Introduction to the work

This dissertation research is devoted to the historical poetics of the metanovel genre, establishing its unified semantic basis and the boundaries of variation of its structure in different eras of its existence.

Relevance of the topic is confirmed by reader and scientific interest in the metanovel, which is a very popular and productive genre, especially in the 20th century, as well as the need to fill gaps in literary theory: both in domestic and world science, as far as we know, there are no special works on the historical poetics of the metanovel (since it is often understood not so much as a genre, but as the realization of a self-reflexive narrative mode).

Object and subject of research. The subject of the study is the genesis and evolution of the metanovel genre, and the object is the boundaries of variability of its structure at its different stages.

Goals and objectives of the study. The purpose of the work is to build the history of the metanovel, starting from its genesis (the first shoots, the prehistory that we see in the ancient novel with authorial intrusions) and the formation of the metanovel itself at the end of the eidetic era of poetics to the flowering of the genre in the era of artistic modality. To achieve this goal, it is necessary to solve several particular tasks: 1) identify the stages of formation and development of the genre; 2) to distinguish the meta-novel from its relatives, the novel with authorial intrusions and the Künstlerroman (a novel about the formation of an artist), and also trace how they interacted over the centuries; 3) outline the boundaries of variation of the genre in different eras of its existence; 4) to trace the attraction of different national literatures to certain types of genre; 5) demonstrate the essence of the most characteristic features of a metanovel in an evolutionary aspect.

Degree of knowledge of the problem extremely small – despite the popularity of the concept “metanovel”. This is primarily due to the lack of clear ideas about what a metanovel is. On the one hand, it is more often considered not so much as a special genre, but as a type of metafiction, and on the other hand, it is lost in the synonymous row of such concepts as “self-conscious novel”, “self-generating novel” ( self-begetting novel), “novel of a novel”, etc., the synonymity of which is actually questionable. Since the boundaries of the phenomenon have not been identified, there are no significant attempts to describe its historical variability.

Theoretical and methodological foundations. The chosen approach combines the principles of theoretical, historical poetics and comparative study of literature. The methodology is based on the theory of genres created by M.M. Bakhtin and detailed in the works of N.D. Tamarchenko, and the concept of historical poetics by S.N. Broitman, which developed on the basis of the works of O.M. Freidenberg, A.N. Veselovsky, M.M. Bakhtin.

Scientific novelty of the research. In modern literary criticism, the term “metanovel” is extremely popular. However, different researchers using the same term do not mean the same thing. Since the question of invariant metanovel, there are no clear ideas about the history of this genre.

In this study, based on the creation of an invariant of the metanovel genre, its various types are identified and their formation and evolution in Western European and Russian literature is traced. In addition, the dissertation is the first to distinguish between a novel with authorial intrusions, a künstlerroman (that is, a novel about the formation of an artist) and a meta-novel proper, to which a clear content is assigned.

Provisions for defense:

1. The metanovel is not the implementation of the metareflexive narrative mode in novel form, but a special genre. The novel has not only used metanarration for a long time, but in a number of its samples it has been imbued with metareflection at all levels of structure and thereby formed a certain typical whole.

3. Metanovel from its first sample to the latest at all levels of its structural organization interprets the problem in different variations relationship between art and reality, always maintaining the fundamental biplane, distinguishing it from any other genre. It is therefore necessary to distinguish between the metanovel itself and its satellites - the novel with authorial intrusions and the künstlerroman. A novel becomes a metanovel only if it reflects on itself as above the whole, above a special world.

4. Depending on the type of relationship between the Author and the hero to each other and to the border between two worlds - the world of heroes and the world of the creative process - a typology of the genre is built. There are four main types of metanovel, and the first of them has two implementation options (see more details in the section “Content of the work”). The historical sequence of actualization of metanovel types is somewhat different from the order determined by the internal logic of the genre.

5. The idea that the metanovel is not reduced to the implementation of a self-reflective narrative mode clearly demonstrates an appeal to the origins, namely to the ancient novels, where copyright intrusions(in the form of an echo of ancient syncretism, the inseparability of the author and the hero as active and passive statuses of the deity) and elements of autometareflexion already There is, but genre-specific “acting out” the author’s presence in the world of the work for the sake of a certain artistic task - problematization of the relationship between art and reality - also No. Thus, metanarrative techniques appear already at the dawn of the eidetic era of poetics - but precisely as a memory of the ancient oral nature of storytelling and together with the ancient inseparability of the author and heroic hypostases.

6. For the first time, the relationship between art and reality was problematized and explored at all levels of the novel structure in Don Quixote, which therefore became the first metanovel in the history of European literature. This happened, however, on the basis of the author’s presence in the world of the work, unchanged for the eidetic era - an echo of the ancient syncretism of the author and the hero; hence compositional contradictions"Don Quixote", because of which it cannot be attributed to any of the genre types we have identified: the abundance of narrative subjects, whose faces and functions sometimes merge, led to combination Here different options for the relationship between the Author and the hero.

7. The closest followers and imitators of Cervantes - the authors of “comic novels” - both “left” Don Quixote and demonstrated the one-sidedness of its perception. Borrowing a number of structural features of Cervantes's novel(the inconsistency of the composition with the abundance of subjects of the author’s plan, not always clearly demarcated; the vagueness and ambiguity of the figure of the Author; the abundance of the author’s intrusions and poetological comments; the introduction of characters involved in literature; the identity-contradiction of truth and fiction; play with oppositions and convergences of poetry and prose), not a single comic novel of the 17th century. did not conquer the height set by Don Quixote, i.e. did not turn from a novel with authorial intrusions into a meta-novel: here there is no reflection on this very work equal to the text of the work as over a special world with its own laws. At the same time, it can be stated that the metanovel and the novel with authorial intrusions have a special spirit of comedy and literary play, which will soften the tension of philosophical and moral search in works of this kind.

8. Folding the main types of metanovel, partly prepared by comic novels with authorial intrusions (we are talking about the simplest fourth type), really began with The Life and Opinions of Tristram Shandy, which marked the appearance of metanovel of the third type, which, at the instigation of Stern, will become the most widespread in English-language literature. It's no coincidence that this self-determination of the genre with a key reflection on the relationship between life and art occurred in one of the earliest and radical examples of new poetics - artistic modality. In Tristram Shandy was not only first created type of hero-creator, subsequently very characteristic of a metanovel, but another property of the genre was determined - refusal of any final decisions, gravitation towards freedom, lawlessness, eternal uncertainty and impartiality - both in form and content.

9. Balancing “Jacques the Fatalist” by Diderot between Stern’s and Scarron’s aesthetics resulted in the creation fourth type metanovel - more hierarchical than the third, due to the presence of the “last semantic authority” - extradiegetic narrator. Diderot contributed to the formation of exactly that type of meta-novel that turned out to be most in demand in the French literary tradition - a meta-novel with philosophical issues and the leading role of an extradiegetic narrator, dominating the characters and ultimately putting everything in its place.

10. The metanovel developed in close proximity to two other genre forms - a novel with authorial intrusions And Künstlerroman. If the first had such an important influence on the metanovel in the 17th century, then the second - at the beginning of the 19th: the romantic künstlerroman prepared the formation of a monologue version of the first type of metanovel, which explores the path of the writer in art until the moment he acquires the ability to write this very novel. An extremely high understanding of art and its creators, characteristic of a künstlerroman, will predetermine that in a metanovel of this type, the creative consciousness of the hero will become the only reality, outside of which nothing exists. In addition, if before the 19th century. the metanovel was associated with the comic mode of artistry, the künstlerroman translated reflection on art into extreme serious register.

11. The retreat of the laughter principle became the next most important step in the historical poetics of the metanovel. This is clearly visible in "Eugene Onegin", which also marked the birth first dialogic type metanovel - the most balanced type of genre, harmonizing the relationship between life and art: here these two principles are translated into self-contradictory identity. Closely related to this and first implemented here translation of a meta-novel from the grotesque canon to the classical one. Gogol's Dead Souls became a test of the ideal balance of the metanovel created by Pushkin - a test that was largely passed.

12. If the second half of the 19th century. was marked by the retreat of the meta-novel, the 20th century was marked by its triumphant return. In the era of modernism (which we consider one of the phases of the poetics of artistic modality), not only did many works of this genre appear, and extremely sophisticated ones, but it also drew into its orbit almost all the masterpieces of literature of this period, since even those that cannot be called metanovels, were affected by metareflection. Arose hybrid forms genre - such as, for example, “The Counterfeiters” by A. Gide, contaminating the fourth and first dialogic types of metanovel with the dominant of the fourth; formed first monologue type(“The Gift” by V. Nabokov), where “alien” consciousness does not exist in principle, and the presented reality is a product of the creative consciousness of the hero-author. At the same time, it is important to note the presence, characteristic of the modernist metanovel, author's guarantee of meaning And optimistic character bringing together the poles of life and art.

13. At the postmodern stage of the genre’s existence, the modernist identity-contradiction of life and art turns into axiomatic equality(“there is nothing outside the text”); The author, as a rule, loses his divine status, and life and the world – meaning (“Immortality” by M. Kundera, where crystallized second type metanovel), or creativity appears as a cruel deity, absorbing life (“Ros and I” by M. Berg). As an interesting example of a rebellion against postmodernism, we consider I. Calvino’s meta-novel “If One Winter Night a Traveler,” the structure of which, from a formal point of view, is clearly postmodern, nevertheless, optimistically returns to the meaning guaranteed by the author.

14. The study of the historical poetics of the metanovel leads to the conclusion that it is impossible to completely make its evolution dependent on a change in the dominant paradigms of artistry: this is opposed by a stable semantic basis of the genre, which is constantly updated due to new trends in the development of literature in general, but remains unchanged in its main characteristics.

Material and sources. Considering the objectives set in the study, we involve a large number of sources. Let us list the main ones: Greek novels and Apuleius’s “The Golden Ass,” as well as Byzantine and medieval chivalric novels, especially “Parzival,” which we consider as the soil on which the meta-novel subsequently grew. “Don Quixote” by Cervantes, from which we count the birth of the genre. Works by the followers and imitators of Cervantes - Charles Sorel with his “Crazy Shepherd” and “Francion” and Scarron with his “Comic Novel”. “Tristram Shandy” by Laurence Sterne, which marked the emergence of the meta-novel-autobiography, in comparison with Diderot’s “Jacques the Fatalist”, which was oriented towards it, which, on the other hand, adjoins the Scarronian tradition of the “comic novel” with authorial intrusions. “Siebenkäz” and other novels by Jean-Paul, which created the preconditions for the formation of a meta-novel of the first dialogical type, and the romantic künstler novels “The Wanderings of Franz Sternbald” by L. Tieck, “Heinrich von Ofterdingen” by Novalis and “The Worldly Views of the Cat Murr” by E.T.A. Hoffmann, who prepared the birth of the first monologue type of the genre. “Eugene Onegin” by Pushkin and “Dead Souls” by Gogol, demonstrating the emergence of a meta-novel of the first dialogic type (or a meta-novel of ideal balance), which will become the most widespread in Russian literature and much less in demand in Western European literature. “The Counterfeiters” by A. Gide with its complicated hybrid construction, contaminating two types of meta-novel. “The Gift” by V. Nabokov is an example of a meta-novel from the era of modality, where the Author and the hero turn out to be non-stationary states. “Under the Net” and “Sea, Sea” by Iris Murdoch, a comparison of which clearly shows the mechanisms of transformation of a künstlerroman into a meta-novel. “If One Winter Night a Traveler” by I. Calvino is a meta-novel, where the emphasis is not on the act of writing, but on the act of reading. “The Unbearable Lightness of Being” and “Immortality” by M. Kundera, demonstrating the formation of the second, rarest type of metanovel. “Ros and I” by M. Berg in the context of the Russian metanovel tradition. “Orlando” by W. Wolf and “Orlanda” by J. Arpman, focused on the hero’s self-identification and clarifying the relationship between the modernist and postmodern stages of the genre’s evolution.

Theoretical significance of the study consists in creating an invariant of the metanovel genre and its typology, and on this basis - a description of the historical variability of the genre.

Scientific and practical significance of the study. The results of the study can be used in the development of general and special courses, as well as teaching aids on the theory of literature in general, on the theory of genres, on historical poetics, on comparative studies, as well as on the history of foreign and Russian literatures.

Approbation of research results. The main provisions of the dissertation were presented in reports at the following conferences:

Uluslararas dilbilim ve karlatrmal edebiyat kongresi (International Conference on Comparative Linguistics and Literature); Istanbul Kltr niversitesi, Istanbul, Türkiye. September 12–13, 2011

XLI International Philological Conference (St. Petersburg State University), March 26–31, 2012

International Philological Conference “White Readings” (RGGU, Moscow), October 18–20, 2012

Third ENN (European Narratological Society) Conference, Paris. March 29–30, 2013

Work structure. The dissertation consists of an introduction, four chapters, a conclusion and a bibliography.

Planning students' independent work

	Modules and themes	Types of SRS	Week of the semester	Hours volume	Number of points
mandatory	additional
Module 1 Poetics of the era of syncretism
	Subject, tasks and method of historical poetics		Reading will add. artist texts; preparation of a thesis plan “Decanonical forms of imagery in modern times. poetry"
	Plot and genre	Dictionary of concepts for the third stage of poetics; performing test tasks on lit. analysis. texts	Essay “Performative genres in. postmodern literature"; Preparation presentation “The Poetics of Artists. modalities"
	Total modulo 3:
	TOTAL:

4. Sections of the discipline and interdisciplinary connections with the provided (subsequent) disciplines

	Name of the provided (subsequent) disciplines	Topics of the discipline necessary for studying the provided (subsequent) disciplines
	History of world culture
	Preparation of the WRC

5. Contents of the discipline.

MODULE 1 Poetics of the era of syncretism

Topic 1. Subject, tasks and method of historical poetics.

Theoretical and historical poetics: volume and relationship of concepts. Historical poetics as a theoretical literary discipline. History of development; its main stages. Concepts of historical poetics: , . The subject of science and its tasks. Method problem; methodological approaches and principles.

Topic 2. Syncretism as an artistic principle.

Three eras of historical poetics and their chronological characteristics. The terms “generative principle of poetics” and “aesthetic object” as methodological concepts of science. The era of syncretism; syncretism as an artistic principle. Forms of manifestation of syncretism in archaic artistic consciousness; syncretism and genesis of the aesthetic object.

Topic 3. Subjective structure, image, plot and genre in the era of syncretism.

Levels of studying the poetics of syncretism: subjective structure, structure of the verbal image; poetics of plot and motive; the birth of literary families. Ideas about authorship: anonymity, impersonality. Figurative language: the principle of parallelism and its variants. Formation of imagery; early forms of the trope. Features of plot construction: cumulative and cyclic plots; interaction of two schemes. Differentiation of genera; method of execution as a generic criterion.

MODULE 2 Eidetic poetics

Topic 4. Eidos as a generating principle.

Second stage of historical poetics; chronological boundaries. The transition from syncretism to distinction, from myth to concept. The concept of eidos as fundamental: the merging in eidos of the “idea” of a thing and its existential nature; unity of figurative and conceptual principles. A new generative artistic principle based on traditionalism. Canon orientation; principles of rhetoric and reflexivity.

Topic 5. Subjective structure and verbal image in eidetic poetics.

The birth of personal authorship and the change in the status of the hero. The duality of author and hero. Narrative situations: auditorial; first person narration. "Omniscient author" and "ready" hero. Status of the eidetic word: “ready” and “alien”. Allegory and symbol as constants of the language of mythological culture. Trail system; variants of tropes in national cultures.

Topic 6. Plot and genre in eidetic poetics.

The concept of “ready-made plot”; new qualities of the plot: allegory (allegorism); the beginning of the formation of the plot of formation. Subjects-duplicates; the nature of the framing situation. Genre canon and genre thinking. Strict and free genre forms. Poetic genres; their traditionalism. The novel as a marginal genre. Eidetic character of dramatic thinking.

Module 3 Poetics of artistic modality

Topic 7. Principles of poetics of artistic modality.

Chronological framework; classical and non-classical stages of development. Autonomous personality and the non-classical self. "External" and "internal" point of view in the narrative; the author as “the autocratic creator of his work.” Romantic poetics of “possibility” and the image of an unready world. Art as a game; autonomy of art. Modality of artistic thinking.

Topic 8. Subjective sphere.

Subjects of the author's plan: self-esteem “I” and “I-other”. Storyteller, author, narrator in the subjective structure of artistic modality. Image-personality and author's position. Author and hero in early realism and analytical realism. The dominant of the hero's self-awareness. Non-classical subject structures: duality “I-other”; overlapping speech contexts. Subjective metamorphoses in lyrics and prose.

Topic 9. Verbal image.

Prosaic and poetic heteroglossia; the appearance of a “two-voice word” (). The concept of “poetic modality” as a fundamentally probabilistic and aesthetically realized measure. Transformation of tropes. Revival of archaic types of verbal image; substantial syncretism and cumulation in the poetics of the non-classical stage of the era of artistic modality. Artistic modality as a principle of correlation of figurative languages. Autonomy of verbal image; the problem of its connection with the narrative beginning.

Topic 10. Plot and genre.

The plot is the situation and the plot of formation. “Open ending” in the poetics of the plot; its "probabilistic multiplicity". The principle of plot uncertainty and types of its construction: modality of meaning, modality of event, possible plot, plot polyphony. Non-cumulative plot and its aesthetic functions. Decanonization of genres; violation of the canon and genre modality. "Internal measure" of the genre.

Module 1.

Lesson 1. Subject, tasks and method of historical poetics.

The subject of historical poetics and its tasks. History of the creation and development of the discipline; main stages. “A step from the past” or “A step from the present”? Leading concepts of the method of historical poetics.

Lesson 2. Syncretism as an artistic principle.

The era of syncretism as a subject of historical poetics: ways of study. The principle of syncretism in the concept. Code of syncretic artistry (“indivisibility of the whole”).

Lesson 3. Subjective structure, image, plot and genre in the era of syncretism.

Subjective structure in the era of syncretism: anonymity and the absence of the concept of authorship. The figurative language of parallelism and the evolution of figurative consciousness. The plot is cumulative and cyclical. The principle of proximity. Genres and genres: syncretism of singing, speech and narration.

Module 2.

Lesson 4. Eidos as a generating principle.

The concept of eidos in ancient philosophy (Plato). Traditionalism of eidetic poetics: the canon in mythological culture and its forms. Reflexivity of eidetic thinking, its “reverse perspective”.

Lesson 5. Subjective structure and verbal image in eidetic poetics.

2. A ready-made hero: a mythological idea of ​​a literary character.

3. Ready word: a system of tropes in eidetic poetics.

Lesson 6. Plot and genre in eidetic poetics.

“Ready plot” and its forms. Poetic genres in the eidetic era. Dramatic genres.

Module 3.

Lesson 7. Principles of poetics of artistic modality.

Lesson 8. Subjective sphere.

Forms of authorship and subjective organization in the poetics of artistic modality. The author and the hero in classical realism: the hero’s self-awareness as a narrative dominant. Subjective structures in the lyrics of the non-classical period.

Lesson 9. Verbal image.

Lesson 10. Plot and genre in the poetics of artistic modality.

1. Plot-situation and plot of formation. “Open ending” and its aesthetic meanings.

2. The principle of plot uncertainty and types of plot construction.

7. Educational and methodological support for students' independent work. Assessment tools for ongoing monitoring of progress, intermediate certification based on the results of mastering the discipline (module).

Educational and methodological support for students’ independent work:

1. Broitman poetics: Textbook. M., 2001.

2. Broitman poetics: Reader - workshop. M., 2004.

3., Tyupa literature: Textbook: In 2 vols. M., 2004.

INDEPENDENT WORK OF STUDENTS:

Topics for self-study of course problems:

Concepts of micro- and macroepochs in the science of literature. Concepts of historical poetics in the history of science in Russia. Historical poetics in the Western tradition (W. Scherer, F. Zengle, etc.) Current problems of historical poetics.

Literature for mandatory note-taking: primary sources

1. Veselovsky historical poetics // Veselovsky poetics. M., 1989.

Bakhtin of time and chronotope in the novel (Essays on historical poetics). (any edition) Broitman poetics (Introduction) // Theory of literature in 2 volumes. Ed. . M.: RSUH, 2004. T.2. pp. 4-14. Mikhailov translation // Mikhailov translation. M., 2000. P. 14-16.

Independent work for classes:

1. Compile a dictionary of scientific concepts developed in historical poetics.

2. Make a table of systemic features of the first era of poetics.

3. Make a table of systemic features of the second era of poetics .

4. Make a table of systemic features of the poetics of artistic modality.

5. Prepare a report on one of the methodological problems of historical poetics.

6. Prepare a report on one of the concepts of historical poetics:

TOPICS of reports:

Historical poetics in concept.

Historical poetics in concept.

Historical poetics in concept.

Historical poetics in the concept of Steblin-Kamensky.

Historical poetics in concept.

Historical poetics in concept.

7. Write a creative work (essay)

1. Subject of research, method, objectives.

2. The theory of syncretism in ancient poetry.

3. The problem of the origin of literary genera; Veselovsky's polemic with Hegel.

4. Typology and evolution of the epithet.

5. The concept of motive and plot.

6. The significance of “Historical Poetics” for domestic and world literary criticism.

Literature

1. Veselovsky Historical poetics. M., 1986.

2. Academic schools in Russian literary criticism. M., 1975.

3. Gorsky I.K. A.N. Veselovsky and modernity. M., 1975.

Lesson No. 10

Text. Subtext. Context (contextual analysis capabilities)

1. The concept of text and its components.

2. Text and work, text and meaning. Subtext as “text depth” (T. Silman).

3. Text and context; types of contexts. The essence of contextual study of a literary work.

4. Theory of intertextuality. Types of intertextual signs and relationships.

Text for analysis: Pelevin V. The ninth dream of Vera Pavlovna // Pelevin V. Yellow Arrow. M., 1998.

Text assignment

2. Determine the nature and purpose of this dialogue.

Literature

Main

1. Bakhtin M.M. The problem of text in linguistics, philology and other humanities. Experience of philosophical analysis // Bakhtin M.M. Aesthetics of verbal creativity. M., 1986. P.297-325.

2. Bart R. From work to text. Pleasure from the text // Bart R. Izbr. works: semiotics. Poetics. M., 1989. P. 414-123; 463-464, 469-472, 483.

3. Kristeva Yu. Bakhtin, word, dialogue and novel // Bulletin of Moscow State University. Ser. 9. Philology. pp. 97-102.

4. Khalizev V.E. Text //Introduction to literary criticism. Literary work: basic concepts and terms. M., 1999. S. 403-406, 408-409, 412 - 414.

5. Khalizev V.E. Theory of literature. M., 1999. P.291-293.

Additional

1. Lotman Yu.M. Text as a semiotic problem: Text within the text // Lotman Yu.M. Favorite Art.: In 3 volumes. T.1. Tallinn, 1992. pp. 148-160.

2. Zholkovsky A. Wandering dreams: From the history of Russian modernism. M., 1994. P.7-30.

Lesson No. 11 – 12

Postmodernism as an artistic system

Part 1

1. The origins of postmodernism (philosophical and ideological).

2. Basic principles and features of postmodern poetics:

1) Intertextuality and polystylistics:

Specifics of postmodern reality (world = text);

Refusal of novelty.

2) Game and ironic discourse;

3) Transformation of the principle of dialogism:

Development of M. Bakhtin's idea of ​​polyphonism in postmodernism;

Expansion of the “creative chronotope” (M. Bakhtin’s term) and the principle of simultaneity;

Part 2

4) A new understanding of chaos (“chaosmos” is D. Joyce’s term) and the problem of postmodern artistic integrity.

4. Postmodernism – the death of art or a new phase of literary evolution?

Text for analysis: V. Pelevin “The Ninth Dream of Vera Pavlovna”

Assignment according to the text: Find the features of postmodern poetics in the proposed texts:

1) show how different language styles and strategies are combined in the text; give examples of stylistic dissonances and oxymorons;

2) how ironic discourse manifests itself in the text;

3) characterize the model of the world in Pelevin’s story.

Literature

General

1. Lipovetsky M.N. Law of steepness // Questions of literature. 1991. No. 11-12. pp. 3-36; (esp.:3-12).

2. Lipovetsky M.N. Russian postmodernism: Essays on historical poetics. Ekaterinburg, 1997. pp. 8-43.

3. Stepanyan K. Realism as the final stage of postmodernism // Znamya. 1992. No. 9 P.231-239 (esp. 231–233).

4. Epstein M. Proto-or the End of Postmodernism // Znamya. 1996. No. 3. P. 196-210 (esp. 207-209).

Additional

2. Groys B Eternal return of the new // Art. 1989. No. 10.

3. Ilyin I. Postmodernism: a dictionary of terms. M., 2001. P. 100-105; 206-219.

Lesson No. 13 – 14

Mass literature as an aesthetic phenomenon

1. Value approach to art. Literary hierarchies.

2. The concept of literary “top” and “bottom”, principles of differentiation.

3. The genesis of mass literature (factors that determined its emergence).

4. Specific features of poetics *.

5. Interpenetration of various spheres of literature. The role of mass literature in the historical and literary process

Literature

Main.

1. Khalizev V.E. Theory of literature M., 1999. pp. 122-137.

2. Melnikov N.G. Mass literature // Introduction to literary criticism: Literary work. M., 1999. P.177-193.

3. Zverev A.M. What is “mass literature”? // Faces of US mass literature. M., 1991. P.3-37.

4. Gudkov L.D. Mass literature as a problem. For whom? // New Literary Review. 1996. No. 22. P. 92-100.

Additional.

1. Lotman Yu.M. Mass literature as a historical and cultural problem // Lotman Yu.M. Selected articles: In 3 volumes. Tallinn, 1992. T.3. WITH.

2. New literary review. 1996. No. 22. (the magazine issue is dedicated to the problems of mass literature).

Part 2

*For a more visual representation of the features of the poetics of mass literature, the following are offered messages:

1) The poetics of the action novel.

2) The artistic formula of the “pink novel”.

3) Typological characteristics of a female detective.

4) Typological characteristics of fantasy literature (foreign or Slavic).

5) Poetics of comics (for children and youth).

Literature for messages:

1. Bocharova O The Formula of Women’s Happiness (Notes on a Women’s Love Novel) // New. lit. convoy 1996. No. 22. P.292-303..

2. Weinstein O. Pink novel as a machine of desires // Ibid. P.303-330.

3. Dolinsky V. “...when the kiss is over” (About a love affair without love) // Znamya. 1996. No. 1.

4. Dubin B. Test of consistency: towards the sociological poetics of the Russian action novel // Ibid. P.252-276.

5. Erofeev V.V. On the question of the history and poetics of comics // Ibid. P.270-295.

6. Other times: the evolution of Russian science fiction at the turn of the millennium. Chelyabinsk, 2010.

7. Chakovsky S.A. Typology of the bestseller // Faces of mass literature in the USA. M., 1991. P.143-206.

Historical poetics is a branch of poetics that studies the genesis and development of meaningful artistic forms. Historical poetics is connected with theoretical poetics through relations of complementarity. If theoretical poetics develops a system of literary categories and provides their conceptual and logical analysis, through which the system of the subject itself (fiction) is revealed, then historical poetics studies the origin and development of this system. The word "poetics" denotes both the art of poetry and the science of literature. Both of these meanings, without mixing, are present in literary criticism, emphasizing the unity in it of the poles of subject and method. But in theoretical poetics the emphasis is on the second (methodological) meaning of the term, and in historical poetics - on the first (subject-based). Therefore, it studies not only the genesis and development of the system of categories, but first of all the art of words itself, in this approaching the history of literature, but not merging with it and remaining a theoretical discipline. This preference for subject matter over method is also evident in methodology.

Historical poetics as a science

Historical poetics as a science took shape in the second half of the 19th century in the works of A.N. Veselovsky (his predecessors were German scientists, primarily W. Scherer). The basis of its methodology is the rejection of any a priori definitions proposed by normative and philosophical aesthetics. According to Veselovsky, the method of historical poetics is historical and comparative (“the development of the historical, the same historical method, only faster, repeated in parallel rows in the form of achieving the most complete generalization possible” (Veselovsky). For Veselovsky, an example of one-sided and non-historical generalizations was Hegel’s aesthetics , including his theory of literary genera, built only on the basis of the facts of ancient Greek literature, which were accepted as “the ideal norm of literary development in general.” Only a comparative historical analysis of all world literature allows, according to Veselovsky, to avoid the arbitrariness of theoretical constructions and to derive them. from the material itself, the laws of the origin and development of the phenomenon being studied, as well as to identify large stages of the literary process, “repeated, under the same conditions, among different peoples.” The founder of historical poetics in the very formulation of the method specified the complementarity of two aspects - historical and typological. Veselovsky, the understanding of the relationship between these aspects will change, they will begin to be considered more differentiated, the emphasis will shift either to genesis and typology (O.M. Freidenberg, V.Ya. Propp), then to evolution (in modern works), but the complementarity of the historical and typological approaches will remain a defining feature of the new science. After Veselovsky, new impetus for the development of historical poetics was given by the works of Freudenberg, M.M. Bakhtin and Propp. A special role belongs to Bakhtin, who theoretically and historically explicated the most important concepts of the emerging science - “big time” and “big dialogue”, or “dialogue in big time”, aesthetic object, architectural form, genre, etc.

Tasks

One of the first tasks of historical poetics- highlighting large stages or historical types of artistic integrity, taking into account the “big time”, in which the slow formation and development of an aesthetic object and its forms takes place. Veselovsky identified two such stages, calling them the eras of “syncretism” and “personal creativity.” On slightly different grounds, Yu.M. Lotman distinguishes two stages, calling them “aesthetics of identity” and “aesthetics of opposition.” However, most scientists, after the works of E.R. Curtius, adopted a three-part periodization. The first stage of the development of poetics, called differently by researchers (the era of syncretism, pre-reflective traditionalism, archaic, mythopoetic), covers difficult-to-calculate time boundaries from the emergence of pre-art to classical antiquity: The second stage (the era of reflexive traditionalism, traditionalist, rhetorical, eidetic poetics) begins in 7-6 centuries BC in Greece and in the first centuries AD. in the East. The third (non-traditionalist, individually creative, poetics of artistic modality) begins to take shape from the mid-18th century in Europe and from the beginning of the 20th century in the East and continues to this day. Taking into account the uniqueness of these large stages of artistic development, historical poetics studies the genesis and evolution of the subjective structure (the relationship between the author, hero, listener-reader), verbal artistic image and style, gender and genre, plot, euphony in the broad sense of the word (rhythms, metrics and sound organization). Historical poetics is still a young, emerging science, which has not received any completed status. There is still no strict and systematic presentation of its foundations and formulation of central categories.

IZVESTIYA RAS. LITERATURE AND LANGUAGE SERIES, 2015, volume 74, no. 3, p. 65-68

REVIEWS

V.N. ZAKHAROV. PROBLEMS OF HISTORICAL POETICS ETHNOLOGICAL ASPECTS. M.: "INDRIK", 2012. 263 p.

In front of me are two books by the same author. Their titles are different, and one of them is more of a theoretical-literary nature, and the second is of a historical-literary nature. One is dedicated to the “ethnological aspects” of the “historical poetics” of Russian literature, and the other to the work of F.M. Dostoevsky. So at first glance these are two thematically completely different books. But they have one main character. This is Dostoevsky. And this in itself makes them a kind of duology.

However, the mentioned books by the famous Russian philologist and, of course, one of the leading researchers in the country and in the world of F.M. Dostoevsky also has a unity of a more general order. This is the unity of one and the same integral and consistently pursued view of Dostoevsky as a writer, throughout his life and in almost all of his works, seeking resolution of the same questions: about God, about Russia, about the Russian people.

Many of the works that made up this unique two-volume work were familiar to me before, especially since some of them were published for the first time as part of two new collected works of the writer edited by V.N. Zakharova. And yet, reading it opened up a lot of new things for me. The scope of coverage of the problems of Dostoevsky’s work is so wide here. And, most importantly, collected into a single whole, these works, partly already familiar to me, made a different, and more powerful, impression. A look at the writer, consistently carried out in relation to the entire work of Dostoevsky, methodically and consistently applied to the most diverse features of his poetics, acquires special persuasiveness in the reviewed dilogy.

This view was formulated most directly and openly by V.N. Zakharov in such sections as “Russian literature and Christianity”, “Easter story”, “Symbolism of the Christian calendar in the poetics of Dostoevsky”, “Orthodox aspects of the ethnopoetics of Russian literature”, “Christian

Christian realism", "Tenderness as a category of Dostoevsky's poetics". The author shows in them that the Christian and, more precisely, Orthodox foundations of Russian literature are manifested in Dostoevsky in a variety of things: in the timing of the action of the works to the Christian calendar and to its symbolism, and in many other ways However, the analysis of individual works of Dostoevsky is also often carried out in the dilogy primarily from this point of view. Thus, about the novel “White Nights” it is said: “The miracle of Christian love, which was once revealed in the lyrics by Pushkin (the poem “I loved you.” .."), became the apotheosis of this “sentimental novel” by Dostoevsky” (IAD. P. 147).

The very central concept of the book “Problems of Historical Poetics”: “ethnopoetics” deserves special and closest attention. So V.N. Zakharov proposes to call it poetics, “which should study the national originality of specific literatures, their place in the world artistic process” (PIP. P. 113). At first glance, this concept is initially formulated and explained in a somewhat essayistic manner: “It must give an answer to what makes a given literature national, in our case, what makes Russian literature Russian. In order to understand what Russian poets and prose writers told their readers, you need to know Orthodoxy" (PIP. p. 113). However, here follows a clarifying example: “the artistic chronotope even of those works of Russian literature in which it was not consciously set by the author turned out to be Orthodox Christian” (PIP. P. 113).

In connection with this idea of ​​the author about the general nature of the ethnopoetics of Dostoevsky and some other Russian writers, many interesting observations are given in the dilogy. For example, that “in the novel “Resurrection” Nekhlyudov committed a shameful sin with Katyusha Maslova precisely on Easter - the holiday did not stop him and did not enlighten his soul” (PIP. P. 121), which in “Notes from the House of the Dead” Dostoevsky changed the time of his arrival in the Omsk prison so that “the impressions of the first month of his stay in hard labor would end with the Christmas holidays.”

nicknames, the description of which becomes the culmination of the first part of the “notes”” (PIP. P. 130), that the very name of Doctor Zhivago reflected the holiday of the Transfiguration of the Lord - according to his poems from Pasternak’s novel, “The sixth of August in the old way, the Transfiguration of the Lord” - the day , in which the “Son of Man” revealed to the disciples that He is the “Son of the Living God” (PIP. p. 114).

At the same time, it seems especially valuable that, speaking about “Orthodox aspects of the ethnopoetics of Russian literature” and polemicizing with A.M. Lyubomudrov and V.M. Lurie, V.N. Zakharov emphasizes that he means Orthodoxy “in a non-dogmatic sense”: “...Orthodoxy is not only a catechism, but also a way of life, a worldview and worldview of the people” (PIP. P. 145146). In this, the researcher relies on Dostoevsky himself, who wrote: “They say that the Russian people do not know the Gospel well, do not know the basic rules of faith. Of course this is true, but they know Christ and carry it in their hearts from time immemorial.” And this is precisely what gives V.N. grounds. Zakharov and Dostoevsky’s realism should not be called his own, in a conceptual sense, somewhat vague formula: “realism in the highest sense” - but more specifically: “Christian realism”.

True, when, developing this approach, a researcher writes about the hero of the novel “The Idiot”: “In the novel, Dostoevsky gave the image of not just a “positively beautiful person,” but a Christian, i.e. a person who lives according to Christ’s love, according to the commandments of the Sermon on the Mount up to the extreme “love your enemy” - such is the effect of the final scene of the novel, the last fraternization of Myshkin and Rogozhin at the body of the murdered Nastasya Filippovna” (PIP. p. 172) - then the question arises: can maybe so, but why then does it all end so tragically? And not only because of the imperfect earthly world, but also obviously because the actions of Myshkin himself, paradoxically, involuntarily push the heroes of the novel to this tragic denouement. Isn’t Prince Myshkin also partly embodied some specific idea of ​​Christ, not entirely shared by Dostoevsky: E. Renan or Leo Tolstoy with his “non-resistance to evil through violence”?

However, as a rule, when you want to argue with an author, possible counterarguments on his part are always visible in advance in his books. Thus, the effect of the endings of both Pushkin’s “Belkin’s Tales” and many of Dostoevsky’s works by V.N. Zakharov defines it as “tenderness.” Sometimes the inner feeling seems to rebel against

this (at least in relation to Pushkin), and I would like to replace this word with the familiar concept of “catharsis”. However, it is the word “tenderness” that is repeatedly used in these works by Dostoevsky himself (see: PIP. pp. 179-194).

Another important feature of the duology is that it was written by a textual critic. Hence the abundance of textual subjects in it: about the role of Dostoevsky’s italics, about capital and small letters in the spelling of the word “God” (which in Soviet times was often written with a small letter, while the word “Satan” with a capital letter - PIP. S. 226-227), about the second edition of "The Double", about the initial plans and final text of the novel "The Idiot", about the possibility of including the chapter "At Tikhon's" in the text of "Demons" (the researcher comes to an important conclusion: "to include the chapter "At Tikhon's" possible only to the magazine editorial office of 1871-1872” (IAD. P. 349) - and others.

This feature of both books predetermines the nature of V.N.’s decision. Zakharov many other questions. For answers to them, the researcher first of all turns to Dostoevsky himself. And here important things become clear: that, for example, “pochvennichestvo is a late term”, which “Dostoevsky and his like-minded people did not use” (PIP. P. 230), that the expression “fantastic realism”, which is used by many researchers when referring to Dostoevsky , in reality it does not occur; we find in him only: “realism reaching the fantastic” (and even then in application to “genus”, that is, rather in an everyday meaning) - or: “... what the majority calls almost fantastic and exceptional, then for sometimes the very essence of the real constitutes me" (IAD. pp. 14-15).

By the way, the author’s constant commitment not only to the meaning, but also to the letter of Dostoevsky allows him to convincingly remove from the writer the bogeys often thrown at him - such as, for example, the accusation expressed, in particular, by the director A. Mikhalkov-Konchalovsky that he allegedly said: “in a Russian person, commitment to a great idea is surprisingly combined with the greatest meanness, and the future will show what is more in him, whether a great idea or meanness.” Meanwhile, Dostoevsky’s similar, but far from identical thought (and extended not only to Russians) is expressed by his hero, Arkady Dolgoruky from the novel “The Teenager”: “... I have marveled a thousand times at this ability of man (and, it seems , Russian person

V.N. ZAKHAROV. PROBLEMS OF HISTORICAL POETICS

predominantly) to cherish in your soul the highest ideal next to the greatest meanness, and everything is completely sincere" (IAD. pp. 10-11).

This same peculiar “Dostoevsky-centrism,” which is undoubtedly the author’s strong point, marks the initial, literary and theoretical sections of “Problems of Historical Poetics.” Thus, in the section “Dostoevsky and Bakhtin in the modern scientific paradigm,” a seemingly obvious, but in fact quite paradoxical idea is convincingly presented: “Dostoevsky significantly influenced Bakhtin. Many ideas that are taken to be Bakhtin’s ideas were actually expressed by Dostoevsky” ( PIP. P. 88).

The section “Problems of Historical Poetics” entitled “Textology as Technology” has a programmatic character in this regard for the author. As you know, V.N. Zakharov is the publisher of the so-called “Canonical Texts” of Dostoevsky - “publications in the author’s spelling and pun

A.N. OSTROVSKY AND F.M. DOSTOEVSKY (ON THE QUESTION ABOUT M. DOSTOEVSKY’S ARTICLE “THE THORMON. DRAMA IN FIVE ACTS BY A.N. OSTROVSKY”)

KIBALNIK S.A. - 2013