14. "YAGUB SKUPALOV, OR THE CORRECTED HUSBAND". A MORAL-SATIRICAL NOVEL OF MODERN MORALS. IN FOUR PARTS.M., in type. S. Selivanovsky, 1830. (In the 12th file, in the 1st part of VIII, 146, in the 2nd part 146, in the 3rd part 123, in the 4th part 127 pages .) The publisher of the Literaturnaya Gazeta received an objection to the review of the novel (1)

GENRE PECULIARITY OF V. VOINOVICH'S SATIRICAL NOVEL

E.Yu. Alisova

Peoples' Friendship University of Russia Miklukho-Maklaya, 6, Moscow, Russia, 117198

The article is devoted to the genre originality of the satirical novel in the work of V. Voinovich. Characteristic is the fundamental freedom of the writer in turning to genre forms: the anecdote novel (in the trilogy about Chonkin), the combination of several anti-utopias (in Moscow 2042), the emergence of the “book of life” (“The Idea”).

Keywords: Voinovich, Chonkin, "Moscow 2042", idea, genre, satire.

Vladimir Voinovich celebrated his 80th birthday in 2012. The recent hero of the day is not just a writer, but a satirist, and this characteristic - a satirist - is not complementary, but decisive for his work. The satirist differs from any other writer in his keen perception of the alogism of contemporary reality. This is an innate property underlying the gift: to see the absurdity of what is happening around. Voinovich himself speaks about it this way: “I’m just writing ... One critic noted my first story with a large scolding article, in which it was written literally the following: “Voinovich adheres to the poetics of portraying life as it is, alien to us.” I liked it very much, and I continued to try to portray life as it is, but where the curve would lead me, I never cared.”

This is how the characteristic of Voinovich is characterized creative manner- the desire to neglect canons and dogmas, which determined the genre originality of the writer's satirical novels, in particular the trilogy "The Life and Extraordinary Adventures of a Soldier Ivan Chonkin", the anti-utopia "Moscow 2042" and the novel "The Idea".

Turning to the genre originality of a work, it must be borne in mind that the nature of the genre receives various explanations in literary criticism, and this finds expression in understanding the relationship between form and content, the correlation of the artistic world of a work with life reality, and the way the author's ideas are expressed. This is especially important when considering non-canonical genres, the identification of features of which presents a certain difficulty.

The most general genre definition for the works of V. Voinovich considered here is the term "novel". Fundamental incompleteness and freedom in development and state of the art this genre was emphasized by M.M. Bakhtin, noting that “the study of other genres is analogous to the study of dead languages; the study of the novel is the study of living languages, and young ones at that.

The novel has a dual content: firstly, its own, thanks to the interest in the development of the personality, and secondly, it came to him from other genres (epics, idylls, satirical stories, etc.). This allows us to conclude that the novel is "syncretistic". The novel combines the features of many genres. The “syncretism” of the novel fundamentally distinguishes it from other genres, which, when compared with it, reveal their own “specialization”, focus on certain aspects of life, while the novel represents life in its diversity and inconsistency.

Due to the breadth of the term "novel", it is often accompanied by an additional characteristic: "autobiographical, military, detective, documentary... political, adventure, satirical, sentimental...".

The most adequate characterization of Voinovich's novel "The Life and Extraordinary Adventures of a Soldier Ivan Chonkin" is a satirical clarification. What makes it so is the accusatory pathos that permeates the work. Here the word "satire" is used in its broadest sense - as "the negative attitude of the creator to the subject of the image".

In addition, the novel about the soldier Chonkin is, by definition of the author, an anecdote novel. At first glance, genres that are not just distant from each other, but almost opposed, are connected in this way. However, Voinovich convinces that an anecdotal incident can form the basis of a novel narrative that exposes the vices of contemporary life.

Voinovich, in the preface to the third novel of the trilogy, explains the meaning of his own genre definition in this way: “By the way, I once designated the genre of writing as a novel-anecdote ... this designation was just a trick, a hint that the thing was not serious and there was nothing special about it. quibble."

Let's follow the writer's advice: let's not find fault, but note that despite the seeming frivolity underlying the narrative, the anecdote pursues extremely serious goals.

The plot around which the narrative is built - a soldier is forgotten at the place of his guard duty - is anecdotal in itself: there is, so to speak, an ideal genre for a satirical depiction of life.

An anecdote is a folklore genre, based on humor, with which “wisdom coincides ... so much so that wisdom is contained in humor.” Initially being a story about a private incident in the life of a certain historical person, the anecdote gradually turned to the ordinary person (let us recall here the words of M.E. Saltykov-Shchedrin about “the soil of the people” as “the only fruitful one” for satire).

Depending on the behavior of the hero in a joke, various traits of a national character can be shown: from wisdom and resourcefulness to laziness, narrow-mindedness, drunkenness, etc. It is this property that allows the anecdote to become not only an acceptable, but also a completely organic form for satirical work, because the anecdote makes it possible to present life in the most vivid form, which is “fantastic in itself” (V. Voinovich). Typical hero of the people, para-

the doxality of situations, the dynamism of the development of the action, the unpredictability and unexpectedness of the resolution of certain conflicts of a comic nature - the writer borrows all these techniques from an anecdote and uses them to the full when creating a satirical novel.

In fact, the task of satire is similar to the task good joke: exposing vices, it contributes to the establishment of norms and harmony in life: "satire is a figurative denial of modern reality, which necessarily includes - in one form or another, with one or another degree of specificity and clarity - and the positive moment of affirming a better reality ". The anecdote is mainly related to satire by the fact that here, we repeat, the idea of ​​the norms of life that are violated in reality itself is restored.

This genre definition - an anecdote - is also due to the fact that the whole novel about Chonkin is built on anecdotal situations: Nyura falls "dead" when she sees in the sky "a large iron bird with a skewed beak", which in reality turns out to be an ordinary plane; here Chonkin treats himself to moonshine on a visit to Gladyshev, and then finds out from what that moonshine was made, and runs into the yard.

Thus, the anecdote also acts here as an auxiliary tool in the construction of an integral novel. And if in some situations (for example, the scene of Nyura fainting at the sight of an airplane), an anecdotal incident is a manifestation of a comic one, then in other cases the anecdote serves as a plot-forming element. So, for example, the secretary of the district committee Revkin, talking on the phone with the chairman of the collective farm Golubev, heard that Chonkin had seized the entire department of Captain Milyaga along with the "gang", although the chairman actually said "with a woman." And now a whole regiment is sent to capture Chonkin!

However, all this is characteristic to a greater extent of the first part of the novel. The second book, and especially the third, is more of an epic narrative with notes of journalism. The writer's approach to the depicted is changing, creative method: comical and anecdotal situations practically disappear, the author's satirically caustic remarks are replaced by a narrative that is still sarcastic, but devoid, however, of figurative content, the author's speech takes up much more space than at the beginning. Here it is appropriate to quote the words of E. Ponomarev: “In the second ... part, the analytical element unfolds to its fullest, suppresses the anecdote and begins to determine the form of the text. In a word, the closer to the end, the more about the essence Soviet life and the fate of the motherland. Just like in "War and Peace" ". And this is only about two novels, and in the third book these trends only intensify. Thus, within the framework of the trilogy, the author's approach to creating a work changes: the anecdote novel acquires the properties of a satirical novel, and then - epic narrative only with elements of satire.

Now let's turn to the novel "Moscow 2042", which is characterized by the features of a dystopian genre.

“Anti-utopia is a social genre. This is a bomb that falls only on organized humanity, on a society that lives according to one or another established socio-political laws, on a society that has developed a certain lifestyle ... Anti-utopia fights not against accidents, but against patterns. Satire as a whole struggles not with accidents but with patterns - it is not for nothing that the dystopia genre has become the most popular for satirical narration (remember Swift, Orwell, Zamyatin).

« fantasy novel V. Voinovich, who continues and develops the pro-Myatin-Orwellian tradition of dystopia, further sharpens the postmodernist discourse in the work of V. Voinovich; it is built on a demonstrative mixture of genres and styles, fundamentally eclectic - there are elements of detective and melodrama, erotica and grotesque, political satire and science fiction, parody and buffoonery.

The dystopia "Moscow 2042" is stereoscopic: we see not the only social structure that the author does not accept, but we meet a vivid description of three systems: MOSCOREP, the "empire" of Sim Simych in Toronto and monarchical Russia under the rule of Sim. In addition, the image of Moscow, from which main character left. This last "dystopia" is the closest to reality, the least fantastic, and is given in the form of the protagonist's reminiscences or the stories of the communians that they heard from older relatives.

In Moscow in 2042, communist ideals are brought to the point of absurdity. It is interesting how V. Voinovich “shows” us MOSCOREP: first, through the perception of the protagonist of the writer Kartsev (who, as they say, is in “ culture shock”), and further - with the help of explanations of the “new” Muscovites living in this time and taking everything that happens for granted. Thanks to this technique, we get acquainted not only with the external changes that have taken place in the capital, but also with a new type of thinking and worldview of people (which is typical for the genre of the novel).

In Toronto, Karnavalov builds his life in accordance with his own utopia: he acts like a gentleman, forbids the use of technological achievements, introduces corporal punishment, defines Russian national clothes as a “form”, etc. And even foreign words he replaces it with Russians, calling the plane a "flyer" and newspapers "readers". And although Sim’s views are opposite to the ideology of communism, but when he comes to power, only the form changes, the essence remains practically unchanged: “ Former organs State Security Service (the BEZO service) are transformed into the Committee of National Peace (KNS), the head of which is appointed the God-fearing Christian Leopold Zilberovich, dear to us and our loyal subjects. "All the rest of Our gracious subjects are invited ... to be vigilant and intolerant of all manifestations of the false and vile communist ideology." And if Moskorepe wrote feuilletons about “young people who wear long trousers and are fond of bourgeois dances,” now Karan-valov publishes a decree “on the mandatory wearing of long clothes.”

And Dzerzhin, who is now called Druzhin, serves the new autocrat in the same way as he served Genialissimo: “They need specialists like me. And not only them. Any regime. In other words, the most important change is in the length of the trousers, and those principles (hard surveillance, dictatorship, etc.) that the communist government followed remain relevant even under Karnavalov's rule.

The novel also shows the "rudiments" of other utopias: the scientist Edison's idea of eternal life, the utopia of a young left-wing terrorist. These characters pay for their views with their lives, so their utopias are not developed on the pages of the novel. However, with the help of these heroes, Voinovich shows how attractive the idea of ​​radical change is for people. The development of other utopias in dystopia demonstrates how dangerous this idea is.

Thus, the development of several storylines the transition from utopia to dystopia in one book plays a very important role for the realization of the author's intention: in the novel "Moscow 2042" a sentence is passed not on any particular system, but on any authoritarian regime that runs counter to humanitarian values. Whatever it is, it in any case leads to the suppression of the human personality, and what fashion will be considered opposing the regime - these are already details.

The novel "The Idea" is a work where all existing genre norms are destroyed: in relation to them, the author is absolutely free. “This book does not fit into any genre: it is partly a novel, partly a memoir, in general, neither one nor the other. Parts of the book are independent, self-sufficient and interchangeable ... as for the end, it is definitely not planned, but the last word written by the author in this life should be the last in the book.

In "The Concept" chapters are intertwined, telling about different stages of the life of the protagonist, who coincides as much as possible with the author. The chronology is not observed, several lines replace one another. They also alternate with the development of the plot of the main book by V. Voinovich - the trilogy about Chonkin - and the writings of a certain Eliza Barskaya. Such a non-trivial, completely postmodern construction of the book leads to a stereoscopic image of reality. "The Book of a Lifetime" truly reflects the life of its creator: as a chain of life events, stories and meetings, and inner work- creativity, which is the most important part of the artist's life. And it is this author's task - to show his life in all its fullness and diversity - that determines the genre diversity of "The Idea". “This book, if we compare it with a body of water, is not a river with sources and a mouth, but a lake that can be entered from any direction.”

Summarizing the above, we formulate the main genre features satirical novel by V. Voinovich. The main feature is the principled play with genres, syncretism, the features of which are determined by the idea of ​​the writer, his intention (in "Chonkin" an anecdote reveals the alogism of the structure of society; in "Moscow 2042" the combination of several utopias within the framework of one work works to prove the author's idea about the doom of any of modes,

which is headed by a dictator - whatever theories he may be guided by; in "Design" weave genre forms- novel, memoir, short story, erotica, autobiography - embodies the idea of ​​creating a "book of a lifetime".

A characteristic feature of all novels by V. Voinovich is also the appeal to fantasy as a genre-forming element. Fiction forms the basis of a dystopia about Moscow of the future (dystopia and fantasy are inseparable). The Chonkin trilogy also uses fantasy elements. The dreams of the protagonist are as fantastic as possible: in the first dream of Chonkin, Stalin descends from heaven in a woman's dress, in the second he lies on a tray on the table during the celebration of the wedding of pigs. However, along with fantastic circumstances, typical details are emphasized everywhere: a mustache, a pipe in his hand, a voice with a Georgian accent. This interweaving of real details, events, characters with elements of fantasy becomes characteristic feature trilogy.

In "The Idea" the hero (the writer Voinovich) meets and engages in dialogues with the characters he created and with himself in his youth. Here, fantasy also works to embody the idea: the author sees his life in length and at the same time in the combination of both temporary layers and reality and fiction. After all, before us is the intention of the Writer, the Artist, and for him his own fiction can be more real than what surrounds him. A real life, in turn, strikes the receptive satirist so much that he cannot accept its alogism and expresses this contradiction on the pages of his novels. “From the very beginning they told me: well, you’re too much, you already turned it down. I even softened sometimes, because what actually happened, in written form, seemed incredible. It's just that our life is fantastic, it is a satire in itself. For a satirist - fertile material.

And Voinovich, like no one else, knows how to see this “material”, marvel at it and express it on the pages of his works so that the reader can feel the “fantastic” life to the end. At the same time, the freedom of genre embodiment corresponds to the tasks of the satirist and determines the originality of his style.

LITERATURE

"Arguments and Facts" No. 27 (1080) dated 07/04/2001.

Bakhtin M.M. Epos and the novel (On the methodology of the study of the novel) // Bakhtin M.M. Literary-critical articles. - M., 1986.

Khalizev V.E. Theory of Literature - M.: Higher School.

Kozhinov V.V. Novel // Literary Encyclopedia terms and concepts / Ed. A.N. Nikolyukin.

Bakhtin M.M. Satire // Literary encyclopedia of terms and concepts / Ed. A.N. Nikolyukin.

Voinovich V. Life and Extraordinary Adventures of the Soldier Ivan Chonkin. Book III. Displaced person. - M.: Eksmo, 2007.

Terts A. An anecdote in an anecdote // Terts A. (Sinyavsky A.) Journey to the Black River and other works. - M., 1999.

Saltykov-Shchedrin M.E. About art. Selected articles, reviews and statements.

Ponomarev E.R. From Chonkin to Chonkin // Neva. - 2004. - No. 3.

Obukhov V. Modern Russian dystopia // Literary review. - 1998.- No. 3.

Brusilovskaya L., Kondakov V. Voinovich V.N. // Russian writers of the 20th century. Biographical Dictionary. Ch. ed. and compiler P.A. Nikolaev - M.: Great Russian Encyclopedia, 2000.

Voinovich V. Moscow 2042. - M.; SP All Moscow, 1990.

Voinovich V. Concept. - M., 1995.

Voinovich V. I did not leave Russian literature anywhere // Russian wealth. Journal of one author. Vladimir Voinovich. - 1994. - No. 1 (5).

GENRE PECULIARITY OF VLADIMIR VOINOVICH "S SATIRICAL NOVEL

Peoples" Friendship University of Russia Miklukho-Maklaya str., 6. Moscow, Russia, 117198

The subject of this article is genre peculiarity of Vladimir Voinovich's satirical novels. Liberty of genre forms is characteristic for the author "s works: "a novel-anecdote" (in the trilogy about the soldier Chonkin), combination of several utopias (in "Moscow 2042"), creation of " the book of the whole life" ("The Design").

Key words: Voinovich, Chonkin, "Moscow 2042", idea, a genre satire.

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SATIRICAL NOVEL - see Satire and Roman.

Meanings in other dictionaries

Satire

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Satyricon

"SATIRIKON" is a weekly "thin" magazine of satire and humor. Published in St. Petersburg from 1908 to 1914 (No. 16 - the last one) by M. Kornfeld. The first 8 numbers "S." published under the editorship of A.A. Radakova, after which A.G. Averchenko became the permanent editor. "WITH." - the most popular satirical magazine of its time. He united around him a cadre of talented writers and comic artists. In addition to A.G. Averchenko, pr...

Saturnian verse

SATURNIAN VERSE - the original poetic size of the ancient Romans; its antiquity is indicated by its name from the ancient Italic god Saturn. The rhythmic structure of S.S. has not yet been fully elucidated. It is based on iambic and trocheic (choreic) rhythm, which is close to prose speech. The most common form of C.s.: ---U --U || -UU U-UCesura is an obligatory element of it...

Satirical epic novel "A fresh memoir on the topic of the day." Memoirs 1 and 2. The novel was published as part of the collected works of Sergei Likhachev, volume 2. The continuation of the novel (memoirs 3 and 4) is already in the publishing house. Subgenres: epic, political satire, absurd. Art direction: new Russian modern. Theme: bosses and people.

Philologists: you can defend dissertations on this novel.

Official portrait of Comrade Bodryashkin, in kind

PRELIMINARY

It was by no means a lust for shabby Nobel laurels or royalties that made me sit down at the keyboard. Not the thirst for laurels, but the tormenting soul of my vision of that abyss into which it threatens to fall. Russian society, if he does not immediately begin to strengthen his own foundation - the selfless love of the people for their superiors. While still a youth and a desperate pioneer, I, Onfim Bodryashkin, like Malchish-Kibalchish, or, at worst, the homeless Gavrosh, longed to fulfill a personal mission in the historical destinies of my Fatherland. And he spent all subsequent fast-flowing table and protracted re-working years in a creative search for some perfect form in which this thirst should be dressed in order to bring to the impoverished Russian society practical benefit. The form has finally been found: from now on, I put myself to the trouble of writing an invigorating memoir, so, at the same time, living the events that have occurred and foreseeing the future, in order, in the desired result, to promote the rapid flowering of the people’s devoted love for their superiors and, if it turns out to be possible, the birth of a reciprocal feeling of deep satisfaction . My edible mind and firm hand, I am sure, will patriotically serve both the Motherland and you, my discerning reader.

Yes, being a memoirist is very interesting: a creative rethinking of life, a monument not made by hands, an accusation of plagiarism, a trial ...

I will only allow myself to note: the need for regularity and order, acquired back in the Suvorov School, forces me to create these notes in a strict form. I will start each memoir with a small essay, as if setting another topic or introducing a new unforgettable hero, and stuff it with texture, that is, the actual topic of the day. I am writing my memoir in dynamics - in the pose of a contemporary, not a chronicler - although with imperfective verbs.

Also: since my work is patriotic - and with us it means free of charge - I, in some places, allow myself to neglect obsessive self-censorship and boldly embark on sore digressions, so that you, my grateful reader, behind the inevitable narrowness of each special topic of the memoir, do not overlook the entire the expanse of the nature of a modest author showing through between the lines. By the way, I'm looking for a publisher with the right state concept in a curly head rather than with a hefty fee at the box office. And its continuation will depend on the degree of furor that my opus will arouse in the reader.

And further. Keeping my honor in relation to you, my hopeful reader, and, perhaps even to my own detriment, I will remind you of the first reader's rule: first find out who the author is - then read. So my preview...

I was born in the maternity hospital of Sorvigolovsk, fifty years ago. The city lies - literally and figuratively - in the cold Neproimyon side and, due to the presence of a secret factory, at that time it was still closed to foreign spies ... Death to spies! Sorry, it came out randomly. I was born, I'm almost sure, late in the morning, so as not to get angry early in the performance of the duty midwife, nurses and nannies. I didn’t know mamynki-daddy and other alleged relatives from the same late March morning, but grew up and developed on the budget, that is, solely thanks to the care of the native authorities in power. I immediately declare once and to the last line of the memoir: everything bad is biased by me from the media and from non-normative people, everything good was brought into me by the authorities - those still, Soviet. It more than provided me with the Darwinian natural right to survive in an unfavorable environment: and even then - in the abyss of the Daredevil incubator, I never disappeared, contrary to the most favorable prerequisites for that, but later I thoroughly ate at the headquarters of the N-th part Soviet army, received a high military, and later humanitarian, education with all the ensuing scholarships and security, was honored to easily and without any, mind you, blat, defend a dissertation for the degree of candidacy of psychological sciences - my square head turned out to be no obstacle for this! - I received state housing, and three times in my life they gave me lifting - money, furniture and other property and all sorts of personal belongings quite suitable for housekeeping and personal life. And the Soviet authorities never forgot me in small things: I always received all kinds of free vouchers, travel allowances, bonuses, coupons, gifts, underwear props, sensitive food rations, clothing allowance, vehicles from the treasury and funds ... I also omit random income! I was awarded the high military rank of major. And the major - who forgot Latin - means the main one! True, due to the routine confusion in the documents, personnel officers from the Ministry of Defense have not been able to figure it out for fifteen years now: am I a second-major in the reserve, or have I earned the rank of the most important prime ministers - read: lieutenant colonels? Therefore, when I communicate with acquaintances and with people who are pleasant in all respects, I introduce myself, by innate modesty, for a second, and when I salute the trail in front of strangers or enemies - well, hold on: here I am a real prime minister! I am single, that is, I understand a lot in ladies ... I am very strict with priests of all denominations and mimicry. Priests (with an emphasis on "s") will not work in Russia! I am the author of the sensational capital monograph “Eros in the Life of the Bosses” - well, this is a separate serious conversation ... I also have not so voluminous, but impressive on an emotional level, printed works: “In a crisis, morality should be economical”, “Fundamentals of the theory of just theft”, “ How to reorganize the ROC into the Museum of History Orthodox culture”, “How to bloodlessly get rid of pseudo-neo-liberals” and dere. In the Russian winter, I titanicly feed the titmouse - here I simply have no equal in Neproimyonsk. My titmouses are not some kind of helicopter birds jump-jump and chirp-chirp, but specific fat-funny ones - it's a pleasure to look at! Like any Russian person, I am strong in good intentions, but also - take my word for it! - I am often very zealous in business. And most importantly, I am a brutal patriot: I serve my native authorities with a smile, walk along the line and keep my tail with a wheel! I am also, in a way, an "officer for special assignments," as they used to say in the nineteenth, my favorite, literary century. Now I serve as a guided grafter at the Institute of Burning Problems: I instill the socially necessary vaccine of love for my superiors in the non-proymen people. I consider myself a learned writer, an expert on politics, society, women and in general. He was awarded a rare medal "For the fification of the country". So far I have not waited for other many promised awards, however, I do not grumble. For me, as a faithful son of Russia, everything is still ahead of me forever!

My credo: Cheer up!

The paper version of the novel is not for sale.―too expensive for the author (publishing layout and typography― 1423 rubles/copy), so only 150 copies were printed. - exclusively for giving to friends, students of my School and for sending to competitions. And in in electronic format I sell the novel for 250 rubles, the usual price of similar works in online stores. Please apply (“I want to buy your novel…”) at: [email protected], I will send the number of the Savings Bank card and upon receipt of the money I will immediately send the file with the novel.

Read, write a review to the specified address! Come to my remote School of Writing and Poetry to learn how to write novels and poetry. It will be exciting and interesting!

Sergei Likhachev in front of the Volga and the Zhiguli brewery in Samara

The novel is big literary work with a complex and branching plot. The French word roman - "novel" arose in the XII-XIII centuries. Initially, it was used as an adjective-definition in the combination conte roman "Roman story" (from the Lat. Romanice - lit. "Roman"; romanus - "Roman"). So called the stories written on one of the Romance languages(French, Italian, Portuguese, etc.), which at that time were perceived as common people. The name conte roman distinguished novels from works that in the Middle Ages were usually written in classical Latin, the language of science. Starting from the XVI century. the adjective roman "romance" came to be taken as a noun denoting a work of a large form of epic or narrative literature.

Here I will consider the subgenres of the novel according to certain criteria. In fact, there can be a great many criteria, but it is these three criteria that I consider the main ones for the purposes of training novice writers. The names of the subgenres within each criterion are in alphabetical order.

I. Novel subgenres by thematic criterion

(this is the main criterion for systematizing the subgenres of the novel)

1. Absurdist novel(F. Kafka"Lock"; R.Domal"Great binge"; Yan Lianke"Kisses of Lenin")

2. Biographical novel, Autobiographical novel (Y. Tynyanov"Death of Vazir-Mukhtar"; Irving Stone"Lust for Life")

3. War romance (K.Simonov"The Living and the Dead"; E.M. Remark All Quiet on the Western Front

4. Gothic novel(as a thematic complex) (Bram Stoker"Dracula"; E.T. Hoffman"Elixirs of Satan"; W.Golding"Spire")

5. Detective novel (A. Christie"Murder on the Orient Express"; "Ten Little Indians"; F.D. James"The Nightingale Mystery", "Tricks and Desires")

6. Ideological novel (F. Dostoevsky"The Brothers Karamazov", "The Idiot"; T.Mann"Magic Mountain")

7. Historical romance (A.N. Tolstoy"Peter the First"; W. Scott"Rob Roy", "Quentin Dorward")

8. Love story(novels Barbara Cartland And Cecilia Ahern; G. Shcherbakova"Women in a game without rules")

9. Magic romance (G.G. Marquez"One Hundred Years of Solitude"; S. Rushdie"Children of the Midnight")

10. Marine romance (G.Melville"Moby Dick"; D.F. Cooper"Pilot", "Red Corsair"; D.London"Sea Wolf")

11. Science fiction novel (S.Lem"Magellan cloud"; A. Belyaev"Amphibian Man")

12. Political romance (L. White"Rafferty"; Yu.Dubov"Big ration")

13. Adventure novel (F. Cooper"The Last of the Mohicans"; V. Bogomolov"In August forty-four")

14. Production romance (A. Hailey"Airport", "Wheels"; G. Nikolaeva"Battle on the Road"

15. Psychological novel (socio-psychological) (B. Constant"Adolf"; G. Flaubert"Education of the Senses"

16. Religious and moral novel(G. Green"The heart of the matter"; P. Coelho"The Alchemist", "Veronica Decides to Die", "The Devil and Senorita Prim")

17. Novel parenting (I. Goethe"Years of teaching Wilhelm Meister"; I. Bunin"The Life of Arseniev")

18. Roman test (by construction type, according to M. Bakhtin) (all novels F.Dostoevsky; W.Golding"Lord of the Flies")

19. A novel of self-improvement(S.Sharma"The Monk Who Sold His Ferrari"; Lee Carroll"Journey Home")

20. Roman-fate (R. Rolland"Jean-Christophe"; M. Gorky"Life of Klim Samgin")

21. Utopian novel (O. Huxley"Island"; I. Efremov"Andromeda's nebula")

22. Epic novel (L. Tolstoy"War and Peace"; M. Sholokhov"Quiet Don")

23. Knightly romance (as a subgenre of the historical novel) (W. Scott"Ivanhoe"; A.Conan Doyle"Sir Nigel", "White Squad")

24. Satirical novel (D. Swift"Gulliver's Travels"; M.E. Saltykov-Shchedrin"History of a City"

25. Family romance, family saga (N. Leskov"Old years in the village of Plodomasovo"; J. Galsworthy"The Forsyte Saga"; T.Mann"Buddenbrooks"; R.M. du Gard"The Thibault Family")

26. Social novel (L. Tolstoy"Anna Karenina" G. Flaubert"Madam Bovary"

27. Socio-ideological novel (N.G. Chernyshevsky"What to do?"; A.I. Herzen"Who is guilty?")

28. social romance (L. Tolstoy"Resurrection"; T. Dreiser"The Financier", "Sister Kerry")

29. Philological novel(Y. Tynyanov"Pushkin"; V. Nabokov"Gift"; A. Terts "Walks with Pushkin";Y. Karabchievsky "The Resurrection of Mayakovsky";Vl. Novikov "An Affair with Language, or Sentimental Discourse"

30. Philosophical novel(Voltaire"Candide"; Diderot"Ramo's nephew"; Rousseau« New Eloise»; V. Odoevsky"Russian nights")

31. Futuristic romance (N. Stevenson"Diamond Age"; V.Sorokin"Telluria")

32. Fantasy novel (J. Tolkien"Lord of the Rings"; M. Semyonova"Wolfhound")

33. Existential romance (J.-P. Sartre"Nausea"; I.A. Goncharov"Break"; A. Camus"Plague")

34. Experimental novel (L. Stern"The Life and Opinions of Tristram Shandy, Gentleman"; E. Zola"The Career of the Rougons"; J.Fowles Magus, French Lieutenant's Woman)

II. Novel subgenres by target reader

1. Ladies' romance(novels Cecilia Ahern; G. Shcherbakova"Women in a game without rules")

2. Children's novel (Jan Larry"The Extraordinary Adventures of Karik and Vali"; F.E. Burnett"Secret Garden"

3. Youth romance (S. Mayer"Twilight"; L. Oliver"Delirium")

4. Romance for teenagers (J. Verne"The Children of Captain Grant"; L. Bussenard"Captain Rip-Head"; I.Frolov"What is what")

III. Sub-genres of the novel by temporal criterion, or by belonging to different stages of developmentiterations

1. Antique romance (Khariton Aphrodisiac“The Tale of the Love of Kherey and Kalliroi” is the first novel in the world, the beginning of the 2nd century BC. AD); Long"Daphnis and Chloe"; Petronius"Satyricon")

2. Gothic novel(between sentimentalism and early romanticism ) (Anna Radcliffe"Udolf secrets"; M.Lewis"Monk"; Ch.Maturin"Melmoth the Wanderer")

3. Decadent romance(including Novel of the Silver Age (O. Wilde"The Picture of Dorian Grey"; V. Bryusov"Silver Angel")

4. Classic realistic novel(A novel of "critical realism") I.Turgenev"Fathers and Sons"; Ch. Dickens"Bleak House", "David Copperfield")

5. postmodern novel (M. Pavich"Khazar Dictionary"; J. Barnes"History of the World in 10 1/2 Chapters")

6. Modernist novel(M. Proust"In Search of Lost Time"; D. Joyce"Ulysses", "Finnegans Wake"; F. Kafka"Castle", "Process"; A. Bely Petersburg)

7. Romantic novel (F.R. Chateaubriand"Rene", "Atala"; novels V. Hugo; M. Zagoskin"Roslavlev or the Russians in 1812")

8. A novel of socialist realism(M. Sholokhov"Virgin Soil Upturned"; M. Gorky"Mother"; F.Gladkov"Cement"; A. Serafimovich"Iron Stream"

9. Romanbaroque era: 1) picaresquenovel(G.Ya.K. von Grimmelshausen"Simplicissimus";L.V. de Guevara"Lame demon"; 2) pastoral romance(O. d'Urfe"Astrea")

10. Roman erasand Renaissance (F. Rabelais"Gargantua and Pantagruel";J.Sannazzaro"Arcadia")

11. Sentimentalist novel (J.-J. Rousseau"Julia, or New Eloise"; S.Richardson"Pamela")

12. Medieval romance(the main body of the Medieval novel is Romance or courtly romance) (Chretien de Troy"Erec and Enida", "The Legend of the Grail, or Perceval", "Knight of the Cart, or Lancelot"; Montalvo"Amadis of Gali"; Eilhart von Oberg"Tristan and Isolde")

Some clarifications about decadence

How literary movement decadence is a transitional stage between romanticism and modernism. Decadence (fr. decadent - decadent) - decline, cultural regression; originally used as a historical term for cultural phenomena Roman Empire to. II-IV centuries. This term also refers to modernist direction in fine arts, music, literature and architecture, in creative thought, self-expression as such - of the late XIX - early XX centuries, characterized by perverted aestheticism, individualism, immoralism. Its founders acted primarily as opponents of the old trends in art, mainly academicism. The principles proclaimed by them were at first purely formal in nature: the decadents demanded the creation of new forms in art, more flexible and more in line with the complicated worldview of modern man.

Traditional art history considers decadence as a general definition of the crisis phenomena of European culture of the 2nd half of the 19th - early 20th centuries, marked by moods of despondency, pessimism, pain, hopelessness, rejection of life, extreme subjectivism (with similar, close to tendentious, shocking formulas and clichés - stylistic techniques, plasticity, compositional constructions, accentuations, etc.). This complex and contradictory phenomenon in creativity in general, has a source of a crisis of public consciousness, the confusion of many artists in front of sharp social contrasts - loneliness, soullessness and antagonisms of reality. Art's rejection of political and civic themes was considered by decadent artists to be a manifestation and an indispensable condition for freedom of creativity. Constant themes are the motives of non-existence and death, the denial of historically established spiritual ideals and values.

The main issue of delimitation decadence becomes sharing it with symbolism. There are quite a few answers, but there are two dominant ones: the first one speaks of the difference between these trends in art, a great supporter and inventor of it was J. Moreas, the second - about the impossibility of their separation or the absence of the need for such.

K. Balmont in the article "Elementary words about symbolic poetry" speaks of the trinity of decadence, symbolism and impressionism, calling them "psychological lyrics" that change "in constituent parts but always one in its essence. In fact, these three currents either run in parallel, or diverge, or merge into one stream, but, in any case, they tend in the same direction, and there is no difference between them, which exists between the waters of the river and the waters of the ocean. He characterizes the decadent as a refined artist, "perishing by virtue of his refinement", existing on the change of two periods "one completed, the other not yet born". That is why the decadents debunk everything old and obsolete, they look for new forms, new meanings, but they cannot find them, because they have grown up on the old soil.

F. Sologub calls decadence method to distinguish a character, art form for the symbolist content, "worldview": "decadence is the best, perhaps the only, instrument of conscious symbolism."

The Russian Symbolists of the second wave (Young Symbolists) defined the difference between decadence and symbolism in terms of their worldview: decadence is subjective, and symbolism overcomes the individualistic isolation of aesthetics by the supra-personal truth of catholicity. Andrey Bely in the book "The Beginning" describes it this way: "symbolists" are those who, decomposing in the conditions of the old culture together with the whole culture, strive to overcome their decline in themselves, realizing it, and, leaving it, are renewed; in the "decadent" its decline is the final dissolution; in the "symbolist" decadentism is only a stage; so that we thought: there are decadents, there are "decadents and symbolists" (that is, in whom decadence struggles with rebirth), there are "symbolists", but not "decadents"; and so we willed to make ourselves.”

According to B. Mikhailovsky(Literary Encyclopedia 1929-1939), "symbolism" as a term is broader than the term "decadentism", which in fact is one of the varieties of symbolism. The term "symbolism" - an art history category - successfully denotes one of the most important style features arising on the basis of the psyche of decadence. But you can distinguish other styles that arise on the same soil (for example, impressionism). And at the same time, “symbolism” can also be freed from decadence (for example, the struggle against decadence in Russian symbolism).

However Mikhailovsky contradicts F. P. Schiller(“History of Western European Literature of Modern Times”): “The names of groups and trends themselves have changed: starting with the novel“ On the contrary ”(1884) Huysmans, the most popular of them was "decadent" (a magazine was published under the same title), then later the name "symbolist" was widely used. And here the difference is not only in some names. If, for example, all the Symbolists were decadents, then it cannot be said that all the decadents of the “end of the century” were symbolists in the narrow sense of the word. Decadence is a broader concept than symbolism (if we ignore small group poets united around the Decadent magazine).

What is called "decadence style", wrote Gauthier, "there is nothing but art that has come to such a degree of extreme maturity that aging civilizations cause with their slanting sun." Omri Ronen generally takes decadence beyond the framework of the current in art and even art itself: “decadence found artistic expression their subject in different styles: in symbolism, in the poetics of the Parnassians, in late romanticism - "Victorian" in England, "Biedermeier" in Central Europe, and in late realism - naturalism. Decadence, therefore, was not a style or even literary movement, A mood And theme which equally colored both art and scientific, philosophical, religious and social thought of their time.

Symbolist novel Andrey Bely I put "Petersburg" in the subgenre "Novel of the period of modernism." But this novel, unusual in style, has the right to be in the subgenres of both decadence and silver age, and symbolism. But symbolism was included in the composition of a broader direction - modernism.

There is considerable discrepancy in the definition of the subgenre "Knight's novel". But more about that another time.

Remember this at the right time!

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