On the typology of Russian literary almanacs and collections of the first quarter of the 20th century

1. On the genealogy and typology of romantic demons Along with dreamers, sufferers, or unrecognized geniuses, a hero/antihero of a significantly different type, demonic or close to it, functioned in romantic texts, with whom we already briefly came into contact in

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Yun Yun Sun. Forms of expression of the author's position in the prose of AP Platonov: 10.01.01 Yun Yun Sun Forms of expression of the author's position in the prose of AP Platonov (Based on the novel "Chevengur"): Dis.... kand. ... cand. philol. Sciences: 10.01.01 Moscow, 2005 166 p. RSL OD, 61:05-10/1131

1. Features of narration and speech characteristics in the novel "Chevengur": a monologue in the form of a dialogue 51

1-1. The word as a dominant in the works of A.P. Platonova 54

1-2. Point of view and its carriers 62

2. The system of characters as one of the ways of expressing the author's position 75

2-1. The phenomenon of duality in the system of characters 78

Chapter III. The plot-compositional organization of the novel "Chevengur" as an extra-subjective form of expressing the author's position 100

1. The novel "Chevengur": from myth to reality, or "and so, and back" 100

1-1. Plato's "little trilogy" 103

1-2. Crossing the border: the principle of establishing a chronotope 116

2. The idea of ​​the novel and the "novel idea" 126

Conclusion 132

List of references 143

Literature, in particular Russian literature, cannot be perceived outside the context of time. Among the writers who fully shared the fate of the "harsh and furious" era of the 20th century, Andrey Platonovich Platonov occupies a special place. His work is dedicated to the disclosure of the "crushing universal secret" - the secret of life and death, the very "substance of existence". A.P. Platonov "and perceived the revolution not only politically, but also philosophically - as a manifestation of the general movement, as the most important step towards the transformation of the world and man" 1 . V.V. Vasiliev, characterizing the artist's work, saw in his works not only the image of the tragic fate of the people in the revolutionary era, but also "the painful ideological drama of the artist himself, deeply hidden in the comically foolish style."

In the second half of the 1920s, A.P. Platonov wrote a number of major works in a short period. Among them, the novel "Chevengur" and the story "The Pit", being the creative pinnacle of the young writer, occupy a central place in the heritage of A.P. Platonov 3 . In the novel "Chevengur" the features of the style and artistic thinking of A.P. Platonov. No wonder researchers call this work “precious crystal” (SP Semenova), “creative laboratory” (V.Yu. Vyugin), “artistic result” (E.G.

1 Trubima L.A. Russian literature of the XX century. M., 2002. S. 199.

Vasiliev V.V. Andrey Platonov. Essay on life and creativity. M., 1990. S. 190.

Many Russian and foreign researchers agree that The Pit and Chevengur are the culmination of young Platonov's talent. See, for example, Vyugin V.Yu. "Chevengur" and "Pit": the formation of Platonov's style in the light of textual criticism. SFAP. Issue. 4. M, 2000; Langerak T., Andrey Platonov. Amsterdam, 1995; Seifrid T. Andrei Platonov - Uncertainties ogsprit. Cambridge University Press, 1992; Teskey A. Platonov and Fyodorov, The Influence of Christian Philosophy on a Soviet Writer. Avebury, 1982, etc.

Mushchenko) of the writer's work.

The fate of the novel "Chevengur" was dramatic. As is known, "Chevengur" was not published during the life of the writer. The novel became fully known to a wide range of readers in Russia in the second half of the 1980s. Until that time, only in the early 70s were some fragments and excerpts from the novel published.

Readers in the West got acquainted with this work earlier than in the homeland of the writer. In 1972, in Paris, the novel "Chevengur" was published in Russian with a foreword by M.Ya. Geller. Although this edition did not contain the first part of the novel (“The Origin of the Master”), it can be said that A.P. became famous with this publication. Platonov abroad. The full text of the novel was first published in London in 1978 in English, and only ten years later did it appear in Russia 5 .

Despite the fact that in the Soviet Union readers were deprived of the opportunity to get acquainted with the literary heritage of A.P. Platonov, some researchers had the opportunity to access the author's archive, which preserved many letters, notes, manuscripts known only to the people closest to the writer. Although "Chevengur" was not published in the Soviet Union, it was known, apparently, in a handwritten version, although not to a very wide circle of readers. For example, L.A. Shubin in the article "Andrei Platonov", which appeared in 1967 in the journal "New World", highlights the work of A.P. Platonov, based on specific texts, including those that were not

4 As is known, some fragments of the novel were published during the life of the writer.
For example, "The Origin of the Master"; "Adventure"; "Death of Kopenkin". However, when
with all the efforts of A.P. Platonov (for example, an appeal to A.M. Gorky), the whole novel is not
came out into the light. In the 1970s, the Kuban magazine (1971, No. 4) published one of
final episodes entitled "The Death of Kopenkin", in the same year placed another
one excerpt from Journey with an Open Heart in Literary Gazette
(1971. 6 Oct.).

5 In 1988, "Chevengur" was published in the journal "Friendship of Peoples" (No. 3, 4). IN
In the same year, the full text of the novel was published as a separate edition (with an introduction, Art. S.G.

known to the reader of that time, from early publications to critical notes of the writer. In addition to already published works (stories), L.A. Shubin often mentions the novel "Chevengur". In this article, the scientist asks the question, “whether public consciousness, filling in the gaps and dashes of its knowledge, will be able to perceive this new organically and holistically, as “a chapter between chapters, as an event between events” 6 . It is thanks to the work of L.A. Shubin, a big gap in the history of Russian literature began to be filled. The article "Andrei Platonov" marked the beginning of the "real study" of A.P. Platonov, in particular, the study of the novel "Chevengur".

Following L.A. Shubin in the 70s, many researchers both in Russia and abroad began to actively study the novel "Chevengur". The researchers considered the novel from a variety of perspectives, while two approaches to the study of the work were noted: the first approach is aimed at studying the context of the work (in conjunction with the political situation, philosophical and natural science theories, etc.), the second approach is aimed at studying the poetics of the writer.

At the initial stage, the researchers preferred the first approach, that is, the study of A.P. Platonov in the context of the socio-political situation of the 20s. Particular attention was paid to the philosophical system of the writer, the influence of various Russian and foreign philosophers on its formation. Many in the novel "Chevengur" (not only in the novel, but in general in the artistic system of A.P. Platonov) noted the influence of N.F. Fedorov: his ideas about the transformation of the world, about overcoming death, about immortality, about the victory of man over natural forces, about human brotherhood, about building a “common home” and so on. This trend

Semenova). Shubin L.A. The search for the meaning of separate and common existence. M., 1987. S. 188.

was especially relevant from the early 70s to the mid 80s. The ideological, philosophical context of the writer is studied in the works of N.V. Kornienko, Sh. Lyubushkina, N.M. Malygina, S.G. Semenova, A. Tesky, E. Tolstoy-Segal, V.A. Chalmaeva and others.

Shifting emphasis to the study of the poetics of the novel "Chevengur"
observed relatively later, rather, after the publication of the novel in
Russia. Researchers in this field can be divided into two groups.
groups: the first was interested mainly in thematic
aspects of A.P. Platonov; the second was attracted by the problem
unique form of his work. The first group includes
researchers interested in aesthetic issues,

thematic, mythopoetic, anthropological; to the second - considering, first of all, the problems of linguistic features, narration, point of view, structure and architectonics of the work. Despite the fact that these two groups of researchers had a different starting position, they had one common goal: to reveal and highlight the author's position in the work of A.P. Platonov, who is sometimes even "unknown to himself."

In the 80s, a number of works devoted to the creative biography of A.P. Platonov appeared, not only in Russia, but also abroad. In 1982, two significant works were published, in which separate chapters are devoted to the novel "Chevengur". A book by V.V. Vasilyev "Andrei Platonov: Essay on Life and Work", a monograph by M.Ya. Geller "Andrei Platonov in search of happiness". V.V. Vasiliev analyzes the "secret" utopian ideal of A.P. Platonov, shows the formation of the writer, based on facts from his biography, and the scientist reveals some of the characteristic features of the artist's poetics. As the titles of the chapters (“Platonov vs. Platonov”, “Projects and Reality”) show, the scientist noticed the initial

contradiction and conflict in the artistic conception of the world by A.P. Platonov. V.V. Vasiliev emphasizes the peculiarity of the author's position as follows: A.P. Platonov, as a proletarian writer, "is organically alien to the position "above the people", "above history" 7 - he is moving towards the future from history, with the people." Thus, highly appreciating the nationality of the writer's work, V.V. Vasiliev considers A.P. Platonov "the true heir and continuer of the tradition of Russian

literature".

M.Ya. Geller in the chapters titled "Faith"; "Doubt"; "The Temptation of Utopia"; "Complete collectivization"; "Happiness or Freedom"; "The New Socialist Man", which show the change in the attitude of the writer to his time and ideal, outlines the literary route of A.P. Platonov from a young communist and aspiring writer to a mature master. The scientist showed particular interest in the novel "Chevengur". Referring the novel "Chevengur" to the menippea genre, M.Ya. Geller defines it for the first time as an "adventure novel", for which the "adventure of ideas" is of great importance 9 . The scientist raised a number of questions that relate to the ways and forms of expressing the author's position and are still relevant: the question of the genre, the plot-compositional structure of the novel and its context, etc.

Characterizing the work of A.P. Platonov, literary critics unanimously call him “the most philosophical” (V. Chalmaev), “the most metaphysical” (S.G. Semenova) writer in Russian literature of the 20th century. V.V. Agenosov considers Chevengur "one of the pinnacles of the Soviet

7 Vasiliev V.V. Andrey Platonov. M. 1982 (1990) S. 95.

Vasiliev V.V. Ibid., p. 118. About A.P. Platonov, see also: Malygina N.M. Aesthetics of Andrey Platonov. Irkutsk, 1985, pp. 107-118; Skobelev V.P. On the national character in Platonov's prose of the 20s // Creativity of A. Platonov: Articles and messages. Voronezh, 1970.

Geller M. Ya. Andrey Platonov in search of happiness. Paris, 1982 (M., 1999). S. 188.

philosophical novel” and rightly writes about the polyphonism inherent in the novel: “if this idea” (utopian) were “the main and only one”, then “Platonov would not need to write Chevengur, it would be enough to create the Pit” 11. E.A. Yablokov, maintaining this tradition, considers Chevengur as a "novel of questioning", a novel of "last questions". The researcher notes the difficulty of determining the author's position, since often "it is not clear how the author himself relates to what he depicts" 12 .

T. Seyfried defines "Chevengur" not only as a dialogue between the writer and Marxism and Leninism, but also as "a novel about ontological questions" 13 . Emphasizing the ambivalence of the author's position, the scientist refers the novel to the genre of meta-utopia (G.S. Morson's term) 14 . The Dutch researcher T. Langerak also considers the ambivalence of the novel to be a distinctive feature of A.P. Platonov. According to the scientist, A.P. Platonov manifests itself not only at the structural level, but also "penetrates all levels of Chevengur" 15 .

Traditionally, many researchers resort to a mythopoetic approach, paying special attention to the “mythological consciousness” in the novel by A.P. Platonov and the archetypes of Platonic images and motifs. This tradition is still relevant and one of the main ones in the study of the poetics of the writer. The mythopoetic approach received a multifaceted development in the works of N.G. Poltavtseva, M.A. Dmitrovskaya, Yu.G. Pastushenko, X. Günther and others.

0 Agenosov V.V. Soviet philosophical novel. M. 1989. S. 144. 11 Ibid. S. 127.

Yablokov E. A. Hopeless sky (introduction, article) // Platonov A. Chevengur. M., 1991. C.8.

Seifrid T. Andrei Platonov - Uncertainties of sprit. Cambridge University Press, 1992. 14 Ibid. From 131.

Langerak T. Andrei Platonov: Materials for a biography 1899-1929. Amsterdam, 1995, p. 190.

In the 90s, especially after the appearance of the monograph by N.V. Kornienko "Here and Now", the balance of philosophical-historical, linguistic and literary approaches to the study of A.P. Platonov |6 . In this work, N.V. Kornienko, based on textual research, traces the writer's creative path to the novel "Chevengur". Having defined the structure of the novel as "polyphonic", she sees in this the difficulty of determining the author's position.

Many of the writer's texts were reconstructed and published during these years thanks to the efforts of scientists. Dissertation studies have appeared that examine the poetics of the works of A.P. Platonov from different points of view: mythopoetic (V.A. Kolotaev, Ya.V. Soldatkina); language (M.A. Dmitrovskaya, T.B. Radbil); anthropological (K.A. Barsht, O. Moroz), etc. At the same time, serious attempts were made to analyze the textual analysis of the novel "Chevengur". In the thesis of V.Yu. Vyugin's textual analysis is combined with the study of the creative history of the novel "Chevengur" |7 . Comparing the novel in different aspects with its first version "The Builders of the Country", the researcher notes the figurativeness and conciseness of the form and content of "Chevengur" compared to its previous version. Among the works on Chevengur, the monograph by E.A. Yablokov, where materials relating to the novel are presented and systematized.

In addition, not only in Moscow (IMLI), in St. Petersburg (IRLI), but also in Voronezh, the writer’s homeland,

16 Kornienko N.V. Text history and biography of A.P. Platonov (1926-1946) // Here and
Now. 1993 No. 1.M, 1993.

17 Vyugin V.Yu. "Chevengur" by Andrei Platonov (to the creative history of the novel). Dis.
...can. philol. Sciences, IRLSchPushkinsky Dom) RAS, St. Petersburg, 1991; also see: Vyugin V.Yu.
From observations on the manuscript of the novel Chevengur // TAP 1. St. Petersburg, 1995; Story A.
Platonov "Builders of the country". To the reconstruction of the work // From the creative
heritage of Russian writers of the XX century. SPb., 1995.

conferences dedicated to the work of A.P. Platonov, as a result of which the collections "Country of Philosophers of Andrey Platonov" were published (issues 1-5); "The Creativity of Andrey Platonov" (issue 1.2), etc. In particular, the conference held at IMLI in 2004 was entirely devoted to the novel "Chevengur". This shows the unrelenting interest of researchers in this novel, which can unconditionally be attributed to the highest artistic achievements of A.P. Platonov.

However, despite the attention of literary critics to the work of A.P. Platonov, many questions still remain unresolved. Firstly, although Platonists have been actively engaged in textual research in recent years, there is still no canonical text of the novel "Chevengur". Therefore, when studying a work, one must keep in mind that there are different versions of the text 19 . Secondly, the opinions of researchers regarding the interpretation of the author's position, individual episodes, even phrases of the work often diverge. For these reasons, the coverage of the author's position in the work of A.P. Platonov deserves special attention and special study. Thus, with all the literary interest in the novel "Chevengur", the problem of the author's position is still one of the most debatable. Understanding this problem opens up new perspectives for understanding a number of fundamental issues of A.P. Platonov, in particular, when studying the so-called chain of novel works of the writer

18 Yablokov E.A. On the shore of the sky Andrey Platonov's novel "Chevengur". SPb., 2001.

19 In this regard, the literary fate of The Pit turned out to be happier than
"Chevengur". In 2000, an academic edition of the story was published,
prepared by the staff of IRLI (Pushkin House). All further links to
the main text of the story "The Pit" is given according to this edition, indicating the pages in
round brackets. Platonov A. Pit, St. Petersburg, Nauka, 2000; If it's about
"Chevengur", then there are two more or less "mass editions": 1) Platonov A.P.
Chevengur. M: Fiction, 1988. 2) Platonov A.P. Chevengur. M.:
Higher School, 1991. Between these editions there are almost no textual
discrepancies. Further, all references to the main text of the novel "Chevengur" are given according to
second edition with page numbers in parentheses.

("Chevengur", "Pit", "Happy Moscow"), which are a trilogy of "utopian project" A.P. Platonov.

Thus, relevance of the dissertation is determined by the increased interest of researchers in the problem of the author's position in works of art and the insufficient study of A.P. Platonov in this theoretical aspect.

The main material of the study served as the novel "Chevengur". The dissertation compares the novel "Chevengur" with the story "The Foundation Pit" and the novel "Happy Moscow", which made it possible to identify typological patterns and emphasize the originality of the main work of A.P. Platonov.

Scientific novelty of the research due to the fact that the text of the novel "Chevengur" is analyzed for the first time as an artistic whole in the chosen theoretical aspect. The dissertation deals syncretically with subjective and non-subjective forms of expressing the author's position and comprehends their relationship with the philosophical and aesthetic position of the author. The works under study (“Chevengur”, “Pit”, “Happy Moscow”) are considered for the first time as a novel trilogy.

Purpose of the dissertation - to reveal the features of the poetics of A.P. Platonov through the study of the specific forms of the artistic embodiment of the ideals of the writer in his work.

To achieve this goal, the following tasks are solved : 1. Theoretically comprehend the problem of the author and the author's position:

Clarify and draw a terminological distinction between the concepts of "author", "image of the author", "author's position", "point of view";

Conventionally, we will attribute three works by A.P. Platonov ("Chevengur", "Pit", "Happy Moscow") to the novel genre.

work.

2. Analyze the novel "Chevengur" in the selected theoretical
aspect, based on the correlation of subjective and non-subjective forms
expressions of the author's position. For this:

consider the forms of narration in the novel "Chevengur";

reveal ways of expressing different "points of view" in the novel;

to characterize the system of characters, with special attention to the phenomenon of "duality" as a form of revealing the author's position, as well as the use of dialogic relations in the work;

To study the plot-compositional structure of the novel as a "small trilogy", to consider the features of the chronotope of the work.

3. consider the artistic forms of expressing the author's position and
identify the relationship between the forms of embodiment of the author's position and
author's ideals.

Methodology and specific research methodology determined by the theoretical aspect and the specific material of the study. The methodological basis of the work is the works of Russian and foreign scientists on the problems of the author and the hero (M.M. Bakhtin, V.V. Vinogradov, V.V. Kozhinov, B.O. Korman, Yu.M. Lotman, N.D. Tamarchenko and others), style, narration, correlation of points of view (N. Kozhevnikova, J. Jennet, B.A. Uspensky, V. Schmid, F, Shtanzel, etc.). The dissertation takes into account the results of research on the problems of the author's position in the work of A.P. Platonov (V.V. Agenosov, JV Bocharova, V.Yu. Vyugin, M.Ya. Geller, M.A. Dmitrovskaya, N.V. Kornienko, V. Rister, T. Seyfried, E. Tolstoy-Segal, A A. Kharitonova, L. A. Shubina, E. A. Yablokova and others).

The work uses comparative-historical and genetic

methods that allow revealing the philosophical and aesthetic basis of the writer's work in the context of the era. The use of the principles of the structural method is due to the need to study the means of expressing the author's position in the text.

The practical value of the dissertation due to the fact that the materials and results of the study, as well as its methodology, can be used in the development of teaching aids and in conducting classes on the history of Russian literature of the 20th century and the work of A.P. Platonov at the university and school.

Approbation. The main provisions of the study were discussed at
postgraduate seminar of the Department of Russian Literature of the XX century. Moscow State Pedagogical University,
tested in presentations at two international conferences
(“The legacy of V.V. Kozhinov and current problems of criticism,
literary criticism, history of philosophy” (Armavir, 2002), “VI
International scientific conference dedicated to the 105th anniversary of
birth of A.P. Platonov” (Moscow, 2004)) and at the interuniversity
conference (“IX Sheshukov Readings” (2004)). Basic provisions
dissertations are presented in four publications. *

Thesis structure determined by the purpose of the study and the tasks. The dissertation consists of an introduction, three chapters, a conclusion, a list of references and a summary in English. The total volume of work is 166 pages. The list of references includes 230 titles.

The problem of the author and the author's position in modern literary criticism

In antiquity and the Middle Ages, the author played the role of only "a medium, an intermediary, connecting an impersonal creative force with an audience" . According to Yu.M. Lotman, before the era of romanticism, especially in the Middle Ages, each culture created in its model a type of person “whose behavior is completely predetermined by a system of cultural codes”, and the author simply needed to sum up the “general rules of behavior ideally embodied in the actions of a certain person”,2 which has its own biography. If the author performed his role well as a chronicler, then, in principle, it did not matter what personality or position the author of this work had, most importantly, he neutrally and objectively described in his work the general life ideal of that society. Thus, until the 17th-18th centuries. the creative personality of the author “was limited” and “fettered by the requirements (norms, canons) of already established genres and styles.”3 The author had a universal and “common face”, he was present in his work in a hidden and forgotten form, yielding his subjectivity to the canon of the society of that time.

German classical rationalism also emphasized the power of abstract truth over the subject. In Hegel's Aesthetics, one of the most important theses is the coincidence of the author's personality, i.e., subjectivity, with "true objectivity" in the depiction of an object. Hegel substantiates the idea of ​​the unity of the objective and subjective principles of a work of art, therefore the problem of the author in Hegel does not know contradiction.

The flourishing of romanticism, the essence of which lies in the full disclosure of the unique uniqueness of the subject and the endless emphasis on its role, forced to break the long “unequal balance” between the subject and the object, i.e., the author and the subject depicted by him. In the poetics of romanticism, creativity is “realized as the embodiment of the “spirit of authorship””5. Now, in the space of the work, the main, and the only, aesthetic event becomes the "self-realization of the author", as a result of which the work of art acquires the character of a monologue or confession of one subject. So, the emergence of romanticism and sentimentalism radically changed the idea of ​​the role of the author in literature. The work began to be perceived as the realization of individual creative power.

With the development of realism in the 19th century. The problem of the author as a subject has entered a new stage. The goal of a realistic work is a complete reproduction of the life and reality of the new time, in contrast to romanticism or sentimentalism, in the center of which is the extreme expansion of the personal principle. The variety of depicted life did not give the author the opportunity to delve into his own experience and stay there. In this complex and confusing world of a realistic work, the author-subject could not find a suitable place for himself, the author "with his voice and position was somehow lost"6. Therefore, the dominant feature of the work is not the author's genius, not his personal beginning, but the generality, abstractness and lifelikeness of the work itself. This is the non-authorial, purely objective nature of realistic literature. But on the other hand, any work of art is the creation of the author, as a result of which it is inevitably connected in one way or another with the personality of the author. Thus, the author's principle recedes into the background, and the problem of the author as a literary criticism acquires a new (more precisely, modern) sound in a more complex semiotic sense.

Against this historical background, the question is raised about the “presence” of the author in the work, or vice versa, his “disappearance” from the work: the idea of ​​“immanent” authorship arises, “that is, e. the possibility and necessity of the reader's and researcher's reconstruction of the "organizing artistic will" from the composition and structure of the aesthetic reality created by it"7. This means that there is a need to clarify the difference between a real and an abstract author (the image of the author or other subjects), i.e. masked by the real author and the author as a historical figure. Thus, at the beginning of the 20th century, the problem of the author (and the hero) becomes relevant again. This is closely connected with those epoch-making crisis problems of our time, which are reflected in all areas of science and culture. The intelligentsia faced the fundamental problem for the philosophy of the 20th century of "man" as a "subject", the problem of alienation and dehumanization of man as an individual. Against such a dramatic historical background, interest arises in the author's principle, which is perceived as an omnipotent and creative being, at least in the artistic world.

In Russian literary criticism, interest in the problem of the author's principle developed intensively in the 1920s. The revolution destroyed the existing social system and made us turn again to the problem of man as the only being who independently acts and answers to History. The role of the author and the character in literary works also changes. People are "thrown out of their biographies", the personality as the main face of the plot seems to have disappeared. In this regard, the hero as a subject loses its meaning in the space of the work, the role of the author is also weakened.

The category “image of the author”, which, unlike the real author, is present in the work as “normative linguistic consciousness”, was first introduced into literary criticism by V.V. Vinogradov. Based on the well-known system of F. Saussure "language - speech (langue - parole)", assuming that each speech reflects the general structure of the language, V.V. Vinogradov argues that “in each individual creativity, the general properties and processes of language development are revealed more fully and sharper”9. Therefore, any fiction, according to Vinogradov, is a normative linguistic microcosm, reflecting the general essence of the development of the normative linguistic macrocosm of a given era. In this macrocosm (that is, in a common language) there is a common normative linguistic consciousness that prevails over every speaker. The language of fiction as a “microcosm of the macrocosm of a common language” must have such a linguistic “normative consciousness” that it is more static and more abstract than the casual speaking subject of a given work (the real author). The bearer of this consciousness has no subjective ideas and experiences of the speaker.

Forms of embodiment of the author's position: subjective and non-subjective

In fiction, especially in prose, except for an autobiographical work (often in it), the author cannot be directly in the text. The essence of the author is determined by his "externality", as a result of which he is always "mediated" in the text - by subjective or non-subjective forms. As for the forms of the presence of the author in the work, they are very diverse. The main "depicting" subjective forms of expressing the author's position in a prose work are the "image of the author", the narrator, the narrator, or, using the terms of modern Western (especially German) literary criticism, the "implicit author", the narrator 29, etc. With these different "speaking" Forms are closely related to the problem of point of view (B.A. Uspensky), the words “one’s own and someone else’s” (M.M. Bakhtin), that is, the problem of narration and style.

“The image of the author”, “narrator”, “narrator” - until now, literary critics interpret these terms ambiguously, sometimes even contradictory. Often the very concept of "author" is confused with these concepts. For example, B.O. Korman "author" is the subject (carrier) of consciousness, "the expression of which is the whole work or their totality" 30 . The main position of the researcher is formulated as follows: "the subject of consciousness is the closer to the author, the more it is dissolved in the text and invisible in it" . Here, the limits between the real author and the rest of the “subjects of consciousness” are not clearly demarcated. According to B.O. Korman, “as the subject becomes the object of consciousness, it moves away from the author” (but in our opinion, it moves away only in the external plan). In other words, according to B.O. Korman, "the more the subject of consciousness becomes a certain personality with its own special way of speech, character, biography, the less it expresses the author's position"32. As we can see, one important point in terms of "aesthetic distance" is allowed here: only external distance and dissimilarity between the author and other subjects of consciousness are meant here. It seems to us that the author's artistic intention, or its intentional "outside location", is not taken into account.

The concept of “the image of the author”, which was introduced into literary criticism by V.V. Vinogradov, different scientists invest different content. So, the interpretation of M.M. Bakhtin can be applied not only to fiction. “The image of the author” is one of the forms of existence of the author in his creation, but “unlike the real author, the image of the author created by him is deprived of direct participation in the real dialogue (He can participate in it only through the whole work), but he can participate in the plot of the work and act in the depicted dialogue with the characters "(our italics). Here the secondary nature of this image and its difference from the real author are emphasized. This means that there is a certain hierarchical system: a “real author”, who cannot express direct speech and cannot exist as an image; "author image" created by the primary author. This image can be located in the space of the work, it is freer and more mobile than the real author; The "hero" created by the real author can deal with the image of the author. The desire of the “primary, formal author” “to intervene in the conversation of the characters” and to contact the depicted world “makes it possible for the author’s image to appear in the field of depiction”34.

In contrast to the concept of "author image", the terms "narrator" and "narrator" receive a more specific definition, although they are also used and interpreted differently in connection with different types of storytelling. Traditionally, researchers believe that the fundamental difference between these two terms lies in the world to which this depicting subject belongs. If he lives in the same world as these characters, then he is the “I-narrator”35. And if the narrator lives outside that world, then “he is the narrator”36. But this definition requires a reservation, since the “I-narrator” can be divided into two categories: the first is the one who lives in the same world and actively participates in events, while his horizons are limited to his own emotions and assessment, the second is simply watching everything that happens from the outside, this time he becomes just a chronicler.

By definition, V.E. Khalizeva, the narrator tells the events from the third person, the narrator - from the first. B.O. Korman defines these concepts according to the degree of their revelation (or solubility) in the text: “the narrator is a speaker who is not identified, not named, dissolved in the text, the “narrator” is a speaker who openly organizes the entire text with his personality.”

Opinion V.V. Kozhinov differs from researchers who see the narrator and the narrator as opposite or different concepts in that for him the narrator is one of the variants of the narrator's existence 8 . The scientist defines the narrator as “a conditional image of a person on behalf of whom the narration is conducted in a literary work”, thanks to which “a “neutral”, “objective” narration is possible, in which the author himself, as it were, steps aside and directly creates pictures of life in front of us. In fiction, according to the researcher, one can find different versions of the existence of the image of the narrator. This, perhaps, is “the image of the author himself, which directly appeals to the mind of the reader” and, of course, this is “the artistic image of the author, which is created in the process of creativity, like all other images of the work.” Very often, a work introduces “a special image of the narrator, who acts as a person separate from the author. This image may be close to the author, or may be very far from him in character and social position.

Features of narration and speech characteristics in the novel "Chevengur": a monologue in the form of a dialogue

Traditionally, in Platonic studies, the author's position is characterized by such terms as "polarity", "ambivalence", "duality", "dichotomy", etc. This assessment of researchers largely depends on the characteristics of the author's attitude to the depicted world. A well-known remark by A.M. Gorky about the nature of the novel "Chevengur" ("lyric-satirical")1 gave direction to the search. The very antinomy of the phrase "lyrical-satirical" explains the difficulty in determining the author's position of this work.

The difficulty of interpreting the text of A.P. Platonov and the definition of the author's position, first of all, lies in the unique language of the writer. Unlike his contemporaries (I.E. Babel, M.M. Zoshchenko, B.A. Pilnyak, E.I. Zamyatin, etc.), according to I.A. Brodsky, A.P. Platonov wrote in "the language of his time". He plunged into the depths of the consciousness of his era, completely subordinating "himself to the language of the era"2. Thanks to the peculiar language and its “wrong charm” (N.I. Gumilevsky), A.P. Platonov was able to achieve his characteristic ambivalence and "excess" of meaning.

The fundamental features of the unique language of the young writer are present in the novel "Chevengur". Firstly, as rightly noted by the first reader of "Chevengur" - G.Z. Litvin-Molotov, the novel is "full of conversations", especially the actual "Chevengur" part of the novel, which consists of dialogues between characters. No wonder A.M. Gorky, after reading the manuscript, offered to remake the novel into a play. This is the thought of A.M. Gorky was "inspired" by the language of A.P. Platonov. According to the great writer, from the stage, from “the lips of intelligent artists, it (the novel) would have sounded excellent”3.

Secondly, despite the fact that the novel is "full of conversations" of the characters, the characters think and speak absolutely "Platonic". In the novel, according to many researchers, the linguistic characteristics of each character, including the narrator, is one of the varieties of the author's own language. The language of the author dominates everything: the language of the characters, the storyline, even the spatio-temporal structure. Or, on the contrary, as L.A. Shubin, the author's speech in the works of A.P. Platonova strives, as to her limit, to the speech of the heroes. In any case, in the novel the language of the different subjects is essentially the same. In other words, the novel could become a monologue of a young writer.

But this is a monologue of a special kind, since the author's position, varying, is embodied in the linguistic dialogue of different characters. The basis for such an interpretation is given by the author himself in the following statement: “My ideals are monotonous and constant. I will not be a writer, if I express only my unchanging ideas, they will not read me. I have to trivialize and vary my thoughts in order to get acceptable works.

Another important feature of the language is the "redundancy" of the meaning: "to live the main life"; "think in your thoughts"; "think in your head"; “to know in the mind”, etc. 5. Perhaps, as E.A. Yablokov, A.P. Platonov is not a given - "it is a process: therefore, every word about the world is true, at best, in part." Because of this, one gets the impression that "not only the characters suffer, but the very language of Platonic prose from the inability to 'speak out'"6. From the inability to "pronounce" there is a "redundancy" of language in A.P. Platonov. Opposite phenomena - "silence" or "lack of words" - occur for the same reason.

In addition to "redundancy", in the language of A.P. Platonov, there is still a well-known antinomic phenomenon - combinations of the incompatible: “words come together that seem to pull in different directions”7, as in the following expressions: “poor but necessary pleasure”; "substance of existence"; "cruel miserable force." It is this phenomenon that contributes to the expression of the "lyrical-satirical" attitude of the author to the depicted.

We must not lose sight of the fact that in the novel not only the oral, but also the "written word" also plays an important role. The forms of written text in "Chevengur" are very diverse and productive: these are documents, protocols, letters, signs, slogans, songs, excerpts from books and even inscriptions on the grave. All these "inserted elements" make the compositional unity of the novel rather conditional, determined primarily by the unity of the author's position. Thus, a kind of fusion of written and oral speech arises as different, albeit closely related, forms of expression of the artist's ideal, his philosophical aesthetic position.

The novel "Chevengur": from myth to reality, or "and so, and back"

Despite the fact that the novel "Chevengur" is in the area of ​​constant attention of researchers, many issues still remain unresolved, including such as the definition of the canonical author's text, the characteristics of the genre, the principles of constructing the chronotope, etc. As rightly noted by V.P. Skobelev, since it is “the plot-forming genus-genre structure that sets the first impetus for artistic activity” 2 , the plot-compositional structure associated with the genre features of the work is of key importance in the study of the author's position.

When studying genre features, it must be borne in mind that the novel as a genre is considered one of the most non-canonical and incomplete in the history of literature, that is, “not built as a reproduction of ready-made, already existing types of the artistic whole,” however, it is precisely because of this that the novel can actively borrow in terms of both form and content in other narrative genres3.

Researchers believe that the "crisis of the novel genre" begins at the end of the 19th century. It has a close relationship with the destruction of the achieved balance in the system "I - the other." At the beginning of the 20th century, this phenomenon "led to the destruction of the 'traditional novel' as an autonomously existing work of art." As is known, in the 1920s, O.E. Mandelstam proclaimed "the end of the novel." By the word “novel”, the writer meant “a compositional, closed, extended and complete narrative about the fate of one person or a whole group of people”5. Therefore, for O.E. Mandelstam "the compositional measure of the novel is a human biography"6. However, the writer's contemporaries could not become the "thematic core" of the novel, since they were "thrown out of their biographies."

Most often, in the works of writers of the 20s, there is a so-called “crisis” of the novel genre, noticed by O.E. Mandelstam. For example, as is known, in the work of B.A. Pilnyak and E.I. Zamyatin's biography of a person does not constitute the compositional structure of the work, it no longer excites the author, now, first of all, the image of the mass becomes the dominant of the work. In their works there is no plot as such, often a novel is a collection of fragments that are not connected with each other. Or, for example, in the works of M. Proust, J. Joyce, J. P. Sartre, not the biography of the hero, but his inner world and "stream of consciousness" become the plot of the novel. However, no matter how paradoxical it may sound, in the 20th century, it was with the “death” and “end of the novel” (i.e., a certain, “classical” stage in its development) that a new era of this genre began, one of the most significant “narrative genres” modernity. Thanks to the artistic experiments of Russian and foreign writers who wanted to create an ideal form for a person who "lost" his biography, the novel in the 20th century. blossomed again as one of the major narrative genres. Now, acquiring new life, the novel is an open genre in its infancy; the essence of the novel genre is not limited to traditional qualities, that is, eventfulness and plot.

In the above context, "Chevengur" as a novel is an interesting object of study, because at first it was written in fragments, and only then designed by the author as a whole, and therefore it seems unconventional in terms of form and content of the novel genre. The chronotope and plot structure of the work are not continuous, but discrete, not linear, but fragmentary, not event-based, but anecdotal. In this regard, the novel is dominated by the cyclical world order characteristic of the mythological worldview: a repeating beginning; the absence of the concept of "beginning and end" not only in the space-time construction, but also in the perception of the characters. Thus, a number of elements of the mythological text are observed in the novel7.

Assuming that the novel "Chevengur" is a small trilogy that has its own artistic patterns in terms of form and content, we will consider its plot and compositional structure in different ways (especially in relation to genre features). Further, we will reveal the role of the novel "Chevengur" in an evolutionary perspective: from "Chevengur" (from a small trilogy) to a large novel trilogy ("Chevengur", "Pit", "Happy Moscow").

The novel by A.P. Platonov "Chevengur" was created in 1926-1929, although its historical content is limited to the period 1921-1922. It was first published in 1972. In Russia, the novel was published in 1988.

At the beginning of the novel, one of the provincial towns with dilapidated huts is presented. The drought starved people and forced them to look for other places. Zakhar Pavlovich stayed, because he could not leave his products.

The machinist-mentor believed that steam locomotives were more tender and defenseless than people. Therefore, he thought for a long time whether to take Zakhar to the depot when he found himself in the city.

Mavra Fetisovna Dvanova, who had 7 children, took the orphan to her (his father drowned in Lake Mutevo, checking what kind of death she was). The orphan Sasha was sent first to beg, and then Prosha completely sent him out of the house, since Mavra gave birth to twins.

Over time, doubting the preciousness of the cars, Zakhar Pavlovich marries Daria Stepanovna and asks Proshka to bring Sasha for a ruble. The boy became an apprentice at the depot.

The war has begun. Zakhar was sure that he could negotiate with the German. Sasha entered the courses. After the revolution, they went to look for a party. Zakhar believed that a Bolshevik must have an empty heart so that everything fits there. Sasha "believed that the revolution was the end of the world." He studied at the Polytechnic when his party "seconded him to the front of the civil war - to the steppe city of Novokhopersk." When he returned home, he had to endure difficulties: shelling, dismantled rails. A small section of the road Sasha was driving a locomotive, but he collided with an oncoming one. 40 people died. Upon returning home, Dvanov was ill with typhus, and then told Sonya Mandrova about his dreams during his illness.

Shumilin, the pre-gubernia executive committee, guessed that somewhere socialism had already happened by accident. Therefore, Sasha was sent to inspect the provinces. Sonya and her friends were sent along with the Red Army detachments as teachers to the village, where gangs of illiterate people gathered.

In a ravine in front of the village of Kaverino, Dvanov stumbles upon a detachment that sings a song about Soviet power. He is wounded in the leg. The leader of the anarchists is Mrachinsky. Nikitka helped Dvanov undress so as not to take off the clothes of the dead man. Since Alexander read the leader's book - "The Adventures of Modern Ahasuerus", he takes him with him to Limanny Farm.

In the village of Voloshino, Sonya Mandrova not only acted as a teacher, but also helped everyone. The commander of the field Bolsheviks, Mrachinsky and Dvanov, knocked on the door of the school. Stepan Kopenkin, who constantly does everything in the name of Rosa Luxembourg, saved Alexander from death. The school watchman was the man whom Stepan arrested for resisting the revolutionary people. At night, Dvanov woke up in search of socialism, left and boarded the first train.

When Kopenkin finds Dvanov on his Proletarian Force, he rides with him through the villages.

In one of the villages, a citizen Ignatius Moshonkov, who called himself Fyodor Dostoevsky, on the advice of travelers, must complete the construction of socialism. When sharing with cattle, a Goth remains, who has neither food nor the skill to care for her. Residents also have to deal with the devastation. Dvanov gets Ryzhov's trotter.

Then Sasha and Stepan get to the forest guard. And considering that more grains will be collected from one area than the benefits of the forest, they pass a verdict: cut down the forest. This will open two roads to socialism: an area for the construction of cities, free land for the peasants. At the meeting of the board of the commune "Friendship of the Poor" in the south of the Novoselovsky district, there are many things to do, including "complication", which does not leave people time for plowing. Dvanov draws for them a project for a monument to the revolution: "The recumbent eight means the eternity of time, and the standing two-pointed arrow means the infinity of space."

On the way, they stumbled upon the “Revolutionary Reserve of Comrade Pashintsev named after world communism. Entry to friends and death to enemies. Dressed in the armor of a knight, he is sure that the purest proletarian converges on him by the thousands. Dvanov suggested; “You exchange the village for an estate: give the estate to the peasants, and make a revolutionary reserve in the village.”

In the settlement of Cherna Kalitva there were 100 "not red" people, 20 pieces of guns led by Timofey Plotnikov. The blacksmith began to drive the travelers away, as he was offended by the Soviet government for the fact that, in his opinion, the land was given away, now bread to the last grain is taken away. There was no power in Chernovka. The men decided that the apportionment was cancelled. Dvanov goes to town, leaving Kopenkin in charge. Arriving in the city, Alexander thought that whites were here. They feasted heartily in the city: they ate donuts and meat. He went to his father. On the way to the party meeting, Shumilin reproaches him that he set the peasants to cut down the Bitterman forestry.

Gopner and Fufaev, leaving the hall of the City Council, discussed electric lighting. There was one issue on the agenda - the new economic policy. The secretary of the provincial committee, Molyelnikov, "was partly pleased: he presented the new economic policy as a revolution, launched by gravity." The electricity went out in the hall for a while. One person marveled at the name "new economic policy." In his opinion, this is just a street designation of communism. He himself is called a Chevengurian and explains that there is such a point - a whole county center. “In the old way it was called Chevengur. Aya was there, so far, the chairman of the revolutionary committee. They have the end of the story, because there it is not needed. Dvanov sends through the Chevengurian. Chepurny (Japanese) a note to Kopenkin, so that he would give his trotter to any poor man, and he himself rode on. In the note, he asks Stepan to look into Chevengur, look at socialism and inform him.

Kopenkin in the Chernovsky village council spoke with the peasants about socialism. But one day he left. On the way, he meets a sleeping man on a horse - Chepurny. Kopenkin goes with him to look at the "facts" of communism and the monument to Rosa Luxembourg. Father Aleksey Alekseevich was looking for in Chevengur "cooperation - the salvation of people from poverty and from mutual spiritual ferocity." Chepurny advised him to read Marx.

The main difference of Chevengur is expressed in the words of the chairman: "It's good in Chevengur - we mobilized the sun for eternal work, and the society was dissolved forever." Chepurny advised Prokofy not to think, but to formulate his thoughts. Having learned that Prosha has the surname Dvanov, Kopenkin decides to call Sasha here. People did not work here, as it is a relic of greed. There were only subbotniks to drag houses and gardens for a close and friendly life.

The Chevengur pedestrian Misha Lui, who carried the letter to Dvanov, suggested making communism a journey. He himself decided not to return to Chevengur, but to go to Petrograd and join the fleet there.

Kopenkin accidentally stumbles upon Pashintsev, who is now wandering, as his revolutionary reserve has been removed. From Piyuse they go to inspect the city. We saw the graves of the bourgeois, who also had their souls shot. Prokofy tells Chepurny that it is necessary to announce the second coming and clear the city for the proletarian settled way of life. As a result, on the night of Thursday, the bourgeois were shot on the cathedral square.

Prokofy concluded: since there is nothing about residual classes in the book of Karl Marx, then there cannot be any. All the remaining semi-bourgeois were evicted. There are ten people left. Chepurny sends Prokofy to gather the proletariat and others to live in Chevengur. The rest go to wash the floors and weather the houses from the smell of the bourgeoisie. The people that Prosh brought in were called "fatherless". He makes a speech to them: “Although the city of Chevengur is given to you, it is not for the predation of the impoverished, but for the benefit of all the conquered property and the organization of a wide fraternal family for the sake of the integrity of the city.” After that, various papers were sorted out at the meeting. One "old man-other" advised to hold meetings at night, so as not to miss a living person during the day. They also decided to re-plan and improve Chevengur.

Pashintsev liked it in Chevengur, "he lived here to accumulate strength and gather a detachment, in order to later burst into his revolutionary reserve and take away the revolution from the general organizers sent there." Chevengurians ate "raw fruits of nature". One woman had a child crying, then he died. Chepurny, by the power of socialism, wanted to make him live for another minute, so that his mother could remember him like that. But he didn't succeed.

Gopner and Sasha Dvanov came to town. Gopner decided that it makes no sense to live here, since there is no craft for a working person. Yakov Titych advises to go for wives for the people. Sasha forgives I ask Dva-nova for the past. Prokofy invites Sasha to organize a family, to make one yard out of the whole city. Chepurny advises recruiting women to be slightly different from men. Dvanov told Gopner: People are not a mechanism, so you can't fix them "until they get themselves settled." Chepurny began to think about the International in order to settle the oppressed in Chevengur. Yakov Titych sits at home alone with a cockroach and does not go out to people. Gopner proposes to make fire by rotating the mill.

To Kopenkin's question, Dvanov replies that communism is indeed here. Everyone starts working for others. Gopner and Dvanov are repairing the old man's roof. Kopenkin paints a portrait of Rosa Luxemburg for Dvanov. Pashintsev cuts wood for the winter ahead of time. Dvanov and Piyusey are building a dam on the Cheven-Gurka River so that water does not flow past people. Gopner still manages to make fire with a water pump. Two gypsies came to be hired as wives. Karchuk, it turned out, did not need women, but only the friendship of his comrades. Simon Serbinov recently returned to Moscow "from a survey of socialist construction in the distant open plains of the Soviet country." For four months, he helped the local Bolsheviks "remove the peasant's life from its yard roots." In the tram, he met a young woman, after whom a little later he jumped out of the tram. She suggested we meet up sometime. In the party committee, Simon received a business trip to a distant province: "to investigate there the fact of a reduction in the sown area by 20 percent."

Serbinov had a diary where he entered his thoughts and curses: "Man is not a meaning, but a body full of passionate sinews, gorges with blood, hills, holes, pleasures and oblivion." In memory of Sonya, he took a sheet with which he wiped himself after washing. She asks him to say hello to a native person who will meet him in that land. Simon comes to her again. Then he takes her to his mother's grave.

Kopenkin plowed on the Proletarian Force for the future happiness of Dvanov. The Chevengurs decided to keep the fire going. Serbinov arrived in the city. He noted in the protocol that the sown area increased even by 1%. Then Simon wrote a letter to Sophia that he had met a man from her portrait. Dvanov came up with the idea of ​​converting sunlight into electricity. Chevengurs, in their opinion, work not for good, but for each other. Simon decided to stay in the city, and wrote a report to the provincial committee.

Prokofy arrived in a phaeton with a naked player playing music, and barefoot women walked behind, about 10 people. The next day there was a review, but since there were few women, they chose. Klavdyusha gives a report to Prosha about the money that she got for things. The money itself is kept by the aunt.

Chepurny made a clay monument to Prokofy, now he will build it to Karchuk. Prosha decided to get the city. To do this, he first goes to describe the property, which then he will get. Enemies attack the city at night. Many died. Kopenkin also died. Dvanov leaves for the steppe on the Proletarian Force. He passes by his native village, which now had prosperity. Near Lake Mutevo, the horse caught on his fishing rod, forgotten here in childhood. Sasha got off the saddle and went along the road that his father had once left. Proletarian Force returned to Chevengur. Karchuk brought a passing man, Zakhar Pavlovich, who came for Dvanov. Proshka, after crying, now agreed to bring Sasha for free.

Platonov's novel is considered a genuine folk epic. In it, the writer showed the "diversity" of Russia in the transition period from war communism to the new economic policy. Critics suggest that "Chevengur" may mean "grave of bast shoes". And it turns out that this is a symbol of the original Russian truth-seeking. The grave is also a peculiar end of the story. Such social constructions in the country aroused in the writer fundamental fears for the fate of the people, the new society and its culture.