The story of my drinking At the Belarusian film studio, director Leonid Belozorovich began filming the series “White Clothes” based on the cult book of the same name by Vladimir Dudintsev at that time. I was offered the lead role of the biologist Fyodor Ivanovich Dezhkin. I was overjoyed that

In this book, I am trying to recall and revive a number of pictures of the past half century, as they were reflected in the soul, first of a child, then of a young man, then of an adult. Early childhood and the first years of my youth coincided with the time of liberation. The middle of life passed in a period of dark, first governmental, and then social reaction, and among the first movements of the struggle. Now I see much of what my generation dreamed about and fought for bursting into the arena of life anxiously and stormily. I think that many episodes from the time of my exile wanderings, events, meetings, thoughts and feelings of people of that time and that environment have not lost even now the interest of living reality itself. I would like to think that they will still retain their significance for the future. Our life trembles and shudders from sharp clashes between new beginnings and obsolete ones, and I hope to at least partly shed some light on some elements of this struggle.

But earlier I wanted to draw the attention of readers to the first movements of the nascent and growing consciousness. I knew that it would be difficult for me to focus on these distant memories under the rumble of the present, in which the peals of an approaching thunderstorm are heard, but I did not imagine how difficult it would be.

I am not writing the history of my time, but only the history of one life at that time, and I want the reader to first get acquainted with the prism in which it was reflected ... And this is possible only in a consistent story. Childhood and youth constitute the content of this first part.

One more note. These notes are not a biography, because I did not particularly care about the completeness of biographical information; not confession, because I do not believe in the possibility or usefulness of public confession; not a portrait, because it is difficult to paint one's own portrait with a guarantee of likeness. Any reflection differs from reality by the very fact that it is a reflection; reflection is obviously incomplete - even more so. It always, so to speak, reflects the chosen motives more densely, and therefore often, with all the truthfulness, more attractive, more interesting and, perhaps, purer than reality.

In my work, I strove for the fullest possible historical truth, often sacrificing to it the beautiful or bright features of artistic truth. There will be nothing here that I have not actually encountered, that I have not experienced, felt, or seen. And yet I repeat: I am not trying to give my own portrait. Here the reader will find only features from the "history of my contemporary", a person known to me better than all other people of my time ...

I remember myself early, but my first impressions are scattered, like brightly lit islands among a colorless emptiness and fog.

The earliest of these memories is a strong visual impression of a fire. I could then be in my second year, but I still clearly see the flames above the roof of the barn in the yard, the walls of a large stone house strangely lit in the middle of the night and its windows reflecting with flame. I remember myself, warmly wrapped up, in someone's arms, among a bunch of people standing on the porch. From this indefinite crowd, the memory distinguishes the presence of the mother, while the father, limping, leaning on a stick, climbs the stairs of a stone house in the courtyard opposite, and it seems to me that he is walking into a fire. But that doesn't scare me. I am very interested in the helmets of firefighters flashing like firebrands around the yard, then one fire barrel at the gate and a schoolboy entering the gate with a shortened leg and a high set heel. I did not seem to feel any fear or anxiety, I did not establish a connection between the phenomena. For the first time in my life so much fire fell into my eyes, fire helmets and a schoolboy with a short leg, and I carefully examined all these objects against a deep background. night darkness. At the same time, I don’t remember the sounds: the whole picture only silently shimmers in my memory with floating reflections of a crimson flame.

I remember, then, several completely insignificant cases when they held me in their arms, appeased my tears or amused me. It seems to me that I remember, but very vaguely, my first steps ... My head was big in childhood, and when I fell, I often hit it on the floor. Once it was on the stairs. I was in great pain and cried loudly until my father comforted me with a special reception. He beat the step of the stairs with a stick, and this gave me satisfaction. Probably, I was then in a period of fetishism and assumed an evil and hostile will in a wooden board. And now they beat her for me, and she can’t even leave ... Of course, these words very roughly translate my feelings at that time, but I clearly remember the board and, as it were, the expression of her humility under the blows.

Subsequently, the same sensation was repeated in a more complex form. I was already a few more. It was an unusually bright and warm moonlit evening. This is generally the first evening that I remember in my life. My parents had gone somewhere, the brothers must have been sleeping, the nurse went into the kitchen, and I was left with only one footman who wore dissonant nickname Gandylo. The door from the anteroom to the courtyard was open, and from somewhere, out of the moonlit distance, came the rumble of wheels along the paved street. And for the first time I singled out the rumble of wheels in my mind as a special phenomenon, and for the first time I did not sleep for so long ... I was scared - probably, they were talking about thieves during the day. It seemed to me that our yard in the moonlight was very strange and that a “thief” would certainly enter through the open door from the yard. It was as if I knew that the thief was a man, but at the same time he seemed to me not quite a man, but some kind of human-like mysterious creature that would do me harm with just its sudden appearance. This made me cry out loud.

I don’t know by what logic, but the footman Gandylo again brought his father’s stick and led me out onto the porch, where, perhaps due to a previous episode of the same kind, I began to beat the stairs hard. And this time it was satisfying again; my cowardice was so gone that a couple more times I fearlessly went out alone, without Gandyla, and again beat the imaginary thief on the stairs, reveling in the peculiar feeling of my courage. The next morning, I enthusiastically told my mother that yesterday, when she was not there, a thief came to us, whom Gandyl and I beat hard. Mother condescendingly agreed. I knew that there was no thief and that my mother knew it. But I loved my mother very much at that moment because she did not contradict me. It would be hard for me to give up that imaginary being, which I first feared, and then positively “felt” with a strange moonlight between my stick and the step of the stairs. It was not a visual hallucination, but there was some kind of ecstasy from his victory over fear ...

Another island in my memory is a trip to Chisinau to visit my paternal grandfather ... From this trip, I remember crossing the river (I think Prut), when our carriage was installed on a raft and, smoothly swaying, separated from the shore or the shore separated from it - I haven't figured it out yet. At the same time, a detachment of soldiers was crossing the river, and, I remember, the soldiers sailed in twos and threes on small square rafts, which, it seems, does not happen when troops cross ... I looked at them with curiosity, and they looked into our carriage and they said something incomprehensible to me ... It seems that this crossing was in connection with the Sevastopol war ...

On the same evening, shortly after crossing the river, I experienced the first feeling of sharp disappointment and resentment ... It was dark inside the spacious travel carriage. I was sitting in someone's arms in front, and suddenly my attention was attracted by a reddish dot, now flashing, then fading away in the corner, in the place where my father was sitting. I started laughing and reached out to her. Mother said something warning, but I was so eager to get to know an interesting object or creature more closely that I began to cry. Then my father moved towards me a small red star, tenderly hiding under the ashes. I reached out to her with the index finger of my right hand; for a while it did not come, but then suddenly it flared up brighter, and a sharp bite suddenly burned me. I think that in terms of the strength of the impression now, this could only be equal to a strong and unexpected bite of a poisonous snake, lurking, for example, in a bouquet of flowers. The light seemed to me deliberately cunning and evil. Two or three years later, when I remembered this episode, I ran to my mother, began to talk and began to cry. These were again tears of resentment ...

Full text of the dissertation abstract on the topic ""The history of my contemporary" V.G. Korolenko: artistic originality"

As a manuscript

SAVELYEVA Elena Sergeevna

"HISTORY OF MY CONTEMPORARY" V. G. KOROLENKO: ARTISTIC ORIGINALITY

Krasnodar 2009,

The work was carried out at the Department of Literature and Teaching Methods of the Pedagogical Institute of the Southern Federal University

Scientific adviser: candidate of philological sciences, associate professor

Tukodian Nvart Khazarosovna

Official opponents: Doctor of Philology, Professor

Prokurova Natalya Sergeevna Candidate of Philological Sciences Panaetov Oleg Grigorievich

Lead organization: Krasnodar State

university of culture and arts

The defense will take place ")[>> TsuTsR^SL 2009 at hours at a meeting of the dissertation council D 212.101.04 at the Kuban State University at the address: 350018, Krasnodar, st. Sormovskaya, 7, room. 309.

The dissertation can be found in the scientific library of the Kuban State University (350040, Krasnodar, Stavropolskaya st., 149).

Scientific Secretary of the Dissertation Council< 7 М.А.Шахбазян

GENERAL DESCRIPTION OF WORK

Currently, there is a tendency in the literature to address the problems of classical literature. AND; now, after many years, the works of writers who created the culture of the Russian people, laid the foundations of the modern Russian language, and participated in historical events are worthy of attention. Undoubtedly, one of these writers is Vladimir Galaktshyevich Korolenko, a great humanist, a fighter for justice and freedom, the author of many artistic and journalistic works, in particular, the memoir novel “The History of My Contemporary”.

Research scientists in the field classical works are conducted in two directions: firstly, these are attempts at a new interpretation of texts that have already become textbooks, studied by many generations of scientists, and secondly, the search for new classical works that have not yet been covered by science. “The History of My Contemporary” by V. G. Korolenko, undoubtedly, is one of the works insufficiently covered in literary criticism: in the works of recent years, researchers have limited themselves to problematic and hematic analysis or analysis of the genre specifics of individual works or cycles.

“The History of My Contemporary” by V. G. Korolenko, being a highly moral work that reflects the essential features of the past, is modern in ideological orientation and should be present in the reading circle of the modern reader, therefore, it seems to us promising to further study both the whole picture of V. G. Korolenko's work, and his individual works in the aspects of the author's worldview, the moral evolution of the hero and the narrative structure.

In our time, it is necessary to turn more often to works of classical literature for many reasons. So, firstly, many undeservedly overlooked

Literary critics and the public works raise problems that are not alien to modernity. Works with documentary elements help a person, having looked into the past and understood the problems of past years, to understand their own time. Secondly, the appeal to the "History of my contemporary" as a work of a major genre allows us to assess some of the trends in the modern literary process. Thirdly, the works of the classics are highly ideological, and by reading them, a person raises his cultural level.

In this dissertation research, an attempt was made, based on classical works and the works of modern researchers: philologists, partly philosophers, teachers, linguists and culturologists, to determine the place of the "History of my contemporary" in Russian autobiographical literature and in the work of V. G. Korolenko, as well as explore the main features of the poetics of "The History of My Contemporary".

The relevance of the dissertation. 1. The novel in question, “The History of My Contemporary”, is rightfully considered one of the pinnacle creations in Russian literature, but no special studies have been devoted to this work. 2. Turning to this novel by V. G. Korolenko as a work with documentary elements allows, looking into the past and understanding the problems of past years, to understand one’s own time both from the point of view of literary criticism and from the point of view of history.

The novelty of the dissertation. 1. In the dissertation research, the autobiographical novel-memoir “The History of My Contemporary” by V. G. Korolenko is subjected to such an integral study for the first time. 2. Significantly new judgments about the specifics of this work as a kind of genre symbiosis. We define the genre of "The History of My Contemporary" as an autobiographical reminiscence novel. Z. In the literary analysis of the work, we for the first time presented a classification of literary portraits of the novel, made a number of significant findings,

concerning the architectonics of the work, the features of the image of the characters and the specifics of the chronotope.

The object of the study is the autobiographical novel-memoir "The History of My Contemporary" by V. G. Korolenko.

Purpose of the study. Having comprehended the theoretical aspects of the problem of the genre belonging of a work with an autobiographical orientation, to determine the place of the “History of my contemporary” in the context of the work of V. G. Korolenko and consider the poetics of this novel-memoir.

To achieve this goal, it seems necessary to solve a number of tasks:

4) consider the features of the genre of the work;

5) explore the system of images, features of the literary portraits of the "History of my contemporary", classify them;

6) study the chronotopic structure of the novel.

The theoretical and methodological basis of the dissertation research is the principles of cultural-historical and comparative-historical research methods, as well as the provisions and concepts developed in the works of M. M. Bakhtin, B. O. Korman, Yu. M. Lotman, D. S. Likhachev , G. O. Vinokura, V. V. Vinogradova, G. N. Pospelova, G. A. Belaya, B. M. Eikhenbaum, Yu. G. Tartakovsky, N. A. Nikolina, A. B. Esin, I. O. Shaitanov and others.

The used literary categories are considered in historical and theoretical terms, the history of the formation of the genre of artistic autobiography is traced, attempts are made to analyze the principles of creating images of heroes, to identify artistic means expressions of the author's position in an autobiographical novel-memoir.

In determining the place of "The History of My Contemporary" in the writer's work, we studied the works of D. N. Ovsyaniko-Kulikovskiy, N. D. Shakhovskaya, G. A. Vyaly, as well as dissertations of recent years (G. 3. Gorbunova, Yu. G Gushchina, P. E. Lyon, V. E. Tatarinov, A. V. Trukhanenko and others), dedicated to the work of V. G. Korolenko. The theoretical significance of the dissertation lies in the fact that the work is a single study devoted to the autobiographical novel-memoir "The History of My Contemporary" by V. G. Korolenko, determines its significance and artistic originality.

"The scientific and practical value of this dissertation research lies in the possibility of using its results when reading university courses on the history of Russian literature of the second half of the 20th century, special courses on the work of V. G. Korolenko and writers of the sixties, as well as for further research on the work of V. G. Korolenko.

The main provisions for defense:

1) “The history of my contemporary” occupies a central position in the work of V. G. Korolenko due to the analytical form of the writer’s thinking, the specific ideological orientation of the work and its value paradigm.

2) "History" of my contemporary "V. G. Korolenko ---

autobiographical novel-memoir with typical for this genre specific features: the fusion of various genres, the selection of images, the methods of psychological depiction of heroes, the creation of a special chronotope.

Approbation. The main provisions of the dissertation research were the subject of discussion at meetings of the Department of Russian Literature and Teaching Methods of the Pedagogical Institute of the Southern Federal University, and are also reflected in 3 publications of the author and presented in 4 reports at conferences of various levels (international scientific conference ^ "Conceptual problems of literature: fiction cognition”, Rostov-on-Don, international scientific conference (correspondence) XXIII Chekhov readings in Taganrog, scientific conference - XI Sheshukov readings “Historiosophy in Russian literature of the XX and XIX centuries: traditions and A New Look". Moscow) with subsequent publication of articles.

The structure and scope of the dissertation. The work consists of an introduction, two chapters, a conclusion and a bibliographic list of 214 titles. When working with texts, we studied two collected works of V. G. Korolenko: in 9 volumes, 1914, and in 10 volumes, 1954. References in the text of the dissertation are based on a later collected works.

The total volume of the dissertation is 189 pages.

The introduction defines the subject, goals and objectives of the study, establishes the degree of study of the problem, relevance, scientific novelty, research material, and also identifies a number of issues related to the problem of studying biographical literature in Russian literary criticism.

In the first chapter of the dissertation research, "The History of My Contemporary" in the Context of the Epoch, there are four paragraphs.

In the first paragraph. “The prerequisites for the appearance of the “History of my contemporary” in the work of V. G. Korolenko: analyticism as a form of thinking of the writer”, we consider novel thinking

gschsatel, acting as a prerequisite for the creation of a work of a major genre. In developing this thesis, we rely on the judgments of V. Belinsky and M. Bakhtin about the syncretism of the genre of the novel, its versatility and ability to influence other genres (the concept of romanization of genres). Using the example of Korolenko's short stories and short stories, we consider the formation of a large genre form in his work and find in the "History of my contemporary" the features of a complex genre symbiosis, a combination of many genres in the structure of the work: autobiography, memoirs, novel, diary, story, essay, article. Reading “The History of My Contemporary”, we can observe how the idea of ​​certain works was born, their details were laid down, we see elements of intertextuality: “After passing Tobolsk, our barge began to climb north along the Irtysh, and the wonderful views of the Volga and Kama changed for us dull banks of Siberian rivers with rare settlements. Here I gave myself up to reminiscences and wrote the essay “The Fake City”, in which, strongly imitating Uspensky, Glazov described” (vol. 7, p. 159). In the work, we found more than 65 references to the texts of stories, articles, letters of V. G. Korolenko. Thus, we conclude that “The History of My Contemporary” is the logical outcome of all the work of V. G. Korolenko, it follows from previous works, at the same time enclosing them. It is also impossible not to pay attention to the journalistic elements in all of Korolenko's work. Almost every work has a subtitle that speaks of its genre affiliation or the place of writing or the origin of the idea (“From a trip to Vetluga and Kerzhents”, “From Siberian life”). The system of genres to which the author himself refers his works seems to us extensive and varied. Here we meet both generally accepted names (story, story, essay) and rare variations of small genres (pictures, pages, excerpts). In addition to the aforementioned genres of documentary prose, V. G. Korolenko has works belonging to the allegorical genres (fairy tale, legend, fantasy), but most of his

In terms of genre, Korolenko classifies his works as documentary-biographical prose (portrait, writing, memoirs, observations):

Korolenko's work is characterized by a multi-stage cyclization system. The works are combined according to the belonging of the main characters to a particular social group, for example, cycles of essays (“Pavlovsk Essays”, “At the Cossacks”, “In a Hungry Year”), cycles of stories “about vagrants”, “about random people”. There are also macrocycles that unite works by genre: essays, stories, lyrical miniatures, works of conditional genres (Siberian, children's). In addition, in the Korolenko genre system, the Volga, American and Romanian macrocycles can be distinguished by subject matter.

The cycle is a step towards mastering the great novel form. The writer was not limited to partial development of the theme in one or two stories. He strove to express everything, to scoop out the topic to the end. One story led another - and multiple cycles arose: Siberian, children's, "Pavlovian essays", cycles of essays "In the year of hunger", "Sorochinsky tragedy" and others.

This fact of the cyclization of works, undoubtedly, speaks of V. G. Korolenko's inclination towards a large epic form. Thus, novelistic thinking determines the movement of genres in the writer's work.

"The History of My Contemporary" is built from many essays, stories, united by the image of the main character - the author, presented by him in chronological order. At the same time, many components of the novel are unthinkable outside of it (they do not have an ending or beginning, their motives are closely connected with the motives of other stories), but others can exist separately. Also in the novel, we see elements of parallel construction (separation of characters into groups, simultaneously occurring diverse events). These parallels follow from the ideological views, value orientations of the writer.

Second paragraph. “The historiosophical, value paradigm (orientation) of Korolenko in the embodiment of fate, choice, law.

Responsibility of Man and the Picture of the World”, is dedicated to the artistic and stylistic system of the writer’s concept and his moral and ethical program, reflected in the “History of my contemporary” in comparison with some stories.

In the literary life at the turn of the 19th-20th centuries, there are many qualitative changes associated with the process of renewal and transformation of already existing literary movements, the emergence and movement of new ones. The complication of the literary process (multiplicity of currents and directions, extraordinary mobility and rapid change of forms and styles, sharp polemicalness) is also due to the inherent huge country multiformity, combination of elements of different historical stages, because of which there was an extraordinary complexity of the manifestation of socio-ideological conflicts. At the same time, there were such diverse, heterogeneous, sometimes opposite tendencies as the boundless aestheticism of the adherents of "pure art" and the asceticism of the late Tolstoy, the desire of Chekhov, Korolenko to go beyond the circle of only literary work, the emergence of literature of the Gorky direction.

However, one can single out a feature that unites these many-sided phenomena: in literature, as in life, the problem of a person, his personality, dignity, and value is raised with particular force. The great merit of Tolstoy, Chekhov, Korolenko was that they, in their art model social life depicted the people as a value center, with which everything else was correlated.

The question of personality in literature cannot be considered without connection with the writer's humanistic concept, with his "idea of ​​man."

“The fact of the matter is that there is no “muzhik”, single and inseparable, just a peasant; there are Fedots, Ivans, poor people, rich people, beggars and kulaks, virtuous and vicious, caring and drunkards, living on a full allotment, and donors, with allotments in one bast shoe, masters and workers ... That's just the point, that we the people seem to be all on the same face, and by the first peasant we judge all the peasants” (vol. 9, p.

166). The writer depicts the people not as a homogeneous faceless mass, but embodies its fate in specific vivid artistic images.

The object of our attention is the problems of fate, freedom, in particular free choice, morality.

"To love this people - isn't that our task?" - here is the problem posed by the author. Even having sunk to the bottom of life, dark, rude, people remain people, live as best they can, love, give birth to children, no matter how hard their lot is. We see that revealing this or that problem, Korolenko returns to it more than once in his subsequent works, and this feature again makes it possible to assert the novelty of VG Korolenko's thinking.

The third paragraph of the first chapter is called " Idea content"History of my contemporary" and its compositional expression in the novel. Based on the philosophical and literary definitions of the idea, ideology, aesthetic ideal, we see that they are closely related.

The dictionary of philosophical terms defines the ideal as follows: “a model, something sublime, good and beautiful, the highest goal aspirations” (p. 245).

In art, the aesthetic ideal is the artistic world that arises from the correlation of life as it is and as it should be, however, the ideal must be derived from reality, based more on reality than on a fictional world.

Our thought in determining the ideological content is guided by the author's understanding of the idea of ​​his novel.

“Now I see much of what my generation dreamed about and fought for bursting into the arena of life anxiously and stormily. I think that many episodes from the time of my exile wanderings, events, meetings, thoughts and feelings of people of that time and that environment have not lost even now the interest of living reality itself. I would like to think that they will still retain their significance for the future” (vol. 5, p. 7).

Depicting the events of the life of his "contemporary", V. G. Korolenko unfolds before the reader a panorama of the life of society in the 1860s-1880s of the XIX century, including the event aspect (outstanding historical events that took place at that time), the socio-political aspect (the change in the status of many people, social development revolutionary movement), literary and aesthetic aspect (the influence of literature on people and people on literature).

In the preface to The History of My Contemporary, V. G. Korolenko wrote: “There will be nothing here that I have not actually encountered, that I have not experienced, felt, or seen” (vol. 5, p. 8). The autobiographical nature of this work did not prevent it from becoming the chronicle of a whole generation. D. N. Ovsyaniko-Kulikovsky (141) argued that Korolenko’s memoirs can be placed next to L. N. Tolstoy’s “Childhood” and “Adolescence”, and by the brightness of the reconstruction of the era, as well as the depth and materiality of reflections, they resemble “The Past and Thoughts » Herzen.

"History ..." is a broad epic narrative about the dramatic, full of genuine tragedy, the fate of the generation of the 1870s. In the foreground in the novel are thoughts about the people, about their capabilities. Korolenko draws attention to the overly bookish, abstract and theoretical nature of the heritage of the "sixties". Korolenko dismissed “going to the people” and terrorism as naive and utopian theories. The writer does not join any of the existing underground revolutionary organizations, seeing in them a sectarian character, revolutionaries without a people. Korolenko preferred to act openly, with the pen of a publicist and artist. His work, in particular the "History of my contemporary", is a reflection of political and social views writer.

Korolenko begins the story of himself from infancy. This technique corresponds to the canons of the genre and is used by the author to identify the origins of the formation of his personality, nature, predispositions. In the first parts, the author uses, of course,

reception of direct recollection, but given the young age of the hero and often the spontaneity, inaccuracy of his judgments, Korolenko sometimes has to introduce inserted episodes to create a complete picture of what happened (for example, highlighted in separate chapters “My father”, “Father and mother”), narratives, colorful facts, dates and events that could not be known to a little boy.

Another form of such explanations is a small episode that does not stand out compositionally, explaining the feelings of the child. Here, an adult person, from the height of his years, explains what he felt then and what, according to his present ideas, caused it. “During this painful period of my childhood life, the memory of God was very formless. At this word, somewhere in the depths of consciousness, an idea was born of something vast and completely bright, but impersonal. The closest thing would be to say that he seemed to me like a distant and huge spot sunlight. But the light did not act at night, and the night was entirely dominated by a hostile, different world, which, together with darkness, moved into the limits of ordinary life” (vol. 5, p. 45).

V. G. Korolenko also describes works of art that had a great influence on him (the book “Fomka from Sandomierz” by Jan Gregorovich, the historical theater play “Ursula, or Sigismund III”). Describing the process of his acquaintance with these works, the writer, relying on real events and his immediate impressions, gives a story with elements of analysis, determining their belonging to literary movements (book-sentimentalism, play-romanticism).

The individual's striving for an emotionally anticipated universal ideal indicates a romantic current in a work written, undoubtedly, in realistic traditions.

In the dissertation, we consider the transformation of the ideal of V. G. Korolenko. When the writer was childhood, it can be argued that his father had the traits of an ideal for him. However

Korolenko from the very early age it was inherent to look at everything from different angles, so he perfectly saw its ambiguous qualities or disadvantages. Drawing attention to several false ideals (Theodore Negri, Vasily Veselitsky), we come to the conclusion that the image of Kliment Arkadievich Timiryazev is closest to the ideal in the writer's understanding.

When, already in the first days of his exile, Korolenko concludes: “No, I will no longer go to the service of this state with the Livens and Valuevs at the top, with a network of petty irresistible predation at the bottom. This is a decaying past... And I will go towards an unknown future”, we are convinced that true ideal is the author himself. The minute when a person visits such strong feeling, is very important for his self-determination and the course of his entire future life. In The History of My Contemporary, a feature that can be called programmatic stands out clearly: the author gives the character of social value and interest to the personal, intimate. In the era reproduced by the writer, one feels living people, living life and, above all, one's own human, righteous soul of a contemporary, - and in the personal and one's own, the socially valuable experience is refracted, and not accidental and narrowly individualistic.

We analyze the features of the plot and the construction of the plot by Korolenko, based on the compositional solution of the author. "History of my contemporary" is equipped with a detailed system of titles of parts and chapters. This attraction to headings and subheadings is explained by the high publicism of the works of V. G. Korolenko.

Intertextual headings (chapters) can be divided into several main groups related to the thematic range of the novel and its chronotopic structure. We distinguish the following groups:

1) A static description of the current situation in a particular place, also a description of a group of people: “Old students”, “Workers”, etc.

2) Individual portrait descriptions of specific personalities: “Father and Mother”, “Alexander Kapitonovich Malikov”.

3) The narrative of events extended in time: “I find myself in a robber's den”, “Arrival in Perm”.

"We carried out calculations and calculations that allow us to testify to the distribution of material in the novel, and concluded that the distribution of textual material in the novel reflects the real content of the described life period. The author, dividing the "History ..." into chapters in accordance with the periods of development of the hero, simultaneously highlights the dominants of each period, ( Childhood development, description of the situation; student years, the first link - development, eventfulness; reference period - portrait sketches, description of the situation.)

Also in this paragraph, we emphasize the connection between content and form, arguing that the division of a work into architectonic parts (books, chapters) is subject to the main idea of ​​the author: to reflect the history of his life in his time, therefore, the main criterion for distinguishing between chapters is the importance of certain events for the author, their stages in his life, influence on the future.

Fourth paragraph. "The author's concept of the creative personality of V. G. Korolenko (the hero and the image of the author^", is dedicated to the author's concept of the creative personality of Korolenko, lyrical expression. We use the term "author", meaning by it "a certain view of reality, the expression of which is the whole work" , using the definition of Bakhtin. We consider the image of the author in his formation. "History ..." covers the period 1854-1885, that is, the time from the early childhood of the writer until his arrival in Nizhny Novgorod as a thirty-three-year-old man.

the main idea of ​​the "History of my contemporary", expressed in paragraph 1.3, concerning the creation of the image of the hero of the era of the 60-80s. XIX century, let us turn to the image of the author, presented in the novel.

Korolenko.

In 1905, when Korolenko began work on the novel, he was 53 years old. Naturally, the views of the depicted young man and a mature person do not always coincide. At the beginning of the narrative, monologues, reflections, lyrical digressions belonging to the author have more weight; the proportion of incidents that happened directly to the described child is not very large.

In the works of the children's cycle, the specificity consists in a double view of what is happening: from the point of view of the main character or the hero-narrator in childhood and the adult narrator or hero-narrator, and the adult only balances the child's ideas and conclusions, corrects some accents. In the first volume of the "History of my contemporary", which consists of five parts, which tells about the early childhood of the writer, about studying at the boarding school of Mrs. Okrashevskaya, in the Zhitomir and Rovno gymnasiums, this image of the author appears. The reader perceives the work in two time plans, either moving to the 50-60s of the 19th century and taking the position of a child, or rising to the author's point of view on the events that took place then.

Such authorial returns from the events described to his own modern opinion continue throughout the novel. We note some of their features. In the first chapters, V. G. Korolenko, by right of seniority, expresses his opinion about the actions and thoughts of the child that the author once was, as a rule, in the form of a statement, explanation, assessment, and the form of a maxim, morality, aphorism is also acceptable. The author's intervention may be in the nature of a report on historical facts, introduced to illuminate and

clarification of events that cannot be told by a child - There are also remarks in the text in the first person, in which irony, paternal mockery of the hero is felt: “How long ago it was“ and how stupid I was then ... And how much smarter I am now that boy who leaned his ear against telegraph poles or was proud of ... what? The title of a boarder kid... And now I'm already an "old schoolboy" and I'm going to new places for some new life... "(Vol. 5, p. 144-145).

In the chapters devoted to the description of student time, the author expresses his attitude to the actions of the hero in a different way. Irony is clearly felt in the narrative, it permeates the entire text, sometimes being inseparable from the hero's own words. Often, ironic thoughts are framed in first-person remarks: “I have an arrogant conviction that I am perhaps the smartest in this city. My measure was this: I can understand all the people flashing in front of me in this stream, swaying like water in a plate, from the barrier to the post office and back.<...>And they have no idea what thoughts about them and what dreams are wandering in my head” (vol. 6, p. 12). The character seems to be talking about his superiority over the people around him, but we can easily isolate hidden meaning put by the author into the mouth of the hero. The author does not hide his thoughts that really arose in his youth, even if they run counter to his modern convictions. Further, the author adds from the height of his life experience: “I was stupid. Subsequently, when I became smarter, I easily found people above myself in the most remote corners of life” (vol. 6, p. 12).

Further, the picture changes - the divergence of views is reduced to a minimum and the proportion of events, actions of the hero increases. To address the reader directly, to express his point of view, Korolenko resorts to digressions, in which he speaks of the hero in the third person. In subsequent chapters, the coincidence of the opinions of the hero and the author increases, so the author less and less resorts to irony and characteristics of the hero's actions. The author's digressions now pursue one goal: to make the narrative more harmonious by introducing into the text

messages, reviews and generalizations about historical events that did not affect the hero personally, but are important for explaining further events. So, for example, without naming the source of the message, V. G. Korolenko talks about the Chigirinsky case, about the attempt on Solovyov, the events that occurred at the time when the hero was under arrest in the Lithuanian castle. So, we see that the image of the author in the "History ..." is changing, growing along with the writer. The text of the novel reflects the course of memory, the process of recollection, therefore, there is a “double look” at what is happening: from the point of view of the hero and from the point of view of the author, although they are, in essence, the same person at different periods of his life.

The second chapter, "The Poetics of "The History of My Contemporary"", is devoted to a versatile literary analysis of the work. It includes four paragraphs.

In the first paragraph. ""History of my contemporary" in the general typology of Russian autobiographical literature". an attempt was made to determine the place of the autobiographical novel-memoir in the general typology of Russian autobiographical literature. The problems of the genre nature of autobiographical fiction in modern literary criticism are among the complex and debatable. The main problems that are in the spotlight: the relationship between historical truth and fiction, the documentary nature of autobiographical information, the role of the author's principle in the artistic interpretation of the life and work of the hero, and others. These problems are due to the fact that the genre criteria and the range of its understanding are very broad. Obviously, the explanation for this must be sought in the synthesis of the genre, its constant evolution, interaction with other literary genres. We consider The History of My Contemporary in comparison with other works of a major autobiographical genre. S. T. Aksakov, A. I. Herzen, L. N. Tolstoy, V. G. Korolenko, I. A. Bunin - all of them in their works tell in detail about the history of their family, about

relatives, about their origin. The History of My Contemporary is undoubtedly one of the great works of autobiographical literature. !

The second paragraph - "Genre specificity of the "History of my contemporary"". Considering the "History of my contemporary"; we define the genre of this work as an autobiographical novel-memoir. In the first place in the "History of my contemporary", undoubtedly, the autobiographical component is taken out. The desire for factual accuracy, consistency is easy to trace in the text of the work, this is repeatedly emphasized by the author.

Having studied the history of the genre of Russian artistic biography from hagiographies to modern autobiographical novels, we argue that in the process of its development, autobiography was enriched with the traditions of other genres (in Russia): hagiography, novel-education, historical novel, biography, diary, literary portrait, etc.

We see that from the point of view of the genre nature, "The History of My Contemporary" combines the features of several genres, the fundamental of which are three: autobiography, that is, a description of the facts of one's life, memoirs (memoirs) - a description of the "work of the soul", reflections, reasoning , relations to surrounding events, characteristic of the described character in a certain period of his life, and a novel, the main feature of which is the absence of prohibitions on depicting anything.

In the third paragraph. "Literary portrait as part of the artistic originality of the "History of my contemporary"", we consider the system of images of the work, the features of their implementation. We support the point of view of V. S. Barakhov, who considers a literary portrait in three interrelated manifestations of it: 1) a literary portrait as a means of creating an image of a character in a novel, novel, short story; 2) a literary portrait as an integral part, a component of a more complex genre structure; 3) literary portrait as an independent genre.

In our opinion, all three types of literary portrait are reflected in Korolenko's work. We will consider the first two manifestations on the basis of the novel-memoir "The History of My Contemporary". Directly in the novel, the literary portrait appears, firstly, as an integral part, a component of a more complex genre structure, and, secondly, as a means of creating the character's image in the novel. We are making an attempt to give a typology of the characters portrayed in the "History of my contemporary", highlighting the portraits-stories and memories. The main differentiating factor underlying the division of portraits into stories and memories is the passage of time. If in the portrait-story time moves independently of the narrative or stops altogether, then in the memory the passages selected by the writer to characterize the character continue the storyline. Also, regardless of the course of time, we singled out portraits-types into a separate category. V. G. Korolenko creates galleries of images: officials, judges, teachers, students, exiles, political, folk images: Pochinkovtsy, Glazovtsy, Amgintsy. In our study, we consider literary portraits of the writer's parents, teachers, some representatives of petty officials, teachers (classifying them into "old", "maniacs", "chronographs" and "new", based on the attitude of the author and borrowing his definitions), as well as teachers of higher educational institutions.

Portrait elements abound in the third book, which is devoted to exiled wanderings and at the same time tells about the places where the author visited at that time (Berezovsky Pochinki, the Vyshnevolotsk political prison, Perm, Tomsk, Krasnoyarsk, Yakutsk, Irkutsk). So, we see, “but the portrait of a character prevails in chapters whose main goal is to create a picture of the life of a particular group, layer of people (landlords, court workers, teachers). All these pictures are given to us in refraction through the prism of the author's personality, respectively, each of them adds features to the image of a contemporary. ;

We consider it necessary to pay attention to another interesting feature of Korolenko's narration. The principle underlying his work in general and The History of My Contemporary in particular is the desire to reproduce. events from the point of view of "then perception". We will talk about the problem of comparing time plans a little later, but here we will highlight this technique insofar as it is a means of expressing the author's subjectivity.

» Talking about the past years, Korolenko always clearly distinguishes between his current position and the position of his autobiographical hero at this stage of his development. The author's point of view may supplement or explain the point of view of the "contemporary", but it by no means replaces it. It is remarkable that Korolenko never tries to hide his "then" views and beliefs, even if they run counter to his modern thoughts. He can only afford to express his point of view on his former self. Describing the first year of study in Institute of Technology, talking about the fact that he had to go hungry, Korolenko says, as if by the way: “In essence, it was a slow dying of hunger, only stretched out for a long time” (vol. 6, p. 90), “But then I was stupid and did not noticed it..." The author is not shy about even the most absurd, ridiculous of his mistakes and delusions, laughing at his susceptibility to literary motives and types. In an effort to find such words “that would come closest to the phenomena of life” (vol. 5, p. 295), the “contemporary” finds a definition even for his suit of cheap fabric, sewn for a trip to the capital by a provincial tailor: “Leaving in side of fashion, I felt dressed to the nines, "quite simply, but with taste" (vol. 6, p. 11). The author encloses these words in quotation marks, showing that this is the definition chosen by a young man who wants to look good, while despising fashion and having no means for this. After the remark of familiar ladies about the unsuitability of such a suit for the capital, Korolenko speaks of his feelings: “But I was left with a terrible longing for loneliness in my heart and an unpleasant consciousness,

that my “unfashionable, but simple and elegant” costume attracts ironic attention ... ”(v. 6, p. 14). The author again takes the description of the costume in quotation marks. Of course, the person who wrote these lines no longer thinks so, and with these quotation marks he emphasizes the difference between himself and this youth, so young and naive.

In the same vein, the author recalls his youthful vivid impressions of students, reaching to enthusiasm. In The History of My Contemporary, a work undoubtedly based on real facts, there are passages that speak of deliberately fictitious events. First of all, these are the dreams of the author. So the young man is carried away by his thoughts on a journey on a steam locomotive in the role of a “smart and strong” worker-machinist, seeing a third-year trainee, or experiencing a temporary admiration for the image of Lazovsky, “a dance-class Mephistopheles, with such beautiful negligence making scandals” (vol. 6, p. 63 ). Such passages are typical of the hero's youth.

In the study, we also pay attention to the methods of psychological portrayal of characters on the example of the owner of the proofreading bureau, Studensky.

So, the main component of the "History of my contemporary" is the artistic portraits of people who helped the writer form his views and beliefs.

Fourth paragraph. "Features of the chronotope "History of my contemporary"". In the work we see several interrelated and flowing into each other types of chronotopes. The chronotope of an autobiographical novel-memoir has several components: calendar time (such a variety of it as biographical time is presented), event time (historical, everyday time, chronotope of the road, meetings), perceptual time (author's chronotope). We give a brief description of the main types of chronotopes identified by Bakhtin (biographical, event, historical, chronotope of the author, household, chronotope of the road). The biographical chronotope prevails in the work under study. So

as the story is about a truly completed past, the author uses the techniques of prospection and retrospection, thus focusing attention on one or another stage of the hero's life. So, the attention of V. G. Korolenko for a long time dwells on education, early years, the process of growing up of a “contemporary”.

The flow of biographical time stops, and we get acquainted with the reading circle of the hero and his friends, thus falling into the spiritual atmosphere of entire generations.

* The reading circle of the hero allows the author to more deeply imagine the formation of a worldview, the formation of him as a person. In The History of My Contemporary there is a chapter partly devoted to a work of art ("Fomka from Sandomierz" and the landowner Deschert "), in which the author shares his childhood direct impressions of the first book he read in his life. However, the children's perception of the book is specified by the author's opinion. The essay "My First Acquaintance with Dickens", supplementing Chapter XXIX of the first book, which the author has included in the Appendix, has a different chronotope structure. Here, undoubtedly, a lot of attention is paid to books, works of art, but their perception is given almost without stopping time. Perhaps this form was dictated by the specifics of the hero’s reading at that time: the older brother of the writer, trying to separate himself from the younger ones, did not allow Korolenko to read his books, only allowing him to change them in the library / The boy began to read on the go. “This manner gave the very process of reading a peculiar and, so to speak, gambling character” (vol. 5, p. 366). The writer notes that such a superficial reading did not allow him to understand the work in all its versatility, allowing him to note only the main characters and the main storyline. However, such a shallow reading did not at all form the hero's careless attitude to a literary text, on the contrary, having received the opportunity to read the desired books, the hero understands the value of this.

Events can be described as taking place in biographical time, following the events of life, or they can represent

are flashbacks, memories of events that took place in reality, but at the time described in the text, have already ended. The course of the action, its distribution in time is connected with the artistic goal set by the author. We have identified some differences in reflecting the passage of time in the "History of my contemporary" in passages relating to various types of text (narration, description, reasoning). After analyzing the various chapters of the History of My Contemporary from the point of view of the length of the action in time, we see that the choice of speech means largely depends on the type of text. When choosing one or another means, V. G. Korolenko is guided by his communicative intentions.

In conclusion, the results of the study are summed up, the place of the autobiographical novel-memoir “The History of My Contemporary” by V. G. Korolenko in the history of Russian literature of the 20th century is determined, and ways for further research in this area are outlined.

The main provisions of the dissertation research are reflected in 9 publications of the author:

1. Savelyeva E. S. The concept of man in the work of V. G. Korolenko / E. S. Savelyeva // Gnoseology of poetics: artistic semantics and genre syncretism. Intrauniversity collection of scientific papers. Issue. 5. Rostov-on-Don, 2005, pp. 64-70.

2. Savelyeva E. S. Features of the manifestation of the author's subjectivity V. G. Korolenko in the aspect of the genre / E. S. Savelyeva // Conceptual problems of literature: artistic cognition. G. Rostov-on-Don, 2006. S. 198-201.

3. Savelyeva E. S. The portrait-content part of the novel-memoir by V. G. Korolenko “The history of my contemporary” and the means of creating an image / E. S. Savelyeva // Gnoseology of poetics:

artistic semantics and genre syncretism. Intrauniversity collection of scientific papers. Issue. 6. Rostov-on-Don, 2006, pp. 44-52.

4. Savelyeva E. S. The theme of childhood in the work of A. P. Chekhov and V. G. Korolenko / E. S. Savelyeva // Creativity of A. P. Chekhov. Collection of materials of the International Scientific Conference (correspondence) - XXIIIChekhov's readings in Taganrog. Taganrog, 2007. S. 28-32.

5. Savelyeva E. S. The concept of man as an expression of the historiosophical and aesthetic orientation of V. G. Korolenko / E. S. Savelyeva // Historiosophy in Russian literature of the XX and XIX centuries: traditions and a new look. Materials of scientific conference - XI Sheshukovsky readings. Moscow, 2007, pp. 54-58.

6. Savelyeva E. S. The exile wanderings of V. G. Korolenko - part of the ideological content of the “History of my contemporary” / E. S. Savelyeva // Conceptual problems of literature: artistic cognition. Rostov-on-Don, 2007. S.274-277.

7. Savelyeva E. S. Features of the reflection of novel thinking in the “History of my contemporary” V. G. Korolenko / E. S. Savelyeva // Conceptual problems of literature: typology and syncretism of genres. - Rostov-on-Don, 2007. S. 211-215.

*8. Savelyeva E. S. Psychologism and lyrical expression of images of the "History of my contemporary" V. G. Korolenko. Scientific and methodological journal "Bulletin of the Kostroma State University named after N. A. Nekrasov". Main issue, No. 1, January-March, 2008. Volume 14). pp. 131-134.

9. Savelyeva E. S. Temporal organization of the autobiographical novel-memoir by V. G. Korolenko “The History of My Contemporary” / E. S. Savelyeva // Gnoseology of poetics: artistic semantics and genre syncretism. - Intrauniversity collection of scientific papers. Issue. 8. Rostov-on-Don, 2009. S. 52-61.

Symbols: * marked the work published in the publication recommended by the Higher Attestation Commission of the Ministry of Defense of the Russian Federation for the publication of the main materials of candidate dissertations.

Savelyeva E. S. "The history of my contemporary" V. G. Korolenko: artistic originality: Author. day. ... cand. philologist, sciences: 10.01.01. Rostov n / a .: SFU, 2009.24 p.

Signed for publication on 08.05.2009. Format 60x84 1/16. Offset printing. Volume 1.5 arb. oven l. Circulation 100 copies. Order Ns fáí.

Publishing and Printing Department of the Rostov State Pedagogical University 344082, Rostov-on-Don, st. B. Sadovaya, 33

1 chapter. "The history of my contemporary" in the context of the era

1. Prerequisites for the appearance of the "History of my contemporary" in the work of V. G. Korolenko: analyticism as a form of thinking of the writer

2. Historiosophical, value paradigm (orientation) of Korolenko in the embodiment of fate, choice, rights, responsibility of a person and a picture of the world

3. The ideological content of the "History of my contemporary" and its compositional expression in the novel

Chapter 2 Poetics of "The History of My Contemporary"

1. "History of my contemporary" in the general typology of Russian autobiographical literature

2. Genre specificity of the "History of my contemporary"

3. Literary portrait as part of the artistic originality of the "History of my contemporary"

4. Features of the chronotope "Stories of my contemporary"

Dissertation Introduction 2009, abstract on philology, Savelyeva, Elena Sergeevna

Currently, there is a tendency in the literature to address the problems of classical literature. And now, after many years, the works of writers who created the culture of the Russian people, laid the foundations of the modern Russian language, and participated in historical events are worthy of attention. Undoubtedly, one of these writers is Vladimir Galpktionovich Korolenko, a great humanist, a fighter for justice and freedom, the author of many fiction and journalistic works, in particular, the memoir novel “The History of My Contemporary”.

The research of scientists in the field of classical works is carried out in two directions: firstly, these are attempts to reinterpret texts that have already become textbooks, studied by many generations of scientists, and secondly, the search for new, not yet covered by the attention of the spiders of the classics. “The History of My Contemporary” by V. G. Korolenko, undoubtedly, is one of the works insufficiently covered in literary criticism.

The relevance of this study. 1) The novel in question, “The History of My Contemporary”, is considered to be one of the pinnacle creations in Russian literature, but no special studies have been carried out on this work. 2) This study allows us to visually reflect the analysis of the features of the author's consciousness, the specifics of its manifestation; since, on the one hand, all scientists and researchers recognize the maximum activation of the author's personality in autobiographical prose On the other hand, this problem rarely became the subject of special consideration. 3) Turning to this novel by V. G. Korolenko as a work with documentary elements allows, looking into the past and understanding the problems of past years, to understand one’s own time both from the point of view of literary criticism and from the point of view of history.

The novelty of the dissertation. 1. In the dissertation research, the autobiographical novel-memoir “The History of My Contemporary” by V. G. Korolenko is subjected to such an integral study for the first time. 2. Significantly new judgments about the specifics of this work as a kind of genre symbiosis. We define the genre of "The History of My Contemporary" as an autobiographical reminiscence novel. 3. During the literary analysis of the work, we for the first time presented a classification of the literary portraits of the novel, made a number of significant conclusions regarding the architectonics of the work, the features of the depiction of characters and the specifics of the chronotope.

The theoretical and methodological basis of the dissertation research is the principles of cultural-historical and comparative-historical research methods, as well as the provisions and concepts developed in the works of M. M. Bakhtin, B, O! Kormap, Yu. M. Lotman, D. S. Likhachev, G. O. Vinokura, V. V. Vshknrpdopya, G. I. Pospelova, G. A. Belaya, B. M. Eikhenbaum, Yu. II. Tynyanov, L. Ya. Ginzburg, S. S. Averiitsev, A. G. Tartakovsky, I. A. Nikolina, A. B. Esin, I. O. Shaitanov and others.

The used literary categories are considered in historical and theoretical terms, the history of the formation of the genre of artistic autobiography is traced, attempts are made to analyze the principles of creating images of heroes, to identify artistic means of expressing the author's position in an autobiographical memoir novel.

In determining the place of "The History of My Contemporary" in the writer's work, we studied the works of D. P. Ovsiaiko-Kulikovskiy (141), I. D. Shakhovskaya (210), A. V. Khrabrovitsky (196), G. A. Byaly (40 ), and also got acquainted with the dissertation research of recent years, dedicated to the work of V. G. Korolenko. These are the works of G. Z. Gorbunova (“Korolenko and Dostoevsky” (56)), S. N. Guskov (“V, G, Korolenko and L. N. Tolstoy: the problem of the ethical position of the writer” (63)), Yu. G Gushchina (“Essay cycle by V. G., Korolenko “In the year of hunger”: Creative history and genre originality"(64)), N. N. Gushchina ("V. G. Korolenko and literary populism (1870-1880s)" (65)), D. A * Zavelskaya ("The semantic and artistic unity of the text in I works V. G. Korolenko” (79)), I. V. Kochergina (“V. G. Korolenko and literary criticism and journalism of the late 19th century” (102)), P. E. Lyon (“Literary position of V. G. Korolenko" (109)), L. I. Skreminskaya ("West - East" - the spiritual and creative searches of V. G. Korolenko "(170)), V. R. Tagarinov ("Poetics of stories and essays by V. G * Korolenko" (180)), A. V. Trukhapenko ("Some stylistic features of stories and short stories by V. G. Korolenko: (Principles of portraiture and color as a means of expressing the author's idea)" (184)), O. L. Fetiseiko (" The story "Artist Alymov" and the unfulfilled plan of V. G. Korolenko "In a quarrel with a younger brother" (192)).

After analyzing the direction of these works, we see that the researchers limited themselves to problem-thematic analysis or analysis of the main specifics of individual works or cycles.

The object of research is the autobiographical novel-memoir “The History of My Contemporary” by V. G. Korolenko.

The novel is recognized as the leading genre of literature of the last centuries. Despite the fact that this genre is the subject of deep reflections of writers, attracts close attention of literary critics and critics, it still remains a mystery,

Hegel, comparing the novel with the traditional epic, wrote that the novel lacks the “originally poetic state of the world” inherent in the epic, there is a “conflict” between the poetry of the heart and the prose of everyday relations opposing it, and “prosaically ordered reality.” V. G. Belinsky , calling the novel an epic of private life, defined the subject of this genre in this way: “the fate of a private person”, “everyday life.” M. M. Bakhtin expressed similar thoughts in his work “Epos and the Novel (On the Methodology of Studying the Novel)” (19). The scientist claims that "the hero of the novel is shown not as ready and unchanged, but as becoming, changing, educated by life", he "combines both positive and negative traits, both low and high, both funny and serious ”, The novel shows a “living contact” of a person “with an unprepared, becoming modernity”, “more deeply, essentially, sensitively and quickly” than any other genre, “reflects the formation of reality itself”.

The genre of the novel arises and consolidates where there is interest in a person who in one way or another differs from the average image of a citizen, who breaks out of the framework accepted in society, stereotypes of behavior.

The synthetic character of the genre nature of the novel is undeniable. This genre incorporates features of many other genres. “War and Peace” by L. N. Tolstoy, “Gone with the Wind” by M. Mitchell, “Quiet Flows the Don” by M. A. Sholokhov - in these works, which captured not only privacy people, but also the events of the national-historical mastggab, there are features of the epic. Novels are also able to embody the meanings characteristic of the parable. According to O. A. Sedakova, “in the depths of the Russian novel there is usually something like a parable” (167, 12). It is impossible to deny the involvement of the novel in the traditions of hagiography - the hagiographic beginning is clearly expressed in the works of Dostoevsky and Leskov.

As a genre prone to synthesizing, the novel, unlike other, less complex genres (story, essay, story) that preceded it, operating in various limited areas of understanding the artistic world, turned out to be able to bring together! literature with life in its diversity and complexity, inconsistency and richness. This genre is able not only to combine the content principles of many genres, both serious and humorous, with unconstrained freedom, but also to transform their structural properties.

The most important feature of the novel is the author's close attention to the microenvironment surrounding the characters, in which they act, live, and communicate. Without recreating the microenvironment, it is very difficult for a writer to reveal the inner world of a character. Novels, focusing on the relationship of a person with a reality close to him and, as a rule, giving preference to internal action, have become a kind of center of literature. They most seriously influenced all other genres, even transformed them. According to M. M. Bakhtin, there was a romanization verbal art: when the novel comes into literature, other genres change dramatically, "romanized to a greater or lesser extent."

The subject of study is the author, who is also the hero of this work, in terms of his role in the artistic organization of the text, the means of expressing the author's position and creating the image of the main character. And although logic requires considering the problem in the “author-hero” order, we first consider the problem of the hero, then the author, leaving the traditional order of concepts in the formulation of the topic.

One of the central problems of social thought, artistic creativity and culture in Lately became spiritual development a person, changes that occur not only in his life, but also in his soul. Internal action successfully competes with external action here, the hero's consciousness in its diversity and complexity, with its endless dynamics and psychological nuances, comes to the fore.

The purpose of the dissertation research is to comprehend the theoretical aspects of the problem of the genre belonging of a work with an autobiographical orientation, to determine the place of the “History of my contemporary” in the context of the work of V. G. Korolenko and to consider the poetics of the novel-memories.

To do this, the following tasks have to be solved:

1) generalize and systematize literary studies on the problems of artistic autobiographical literature;

2) comprehend the theoretical aspects of the stated problem;

3) determine the position of the novel "The History of My Contemporary" in the general typology of Russian autobiographical literature and in the work of V. G. Korolenko;

4) consider the features of the genre of the work under study;

5) explore the system of images, features of the literary portraits of the "History of my contemporary", classify them;

6) study the chronotopic structure of the novel.

The structure of the work is determined by the nature of this dissertation research and is organized in accordance with its purpose and objectives. The dissertation consists of an introduction, two chapters, conclusion, bibliography. When working with texts, we studied two collected works of V. G. Korolenko: in 9 volumes, 1914, and in 10 volumes, 1954. References in the text of the dissertation are based on a later collected works.

Conclusion of scientific work dissertation on the topic ""The history of my contemporary" V.G. Korolenko: artistic originality"

Conclusions on the 2nd chapter:

1. Generalization, systematization and analysis of literary works on the problem of the genre nature of artistic autobiography give reason to believe that the genre of autobiography is present stage his formation is complex, he has the features of a confession, chronicle, memoirs, and in Russian literature - lives, confessions and sermons. The main stages of the evolution of the genre: ancient biography, medieval life, autobiographies of the Renaissance and the Enlightenment, autobiographies of the 19th and 20th centuries. The main elements of the specifics of the works of this genre are: 1) documentary (to varying degrees); 2) aesthetic significance; 3) the identity of the author and the narrator, 4) the features of the chronotope (fundamentally retrospective organization of the narrative, the principle of double vision),

5) setting to recreate the history of individual life, 6) some features of poetics, etc.

2. After considering autobiographical genres, the genre of "The Stories of My Contemporary" is defined by us as an autobiographical novel-memoir. The synthesis of various genres in the autobiographical prose of V. G. Korolenko, in our opinion, most accurately confirms the stated thesis about the orientation of this author to a large epic form and novelistic thinking.

3. An important part of the "History of my contemporary", which carries a significant semantic and organizing narrative load, are literary portraits that make up a broad detailed picture of the life of Russia in the 60-80s of the XIX century. In our study, we single out story-portraits, memory-portraits and type-portraits. The classification is based on the passage of time in the portrait relative to the main narrative.

4. The chronotope of an autobiographical novel-memoir has several components: calendar time (such a variety of it as biographical is presented), event time (historical, everyday time, chronotope of the road, meetings), perceptual time (author's chronotope). After analyzing the various chapters of the History of My Contemporary from the point of view of the length of the action in time, we see that the choice of speech means largely depends on the type of text. When choosing one or another means, V. G. Korolenko is guided by his communicative intentions. He achieves the greatest accuracy of description, expressiveness of narration and clarity. logical reasoning. When describing phenomena, objects, verbs do not prevail in the text. perfect look with the meaning of a repeated and specific procedural action (example 1. 1 and 1. 2). For such a type of text as narration, it is typical to use perfective verbs with the meaning of instantaneous action (example 2.5), or a process limited in time (2.6), when it comes to isolated cases, or imperfective verbs with the meaning of constant , ordinary action (2. 2), when it comes to ordinary and repeatedly repeated events. In reasoning, the temporal structure to the greatest extent depends on the communicative intentions of the speaker and is subject to the general logical structure of the text.

Conclusion

In the works of Vladimir Galaktionovich Korolenko, which have great weight in the Russian literary heritage, historical memory Russia, the spiritual creation of its best representatives, inseparable connection generations.

The creative heritage of V. G. Korolenko is great and varied - here are rare variations of small genres (pictures, pages, excerpts), and allegorical (fairy tales, legends, fantasies), journalism and works belonging to the genres of documentary and documentary-biographical prose (portraits , letters, memoirs, observations, stories, essays, stories). However, everywhere - in journalism, and in everyday life - everywhere you can see a fiction writer, a prose writer with his own style, - in the traditions of the classics, but at the same time sharply modern, propagandistic, oratory.

The autobiographical novel-recollection "The History of My Contemporary", which is the pinnacle of the writer's entire work, is a work complex genre which includes most of the above. That is why "The History of My Contemporary" is the final work of V. G. Korolenko.

The history of my contemporary” occupies a central place in the work of V. G. Korolenko, absorbing everything written by him before her and illuminating part of the author’s life framed by a wide panorama of the life of society in the 60-80s. XIX century.

In the center of the analyzed work is a creative person. Fate outstanding personality attracted the attention of writers throughout the history of literature. The image of the hero embodies the aesthetic and social ideals of the artist. Ideals are a moving, developing category, just like a person himself. The personality of the author is an active principle.

In the novel under study, an artistic image of a creative personality is created. Even such traditional for biographical narrative methods of creating the image of the hero as a biographical element, portrait characteristics, a system of leitmotifs allow you to accurately recreate the image of the hero, and psychological characteristics make it convincing and reliable. The author managed to show the complex interaction of a creative person and the environment through a biographical, cultural and historical context.

Literary portraits are an important part of the "History of my contemporary" We are creating a classification that separates the literary portraits of the "History of my contemporary" portraits-history, portraits-memoirs and portraits-types. The classification is based on the passage of time in the portrait relative to the main narrative.

Artistic time and artistic space are essential forms of creating the image of a hero. The plot is based on a part of the hero's life - from early childhood to his arrival in Nizhny Novgorod. We analyze the various chapters of The History of My Contemporary from the point of view of the length of the action in time and come to the conclusion that the choice of speech means largely depends on the type of text. When choosing one or another means, V. G. Korolenko is guided by his communicative intentions. He achieves the greatest accuracy of description, expressiveness of narration and clarity of logical reasoning.

In our time, no doubt, it is necessary to turn more often to the works of classical literature for many reasons. Many works, undeservedly overlooked by literary critics and the public, raise problems that are not alien to modernity. Works with documentary elements help a person, having looked into the past and understood the problems of past years, to understand their own time. Turning to the "History of my contemporary" as a work of a major genre allows us to assess some of the trends in the modern literary process. It is also important that the works of the classics are highly ideological, and by reading them, a person raises his cultural level.

Let us outline a range of problems for further research. First, these are questions related to the national idea, which is very clearly expressed in The History of My Contemporary. Secondly, these are the problems of studying the national autobiographical novel written by representatives of different cultures and nations, comparing the works of different authors.

Thus, we argue that “The History of My Contemporary” by V. G. Korolenko, being a highly moral work that reflects the essential features of the past, is modern in ideological orientation and should be present in the reading circle of the modern reader, and is also of interest to researchers of Russian literature at the turn of the XIX -XX centuries.

List of scientific literature Savelyeva, Elena Sergeevna, dissertation on the topic "Russian literature"

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2. Averin B. V. Novels by V. V. Nabokov in the context of Russian autobiographical prose and poetry: Abstract of the thesis. dis. for the competition doctorate degrees. philol. Sciences. SPb., 1999. 32 p.

3. Averintsev S. S. Plutarch and ancient biography // Averintsev S. S. image of antiquity. St. Petersburg, 2004. S. 225-479.

4. Azbukin V. N. Literary and critical activity of Russian writers of the 19th century: Proc. allowance. Kazan, 1989. 228 p.

5. Allahverdov V. M. Psychology of art. Essay on secret emotional impact works of art. SPb., 2001. 201 p.

6. Andronikov I. L. Sobr. cit.: In 3 vols. M., 1980. T. 2. S. 370-378.

7. Andronikova M. I. From the prototype to the image. On the problem of the portrait in literature and cinema. M., 1974. 200 p.

8. Arefieva I. T. Education of Russian symbolist writers as a historical