Artistic features of the narrative. What is storytelling (with example text)

THE STORY “THE KING FISH” by V. P. ASTAFIEV (1924–2001)

Philosophical understanding of the topic “man and nature.” The connection between environmental problems and problems of modern man’s worldview, morality and culture.

“The King Fish” is a narrative within stories. The work is dedicated to the interaction of Man with Nature. The idea of the story Astafiev is that a person should live in peace with nature, not destroy the harmony of nature, not rob it.

A native of the Russian North, Astafiev loves and feels nature. A person, according to Astafiev, has ceased to behave like a wise and benevolent owner, turned into a guest on his own land, or into an indifferent and aggressive invader who is indifferent to the future, who, despite the benefits of today, is not able to see the problems awaiting him in the future.

Viktor Petrovich Astafiev wrote: " There is only Siberia left. And if we finish it off, the country will not rise. After all, we are no longer robbing ourselves, but our grandchildren and great-grandchildren"

The author's sympathies are given to many characters: Akim, Kiryaga the Wooden Man, Semyon and Cheremisin and others. Akim accomplishes a feat by saving a woman in the taiga. Nikolai Petrovich, the writer’s brother, became the breadwinner of a large family from an early age. He is an excellent fisherman, hunter, hospitable, strives to help everyone. Paramon Paramonovich has a kind soul. He took a fatherly part in the fate of Akim.

Astafiev prefaced the book with two epigraphs: one from the poems of the Russian poet Nikolai Rubtsov, the other taken from the statements of the American scientist Haldor Shapley, which emphasizes the importance of the problem of protecting natural resources for the entire planet. " If we behave properly, writes Halldor Shapley, we, plants and animals, will exist for billions of years, because the sun has large reserves of fuel and its consumption is perfectly regulated".

1) The story “The Drop,” devoid of dramatic conflict, represents the author’s philosophical reflections on the meaning of human life “The taiga on earth and the star in the sky existed thousands of years before us. The stars went out or broke into fragments, and in their place others blossomed in the sky. The taiga is still majestic, solemn, imperturbable. We inspire ourselves that we control nature and that we will do whatever we want.” "We'll do it with her. But this deception succeeds until you remain with the taiga eye to eye, until you stay in it and turn around, only then will you understand its power, feel its cosmic spaciousness and greatness." A person endowed with reason should, according to Astafiev, be responsible for the continuation of life on earth.

2) The reader is presented with a whole string of types of poachers, talented predators of Siberian rivers and taiga - Gogi, Komandor, Damki, Rumble. Let us remember the central episode of the story: catching the king of fish - a huge sturgeon. Between wallowing in the cold water, while resting, remembering his life, he decided that this punishment had befallen him for Glasha Kuklina, whom he had once abused. After some time, he asked her for forgiveness, but Glafira did not forgive him. And now we have to pay for past sins. Mental repentance before Glafira and repentance for what was done to the “fish king” had an effect and was eventually taken into account by nature. Having gained strength, the fish fell off the hooks, and the unlucky fisherman was unexpectedly rescued by his brother, the Commander. However, this is not the end of Ignatyich’s ordeal. The cold water took its toll - his leg was amputated. This is how the fisherman-poacher was taught a lesson for his sins before woman and nature.

Every story about man's trampling of nature ends with the moral punishment of the poacher. The cruel, evil Commander suffers a tragic blow of fate: his favorite daughter Taika was run over by a driver - a “land poacher”, “having gotten drunk on mumblings” (“At the Golden Hag”). And Rokhotalo, a “chaff belly” and an unstoppable grabber, is punished in a purely grotesque form: blinded by luck, he boasts of the caught sturgeon in front of a man who turns out to be... a fisheries inspector (“Fisherman Rokhotalo”). Punishment inevitably overtakes a person even for long-standing atrocities - this is the meaning of the culminating story from the first part of the cycle, which gives the title to the entire book.

Nature does not forgive insults, and the Commander, and the Lady, and Rumble, and other poachers will have to pay in full for the evil done to her. Because, the writer confidently and openly declares, “no crime passes without a trace.”

The writer states: whoever is merciless and cruel to nature is merciless and cruel to man. The attitude towards nature acts as a test of the spiritual viability of an individual.

Features of composition and narration.

Genre "King of the Fish" V. Astafiev, defined by the author himself as “narration in stories.” The unity of the work is based on a system of end-to-end motives, permeating the narrative. The first part of “The King Fish” contrasts with the second.

The chapters of the first part are closely interconnected with each other through images , single place of action, alternating lyrical and journalistic began. Some of the chapters are “fastened” (“The Lady”, “At the Golden Hag”, “The Fisherman Rumbled”, “The Tsar Fish”) by the similarity of the plot “scheme” - they are characterized by a stable type of plot construction associated with a purely “poaching” situation, – a collision with the fishery inspectorate (or the expectation and fear of this meeting).

In the second part of the book, the chapters are stitched together into a single narrative. image of Akim. The fragmentary nature of the structure makes it possible not to sequentially present the story of Akim’s life, but only to highlight individual moments from a certain angle: childhood and youth (“Ear on Boganida”), work in a geological exploration team, a fight with a bear (“Wake”), a journey to the white mountains (“Dream of White Mountains”).

However, both parts of the work, contrasting with each other, are not isolated from one another and together form a single whole.

Fabulously The chapters of “The Fish King” are connected mainly by the chronology of the life of the hero-narrator or Akim (the second part of the book). Each chapter reveals a special type of relationship between man and nature.

The first, “Boya,” depicts the ordeal that befell Kolya and his partners. This chapter gives rise to motives of retribution and salvation.

The chapter “The Drop” presents a completely different type of relationship and a different way of storytelling. Communication with nature, the feeling of being united with it, allows the hero-narrator to feel happy.

The following chapters after “Missing a Heart” - “The Lady”, “At the Golden Hag”, “The Fisherman Rumbled” - are devoted to the depiction of poaching fish. They are arranged according to the degree of growth of the main conflict of the work, which will reach its climax in the chapter “The King Fish”. If Damka is a “waste” little man and, like other Chushans, poaches, then the Commander is already capable of committing murder for profit, although some glimpses of humanity have remained in him. The rumble represents the extreme degree of human degradation.

The place of the chapter “The Black Feather is Flying” as the final one in the first part is quite natural. It is no coincidence that the author changed its location in a separate publication. In the magazine version, it came after the chapter “Wake” before “Turukhansk Lily”. The chapter “The Black Feather is Flying” sums up the topic of poaching and sounds a warning, expressed, unlike the chapter “The King Fish”, in the form of a direct author’s address: “... I am afraid when people go wild in shooting, even at an animal or a bird, and casually, playfully, shed blood. They do not know that they themselves are imperceptibly crossing that fatal line beyond which a person ends…».

The second part, which opens with the chapter “Ear on Boganida,” depicts a completely different type of relationship between man and nature, personified in the image of Akim’s mother. An important place in the natural philosophical concept of the “Tsar Fish” is occupied by the image of Akim’s mother. She is not called by name, her purpose is motherhood. Mother is a child of nature and her connections with her are strong and indissoluble. It is no coincidence that the cause of the mother’s death is the “banishing potion” she drank, which kills the new life that has arisen in her and herself. The rhythm of life determined by nature is disrupted. This disharmony, introduced into the natural course of natural processes, leads to the death of the mother.

The next chapter - “Turukhanskaya Lily” - occupies a central place in the second part of the book, standing out in it in that in the chapter, as in the first part, the main character is the hero-narrator, Akim fades into the background, the journalistic element predominates in it . The title of the chapter is symbolic in the context of the theme of nature. The Turukhansk lily, saranka, embodies the organicity and naturalness inherent only in natural phenomena. The chapter “Turukhanskaya Lily” is thematically, in terms of plot structure and style, close to the chapter “The Drop” (the first part). And they are located symmetrically each other.

The main motives of the work in the penultimate chapter receive their logical conclusion. The chapter “Dream of the White Mountains” is conclusive. It “echoes” the first chapter of “Boye”: the similarity of situations (isolation from the human world in the natural elements), the identity of the embodiment of the chronotope, the completion motives of retribution, salvation, which began in the chapter “Boye”. Akim and Elya, like other heroes of the work, are “tested” by those forces of nature over which man has no control. The culmination of the chapter's plot is the depiction of their attempt to get out of snow captivity. Their path to salvation, which has become the road to people, ends happily. This is how it is embodied in the chapter motive of salvation.

In the exposition and epilogue, the author’s voice is openly heard, thanks to which the narrative is saturated with lyrical and philosophical sound. The exhibition talks about the arrival of the hero-narrator in Siberia. He had previously “had the opportunity to visit the Yenisei” more than once (after this exposition, a description of the journey through Siberia, along the Yenisei and its tributaries begins), in the epilogue the hero-narrator leaves Siberia and surveys it from the window of the plane, seeing the changes that have taken place, comparing her past and present. In the context of the epilogue, the epigraph to the chapter (“Never return anything...) is important.”

The tendency to compress the narrative was manifested in the removal of individual fragments of text, most often insignificant in volume. Perhaps the biggest deletion is the removal from the journal text of the previous ending of the chapter “The King Fish”. In the magazine version, at the end of the chapter, the rescue of Ignatyich is told, to whose aid his brother Commander came. In the book version, the ending of the chapter appeared in a truncated form. “Go, fish, go! Live as long as you can! I won’t tell anyone about you!” - said the catcher, and he felt better. The body - because the fish did not pull down, did not hang on it with a slump, the soul - from some kind of liberation that has not yet been comprehended by the mind.” The crisis situation of confrontation between man and nature chosen by V. Astafiev helps to artistically realize the moral and philosophical meaning of the parable. The writer persistently strives to give it a generalizing, symbolic character, as evidenced by the revision of the chapter. The “new” ending is open and does not answer the question of whether Ignatyich will be saved. In this form, it is more consistent with the parable nature of the chapter.

Genre "King of the Fish" V. Astafiev, defined by the author himself as a “narration in stories,” was interpreted in criticism in different ways: as a “hidden novel” (V. Kurbatov), a type of novel, distinguished by the form of narration (JL Yakimenko), a novel (N. Yanovsky), story (N. Molchanova, R. Komina, T. Vakhitova), “a genre formation that is closest to a cycle” (N. Leiderman). About how the search for the “form” of the work was carried out, Astafiev wrote: “Friends encouraged me to call “The Tsar Fish” a novel. Individual pieces published in periodicals were designated as chapters from the novel. I am afraid of this word “novel”, it obliges me to a lot. But most importantly, if I were writing a novel, I would write differently. Perhaps, compositionally, the book would have been more harmonious, but I would have had to give up the most precious thing, what is usually called journalisticism, free digressions, which in this form of narration do not seem to look like digressions.”

Term narration most often used when studying the speech structure of individual epic works or the artistic system of one author. Meanwhile, the content of the concept remains largely unclear. Characteristic is a “lax and vague mixture of narration with “description”, “image”, purely eventful content of the text, as well as with fairy tale forms.

First of all, the concept of “narration” should be correlated with the structure of a literary work, namely with the separation of two aspects in it: “the event that is being narrated” and “the event of the narration itself.” From the point of view of Tamarchenko N.D. “narration” corresponds exclusively to the event of telling, i.e. communication between the narrating subject and the addressee-reader Introduction to literary criticism. Literary work: basic concepts and terms / ed. L.V. Chernets. M., 2000. - P. 58.

With such an approach, the category “narration” can be correlated, on the one hand, with certain subjects of the image and statement, and on the other hand, with various specific forms of organization of speech material, such as, for example, various options dialogue And monologue, character description or him portrait, ""plug-in" forms (plug-in short story or poetry, etc.). The designated aspects of the work are connected by relationships of interdependence and mutual determination: ". not only the subject of speech determines the speech embodiment of the narrative, but the forms of speech themselves evoke with a certain certainty the idea of the subject, build his image" Kozhevnikova N.A. Types of narration in Russian literature of the 19th-20th centuries. M., 1994. - C 3-5. From this it is clear, firstly, that it is precisely the nature of this relationship or this mutual transition that needs to be understood.Secondly, it is necessary to exclude some options: first of all, cases when the subject of the utterance (character) is not depicting, i.e. That is, his speech is only the subject of someone else’s image; and then those when the speaker (character) sees and evaluates an object, event or another character, but there is no process of storytelling as a special means and at the same time (for the author) the subject of the image.

There is a problem with narration - delimiting it as a special compositional form of prose speech from descriptions And characteristics.

Description differs from narration in that the description is based on a pictorial function. The subject of the description, firstly, turns out to be part of the artistic space, correlated with a certain background. The portrait may be preceded by interior. Landscape in quality Images a certain part of the space can be given against the background messages information about this space as a whole. Secondly, the structure of the description is created by the movement of the observer’s gaze or a change in his position as a result of movement in space of either himself or the object of observation. From this it is clear that the “background” (in this case, the semantic context) of the description can also be the “inner space” of the observer.

Unlike the description characteristic represents an image-reasoning, the purpose of which is to explain to the reader character character. Character is the stereotype of his inner life that has developed and manifests itself in a person’s behavior: a complex of habitual reactions to various circumstances, established relationships to oneself and to others. It is necessary to indicate the characteristics by which the form of the characteristic is highlighted in the text. As such we will call a combination of traits analysis ( the defined whole-character-is decomposed into its constituent elements) and synthesis ( reasoning begins or ends with generalizing formulations).

Tamarchenko actually differentiates narration, description And characteristics as special speech structures characteristic of the utterances of precisely such depicting subjects (narrator, narrator) who perform “intermediary” functions.

We can conclude that in “The Pit” narration prevails over description and characterization, which creates a feeling of unemotionality, objectivity, and detachment when presenting the story.

Tamarchenko also writes in his work about the duality of the narrative. It combines the functions special ( informative, focused on the subject) and are common ( compositional, in this case aimed at the text), is the reason for the widespread opinion that description and characterization are special cases of narration. This is also the objective basis for the frequent confusion of the narrator with the author. In fact, the compositional functions of narration are one of the variants of its mediating role. Introduction to literary criticism. Literary work: basic concepts and terms / ed. L.V. Chernets. M., 2000. - P. 57

So, a narrative is a set of fragments of the text of an epic work, attributed by the author-creator to the “secondary” subject of image and speech (narrator, narrator) and performing “intermediary” (connecting the reader with the artistic world) functions, namely: firstly, representing various messages addressed to the reader; secondly, specially designed to join each other and correlate within a single system all objectively oriented statements of the characters and the narrator. Ibid., pp. 58-64.

We see in "The Pit" that the narrator conveys to the reader the experiences of the characters, their inner world, their aspirations.

Now, I think, we should dwell in more detail on the concept of narrator. The narrator is the one who informs the reader about the events and actions of the characters, records the passage of time, depicts the appearance of the characters and the setting of the action, analyzes the internal state of the hero and the motives of his behavior, characterizes his human type (mental disposition, temperament, attitude to moral standards, etc.) .p.), without being either a participant in the events, or - what is even more important - the object of the image for any of the characters. The specificity of the narrator is both in his comprehensive outlook (its boundaries coincide with the boundaries of the depicted world) and in his speech addressed primarily to the reader, i.e. its direction just beyond the boundaries of the depicted world. In other words, this specificity is determined by the position “on the border” of fictional reality.

The narrative form is determined by the type of narrator. Three main narrative forms can be distinguished.

I. Narration from the 1st person (Ich-Erzählung). The narrator is diegetic (storyteller): he himself belongs to the world of the text, i.e. participates in the events depicted - to a greater or lesser extent. So, in “The Captain's Daughter” the narrator is the main character, and in “The Shot” or in Gogol’s “Old World Landowners” the narrator, although he is a character, is a secondary one. Likewise, Tomsky is present in the world of his story only as the grandson of his grandmother; nevertheless, this inserted story is Ich-Erzählung.

II. Narration without 1st person. The narrator is exegetical, not belonging to the world of the text, as in The Queen of Spades. The purpose of such a narrative is “to create a picture of objective existence, reality as reality, independent of the author’s perception of it.” This narrative form creates the appearance of objectivity: the world appears before the reader as if on its own, not depicted by anyone. This form can be called a traditional narrative.

III. Free-indirect discourse (Er - Erzählung), which is characterized by the fact that the narrator (exegetical) partially cedes his right to a speech act to the character. A purely literary figure appears - a speaker in the 3rd person, impossible in spoken language. So, for example, Chekhov's story "Rothschild's Violin" begins with the words: The town was small, worse than a village, and almost only old people lived in it, who died so rarely that it was even annoying. The mystery of misplaced annoyance is resolved when it becomes clear that its subject is not the narrator, but the main character, the undertaker. In Bulgakov's "The White Guard" the character is, more often than not, the subject of speech acts - with their expression (Mom, bright queen, where are you? etc.) and dialogicity (But quietly, gentlemen, quietly!). A remarkable example of free-indirect discourse (FID) is Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich.”

To describe the type of non-canonicality that characterizes each of the narrative forms, it is necessary to formulate the characteristics of a canonical speech situation. The canonical communicative situation is characterized by the following conditions.

Condition 1. The utterance has a Speaker and an Addressee - a specific referent (and not a generalized one, such as “my reader” in Onegin) and not coinciding with the speaker himself.

Condition 2 (unity of time). The moment of creation of the utterance by the Speaker coincides with the moment of its perception by the Addressee, i.e. The addressee is the Listener.

Condition 3 (unity of place). The Speaker and the Addressee are in the same place and have a common field of view.

Three narrative forms are also three historical stages in the development of narrative Vinogradov V.V. Selected works. About the language of artistic prose. M., 1980. - P. 115-120.

In the story "The Pit" the narration is told in the 3rd person, the author is to some extent detached and it seems that the narration is being conducted by itself. Third-person narration creates the impression of a neutral, objective narration, not associated with a specific person who subjectively perceives the events described. According to Vinogradov, this refers to the second historical stage of the development of narrative - narration without the first person. The narrator is exegetical, not belonging to the world of the text.

There is a problem between the narrator and the narrator. There are several ways to solve it. The first and simplest is the contrast of two options for covering events: a distant image by an impersonal subject of a character referred to in the third person (Er-Erzahlung), and statements about events in the first person (Ich-Erzahlung). But as special studies show, there is no direct relationship between the type of speech subject and the two named forms of narration. Third-person narration can be either an omniscient author or an anonymous narrator. The first person can belong directly to the writer, or to a specific narrator, or to a conventional narrator, in each of these cases differing in a different degree of certainty and different possibilities. In the story "The Pit" the omniscient author appears in the third person narration. He does not participate in the events, but knows everything that is happening and conveys it to the reader.

Another way is the idea of the irreducible, albeit indirect, presence in the text of the author, who expresses his own position through the comparison of different “versions of himself” - such as the “hidden author” and the “unreliable narrator”, or different “subjective forms”, such , as “a carrier of speech, not identified, not named, dissolved in the text,” i.e. " narrator ( sometimes he is called the author),” and “a speaker who openly organizes the entire text with his personality,” i.e., a “storyteller.” It is clear that with this approach, the same type of subject can be combined with different grammatical forms of organization of the utterance.

The third way is to characterize the most important types of “narrative situations”, in which the function of storytelling is carried out by various subjects. In this direction, indisputable priority belongs to the works of F.K. Stanzel. Since the scientist’s ideas about the three types of situations mentioned have been repeatedly presented, we emphasize - based on the author’s introspection in “Narrative Theory” by Stanzel F. K. Theorie des Erzahlens. Gottingen, 1991 - some more general and important points. Firstly, here we contrast " narration in the proper sense of mediation" and "image, i.e. reflection of fictional reality in the consciousness of a novel character, in which the reader has the illusion of the immediacy of his observation of the fictional world." Accordingly, the polarity of "the narrator (in a personal or impersonal role) and the reflector" is fixed. From this it is clear that F.K. Stanzel directly refers to two "situations": "autorial" and "I-situation", subjects whom he designates using the terms "narrator" and "I-narrator". Secondly, taking into account the traditional interpretation of the forms of grammatical person in the speech of the narrator and the generally accepted distinction between the main variants of “perspective” (internal and external points of view), he also attaches fundamental importance to “mode,” i.e., “the identity or non-identity of the realm of being (Seinsbereiche) of the narrator and the characters.” “I am the narrator” lives in the same world as the other characters in the novel,” while the autorial narrator “exists outside the fictional world.” Thus, despite the difference in terminology, it is clear that Tamarchenko means precisely those two types of narrating subjects who in our traditions are usually called the narrator and storyteller.

It should also be noted that the narrator is not a person, but a function. But a function can be attached to a character - provided that the character as a narrator will completely differ from him as an actor. Introduction to Literary Studies. Literary work: basic concepts and terms / ed. L.V. Chernets. M., 2000. - P. 59.

Tamarchenko also says that the concepts narrator And author's image sometimes they are mixed, but they can and should be distinguished. First of all, both should be distinguished - precisely as "images" - from the one who created them author-creator. It is a generally accepted opinion that the narrator is “a fictitious image, not identical to the author.” The relationship between the “image of the author” and the genuine, or “primary” author is not so clear. Introduction to literary criticism. Literary work: basic concepts and terms / ed. L.V. Chernets. M., 2000. - P. 60. According to M.M. For Bakhtin, the “image of the author,” if by it we mean the author-creator, is a contradictio in adjecto; every image is something always created, and not creating" Bakhtin M.M. Author and hero in aesthetic activity. / Aesthetics of verbal creativity. M., 1986. - P. 155. From his own prototype the author as an artistic image is clearly delimited by B.O. Korman Korman B.O. Selected works on the history and theory of literature. Izhevsk: Publishing house Udm. University, 1992. - P. 135.

The “image of the author” is created by the original author (the creator of the work) according to the same principle as a self-portrait in painting. In other words, the artist can depict himself drawing this very self-portrait that is in front of us (cf.: “So far, in my novel / I have finished the first chapter.”). But he cannot show how this picture is created as a whole - with a double perspective perceived by the viewer (with a self-portrait inside). To create an “image of the author,” like any other, a true author needs a fulcrum outside the work, outside the “field of the image” Bakhtin M.M. Author and hero in aesthetic activity. / Aesthetics of verbal creativity. M., 1986. - P. 160.

The narrator, unlike the author-creator, is outside only what is depicted time And space, under which the plot unfolds. Therefore, he can easily go back or run ahead, and also know the premises or results of the events of the present depicted. But its capabilities are at the same time determined by the author, i.e. the boundaries of the entire artistic whole, which includes the depicted “event of the storytelling itself.”

In contrast to the narrator, the narrator is not on the border of the fictional world with the reality of the author and reader, but entirely inside depicted reality.

So, the narrator is the subject of the image, quite “objectified” and associated with a certain socio-cultural and linguistic environment, from the perspective of which he portrays other characters. The narrator, on the contrary, is close in his outlook to the author-creator. At the same time, compared to the heroes, he is the bearer of a more neutral speech element, generally accepted linguistic and stylistic norms. The closer the hero is to the author, the fewer speech differences between the hero and the narrator.

The “mediation” of the narrator allows you to enter the depicted world and look at events through the eyes of the characters. But in “The Pit” it is the narrator, so we see that the “mediation” of the narrator helps the reader, first of all, get a more reliable and objective idea of events and actions, as well as the inner life of the characters.

Genre features of narrative text

Genre is a form, a type of artistic work, determined by four factors:

1) theme, subject of the story;

3) aesthetic properties of the depicted material; sublime, tragic, comic, dramatic, romantic pathos;

4) literary tradition.

Genres of narrative works:

Epic- a narrative about major historical events, against the backdrop and in the context of which the life of a hero or group of heroes (for example, a family or clan) takes place.

Novel- the story of the entire life of the hero and the characters associated with him.

Tale- the story of most of the hero's life.

Novella- several episodes from the hero’s life.

Story- a small work of art with a simple plot and a quick resolution; a short work that concentrates the reader's attention on several characters or on one.

Genre features of narrative text:

rich in action, dynamic narrative;
the presence of a chronotope (space and time);
alternation of tenses: past, present, future; conditionally allegorical time;
given value guidelines;
the presence of individual plot motifs: for example, loneliness, love and fidelity, repentance, friendship, etc.;
symbolism of images;
the presence of allusions and reminiscences.

2. Workshop on the analysis of literary text with a dominant type of speech narration

Original text

(Text taken from KIM Unified State Exam in Russian - 2005.)

(1) It was right after the war. (2) Summer turned out to be hot but dry in Kuban. (3) The lush grasses grew almost waist-high. (4) The villagers, some with scythes and some with sickles, left for haymaking in the morning. (5) While the elders were doing business, I wandered around. (6) I often came across craters filled with time and scattered shell casings.

(7) Once, when I was making my way through the thickets of bird cherry, hawthorn, and sea buckthorn, a barely noticeable path led me to a clearing overgrown with forbs. (8) But what is this? (9) Double purple-blue irises swayed in the wind above the green carpet. (10) They towered in even rows above the modest wildflowers.

(11) Where did this garden miracle, the decoration of crystal vases, come from here, in the forest? (12) Maybe there once stood a manor here, demolished by a military storm?

(13) Suddenly someone coughed. (14) An elderly man was sitting in the shadows on a hillock. (15) He was wearing a faded tunic, the same soldier's riding pants, and a belt over his shoulder.

(16) I came up and said hello. (17) Pointing to the irises, he asked about the flowers.

(18) - I planted it myself. (19) In forty-three. (20) After the battles they stood here. (21) On vacation. (22) Our tents were pitched exactly at this place,” said the man. (23) - And you, lad, whose will you be?

(24) I answered.

(25) - You’re visiting, that means... (26) And the irises are really good. (27) In the spring I will plant them near the hut. (28) Did you see a tall mulberry tree at the edge of the village? (29) So this is mine. (30) Come in. (31) I’ll introduce you to my son.

(32) ...Recently I visited those parts. (33) Even from the bus I noticed a tall mulberry tree on the outskirts. (34) She! (35) But what stood nearby was not the old white mud hut under thatch, but a red brick house. (36) And the whole village has changed a lot.

(37) I went into the house. (38) I asked the owner.

(39) “They buried it last summer,” answered the old woman. - (40) I am his wife. (41) Son on the farm. (42) Sit for a while.

(43) Promising to return, he went into the forest: “I wonder if the irises are alive?”

(44) This seems to be the place. (45) Yes, that’s exactly it. (46) I parted the branches of the dense bushes - and my heart began to beat faster. (47) In the clearing, among the grass, there are violet-blue irises of extraordinary beauty. (48) Alive!

(49) This is how it happens: the soldier died, but the flowers he planted live.

(According to Yu. Medvedev)

Training exercises

1. Determine the style and type of speech of the text.

1) Artistic style; reasoning;

2) artistic style; narration with elements of description and reasoning;

3) journalistic style; reasoning;

4) conversational style; description.

2. According to the genre form, this text:

1) legend;

2) short story;

3) story;

4) parable.

3. Indicate the genre features of this text. There may be two or more correct answers.

1) Alternation of times;

2) the story of the hero’s entire life;

3) presence of conflict;

4) sublime pathos of the depicted.

4. Read a fragment of a review based on the text. It examines the linguistic features of the original. Fill in the blanks with numbers corresponding to the number of the term from the list.

Yuri Medvedev speaks naturally and simply about the most intimate and lofty things. In this he is helped by such means as _________________ (sentences No. 23, 35, 39, 42), and simple syntactic constructions devoid of expressive overtones. An important role in the narrative structure of the text is played by _____________ (sentences No. 7, 15, 16), ___________ (sentences No. 8, 12, 34, 48); and ____________ (“a green carpet”, “lush grass”), ________________ (“craters drawn out by time”, “blown away by a military squall”), _________________ (“a garden miracle, decoration of crystal vases”) give the text an extraordinary poetry.

List of terms

1) Interrogative and exclamatory sentences;

2) epithets;

3) metonymy;

4) colloquial and dialect vocabulary;

5) phraseology;

6) paraphrase;

7) metaphor;

8) sentences with homogeneous members;

9) parcellation.

Text Analysis Workshop

Questions and tasks

1. Where does the story take place?

(In Kuban.)

2. In what time periods does the story take place? How many are there?

(In three time layers: spring 1943, post-war time and several years after it.)

3. What events are depicted in each time?

1) Spring 1943. Kuban. After heavy fighting, in short moments of rest, the soldiers planted irises near the military tents - a “garden miracle.”

2) Post-war period. The soldier survived, returned to his native place, and the flowers he planted took root, and in even purple rows “rise above the modest wildflowers.”

3) Several more years have passed. The country has risen from the ruins. The village has changed: instead of a “white mud hut under straw” there was a “red brick house”. Violet-blue irises are also alive and delight villagers with their extraordinary beauty. But there is no “elderly soldier” who created this extraordinary miracle.

4. Why did the soldier plant flowers? What motivates him?

(In the hope that the living will conquer the dead, life is death.)

5. What cross-cutting image unites all these time periods? What does he represent?

(A cross-cutting image of irises that personifies life.)

6. What conflict is depicted in the story?

(The conflict of life and death. The antithesis of the living and the dead. War is death, flowers are life.)

7. How is the soldier depicted?

(This is a person with a bright soul and a desire for beauty, driven by a quiet love for his native land.)

8. Can this soldier’s act be called a feat?

(In his own way, he accomplishes a feat: he brings the wounded, bullet-riddled, war-crippled land back to life.)

9. State the problems of the story.

(The central problem is the conflict between life and death, the living and the dead. The problem of spiritual beauty and generosity of the individual, the problem of creating beauty [in any conditions: military and peaceful].)

10. What is the main idea of the text? In what sentence is it expressed?

(“This is how it happens: a soldier died, but the flowers planted by him live.” No matter what wars or tragedies happen, but if there are people with a bright soul and a generous heart, then this world will withstand death.)

Exercise. Write an essay using the material above.

Composition

The eternal attraction of man to create beauty, the conflict between the living and the dead are the central problems in Yu. Medvedev’s miniature. Its action develops in three time layers: the spring of 1943, the post-war hard times and several years after it. In short moments of rest, after heavy fighting in the Kuban, the soldiers planted near the military tents “a garden miracle, decorating crystal vases” - irises, perhaps in the hope that “beauty will [really] save the world”, defeat death in the war. The soldier survived, returned to his native places, and the flowers he planted took root and “rise above the modest wildflowers” in even purple rows.

Several more years passed, the country rose from the ruins. The native village also changed: instead of a “white mud hut under straw” there was a “red brick house”. Violet-blue irises are also alive and delight villagers with their extraordinary beauty. But there is no “elderly soldier” who created this extraordinary miracle. “This is how it happens: the soldier died, but the flowers he planted live,” exclaims the author-narrator.

It is precisely this narrative structure, the relationship between different time layers, united by the cross-cutting image of irises - the personification of life, that allows the author to express his attitude to the problem: no matter what cataclysms, wars, tragedies shake the world, but if there are people with a bright soul and a desire for beauty , then this world will never plunge into the abyss of hostility and war.

The hero from the story by Yu. Medvedev, driven by a “quiet love” for his native land, also accomplishes a feat in his own way: the old soldier brings back the land riddled with bullets, crippled by war, to life. And she, grateful, pleases with her beauty all subsequent generations, who hardly Will a hand rise to destroy this purple miracle?

However, years pass (60 years!), veterans, heroes of those terrible years pass away, two generations have already grown up without wars, the system in our country has changed, and morals have changed. And more and more often we began to observe man’s irresponsible attitude towards his native land, towards its riches: forests are destroyed, its depths are devastated. Nature has become for man not a temple, but a workshop where he is a ruthless worker and he has nothing to do with the wonders and beauties of nature. Creation is not in fashion now - we have a different time! But whatever it may be, the world is still ruled not by the dead word “profit,” but by the living power of love and beauty. It was this idea that was suggested to me by Yu. Medvedev’s story.

Hello, dear readers of the blog site. From school, everyone remembers that there are three types of speech: narration, description, reasoning.

Each of them has its own role and its own set of distinctive features. This article will tell you how to recognize a narrative among other types of texts and learn how to competently recreate it in writing.

Narration is...

internal dynamics;
the events described most often develop in chronological order;
actions are logically connected and united by space-time affiliation.

Narration can also be informative and graphic.

Informative- not only talks about the event, but also includes useful educational facts.
Fine illuminates a succession of scenes illustrating an action or incident.

Signs of storytelling

When we need to determine what type of speech a text belongs to, we should pay attention to some signs:

Eventfulness and internal movement are transmitted using verbs, which can be either single or occur in a chain of homogeneous members. Example:
Seryozhka and I woke up at dawn, quickly dressed, quickly washed ourselves with cool water, dug up worms, took a handful of bread each and went fishing.
Most often, verbs in a narrative have perfect view. This is due to the fact that the story that is being told at the current moment in time, as a rule, has already happened before.
With such verbs there are or may be: immediately, suddenly, unexpectedly, suddenly, out of nowhere, etc.

These purely “technical” linguistic features will help to accurately recognize the text of the narrative.

Composition of narrative text

Another important feature of a narrative is its . It is built according to the following scheme:

Plot (exposition);
Development of action (with the highest moment of tension –);
Denouement.

In the beginning the action is just beginning. Usually it tells where, when, under what conditions the event originates, and what its causes are.

When the story reaches climax, the attention of the listener or reader is strained to the limit. Everyone is waiting to see what will happen next. This is discussed in the denouement. It may also contain a conclusion about what happened, the author’s assessment.

Example of narrative text

To make it clearer to you what the narrative looks like, let’s give an example of the text:

How we went to Vologda.
When the school year ended, my parents began to think about where we could go in the summer. They argued for a long time, listing first one place and then another. Finally, my mother suggested going to Vologda.
We packed our bags for two weeks and dreamed of Vologda. This word seemed to me like a cloud or a cow. Both were full of milk. I imagined how the red cow with white spots, Vologda, slowly walks along the Volga and jingles her golden bell...
Dad turned out to be more knowledgeable. He told me that Vologda is an ancient city that is part of the “Golden Ring” of Russia, the center of wooden architecture and the capital of lace making. In Vologda you can look at ancient stone churches, admire merchant houses that are more than a hundred years old, and even see a real Kremlin. Having learned that there is a Botanical Garden in Vologda, my sister began to ask to take us there.
On the day of departure, we woke up before dawn, washed, got dressed, had a quick breakfast and went to the station. A beautiful new train approached the platform and hissed like a hot iron. As soon as the conductor opened the doors, my parents approached the entrance and took out our tickets and documents. The conductor looked carefully first at us, then at our parents, smiled and said: “Come in!”
All four seats in the carriage were ours. We set out our bags and suitcases, lowered our seats and made ourselves comfortable. The road ahead was long.
Finally, the train started moving! Outside the window, copses, someone's dachas, blue rivers and lakes flashed, then small villages with crosses of bell towers on green hills appeared. My sister and I sat without looking up from the carriage window, eagerly catching new sounds, smells, words and felt that traveling like this on the train with mom and dad to the unknown dairy Vologda was happiness.

As can be seen from the example, the text describes the stages of the trip sequentially. The opening talks about choosing a route. The development of the action includes a story about getting ready, arriving at the station, and how the family settled down in the carriage.

The story is supplemented by brief information about Vologda, which allows us to call this type of text an informative narrative.

Good luck to you! See you soon on the pages of the blog site

You might be interested

What is text - characteristics, analysis and types of texts What is a plot and how does it differ from a plot? What is narrative What is composition What is an epigraph What is a prologue What is an essay and how to write it Antithesis is the unity and struggle of opposites Main and minor members of a sentence - total analysis Dialectisms are words with local flavor Poem(s) - what is it?
Link - what is it and how to create it

Ministry of Education and Science of the Russian Federation

GOU VPO "Samara State University"

Faculty of Philology

Department of Russian and Foreign Literature

Specialty "Philology"

Course work

Artistic features of Andrei Platonov's story "The Pit"

Completed by a student

course 07301 group

Chernoyarova Olga Vasilievna

Scientific director

Candidate of Philology

Garbuzinskaya Yulia Romanovna

Samara 2012

Introduction

Narrative Features

The problem of genre

Conclusion

Bibliography

Introduction

Andrei Platonov lived in difficult times for Russia. He believed in the possibility of rebuilding a society in which the common good would be the condition for one's own happiness. But it was not possible to realize these utopian ideas in life. Very soon Platonov realized that it was impossible to turn the people into an impersonal mass. He protested against violence against the individual, the transformation of reasonable people into spiritless creatures who carry out any order from the authorities. This protest is heard in many works, but the theme of human fate in a totalitarian state is most fully revealed in the work "The Pit"

The story "The Pit" tells about the events that take place in the second half of 1929. This is a turning point, in which fragments of the pre-revolutionary past, the outgoing NEP, and the beginning of new construction are intertwined. The man himself meant nothing. The main thing was the origin. Everyone coming to a construction site was required to have a proletarian or poor peasant origin: “as long as he fits the class: then he’ll be good.” A turning point gives rise to new relationships between people, making significant adjustments to their characters.

The proposed work is devoted to the study of the artistic features of Andrei Platonov's story "The Pit". This topic seems quite complex. The relevance of the topic lies in the fact that many issues in the study of A. Platonov’s work continue to remain outside the field of view of researchers. The artistic features of the story "The Pit" have not been sufficiently studied to this day. There is also no doubt about the relevance of the problems raised by the writer in his story - these are the so-called “eternal” problems. The importance of our research work lies in the fact that Platonov in “The Pit” showed the ideology of the people of the times of the first “Five Year Plan”.

Goal of the work:

.Get acquainted with the works of scientists, researchers, critics dedicated to the work of Andrei Platonov.

2.Consider the ideological and thematic unity of the story "The Pit".

.Determine how the chronotope of the road is transformed.

.Give a theoretical understanding of the terms “narration”, “storyteller”, “narrator”, “description”, “characterization”; in a narrow sense, to identify the relationship between compositional forms of speech and, in a broad sense, the features of the narrative in the story “The Pit” by A. Platonov.

.Understand the problem of defining a genre.

Job objectives:

Collection of material about Andrei Platonov.

A brief overview of critical and scientific works devoted to the work of Andrei Platonov

Familiarization with the history of the creation of the story "The Pit".

.Reveal the ideological and thematic unity of the story.

5.Determine how the chronotope of the road is transformed according to Bakhtin.

.Consider debates about genre.

.Determine how the narrative in the story is constructed.

In our work we will turn to the opinion of such researchers as Bakhtin M.M., Vinogradov V.V., Tamarchenko N.D., Kramova I., Fomenko L.P., Seyradyan N.P., Ivanova L.A. , Mitrakova N.M., Malygina N.M., Endinova V.V. and etc.

The work consists of two chapters. In the first chapter we will review critical and scientific works devoted to the work of Andrei Platonov, and talk about the history of the creation of the story. In the second chapter, we will dwell on the artistic features of the story “The Pit,” namely, we will define the ideological and thematic unity, consider how the chronotope and narrative are constructed, and identify the problem of the genre.

From the history of the creation of the story "Pit"

The dates of work on the manuscript are indicated by the author himself - December 1929 - April 1930. Such chronological accuracy is far from accidental: it was during this period that the peak of collectivization occurred.

Precise dates clearly indicate the specific historical events that frame the narrative. On November 7, 1929, Stalin’s article “The Year of the Great Turning Point” appeared, in which the policy of complete collectivization was justified; On December 27, Stalin announced the “beginning of a comprehensive offensive against the kulaks” and the transition to the “liquidation of the kulaks as a class”; On March 2, 1930, in his article “Dizziness from Success,” Stalin briefly put the brakes on forced collectivization, and in April, Pravda published his article “Answer to Comrade Collective Farmers.” “The Pit” is not even created in hot pursuit - it is written practically from life: there is no chronological distance between the events depicted and the narrative.

The idea of "Pit" dates back to the autumn of 1929. At that time, Platonov worked at the People's Commissariat of Agriculture in his technical specialty - in the land reclamation department - and dealt with the problems of land reclamation in the Voronezh region. At the same time, there was a brutal study of his story “Doubting Makar” (the story was published in the magazine “October”, 1929, No. 9). Having clearly and distinctly outlined his doubts about the new world order, Platonov attracted the attention of higher authorities: the “ideologically ambiguous” and “anarchic” story caught the eye of Stalin - and his assessment served as a signal for persecution of Platonov.

General Secretary of RAPP L. Averbakh simultaneously published an article “On holistic scales and particular Makars” in two magazines - the guilty “October” (N 11 for 1929) and “At the Literary Post”. Averbakh understood the meaning and pathos of Plato’s story absolutely precisely: “It is hard and difficult for the grassroots worker to live. It is hard and difficult for him because we care about houses, and not about the soul, about the holistic scale, and not about the individual, about future factories, but not about today's dishes."

Platonov’s story really did not fit into the official ideology on all counts. The obligatory pathos of selfless service to the future - but not to the present - is “replaced” by Platonov with intense attention specifically to “today” and “now”. Instead of a heroic transformer of the world, a hero of action, the writer shows a “thoughtful” person, a “reflective melancholic.” The result of the hero’s internal evolution, from the point of view of ideology, was supposed to be spiritual solidity and unshakable confidence in his rightness - Platonov chooses the “doubting Makar” as his hero.

The accusation formulated by Averbakh fully met the social order: “But they want to pity us! And they come to us preaching humanism!” Literature must affirm the will of the “integral scale”, and not the rights of the “private Makar” - this is what is required of a “real” writer.

The hunt for “humanists” will unfold on an even greater scale in 1930-1931, and Platonov will work on the story “The Pit” in the winter and spring of 1930. Unacceptably “counter-revolutionary” antitheses will once again permeate the entire narrative: “personal life” - and the “general pace of work”, the “thoughtful” hero - and the builders of the “future of unmoving happiness”. The publication of such a work was out of the question. The story was first published in our country only in 1987.

Review of critical and scientific works devoted to the work of Andrei Platonov

Seeing the closeness of A. Platonov’s humanistic views with other literary artists, researchers of his work N.P. Seyranyan, L.A. Ivanov note that in Plato’s works, more clearly than in the prose of the mid-twenties, the essence of the humanism of literature is artistically formulated, which increased the responsibility of the individual for solving the problem “man - society”. According to L.P. Fomenko A. Platonov, along with the classics of literature, strove for such an artistic comprehension and depiction of life, in which the deepening of social analysis, historicism and psychologism of artistic research would contribute to the development of literature that is truthful in its very essence. The aesthetic achievements of Russian literature expressed those humanistic and moral foundations of human life that constitute the very essence of the social ideal. Perhaps there is not a single researcher today who would not share the position that one of the writers in whose work the desire to “support the best qualities of a person” was especially clearly manifested was Andrei Platonov.

There was a time when a certain part of criticism, initially associated with RAPP, misinterpreted the work of A. Platonov, denied the aesthetic value of his works, and insisted on the incompatibility of the concept of personality reflected in them with the social ideal.

A qualitatively new period of studying the work of A. Platonov occurred in the 60s. After the first responses to the reissues of the writer’s works, in which the prevailing desire was “to restore simple justice, to recognize the significance of the writer for our literary and spiritual life,” attempts followed for a multifaceted understanding of the work of this artist of words. Scientifically, these publications are varied and numerous. These are the memoirs of contemporaries about the writer, and articles on various problems of A. Platonov’s work, and detailed monographs. Extensive dissertation research by L.P. is devoted to an in-depth study of the work of A. Platonov. Fomenko, N.P. Seyranyan, L.A. Ivanova.

A significant contribution to the study of A. Platonov’s literary activity was the first bibliography of his work, compiled by N.M. Mitrakova. Textual and bibliographic work continues. The most complete bibliographic material about Platonov is collected in the book “Russian Soviet Prose Writers”. The publication of the works of A. Platonov, undertaken in the 60s - 80s by E.A., deserves attention. Krasnoshchekova and M.N. Sotskovey, which, along with a complete historical and literary commentary, provides extensive biographical and bibliographic data, as well as textual notes. New interesting materials are contained in the works of N.M. Malygina, V.V. Endinova. In the dissertations of L.P. Fomenko, N.P. Seyranyan, D.Ya. Taran traces the main lines of development of the writer’s creativity, explores the ways of mastering it using an individual method, and interprets the writer’s artistic world. In these works, based on extensive historical and literary material, it is convincingly proven that the formation of A. Platonov as an artist took place in line with the main line of Soviet literature.

L.A.’s dissertation research was written in a slightly different vein. Ivanova. In this work, the historical-evolutionary approach is subordinated to the systemic-logical, conceptual one. L.A. Ivanova connects the dynamics of the development of A. Platonov’s creativity with the nature of a multilateral and complex conflict. However, this researcher’s definition of the main focus of A. Platonov’s work raises some objections. So, L.A. Ivanova writes: “The ideological principle of “domination - subordination” is the “inanimate enemy” with which the writer struggles throughout his creative life.” To reduce the entire pathos of A. Platonov’s work to criticism of a certain ideological principle means to narrow and belittle the humanistic and moral potential of the writer’s work. The main significance of A. Platonov’s work is in depicting the positive principles of human life on the basis of a social ideal, from the point of view of which criticism is also carried out on the negative aspects of life. This emphasis on the study of the positive program of A. Platonov’s creativity seems to us to be cardinal for the correct interpretation, understanding and assessment of the writer’s artistic heritage, his contribution to art. The work of A. Platonov was considered by such researchers as Nikolenko O.N. in the aspect of the formation of his creative individuality, Losev V.V. in terms of the structure of his artistic world.

Ideological and thematic unity of the story "Pit"

The central problem of the work is the search for truth by the main characters. A separate part or several parts mark a certain stage of this search. For an answer, the heroes turn to the stereotypes established in the popular consciousness and look for the truth in various social (or philosophical) spheres. However, the surrounding reality is subordinated to a grandiose bureaucratic system that has permeated all spheres, destroyed the centuries-old way of life, laws of existence (primarily spiritual connections between people), and established the class principle of assessing a person. The search for truth turns out to be futile. If individual people are able to find harmony and peace (Prushevsky), then in general the activity of tireless workers turns out to be not only meaningless, but destructive both for them and for those around them.

In parallel with the theme of the search for truth, the theme of the formation of a “new man” can be traced. But this movement also ends in a dead end: either death (Kozlov, Nastya), or complete spiritual devastation (Chiklin). Thus, both the idea in the name of which the heroes live and work, and the very living conditions in which this idea is realized, are denied. This understanding of reality was a new stage in the artistic self-awareness of Russian culture. "The Pit" is a completely unique work in the way it interacts between historical reality and its artistic reflection. This is a kind of “translation” of factual material into a special language, into a special system with unusual types of connections within it, with a unique way of creating the world. So, for example, the specific time of action of the story is the autumn of 1929; Many facts have a historical background: the construction of a house, collectivization, the life and activities of party workers, resolutions, slogans and the like. But, getting into the artistic world of "The Pit", these facts are subject to sharp deformation, often reaching, it would seem, to the point of grotesque and absurdity. However, thanks to this, they reveal their very essence, without everything random and extraneous. Before us is no longer just a fact, but the essence of a fact, an archetype. Platonov carefully cuts off everything unnecessary for his plan: we practically do not see the faces of the heroes, but we always have an idea of their inner world, we are in the circle of the heroes’ experiences, thoughts and hopes. What, for example, do we know about what Voshchev looked like, except that he was weak and thin? Nothing. Yes, you don’t need to know this - Platonov cares about his feelings, assessments, thoughts. On the contrary, the image of Pashkin comes through external forms; the content of the inner world is almost denied to him.

Platonov’s man is the bearer of an idea, and it is she who becomes the focus of the writer’s attention. Interaction, mutual determination of ideas - this is the basis of the artistic world of "The Pit". And therefore, any correlation of events at different times is possible, “compression” of time, for example, Safronov and Kozlov die “instantly” - immediately after the scene of their departure. Prushevsky enters into a conversation with Pashkin and immediately after this he learns from Nastya about the tragedy “in the hut.” Here is what T. Mann writes about this: “...for a long time it is absolutely impossible to tell life as it once told itself. This would lead to infinity... , therefore, artistic time compression is necessary. The work is aesthetically and forcibly unfolded before the reader in a certain sequence, i.e. along certain lines that form the outline of the work and, when perceived, give a certain rhythm. The artistic space of the story, on the contrary, is “expanded”: before us is a world of cosmic proportions, the plans of the heroes are of a worldwide nature. There is no specific city, there is no specific village: there is a City - a symbol of the civilization of the new world, there is a Village, which is being transformed into a Collective Farm named after the General Line, there is a Pit - the basis of future global prosperity. All this is included in the life of the Universe.

Transformation of the road chronotope

The chronotope of the road is a significant component of the general phenomenon of “chronotope”. As is known, the term “chronotope” was introduced by M.M. Bakhtin to designate “the essential interconnection of temporal and spatial relations artistically mastered in literature.” According to the scientist, “in the literary and artistic chronotope there is a merging of spatial and temporal signs into a meaningful and concrete whole. Time here thickens, becomes denser, becomes artistically visible; space intensifies, is drawn into the movement of time, plot, history.” It is important to note that the spatio-temporal coordinates of literary reality provide a holistic perception of a work of art and organize its composition. A literary and poetic image, “formally unfolding in time (as a sequence of text), with its content reproduces the spatio-temporal picture of the world, moreover, in its symbolic-ideological, value-based aspect.” The literary chronotope varies depending on the genre and genre. The fusion of space-time and value is inherent in the depicted word of poetry; in prose, on the contrary, a combination of spatio-temporal images with different “frames of reference” is characteristic due to the difference in points of view and horizons of the characters, as well as their “languages”.

The importance of the chronotope of the road in literature is enormous: a rare work is done without any variations of the motif of the road, and many works are directly built on the chronotope of the road and road meetings, since the chronotope of the road, having a wide scope, exclusively clearly and clearly reveals spatio-temporal unity.

In "The Pit" the chronotope of the road is transformed in this way: the usual logic dictates that if the work begins with a road, then the plot will be the hero's journey. However, the reader's possible expectations are not met. The road first leads Voshchev to a pit, where he lingers for some time and turns from a wanderer into a digger. Then “Voshchev went down one open road” - where it led remains unknown to the reader. The final destination of his journey will again be the pit. In Bakhtin's road novel, the chronotope of the road is transformed differently; if the work begins with a road, then the plot of the work becomes the hero's wanderings.

Platonov seems to specifically refuse those plot opportunities that are provided to the writer by the plot of his wanderings. The hero's route constantly gets lost, he returns to the foundation pit again and again; connections between events are constantly being broken. Quite a lot of events happen in the story, but there are no strict cause-and-effect relationships between them: Kozlov and Safronov are killed in the village, but who and why remains unknown; Zhachev goes to Pashkin in the finale - “never returning to the pit again.” The linear movement of the plot is replaced by a circle around the pit.

Along with the failed journey of the hero, Platonov introduces into the work a failed plot of construction - the common proletarian house becomes a grandiose mirage designed to replace reality. The construction project was initially utopian: its author “carefully worked on the fictitious parts of the common proletarian house.” The project of a gigantic house, which turns into a grave for its builders, has its own literary history: it is associated with a huge palace (at the base of which are the corpses of Philemon and Baucis) being built in Faust, the crystal palace from Chernyshevsky’s novel “What is to be done?” and, of course. Tower of Babel. The building of human happiness, the construction of which was paid for with the tears of a child, is the subject of reflection by Ivan Karamazov from Dostoevsky’s novel “The Brothers Karamazov”.

The very idea of the House is defined by Platonov already in the first pages of the story: “This is how they dig graves, not houses,” says the foreman of the diggers to one of the workers. The grave at the end of the story will be the pit - for the child. The semantic result of the construction of “future unmoving happiness” is the death of a child in the present and the loss of hope for finding “the meaning of life and the truth of universal origin,” in search of which Voshchev sets out on the road. “I don’t believe in anything now!” - the logical conclusion of the construction of the century.

Narrative Features

Term narrationmost often used when studying the speech structure of individual epic works or the artistic system of one author. Meanwhile, the content of the concept remains largely unclear. Characteristic is a “lax and vague mixture of narration with “description”, “image”, purely eventful content of the text, as well as with fairy tale forms.

With such an approach, the category “narration” can be correlated, on the one hand, with certain subjects of the image and statement, and on the other hand, with various specific forms of organization of speech material, such as, for example, various options dialogueAnd monologue, character descriptionor him portrait, ""plug-in" forms (plug-in short story or poetry, etc.). The designated aspects of the work are connected by relationships of interdependence and mutual determination: ". not only the subject of speech determines the speech embodiment of the narrative, but the forms of speech themselves evoke with a certain certainty the idea of the subject, build his image." From this it is clear, firstly, that it is precisely the nature of this relationship or this mutual transition that needs to be understood. Secondly, it is necessary to exclude some options: first of all, cases when the subject of the utterance (character) is not depicting, i.e. his speech is only the subject of someone else’s image; and then those when the speaker (character) sees and evaluates the object, event or another character, but there is no process of storytelling as a special means and at the same time (for the author) the subject of the image.

There is a problem with narration - delimiting it as a special compositional form of prose speech from descriptionsAnd characteristics.

Description differs from narration in that the description is based on a pictorial function. The subject of the description, firstly, turns out to be part of the artistic space, correlated with a certain background. The portrait may be preceded by interior. Landscape in quality Imagesa certain part of the space can be given against the background messagesinformation about this space as a whole. Secondly, the structure of the description is created by the movement of the observer’s gaze or a change in his position as a result of movement in space of either himself or the object of observation. From this it is clear that the “background” (in this case, the semantic context) of the description can also be the “inner space” of the observer.

Unlike the description characteristicrepresents an image-reasoning, the purpose of which is to explain to the reader charactercharacter. Character is the stereotype of his inner life that has developed and manifests itself in a person’s behavior: a complex of habitual reactions to various circumstances, established relationships to oneself and to others. It is necessary to indicate the characteristics by which the form of the characteristic is highlighted in the text. As such we will call a combination of traits analysis (the defined whole-character-is decomposed into its constituent elements) and synthesis (reasoning begins or ends with generalizing formulations).

Tamarchenko actually differentiates narration, descriptionAnd characteristicsas special speech structures characteristic of the utterances of precisely such depicting subjects (narrator, narrator) who perform “intermediary” functions.

We can conclude that in “The Pit” narration prevails over description and characterization, which creates a feeling of unemotionality, objectivity, and detachment when presenting the story.

Tamarchenko also writes in his work about the duality of the narrative. It combines the functions special (informative, focused on the subject) and are common (compositional, in this case aimed at the text), is the reason for the widespread opinion that description and characterization are special cases of narration. This is also the objective basis for the frequent confusion of the narrator with the author. In fact, the compositional functions of narration are one of the variants of its mediating role.

So, a narrative is a set of fragments of the text of an epic work, attributed by the author-creator to the “secondary” subject of image and speech (narrator, narrator) and performing “intermediary” (connecting the reader with the artistic world) functions, namely: firstly, representing various messages addressed to the reader; secondly, specially designed to join each other and correlate within a single system all subject-oriented statements of the characters and the narrator.

We see in "The Pit" that the narrator conveys to the reader the experiences of the characters, their inner world, their aspirations.

The narrative form is determined by the type of narrator. Three main narrative forms can be distinguished.

Ich-Erzählung ). The narrator is diegetic (storyteller): he himself belongs to the world of the text, i.e. participates in the events depicted - to a greater or lesser extent. So, in “The Captain's Daughter” the narrator is the main character, and in “The Shot” or in Gogol’s “Old World Landowners” the narrator, although he is a character, is a secondary one. Likewise, Tomsky is present in the world of his story only as the grandson of his grandmother; nevertheless, this inserted story - Ich-Erzählung .. Narration without 1st person. The narrator is exegetical, not belonging to the world of the text, as in The Queen of Spades. The purpose of such a narrative is “to create a picture of objective existence, reality as reality, independent of the author’s perception of it.” This narrative form creates the appearance of objectivity: the world appears before the reader as if on its own, not depicted by anyone. This form can be called traditional narrative. Free-indirect discourse (Er - Erzählung ), which is characterized by the fact that the narrator (exegetical) partially cedes his right to a speech act to the character. A purely literary figure appears - a speaker in the 3rd person, impossible in spoken language. So, for example, Chekhov's story "Rothschild's Violin" begins with the words: The town was small, worse than a village, and almost only old people lived in it, who died so rarely that it was even annoying. The mystery of misplaced annoyance is resolved when it becomes clear that its subject is not the narrator, but the main character, the undertaker. In Bulgakov's "The White Guard" the character is, more often than not, the subject of speech acts - with their expression (Mom, bright queen, where are you? etc.) and dialogicity (But quietly, gentlemen, quietly!). A remarkable example of free-indirect discourse (FID) is Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich.”

Condition 1. The utterance has a Speaker and an Addressee - a specific referent (and not a generalized one, such as “my reader” in Onegin) and not coinciding with the speaker himself.

Condition 2 (unity of time). The moment of creation of the utterance by the Speaker coincides with the moment of its perception by the Addressee, i.e. The addressee is the Listener.

Condition 3 (unity of place). The Speaker and the Addressee are in the same place and have a common field of view.

Three narrative forms are also three historical stages of narrative development.

Another way is the idea of the irreducible, albeit indirect, presence in the text of the author, who expresses his own position through the comparison of different “versions of himself” - such as the “hidden author” and the “unreliable narrator”, or different “subjective forms”, such , as “a carrier of speech, not identified, not named, dissolved in the text,” i.e. " narrator (sometimes he is called the author),” and “a speaker who openly organizes the entire text with his personality,” i.e., a “storyteller.” It is clear that with this approach, the same type of subject can be combined with different grammatical forms of organization of the utterance.

The third way is to characterize the most important types of “narrative situations”, in which the function of storytelling is carried out by various subjects. In this direction, indisputable priority belongs to the works of F.K. Stanzel. Since the scientist’s ideas about the three types of situations mentioned have been repeatedly presented, we emphasize - based on the author’s introspection in “Narrative Theory” - some more general and important points. Firstly, here we contrast " narrationin the proper sense of mediation" and "image, i.e. reflection of fictional reality in the consciousness of a novel character, in which the reader has the illusion of the immediacy of his observation of the fictional world." Accordingly, the polarity of "the narrator (in a personal or impersonal role) and the reflector" is fixed. From this it is clear that F.K. Stanzel directly refers to two "situations": "autorial" and "I-situation", subjects whom he designates using the terms "narrator" and "I-narrator". Secondly, taking into account the traditional interpretation of the forms of grammatical person in the speech of the narrator and the generally accepted distinction between the main variants of “perspective” (internal and external points of view), he also attaches fundamental importance to “mode,” i.e., “the identity or non-identity of the realm of being (Seinsbereiche) of the narrator and the characters.” “I am the narrator” lives in the same world as the other characters in the novel,” while the autorial narrator “exists outside the fictional world.” Thus, despite the difference in terminology, it is clear that Tamarchenko means precisely those two types of narrating subjects who in our traditions are usually called the narrator and storyteller.

It should also be noted that the narrator is not a person, but a function. But a function can be attached to a character - provided that the character as a narrator will be completely different from him as an actor.

The narrator, unlike the author-creator, is outside only what is depicted timeAnd space,under which the plot unfolds. Therefore, he can easily go back or run ahead, and also know the premises or results of the events of the present depicted. But its capabilities are at the same time determined by the author, i.e. the boundaries of the entire artistic whole, which includes the depicted “event of the storytelling itself.”

In contrast to the narrator, the narrator is not on the border of the fictional world with the reality of the author and reader, but entirely insidedepicted reality.

The problem of genre

The story is a prose genre that does not have a stable volume and occupies an intermediate place between the novel, on the one hand, and the short story and short story on the other, gravitating towards a chronicle plot that reproduces the natural course of life. This definition of genre is characteristic exclusively of the Russian literary tradition. In Western literary criticism, the definitions “novel” or “short novel” are used for prose works of this kind. Due to its versatility, the genre of the story is difficult to define unambiguously. The plot of a story is almost always centered around the main character, whose personality and fate are revealed within a few events. Side plot lines in a story (unlike a novel), as a rule, are absent; the narrative chronotope is concentrated on a narrow period of time and space.

Platonov’s work does not correspond to many of the fundamental features of the story as an established genre with a certain structure, for example, the following: The “typical”, “pure” form of the story are works of a biographical nature, artistic chronicles: the dilogy of S.T. Aksakov, trilogy by L.N. Tolstoy, “Poshekhon Antiquity” by M.E. Saltykov-Shchedrin, tetralogy by M. Gorky, “Kashcheev’s chain” by M.M. Prishvina. The term “story” is adjacent to the less canonical name “history,” which precisely carries the idea of a chronicle-type story, in which artistic unity determines the image of the narrator, the “historian.” As was written above, in a story the plot is almost always centered around the main character, but in “The Pit” there is no main character as such. This list of classic samples is enough to feel the huge difference between them and “Kotlovan”. Consequently, it is necessary to determine the genre variety of Platonov’s work “The Pit”. This is necessary to clarify the features of the writer’s artistic thinking, because any literary genre is a form of author’s judgment that has significance and determines many components both in the structure of the text (method of narration, spatio-temporal forms, plot, methods of creating images, etc.) and in content aspects.

The word “story” is inscribed on the typescript of “Kotlovan” by the hand of the author himself, and it was assumed that there could be no questions here. In this regard, it is not entirely clear why K. Barsht, for example, calls “The Pit” a novel, because novel- large shape; a work in which events usually involve many characters whose destinies are intertwined. Novels can be philosophical, adventure, historical, family, social. We definitely cannot classify “The Pit” as a novel, because the volume of the work does not give us the right to do so. There were also attempts to correlate Plato's story with the mystery genre. The closeness of Plato's story to works in the genre of the industrial novel was also noted. The problem of the genre was discussed in detail only in connection with the concept of “dystopia,” one of the examples of which, like the novel “Chevengur,” is often called “The Pit.” Dystopia, as a rule, depicts some kind of fantastic model of a society in which already familiar ideas can function. This provision is only partially applicable to “Chevengur” and “Kotlovan”. Despite the obvious conventionality of the artistic space of both works, they still have an undoubted connection with a specific historical reality.

“The Pit” is a relatively small story: in the edition prepared at the Pushkin House, it occupies 95 pages. In the process of working on the story, Platonov made significant changes to the text, which was reflected in the composition. The creative history of "The Pit" can be described as a series of successive transformations of the original plan, and the most significant of these transformations are based on a change in the nature of the chronotope. The chronotope of the story is formed due to the movements of the main character - Voshchev. First, from one city to another, where the “great digging” of a foundation pit for the General Proletarian House is taking place, then to the village, in which, after the arrival of the main characters there, collectivization unfolds and a collective farm emerges. In the finale, events are again transferred to the pit. When finalizing the text, Platonov significantly reduced the part of it that preceded the description of the work in the pit itself. The path, thus, became emphatically cyclical: pit - village - pit. The story lacks any formal division into chapters, including numbered passages.

Before us are two points of view on life: the first - as a special organism that needs spiritual meaning for every, even the most insignificant, element, where everything is important, and the second - a view on life as a mechanical structure with a clear hierarchy of values and strict definition of human functions and nature. The conflict is ideological in nature: Voshchev understands the need for meaning, but cannot yet find it; the system permanently generates contradictions even within itself: a strict definition of human functions leads to a loss of spirituality (a food worker denies an elementary service to tired workers; within the framework of this structure he is right, but the workers are also right, since the same system postulates the expression, first of all , interests of the working class), the precarious position of even the “bureaucrats” themselves: Zhachev can blackmail Comrade Pashkin with impunity, the most zealous can be killed (as happened with Kozlov and Safronov).

Nature is also permeated with disharmony, as if reflecting the state of people: “Behind the beer hall rose a clay mound, and an old tree grew on it, alone in the bright weather.” In general, the writer often refers to the image of a tree (the “man - tree” parallel).

The deformation of the spiritual world also has a correspondence in the external appearance of the heroes; it is closely connected with the “material shell” of the characters: Voshchev, for example, feels the “weakness of the body without truth”; the “crippled man” Zhachev is depicted with the maximum meticulousness for the artistic world of “The Pit” : “The cripple had no legs - one at all, and instead of the other there was a wooden attachment; he was holding on, crippled by the support of crutches and the auxiliary tension of the wooden appendage of his right severed leg. The disabled man had no teeth, he used them purely for food, but he ate a huge face and a corpulent remnant of the body; his brown, sparingly open eyes observed a world foreign to them with the greed of deprivation, with the melancholy of accumulated passion, and his gums rubbed in his mouth, uttering the inaudible thoughts of a legless man.” Again, the only “bright” moment of the initial parts of the story - the procession of the pioneer detachment - has a downside: “Any of these pioneers was born at a time when the dead horses of the social war lay in the fields, and not all pioneers had skin at the hour of their origin , because their mothers fed only on the reserves of their own bodies; therefore, on the face of each pioneer remained the difficulty of the weakness of early life, the poverty of the body and the beauty of expression." Entering the barracks, Voshchev observes the sleeping pit builders: “All the sleepers were thin, like the dead, the tight space between the skin and bones of each was occupied by veins. Voshchev peered into the face of the neighbor sleeping - did it not express the unrequited happiness of a satisfied person. But the sleeping man lay his eyes closed dead, deeply and sadly, and his cold legs stretched out helplessly in his old work pants.”

So, before us is a picture of complete disharmony in the world. Both people and nature are in disharmony. The reason is the absence in this world of “truth”, “meaning”, designed to explain and change the entire world order. Voshchev, one of the central characters of the story, organically, with his whole being, is aware of both this discord and its cause, trying to find the truth to restore the lost harmony of the world: “A dead, fallen leaf lay next to Voshchev’s head, it was brought by the wind from a distant tree, and now this leaf was faced with humility in the ground. Voshchev picked up the withered leaf and hid it in a secret compartment of the bag, where he saved all sorts of objects of misfortune and obscurity. “You had no meaning in living,” Voshchev believed with stinginess of sympathy, “lie here, I will find out.” what you lived and died for. Since no one needs you and you’re lying around among the whole world, then I will keep and remember you.”

The reason for the loss of truth is discussed in a conversation between Voshchev and factory committee workers. Those in power assert: “Happiness will come from materialism, Comrade Voshchev, and not from meaning.” This position was very typical of real representatives of the new ideology. Thus, it can be assumed that the system in which a person finds himself inscribed reduces spiritual elements. The hero understands this, realizing the true role of those who control life (“they sat on the neck”). “Everything lives and endures in the world, without realizing anything. It’s as if someone, one or several few, extracted a convinced feeling from us and took it for themselves.” However, Voshchev sees the source of the tragedy of discord not in the representatives of the system. Finding this source means getting closer to understanding the truth.

Truth in Voshchev's view is something concrete. You can “invent it”, you can try to find it in the world around you. By the way, this is where the elements of utopianism appear in the spiritual appearance of Plato’s hero. Utopian consciousness posits the inner world of man as a mechanistic combination of various elements: good nature, envy, wit, jealousy, etc., deriving them both from human nature and from their interaction with reality. A perfect state system makes it possible to completely control a person and assumes the satisfaction of all his needs. The main task is to find the truth - this determines the entire composition of "The Pit". A thought close to this was expressed by V. Vyugin when he noted that “one of the most important themes of The Pit is the search for truth. Actually, the idea of the need to comprehend it is the driving spring of the plot of the work.” In the first parts, a kind of exposition, a problem is postulated, which Voshchev, and then other heroes, are trying to solve. Their journey in search of truth forms the structure of the story.

At the end of the story, the heroes' last hopes for the possibility of searching for the truth perish. “Voshchev stood in bewilderment over this quiet child - he no longer knew where communism would be in the world now if it was not first in a child’s feeling and in a convinced impression. Unbelief also penetrates into the proletarian environment: Zhachev admits in a conversation with Safronov: “Now I don’t believe in communism... communism is a child’s thing, that’s why I loved Nastya.” The funeral of a girl is, in fact, the burial of the idea of achieving happiness on earth, a verdict on the entire existing system

We can say that “The Pit” is built on the principle of answering the question of happiness, truth, and the meaning of life. The method of narration - the author's objective speech - allows you to penetrate into the inner world of the characters to the most intimate depths, see their experiences, and think about their problems. But how can one simply call a story a work in which the main characters are ideas, and the action is the mutual determination of ideas? A work where there is no main character (sometimes Voshchev is called such, but in the second half of the story he is already in the background, giving way to other characters)? Where the result is not a plot conclusion to the action, but a cruel verdict on the whole world? The ending of the story is an answer in a form that suggests the impossibility of a positive answer to the global questions posed by Plato's heroes. In "The Pit" it does not sound directly: "the truth lies in such and such." The heroes do not find it specifically. But for the reader, this is very eloquent evidence: they were looking for truth in all possible forms of modern life, it does not exist not because they were looking for it poorly, but because, given the existing way of life, it simply cannot exist. This result can be called a conclusion, or morality. The world is coming to a dead end, something needs to change in principle if there is a desire to find happiness; what the heroes are presented as truth is not. The postulate about the presence of truth in this world is a deliberate deception, which is often understood by ideologists themselves. This is clear to the heroes of the story - it is no coincidence that Zhachev at the very end goes to “kill Comrade Pashkin.” Each element of the "Pit" structure works towards this conclusion. It is in the logic of the entire figurative and ideological world. This means that the work is didactic and the author pursues a very specific goal - to lead the reader to a clear conclusion.

This principle of understanding reality is fundamental to the parable genre. It is in this genre that everything extraneous is discarded, the essence of phenomena is exposed, the artistic device becomes the ultimate convention of place and time, their functional nature. Parable- this is a story with a conclusion, a moral, often unspoken, but implied. Unlike a fable, a parable does not verbalize an unambiguous conclusion and does not postulate a “moral” with all directness. It requires comprehension and “deciphering”; its pathos must be “unraveled”. It is in “The Pit” that we see that very moral, which means that the work teaches us to look for the truth, although in essence it is not in this device, but the heroes try to find it to the last. In order to correctly understand the parables, the following points must be taken into account:

It is not necessary that everything that is narrated in the parable happened in reality; the event described might not have happened. In addition, not all the actions of the persons mentioned in the parable are absolutely good and blameless. And the purpose of a parable is not to accurately convey an event or natural phenomenon, but to reveal higher truths.

It is necessary to understand the purpose of the parable, which can be understood from the explanation, if there is one, from the preface to the parable or from the circumstances that prompted it to be said, also from the general connection with the context. In "The Pit" we understand the purpose of this work only after reading it. It shows us that we need to look for truth, even where we may not find it.

It follows from this that not all the details of the parable can be understood in a spiritual sense; some, like the light or shadows in a picture, are added to highlight the main idea or to present it more clearly to the audience.

Despite this, a parable, in addition to the main idea that it intends to capture, can sometimes contain details that recall or confirm other truths.

So, in conclusion, it should be said that “The Pit” is a detailed narrative, organized in such a way that all elements of the text, in addition to the main meanings, are aimed at leading the reader to a very definite conclusion of an ontological nature. The didactic nature of "The Pit" gives us reason to draw the following conclusion: a story-parable - this is how we can designate the genre variety of "The Pit".

Conclusion

In conclusion, I would like to formulate the conclusions we have reached. They consist in the fact that, firstly, an overview of creativity was given based on the critical and scientific works of Kramov I., Fomenko L.P., Seyradyan N.P., Ivanova L.A., Mitrakova N.M., Malygina N. M., Endinova V.V. and others. In their works, based on extensive historical and literary material, it is convincingly proven that the formation of A. Platonov as an artist took place in line with the main line of Soviet literature.

The main significance of A. Platonov’s work is in depicting the positive principles of human life on the basis of a social ideal, from the point of view of which criticism is also carried out on the negative aspects of life.

Secondly, “The Pit” was analyzed from the point of view of its ideological and thematic unity. We found out that the central problem of the work is the search for truth by the main characters, that for the answer the heroes turn to stereotypes established in the popular consciousness and look for the truth in various social (or philosophical) spheres. But the surrounding reality is subordinated to a grandiose bureaucratic system that has permeated all spheres, destroyed the centuries-old way of life, laws of existence (primarily spiritual connections between people), and established the class principle of assessing a person. The search for truth turns out to be futile. In parallel with the theme of the search for truth, the theme of the formation of a “new man” can be traced.

Thirdly, we compared "The Pit" with the novel - Bakhtin's road and found that in "The Pit" the chronotope of the road is transformed in this way: the usual logic dictates that if the work begins with a road, then the hero's journey will become the plot. However, the reader's possible expectations are not met. The road first leads Voshchev to a pit, where he lingers for some time and turns from a wanderer into a digger. Then “Voshchev went down one open road” - where it led remains unknown to the reader. The final destination of his journey will again be the pit.

Fourthly, the story was analyzed from the point of view of narrative features.

We found out that according to Vinogradov, three main narrative forms can be distinguished.

I. Narration from the 1st person ( Ich-Erzählung ). The narrator is diegetic (storyteller): he himself belongs to the world of the text, i.e. participates in the events depicted - to a greater or lesser extent.. Narration without 1st person. The narrator is exegetical, not belonging to the world of the text.. Free-indirect discourse (Er - Erzählung ), which is characterized by the fact that the narrator (exegetical) partially cedes his right to a speech act to the character. A purely literary figure appears - a speaker in the 3rd person, impossible in spoken language.

In "The Pit" the narration is told in the 3rd person, the author is to some extent detached and it seems that the narration is being conducted by itself. Third-person narration creates the impression of a neutral, objective narration, not associated with a specific person who subjectively perceives the events described. According to Vinogradov, this refers to the second historical stage of the development of narrative - narration without the first person. The narrator is exegetical, not belonging to the world of the text. The purpose of such a narrative is “to create a picture of objective existence, reality as reality, independent of the author’s perception of it.” This narrative form creates the appearance of objectivity: the world appears before the reader as if on its own, not depicted by anyone. This form can be called a traditional narrative. In “The Pit,” the narrator’s “mediation” helps the reader gain a more reliable and objective understanding of events and actions, as well as the inner life of the characters. It should also be said that in “The Pit” narration prevails over description and characterization, which creates a feeling of unemotionality, objectivity, and detachment when presenting the story.

And fifthly, we examined the problem of the genre and concluded that the didactic nature of “The Pit” gives us reason to conclude that this is a story-parable.

To summarize, we can say that the tasks set at the beginning of the work have been completed.

We see the following prospects for future work:

.See if the theme of the search for truth can be seen in his other works.

2.The theme of childhood and utopia in the stories “Nikita”, “Still Mother”, “The Iron Old Woman”, “Flower on the Earth”, “Cow”, “Little Soldier”, “At the Dawn of Foggy Youth”, “Grandfather Soldier”, “ Dry bread."

Platonov's story pit genre

Bibliography

1. Sources.

1 Platonov A.P. Collection of essays: In 3 vols. T.3. M., 1985

2 Platonov A. For future use. M.: Fiction, 1990

Scientific and critical literature.

1 Averbakh L. "October", 1929, N 11

2 Averbakh L. “On holistic scales in private Makars.” - “At a literary post”, 1929

3 Babenko L.G. Man and the world in the stories of A. Platonov in the 20s. // Problems of style and genre in Soviet literature. AT 8. Sverdlovsk, 1976

4 Balburov E.A. Platonov's Cosmos. "Eternal" plots of Russian literature ("Prodigal Son" and others). Novosibirsk, 1996

6 Bakhtin, M.M. Questions of literature and aesthetics. Research from different years / M.M. Bakhtin. - M.: Artist. lit., 1975.

7 Bogdanovich T. On the issue of the formation of creative views of A. Platonov // Philological Sciences, 1989. No. 75-78

8 Bocharov S.G. “The Substance of Existence” // Andrey Platonov. The world of creativity. M., 1994

9 Vinogradov V.V. Selected works. About the language of artistic prose. M., 1980. - P.115-120

10. Vyugin V.Yu. Andrei Platonov: poetics of the riddle. (Essay on the formation and evolution of style). St. Petersburg: Publishing house RKhGI, 2004.

11. Ivanova L.A. Personality and reality in the works of Andrei Platonov. Abstract for the academic degree of candidate of philological sciences. Voronezh, 1973

12. Kozhevnikova N.A. Types of narration in Russian literature of the 19th-20th centuries. M., 1994. - P.3-5

13. Korman B.O. Selected works on the history and theory of literature. Izhevsk: Publishing house Udm. University, 1992. - P.135

14. Kornienko N.V. Platonov’s narrative strategy in the light of textual criticism // “The Land of Philosophers” by Andrei Platonov: problems of creativity. AT 2. M., 1995

15. Kramov I. In search of essence. - New World, 1969, No. 8, p.236

16. Losev V.V. The formation of creative individuality of A. Platonov.M. 1991

17. Lyubushkina M. “The Land of Philosophers of Andrei Platonov: Problems of Creativity” Issue 6. M., 2005

18. Malygina N.M. Ideological and aesthetic quests of A. Platonov in the early 20s (“A story about many interesting things”) // Russian literature, 1977, No. 4

19. Mann T. Joseph and his brothers. 1933-43, Russian translation, vol. 1-2, 1968

20. Meyerson O. “Free Thing”: the poetics of non-estrangement in Andrei Platonov. Berkley: Berkley Slavik Specialties, 1997

21. Mitrakova N.M. Platonov A.P. (1899-1951). Materials for bibliography. Voronezh, 1969

22. Nikolenko O.N. Man and society in the prose of A.P. Platonov. Kharkov, 1998

23. Platonov A.P. Notebooks. Materials for bibliography. M., 2000

24. Platonov A. Selected works. In two volumes. M.: Fiction, 1978

25. Platonov A. Pit. - New world. M., 1987, No. 6. - P.50-123

26. Seyradyan N.P. The work of Andrei Platonov in the 80s. Abstract for the academic degree of candidate of philological sciences. Yerevan. 1970

27. Taran D.Ya. The artistic world of Andrei Platonov. Abstract for the academic degree of Candidate of Philological Sciences. Kyiv, KSPI named after A.M. Gorky, 1973

28. Tolstaya-Segal E. Ideological contexts of Platonov/ / Russian literature. Amsterdam, 1981. T.9

29. Fomenko L.P. Creativity of A.P. Platonov /1899-1951/. Abstract for the academic degree of Candidate of Philological Sciences. I., UPI, 1969

30. Kharitonov A.A. Andrei Platonov in the context of his era (materials of the IV Platonov Seminar) // Russian literature, 1993

31. Shcherbakov A. Kinship, orphanhood, citizenship and loneliness in the works of A. Platonov // “Country of Philosophers” by Andrei Platonov: problems of creativity. AT 2. M., 1995

32. Endinova V.V. On the creative biography of A. Platonov. // Questions of Literature, 1978, No. 3

2.33. Stanzel F. K. Theorie des Erzahlens. Gottingen, 1991

References

1 Introduction to literary criticism. Literary work: basic concepts and terms / ed. L.V. Chernets. M., 2000

2 Mann Yu.V. Literary studies // Literary encyclopedic dictionary. /Under the editorship of V.M. Kozhevnikov and P.A. Nikolaev. M., 1987

3 Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of literature In 2 volumes Volume 1 Theory of artistic discourse Theoretical poetics. Academy, 2010

4 Khalizev V.E. Theory of Literature: A Textbook for University Students - 4th ed. Spanish and additional Higher school, 2009

Electronic resource

1 Bolot N. Biography of A. Platonov. #"justify">.2 Kirichenko E. Brief overview of prose genres. http://www.proza.ru/2011/03/08/51