"The Gentleman from San Francisco" appeared in print in 1915. The story was preceded by an epigraph from the Apocalypse: "Woe to you, Babylon, strong city!" Here is the immediate context of these words in the final book of the New Testament: “Woe, woe to you, great city of Babylon, strong city! for in one hour your judgment has come” (Revelation of St. John the Theologian, ch.18, verse 10). In later editions, the epigraph will be removed; already in the process of working on the story, the writer abandoned the name “Death on Capri” that he had originally invented. However, the feeling of catastrophism evoked by the first version of the title and the epigraph permeates the very verbal flesh of the story.
The story "The Gentleman from San Francisco" was highly appreciated by M. Gorky. “If you only knew with what trepidation I read The Man from San Francisco,” he wrote to Bunin. One of the biggest German writers 20th century Thomas Mann was also delighted with the story and wrote that it "in its moral power and strict plasticity can be placed next to some of Tolstoy's most significant works."
The story tells about recent months the life of a wealthy American businessman who arranged for his family a long and rich "pleasure" trip to southern Europe. Europe - on the way back home - was to be followed by the Middle East and Japan. The American-led cruise is motivated in detailed, tedious detail in the story's exposition; the plan and itinerary of the journey are set out with business-like clarity and thoroughness: everything is taken into account and thought out by the character in such a way that absolutely no room is left for accidents. The famous steamship Atlantis, which looks like a “huge hotel with all conveniences,” was chosen for the trip, and the days spent on it on the way across the Atlantic do not overshadow the mood of a wealthy tourist.
However, the plan, remarkable for its thoughtfulness and richness, begins to crumble as soon as it begins to be implemented. The violation of the millionaire's expectations and his growing dissatisfaction correspond in the structure of the plot to the plot and the development of the action. The main "culprit" of the irritation of a wealthy tourist - nature beyond his control and therefore seemingly unpredictably capricious - mercilessly violates the promises of tourist brochures ("the morning sun deceived every day"); we have to adjust the original plan and go from Naples to Capri in search of the promised sun. “On the day of departure, - very memorable for a family from San Francisco! .. - Bunin uses in this sentence the technique of anticipating an imminent denouement, omitting the word “sir”, which has already become familiar, - ... even in the morning there was no sun.
As if wishing to slightly delay the inexorably approaching catastrophic climax, the writer extremely carefully, using microscopic details, gives a description of the move, a panorama of the island, details of the hotel service, and, finally, devotes half a page to the gentleman preparing for a late dinner with clothing accessories.
However, the plot movement is unstoppable: the adverb “suddenly” opens a climactic scene depicting the sudden and “illogical” death of the protagonist. It would seem that the plot potential of the story has been exhausted and the denouement is quite predictable: the body of a rich dead man in a tarred coffin will be lowered into the hold of the same ship and sent home, "to the shores of the New World." This is what happens in the story, but its boundaries turn out to be wider than the boundaries of the story of the American loser: the story continues at the will of the author, and it turns out that the story told is only part of the story. overall picture life in the author's field of vision. The reader is presented with a non-plotted panorama of the Gulf of Naples, a sketch of a street market, colorful images of the boatman Lorenzo, two Abruzzo highlanders and, most importantly, a generalizing lyrical description of the “joyful, beautiful, sunny” country. The movement from the exposition to the denouement turns out to be only a fragment of the unstoppable flow of life, overcoming the boundaries of private destinies and therefore not fitting into the plot.
The final page of the story brings us back to the description of the famous "Atlantis" - the ship that returns the dead master to America. This compositional repetition not only gives the story a harmonious proportion of parts and completeness, but also enlarges the scale of the picture created in the work. It is interesting that the master and members of his family remain nameless in the story to the end, while the peripheral characters - Lorenzo, Luigi, Carmella - are endowed with their own names.
The plot is the most noticeable side of the work, a kind of facade of an artistic building that forms the initial perception of the story. However, in The Gentleman from San Francisco, the coordinates of the overall picture of the world being drawn are much wider than the actual plot temporal and spatial boundaries.
The events of the story are very accurately “linked to the calendar” and inscribed in the geographical space. The journey, planned two years in advance, begins at the end of November (swimming across the Atlantic), and suddenly stops in December, most likely the week before Christmas: Capri is noticeably pre-holiday revival at this time, the Abruzzo highlanders offer “humbly joyful praises” Mother of God in front of her statue “in the grotto of the rocky wall of Monte Solaro”, and they also pray “to the one born from her womb in the cave of Bethlehem, ... in the distant land of Judah ...”. Thanks to this implicit calendar detail, the content of the story is enriched with new facets of meaning: it is not only about the private fate of the nameless gentleman, but about life and death as key - eternal - categories of being.
Accuracy and ultimate reliability - the absolute criteria of Bunin's aesthetics - are manifested in the thoroughness with which the daily routine of wealthy tourists is described in the story. Indications of the “hours and minutes” of their life, the list of sights visited in Italy seem to be verified according to reliable tourist guides. But the main thing, of course, is not Bunin's meticulous fidelity to credibility.
Sterile regularity and the indestructible routine of the existence of the master introduce into the story the most important motive for him of artificiality, automatism of civilized pseudo-existence. central character. Three times in the story, the plot movement almost stops, canceled first by a methodical presentation of the cruise itinerary, then by a measured report on the daily routine on the Atlantis, and finally by a careful description of the order established in the Neapolitan hotel. The "graphs" and "points" of the master's existence are mechanically lined: "first", "second", "third"; "eleven", "five", "seven o'clock". In general, the punctuality of the way of life of the American and his companions sets a monotonous rhythm to the description of everything that falls into his field of vision of the natural and social world.
An expressive contrast to this world is the element of living life in the story. This life, unknown to the gentleman from San Francisco, is subject to a completely different time and space scale. It has no place for schedules and routes, numerical sequences and rational motivations, and therefore there is no predictability and "understandability" for the sons of civilization. The obscure impulses of this life sometimes excite the minds of travelers: it will seem to the daughter of an American that she sees the crown prince of Asia during breakfast; then the owner of the hotel in Capri will turn out to be exactly the gentleman whom the American himself had already seen in a dream the day before. However, “the so-called mystical feelings” do not leave any traces in the soul of the main character.
The author's view constantly corrects the limited perception of the character: thanks to the author, the reader sees and learns much more than what the hero of the story is able to see and understand. The most important difference of the author's "omniscient" view is its ultimate openness to time and space. Time is counted not by hours and days, but by millennia, by historical eras, and the spaces that open up to the gaze reach the “blue stars of the sky”. That is why, having parted with the deceased character, Bunin continues the story with an insert episode about the Roman tyrant Tiberius. What matters to the author is not so much the associative parallel with the fate of the title character as the opportunity to maximize the scale of the problem.
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"If you're going to San Francisco, don't forget to weave a few flowers in your hair" - the words from the famous song by Scott McKenzie, which has been San Francisco's unofficial anthem for almost 50 years. They personify this city as the capital of the hippie movement and progressive youth.
State: California
Foundation date: 1776, city since 1850
Population: 852,469 people
Nickname: Frisco, Foggy City, West Paris
San Francisco - picturesque sunny city, located on a peninsula between the bay of the same name and the Pacific Ocean. Numerous sights of San Francisco attract a huge number of tourists to the city, which is only worth the largest park in the United States, the most beautiful Golden Gate Bridge in the country and the Alcatraz prison. The oldest cable car passes through the compact streets of the city, and Lombard Street is considered the most curved street in the world.
Lombard Street
Alcatraz prison
San Francisco is considered a trendsetter of cultural innovation and experimentation, the home of the Beat Generation of the 1950s, the center of the counterculture of the 1960s, a hotbed of political protest, and the hub of the American gay community. The population of San Francisco is represented by the most diverse ethnic groups in the United States.
Today, San Francisco is home to a huge number of cutting-edge high-tech companies that provide jobs to thousands of people in this densely populated region.
The coastline of San Francisco stretches for almost 50 kilometers, so the city's climate can be attributed to the Mediterranean. Most of the precipitation here falls from November to March. Because San Francisco is surrounded by water on three sides, hallmark this area is fog, which often approaches the city from the Pacific Ocean.
History of San Francisco
The human footprint on this earth dates back to the 20th millennium BC.
The Spanish conquistadors, who discovered California, did not know about the existence of this peninsula for two centuries, because the fog coming from the Pacific Ocean hid the peninsula from prying eyes. The first Europeans to discover this land were explorers traveling small group in 1769 from Mexico to Canada, led by Sergeant José Ortega. After 7 years, a small town was founded here - Yerba Buena. Later city got his modern name in honor of Saint Francis of Assisi.
For more than half a century, this place was not given much importance, but the situation changed dramatically after the discovery of a gold mine here in 1848. california Golden fever triggered the rapid expansion of San Francisco. Thousands of gold miners who came to California in search of their fortune subsequently took root in the region. However, the gold rush brought not only wealth to the city, but also a wave of lawlessness. Gang groups began to form on the territory of San Francisco, open gambling establishments and brothels. In 1850, San Francisco was granted the status of a city, after which locals began to form groups of vigilance to clear the city of criminals and restore order.
After the completion of the construction of the transcontinental railway in 1869, San Francisco continued its development. On turn of XIX and XX centuries the population of the city was more than a third of a million people. Everything changed at the beginning of the 20th century, when the people of San Francisco experienced the greatest catastrophe in the history of the city. On April 18, 1906, a massive earthquake hit San Francisco, killing more than 500 people. Ten square kilometers of the city were wiped off the face of the earth. The fires caused by the earthquake could not be extinguished for three days. Nevertheless, the people of San Francisco persevered and, on their own, as well as with the help of donations from other states, restored the city. By 1915, the rebuilt city hosted the world's first exhibition dedicated to the completion of the Panama Canal.
The first half of the 20th century was a period of development of the city's infrastructure. In 1913, a dam was built on the Tuoloumne River in the Hetch Hetchy Canyon Valley, in 1936 the Bay Bridge connecting San Francisco and Oakland was completed, and a year later, the famous Golden Gate Bridge was presented to the world, which became calling card not just San Francisco, but the entire United States.
With the growth of industry, emigrants began to arrive in the city. In 1930, a large-scale movers' strike took place in San Francisco, which became the largest labor uprising in US history.
With the outbreak of World War II, the industry of the city became even more powerful. This period was also marked by the forced relocation of several thousand Japanese Americans from San Francisco to internment camps.
In the 1960s and 70s, San Francisco became the center of youth counterculture, the main site of student protest against the Vietnam War, and a center for the advocacy of the rights of sexual minorities.
1979 is remembered for the high-profile assassination of San Francisco Mayor George Mascone, the city's first openly gay leader. That same year, San Francisco elected its first female mayor, Dianne Feinstein.
In 1989, San Francisco residents experienced another powerful earthquake. However, despite this, in the next decade the city made huge strides in its development: state institutions were repaired, a museum was built contemporary art, main library and art center.
Jobs in San Francisco
Due to its location, throughout its history, San Francisco has been the most important port center of California. The main branches of the country's leading banks are located on the territory of San Francisco, Insurance companies, Pacific stock Exchange, a division of the Federal Reserve System and the US Mint.
Since the San Francisco metropolitan area is part of Silicon Valley, in the city and suburbs, the industry of IT-technologies and biotechnologies is very developed. Hundreds of the world's leading high-tech companies with offices in this region attract tens of thousands of IT specialists from all over the world.
Sports in San Francisco
San Francisco represented by teams major leagues in all popular sports in the USA:
- Baseball (MLB) - San Francisco Giants
- Football (NFL) – San Francisco Niners (49ers)
- Basketball (NBA) – Golden State Warriors
Golden Gate Park
Golden Gate Park, founded in the 1870s, is the largest urban park in the United States. total area The park is 412 hectares. On the territory of the park there are many gardens, artificial lakes, waterfalls, nature reserves, beaches, campsites, 43 km of footpaths, 12 km of horse riding trails. This park welcomes more than 13 million visitors annually.
San Francisco Tourism
Despite the huge number of high-tech companies located in San Francisco, tourism is the main industry of the city's economy. The natural beauty of San Francisco, mild climate and a large number of attractions, annually attracts more than 17 million tourists to the city. San Francisco is one of the ten most convenient cities North America for a variety of conferences, exhibitions and trainings, which also attracts a considerable number of visitors.
One of the most unique features San Francisco is a cluster of various ethnic neighborhoods. The most famous of which is Chinatown - the largest Chinese area outside of Asia. In Chinatown, there are many oriental bazaars, temples, and restaurants.
The image of the sights of San Francisco can often be found on postcards or wallpaper desktop monitors. This sunny city will surely surprise you with the change of its geography - winding streets and green hills, will please bright colors parks and squares, a variety of vegetation and the tenderness of the surf. Plunging into the atmosphere of San Francisco, it will seem to you that life is flowing here in the eternal stream of the carnival.
D-503 - the hero of the novel by E.I. Zamyatin "We" (1920). A resident of a fantastic state of the future, which embodied the technocratic utopia of a mechanized and totally organized society, where all communications and relations between people are “integrated”, D-503 (the inhabitants of this state are deprived of their own names and exist under “numbers”) is the first incarnation of what then became traditional type the hero of a dystopian novel (or dystopia). Like Winston Smith (“1984” by D. Orwell), whose image arose under the direct influence of Zamyatin, like the heroes of the novels “O wonderful new world» O. Huxley, “451° Fahrenheit” by R. Bradbury, D-503 violates the laws of a utopian society, in the justice of which he had no doubt before, goes through trials and finally capitulates, giving himself (morally and physically) to the mercy of the winner - United State. Despite the novelty of the image created by Zamyatin, it captures the "archetype" of the hero-traveler, leading the reader through the described events, of which he is a witness and participant. (Among the literary predecessors of the hero, Gulliver, Candide is sometimes called.) On the one hand, D-503 is objectified in what is happening; on the other hand, it acts as a chronicler of events shown through the prism of his subjective perception. The entire text of the novel is a synopsis of a poem conceived for the glory of the State, this "single mighty million-celled organism" - a task with which the hero, as it turns out later, did not cope.
By occupation, D-503 is a mathematician, the creator of the Integral interplanetary ship, designed to subordinate the entire universe to the "benevolent yoke of the mind"; by nature - a philosopher, prone to reflection. “Fed from childhood by the Taylor system,” he enters the plot as an optant of “we”, convinced of the expediency of an organized society, for which “only the reasonable and useful is beautiful: cars, boots, formulas, food.” The hero sincerely does not understand how in the ancient XX century people lived in a "wild state of freedom", slept and ate when they wished, went anywhere.
Love for a woman changes the whole life of the hero. The awakened feeling leads him out of the state of totalitarian eudemonism, makes him an apostate, a "fallen angel" and pushes him to crime. D-503 penetrates the Green Wall encircling the One State, and discovers that there, behind the wall, another life flows, inhabited by wild and free people. Having known love, the hero discovers that he "has ceased to be a term"; he becomes aware of himself as a person (“I was me, separate, world”) and comes to the “criminal” conclusion that “we” is not necessary. Now he is not a “number” and not a “molecule”, but a “simple human piece”. However, this "human piece" has a soul, which number D-503 was deprived of. The presence of the soul in the system of concepts of "Taylorism" is a serious illness. The hero's illness is cured by a brain operation, which he was subjected to along with other inhabitants of this State. At the end of the novel, D-503 watches blankly as his lover is tortured in a gas chamber. Now he is completely healthy. It seems to him that “some kind of splinter was pulled out of his head, it’s easy, empty in his head”, there are no fantasies - only a cold mind and the belief that “reason must win”.
Zamyatin's novel was a direct response to the ideas of "mathematical civilization" that hovered in the circles of the futurists: V. Khlebnikov has "made-up humanity", inhabiting the city of Solntstan, where people instead of faith have a measure, where "only numbers remain". (From this point of view, it is noteworthy that D-503 is a mathematician.) However, over time, the novel acquired allusions that the author did not foresee (for example, the Green Wall was associated with " iron curtain”, then with the“ Berlin Wall ”), and became the mirror in which totalitarian regimes The 20th century received a merciless reflection. In this context, Zamyatin's hero, described rather schematically, became a vitally recognizable character.
Lit .: Orwell D. Review of "We" by E.I. Zamyatin
//Orwell D. "1984" and essay different years. M., 1989; Morson J. The Boundaries of Jenre. Dostoevsky's Diary of a Writer and the Traditions Literary Utopia. Austin, 1981. P. 115-142; Collins C. Zamyatin, Wells and The Utopian Literary Tradition
//Slavonic and East European Review. 1966. No. 7.
S.V. Stakhorsky
literary heroes. - Academician. 2009 .
See what "D-503" is in other dictionaries:
503 (Begriffsklärung)- 503 steht für: Das Jahr 503 nach Christi Den HTTP Statuscode 503 Sachs 503, ein Einzylinder Mofamotor des deutschen Herstellers Fichtel Sachs Bundesstraße 503, eine deutsche Bundesstraße in Schleswig Holstein BMW 503, ein zweitüriger Sportwagen… … Deutsch Wikipedia
503(b)(9) claim- (also Twenty (20) Day Administrative Claim) 503(b)(9) adds a new section for administrative claims for reclaiming creditors that is limited to the value of the goods received by the debtor in the ordinary course of business within 20 days before… … Glossary of Bankruptcy
503 On Princes Drive- (Morwell, Australia) Hotel category … Hotel directory
503 (disambiguation)- 503 may refer to:*503, a year *An error code of the HTTP response status for Service Currently Unavailable *A luxury car build by BMW, from 1955 to 1960 *A type of jeans, commonly in Levi s and Edwin *Area code 503, a North American telephone… … Wikipedia
PORTRAIT OF THE HERO-NARRATOR D-503 IN THE NOVEL
E. ZAMYATINA "WE"
Zaryankina Victoria Olegovna, Togliatti, Russia
annotation : the article deals with language features creating a portrait description of the hero-narrator D-503 in the dystopian novel “We”, the semantics of the image is determined, which allows understanding the artistic world of the work.
Keywords: dystopian novel by E. Zamyatin "We"; portrait description; facilities artistic expressiveness; comparison; epithet; metaphor.
E. Zamyatin's novel "We" (1921) was published in Russia only in 1988 and immediately attracted the attention of researchers. ABOUT structural features works, the image of the hero-narrator was written by O.V. Zyulina, R. Goldt, B. Lanin, E. Skorospelova and others; N. Struve considered the symbolism of the numerical accompaniment of the novel in his works.
Regardless of how the critics feel about this novel, one thing is indisputable: “In all cases, Zamyatin’s language, breaking with Russian literary tradition, remains very imaginative and, at the same time, restrained, verified in every expression ... ".
In this work, we turned to the method of linguistic analysis to identify the means of artistic expression used by the author when creating the image of the main character-narrator D-503 in the dystopian novel "We". In the field of nominating his characters, E. Zamyatin is a true innovator, he gives great importance, both the graphic design of the name and its sound appearance: “If the name is felt, chosen correctly, it certainly has sound characteristic actor» .
The graphic design of the letter D evokes in readers an association with certainty and some unambiguity. This is how we see the hero at the beginning of the novel. The rationality of his mind is emphasized by a portrait detail: “straight eyebrows » . But the sound of the letter D evokes a completely different image - the image of duality, uncertainty. This assumption is based on the fact that over the course of the novel, the psychological condition character, he performs actions incomprehensible to himself, and then in the records the hero calls himself by the name "another me » . Another, wild, dual - all this characterizes the D-503.
The irrationality of the hero is also manifested at the level of the numerical designation of his name. If we consider that D is the fifth letter of the Russian alphabet, and the sum of the numbers gives us the number 13, then we can assume that the fate of the hero, the dissident, is ultimately tragic.
The novel is a diary entry, the narration is in the first person, therefore, such a type of portrait description as self-perception attracts attention. The hero's diaries begin with self-determination: "I, D-503, builder « Integral » … » .
The narrator is well aware of the importance of his work, a reverent attitude to which is clearly expressed in a detailed comparison: “As I write this, I feel my cheeks are on fire. This is probably similar to what a woman experiences when she first hears the pulse of a new, still tiny, blind man in herself. This is me and not me at the same time. And for many months it will be necessary to feed him with his juice, with his blood, and then – tear it away from you with pain and put it at the feet of the United State » .
He compares himself with the tower, as if raising himself and his mission above everyone else, even above God: “... and I'm like a tower, I'm afraid to move my elbow so that fragments of walls, domes, cars do not fall down ... » .
The author hardly resorts to speech characteristic character. Basically, epithets are involved in the description of his voice, the semantic content of which depends on the situation of speaking: “The pen was copper, and I heard: I have the same copper voice » ; « My voice is strange, flattened, flat, I tried to clear my throat » .
The use of epithets in the description of the hero, which are production terms, emphasize the understanding of a person in the concept of ideology. United State, as something mechanical, devoid of natural life:« And in the morning I went downstairs, cleanly distilled, transparent » . And the gradation technique focuses on how the hero positions himself in a country with a dominant totalitarian regime: “It invigorates: you see yourself as a part of a huge, powerful, unified » .
Given the nature of the genre diary entries, E. Zamyatin practically does not give the reader the opportunity to get an idea of \u200b\u200bthe appearance of the hero, since the only detail that is mentioned in the description of his facial features are the eyebrows, which have already been mentioned above. However, numerous comparisons help us dive into emotional world narrator, corresponding to a certain moment of his life. So, the comparison with the ship speaks of high degree physical exhaustion of the hero:went to bed yesterday – and immediately sank into a sleepy bottom, like an overturned, too loaded ship ”, and the comparison with the clock emphasizes its internal, psychological tension: “I heard: all ticking – like clockwork » .
It is this feeling of emotional disharmony in D-503 that is often associated with the idea of the duality of his nature, the presence of which is emphasized by contextual antonyms: “I was scared to be with myself – or, rather, with this new one, alien to me, who only, as if by a strange chance, had my number – D-503 » .
When describing the internal duality of his character, the author resorts to the technique of layering means of artistic expression in order to convey the contradictory characteristics of one and the same person.: « …from « there » i look at myself – on him and I know for sure: he – with straight eyebrows – stranger, stranger to me, I met him for the first time in my life. And I'm real, I – Not – He... » .
IN this fragment, based ideological issues novel, the phrase "I'm real" and the pronoun "he" are contextual antonyms that are part of the antithesis. Thus, the writer shows the contradiction between appearance a hero who corresponds to the spirit of the United State, and the changes that have taken place in the consciousness and faith of the character. The contrast between “I” and “he”, “former” - “other”, “before” - “now” is reinforced by the lexeme “alien”: “There were two me. Only I – the former, D-503, numbered D-503, and the other ... Previously, he only slightly stuck his shaggy paws out of the shell, but now he crawled out all over, the shell cracked, now it will shatter into pieces and ... and then what? » . Such a detail as “shaggy paws” indicates not only “trail of the wild age ” in D-503, as well as the hated attitude of the character to his manifestation in his appearance, for which the hero also uses the anatomical term: “I can't stand it when they look at my hands: all in hair, shaggy – some silly atavism » .
Repeated appeal to this feature of his body prompts the hero to think about changing his own worldview. D-503 diagnoses himself: “I – imprudent, I – sick, I have – soul, I am a microbe » . Such an entry in the diary by the character represents special interest. The dissent of the hero is the cause of his imprudence, the consequence of imprudence is illness. The disease that the narrator is talking about has a specific name - it is the awakening of the soul. So, in accordance with the ideology of the United State, D-503 is none other than a microbe. Thus, given description is a chain of self-nominations built on the basis of cause-and-effect relationships.
The feeling of inferiority from the current situation is emphasized by a detailed metaphor: “... and only I alone ... It was, in essence, an unnatural spectacle: imagine a human finger cut off from the whole, from the hand – a single human finger, hunched over, hopping and running along the glass pavement. This finger is me » . Awareness of freedom still comes to D-503, and the hero perceives himself as an individual, one and only of its kind. The description of this psychological dynamics in the novel is carried out by combining the opposition of mathematical terms and gradation in one sentence: “... I was me, separate, world, I ceased to be a summand, as always, and became a unit » .
Thus, portrait descriptions D-503 in the novel are rich and dynamic, the author focuses on the specific details of the hero's appearance and inner world, the harmonious combination of which allows the writer to create a complete holistic image.
Literature
1. Annenkov Yu. Diary of my meetings. - M: Zakharov, 2001. - 732 p.
2. Zamyatin E. We. - M. : AST: AST Moscow, 2008. - 478 p.
3. Zyulina O.V. The specificity of the form of narration in the novel "We" by E. Zamyatin // creative heritage Evgenia Zamyatina: a view from today. Scientific reports, articles, essays, notes, abstracts: In 6 books. Book. VI / Ed. prof. L.V. Polyakova.– Tambov, 1997. - S. 67-69.
4. Goldt, R. The last refuge of personality. Notes D-503 and personality psychology in authentic diaries of the interwar period // Evgeny Zamyatin and cultureXXcentury. - St. Petersburg: Publishing House of the Russian national library, 2002. - S. 37-63.
5. How we write: Andrey Bely, M. Gorky, Evg. Zamyatin [i dr.]. - M.: Book, 1989. -208 p.
6. Lanin B.A., Borshanskaya M.M. Russian dystopia of the XX century: a guide for teachers. – M.: Onega, 1994. – 247 p.
7. Skorospelova E. Russian prose of the twentieth century. From A. Bely ("Petersburg") to B. Pasternak ("Doctor Zhivago"). - M.: TEIS, 2003. -219 p.
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