored. It was rebuilt: now there are long corridors and this is a bank. And if you drive along the Garden Ring, you will see that it even says: Ulansky lane, building 13, bank.
"Picked out"
Our evacuation was very short and peculiar. Even before the ministry, my mother worked in the Administration of the Moscow-Ryazan Railway, then it was called Leninskaya. And, since she worked in the Road Administration, they took us not far from Moscow.
First in Zemetchino, Penza region, and then in Sasovo, Ryazan region. We lived in freight cars, in the so-called vans. Why in Sasovo? Because the Directorate is a necessary institution, and everyone was waiting for the moment when it could be returned to Moscow.
For about a month we lived in vans, then we were placed in some kind of family, of course, by way of coercion. Then, as soon as the Germans were driven a little away from Moscow, we were again settled in tepushushki, we lived there for a certain number of days and went to Moscow. There were potbelly stoves in the teplushkas, but it was cold everywhere, and in Moscow too.
Our situation was the same as in the capital: complete blackout, all the strictness of wartime. If the Germans somehow changed direction, then they could completely capture Sasovo as well.
I remember locals, who did not like the evacuees very much, they called us “picked out”. And so a group of such “picked out” gathered, and this council discussed the problem of leaving for Tashkent.
My mother immediately said: “No, I will not go to any Tashkent, we will sit here.” And indeed, as soon as the Germans were driven literally a hundred or two hundred kilometers, we were returned to Moscow. It was the beginning of 1942.
War: nights on the subway, chess and a globe
I remember very well the snowy Moscow, the city was not cleaned, the orders of the Supreme Commander-in-Chief hung everywhere. In these orders, the first and last lines made a special impression on me. The first line was: "Sim declared a state of siege in Moscow." I was impressed by the word "sim", that is, "real", I have never heard such a word and looked with respect.
The last line also fully corresponded to the situation: “Alarmists and provocateurs should be shot on the spot” And the signature: Supreme Commander-in-Chief Marshal (then still Marshal, not Generalissimo) of the Soviet Union Stalin.
And now, Moscow, the schools did not work. What did we do? They collected fragments of shells and bombs, I even kept them until recently. The Germans bombed, but even before the bombing began, we went to the bomb shelter.
On June 22, the war began; on July 22, bombings began. Moreover, the Germans had everything so precisely and accurately that it was possible to compare watches. "Citizens, air raid, citizens, air raid!" - everyone was waiting for this message, and then they fled to the bomb shelter.
Mom took my hand, and in the other she carried a typewriter, I still have it, “Remington Portable”. This machine was bought at the cost of incredible savings, my mother needed this production tool. It was the most expensive thing we have in the house.
And so my mother took the typewriter in one hand, me in the other, and dragged me to the Krasnye Vorota metro station, then it was called Lermontovskaya. Closer to us was Kirovskaya, but it was closed: there was an underground building of the general staff.
The hall was separated by special shields; it was not visible what was going on there. The trains passed by without stopping. Someone said that they heard Stalin enter the subway. Well, Stalin was often seen - how such a hallucination arose; maybe so, maybe not.
We went to the subway every evening for a while. We took some pillows, light blankets with us, wooden flooring was made in the tunnel, we slept or dozed there until the same Levitan’s voice sounded: “The threat of a military attack has passed, the lights out.”
Once a group of children's writers came to us to support the little one. And I still remember Marshak's performance.
And my father put out firebombs. He worked in a design organization, and was a white-ticketer - he was not taken into the army. He stayed in Moscow, but did not go to the subway with us. They found bombs, they had to be put in boxes of sand so that there would be no fire.
And at the end of 1942 - in 1943, everything was already tired, and no one went to the bomb shelter. I can’t vouch for everyone, but we definitely didn’t go, we stayed at home and waited. I must say that Moscow was not heavily bombed, they defended it very well. And so I, for example, remember only two or three hits.
Once it happened on Kirov Street, where there was a telephone exchange. Imagine, such a huge gray building, then it was almost the only station, and the pilots, apparently, were aiming at it, but ended up in some house.
Another time, a bomb fell on Sretensky Boulevard, and it was a ton bomb, that is, the largest one, it did not explode, but a huge hole was dug; and we boys were not afraid and ran to look at her.
Even during the war, I ran to the Turgenev reading room. Now it is in a different place, but before it was on the square that goes to the Kirovskaya metro station. Such an old building. I remember noticing how badly the librarians were dressed. We, too, could not boast of prosperity, and our teachers were in poverty, but these library workers were especially distinguished. I remember one librarian, an old man, he always walked in galoshes, and, in my opinion, on his bare feet.
The products were all on the cards, there were no other sources, although they bought something on the market. And they bought, of course, in exchange for things.
For example, before the war, as a boy, I played chess, and for my age I probably played quite well. Just before the start of the war, we decided to organize an official tournament in order to get a rank.
The lowest rank was fifth. And so we had to officially lose a certain number of games in order for the winner to receive this fifth category. We agreed with the House of Pioneers, which was then nearby, on Stopani Street (this is next to Kirov Street, as Myasnitskaya Street was then called), but the war had already begun, and these circles were no longer involved.
And my chess was exchanged for a loaf of bread. And with that, in general, my chess career ended. I no longer touched chess.
I remember another thing dear to me: I had a globe. So this globe was also replaced, I don’t remember, for one or two loaves of bread; I still remember the name of the family where he went.
Of course, you can’t complain, because after all, it’s not Leningrad, we didn’t die of hunger here. But I wanted to eat all the time. The norm was as follows: a dependent, including children, - 400 grams of bread, employees - 600 grams, and workers - 800 grams of bread.
Now I don’t even eat a hundred grams of bread, but then it was the main food, especially such a limited one. So, of course, I dreamed all the time: the war will end, I will buy myself one loaf - 400 grams, and eat it myself from beginning to end.
About the Italian surname, the Jewish pogrom and the Stirlitz family
I said that my ancestors were either doctors or musicians. My grandmother graduated from the Berlin Conservatory, her surname Pinetti is Clara Matveevna Pinetti. Her surname was Italian, but she was Jewish.
When I was in Venice with Vittorio Strada, I asked: my grandmother had Italian surname although we seem to have Italian blood did not have. He replied: yes, yes, in northern Italy there is Jewish surname It's Pinetti.
And then something amazing happened...
Grandmother, although she graduated from the Berlin Conservatory, never played music. She married a doctor - this is another branch of our family name - doctor Dunayevsky.
Yakov Dunayevsky was a prominent physician, and they came to Russia, and since he was a certified physician and a very prominent specialist, the family was allowed to live not beyond the Pale of Settlement, but in Orel.
Then it was a typical noble city and a typical Russian city, but, nevertheless, they lived there until the beginning of the revolution.
Dunayevsky had his own balneary, but they lost everything during Denikin's campaign. We now idealize whites, everyone blames the reds, but, of course, both were good.
When Denikin was in Orel, a Jewish pogrom took place. The Reds did not suit, but the Whites did. And now my grandfather, respectively, my mother's father was left without everything, the hydropathic was taken away. And then my mother came to Moscow, I was born in Moscow, and I never saw my grandfather: he died.
So, an incredible, almost detective story: when my memoirs came out, I suddenly receive a letter from Israel .. It turns out that my relative, second cousin, Viktor Moiseev, was found.
His grandmother and my grandmother are sisters. This is a pretty close relative. And he, unlike me, is very interested in our family tree.
And, in particular, he told me: “Your grandmother was considered the smartest among the four sisters in our family. And my grandmother was considered the most stupid, ”he was not afraid to say this.
And he also wrote that in our family there were different people. And among these people is one of the greatest intelligence officers of the 20th century. His surname is Pinto, a modified form of Pinetti. He was a Dutch subject, so he was sent to England, and he was engaged in exposing German spies.
Moreover, there is a book dedicated to him, which was called “Spy Hunters”, it was translated into Russian, and I found it on the Internet. You can also find it, it was republished during the Soviet period, just like an episode of the war years.
I told a friend about this story:
- You know, I still have a very hard time believing that it really was our relative.
-Why?.
- Because neither in my relatives whom I knew - my mother, father, nor, moreover, in myself - I do not see the qualities for such work.
The answer was: I'm sorry, first of all, you don't know all your relatives. And, secondly, each family can hide its own Stirlitz.
About a German grandmother, uncle and that the world is small
I knew my grandmother from my mother's side, she was a very colorful figure. She graduated from the Berlin Conservatory, knew German literature very well, and I often saw her with a German book in her hands.
By the way, when the war began, even before the attack on us, she was worried about Germany. Like, the Nazis are just a small group, and the people have nothing to do with it. Then, of course, there was no trace of these iridescent ideas.
Usually the grandmother lived with her son, Uncle Leni. Or in the summer she lived with her son, and in the winter she came to us in Moscow, on Ulansky Lane. And my uncle was a doctor, then he was drafted into the army, and he rose to the rank of chief physician of the hospital.
At first he was in Tikhvin, and then the famous Tikhvin operation happened and the hospital was moved to Cherepovets Vologda region where he lived with his family. Aunt Avrusya is his wife, Galya is a daughter whom I have never seen, my cousin, and that's it.
And now, about the fact that the world is small: once Leonid Parfenov was at my house. He was filming a picture about Gogol, it was a big anniversary, 200 years since his birth. And he came to me to consult, to discuss some things according to the script.
And after the conversation, we were sitting at coffee, and I told him:
- Tell me, please, are you from Cherepovets?
- Yes, he says, my mother still lives there.
And I say: My uncle was the chief physician of the hospital in Cherepovets.
- What's his last name?
- Dunaevsky.
And Leonid Parfyonov says: If you hadn't given me that last name, I would have given it myself. Because my family used to live next to them and he was a very famous person.
And indeed, they sent me a clipping from the Cherepovets newspaper, which, unfortunately, I lost ... There was a huge article with a portrait of my uncle, and the title was: "Thank you, doctor." This was followed by letters from people treated by Leonid Dunayevsky.
They also told such an episode: after the war, his hospital was turned into a hospital for German prisoners of war. The head physician remained, the doctors are the same. And once one of the Germans saved him from certain death.
The uncle bent over the bed of some sick person, and at that moment one sick man waved the crutch with all his strength over his head, and the other put his hand under this crutch. His arm was broken, but he saved my uncle.
So, Leonid Parfyonov says: “I would have told you everything myself. I remember when your grandmother could no longer walk, she was taken out in a chair into the yard, and German prisoners of war came to her in order to speak German.
There are still tragic pages and episodes ... I actually did not know my only cousin. We have not been to Cherepovets, but her life somehow turned out unsuccessfully. She gave birth to a child who is not known from whom - a single mother, and this served as some kind of moral irritant.
In short, Parfyonov takes a mobile phone and, in front of me, calls his mother in Cherepovets right from the kitchen and asks: “Tell me, please, what was the last thing you heard about Gala Dunaevskaya?” It turned out that by that time my sister had died seven years ago.
About school
My first school, even before the war, was in Ulansky Lane, 281st. Education then was mixed. And in front of our school was the famous, as they said, “Armenian house”. But in fact, Assyrians lived there, who cleaned boots all over Moscow.
It was terribly poor and crowded there, but I, as a family boy, immediately fell under the influence of the hooligan Danila Zumaev: he immediately took me into his turn. He was a hooligan, disrupted the lessons, and I was with him. And I remember how my mother came home from parent-teacher meetings mortally upset, because, as they say, I was persuaded.
But, thank God, it all ended because he stayed in the first grade for the second year, and then even for the third, so he safely disappeared from my field of vision, and I was saved.
And one episode occurred many years after the war. I lived then at the Losinoostrovskaya station, and every day I passed by a kiosk where these Assyrians cleaned their boots. And once the shoe shiner recognized me, rather, even guessed it, and said: “You must have studied, you became an engineer. And my Zumayka is still cleaning his boots.” By that time, I had really learned, although I did not become an engineer. But I don't know anything else about this family.
Schools were closed in 1941 and 1942, and all my peers missed class, but I didn't. Then all this was almost not controlled, and my mother enrolled me in the fifth grade, although I did not pass the fourth. So I did not lose a year, but at the beginning it was very difficult.
Because algebra began, and I didn’t understand anything about it. And I still wanted to eat all the time. Although it’s a sin to complain: I was supposed to have 400 grams, my mother 600, my father 800 grams of bread a day.
It was worse for those who stood in the bakery. Bread was always cut strictly according to cards with attachments. And there was always a grandmother or grandfather near the seller, they collected weights in a bag. And sometimes they announced that the card was lost, sometimes they simply collected it for food.
As I said, education was still co-ed then, and there were a lot of very attractive girls in my class. One girl is of striking beauty, Lera Vasilyeva. She was early matured, she didn’t pay any attention to us, small fry, and, it seems, even before she graduated from school, she married the famous football player Konstantin Beskov.
And not very long ago, when Beskov was buried, Moskovsky Komsomolets placed her profile picture under a mourning veil. It was she, I recognized Lera Vasilyeva in this woman.
And I also remember another girl - Zhenya Tanaschishina. She was a slightly different type, plump, we sat at the same desk with her. I think she liked me, and I liked her too.
One day she came to school crying. Her father, Tanaschishin, lieutenant general of the tank troops, was mentioned more than once in Stalin's orders. These orders were heard on the radio, printed in the newspapers. They usually ended with the words: "Eternal memory to the heroes, death to the German invaders." And then one day the news came that General Tanaschishin had died.
Victory: a joyful day with bitterness
In the spring of 1945, when they already felt that victory was coming, the mood was completely different.
During the war, there were no receivers, they were taken away at the beginning of the war so that enemy voices would not be heard on the radio. In fact, receivers at that time were a luxury, only wealthy people had them, and I remember how, with the beginning of the war, they were brought from everywhere in wheelchairs and handed over to the main post office on Kirovskaya. (After the war, the receivers, of course, were returned).
And we did not have a receiver, there was only a radio station. Moreover, the radio stations were of two sizes - one large, the size of a dinner plate, and the other small, slightly larger than a saucer. But both plates accepted only one program. At night, the radio was turned off to hear the air raid announcement, and at the end of the war they waited for news of victory.
Everyone rejoiced, many ran out into the street, some, including me, ran to Red Square. There were a lot of people, but it was not filled at all - there were such handfuls. Moreover, there were two such favorite activities: when a car drove up to the Spassky Gates, everyone ran headlong to it, because they thought they would see Stalin. We did not wait for Stalin. And another favorite pastime - when they met a military man, they began to download him. And there were a dozen such swings on Red Square, if not more.
I myself did not take part in the swing - I simply would not have reached out. In the group in which I stood, they rocked a naval officer, and then, when he landed, looked around, felt around, it turned out that his dagger had been cut off and stolen. From annoyance and grief, he even sat down on the paving stones. At that time I did not understand what it was: what it was a personal weapon, and what was the threat of losing it.
Moscow University: the habit of thinking, the national question and social work
I entered the university in 1947. At school, I studied in different ways, because, as I said, I missed one class and was not very diligent, but in the ninth grade I took up my mind and decided to earn a medal, which I eventually succeeded in.
Even then I decided that I would go to the Faculty of Philology. There were several reasons. I went to paid lectures for schoolchildren entering Moscow State University. They were read by famous scientists, Nikolai Kiryakovich Piksanov, Abram Alexandrovich Belkin, Dmitry Dmitrievich Blagoy and others.
All this made a great impression on me, and the very manner of reading: not memorized formulations, but when a person stands in front of you, sometimes leaves the pulpit and returns - and reflects. I realized then that I could think too, after all. Why am I worse?
But not everyone liked this style. I remember: Piksanov, Corresponding Member of the Academy of Sciences, the greatest expert on Griboyedov, received the following note: "Tell me, how long have you been preparing for this lecture?" Those who were waiting for this lecture are accustomed to memorized phrases, but here a person corrects himself, thinks on the go. I liked it, but not everyone.
Here Piksanov stood up, straightened up and said: "Professor Piksanov has been preparing for today's lecture all his life." And they applauded him, supported him. These lectures were one of the factors that influenced me: I decided to enter the Faculty of Philology.
Then I did not know that the recruitment on a national basis had already begun. He was not yet so strict, but he was already beginning. And two people took the exam with me, I, Vladislav Zaitsev, who later became a professor at Moscow State University, and Ostrovsky. We both had gold medals, Ostrovsky - silver.
As medalists, we only had an interview. I was asked several questions on philosophy, according to Hegel, I answered. Examined Arkhipov, an odious figure. At that time he was just a graduate student, and then he denounced Ehrenburg and Turgenev for not understanding the revolution.
Zaitsev was also questioned and made it clear that he was accepted. But Ostrovsky, who had a silver medal, was not accepted. True, he later entered the Maurice Thorez Institute of Foreign Languages. He successfully graduated and then taught English language at school, they only asked to change his middle name: he was Daniil Izrailevich, and the students introduced himself as Daniil Ilyich.
I was a personal scholarship holder: I had a Mayakovsky scholarship. In addition, after the first semester of the second year, I began to actively study community service, which I now regret, because I clearly did not play my role - I did not have and do not have any organizational abilities.
And it all happened this way. I passed the first session perfectly, much to my surprise. At the seminars, I was not very active, and in general I saw that many were better than me. But it turned out that I was even noted at the exams, and my classmate Remir Grigorenko, a participant in the war, approached me. He was instructed to create a Komsomol bureau, he came up to me and said: "I'm tired of the threesomes in the members of the bureau, I want there to be successful people." And I was elected to the Komsomol bureau of the course, they entrusted me with the patronage sector.
What it is? This patronage of vocational schools, FZO. What were we doing there? They organized various circles, conducted political information, organized amateur performances. And I, not possessing any organizational skills, gave a lot of time and energy to this work.
What was driving me? Of course, there was also a share of vanity and self-affirmation, but there were - how many will now believe in it? - sincerity, Komsomol enthusiasm and faith, but was it only me who had this feeling?
Here is a dedicatory inscription made by my classmate Gennady Gachev on the book “Family Comedies”: “To dear Yuri Mann, in memory of our student years, when we were not academic colleagues, but Komsomol members, restless hearts. I smile and wish you the same. Yours Gena Gachev. And I smile, but not without a hint of sadness and regret. Like this.
Moscow University: professors and authorities
Very strong impression It was Leonid Efimovich Pinsky who turned me on. He taught Western literature, only one semester. A very prominent scientist, partly like-minded Bakhtin. He visited him when he was still living in Saransk.
Pinsky made a strong impression on me: I really like people who think. He did just that: he walked from wall to wall, pondered, corrected himself, and a school of thought opened up before you. Then he became the author of fundamental works - about Shakespeare, about the realism of the Renaissance, then they did not yet exist.
And a year later he was imprisoned and repressed. And he was planted by none other than Yakov Efimovich Elsberg, professor. Least of all we thought he was capable of doing it. Such a pure intellectual, surprisingly delicate, he brought boxes of sweets with him to the institute where he worked and treated the watchmen. But it turned out that he had written a denunciation against Pinsky. I do not presume to judge him, I was not in such a position.
Pinsky and I had a mutual friend, Rozalia Naumovna Shtilman, she worked in the magazine " Soviet literature in foreign languages". And after the release of Pinsky, when it became clear who had denounced him, she, having met Elsberg in the House of Writers, gave him a slap in the face.
And then I met Pinsky at home. Rosalia Naumovna was friendly with him, and for some time we even sat at the same table in the House of Creativity in Peredelkino. I remember his witticisms, they were so caustic. For example, he said how a Soviet journalist differs from a Soviet writer: a writer is a prostitute who gives herself up in luxurious surroundings, she needs dinner, courtship, gifts, etc., and a journalist is a prostitute who stands on the panel. Like this.
I also liked Dmitry Dmitrievich Blagoy. True, Blagoy did not teach us. He had colossal knowledge, although he was opportunistic - he was influenced by the situation. His second volume of Pushkin's biography (it must be said, unlike the first), attracts with remarkable thoroughness and good quality.
I can't name many. Abram Alexandrovich Belkin is a bright figure, but, unfortunately, subject to all sorts of influences. He studied Dostoevsky and exalted him in every possible way. And then a campaign against Dostoevsky began, he began to scold him. But what can you do.
In the famous wall newspaper of the philological faculty of Moscow State University "Komsomolia" there was a huge article that exposed Belkin in revisionism, cosmopolitanism, etc. The article was called "What is Associate Professor Belkin Thinking About?". This article was written by one of the critics, who later became a prominent liberal critic. It is clear, from the title it is clear that he is thinking about something not very good.
Belkin was not arrested, thank God, they did not have time. And then I met him already in the editorial office of the Encyclopedia, where I got a job.
After university: "not our man."
After university, I worked at a school - I could not get a postgraduate course, although I was recommended. I even tried several times to pass the exams in absentia, once at the city pedagogical Potemkin Institute. As a school teacher, I had the right to pass the candidate's minimum, and then write a dissertation in such a correspondence order.
I came to the exam, the commission was headed by Professor Revyakin. He asked me a few questions - I answered, he a few more questions - I answered, he a few more questions. And he began to ask such questions, which, I think, he would not have answered himself. In short, he said, “Well, what are you? I can't give you more than a two."
This was done on purpose: I was simply objectionable on the “fifth point”. And one of the members of the commission - Leonid Grossman, also, as they said then, a disabled person of the fifth group, Revyakin said before the exam: "You can go home."
But I do not blame Revyakin: I found out later that he protected Grossman with all his might. They demanded from him that he fired him, but he kept it. Well, I'm an unknown boy. So, they put two.
And then, at the end of the episode, when I defended my doctoral thesis at the Institute of World Literature, I was not allowed to defend myself there, but for a different reason. Because I was a revisionist, the author of Novy Mir, and generally a dubious person.
This was already a campaign against Tvardovsky, of course. In short, no, no, not our man.
And then, independently of me, people, first of all, the late Ulrich Focht and Georgy Panteleimonovich Makagonenko, agreed that I would defend myself at St. Petersburg University, it was then Leningrad University. I defended myself there.
And then, to finish this story with Revyakin… Revyakin was a member of the VAK, and Focht, apparently, asked him to make sure that I went through there normally. Revyakin called me himself: “Here, I inform you that yesterday you were unanimously approved.” Everything went great. I did not remind him, and he forgot that before I had somehow not been very lucky with him.
In general, it is interesting that the HAC held my Ph.D. thesis for almost eleven months. They didn't claim.
Employment biography: "New World" and beyond ...
In Novy Mir, I collaborated and worked as an author, there was no need to assert myself here. I brought the article "New World", they said: "You are ours." And I enjoyed writing to them.
I remember Askoldov, later a famous film director, he signed this letter as a student. He was expelled from the students, and we were required to repent. Because Alexei Surkov spoke in the assembly hall of Moscow State University with a report on the ideological vacillations of writers, and we had to speak, say that we were wrong, and so on.
We refused, except for one. He spoke, it was placed in the newspaper, in Literaturka. Thank God, only on his own behalf he said that he did not understand the perniciousness of this very phenomenon.
I do not blame him, he is a very decent, gifted person, he was simply threatened that he would be expelled from graduate school. It turned out that my position was the safest. I worked at a school for working youth, and my acquaintance, a very famous language teacher at that time, Semyon Gurevich, told me: do not be afraid, you will not be sent further than the front.
(Just the other day I learned that Alexander Tvardovsky drew attention to our letter. A wonderful book was published: Alexander Tvardovsky. Diary. 1950-1959. M. 2013; compilers and commentators are Tvardovsky's daughters, Olga Alexandrovna and Valentina Alexandrovna. And here on the pages 140, 469 speaks of this episode).
And I ended up in the school of working youth because they didn’t take me anywhere. I was in ten, if not more, organizations, schools or literary museums, filled out a questionnaire, I was told: no. And I came to the school of working youth - and they took me. One woman there said: "You can sit with us for a while, everything will calm down." And there I worked for four years, the last year I combined - I was invited to the House of Children's Books under Detgiz, as a junior editor.
The students at the school were different - those who for some reason did not study at an ordinary school. Someone wanted to study less, someone wanted to work, someone - because they knew that the requirements in the school of working youth are not so high. In addition, there were many overgrown people: they did not have certificates and they could acquire a certificate from us with parallel service.
I was a teacher of literature, and taught only the tenth grade. They put me in to prepare them for graduation, that is, exams.
Like this. School, House of Children's Books, magazine "Soviet Literature", graduate school, then the Institute of World Literature - Researcher junior to the main one, and then the Russian State University for the Humanities.
School of working youth: crooks and liberals
- So, I worked at the School of Working Youth, which, by the way, was not far from my house on Domnikovka. Lane Vokzalny, Vokzalny district.
My students were different. Some simply dropped out of school to get better grades - because it was believed that the requirements here were not as serious as in a regular school. There were some that worked. There were, finally, those who were forced by necessity to obtain a matriculation certificate.
Therefore, there were a lot of policemen in my classes - in order to continue their careers, they had to have a matriculation certificate, which not everyone had. Here they are learning.
But the most interesting thing is that in my class there were also swindlers, this is a big word, but still people who are dishonest in their hands and paid for it, in particular, by being expelled from school. They were minors, so they were not prosecuted.
I must say that I am not very observant - I did not distinguish those who should catch crooks from those who were crooks. Well, besides, within the school they behaved very tolerantly, as they say now. Tolerated each other, and everything was fine.
However, there were many interesting episodes. For example, like this. I must say that classes at school ended at half past eleven at night. Started at 7 o'clock with a little, ended at half past twelve last lesson. The school on Domnikovka, I have already said, is a thieves' district. Three stations.
And so I return at night, and I hear: several teenagers and girls are standing in the distance, and they are swearing in such a foul language that I have never heard before, I don’t know on which floor. Although I got used to it, because Ulansky Lane, where I lived, was also not an elite area, as they would say now. And of course, since childhood, I knew all these words. But then I even got a little confused, because such sophisticated abuse, such perfection, I never dreamed of.
With some trepidation, I decided to cross over to the other side so as not to face them face to face. And when I had already put my foot on the sidewalk, I suddenly heard an exclamation: “Yuri Vladimirovich, do not be afraid! It's us, your students!"
By the way, I must say that the people, in general, were quite good-natured, and it was easy for me to get along with them. It may not speak in my favor, but I'm honest, and they treated me well too.
Apparently, they were especially disposed in my favor by such a circumstance: during classes I was rather strict, and during examinations I was a liberal, a completely rotten liberal. And this, apparently, made an impression on them. They expected reprisals from me, but I did not suit her.
By the way, I still can’t stand exams, so I try to evade them. So, when I came to the Russian State University for the Humanities and I had to take exams, I asked them to give me some kind of alternative service. Maybe wash the glass, whatever.
I can't stand these exams. Therefore, on the one hand, they tell you what you told them, and in such a style that it becomes uncomfortable for you: as if you are saying it.
And, secondly ... I have never been able to keep track of who uses cheat sheets, who does not. It's just, like, not mine. And so I always had some doubts: suddenly he cheated; or suddenly did not write off - and I will be unfair. That's why I preferred to be a liberal.
By analogy, I can recall a case at the university, at Moscow State University, where I studied at the philological faculty. And there was Kuznetsov, professor of the history of the Russian language. Such a little out of this world, absent-minded, not paying attention to whether students cheat or not cheat, suggest or do not suggest. And he could hand over as he liked - one person handed over for several. He did not notice this at all and put the appropriate mark.
And it must also be explained that this was immediately after the war. Once Professor Kuznetsov, without looking up from the table, said: "If I see these felt boots again, I'll put a deuce." That is, he noticed by the felt boots that this same student came many times. This, of course, could not fail to draw the attention of Professor Kuznetsov to him. Although it would be possible to change boots - and everything worked out.
So I'm a little close to that type.
About anti-Semitism and concussion
An interesting detail: I taught at this school when the so-called cosmopolitan company was gaining strength. Then it had an even more specific designation - "The Case of Doctors", who wanted to kill Stalin, and a lot of party leaders were killed there.
Lists of those who were to be evicted from Moscow were already being prepared. We were already on the approach of the heating trucks. True, I didn't see it myself. I only know one thing: we then lived in a communal apartment and a responsible tenant, I can already name her name now, since she is no longer alive, Pokrovskaya Tatyana Fedorovna ...
She was close to the management of the house and started every morning by calling her friends and saying: "Very soon, many, many apartments and rooms will be vacated" - referring to the upcoming deportation. But that did not happen.
Why am I saying this? In my school, I did not feel the slightest anti-Semitic spirit. They say that in general there is no anti-Semitism among convicted people in the zone. I don't know, I, thank God, was not in the zone. And here is the fact that in our school, since it simply fell out of the general system, educational work was carried out there differently, or not at all, there was no other then. But there was such, if we use the old term, the friendship of peoples.
Here is another typical example. It so happened that during my teaching, my friend and I were very fond of skiing. And every Sunday - along Domnikovka down to three stations, then on the train, and to some such nearby area where there were mountains.
And now I remember: there were such high mountains in Skhodnya, and I landed very unsuccessfully. So how did you land? I drove down the mountain, there was a springboard that I didn't notice. Fell, lost consciousness.
Came home in the evening. By that time everything was gone, I did not pay attention to it. The only thing: I had a healthy scratch on my forehead. And I decided: how can I go to school tomorrow? My students will think I got into a fight! So it needs to be done somehow. And he went to Sklifosovsky (we lived nearby) to the emergency room.
And in the emergency room, the doctor showed me his finger: so, so, so. And he said, “No. We won't let you out. You have a concussion." And I spent two weeks in Sklifosovsky. It's next to the house where I lived, and next to the school where I worked, not far.
And imagine, I did not expect this at all: almost the whole class came to see me every day. They could still pass, because one of my students, I even remember her last name, Senatova, was a nurse at Sklifosovsky. She gave them a pass and they all got through.
I was extremely moved, of course.
This is simple, so that you can appreciate the degree of responsiveness and even in this case one can say the internationalism of my students.
Literary work ... in six hundred characters
However, I am very grateful to the school because I had a lot of free time. Only evening classes. Moreover, I didn’t use homework, once I tried to do a homework, and they say: “We don’t go home: either at work or walking.” And I realized that they don't need any homework. All the same, they write off and therefore they wrote only at school, mostly at school.
And so I had a lot of free time. I then thought about what I should do, because, as I already said, I was recommended for graduate school, but they didn’t take me.
The recommendation was made by a special graduation committee. This commission was headed by an associate professor named Pochekuev. This commission was engaged in strictly separating the faithful from the infidels. Even the name went “pochekutsiya”. But the school of working youth suited me by the fact that there was a lot of time. I began to slowly engage myself - well, something had to be done.
And then I had this idea: very often I passed by the editorial office of the Great Soviet Encyclopedia - this is on Pokrovka, a little lower, it still exists there. I kept passing by and thought: “Someone is writing these articles in an encyclopedia. They don't create themselves." I decided not to try to apply my forces in this area. And went without any advice.
It was already evening, an elderly man was sitting in one of the rooms, as I later found out Viktor Vladimirovich Zhdanov, head of the editorial board for literature and language. "What do you want?" I said that I work at a school and that I would like to offer you my services. He looked at me and said: "Well, you know, we pay very little money." I wanted to say that I was ready to work for free, but I said: "That's nothing." Then he looked at me and said: "You know, we are going out very slowly." I say: "I can wait, I have a lot of time." - "Well, well, what to do."
He took the dictionary. I didn't know then that it was called a dictionary. I began to leaf through and found one last name - Dmitry Timofeevich Lensky. "Do you know this?" I heard something. Famous vaudevillian and actor, the first performer of the role of Khlestakov in the Moscow Theater; in St. Petersburg - Dyur, in Moscow - Lensky. And also Dmitry Timofeevich is the author of wonderful vaudevilles, including Lev Gurovich Sinichkin. Famous character. I knew something about him then, but, frankly, not much.
And so Zhdanov said: "Well, write an article about Lensky, just keep in mind - no more than 600 characters." And then, when I was already leaving the room, I was at the door, he shouted to me: “No more than six hundred characters!”
These “six hundred characters” made such an impression on me that at home, when I wrote the article, I myself counted the characters, and replaced some too long words with shorter ones; For some reason, I decided that if I have more, then no one will simply look at the article.
I brought this article, Zhdanov looked, nodded his head, said: “Good. Fine". Zhdanov did not read, but immediately assigned me the next article - about Nikolai Ivanovich Nadezhdin.
This is a wonderful critic, I studied him in university years, wrote a term paper about him, so he gladly agreed to write the article proposed by Zhdanov.
And I must say that this was almost my first publication. You can look it up in the Great Soviet Encyclopedia, a little blue one, big thick volumes; the previous ones, in my opinion, are red, and this one is blue. "Lensky" was written by me and "Nadezhdin" too. So I got, so to speak, not into science, but, in any case, I came close to this profession. As Khlestakov said: “Why far? When can you get closer?
True, all this came out later, but in fact it was my first, if such a big word can be applied - literary work, which I nurtured for a very long time, because I mainly counted the signs.
By magazines
In general, it must be said that all my literary undertakings did absolutely without anyone's help, that is, patronage. I didn’t even have people to whom I could turn with such a request, and it didn’t even occur to me. And I didn't know that this happens. I thought everything was valued at its own cost. Well, I don’t know, I won’t talk about the cost, but that’s exactly what happened to me - without any, so to speak, without guarantee, without pushing, without protégés, and so on.
Since I was a teacher, I myself came to the journal Literature at School, where I wrote one or two reviews. Then he came to Ogonyok, and the head of the department there was Andrey Mikhailovich Turkov, a wonderful critic. Literary critic, author of books about Tvardovsky, about Blok. By the way, he impresses with his creative energy - he is soon 90 years old, and he is full of energy, writes like a young man.
We did not know each other, I came, as they say, "from the street" and offered an article about Batyushkov. There was an anniversary. Andrei Mikhailovich says: "Write." I wrote and it was printed. Recently, when I was selecting my old works for the collection, I came across this publication in the Ogonyok magazine. I read it, and although I would have written now, don’t take it for impudence, it’s better, but I was not ashamed of a single word. There were no opportunistic things, just as I wanted, so I wrote. Moreover, I repeat once again, now I would write better.
Then I published in October, but even before Kochetov. Because when the war between "New World" and "October" began, of course, the path here was ordered to me, but I would not have gone myself. In Znamya he published one article. But most of all I published in Novy Mir.
A lot of things are connected with the "New World" in my life. I remember this team with warmth, about the employees. Of course, Tvardovsky, Dementiev - deputy editor, Lakshin - a member of the editorial board. And many others.
I'm getting a little ahead of myself, I remember when Novy Mir was closed, it was actually destroyed. Then, literally late at night, I ran to the editorial office, because it seemed to me that something unexpected, terrible was happening there. The situation was very difficult.
I remember that Kaleria Nikolaevna Ozerova, head of the department of criticism, was in the editorial office, someone else was sitting, two or three people, sorting out papers. Something was thrown away, as before some kind of departure, expecting some kind of disaster, which actually happened. But until then, I am very glad that I managed to publish several articles in Novy Mir, and it is very pleasant now.
You know, by analogy, I recall the following episode: Ivan Sergeevich Aksakov, the son of Sergei Timofeevich, has such a remark - I will put it in my own words. “When I come to a province, some county town in Russia, I look closely at the local intelligentsia. And I know for sure: if a person respects, loves to read Belinsky, then this is certainly an honest, decent person. And he is against bribe-takers, against all sorts of bastards and so on.”
Thus, the passion for Belinsky became for Aksakov an indicator of the decency of a person. And this despite the fact that the views of Aksakov and Belinsky were different. One is a Westerner, the other is a Slavophil, now Belinsky is already customary to trample on, such is now the fashion. While forget that it is really a huge figure. He had his shortcomings, this is understandable, he was not right in everything ...
This is such an à propos digression. So that's why I'm saying this? Because the same could be said about the New World. When you came to the province, you could say for sure: if a person reads Novy Mir, he is a decent person.
And you could say the same about the so-called people's democracies, I have seen it with my own eyes. True, I have met only with literary critics and philologists, but this is quite revealing in its way. If they found out that I was collaborating in Novy Mir, they already had a good attitude towards me in advance.
Because they knew it was a liberal magazine. They themselves stood on the positions of socialism with a human face, they believed in it, I think many believed. And for this, the magazine was, in this sense, a guideline that it is possible under socialism, despite all the offensives and antics, to still adhere to humanistic demands and positions.
About the "New World" and Tvardovsky
One episode associated with the "New World" is of a personal nature.
At this time, an article by Smirnova-Chikina “The Legend of Gogol” appeared in the October magazine, in which she argued that the writer did not burn or destroy the second volume of Dead Souls. That he was allegedly kidnapped by people formally close to Gogol, that is, Alexander Petrovich Tolstoy, in whose house the writer lived, and other reactionaries.
And why did they do it? Because after receiving the famous “Salzbrunn letter” from Belinsky, Gogol corrected himself. And he began to write the second volume in the spirit of the struggle against serfdom, against autocracy, and so on. In the spirit in which, according to Smirnova-Chikina, Belinsky urged Gogol to write.
Although this is not entirely accurate, because Belinsky at that time was no longer any revolutionary. He was worried about the most important issues in Russia: the elimination of serfdom, the observance of at least those laws that already exist - there is nothing revolutionary here. If this program had been carried out, Russia would have more successfully followed the path of bourgeois development, along which in reality it was difficult and slow.
Congratulations from the New World. On the postcards, among others, there is an autograph of A.T. Tvardovsky
And it is not for nothing that Belinsky is the leader, and the forerunner of not a revolutionary, but, above all, a liberal direction. Turgenev was not a revolutionary, however, he considered Belinsky his leader, his idol. Apollon Grigoriev ...
Why am I saying all this? So, here Smirnova-Chikina wrote such an article - and they stole the manuscript of the second volume, stole it and hid it. That is, in other words, they committed a criminal offense. In the text of the article, it was said: "Criminal offense." And in order to hide their crime, they invented a legend about the burning of the second volume. Like, this legend is still in circulation, and everyone believes in it.
But, Smirnova-Chikina finally exposed the criminals and brought them to clean water. She showed that, in fact, Gogol did not encounter reactionaries at all - with the same Pogodin, Shevyryov, Alexander Petrovich Tolstoy, with whom he lived, with whom he died, where the Gogol Museum is now.
This article appeared in October, and it had such a rather noisy, loud resonance. I then worked in the journal Soviet Literature in Foreign Languages. I read it, it really pissed me off. And I wrote a response article, it was called "The pathos of simplification."
This article appeared in the same year, literally two or three months after its publication in October, and received the full approval of Tvardovsky and Alexander Grigoryevich Dementiev, who was Tvardovsky's deputy. Personally, I did not speak with Tvardovsky about this, but Dementyev told me his reaction.
True, Tvardovsky did not say “okaya”, but Dementyev “okal”, so it looked like this: “Look, what did you come up with. That the manuscript was stripped of paper. Duck, they were honest people, they were nobles. They didn’t read other people’s letters,” Tvardovsky said.
Well, of course, the nobles were different. Some read letters, figuratively speaking, strangers, and others. But, those who surrounded Gogol, indeed, figuratively speaking, did not read other people's letters. They were highly decent people, and besides, they had a completely different idea of the direction of Gogol's work, and did not at all consider that he was a revolutionary, a rebel.
They believed that all creativity was permeated with humane Christian ideas, and there was no need to destroy it. So here is the first case of a conversation with Tvardovsky, at which I was not present, but which I heard, as they say, from reliable sources.
Otherwise, I might be a little more careful. In any case, these are my interpretations, so maybe they will forgive me if I say something like this not very accurately.
They say that Tvardovsky was quite critical of the work of Andrei Voznesensky. To what extent, how, I don't know. But, they say that after all he was not the favorite poet of his soul. And then, suddenly, a campaign against Voznesensky began in the press: they began to scold him for various reasons.
And at this time, Isakovsky brought to Novy Mir an article that contained critical remarks about Voznesensky. Tvardovsky said: "No, we will not publish this article." Isakovsky says: “Yes, why? You are the first, you said that you do not like Voznesensky's poems. And then Tvardovsky uttered the following phrase: "Yes, that's right, but don't bark." Fine? I think it's wonderful. Well, what can I say?
About censorship and "people's avengers"
Remembering censorship, it must be said that everyone faced censorship in their own way, and without fail, at least several times, during their creative activity. Moreover, these meetings were so, almost virtual, using modern language. Because personally the author, for example, here I am, never communicated with the censor, and never even saw the censor with my own eyes.
There was the so-called Glavlit system, when literally everything that was printed was censored. That is, it had to be “poured”, have the appropriate permission.
Censorship was carried out, but at the same time, these chief lieutenants themselves remained in the shadows. That is, they were sitting, and no one saw them. In large publishing houses, Glavlit even had his own rooms - "Fiction", in "Soviet Writer", in the publishing house "Art", "Book" even. And we did not communicate with them, we are the authors, we did not communicate. I don't know if the editor even talked. Communication with them took place at some higher level.
In general, it must be said that censorship was of various kinds. In scientific institutes - I worked at the Institute of World Literature - many people actually carried it out. Some by position, and some - just in order of satisfaction own desires and ambition.
Any bosses put forward some of their own requirements, and it was necessary to carry out the publication through their watchful eye. There were also such people at the Institute of World Literature - the director, deputy, head of the department, I will not name his last name. He is a very kind person, well-known, studied Tolstoy.
The man is very kind, but, nevertheless, he was afraid of everything, and when, during one meeting, an employee of the department, Lira Mikhailovna Dolotova, asked: “Why should we be afraid of something?” He says: "We should be afraid of everything." That's what he did, he was afraid of everything.
But at the same time, it must be said that it was still possible to live in the era of the thaw or the later era of stagnation. Why? Because censorship was strictly formal. They did not understand the essence of the problem and the meaning of the content. They caught the words. And as they said, in the publishing house " Fiction":" Our deputy editor-in-chief dived on such and such a word.
They did not understand the meaning, and therefore it was possible to say the same thing using other words. And this was even to some extent beneficial, because we found the appropriate phrases, synonyms, and our colors were enriched. In addition, this kind of mutual understanding was established between the reader and the author: You understood what the author wants to say. The author understands what the reader understands. And at the same time everyone was glad that the censor did not notice this.
This is also a special feeling, the same Aesopian language that Saltykov-Shchedrin spoke, and without which, of course, it must be said, he would have lost a lot. So, there is no bad without good, and no good without bad.
Of course, this is a special sign, because the time was already after the Stalin era. Under Stalin, in any publication they saw not what they hide, but what is not there at all, at that time no Aesopian language would have saved you. And then he saved.
Examples? At one time in the corral, for some reason the word "humanism" was not in vogue. Say, this concept is not class, bourgeois. But if you express this concept in some other words, even more colorful ones, that's it, the censor sees nothing.
AND " human values' was also an expression that fell under suspicion. What does "common human values" mean? There are class, bourgeois values. These are not values, falsities, or false values. There are proletarian values - these are real values. What are the common human values? But if you express the same thought without the help of the word "universal" - everything passes.
And the authors already knew this, and tried to express their thoughts as picturesquely and colorfully as possible. And in this, it must be said, greatest power- on the one hand, censorship, and on the other hand, Aesopian language, which corresponded to censorship.
I have had several instances of such an indirect clash with censorship, because, I repeat, as an author, I have never been directly allowed to go to the censors. Here is such a case. It was, I think, in 1986, when the first edition of my book In Search of a Living Soul came out.
It was published by the publishing house "Book". I had a wonderful editor Gromov. (I must say that I had wonderful editors who completely took my side. Editors are different - some take the side of the authorities, others the side of the author. I came across those with whom we thought together how we could trick the authorities. For the most part it worked.)
Such a case. My book “In Search of a Living Soul” is at work, and it must happen that at that time, just some pensioner wrote a letter to the Central Committee of the CPSU about Nathan Eidelman’s book, dedicated to the era of Paul I. Nathan Eidelman is a wonderful historian, very talented writer. And the author of this letter saw the propaganda of the ideas of monarchism in this book.
I must say that monarchist aspirations are quite tangible, and at that time I did not meet, did not hear of a single person who would like to restore the monarchy. Maybe he wanted to, but somehow he did not publicly express it. But, nevertheless, for some reason, the authorities then were afraid of this particular trend, as they would say now, the trend of restoring the monarchy. And what?
The censors received the appropriate instructions. This book was published by the same publishing house "Kniga", pardon the tautology. And now my editor Gromova calls me and says: “Look at your text, this is already a layout and all the names of the tsars are underlined there - Alexander I, Nicholas I and so on.” I say: “But how can I manage without them? Gogol had a relationship with them, he even knew them. How is it here? Nicholas I even blessed the Inspector General. Without his permission, The Inspector General would not have been staged. How will I?” "You can't prove it to her." "Let me go and explain what's going on." - "It is forbidden".
"Poetics of Gogol" (Japanese edition)
I have already said that the author had no way out, and the editor did not. Somehow the communication there took place in the higher strata. What should I do? I had to commit such an act: they removed all the reigning persons from the name index, they simply destroyed it. Alexander I flew, and Nicholas I. But, thank God, four years later, either this letter from the pensioner was forgotten, or the threat of the restoration of the monarchy disappeared, but it became possible to publish the book in a full-fledged form.
She came out, you can compare the two editions. In the second edition, everything is in place - both Nicholas I and Alexander I.
One more, maybe two episodes of such personal experiences. They made a movie based on Dead Souls. And I must say that this pensioner, who wrote a letter to the Central Committee, was considered a "people's avengers"...
Why the people's avengers? I'll explain now. There was the first studio in Ostankino, in the main building. Filmed the first film "Dead Souls". I was asked to give an introductory speech before the beginning of the film, to talk about this film, which I did. But while I was there, I learned and heard a lot of things. In particular, it was there that I first heard this expression - "people's avengers."
I asked, “What is this? What kind of avengers can now, and even in Moscow, and even on television? They told me: “These are pensioners or old Bolsheviks who have nothing to do, and they constantly write to the Central Committee of the CPSU or to another body - parallel - and denounce, find all sorts of shortcomings and attempts at sabotage - hidden or more or less open. We call them the people's avengers."
"What do they write?" “Everything is written. But we were especially annoyed (in modern terms) by one people's avenger who writes all the time to the Central Committee that “in the Vremya program you show the house behind the mausoleum on Red Square, and there is a dome, and snow lies on the dome all the time. I explain, because this is the main square of the country and, in fact, main house countries. Well, they don't remove the snow there, you mean? How do you allow all this?
I then decided to joke, I say: “You know, if he writes like that, you answer him, write: this is the main square of the country, and the snow that lies there is also the main snow in the country and cannot be removed.” I don't remember if I could console people with my joke, because they were, of course, tortured by this people's avenger who pursued them from day to day.
In addition, then such a decision was issued that all letters from the workers had to be answered within a certain time. You imagine: instead of doing creative work, people wrote these answers.
Now I will tell you about how it is now in the Ministry of Education or Science educational establishments floods with instructions and reports, forms of reports. Instead of working, the poor heads of departments and professors (thank God, I am saving myself a little from this disaster) write reports from morning to evening. What it is? The same thing - the people's avengers, only in a different place.
Love for Gogol: would-be speculators and would-be military
The scope of my studies is quite wide - it is Russian literature, and Western, and Russian theater, and Western. But I devoted most of my time to Gogol. Probably, here everyone has some kind of psychological predisposition, biographical moments.
I remember, back in school, I showed a certain penchant for parody; of course, it was all very helpless, but there was some gravity. So, Gogol's works found in me, if not a prepared reader, then a reader who would like to be suitably prepared.
I remember what impression the performance of the Artistic Theater “Dead Souls” made on me. True, we got on it in a rather peculiar way.
This was shortly after the war. I am a ninth grade high school student; education then was already separate - a student of a male school.
My friend, I remember his last name, Kazarovitsky made me the following offer: "Let's go, let's buy tickets for the entire decade to the Art Theater, then we'll sell it and earn money." Now it's called a business, then it was called...
- Speculation.
And we didn't see anything wrong with that. We decided to make some money. I repeat, these are the last years of the war. Moscow is still under martial law. We queued up to get tickets. We got up first, when there was still a curfew, and went to Kamergersky Lane. I remember that we were stopped once or twice by a policeman. I already had a passport, I showed it, and he let us go.
And so we came to the pre-sale box office of the Art Theater, stood for a while, then the box office opened, we bought ten, maybe even more tickets.
But our business was very unsuccessful. Because, it turns out, in order to sell a ticket, not only do you want to sell it. It is also necessary that someone had a desire to buy it, but no one showed such a desire.
Maybe we didn’t look like resellers very much, they didn’t trust us, because if you contact some punks, they will put something on you. In a word, we did not sell a single ticket, not a single one.
What should I do? I was sorry the tickets were gone. And for a decade, day after day, we went to all the performances of the Moscow Art Academic Theatre.
I must say, we were lucky: we reviewed almost the entire repertoire, or at least most of it. And I saw "Dead Souls" twice, it coincided.
I will say for sure that I had a huge impression, because the actors were brilliant - Kachalov, Livanov (Chichikov), then, in my opinion, Sobakevich - Gribov. In general, the actors are brilliant. This left me with such a strong impression that the next day I began to play individual scenes to myself, of course, without any artistic aspiration or ability. He just lost, as everyone did when he liked something.
Moreover, I learned another useful plot from this: I assigned the names of Gogol's characters to all my friends in the class. One became, say, Sobakevich, the other - Chichikov, the third ... Ladies, no ... There were no ladies, because it was a men's school.
The third became Plushkin and so on. And one, also a listener, Kasparov, his name was Rubik Kasparov ... I named him Mizhuev, Mizhuev's son-in-law. Why? At the same time, I somehow didn’t really like Nozdryov’s phrase, who (this was the difference between the production and Gogol’s text), as soon as some new character came, let him down and said: “Meet me, this is my son-in-law Mizhuev.”
"Poetics of Gogol" (Italian edition)
I repeated this phrase all the time: "Meet my son-in-law Mizhuev." “And this, meet my son-in-law Mizhuev.” My friend Kasparov had some kind of predisposition here, he was somehow very suitable for this type - some of the same naivety, innocence, reaching even a certain persistence, to the point that they now call "jammed". In a word, it suited him so well that not only I, but everyone began to call him "son-in-law Mizhuev" or simply "Mizhuev", Mizhuev and that's it.
He was not offended, he agreed that he was Mizhuev, and I became a father-in-law - he is a son-in-law, I am a father-in-law. True, he didn’t call me “Nozdryov,” because I didn’t really look like Nozdryov. That hefty one, healthy fists, blood and milk, and jokingly approached. But nowhere did others call me father-in-law, but he called me father-in-law. And others asked me: “Where is your son-in-law?” I said: "The son-in-law is there, around that corner." Like this.
This story has a truly Gogol ending, I will tell it. We were sent to a military camp at the university once, and at school once between the ninth and tenth grade.
Do you know where Chelyuskinskaya station is? There was a military camp there. We lived in tents. They practiced the Mosin rifle - disassembled, assembled - by the end of the semester at the university, they finally mastered this art. And the next day they forgot again, and again, and then the whole year: the shutter, and so on ...
So, the end of the shift, we live in tents, we had to leave that day, we were being taken to Moscow. And suddenly, when everyone is still sleeping or awake, but lying in tents, an excited envoy from the company commander runs out and says in a nervous voice: “Private Zyatev and Mizhuev immediately to the company commander!”
Do you understand what's the matter? The company commander heard these expressions so often - son-in-law and Mizhuev, that he decided that he had some unrecorded fighters whom he could not find - some kind of impostors or even unknown enemies who had sneaked into the military camp of schoolchildren? He was very excited.
I do not remember how I managed to calm him down, I think it was easy, I remember that there were no complications. Here is Gogol's finale. How can one not fall in love with Gogol after this!
About friends
- IN lower grades I was not very friendly, besides, the war, everything was upset. In addition, I fell under the influence of hooligans, I even mentioned Zumaev. But in high school, I really found this precious state of friendship.
We have formed a circle. We did not consider that this was a circle, so, spontaneously. We never called ourselves a circle or anything else. Several people, classmates. I will call them all by their first names, because they all became very famous, (maybe one is an exception) famous people.
This is Seryozha Kurdyumov, Sergei Pavlovich Kurdyumov - physicist, corresponding member of the Academy of Sciences, director of the Keldysh Institute of Applied Mathematics, the same institute that is located next to the Russian State Humanitarian University, the Institute of the Academy of Sciences. There was the head of Keldysh, then Samara, then someone else, Tikhonov, it seems, and then Kurdyumov headed the institute, was a corresponding member of the Academy of Sciences. Here is one very remarkable person.
The other is Kolya Vasiliev. Lieutenant General, laureate of the State Prize, Honored Scientist, Doctor of Chemical Sciences. This is also my classmate, and was also part of our company. When we were friends together, and then everyone got a job, he did not say where he worked, and we did not know, did not ask. Only later, much later, after his death, did I learn that he was working on the creation of Soviet bacteriological weapons.
An article about Nikolai Vasiliev in the directory “Worthy of fame”
Third wonderful character, also such a member of our circle - Ershov, Valentin Gavrilovich Ershov - an astronaut. True, not an accomplished astronaut.
Why not held? Therefore, he worked at the Institute of Applied Mathematics with Serezha, Serezha was his main boss, and he was being trained to fly on a satellite. He passed all the tests. He had an ideal vestibular apparatus, which is very important in these cases. His teeth were treated by the chief dentist of the Soviet Union, he cured his teeth perfectly. We knew that he was an astronaut.
We were all waiting for him to fly, because there had never been an astronaut in our ranks. And we all asked him ... But he still does not fly and does not fly. With my inclination, I tease, I tell him: "Prince - she had the nickname Prince - sing the song" We have 14 minutes left before the start "". He did not sing a song, but he did not fly.
Why didn't you fly? He told us because he refused to join the party. And then, during the years of perestroika, an article about cosmonauts who did not take place appeared in the magazine either Kommersant Dengi or Kommersant Vlast.
One did not succeed because he fell ill, the second cosmonaut did not succeed because he committed some kind of disciplinary offense, and the third because he refused to join the party. Moreover, he said: “I would join the party, but I don’t want to at such a price.” And that's it. Maybe he could send... Do you remember how someone sent a telegram from a satellite or somewhere else with a request to join the party? But he did not want to do this, so he remained on Earth.
Why Prince? This was his nickname. He is from a simple family, his tastes were peculiar - at first he was deaf to works of art, literature, theater, but on the other hand he was amazingly talented in the field of mathematics, physics, technical sciences. He first entered, graduated from the Moscow Aviation Institute, was preparing to be a pilot, that is, not a pilot, but an aircraft designer. Then he entered the university, and there he designed our aircraft.
They also wanted to send him into space for the reason that he was a scientist. And there, among the cosmonauts, it seems to me, only Feoktistov at that time was both an astronaut and a scientist. They also wanted to send him, but it did not work out.
I don't think I said why Prince. I repeat, he was from a very simple family, but with precisely such princely manners - such a very important, ceremonial one. In addition, he had blue veins or blue legs. I do not know how it was established, I was not present at this act of establishment. But here he was called the Prince, the Prince-Cosmonaut. And he did not mind, he was both a prince, though not a real one, and an astronaut, though not a successful one. Third person.
The fourth - you probably also know him - is Vladislav Alekseevich Zaitsev, professor at Moscow University, doctor of philological sciences at the Soviet department. He dealt mainly with Mayakovsky.
Finally, the last one is Daniil Ostrovsky, Danya. He also graduated from high school with a silver medal. Then we lost sight of him. What happened to him, what happened, is unknown. And with others we were friends to the last.
Unfortunately, I was the only one left of this group.
About undeciphered Gogol, sense of humor, fight against formalism and Homer's publications
Gogol is an amazingly modern writer, and this is felt more and more every year. A writer of colossal, enormous power of charm and influence on others. Modern writer. What used to seem like a manifestation of aimless and light laughter, in fact, revealed such deep meanings in itself that Gogol was unraveled and will always be unraveled as long as he exists.
There is such a book called "Gogol Deciphered", deciphered already, completely. Not "deciphering Gogol", although it does not sound very good, but simply "deciphering". So, when will it be decoded to the end? Never.
Gogol is now remembered as one of the most relevant writers not only in our country, but also in the West. At the same time, this difference in understanding and approach to literature on Gogol, with the help of Gogol, I feel that everything can be achieved.
Because there was a Nose, the Nose ran away - a joke. Some will laugh, some won't even laugh. What's so funny?
Gogol can be perceived in different ways. Joke? Pushkin wrote that this was a joke, although, probably, he did not put into this concept the content that modern jokers put into it.
Then it was discovered that this is one of the greatest works of world art. This is a harbinger of Kafka, this is a harbinger of Nabokov - the greatest writers of the 20th century already. It's all combined in one.
Of course, Gogol in this sense is such a touchstone, you know, on which the disengagement takes place. Yes, it saddens me: I often meet people who do not understand him. When you tell something funny, they don't understand what's funny in it, they don't see anything.
Those who understand Gogol, unfortunately, are in the minority. What can you do? This has to be put up with. God grant that they become more and more. But such a division is real fact, there's nothing you can do about it. It depends on the general culture, the general mentality, the warehouse of the psyche, even the development of this psyche. Therefore, this can be faced all the time.
Here you just need, as they say, to work on the top bar. The upper bar is for those who perceive art very deeply, subtly, creatively, sincerely and feel it. This is also great art.
I will tell you such a case, this is my purely personal. I sometimes arrange a little experiment. I suggested a comparison that I didn’t come up with myself, I don’t want to plagiarize. I ask: "What is a surgeon?" “That,” I reply, “is an armed therapist.” I say this to four or five people; four will smile, but the fifth will look at me and say, "That's not entirely accurate."
Well, what do you say after that? Nothing, right? Therefore, I want to say this: I was lucky, I met amazingly in my life talented comedians. The same Irakli Luarsabovich Andronikov, a wonderful, talented person. Zinovy Samoilovich Paperny. In America - Aleshkovsky.
It is a great happiness when you communicate with people who understand humor, because there is such a sociological explanation and statement that people who understand humor find a common language with each other more easily. Thus, when we strive to develop a sense of humor, we strengthen the unity of our society.
About three kinds of jokers and Irakli Andronikov
In the book that I showed you, there are several letters from Andronikov to me. How did this acquaintance happen? For some time I worked in the journal Soviet Literature (in Foreign Languages) on Kirov (Myasnitskaya) Street, and Andronikov lived in the same house. He often came to our editorial office, because, firstly, we printed it. And, secondly, because he was always received very warmly, he was a person who aroused sympathy.
When he came, he usually began to tell all sorts of funny stories. Moreover, everyone gathered around him, there was incessant laughter, he even said: “I came to ruin your work.” And indeed, he managed to do this for two, three hours, depending on how much time it was.
According to my observations, there are three kinds of comic performers and authors. The first category of people are those who make you laugh and laugh yourself. You laugh, and they laugh, and you laugh, as they say, vying with each other, competing with each other and amplifying the comic reaction.
In Russian literature and history, Alexander Sergeevich Pushkin possessed such art. On this occasion, one of his contemporaries even uttered this, perhaps not very delicate comparison, cautious, but, nevertheless, it is real: “When Pushkin laughs,” he said, “you can see Pushkin’s guts.” This is one kind of those who laugh and mingle.
Another kind is this: when a person laughs himself, but you do not laugh. And sometimes there are even people who start laughing when they have not yet said anything - not a single word, but they are already laughing.
It's understandable why. Because you do not know what he will say, but he already knows what he will say, he laughs in advance. But he will not be able to make him laugh, because there is something funny only for himself.
And the third kind, when everyone laughs, but the originator of this triumph of laughter does not laugh. He remains completely serious, he is even somewhat indifferent or surprised, cannot understand what is funny about it. You laugh, but there is nothing funny here - and he continues to lead his party with the same seriousness and equanimity.
He possessed such humor, such a position ... Can you tell me? Nikolai Vasilyevich Gogol. He laughed to the point that people clutched their tummies, could not resist. But he didn’t laugh, he just looked in surprise: “Wow, why are they laughing?” And he didn't laugh.
Sometimes, however, it was laughter without witnesses, he laughed to himself. From his letter to Zhukovsky: “I wrote three pages. Before that I laughed, but this laughter was enough to brighten my whole day.
This is a laugh to yourself, maybe it was. And he read unusually seriously, and this contrast acted in the strongest way. He allowed to discover everything comic in real life. This is connected with a whole philosophy - Gogol's behavior, his laughter, his comic.
For example, Gogol said that in our country an actor or artist is completely incapable of lying. Why can't they lie? It seems that everyone knows how to lie actors. Because they think that to lie is to carry some kind of nonsense in advance.
No, to lie is to say meaningless things in such a tone (I am a little loose) as if it were the true truth, this is the effect of that very comic lie. This Gogolian humor, both in behavior and in the text, reveals the depths of meaning.
And Andronikov personally helped me a lot, because he was one of those who recommended me to the Writers' Union.
I must say that joining the Writers' Union was the same as entering graduate school, somewhat dramatic for me, although not as much.
At this time, my article “Artistic Convention and Time” was published in Novy Mir. And at that time we had such a persecution of conventionality, the grotesque, fantasy. Maybe you remember this episode when Nikita Sergeevich visited the famous exhibition in the Manege. I saw modern cubists there. “Who are they drawing for, what is it?”
After that, the persecution of formalists, symbolists, whoever you want began, and off we went. By the way, the persecution was not always carried out for ideological reasons, nothing like that. What was incomprehensible was persecuted. If it is not clear, it is already bad, it is, therefore, hostile. The devil knows what is hidden there. This is where the company started.
My article had a great response. I was credited with promoting the ideas of Roger Garaudy, a French writer, theorist, his book is called Realism without Shores.
How can there be realism without shores, what can be without shores? Everything is limited. They began to scold him, and at the same time they began to scold me too - because, it turns out, I am his agent. Because of this, my entry into the Union was postponed.
Petr Nikolaev, Academician, Corresponding Member of the Academy of Sciences, Editor-in-Chief of Philological Sciences, Professor at Moscow University. Doctoral dissertation defense at Moscow University, room 66.
There is a defense. A thesis dedicated to Plekhanov is being defended. From Plekhanov, the speaker moved to modern philosophers, and did not speak very approvingly, drawing conclusions about the same Roger Garaudy. Not about me, about Roger Garaudy.
And the opponent was Shcherbina, deputy director of the Institute of World Literature. Of course, he praises Pyotr Nikolaev for adhering to Marxist positions, and gave in the teeth, as they say, the revisionist Roger Garaudy and the same as Garaudy.
He does not know that I am in the hall, but then he suddenly makes such a digression: “What is there for Roger Garaudy! We have Yuri Mann here, so he said it all much earlier and better. Can you imagine? There was some pride in his phrase, because he wanted to say that even in terms of revisionism, we overtook our ideological enemies and said it all better. Although it was not very easy for me, because at that time, my Ph.D. thesis was being approved.
I was less worried about the Writers' Union, because one of the members of the commission told Dementyev, who was my other recommender (I had three recommenders - Andronikov, then Turkov and Dementyev: “Don't worry, the campaign against formalism will calm down, we will accept it Indeed, the campaign has faded away, but another campaign has arisen.
It was decided to accept only those who have books into the Writers' Union. I didn't have any books at that time. In 1966, the first two books "On the Grotesque in Literature" and "Gogol's Comedy" The Inspector General "" were published. This was two years later. And then I didn’t have books, there were only articles. This applied not only to me, it applied to everyone, including storytellers, not just critics. If only the stories are separate, then we'll wait for the book. Like this.
Once, in my presence in my apartment on Myasnitskaya, Irakli Luarsabovich was talking on the phone with some important member of the commission. He talked to him and obviously this person said the same thing: that a book is needed.
Andronikov literally said the following: “Why is it so important? Not only did Homer not have books, but he did not even have publications.” Agree that it was a witticism in the spirit of Irakli Luarsabovich. After that, I was supposed to fall into megalomania, but I didn’t, to be honest. This is the phrase I remember for the rest of my life.
On the unifying role of Gogol: Bayara Arutyunova and Bogdan Stupka
One unexpected occurrence. It is usually believed that Gogol is a factor that does not contribute to rapprochement, which does not smooth out, but exacerbates contradictions. There is even such a thesis: Pushkin is harmony, Gogol is disharmony. There are reasons for this, I do not refute all this.
But at the same time, an extraordinary phenomenon that I often had to deal with, especially in our world, is when Gogol begins to unite, at least, scientists, specialists.
I want to demonstrate this with one example. Here is a work written by Bayara Arutyunova. This is a famous scientist, a collaborator of Roman Yakobson, she made a wonderful, valuable publication in one of the American journals, and I want to read the inscription she left.
And one more thing that sounds particularly relevant. Great Ukrainian actor- Bogdan Stupka, we met with him several times in Rome in connection with the awarding of the Gogol Prize in Italy. And now, with special emotion, I will read his inscription (there are some epithets that apply to me, you can omit them):
"To the great scientist, literary critic, friend of Gogol with the lowest bow, reverence, deep respect, Stupka."
I remember what a feeling of sympathy he had for the other members of our Russian delegation, and how everyone loved him. Unfortunately, he is no longer alive.
We are talking about the philosopher and literary critic Georgy Dmitrievich Gachev. As follows from the letters of his father, musicologist Dmitry Gachev, in the family of little George in childhood they called him "Gena". Subsequently, the same name was used in the circle of friends.
Alexander Trifonovich Tvardovsky, the author of the poem "Vasily Terkin" in 1950-1954 and 1958-1970, was also the editor-in-chief of the Novy Mir magazine. In the early 1960s, the magazine became the center of public reconsideration of attitudes towards Stalinism. In particular, by permission of N.S. Khrushchev, A.I. Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich” was published there.
In 1961-1973, Vsevolod Kochetov, the author of the later filmed novel Zhurbiny (1952), was the editor-in-chief of the Oktyabr magazine. After Kochetov's novel "What do you want?" was published in October 1969, in which the author advocated the rehabilitation of I.V. Stalin, a number of intellectuals came out with a collective letter against this publication. The publishing position of Oktyabr at that time was in confrontation with the policy of Novy Mir, whose editor-in-chief A.T. Tvardovsky obtained permission to publish two stories by A.I. Solzhenitsyn.
If everyone who reads Pravmir subscribes to 50 rubles. per month, it will make a huge contribution to the opportunity to spread the word about Christ, about Orthodoxy, about meaning and life, about family and society.
This term has other meanings, see Poetics (meanings). Poetics (from the Greek ποιητική, implying τέχνη poetic art) is a theory of poetry, a science that studies poetic activity, its origin, forms and ... ... Wikipedia
Poetics- (from the Greek poietike - poetic art) - a section of philology devoted to the description of the historical and literary process, the structure of literary works and the system of aesthetic means used in them; the science of poetic art, ... ... Stylistic encyclopedic Dictionary Russian language
POETICS- (Greek poiētikē téchnē creative art), the science of the system of means of expression in literary works, one of the oldest disciplines of literary criticism. In the expanded sense of the word, P. coincides with the theory of literature, in the narrowed sense, with ...
- (from the Greek poietike poetic art) a term that has two meanings: 1) a set of artistic, aesthetic and stylistic qualities that determine the originality of a particular literary phenomenon (less often cinema, theater), its internal ... ... Great Soviet Encyclopedia
"Gogol" redirects here; see also other meanings. Nikolai Vasilyevich Gogol Photo portrait of N. V. Gogol from the group daguerreotype of S. L. Le ... Wikipedia
Yuri Vladimirovich Mann (born June 9, 1929 (19290609), Moscow) is a Russian literary critic. Graduated from the Faculty of Philology of Moscow State University (1952). Doctor of Philology (1973). Professor of the Russian State University for the Humanities (since 1991) ... Wikipedia
- (1809 1852) one of the greatest writers of Russian literature, whose influence determines its newest character and reaches to the present moment. He was born on March 19, 1809 in the town of Sorochintsy (on the border of Poltava and Mirgorod counties) and ... ... Big biographical encyclopedia
FANTASTIC- (from the Greek phantastikē the art of imagining), a kind of fiction in which the author's fiction from depicting strangely unusual, implausible phenomena extends to the creation of a special fictional, unreal ... Literary Encyclopedic Dictionary
The hero of N.V. Gogol's poem "Dead Souls" (first volume 1842, under the census title "The Adventures of Chichikov, or Dead Souls"; second volume 1842 1845). In accordance with his leading artistic principle, to unfold the image from the name Gogol gives Ch. a surname, ... ... literary heroes
NIKOLAI VASILYEVICH GOGOL. Portrait by F.A. Moller (1841). (1809 1852), great Russian prose writer and playwright. Born March 31, 1809 in the village of Sorochintsy, Poltava province. His father, a landowner from the Cossack nobility, was a playwright ... ... Collier Encyclopedia
The central character in N.V. Gogol's comedy The Inspector General (1835, second edition 1841). In the list of characters: Anton Antonovich Skvoznik Dmukhanovskiy. According to "Remarks for gentlemen actors", "already old in the service and very intelligent in his own way ... ... literary heroes
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Archetypes in the poetics of N.V. Gogol monograph
M.: FLINTA
The monograph is devoted to folklore and literary archetypes in the poetics of N.V. Gogol. For the first time in Gogol studies, the role of archetypes of folk ritual culture in the poetics of the writer is comprehensively studied, folklore archetypes in the late works of N.V. Gogol, the question of ways and means of realizing biblical and medieval literary archetypes in the structure of Gogol's texts, establishes the principles of interaction between verbal and pictorial discourses in N.V. Gogol's ekphrasis, reveals new aspects of studying the problem of the Dante archetype in the writer's work. The analysis of the works of N.V. Gogol is multifaceted, combining literary, art, folklore and ethnographic approaches.
About the parallel between final scene in the "Inspector General" and the image of the Last Judgment in medieval fine art, see the work: Mann Yu.V. Poetics of Gogol. – P. 242. 57 Averintsev Sergey.
Preview: Archetypes in the poetics of N.V. Gogol.pdf (0.4 Mb)2
Although the fantastic Double paradoxically manifests itself as a rationalist noticeably more often than Antony, both interlocutors accept the surprising as natural and are surprised not at the most surprising (this was also preceded by Gogol's poetics).
Preview: Anthony Pogorelsky bio-bibliographic reference.pdf (0.1 Mb)3
This paper explores the techniques and means of comic representation in N. Gogol's poem "Dead Souls". The main comic motifs of mirage and absurdity in the images of heroes are highlighted.
LITERATURE 1. Gogol N.V. Dead souls / N.V. Gogol // Collection. op. : In 6 vols. - T. 5. - M., 1959. 2. Mann Yu.V. Poetics of Gogol / Yu.V. Mann. - M, 1988. Inutin V.V. Voronezh State University.
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THE AGES OF LIFE BY NIKOLAY GOGOL * Yuri Vladimirovich Mann rightfully has a reputation as the largest and most authoritative specialist in Gogol's work; his "Poetics of Gogol", published in 1978 and reprinted more than once since then, is rightly recognized ...
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Today "House N.V. Gogol” is the State Budgetary Institution of Culture (GBUK), which includes a memorial museum and a scientific library. It is located on Nikitsky Boulevard in house number 7a - in a building that is a monument of history and architecture of Moscow
“Hanz Küchelgarten”, “Gogol’s Petersburg Tales”, “Gogol’s Satire”, “Gogol’s Poetics”, “Gogol’s Theatre”, etc.
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Comparative analysis of the story by N.V. Gogol's "Portrait" and a number of works included in the collections "Evenings on a farm near Dikanka" and "Mirgorod", allows you to see the movement of the semantics of silence, reveal the circle of its new meanings and establish the connection that exists between the ascetic aspirations of the heroes of the story and the religious worldview of the author
9. Mann Yu.V. Poetics of Gogol. M., 1978. 10. Markovich V. Petersburg stories N.V. Gogol.
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The author raises the question of the attitude of the philosopher Alexei Losev to the concept of symbolism of the Russian romanticist Vladimir Odoevsky, which was embodied in the novel Russian Nights. Losev and Odoevsky are brought together not only by philosophical and musical interests, but also by the very idea of the symbolism of human life, when individual destiny turns out to be an illogical expression of the logically flawless Divine plan, the highest Providence about man and humanity as a whole.
13 Mann Yu.V. Poetics of Gogol. Variations on a theme.
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History of Russian literature of the first third of the XIX century studies. ...
M.: FLINTA
Tutorial introduces students to the space of Russian classical literature, introduces them to the works of Pushkin, Lermontov, Gogol, to the Golden Age of Russian poetry. It was during this period of Russian verbal culture that its national identity, the set of ideas and images that will determine its subsequent development is formed. In the book, the author tries to recreate the poetic world of the writer primarily through the word, through its originality. artistic thinking. Numerous quotations as fragments and segments of the text perform this task. For a more active immersion of the reader in the material, citations are accompanied by references to collected works. The selection of material and its interpretation are due to the interest in the problem of the author's consciousness as a world-modeling factor of verbal culture.
Issue. 1M.; L., 1934. S. 251, 336 This concept was introduced into scientific circulation by Yu.V. Mann and was developed in the works of many domestic and foreign Gogol scholars. See: Mann Yu.V. Poetics of Gogol.
Preview: History of Russian Literature in the First Third of the 19th Century.pdf (0.2 Mb)9
744 p. The new book by the outstanding researcher of Gogol's work includes the classic monograph "Gogol's Poetics" and three dozen articles adjoining it, united in the section "Variations on a Theme: Traditions and Parallels".
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History of domestic literature. 19th century
RIO SurGPU
The publication contains guidelines for the study of the basic training course "History of Russian Literature" (XIX century), as well as detailed recommendations on the organization of all types of control of independent work of students, including plans for seminars, assignments for colloquia, classroom and home tests, mini-tests, assessment criteria.
Book. 1, 2. 7. Mann, Yu.V. Comprehending Gogol: textbook. allowance for high school students and university students / Yu.V. Mann. M. : Aspect Press, 2005. 206 p. 8. Mann, Yu.V. Poetics of Gogol // Mann Yu.V. Gogol's work: meaning and form.
Preview: History of Russian Literature. Century XIX.pdf (0.8 Mb)11
Comprehending Gogol studies. guide for high school students...
Moscow: Aspect Press
The purpose of the proposed book is the comprehension of Gogol. It analyzes "Dead Souls", "The Inspector General", "Petersburg Tales" and other works of Gogol. The book consists of two parts. The first one introduces the reader to Gogol's works. The author explains the nuances of Gogol's idea and the features of its implementation. The second part of the book is an analysis of the comedy The Inspector General. Here the author in many ways reveals the ideological content of The Inspector General in a new way, features artistic method Gogol, originality of comic characters. The book helps the reader enter the complex artistic world of comedy.
The text of the second part was published in the form of a book "Gogol's Comedy "The Government Inspector"" (Moscow: Khudozhestvennaya Literature, 1966; it was included in a revised form in my monograph "Gogol's Poetics", first edition 1978). This edition contains only minor stylistic...
Preview: Comprehending Gogol. Tutorial (1).pdf (1.3 Mb)12
Journalism: a collection of curricula. Part 1
Training profiles "Television and radio broadcasting", "International journalism", "Sports journalism", "Music journalism", "Journalism in the socio-cultural sphere", "Literary and artistic criticism"
Gukovsky G.A. Gogol's realism. M.; L., 1959. Mann Yu.V. Poetics of Gogol. M., 1978. Markovich V.M. Petersburg stories N.V. Gogol.
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No. 1 [Siberian teacher, 2009]
Scientific and methodical journal. The problems of education are discussed, the latest pedagogical technologies and methods are described. At the Siberian Teacher you will get acquainted with the experience of innovative teachers and their colleagues abroad.
4. Yu. V. Mann, Gogol's Poetics.
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Romanticism vs realism: paradigms of artistry, author's...
Ural University Press
The collection is devoted to such theoretical and methodological categories of the historical and literary process as the creative method, literary direction, type of artistic consciousness. The study of the most important artistic paradigms of the classical era - romanticism and realism - is combined with original authorial assessments of individual artistic worlds and an analysis of the personal strategies of text formation of Russian classic writers. The issue is dedicated to the 100th anniversary of the birth of the outstanding Ural philologist, a well-known specialist in Russian classical literature, the founder of the philological faculty of the Ural State University, Professor I. A. Dergachev (1911-1991).
Lyubomudrov A. M. Spiritual realism in the literature of Russian abroad: B. K. Zaitsev, I. S. Shmelev. SPb., 2003. Mann Yu. V. Gogol's Poetics. 2nd ed., add. M., 1988.
Preview: Romanticism vs. realism.pdf (0.1 Mb)15
Sergey Dovlatov: dialogue with classics and contemporaries...
IUNL PGUTI
In the monograph, in the context of the traditions of Russian literature, the works of the early, mature and late periods creativity of S. D. Dovlatov. Numerous intertextual connections of Dovlatov's prose with the works of M. Yu. Lermontov, N. V. Gogol, I. S. Turgenev, F. M. Dostoevsky, A. P. Chekhov and with the prose of modern Russian authors are traced.
So, the carnival beginning inherent in Gogol (this phenomenon is closely examined in the first chapter of Yu.V. Mann’s repeatedly published work “Gogol’s Poetics”) embodies not only a special type of folk laughter culture, but is also one ...
Preview: Sergey Dovlatov dialogue with classics and contemporaries.pdf (0.3 Mb)16
265 24 Zavyalova E. E. “The Garbage Paradigm” in “Dead Souls” Mann Yu. V. Gogol's Poetics . Variations on a theme. M.: Coda, 1996. Rusk, leftover from Easter cake brought by her daughter Aleksandra Stepanovna.
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The article is devoted to the study of space-time relations in N.A. Durova, including their temporal coordinates, the peculiarities of the use of psychological time, the technique of retrospection and geographic and social space
Gogol. - M .: Education, 1988. - S. 251-292. 10. Mann Yu.V. Poetics of Gogol / Yu.V. Mann. - M .: Art. lit., 1988.– 413 p. Bykova I.V. Kharkiv National Pedagogical University named after G.S. Frying pans.
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Novel American writer Russian origin Ayn Rand "We the Living" is the first American novel about Soviet Russia, which reflects the social and political realities of that time. The subject of the article is everyday, social and political aspects of life in post-revolutionary Russia. The topic of the article is the analysis of the opposition "living - dead" in the novel at all levels of poetics (the system of characters, the world of things, the author's position, psychologism, etc.). The following methods are used in the analysis: system-holistic, historical-comparative, typological, as well as elements of biographical and mythological methods. As a result of the analysis, the author comes to the conclusion that the analyzed opposition is used by Ayn Rand to demonstrate the perniciousness of any ethic system. This analysis significantly deepens the understanding of the little-studied novel, and also helps to clarify the grounds for the critical attitude of the writer to socialism as a political system. These results can be used in the practice of teaching foreign literature in universities.
M. : Tsentrpoligraf, 2007. 3. Yu. Mann. Gogol's Poetics. - M.: Fiction, 1978. 4. Peikoff L. Objectivism: the philosophy of Ayn Rand / translated from English.
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Thus, I. Smirnov points to the genetic connection of the symbolic concept in the poetics of the European Baroque and Russian Futurism2 p. 226. 2 1 Yu. V. Mann. Gogol's Poetics. M.: Fiction, 1988.
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May 27, in St. Petersburg on City Day, Russian President Dmitry Medvedev received the first library card in the Presidential Library named after Boris Yeltsin, which opened in the building of the Synod. During a visit to the library, Medvedev tried out an electronic document retrieval system by typing the word "Constitution" into the search bar. 39,000 documents stored in the library in the form of 43 million files are presented to readers in exactly the resolution in which they were scanned. Thanks to this, historical documents can be studied in detail.
One of its laureates was the literary critic Yuri Mann, the author of numerous works about the writer, including Gogol's Poetics and Gogol's Life, ITAR-TASS reports.
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The article discusses the essence and means of artistic expression of the concept of duality, characteristic of N. V. Gogol's work, in their organic connection with the formal and content features inherent in the invariant aesthetic and worldview model of N. V. Kolyada's plays. The author comes to the conclusion that both writers divide the existential space of their works into real and unreal, while the unreal invades conditional reality, destroying it, bringing all its spheres, primarily spiritual, into a state of disorder, chaos.
Mann Yu. V. Gogol's Poetics. Variations on a theme. M.: "Coda", 1996.
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"COMRADE BRUK" S.D. KRZHIZHANOVSKY AND "LIETTEEN KIZHE" Yu.N. TYNYANOVA: OPTIONS OF REPRESENTATION OF IMAGINATION [Electronic resource] / Kubasov // Ural Philological Bulletin. Series: Russian literature of the XX-XXI centuries: directions and trends.- 2016 .- No. 1 .- P. 170-181 .- Access mode: https://site/efd/570215
The article deals with the artistic world of the story by S.D. Krzhizhanovsky "Comrade Brook" in the projection on "Lieutenant Kizhe" Yu.N. Tynyanov. The works are brought together by the life of a certain imaginary, phantom, which is the basis of the plot. The title of Tynyanov's story refers to the historical past of the country, while the title of Krzhizhanovsky's story declares Soviet reality contemporary to the author. Krzhizhanovsky wrote poetry, his story is related to the poetic form of speech by semantic condensation. By analogy with Tynyanov's formula - "the tightness of the verse series", it can be argued that Krzhizhanovsky has "the tightness of the short story series". The plot of his story is based on the development and variation of the paronymic attraction. The plot is created by means of a language game and in the space of language. Fantasticity is achieved by Krzhizhanovsky and due to the exchange of positions associated with the category of animation / inanimateness. The principles of homonymy, paronymy, palindrome liken the artistic world of Kryzhizhanovsky to a syllogism. Being and imaginary are mutually reversible, which makes the existence of imaginary possible. Tynyanov gives the fantastic plot of the story a historically plausible character. Krzhizhanovsky pushes to the limit what in "Lieutenant Kizhe" has a real-life justification (a clerical slip). The plot of "Comrade Brook" is completely placed in the plane of artistic speech
URL: http://elar.urfu.ru/bitstream/10995/26464/1/978-5-7996-1134-7.pdf Mann Yu.V. Poetics of Gogol.
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... to the 200th anniversary of the birth of Nikolai Vasilyevich Gogol ...
The exhibition catalog has been prepared for the 200th anniversary of the birth of the great Russian writer N.V. Gogol. The catalog is divided into two sections: N.V. Gogol and his era; Master of verbal painting.
In these works, the writer reflects on the originality of Ukrainian culture, on the past and future of his homeland - Little Russia. Mann Yu. Poetics of Gogol / Yuri Mann; rec. S. G. Bocharov; formal. G. Shif.
Preview: Oh, Gogol, our immortal Gogol! to the 200th anniversary of the birth of Nikolai Vasilievich Gogol .pdf (0.6 Mb)24
Relevance and goals. Traditionally, the attention of Gogol scholars was focused on the second edition of N.V. Gogol's story "Portrait". Modern researchers are inclined to the need to study both versions of the work, however, in most cases, a comparative analysis of the editions is aimed at opposing them as two independent stories. The purpose of the article is to compare both versions of the “Portrait” from the point of view of the development of a cross-cutting Gogol plot. Materials and methods. The material of the study is the editions of the story "Portrait" of 1835 and 1842. The article provides a comparative analysis of the two versions, based on the study of the motive structure of the work; the focus of research attention is the motive of strange transformations of artistic reality as a consistent falling away of man and the world from the divine ideal. Results. Differences in the implementation of the key moments of the motive under study in two editions of the story are revealed, due to the shift of the author's attention from the causes to the results of strange transformations. On the basis of a comparison of two versions of the "Portrait", an internal vector of development of a single plot of Gogol's works is formulated. Conclusions. In the second edition, the influence of the mysterious portrait on the fate of the protagonist loses its significance in comparison with the influence of the deceptive Petersburg reality on him. There is no clear logic in the linkage of these transformations, therefore the prehistory of any object, phenomenon or character also loses its authenticity, and artistic reality is in the grip of chaos, and its transformation is irreversible. In the early version of the story, the need for the spiritual transformation of the heroes of the second edition is opposed to the flight from St. Petersburg as a salvation from metamorphoses.
Philology 9. Krivonos, V. Sh. Gogol's stories: the space of meaning / V. Sh. Krivonos. - Samara: Publishing House of the SSPU, 2006. 10. Mann, Yu. V. Gogol's Poetics / Yu. V. Mann. - M .: Fiction, 1988.
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They determined its title: “Gogol's Realism and Problems of the Grotesque” (subsequently, on the basis of the dissertation, the book “Gogol's Poetics”, 1st edition - 1978) was prepared.
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This paper analyzes the "marriage text" of Russian literature of the 19th century. as a "supertext", in which the main motive of a work or a number of works is concentrated. The "marriage text" (its poetological and ideological features and functions) is considered on the material as classical works, and literature of the "second row" - a fictional level. Particular attention is paid to the problems of "secret marriage", depicted in Russian prose of the above period.
Mann Yu. V. Gogol's Poetics. / Yu. V. Mann. - M .: Art. lit., 1978. - 398 p. 29.
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Fourthly, the world of Gogol and, accordingly, the biographies of the writer is a world behind the looking glass, where the laws of common sense are reversed and canceled in Gogol's looking glass: the right becomes the left...Yu. Poetics of Gogol. Variations on a theme. M.: Coda, 1996.
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4 Mann Yu. V. Gogol's Poetics. M.: Fiction, 1988. S. 229, 233.
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12 Mann Yu. V. Gogol's Poetics. M.: Fiction, 1988. S. 276.
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25 For more details on the connection between the idea and poetics of the comedy The Inspector General and Gogol's reflections on Bryullov's painting, see Mann Yu. V. Gogol's Poetics. M.: Fiction, 1978. S. 193; Bodin P.A. The Silent Scene in...
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A comprehensive program of the state interdisciplinary...
The program of the comprehensive interdisciplinary state exam reflects the basic requirements for graduates in this area. The authors reveal the criteria for assessing the knowledge of graduates, list questions for the exam, indicate which basic concepts should be disclosed in each question, offer lists of the main and additional literature. The program of the state interdisciplinary exam is compiled on the basis of the tasks of the current certification in the disciplines, which together determine the basic requirements for vocational training specialist.
– 359 p. 42. Mann, Yu. V. Gogol's poetics [Text] / Yu. V. Mann. - Moscow: Arts. lit., 1988. - 413 p. 43.
Preview: Comprehensive program of the state interdisciplinary exam in the direction of preparation 52.05.01 (070301.65) "Acting art", specialization "Drama theater and cinema artist".pdf (0.1 Mb)32
About the formation plot structure Gogol's fantastic story from "Evenings" to "Viya".
Mann Yu.V. Poetics of Gogol. 2nd ed., add.
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Writer - critics - reader. - 2nd ed. - M., 1987; Gogol: History and Modernity. - M., 1985; Gogol and literature of the peoples of the Soviet Union. - Yerevan, 1986; Gogol and world literature.-M., 1988; Mann Yu. Poetics of Gogol .-- 2nd ed.,-- M., 1988.
Preview: Gogol N. V. Bio-bibliographic reference.pdf (0.1 Mb)34
Chichikov's adventures, or dead souls. Poem by N. Gogol ...
Let us repeat our words: “No one doubts Mr. Gogol’s talent and that he has his own section in the field of poetic creations. ..
Preview: The Adventures of Chichikov, or Dead Souls. Poem by N. Gogol.pdf (0.1 Mb)35
The article analyzes one of the most popular television genres, the sitcom. The value of the sitcom from a cultural and even sociological point of view lies in the fact that this genre is almost more than most other types of mass communication, allows you to accumulate knowledge about the life of society
21 Mann Yu. Gogol's Poetics: Variations on a Theme. – M.: SODA, 1996.
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Theory and history of literature (section "Russian literature of the XIX ...
The structure of the lecture course consists of three blocks. This division is due to the division of the 19th century generally accepted in the science of literature into three periods: the first third of the 19th century (1800–1840s), the second third of the 19th century (1840–1860s) and the third third of the 19th century (1860–1890s). e years).
5. Mann, Yu. V. Gogol's Poetics.
Preview: Theory and history of literature (section "Russian literature of the XIX century"). .pdf (0.5 Mb)37
Russian literature of the 19th-20th centuries: a historiosophical text...
Moscow: Prometheus Publishing House
The monograph offers a holistic review of the historiosophical text of Russian culture from the first chronicles to the literature of the 20th century. The Russian historiosophical text highlights the eschatological dimension, which is its key parameter, and the Scythian plot, in which the main themes of literature and social thought in Russia of the New Age are most closely and revealingly intertwined. "Scythism" synthesized Russian culture of the 10th-19th centuries, overcame its fatal polarity (Westernism - Slavophilism). This circumstance alone makes the Scythian plot the main one in the culture of the first quarter of the 20th century. The author of the study comes to the conclusion that Russian literature is historiosophical. Up to the XX century. Russian historiosophy is not constructed, but constitutes a single historiosophical text, which is an inseparable part of Christian eschatology. General semantic dynamics of the historiosophical text: from the eschatological idea of God's chosenness of the Russian land through the historiosophy of the Third Rome to the intensification of eschatological tension by the end of the 19th century, which is resolved by the revolution. The revolution is the apocalypse (revelation) of Russian history, the meaning of which has yet to be realized.
– 752 p. The page number is in parentheses. Mann Yu. V. Gogol's Poetics. – M.: Hood. lit., 1988. - 413 p. 330.
Preview: Russian literature of the XIX-XX centuries, historiosophical text. Scientific monograph.pdf (0.1 Mb)38
No. 1 [Ural Philological Bulletin. Series: Draft: young science, 2014]
In this issue, the articles of young researchers are devoted to topical issues in the study of Russian classical literature, the poetics of modernism and contemporary Russian literature. Particular attention is paid to the theory and history of cyclization in the literature of the 20th century, and various aspects of the functioning of a literary work in an intermedial context are considered.
Among the most interesting works dedicated to the writer's work, I would like to note: Yu. Mann "Gogol's Poetics", V. Podoroga "Mimesis. Materials on the Analytical Anthropology of Literature", M. Bakhtin "Rabelais and Gogol - the art of the word and folk ...
Preview: Ural Philological Bulletin. Series Draft Young Science #1 2014.pdf (0.7 Mb)39
Philological plots
M.: Languages Slavic culture
The book serves as a continuation of the author's previous book, Plots of Russian Literature, and its theme, stated in the title, actually formulates the same task from the other side, from the active point of view of a philologist. The plan of the book combines works over 40 years, but most of them were written in recent years and were not included in the author's previous books. The thematic spectrum is wide and colorful - works about Pushkin, Gogol, Dostoevsky, Boratynsky, Tyutchev, Tolstoy, Leontiev, Fet, Chekhov, Khodasevich, G. Ivanov, Proust, Bitov, Petrushevskaya, as well as about "philologists of our time" (the name of one of sections of the book) - M.M. Bakhtin, L.Ya. Ginzburg, A.V. Mikhailov, Yu.N. Chumakov, A.P. Chudakov, V.N.
Reliability of history in its origins, but also in many8 Yu. Mann. Poetics of Gogol. Variations on a theme. M., 1996.
Preview: Philological plots.pdf (4.1 Mb)40
The Artistic World of Chuvash Prose in the 1950s-1990s
In the monograph, the world of prose is explored in the context of the development of the Chuvash verbal culture, analysis of the main trends in the literary process, elucidation of the aesthetic appearance of the creative searches of individual writers. The work, written on the basis of extensive material, reveals the features inherent in all tiers of the artistic system of epic forms of literature (genre, ideological originality, plot, narration, image of the author, etc.). In the course of a scrupulous study of prose works, the features of the national artistic consciousness are established in it (allegory, thinking in the Word, plot, genre, etc.), traditional assessments of the nature of narrative genres, the image of the author, and other phenomena are clarified. The book gives a certain idea of the philosophy of creativity of certain writers, of the large aggregate face of all prose as a whole (about the psychologist, philosophical, lyrical, publicist, etc. prose) and the originality of their poetics.
