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Ornamental prose by Evgeny Nosov.docx - Ornamental prose by Evgeny Nosov. stories

Ornamental prose by Evgeny Nosov.docx - Ornamental prose by Evgeny Nosov. stories

24.02.2019

Representatives: Sun. Ivanov, A. Vesely, A. Malyshkin, B. Pilnyak and others.

ornamental prose in Soviet literature In the 20-30s she continued the traditions of Russian symbolism, in particular, A. Bely and A. Remizov. This tradition is manifested primarily in the powerful influence of the poetic principle on the narrative text. These texts are characterized by rhythmization, sound repetitions, metaphor, an abundance of epithets, and a weakening of the plot principle. Principles classical composition major genre replaced by the reception of repetitive leitmotifs.

The predominance of rhythm over the plot-plot principle, coloristic over plastic in the prose of this direction meant a partial loss of the historical and characteristic-figurative in the coverage of the course of life. Enhanced anthropomorphization of nature, "agricultural" imagery, generally quite typical of Russian literature, conveyed in the new era more outwardly characteristic, ethnographic and exotic than socio-historical content.

For ornamental prose, the poetics of the old Russian military story (“The Fall of Dair” by A. Malyshkin, “Armored Train 14-69” by Vs. Ivanov and others), folklore and fairy-tale traditions (“Colored Winds” by Vs. Ivanov, “Blue Winds” by A. Merry).

The writers of this trend, like the ancient Russian authors, count time either for days or for centuries. Time rushes like a hurricane, counting days and epochs is lost, more precisely, a day in its saturation becomes equal to a century.

The traditions of A. Bely are especially felt in prose B. Pilnyak (1894 - 1941). Stylistics, tonality, the whole spirit of the torn, feverishly tense, confused prose, built on whimsical associations, comes from A. Bely. Thus, the novel The Naked Year (1920) - in essence, the first novel about the initial period of the revolution - is similar in construction to the prose Symphonies by A. Bely. It contains three parts, clearly distinguished by the author - "Introduction", "Statement", "Conclusion". Just like in A. Bely, the complex construction of the novel is ordered not only by rhythm, alliterations, but also by sound repetitions in the most impactful plot and compositional places of the work. In B. Pilnyak, to an even greater extent than in A. Bely, onomatopoeia is an element that forms the composition of the novel.

The work of A. Bely is permeated with an anxious expectation of the revolution, fear of its possible arrival. B. Pilnyak has the same anxiety - the revolution has happened, but it has unleashed a "cave", base game of instincts, this is a rebellion of the Razin-Pugachev peasants, it is the triumph of the "Asiatic". Peasant "disturbed" Rus' rises from the pages of many works by B. Pilnyak. The rebellious element is painted in modern colors (its leaders have leather jackets), but these are only external signs. In essence, the deaf, dark, medieval village with its witchcraft and semi-pagan customs opposes the icy rationalism of the city with its soulless machines and mathematically lined factories. The revolution in the novel "The Naked Year" is a shock, a violation of the usual course of life.

An abundance of both thematic and formal equivalences distinguishes that kind of narrative texts, which is conditionally called "ornamental prose" 16 . This is not entirely successful, but the generally accepted concept 17 suggests, in common usage, a purely stylistic phenomenon. Therefore, “ornamentalism”, as a rule, includes heterogeneous stylistic features, such as “skaz” or “sound painting” (Bely 1934), i.e., phenomena whose common feature is the increased tangibility of the narrative text as such. Meanwhile, behind this concept lies not a purely stylistic, but a structural principle, which manifests itself both in the text and in the story itself.

Consider a classic example of ornamental prose - the story "Flood" by E. I. Zamyatin. In the passage quoted below, one can observe the paradigmization of the sound and thematic order, the thematic use of phonic "ornaments", characteristic of ornamental prose. After the childless Sophia, the wife of Trofim Ivanovich, with empty stomach, killed her hated rival Ganka and carried the chopped body of the victim in a bag for bread to empty pit on the Smolensk field, with bread symbol of sexuality, a strange metamorphosis takes place. He turns into cabbage, meager daily food, incarnation empty relations between spouses:

Systematic and historical description"ornamental" prose, see: Shklovsky 1929; Ulanov 1966, 53-71; Cardin 1976; Browning 1979; Levin 1981. The most convincing descriptions are given by: N. Kozhevnikova 1971; 1976; Jenzen 1984; Szilard 1986.

See alternative designations, which, however, have not come into use: "poetic prose" or "purely aesthetic prose" (Zhirmunsky 1921), "poetic prose" (Tynyanov 1922), "lyrical prose" (N. Kozhevnikova 1971), "dynamic prose" (G. Struve 1951; Ulanov 1966; N. Kozhevnikova 1976).

<Трофим Иваныч> took a sip cabbage soup and stopped, firmly clutching the spoon in his fist. Suddenly, the gr° m5 began to breathe and banged his fist on the table, threw the cabbage out of the spoon into his lap. He picked it up and did not know where the tablecloth was clean, he funny, bewildered held kapudgpu in her hand, as if it were small - like the gypsy child that Sophia saw then empty home. She felt warm with pity, she gave Trofim Ivanitch her own, already empty cabbage and get up (Zamiatin E.K.

<Трофим Иваныч> bread zero soup and stopped, To rap To O

holding a lie To y to To ula To e. Vdru g g rum To oh breathed and

st at To null To ula To ohm to the table, from the lodges To and you To inulo To waste

To him on To deer. He picked her up and didn't know To good luck

to do, With To A T shit was chi st ah, he's funny, ra st zealously

kept To apu With tu in RU To e, was To A To small To ii - To A To That

gypsy To , To whom Sophia saw then in pu With volume home. To her st alo heat from sting st and, she st avila Trofim Ivanovich his, already pu With thuyu plate. He dropped it without looking capu With that and in st al (Zamiatin E.I. Fav. prod. M., 1989. S. 491).

the association of the words “fist” - “strongly” - “loudly” - “hit” Trofim Ivanych’s indignation at the loss of a young cohabitant. This meaning, based both on sound symbolism and on the semantics of the words associated with this sound, is transferred to the word “cabbage” that occurs three times. On the other hand, the word "cabbage" is in a semantically less clearly defined series of sounds [st] (underlined by a simple line), replacing the series of sounds [k]. Moreover, the word "cabbage" forms a paronymy with the words "in empty home" and "empty plate”, associating, through adjectives similar in sound, a whole paradigm of motives of emptiness found in different places text: empty pit(in the workshop and in bed) - empty belly- empty sky- empty house - empty plate. So, the word "cabbage" expresses emptiness, becoming its embodiment, and not only symbolically, but also embodying in its sound body that word empty, which represents this state. And, finally, in the word "sipped" is hidden the designation of that food with its sexual connotation ("bread"), which is replaced by cabbage. In this context, it cannot be purely accidental that some time later, after the first non-empty night with Trofim Ivanovich, Sofya thinks that in the village from which her husband took her, they are now chopping cabbage. Thus, we get a terrible connotation of chopped cabbage, i.e., in a figurative sense, destroyed, filled with emptiness, with chopped Ganka, which, being buried in a pit in the Smolensk field, fills the empty pit in Sophia's womb.

Ornament, poetry, myth

Ornamentalism is a much more fundamental phenomenon than verbal play in the text. It has its roots in the worldview and in the mentality of symbolism and the avant-garde, that is, in the thinking that should rightfully be called mythical 18 . At the same time, we proceed from the fact that in the ornamental prose of modernism, both the narrative text and the depicted world are exposed to poetic structures that reflect the structure of mythical thinking. The idea of the connection that exists between ornamentalism, poetry and myth, corresponding to the cultural automodel of the era of modernism and manifesting itself in various areas of culture, such as fiction, poetics, philosophy, psychology, will be further developed in the form of theses 19 .

For realistic prose

1. Realistic prose and its scientific-empirical model of reality are characterized by the predominance of the fictional-narrative principle with an emphasis on eventfulness, the mimetic probability of the depicted world, and the psychological plausibility of external and mental actions. Modernist prose, on the other hand, tends to generalize the principles that are constitutive in poetry. If in the era of realism the laws of narrative, event-driven prose apply to all genres, including non-narrative poetry, then in the era of modernism, on the contrary, the constitutive principles of poetry apply to narrative prose.

ornamental prose

2. Ornamental prose is the result of the impact of poetic principles on a narrative-prose text that is not amenable to historical fixation. In principle, the symptoms of poetic processing of narrative texts can be found in all periods of the history of literature, but this phenomenon is noticeably intensified in those eras when the poetic principle and the mythical thinking underlying it prevail.

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EGNINOVA Natalya Erentuevna

STORIES YU.P.KAZAKOVIN THE CONTEXT OF TRADITIONSRUSSIAN ORNAMENTAL PROSE

Speciality

dissertations for a degree

candidate of philological sciences

Ulan-Ude-2006

The work was carried out at the Department of Russian Literature of the State Educational Institution of Higher Professional Education "Buryat State University". Supervisor: Doctor of Philology, Professor Imikhelova Svetlana Stepanovna

Official opponents: Doctor of Philology, Professor Yurieva Olga Yurievna candidate of philological sciences, professor Khosomoev Nikolai Danilovich

The leading organization is the Institute of Mongolian Studies, Buddhology and Tibetology of the Siberian Branch of the Russian Academy of Sciences.

The defense will take place 05 » December 2006 in 15.00 hours at a meeting of the dissertation council D 212.022.04 at the Buryat State University (670000, Ulan-Ude, Smolina St., 24a, conference room). The dissertation can be found in the library of the Buryat State University (670000, Ulan-Ude, Smolina street, 24a). The abstract was sent on "___" November 2006 Scientific Secretary of the Dissertation Council Badmaev B.B.

GENERAL DESCRIPTION OF WORK

The relevance of research. Ornamental prose as a bright literary phenomenon of the first third of the twentieth century, according to the law of the continuity of the literary process, could not but leave its mark on the literature of subsequent periods. Yu.P. Kazakov is one of the few writers of the "sixties" who turned to the tradition of ornamental narration. In his work, he revived to a certain extent this line of literature, long forgotten by literature in Soviet period. The stories of Y. Kazakov, an unusually lyrical writer who, as if in confession, reveals the innermost secrets of his soul, are one of the bright pages of Russian literature of the 20th century. Consideration of Yu. Kazakov’s artistic skill in line with the traditions of Russian ornamental prose is very fruitful, as it allows to reveal important facets of the writer’s prose, to better comprehend the specifics of the author’s artistic consciousness, which determines the relevance of this work. At present, after a long oblivion, ornamental prose again attracts the attention of literary critics . Researchers have identified various reasons why writers turn to ornamentality: the desire to create some “supermeaning” (D.S. Likhachev); the principle of universalization, which replaced the classical principle of realistic typification in the 20th century (E.B. Skorospelova); displaying the structure of mythical thinking (W. Schmid); the need for a regular rhythmic alternation of certain elements that have a symbolic content in the text (N. Evseev); expression by means of the ornamental style of modernist, in particular, impressionistic and expressionistic aesthetics (M.M. Golubkov). In the work, ornamental prose is considered as an artistic and stylistic variety verbal art which combines the characteristic features of prose and poetry. To designate it in research literature various terms are used: “poetic” or “purely aesthetic” (V.M. Zhirmunsky), “poeticized” (Yu.N. Tynyanov), “non-classical” (N.A. Kozhevnikova), “lyrical”, “rhythmized” prose etc. However, following L.A. Novikov in his work prefers the term “ornamental prose”, since the deep introduction of poetic techniques into the narrative, their germination justifies the concept of “ornamentalism”: an indispensable for the ornament is the repetition of certain figurative motifs, stylized details of the figurative whole. The phenomenon of ornamentality, according to scientists , manifests itself in different periods of the history of literature: it can already be found in ancient Russian literature in the style of “weaving words” (D.S. Likhachev), literature of the 19th century (in the works of A.S. Pushkin, A.P. Chekhov, F.M. Dostoevsky (V. Schmid)), but to a greater extent in the literature of the twentieth century. In this regard, in modern science(M.M. Golubkov, Yu.I. Levin, E.B. Skorospelova) ornamental style stands out as an independent artistic phenomenon. Important in the ornamental style are the appeal of words to other words in the text, their interaction by analogy or contrast, which is inherent in a poetic text. It was the structural connection with poetry that made it possible to realize given style as a qualitatively new phenomenon. However, one should not confuse ornamental works with metrized prose, vers libre, free verse, and other phenomena in literature that are closer to poetry. Despite the inclination towards the poetic text, the type of artistic word in the ornamental style remains prosaic. A detailed analysis of the features of Kazakov's style is of the main scientific interest in this work and determines purpose of the dissertation– exploring the ornamental tendencies in the style of Kazakov, to identify the semantic dominants of the text, revealing the essential features of the attitude and artistic aesthetics of the prose writer, his place in the literary process of the twentieth century. To achieve the main goal of the work, following tasks: 1) to consider the specifics of the phenomenon of "ornamental prose", its formation, development in the work of writers of the twentieth century; 2) to determine literary connections Y. Kazakov’s works with ornamental stylistic traditions of the first half of the 20th century (primarily with the prose of I.A. Bunin, A. Bely, A.P. Platonov, etc.); 3) to establish the reasons for Y. Kazakov’s preference for the genre of the story throughout creativity; 4) to identify what artistic means, borrowed from poetry (on the linguistic and compositional levels), are expressed in the style of the writer's stories artistic thinking Yu. Kazakova; 5) to consider a complex of the most important leitmotifs for the writer's work, which makes it possible to determine the main dominants of the author's artistic and personal "space" and forming an artistic metatext (author's and general literary). Scientific novelty The present work lies in the fact that for the first time the work of Kazakov is considered in the context of the traditions of Russian ornamental prose, and this made it possible to identify the specifics of the impact of the poetic form of verbal expression on Kazakov's prose text, to determine how ornamentality reveals certain qualities of the prose writer's individual worldview. In such a refraction, Kazakov's work has not yet become the subject of a special study. Provisions for defense: 1. Introducing ornamental stylistic features inherent in the first third of the twentieth century to modernist writers, Kazakov enriched the nature of the realistic method. In terms of "special" word usage, Kazakov treated linguistic ornament strictly selectively. The poetic language devices that are present in the writer's text appear in the most important episodes of his stories and contain the main semantic load; the ornamentality of the writer is more consistently and vividly presented at the compositional level of the artistic system and in the special rhythm of his prose.2. The aesthetic, artistic side of Kazakov's style is determined by the proximity of his work to impressionistic aesthetics. Impressionism as aesthetics, which has a "transitional character", enriches the realistically material world of Kazakov's stories. However, the stylistic ornamental techniques that Kazakov uses and which are due to the writer's impressionistic vision go back to the tradition of Russian ornamental prose of modernist writers of the first third of the 20th century. The poetic beginning in the writer's prose is the area of intersection different ways artistic exploration of reality, necessary to improve the individual skills of the writer.3. The pronounced poetic beginning of the writer's prose, "the ability to see impressionistically" determined Kazakov's loyalty to the genre of the story. In the early works of the writer, stories-“events” are more common, in the later period of creativity, stories-“experiences” predominate, and this is a consequence of Kazakov’s desire for complete freedom of self-expression, for the utmost sincerity with the reader.4. In Kazakov's work there is a whole range of conceptually significant leitmotifs. Appearing in the most important parts of the text, leitmotifs contribute to overcoming the discreteness of the narrative both within the framework of one story and in the context of the entire work, suggest the possibility of ambiguous perception and form a metatext that allows one to judge the semantic dominants of the author's "space" .5. The individual being of the writer has an existential character. The fusion of poetic and prosaic principles in Kazakov’s work is based on the antinomy of his creative consciousness and, at the same time, the desire to overcome the contradictory perception of the world, to find inner “childish” integrity, original harmony, to establish at the text level the creative and creative essence of writing, free from various conventions, transform the "prose" of life into poetry. Methodological and theoretical base of the research- works of A.F. Loseva, V.M. Zhirmunsky, Yu.N. Tynyanov, V.B. Shklovsky, B.V. Tomashevsky, L.Ya. Ginzburg, Yu.M. Lotman, D.S. Likhachev, A.V. Mikhailova, N.K. Gaia, V.V. Kozhinova, B.M. Gasparova, M.M. Girshman and others. Theoretical studies in the field of style theory, ornamental stylistics, impressionism in the prose of the twentieth century by V.A. Keldysh, L.K. Dolgopolova, L.A. Kolobaeva, N.V. Dragomiretskaya, G.A. Belaya, V. Schmid, L.G. Andreeva, L.E. Korsakova, E.B. Skorospelova, M.M. Golubkova, N.A. Kozhevnikova, L.A. Jezuitova, Yu.I. Levina, L.A. Novikova, L.V. Usenko, V.G. Zakharova and others. Methodological basis research has compiled a holistic approach, which is based on the comparative-historical and linguo-stylistic methods of studying literary texts. Object of study is the work of Yu. Kazakov, considered in the context of the literary process of the twentieth century. Subject of study- traditions of ornamental prose in the stories of the writer. Practical value dissertation is that its results can be used in further research on the work of Yu. Kazakov and the literature of the twentieth century in general, as well as in the construction of currently updated courses in the history of Russian literature of the twentieth century in university and school teaching. Approbation of work. The main provisions of the dissertation were reported at the international conference "Russia - Asia: formation and development national identity"(Ulan-Ude, 2005), annual scientific-practical conferences of teachers, staff and graduate students of BSU (Ulan-Ude, 2002-2005). The content of the work is reflected in six publications (abstracts of scientific reports and articles). Work structure. The dissertation consists of an introduction, four chapters, a conclusion, notes and a list of references. Administered dissertation substantiates the relevance of the topic, reveals the scientific novelty, practical significance of the work, sets out the main goal and objectives, the methodological basis of the study. In two paragraphs of the first chapter "Ornamental Prose in the Literary Process of the 20th Century" the relationship between the ornamental prose of the first third of the twentieth century and the lyrical prose of the 1950s-1960s is traced, the specifics of the phenomenon of “ornamental prose”, its most prominent representatives are considered. in ornamental prose, was a sign of the work of almost all the most prominent writers of this period. A. Bely is considered the founder of ornamental prose at the beginning of the 20th century. In his works, such ornamental features as rhythm, sound writing, leitmotif, montage, figured prose, means of "super imagery", complex syntax, etc. are expressed to the utmost. Ornamentality is also present in the works of A. Platonov. Violations of linguistic norms inherent in the writer, vivid tropes and figures, polysemy of the word, the frequently used method of defamiliarization, etc., were borrowed by the writer from poetry. In our opinion, I. Bunin should be attributed to the writers who paid tribute to ornamental prose. For example, in the story "Late at Night" (1899), a setting is consciously created for recollection as the main text-forming principle; there is a weakening of the role of the plot. The descriptions of natural images and descriptions of experiences vary in the narrative, expressed mainly through the cross-cutting motifs of sleep, childhood, silence, guilt, which, penetrating the story, form an ornamental frame and are an indicator of movement in the absence of an external plot. Thanks to ornamental techniques, the situation of love in the story provokes philosophical experiences. Bunin, thus, in his prose works turns to poetic principles in order to subjectify prose, in spite of what is happening, to affirm the original intrinsic value of life. The main feature of ornamental prose is “special poetic language ”, whose verbal organization is characterized by repetition and leitmotifs arising on its basis. They perform various functions in the narrative: with a sufficiently developed plot, the leitmotifs exist, as it were, in parallel, and in the case when the plot is weakened, the leitmotif of the construction replaces the plot, compensates for its absence (E.B. Skorospelova). Any element of the text can become a leitmotif - a word, a phrase, a detail, a feature of a portrait, a character's character, a separate episode, etc., which is repeated in the text every time in a new version, becomes "leaking". Thus, the text becomes more complicated, becomes semantically more saturated, it is no longer designed for passive perception, the resulting innuendo, ambiguity of the ornamental text requires co-creation on the part of the reader. The presence of a leitmotif structure and a special rhythm are determined by repetitions at all levels of the text, which are one of the main categories of ornamental style . Various types and complexes of repetitions are able to synthesize an ornamental field of increased figurativeness, make the reader adequately respond to the hidden author's motivation in choosing a word, suggest the movement of the author's thought and cause an increase in expression. The repetition of words within the boundaries of one sentence is a characteristic feature of B.A. Pilnyak, who believed that from repeated conscious repetition of a word, its meaning will necessarily focus, become clearer upon perception. through the movement of thought, from memory to memory. In addition to a special word usage, the ornamental prose of the early 20th century is distinguished by a special structure - montage, characterized by the absence of a plot, multi-layered, non-linear narration. This type of narrative organization is present in O.E. Mandelstam, B. Pilnyak. With the help of montage composition, the optional and random compositional connections of fragments of the text, its mosaic nature, due only to the whim of the perceiving consciousness, is substantiated. modernists, the conscious introduction of poetic elements into the text. Poetic devices in ornamental prose are not just a private device, but the main constructive principle of text organization. Philological study and theoretical substantiation of ornamental prose is the merit of formal literary criticism. In other words, ornamental writers tend to move from direct reception in the text to content. However, it is impossible to achieve lyricism without consciously introducing poetic components into a prose text. The lyrical prose of the 1960s in the works of the most prominent writers, to a certain extent, revives the line of literature of the early twentieth century, gravitating towards ornamentality. Researchers have written a lot about the stylistic skills of O. Bergholz, V. Soloukhin, V. Kataev. In their books - "Daytime Stars", "Dewdrop", "Grass of Oblivion" - ornamentalism can also be considered as a stylistic characteristic of lyrical prose, where a pronounced expression of style, to a greater or lesser extent, becomes an integral quality of the work of these authors. And although such a selective linguistic ornament in lyrical prose accompanies only certain parts of the text, it is not just a private technique, but performs functions that are structurally important for the entire work (image from the position of the perceiving consciousness, expression of various leitmotifs, exposing the points of view of characters, creating a polysemantic subtext, strengthening the suggestive function of the word, autobiography, etc.), allows you to change the scale of the description, go to the existential level. difference. Both concepts are very ambiguously evaluated by scientists, the boundaries of these phenomena cannot be completely outlined. The concept of "lyrical prose" began to be actively used in criticism and literary criticism at a time when bold experiments with the artistic word were not welcomed. The authors of lyrical prose, without applying "radical experiments" to artistic word, sought by possible, “permitted” artistic means, by appealing to “ eternal themes» create a new direction in the literary process of the mid-twentieth century. In our opinion, the main feature of lyrical prose can be defined as "lyricism", which is, first of all, the content characteristic of this phenomenon. Lyricism concerns, first of all, the genre, themes, the system of characters, the image of the author. In the second chapter "Traditions of ornamental prose in the stories of Y. Kazakov" traces the development of ornamental prose in the twentieth century in accordance with the law of the continuity of the literary process. IN 1 "Ornamental techniques in the prose of I. Bunin and Y. Kazakov" one of the most striking trends uniting the artistic manners of these writers is considered - the belonging of their work to poetic prose. Bunin and Kazakov equally sought to convey the pristine beauty of the world in their works, paying attention to the smallest details and shades, fixing not only visual, but also taste, auditory, and tactile impressions. The subject of the image in the writers' prose is not so much reality as the consciousness that perceives this reality. Man and nature, according to the deep conviction of the writers, are an inseparable whole. Bunin and Kazakov, turning to the outside world, warm it with their warmth, humanize it. Animating objects, the authors make them a part of their inner experience. Such subjectively colored prose, which describes the perception of moments of the past so truthfully, as if these moments occur in the present, brings us closer to poetry. Ornamental techniques make it possible to achieve the greatest power of expression: Bunin: “... I feel the cold and the fresh smell of a January snowstorm, strong as the smell of a cut watermelon” (“Pines”, 1901); Kazakov: “Here are red wet jellyfish, similar to a bloodied liver”; ("Nikishkin's secrets", 1957). Such paths create dynamism of description, inner rhythm, enhance the artistic effect. The specificity of perception organizes the laws of the artistic world. An important feature that makes the prose of writers related to poetry is the namelessness of lyrical characters. In the works of Bunin and Kazakov, pronouns do not perform a typical anaphoric function, but act as an independent designation of a person when the names of the characters are not reported. In the stories of Bunin ("Late Night", "Fog", etc.) and Kazakov ("Two in December", "Autumn in the Oak Forests", etc.), the designation of characters with a personal pronoun in the first and third person allows you to get away from the individual case and generalize life material, create an "abstract" image of the speaker, which is a characteristic feature of the lyrics. Thus, the form of a personal pronoun in the second person, uncharacteristic for prose, in Kazakov's story "In a dream you wept bitterly ...", given already in the title, performs the function of the narrator's address to his son. Such an unusual form of narration resembles the genre of a lyrical message. Ornamental works are characterized by the rejection of plot action. However, the feeling of fragmentation of the narrative is overcome due to the fact that the narrative is permeated with the idea of the hero gradually mastering new thoughts and feelings. The rich poetic fabric of the narrative reflects the extreme mobility and complexity of the characters' spiritual world. Antinomy, apparent instability of perception is characteristic of both writers, and in this they are close to the modernists. It emphasizes the importance of subjective perception and increases the power of expression. But unlike modernists, it is directed not at the world of higher entities, but at the sensually perceived world. Recognizing the inconsistency of life, writers, nevertheless, affirm an optimistic attitude to life, accepting it in all complex and ambiguous manifestations, and poetic images allow harmoniously harmonizing the most diverse, opposing thoughts, sensations, and phenomena. In § 2 "Ornamental traditions of the leitmotif type of narration in the stories of Y. Kazakov" the most significant motives in the context of Kazakov's entire work are considered in comparison with the work of A. Bely, I. Bunin.Yu. Kazakov and A. Bely have little creative correlation. In the creations of A. Bely, modernist innovations have found the most vivid and consistent embodiment. If his images are abstract, then Kazakov's world is realistically real. If in the work of Bely, by and large, chaos, the destruction of the world are displayed, then most of Kazakov's works affirm a creative principle. However, the presence of a poetic element in the prose of both authors makes it possible to identify similarities even in such distant artistic systems. In particular, one can catch a certain similarity in the creation of the image of St. Petersburg. Kazakov's story "The Abyss" is one of the few where there is a consistently sustained poetics of destruction associated with the image of St. Petersburg. The same semantic content of the image of the city is present in the novel "Petersburg" by Bely, predicting disturbing changes, transmitted through an increased sense of unsteadiness, mysticism. Not only buildings, but also people lose their strict outlines in him, turning into lace: “Petersburgskaya Street permeates the entire body in autumn: it chills the bone marrow and tickles the quivering spine ...” Kazakov’s descriptions are generally less vague, more realistic: “What it was strange alley! ... The almost terrible straight line of the panel turned into a vaguely gray distance of perspective. This emptiness, this semi-darkness, foreshadowing the long glassy stillness of the night, these windows above, shining deadly and flat. Kazakov's story has tragic ending: the heroine dies without waiting for her beloved from the trip. Following A.S. Pushkin, F.M. Dostoevsky, A. Bely, the image of "strange" Petersburg in the story "The Abyss" is endowed with negative connotations and is a chronotope for the plot with a deadly denouement. We found the greatest number of leitmotif intersections of Kazakov's stories with the work of I.A. Bunin. In addition to the structure-forming function, leitmotifs act as a kind of artistic code that reveals the author's position, and more broadly, the author's worldview. Thus, the image of the house in the works of I. Bunin and Yu. Kazakov is opposed to the motive of wandering. In Y. Kazakov's story "Villa Belvedere" (1968-1969), dedicated to his favorite writer, the narrator asks why Bunin never had his own home and why he never said whether he regretted it. "Homelessness" of the Russian writer, according to Kazakov, is largely determined by the peculiarities of his attitude. Bunin considered himself to be a special category of people obsessed with the road. Traveling allowed the writer through a literal movement in time, knowledge of the world, and, consequently, spiritual enrichment, to free himself from space-time restrictions. However, Bunin's contradictory attitude to life-wandering, on the other hand, is the cause of the inevitable loss of the family hearth, fatherland. Craving, a vague attraction to the road was also characteristic of Kazakov. The constant striving "to the ends of the world", the idea of leaving in search of a better life - the primordial property of the national Russian character - originates from the endless expanses of Russian nature, from the spiritual breadth of the individual, the unwillingness of an "easy life". Such is the majority of Kazakov's heroes ("Wanderer", "On the Road", "Easy Life", etc.). The desire to catch the world in motion, to catch bright moments, to see something in his life for the first time with a “detached” excited look, carries the writer on the road. However, both writers have regret for the lost father's house, taken away by the revolution from Bunin and the Great Patriotic War from Kazakov. Bunin’s feeling of “homelessness” is associated with a comparison of himself with birds and their flights, repeated throughout his work (“The bird has a nest, the beast has a hole”). Bunin, realizing the impossibility of returning to his homeland, resigned himself to his fate. Memories of the motherland father's house turned into reality, reflected on the pages of his works, the past became the present and “bloomed” thanks to memories (“Rose of Jericho”). In Kazakov's later work, on the contrary, finding a home is realized literally. For Kazakov, it is important that a person leaves behind in this world. In the story "The Old House" the hero - the composer, who brought joy to people with his music and became the owner of the house he built at the end of his life, in the author's view, lives his life happy. The family hearth as one of the obligatory attributes of the “promised land” is necessary in old age, when a person strives for peace. And if in latest works Bunin still sounds the motive of the lost home, longing for the Motherland, and this is explained by the biography, the writer’s attitude, in Kazakov’s works, on the contrary, the motive of finding a home (“Old House”, “Candle”, etc.), in which everything is imbued spirit of love, sincerity, creativity.

Current page: 22 (total book has 25 pages) [accessible reading excerpt: 17 pages]

3. Ornamental prose

Sound and thematic paradigmatization

An abundance of both thematic and formal equivalences distinguishes that kind of narrative texts, which is conditionally called "ornamental prose" 226
For a systematic and historical description of "ornamental" prose, see: [Shklovsky 1929; Ulanov 1966: 53-71; Cardin 1976; Browning 1979; Levin 1981]. The most convincing descriptions are given by: [N. Kozhevnikova 1971; 1976; Jenzen 1984; Szilard 1986].

This is not a very successful, but generally accepted concept. 227
See alternative designations, which, however, have not come into use: “poetic prose” or “purely aesthetic prose” [Zhirmunsky 1921], “poetic prose” [Tynyanov 1922], “lyrical prose” [N. Kozhevnikova 1971], "dynamic prose" [G. Struve 1951; Ulanov 1966; N. Kozhevnikova 1976].

Assumes, in common usage, a purely stylistic phenomenon. Therefore, “ornamentalism”, as a rule, includes heterogeneous stylistic features, such as “skaz” or “sound writing” [Bely 1934], i.e., phenomena whose common feature is the increased tangibility of the narrative text as such. Meanwhile, behind this concept lies not a purely stylistic, but a structural principle, which manifests itself both in the text and in the story itself.

Ornamental prose is the result of the imposition of "linguistic thinking" of poetry on the narrative text. 228
On the symbolist (Veselovsky, Potebnya, Bely) and formalist (Shklovsky) concepts of "linguistic thinking", cf. [Hanzen-Löwe 1978].

It is found in such techniques as paradigmatization, the formation of thematic and formal equivalences, rhythmization, etc. In other words, ornamental prose is distinguished by the predominance of timeless connections over temporal ones.

Consider a classic example of ornamental prose - the story "The Flood" by E. I. Zamyatin. In the passage quoted below, one can observe the paradigmization of the sound and thematic order, the thematic use of phonic "ornaments", characteristic of ornamental prose. After the childless Sophia, the wife of Trofim Ivanovich, with empty stomach, killed her hated rival Ganka and carried the chopped body of the victim in a bag for bread to empty pit on the Smolensk field, with bread symbol of sexuality, a strange metamorphosis takes place. He turns into cabbage, meager daily food, incarnation empty relations between spouses:

<Трофим Иваныч> bread Well l cabbage soup and stopped To rap To about holding a lie To y to To ula To e. Vdru g g rum To oh breathed and st at To zero with his fist on the table, from the lies To and you To inulo To A emptyTo him on To deer. He picked her up and didn't know To good luck, WithTo A T shit was chi st ah, he's funny, pa st zealously held To A pu st at in ru To e, was To A To small To ii - To A To that gypsy To, To whom Sophia saw then in pu st oh house. To her st alo warm with pity, she st avila Trofim Ivanovich his, already pu st wow plate. He, without looking, threw a pu st at and in one hundred l ( Zamyatin E.I. Fav. prod. M., 1989. S. 491).

Word cabbage, denoting poor food and symbolizing the routine of married life, is included in a series of sound repetitions formed by the sound [k] (underlined in a quote with a double line). This row expresses, through the iconicity of the guttural-explosive sound [k], and the general semantic association of the words “fist” - “strongly” - “loudly” - “thumped” Trofim Ivanovich’s indignation at the loss of a young cohabitant. This meaning, based both on sound symbolism and on the semantics of the words associated with this sound, is transferred to the word “cabbage” that occurs three times. On the other hand, the word "cabbage" is in a semantically less clearly defined series of sounds [st] (underlined by a simple line), replacing the series of sounds [k]. Moreover, the word "cabbage" forms a paronymy with the words "in empty home" and "empty a plate”, associating, through adjectives similar in sound, a whole paradigm of motives of emptiness occurring in different places of the text: empty pit(in the workshop and in bed) - empty belly– empty sky– empty house– empty plate. So, the word "cabbage" expresses emptiness, becoming its embodiment, and not only in a symbolic way, but also embodying in its sound body that word empty, which represents this state. And, finally, in the word "sipped" is hidden the designation of that food with its sexual connotation ("bread"), which is replaced by cabbage. In this context, it cannot be purely accidental that some time later, after the first non-empty night with Trofim Ivanovich, Sofya thinks that in the village from which her husband took her, they are now chopping cabbage. Thus, we get a terrible connotation of chopped cabbage, i.e., in a figurative sense, destroyed, filled with emptiness, with chopped Ganka, which, being buried in a pit in the Smolensk field, fills the empty pit in Sophia's womb.

In ornamental prose, the model of constitution requires a certain modification (see: [Schmid 2008]). Ornamentation is not limited to the level of narration presentation, but is also found at other levels. For ornamental history, elements are selected according to somewhat different principles than for realistic history. In realism, there is primarily a causal relationship between the selected elements. In ornamentalism, timeless connections also play an important role, which affect the formation of such types of relationships as repetition, leitmotif and equivalence. In this text element IN selected not only because it follows in the temporal-causal sense the element B, but also because it forms an equivalence with the element A.

Relations conditioned by timeless connections subjugate the orderliness of all three transformational levels: 1) the linguistic syntagma of the presentation of the narration, 2) the composition of the narration, 3) the thematic syntagma of history.

At the level of presentation, ornamental ordering produces rhythmization and sound repetitions, at the level of narration it governs linearization and permutation, and at the level of history it imposes on the causal-temporal sequence of elements a network of non-causal and timeless linkages according to the principle of similarity and contrast. All this means: the ornamentality of the text affects all transformations, up to the selection of elements and their properties.

Chekhov's prose, which subjects the narrative canvas to a certain ornamentation, sometimes gives the impression that the connection of thematic units is determined not only by the incidents narrated, but also by the phonic orders of the text. Let us consider this characteristic technique of ornamentalism using one example from the story "Rothschild's Violin". Dying Yakov Ivanov sits on the threshold of the hut and, thinking about the “lost, unprofitable” life, plays a “plaintive and touching” melody on the violin, which causes tears in him, a stern undertaker:

"AND h eat stronger he thought that oven further ne la creak ka. Creak zero more once or twice, and Rothschild appeared in the gate ”(A.P. Chekhov. Complete collection of works and letters: In 30 volumes. Works. Vol. VIII. 304-305).

The first sentence makes the melancholy singing of the violin dependent on Yakov's deep thoughts not only thematically, but also phonically: "stronger", it seems, is decomposed by sound into parts in "with creep ka" and " oven further” ([creep] + [pech] = [stronger]). The reader, whose ear is prepared by such an isotopy of thematic and phonic connections, will pay attention to the second sentence and its attachment to the first. The words at the junction of sentences - "violin" and "creaked" - which, having fundamental compatibility, nevertheless designate the subject and predicate of two completely different actions, therefore form paronomasia. She speaks of more than an accidental connection between these actions. The phonic order of discourse results in a chain of actions that is not realized in history itself. The condition for this, however, is that the reader projects the principle of equivalence from the sound level to the event level. But such a projection is presupposed by the iconic nature of the ornamental narrative. If in discourse “creaked” sounds like a verbal echo of “violin”, then in history the repeated creaking of the heck, foreshadowing the appearance of a timidly slow Rothschild, appears as a consequence, an event echo of the violin singing. One can go even further: Rothschild's appearance is motivated by both history and discourse. In history, the appearance is motivated in two ways: Rothschild must fulfill the instructions of the orchestra manager - to invite Yakov to play at the wedding, but it seems that he also goes to the sounds of the violin. The phonic ornament of the discourse suggests: Rothschild, who is metonymically denoted by a creaking (“creaked”) latch, is also attracted by the sound of the word (“violin”), which metonymically characterizes Yakov Ivanov, on the verge of death, thinking about a loss-making life.

Ornament, poetry, myth

Ornamentalism is a phenomenon much more fundamental than word play in the text. It has its roots in the worldview and in the mentality of symbolism and the avant-garde, i.e. in the thinking that should rightfully be called mythical 229
On mythical thinking, see: [Cassirer 1925; Lotman and Uspensky 1992; Meletinsky 1976]. For the manifestations of mythical thinking in literature, see [Schmid (ed.) 1987].

At the same time, we proceed from the fact that in the ornamental prose of modernism, both the narrative text and the depicted world are exposed to poetic structures that reflect the structure of mythical thinking. The idea of the connection that exists between ornamentalism, poetry and myth, corresponding to the cultural auto-model of the era of modernism and manifesting itself in different areas of culture, such as fiction, poetics, philosophy, psychology, will be further developed in the form of theses 230
Russian modernism refers to the era that embraces symbolism and the avant-garde, from the 1890s to the early 1930s.

3. Due to its poetic nature, ornamental prose appears as a structural image of myth. The main feature that unites ornamental prose and mythical thinking is the tendency to violate the law of unmotivated, arbitrariness of the sign. The word, considered in the realistic world as a purely conventional symbol, in the world of mythical thinking becomes an iconic sign, a material image of its meaning. The fundamental iconicity that prose inherits from the poetry that transforms it corresponds to the magical beginning of the word in myth, where the connection between the word-name and the thing is devoid of any convention and even the relation of representation. A name is not a sign denoting a thing or pointing to it, a name is the same as a thing. As Ernst Cassirer noted, “the separation of the ideal and the real”, “the distinction between the world of immediate being and the world of intermediate meaning”, “the opposition of the “image” and the “thing” are completely alien to mythical thinking: “Where we see the relation of “representation”, for the myth exists... the relation of the real identity." Ornamental prose realizes the mythical identification of word and thing both in the iconic nature of the narrative text and in plot deployments of speech figures, such as simile and metaphor.

4. Repeatability mythical world in ornamental prose corresponds to the repetition of formal and thematic features. While the repetition of integral motifs, sound or thematic, forms a chain keynotes, repetition of individual features creates equivalence231
From this follows a certain justification of the concept of "ornamentalism": after all, for an ornament, the repetition of certain figurative motifs, stylized details of a figurative whole is constitutive.

. Leitmotivity and equivalence subjugate both the linguistic syntagma of the narrative text and the thematic syntagma of the narrated story. They give rise to rhythm and sound repetitions in the text, and impose a network of timeless chains on the temporal sequence of the story. Where there is no longer a story to be told, as is the case in purely ornamental prose (A. Bely's Symphonies), iterative devices act as the only factors that ensure the coherence of the text. “With a sufficiently developed plot, leitmotifs exist, as it were, parallel to it, with a weakened plot, leitmotif replaces the plot, compensates for its absence” [N. Kozhevnikova 1976: 57]. To this, however, one can add that the devices of repetition, which include not only leitmotifs, but in general all kinds of formal and thematic equivalence, exist not just “parallel” to history, but also emphasize, reveal or modulate temporal connections constitutive for history.

5. Leitmotivity and equivalence were already present in the prose of realism, to a large extent contributing to the generation of meaning in the classical plot type of narration. Ornamental prose differs from realistic prose not only in the more frequent use of repetition techniques, but, above all, in the deeper introduction of appropriate techniques into the text, growing both through history and through discourse. 232
N. Kozhevnikova points out that the principle of leitmotivity (it should be added - and equivalence) was "prepared" already in classical prose (Tolstoy, Dostoevsky) and as a general principle of organizing the narrative was applied "in some of Chekhov's plotless stories." "What was used as a private device in classical literature has become a constructive principle in ornamental prose." It should be added that the use of methods of thematic and formal equivalence goes back to Pushkin's prose, where it occupies a central place (see [Schmid 1981a ... 65-73].

If in the prose of realism leitmotivity and equivalence appear, as a rule, only in thematic motifs, then ornamental prose tends to reflect thematic, plot relationships in the presentation of narration, i.e., to convey the orderings of the narrated story by semantic, lexical and formal orderings of discourse.

6. Iconicity leads to fundamental proportionality, conformity between the order of the text and the order of the story being told. Therefore, for ornamental prose, the law on the presumption of the thematic nature of all formal connections is extremely valid: each formal equivalence suggests a similar or contrasting thematic equivalence. Each formal order in terms of discourse must be correlated with the thematic order in terms of the depicted world. Paronymy becomes the main figure, that is, a sound repetition that establishes an occasional semantic connection between words that have neither a genetic nor a semantic connection. In paronymy, the law of mythical thinking established by Cassirer is clearly manifested, according to which “every noticeable similarity” is “a direct expression of the identity creatures."

7. The tendency to iconicity, moreover, to the reification of all signs, ultimately leads to a softening of those sharp boundaries that in realism delimit words from things, a narrative text from the story itself. Ornamental prose creates transitions between these planes, erasing the opposition between expression and content, external and internal, peripheral and essential, turning purely sound motifs into thematic elements, or deploying verbal figures into plot formulas.

8. Ornamentalization of prose inevitably entails a weakening of its eventfulness. The narrated story can be dissolved in separate motive pieces, the connection of which is no longer given in the narrative-syntagmatic plane, but only in the plane of the poetic paradigm, according to the principle of similarity and contrast.

9. Ornamental prose reaches its highest thematic complexity not in the complete destruction of its narrative basis, but where paradigmatization encounters resistance from the plot. The interference of verbal and narrative art leads to an increase in the semantic potential. If a network of poetic devices is superimposed on a narrative substratum, semantic possibilities are greatly increased due to the relationship between the hemispheres of poetry and prose. On the one hand, with the help of poetic linkages in situations, characters and actions, new aspects are revealed, on the other hand, archaic linguistic thinking, which is part of the narrative structure, is subjected to perspective and psychologization. The associative multiplication of narrative meanings and the narrative use of verbal art provide additional opportunities for depicting a person and his inner world. Such possibilities of indirect representation are carried out, first of all, in the prose of modernism, which uses a mixture of poetic and prose polarities in order to create a complex, simultaneously archaic and modern image of a person. Illustrative examples of such complex interference of poetic and narrative potential can be found in before period of symbolist hypertrophy of poetry - in Chekhov's prose, and after- at Babel and Zamyatin. These writers created a hybrid prose in which event and ornamental structures coexist, mingling, i.e. prose that exposes the non-event world of myth and its non-perspective and non-psychological worldview to the impact of narrative plotting, perspectivization and psychological motivation.

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Ministry of Education of the Russian Federation
Municipal Autonomous General Educational Institution
Medium comprehensive school №11

(based on the story "Usvyatsky helmet-bearers")

Performed
student of class 9 "a"
Zimareva Julia
Supervisor
teacher of Russian language
Kurakina Svetlana
Yakovlevna

Berezniki
1

Content
2016
Page
Introduction................................................. ................................................. ..... 3
Chapter I short biography Evgeny Ivanovich Nosov .............................. 5
Chapter II. What is ornamental prose .................................................................. ....... 6
Chapter III. About the story “Usvyatsky helmet-bearers” .............................................. .7
Chapter IV. Stylistic features .................................................................. ........... 9
1.
2.
3.
4.
The vernacular element of the language .................................................. ................ 9
Metaphor and figurativeness of speech .............................................. ....... eleven
Poetic storytelling .............................................................. .............. 16
Attraction to word creation (author's neologisms).................................. 18
Chapter V. Of the role of language in modern life.............................................. 20
Conclusion................................................. ................................................. ..21
Sources................................................. ................................................. ...... 22
2

Introduction.
Evgeny Nosov versatile talented person. His literary
creativity is diverse with an abundance of themes and motives. In the minds of the masses
reader, his name is associated primarily with village prose, but
The theme of war dominates in his work.
We meet the heroes of Russian literature about the past war in the trenches, in
tank attacks, in daring reconnaissance sorties, in partisan detachments.
Nosov's story "Usvyatsky helmet-bearers" is turned to the prehistory of their
military life, to the very starting point from which a thousand
four hundred and eighteen days of heroic and tragic chronology
Great Patriotic War. This is a new aspect of the theme of war in literature,
subtly exploring the genealogy of Russian heroism.
The writer himself said: “In general, the theme of the war is not my main one.
The main theme was and remains the village, its pressing problems ... But the war
alive in the history of the village.
According to the deep conviction of E.I. Nosov, to write authentically and deeply about
war can only be a person who has been in its crucible.
He explained the "principle" of his work something like this: simply
write a simple story about simple. That is, Evgeny Nosov asked himself
each time the task is not to be imposed on the reader with a literary "brew", but
How to let life speak for itself.
He determined the quality of literature not on the basis of "what", but on
sign "how". And when reading Yevgeny Nosov's prose, you first try
take note of this “how”, you return to the places you read earlier,
you look closely and “calculate” - how it’s done, pokrokhoborsky
you pinch off now from the description of nature, now from the outline of character.
Most researchers considered the story "Usvyatsky
helmet-bearers" within the framework of the aesthetics of rural prose, or from the point of view of
nationality, or were looking for philosophical motives and analogies with biblical
texts. But none of them have yet studied his unique language of stylistic
peculiarities.
The story draws attention to the brilliant possession of the writer
Russian literary language. For this reason, we have decided to focus
attention to the stylistic originality of the embodiment military theme, namely:
ornamental prose.
Target:
3

study style features the story of E.I. Nosov "Usvyatsky
helmet-bearers"
The object of study is the story of Evgeny Ivanovich Nosov "Usvyatsky
helmet-bearers." The subject of study is the methods and techniques of ornamental prose
in the story.
Tasks:
Get acquainted with the biography of the writer and read carefully
1.
work.
2.
3.
To study literary articles about the work of E. Nosov.
To get acquainted with the features of ornamental prose.
Work out the lexical material of the story: write out “unusual”
4.
for the modern reader of the word and systematize them.
After analyzing the language and style of the story, determine their role in the disclosure
5.
the ideological content of the work.
The practical significance of the work lies in the fact that the material,
set out in it, can be used in the study of courses "Russian
literature of the XX century”, “Literary local history”, as well as in the development
review topics military prose XX century”, “Village prose of the XX century”, and
also in preparing students for literature olympiads.
HYPOTHESIS???!!!
4

Chapter I. Brief biography of Evgeny Ivanovich Nosov.
Hero of Socialist Labor,
Evgeny Ivanovich Nosov (January 15, 1925, village of Tolmachovo, Kursk
region - June 13, 2002, Kursk) - Russian writer, prose writer, author
stories and short stories
laureate
State Prize, Honorary Citizen of Kursk.
Yevgeny Nosov was born into the family of a hereditary craftsman, a blacksmith.
At the age of sixteen, he survived the Nazi occupation. graduated
eighth grade and after the Battle of Kursk (July 5-August 23, 1943)
went to the front, enrolling in the artillery troops, becoming a gunner.
Participated in the operation "Bagration", in the battles on the Rogachev bridgehead for
Dnieper. Fought in Poland.
In the battles near Koenigsberg on February 8, 1945 he was seriously wounded and on May 9, 1945
met in a hospital in Serpukhov, about which he later wrote the story “Red
wine of victory. After leaving the hospital, he received disability benefits.
After the war, he graduated from high school. Left for Kazakhstan Central Asia,
worked as an artist, designer, literary collaborator. Began
write prose.
5

Chapter II. What is ornamental prose.
classical prose based on semantico culture
logical connections, on the observance of the sequence in the presentation
thoughts.
Classical prose is mostly epic,
intellectual; its rhythm is based on approximate
correlation of syntactic constructions.

Ornamental (from
lat. ornamentum-
decoration) prose is based on the associative metaphorical type
connections. This is "decorated" prose, prose with "a rich system of
imagery”, with metaphorical prettiness. Such prose is often
folklore.
draws its visual resources from
Ornamental prose most often looks like a kind of
literary form experiments: then this is an appeal to the active
word creation, then to excessive archaism of syntax and
vocabulary, then to the imitation of the fantastic form.

becomes

Word
subject
linguistic
experiment. Word creation is a way of aesthetic
thinking
such
combinations: softened eyes, white-breasted swallow;).
The increased figurativeness of ornamental prose creates the impression
speeches in the highest degree picturesque, pictorial.
(For example,

The style of ornamental prose is created in different ways:
1. appeal to the common element of the language
(speech
dialect, vernacular, colloquial, obsolete, native
Russian and Old Slavonic vocabulary);
2. metaphorical, figurative (metaphors, lyrical
digressions, fairy tales, tales, epics, folk songs, ditties,
proverbs and sayings, mythology);
3. increased emotionality (poetry, symbolism,
dreams, reception of reticence);
4.
disagreements).
(author's neologisms,
word creation
reception
6

Chapter III. About E.I. Nosov "Usvyatsky helmet-bearers".
The story of Evgeny Nosov "Usvyatsky helmet-bearers" - top
writer's work.
It was conceived and executed by Evgeny Nosov - the essence of the revelation of
dignity of the Russian people. According to the plot, the story tells about the last
days of the life of Usvyatsky peasants before their departure for the war and actually about
leaving them. The narrative is filled with pictures of the earthly, previous
war of existence: work, home, children... There is still no war on the pages of the story -
the war is felt as the cessation of this earthly thing - but the story is about
this: the dignity of a person lies in honestly fulfilling his earthly things.
Kasyan will have to leave along with the rest of the Usvyatsky peasants for
war, where does he come from, judging by the mood of the story and by its highest guess,
will not return, "for the time is at hand."
The main story of the artist is how a caring creature wears a debt
to protect everything that is included in the circle of his life: family, home, homeland, peace, and
therefore subject to military duty. The tale of what came before
the departure of the peasants to the army, about the standing of the world before the war. Leisurely conversation
the writer prepares the thought of the time for Man to fulfill his duty in
the last rati, unprecedented in Rus' in its bloodshed and cruelty.
The author's idea of the beginning of the story pursued, of course,
own purpose: to prepare the reader's perception for the thought of
the inevitability of trouble and hand over a certain key to understanding the whole story.
A story that, as it were, is not entirely about the war, in the sense that there was no
there were no battle scenes in it and not even a single shot was fired, but
unfolded slowly, as if in slow motion, an epic
storytelling about the life of the deep village of Usviaty in the first days after
declarations of war, about how the Usvyatsky peasants, peace-loving by their very nature
peasant essence, psychologically broke themselves for military affairs and
spiritually prepared for the new sacred role of "helmet-bearers" - defenders
of his Fatherland. But how was all this artistically recreated, on what
piercing note was narrated, using precise,
accurate, truthful folk language, from which, without exaggeration,
breathtaking!..
With an amazing wealth of details Evgeny Nosov
traces how in the first ten war days we will not stop, the
the process of renunciation of Kasyan and others like him from a peaceful mood,
peaceful cares, how he truly realizes what his house, wife, children are,
mother, neighbors, village, district.
7

Traditionally, literary criticism ranks Yevgeny Nosov to
village writers. However, in his best works, readers
find not only a philosophical understanding of the existence of people and the Fatherland, but also
peasant understanding of natural and everyday processes in their native land.
Skill, breadth of interests and realistic experience of Evgeny Nosov
natural, natural, rich and varied. It is easy, free and
artistically paints whole pictures of the working village, the army,
a people rising to the holy struggle.
8

Chapter IV. Stylistic features of the language story
Evgeny Ivanovich Nosov "Usvyatsky helmet-bearers".
Ornamental prose includes 4 components:
1)
2)
3)
4)
vernacular
metaphorical speech
increased emotionality of speech
word creation
They talk about Nosov as a stylist with a gold standard. But style is just
a sign of a different, more capacious quality of the language. It's about some
secrets acquired for a long literary activity, which
young writers can no longer figure it out.
1.
Common speech.
includes speech dialect, vernacular, colloquial,
obsolete, native Russian and Old Slavonic vocabulary.
 The beginning of the story is mowing grass in the Ostomel meadows. Kasyan stands on
meadow with his “clever, worn (dialect) scythe”, wondering, “what
now non-rotating (colloquial) herbs. Kasyan is thirty-six years old -
"the most ripe peasant time."
 Kasyan is in the very heart of Russian nature, in a meadow by the river
Ostomli. By right side from him native places, inhabited, to which and
it looks “with a happy squint (colloquial)”. Kasyan sees
“since childhood” (colloquial) Ostomly the consoling river, marked on everything
its timid, evasive (colloquial) shore with coastal willows,
tabletop expanse of meadows on the other side, Usvyaty’s own village on
distant hillock, already warmed by huts (metaphor) under the early
red sun, and a thin candle of the bell tower, pink and weightless
shone aside over the loaves...”
On the left hand “uninhabited side (dialect), not every day
well-groomed ”(colloquial), which we still have to remember differently
about: “a wild, wild loan (dial.), an impassable courtesy
thicket in the sweet dope of viburnum, in the indefatigable bird whistling and
slit. Secluded paths and manholes, bypassing the grassy, hummocky
swamp, led to the hidden old women, no one in the whole human world
unknown, except for the usvyatians alone, where they themselves, fearing something,
9

cautiously looking around at the centuries-old hollow willows in the tufts of dry coolies, with
furtively hastily placed wicker kubari on a bronze-cast
lake fish, hunted with deck honey, wild currants and
every potion."
“So the whole world, the whole Kasyanov universe, where he lived and never
was bored, read, described by a horizon with half a dozen
(obsolete) villages in this circle.
 Kasyan goes from the mowing to the spring to drink water: “Burning up the burdock (dial.)
and crouching on all fours, Kasyan then began to grab the scalding
a trickle, elastically whipped from a herbal pipe, from a trimming of hogweed
(dial.), then substituted a rough, reddish face under it and
even tried to slip the top of his head under the tune, and after quenching his thirst,
splashed handfuls on his back and, frozen, involuntarily stopped
breathe, overcoming the cold (dial.), which sharply cut through the body between
shoulder blades shifted together, groaned martyrically, hummed to all tense
inside, standing like a beast, on all fours at the foot of the mountain. And it was
then joyfully and rejuvenated to sit naked (dial.) on a warm mound,
slowly get on with a cigarette (dial.) and just as slowly glance at
parties."
The image of Kasyan in the meadows is enlarged to the value of the first man in
Universe, he is capable of the subtlest emotional experiences.
 Kasyan's house in the village of Usviaty: “The village is already well
seen on the top. Kasyan, as usual, also found his house: just
opposite the well crane. He was always quiet, with a reserved
silently tied to his home, especially after being brought into
mistress Natahu, who somehow immediately came to the court, recognized him
her own, as if she was born here, and without long glances (colloquial) troublesome
clucked around the house (colloquial). Yes, and from himself, as he received from his father
courtyard, it became a habit to go around at every free moment,
throw around housing, outbuildings (colloquial), cellar from all sides
(colloquial), well felled (colloquial), dry and cool, on a high
put up a barn (colloquial), tied in three whips (colloquial) still
fresh wattle fence, each time slowly looking at what else
forge, strengthen, prop up or sort out again.
 Kasyan, Nikola Zyablov, Lekha Makhotin, Afonyakuznets begin to think
wider, deeper, which helps with his stories about the past grandfather Selivan,
in the past, a well-deserved warrior, St. George Knight. In his eloquent words,
saturated with countless proverbs, sayings and other
10

aphorisms, none of which is superfluous - compressed experience
generations.
 “The oilcloth notebook rolled up in a chock ... was already pretty battered,
filthy these days with many hands overtaken by her where and how necessary,
as soon as she found Kasyan too. Her pages folded and folded into
chemical spills and dried water stains, in prints
oil and tar fingers, with these silent traces of someone already
predetermined destinies, someone's noisy spiritual turmoil and sorrows,
full of columns of surnames, against which the inept ones were already listed,
jumping and crawling scribbles of signatures. Came across and
simple crosses, also awkward, lopsided, one higher than the other, and
they looked next to the names of still living people as if
cemetery crucifixes.
“So people are needed. Like firewood (dialect) in the stove, ”concludes
on horseback, unaware, of course, of what force the fire will burn these
people in that unprecedented war.
 A lieutenant from the military registration and enlistment office who organizes the collection of conscripts and send them to
parts - appears as if from another world. “... a thorough person, everything
counts on pieces of paper: “The sheets must have been folded incorrectly
(Speaking), because the silent lieutenant took it slowly, with
put some sort of order into them with oppressive thoroughness: again
put.
Nikola (an icon in the house of Kasyan), who from time immemorial (colloquial) kept everything
their (common speech) accounts with this worldly life.
vague and indefinite, it thickened more and more in the sky, gathered in
a roaring and groaning lump, indicating its movement directly towards Kasyan,
and when this clot of howling and roaring, accelerating its years (colloquial), crossed
I'll suffocate and already tore the skies above my head, Kasyan hurriedly
began to peer, scour (colloquial) among the stars blurred by the lunar
radiance.
2. Metaphorical and figurative speech
includes metaphors, digressions, fairy tales, tales, epics,
folk songs, ditties, lamentations, proverbs and sayings,
mythology.
Take a worthy place in great Russian literature E.I. Nosov allows
and a brilliant command of the Russian literary language. Knowledge of the people
11

vernacular, Kursk dialect words stemming from
understanding the deep foundations of peasant life, live communication with
inhabitants of the Russian village, largely inherited by the writer from his grandmother
- keepers of ancient legends, traditions, legends, customs, traditions.
A) metaphors
 Kasyan is thirty-six years old - “the ripest peasant time”
 Kasyan sees the consoling river Ostomlya, marked on
all its timid evasive shore with coastal willows,
tabletop expanse of meadows on the other side.
 Must be Usvyatsky “material”, all these men seemed to him
at first, like grandfather Selivan elsewhere in the story: “... like gray
pots before firing: none of them was given to know who
will come out of this fire calcined to the sound, and who at the first
but the hollow will crack to the very end.”
 In Evgeny Nosov's story, the sky is filled with an alien threat.
Let's remember the moon, which looks like a piece of a paired lung, on top of
bathing in Ostomla, the shadow of a long-legged buzzard falls: “Someone
invisible eyes, someone's robbery plan circled over
peaceful shores."
 Kasyan at night hears the sound of an approaching bomber: “First
vague and indefinite, it grew thicker and thicker in the sky,
gathered in a roaring and groaning lump, indicating its movement
straight at Kasyan, and when this clot of howling and roaring, all accelerating its
years, crossed Ostomlya and already tore the skies (metaphor) over
with his head, Kasyan hurriedly began peering, scouring
stars, blurry moonlight.
 “In the brightest circle of the sky, he suddenly for a few moments,
like an otherworldly vision, grabbed by the eyes (metaphor)
huge winged body of a bomber. The plane wasn't flying very high.
even all four of its motors winding around the propellers were distinguishable
swirling lunar web (metaphor), flew without lights, as if
blind, and it seemed to him that it was hard, unable (colloquial) to carry this
black blind immensity - so strained (colloquial) and hard roared
with all my inflamed guts.

B) Lyrical digression.
 A wonderful picture of the Ostomly River opens from the window of his house.
“Water itself, even if it is in a bucket, is an unknown miracle. When
she runs day and night (old-timer) on the banks, then skittishly
12

flattening (dial.) with a tight irresistible force (colloquial) on the riffles, then
grading and filling (dial.) with greenish black near the turning clays
(colloquial); when it is covered with a milky pillowcase of fog (colloquial), under
which invisibly and mysteriously hoots (colloquial) suddenly jumped fish
(colloquial), then meekly lined in the evening before sleep (neologism)
the purest mirror, absorbing the entire universe - from low
leaning reeds of reeds to frozen drowsily (colloquial)
cirrus clouds; when in the night around (colloquial) you can hear far away how
with a polyphonic link and a splash, it breaks from the tray to the mill
wheel, then it is no longer just water, but something even more wonderful and
inexplicable. And not a single inhabitant of Ostomel could give him
interpretation, did not find, and did not try to look for any words in himself, but
called simply a river, wordlessly and quietly carrying in himself the feeling of this
diva...
... The river was receding, noisy children's gangs rushed after it,
it was tempting to rummage through the meadows after the water had gone.
What could not be found here: also a good, well-managed oar, and
boat ladle, and silt-covered winder or head over heels and chiseled
spindle, or even a spinning wheel. As a boy, Kasyan even found
an accordion, which, although it got wet and stuffed sand into torn wineskins, but
but the slats remained intact, and then he, having nailed them to the old
bootleg, played all sorts of merry matani.
... And all this - under the lapwing call, under the lamb's pale

So: The man in Yevgeny Nosov's story "Usvyatsky helmet-bearers" is
being natural, whole and animated, attached to life,
in love with the Light and its essence is care. He is natural in this Light and
constitutes its principal value.
Ostomly's painting, in its lively expressiveness and in the attention it
with which the artist takes a fancy to his every word, every line in
its description, is, truly, the concentration of the world outlook. With such
gratitude to the being that surrounds a person, with such
by the penetration of the depicted Light, little can be compared in
his story. The writer, with all the power of his gift, writes about “what
could give interpretations” Ostomel residents. And with bitter foreboding
we are in a hurry to get enough of the soul with this picture of the beautiful Light, for according to
to our guess, he will disappear just like the Man who settled in him ...
B) Fairy tales
13

 Kasyan's wife Natakh, pregnant with the third, tells a fairy tale to her
to the youngest: “And that German snake with three heads ... fire from the nostrils
splashes, from the green eyes of lightning fly. Yes, only our folder in
iron helmet, and an iron shirt on him ... "7 Revelation: "The dragon
this one (with seven heads) stood before the woman who was about to give birth,
so that when she gives birth, he may devour her child.”
D) Tale
How three snakes lived near the rotten swamp:
Like one snake who calls,
Like a second snake crawling
Like a third snake...
D) Bylina
 Similarity to the epic.
In the "Usvyatsky helmet-bearers" there are 3 bogatyr riders. First:
brigadier "voivode" Ivan Dronov, "all with the same impassable
gloomy curvature on closed lips ”- he was one of the first
Usvyattsev will voluntarily go to war. The second collective farmer Davydko,
who brought the news of the outbreak of war to the mowing: “black-baked
a peasant in silver bristles on sunken cheeks ”- and galloping with the news
“elbows with wings, a shirt with a bubble.” The third rider arrived in Usvyaty with
summons for mobilization for war: “horseback, tucking as if
set fire to the farmsteads with a torch, and they instantly engaged in windy
weeping and confusion, as happens only in Russian ingenuous
villages where neither joy nor inconsolable grief is hidden.
E) Folk songs
Oh, you, my tables, you are cramped!
And why are you standing uncovered?
And why are you sitting, don’t eat bread?
Either my honey is not boring, or is the owner not cheerful?
G) Chastushki
You cart, you cart
Where are you in a hurry?
On you, cart, you will sit
Are you coming back soon...
14

H) Lamentations.
 Kasyan from his childhood remembers his grandmother's lamentations about snakes, supposedly
found in a terrible urem forest near the village of Usvyaty, where they
lived and where the action of the story takes place: “Three
snakes: like one snake whoops, like a second snake creeps, like a third
spindle snake...”4 Images of snakes as magical, evil spirits in
Russian ideas have always been the essence of the incarnation of Satan.
I) Village mythology: after all, they lived “as if they were tied in a bag”. Germans
are presented to usvyattsy with hooves and helmets with horns, that is
creepy, devilish creatures clearly from the legion of the same
evil spirits from the Apocalypse: “They are not of our faith (colloquial), but maybe
and without any at all, therefore, it must (colloquial), and horns.
K) And how many proverbs, will accept and sayings about!
Proverbs and sayings
There is no gap from the broom
The end of the whole thing is the crown
You're only for the pie, and the devil is on the threshold
With a crumpled soul, they don’t go to this
Don't know don't talk
God will not give out the pig will not eat
Man does not live by profit alone
It would be baked, there will be cockroaches
We will dance for bread for salt, and for wine duck and a song
let's sing
Salt is the head of everything, without salt and living herbs
Stored for five, and the sixth is full
Death and war are not called forever
Speak, don't talk
Candle burnt to a halt
I was afraid of the sickle about the bodyak to break the teeth, not
Who said
author
Baba on
mowing
Chairman
Proshka
Chairman
Proshka
Grandfather
Selivan
Kasyan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Chapter
1
2
3
4
4
5
7
7
7
7
7
7
7
8
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tasting ... And I tried, duck and wild grass.
Selivan
Early road, state house
Bread in the field soul in captivity
Joy together, trouble alone
Who gave from that take, who
hit that run
What is in the coffin, what is for the war - in a clean one is necessary.
You go to tear someone else's beard not at every hour
save yours too
Who is in the forest
who for firewood
Kasyan
Kasyan
Kasyan's wife
Natakha
Kasyan
Selivan
Chairman
Proshka
Grandfather
Selivan
Where jelly is, there the serviceman sat down, and where the pie is, there Grandfather lay down
Selivan
Matyukha
Not everything is one of us in the mustache yes in
snout, it will be him and past
9
12
13
15
16
16
17
17
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According to the meaning of sayings, it is clear how from the beginning of the story to the end there is
gradual, smooth "flow" from peaceful life to war. This is evident from
analysis of the meaning of sayings and numbers of chapters of the story. Russian man
thinks about it, delve into it for a long time, then concentrates and tunes in to
one goal: not just to go to war and die, but to defeat the enemy. IN
The last saying sounds faith in victory_ this is a calm, confident phrase.
The reader senses that this is exactly what will happen. It is figuratively perceived:
Russian soldier, behind whom are all Russian peasants (each previous
proverb) they are tested in labor, they love their land, therefore THEY
WIN!
3.
The poetry of the story
implies poetry, symbolism, dreams, the reception of reticence.
A) Outcome of the story. He is very poetic. His paintings are heartbreaking.
The artist knows that Kasyan is leaving forever, in the circumstances of his
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wires to war detailed in detail, accurate in mood and invisible
crying with tears for the departed.
The wife accompanies Kasyan with a “faded look, not finding what

cloves of a second.” Mother shoves Kasyan his umbilical cord - the last thing
connects Man with his family and with the Light. He says goodbye to the saints and
with the whole world, "where he dwelt and never felt crowded and bored," and
we see how beautiful this Light left by Man is: “From the top, from
its very top, there, behind, behind the same ridge, running
stained with restless bread, one could see a narrow, already blue
in the distance a strip of Usvyatsky Posad, not even the huts themselves, but only green
the illusory nature of the trees, and on the right, in the distance, against the background of the faded sky
with a raised finger (Old Slav.) turned white, trembled after Mary (dialect.)
a bell tower lost in the fields. And the Ostomel urema was also visible and
distant beyond the river forest, blue as a dream, behind which something else
glimpsed, what a firmament. “The tops were still felt from afar, popped a long
stubborn drag that made the road snake (metaphor). Fields still
clung to the sides (metaphor) - then simply (colloquial) in a gray ovary,
as if in hoarfrost, then a low barley, but now they came out, and wild reigned
freemen, lined with tufted fescue and vershkovy wormwood, among
of which, red-spotted, clusters of upland carnations starred.
The red-hot hillside rang like a filly, blew a sultry hop
rotting sun-loving herbs. The dusty backs of the men pierced
salty mokryad, reeked of tart thickened sweat, but they all stomped
hot, even through the shoes of dust accumulated in a fur coat in the ruts,
looked impatiently at the ridge, where he dozed in eternal oblivion
a solitary mound with a truncated top. And when before him it was completely
at hand, took off from there and flew, like a black outstretched
shirt, hardened eagle mound."
The “immutability of life” has been violated, and although “Kasyan did not want anything else,
except how to live and die on this earth, native and familiar to
every bylka”, he is destined to go through the “favorite road” along this
Light that cannot be "interpreted" and of which we do not know,
Why is it given to Man?
All full-blooded, simple, earthly life descends from the earth, and he
the former Man, naturally mature, "ripe", strong and whole - oh
which the artist Yevgeny Nosov told with such charm.
... B) The gathering of the Usvyat peasants is symbolic, it looks like a “secret
supper "at grandfather Selivan" He lived as a bean (colloquial), in his old
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invisibly and mysteriously hoots a fish that suddenly jumped up, then meekly
is lined in the evening before sleep with the purest mirror, absorbing in
the whole universe itself - from a low-leaning reed of reeds to
frozen drowsy cirrus clouds; when the night is far away
you can hear how it breaks from the tray in a polyphonic ring and splash
on the mill wheel."
 “And all this - under the lapwing call, under the lamb
snipes falling from the sky, which were not immediately
to see in the steamy misty blue.”13
 A letter to Kasyan from brother Nikifor, thinking, “carefully put it behind
Nikola (an icon in the house of Kasyan), who for centuries kept all their
(common speech) accounts with this worldly life.
 A
alarming, “who knows where the lonely cloud that came from, as if white
lagging goose, and the shadow from him, crossing the valley, fleetingly
darkened now light-whitened huts, now sparkles of water, now grain fields on
hills.”8
 In the brightest circle of the sky, he suddenly for a few moments,
like an otherworldly vision, grabbed with his eyes a huge winged
bomber body. The plane was not flying very high, we could see
even all of its four motors winding a whirlwind on the propellers
lunar web, flew without lights, as if blind, and it seemed to him
hard, unable to bear this black blind immensity of his - so he
strained and hard roared with all his inflamed guts ” arises
a feeling of horror before the machine power that contains death.
 The wife accompanies Kasyan with a “faded look, not finding what
to say how to stop the inexorable time”, but “in the barely holding
forced silence, the wall clocks of the lame, unjustly sorted out
cloves of a second.”
 “From the ridge, from its very top, there, behind, behind the same ridge,
quickly stained with restless bread, one could see a narrow, already
a strip of Usvyatsky Posad, blued in the distance, not even the huts themselves, but
only the green illusory nature of the trees, and on the right, in the distance, against the background
of the sky with a raised finger turned white, trembled after Mary
a bell tower lost in the fields.
 Violated "immutability of life"
B) Reception of inconsistency:
 Kasyan and the Usvyattsy who leave with him will not return back. With them
say goodbye in earnest, and Alexei defender, Kasyanshlemosets, and his
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brother Nicephorus the Victorious and even Athos - not afraid of death -
no one will return, everyone will die cleanly. How much will it take
pages of the story! Like an ominous sign of non-return almost before
every house has a hole dug: the writer explains it prosaically -
they wanted to put poles under the radio, but they did not have time for the war.

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Chapter V. On the role of language in modern life.
What has the modern Russian language become today as a collection of words?
Garbage bin? Filter? Free flow?
What is language? A language is a certain sum of people who speak it. IN
in a certain sense it is a chaotic thing, but it can be predicted: it has
some word has a chance of success or does not. The word has a chance to live if
there is a meaning in it, a certain idea. This word must defeat its competitors,
who want to take the same place. There is also a fashion for words, which is
flares up, then subsides.
Previously, the language "recruited" words from folk speech. Writer
dried the words of peasants, workers, philistines, trading people and issued
outside. Folk speech now almost does not exist, like the village itself,
which was the origin of this speech. Today speech is replenished from the youth
environment. But how high quality it is, because behind them there is no this folk
layer and deep culture, which was originally in the peasant environment.
There was a trend in literature when authors worked with self-taught
word. It is impossible to imagine the prose of E. Nosov without this oversaturated
solution of very fragrant, pungent-smelling folk words. Is there in
modern young patriotic literature is such a trend? If
the base, folk, village, peasant, left, then the word also left. Such
Unfortunately, the word is no longer available. There are anglicized words that can
decorate speech and turn into purely Russian words (compaste,
street dance...).
IN AND. Dahl said: “We do not anathematize a foreign word. Speech
hero is a separate phenomenon, she, like a mirror, should reflect
surrounding reality."
The author's words turn the reader into another world, it rings so
reality, the verbal series shakes you so much that you understand
how great it is. The story of Evgeny Nosov "Usvyatsky helmet-bearers" as
melting pot of the vernacular.
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Conclusion.
Great philological culture of the writer, deep comprehension
foundations of the national peasant character and their own life
experience gained at the front and in the post-war years allowed
E.I. Nosov to form a special approach to the artistic image
Great Patriotic War.
In ancient Russian literature, the main defender native land
is a peasant plowman, a hard worker, endowed with high spiritual
qualities that help him win - this tradition is the basis of
the story of E.I. Nosov.
The spiritual traditions of the Russian village played a decisive role in
upbringing and formation of the inhabitants of Usvyat, representing the great
Russian nation - the people who defeated fascism.
Using the techniques of ornamental
prose, the writer vividly and convincingly revealed the origins of folk heroism,
showed the Russian national mentality in all its grandeur and beauty.
The artist of a rare and subtle gift Yevgeny Nosov hugged the heroes
his story with all his heart, he exalted each of them to the Russian folk
word.
Small in volume, but unusually capacious in content, almost
epic, "heroic", story by E.I. Nosov "Usvyatsky helmet-bearers"
will remain a monument to the Russian peasantry, which has become that folk
an army that stopped the enemy and hoisted the flag of Victory over the Reichstag.
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Sources.
1. Nosov E.I., Usvyatsky helmet-bearers. - Petrozavodsk: Karelia, 1986.
2. Baskevich I., Usvyatsky helmet-bearers. // Kursk truth. - 1977. - 13
October.
3. Brykina., The role of images of symbols in the disclosure of the Russian national
character in the story of E.I. Nosov "Usvyatsky helmet-bearers". Little known
pages and new concepts of Russian literature of the XX century. - M., 2003.
4. Eskov M.N. Memories of Evgeny Nosov: on the occasion of his 80th birthday
writer E.I. Nosova / M.N. Eskov / / MOSCOW.2005. No. 1.S.
5. Kedrovsky A., About the prose of E.I. Nosov in the 1990s. Kursk Notebooks: Kursk
and Kuryans through the eyes of scientists. − Kursk, 1998.
6. Konorev L. From the top of the ancient mound: from the memories of Eugene
Nosove / L. Konorev / / OUR CONTEMPORARY. 2003. No. 6. S. 272277.
7. Likhachev D.S. Village prose: Fedor Abramov, Viktor Astafiev,
Vladimir Tendryakov, Evgeny Nosov, Boris Ekimov/; Comp. P.V.Basinsky.
Moscow: Slovo, 2000.597c.
"Pushkinskaya bka".
8. Chalmaev V.A. Through the fire of sorrows: "quiet" epic by Evgeny Nosov /
V.A.Chalmaev// LITERATURE IN SCHOOL.1995.№ 3.S.3541.
9. Chemodurov V. How you live is how you write / V. Chemodurov / / RUSSIAN
GAZETA.2001.26 Apr.S.4.
10. Site materials:
www.openclass.ru
www.ped-sover.ru
www.proshlu.ru
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