Urban prose of the 50s and 80s. Urban prose (Trifonov)

The city as a conditional background, a specific historical and national color, existing living conditions, appears in literature from ancient times. Suffice it to recall the Egyptian, Babylonian-Assyrian, Greek, Roman myths. In the Old Testament, Cain and the descendants of Ham, cursed by Noah (Nimrod, Assur), are named among the first builders of cities. The wicked and sinful were branded at the foundation of Babylon (for the ambition and desire of its inhabitants to build a tower to heaven, equaling the Almighty), Sodom and Gomorrah. The books of the prophets Ezekiel, Jeremiah paint pictures of perishing cities, destroyed by the elemental forces of nature directed by God - fire, earthquake, flood. It can be rightfully asserted that the city was an indispensable and indispensable condition for the appearance of a huge number of works, among which world masterpieces can be named, starting with the famous collection of short stories "The Decameron" by D. Boccaccio. O. Balzac's "Father Goriot", Ch. Dickens' "David Copperfield", F. Dostoevsky's "The Idiot", Thomas Mann's "Buddenbrooks", A. Camus's "Plague", and "Petersburg" became a direct product of urban civilization. A. Bely, and "Manhattan" by Dos Passos, etc. Researchers also could not ignore this fact. A whole scientific direction has developed that analyzes the features of the image of the city in works of art. It is characteristic that the problem of the city and literature is filled in different historical periods and sometimes mutually exclusive meanings for different researchers.

Thus, the ideological orientation of a number of works of ancient literature (a typical example of Sophocles' "Antigone") is considered by scientists as a stage in the development of civilization: the transition from tribal, tribal ties to the laws of city-polises. Medieval researchers actively use the term "urban literature" in relation to Western European medieval culture.

Scientists single out in French and German literature "the development over a historically short period" of "estate literature in its pure form, without impurities." “There is a division of national literature on the basis of class into “literature of castles”, i.e. courtly, “literature of monasteries”, i.e. clerical and “literature of cities”, literature of the third estate (Mikhailov 1986, Ocheretin 1993, Sidorova 1953, Smirnov 1947, etc.) "This almost" sterile ", almost completely isolated from each other development of estate literatures in their cultural centers during its albeit brief heyday was the "finest hour" of each of them, the period when they appear in its brightest, purest and most characteristic manifestations,” writes Yu.V. Ocheretin. (Ocheretin 1993: 306). embodied picture of the world acts as an antipode in relation to clerical and courtly poetry and prose.

Of course, this aspect relates primarily to the field of sociological research. Traditionally, the city in most works of culturologists and literary critics is considered as a specific subject area of ​​sociology, which reveals the semantic content on the basis of a literary text. City, ss m and village, nation, soil, etc. - these are the main nodes of the social structure, and a work of art "recognizes" them in the context of culture at the level of thematicization of value-normative systems, conceptual schemes. From these positions, researchers have long noted that the work of writers can be considered from the point of view of functioning within the framework of the agrarian (agricultural) or urban (urban) channel of human development. Thus, the socially relevant and folk-mythological layer of the works of N.A. Nekrasov, L.N. Tolstoy, M.A. Sholokhov, A.T. Tvardovsky goes back not only to the artistic "rhythms of continuity", but also to the agricultural branch of culture . With the development of urban civilization, the elements that form the rural world image (the image of the earth, sky, fields, things, houses, labor, death, time, space, etc.) undergo certain changes and transformations. This finds an appropriate artistic embodiment in the work of writers who seek to comprehend reality through the features of the urban environment. The process of separating the urban branch of culture from the agrarian-agricultural worldview was considered in the works of M.M. Bakhtin and A.Ya. Gurevich. In the book "The Creativity of François Rabelais and the Folk Culture of the Middle Ages and the Renaissance," the author notes the transformation of the folk-peasant image of the land into the image of the city. This is determined, according to M.M. Bakhtin, by “the separation of the body and things” “from that unity of the birthing earth and the universal growing and ever-renewing body with which they were associated in folk culture” (Bakhtin 1990: 30). As a result, "bodies and things" turn into images of "objects", "objects" of the application of a subjective, material value meaning, which means the formation of an urban (publicly externalized) world image. In other words, the literary critic emphasizes that the urban branch of culture is focused on practical activity rhythms as opposed to non-utilitarian and non-production ones. A.Ya. Gurevich connects the beginning of the formation of the urban image of time with the filling of the "concrete-sensual shell of chronos" with material and valuable, labor meaning. ("In a European city, for the first time in history, the "alienation" of time as a pure form from life begins, the phenomena of which are subject to measurement" (Gurevich 1984: 163). Researchers attribute this process to the end of the Middle Ages. In the future, there is a global demarcation of the agrarian-agricultural and urban branches of culture, which is also reflected in works of fiction. However, the sociological approach in the dissertation is not decisive, it is, first of all, the initial methodological premise leading to the problems of poetics.

In Russian literary criticism, interest in the problem of city-literature arose in the 19th century (the essay "The City and the Village" by F. Glinka, articles by V. Belinsky,! A. Grigoriev, etc.). In addition to the authors' choice of certain life material, gravitation towards one or another type of characters, a system of conflicts, the word artists in separate articles substantiated the specifics of understanding reality in the image of a city or village. It is very important to emphasize that already in the 19th century, the village-town began to be opposed as two different concepts of personality and spatio-temporal coordinates.

The statements of writers of the 19th century draw a dividing line in genre models as well. So, A. Grigoriev writes about "special Petersburg literature" (Grigoriev 1988: 5), the term "Petersburg" as a genre-defining term is also assigned to works by other artists of the word: "The Bronze Horseman" ("Petersburg Tale") by A. S. Pushkin; "Petersburg Tales" by N.V. Gogol; ^ "Double" ("Petersburg Poem") by F.M. Dostoevsky, etc. This tradition continued into the 1990s.

F. M. Dostoevsky also raises the question of the “special Petersburg period” in Russian history. Its origins, according to the writer, begin with the reforms of Peter the Great, its logical conclusion is the bureaucratic monarchy, which turned the country onto the Western European path of development. The result was a deepening of the abyss between the people, who did not accept the reforms, and the ruling elite; apathy, inactivity, intensified in society; simplification of the views of higher Russia on popular Russia, etc.

At the beginning of the 20th century, D.S. Merezhkovsky (“The Life and Works of L. Tolstoy and Dostoevsky”), V. Bryusov (“Nekrasov as a Poet of the City”), A. Bely (“Gogol’s Mastery”) turned to the problem of city-literature. . In his book, the symbolist critic contrasts the authors of the novels "War and Peace" and "Crime and Punishment" not only as "clairvoyant of the flesh" and "clairvoyant of the spirit", but also as artists belonging to different types of culture: agricultural and emerging urban.

Following D.S. Merezhkovsky, V. Bryusov, and after him A. Bely, revealed the specifics of the perception of reality in the image of St. Petersburg by a number of writers of the 19th century. In the article "Nekrasov as a poet of the city" (1912), one of the founders of symbolism notes the urban nature of the lyrics dedicated to the northern capital, the author of "Reflections at the front door", "On the weather". First of all, this was reflected, according to V. Bryusov, in the refraction of the St. Petersburg theme in the social aspect (the life of the poor townspeople) and in the urban structure of the poet's speech, "hurried, sharp, characteristic of our age" (Bryusov 1973-1975: vol. 6: 184). This approach was not accidental: in his articles, the writer repeatedly characterizes the poetry of Baudelaire and Verharne as urbanistic. A. Bely made a similar emphasis on the work of the author of Petersburg Tales. In his book Gogol's Mastery (1934), he calls the classic of nineteenth-century literature the father of the literature of urbanism. A. Bely writes about the features of Gogol's vision of the city, bringing him closer to the futurists and avant-garde artists. The points of contact are in the shift of the planes of the image, the urbanistic pathos of the perception of nature. “For urbanists, constructivists, a turn to the apparatus, a turn away from nature is typical,” notes A. Bely. “Gogol in urbanistic pathos renounces nature, in which he is in love.”

In these works, the word artists were only just outlining approaches to the theme of "the writer and the city", N.P. Antsiferov, the author of the books "The Soul of St. Petersburg" (1922), "Dostoevsky's Petersburg" (1923), and the myth of Petersburg" (1924). The scientist in his works formulated and put into practice two major research principles: identifying the image of the city in the works of prose writers and poets and analyzing the reflection of the urban environment in the texts of works. In the book "Soul of Petersburg"

N.P. Antsiferov outlines "stages of development of the image of the city", starting with Sumarokov and ending with A. Blok, A. Akhmatova, V. Mayakovsky (Antsiferov 1991: 48). In the books of the scientist, aspects of the theme "writer and city" were clearly outlined, which received their further development in literary criticism. Of the most important, it should be noted: the correlation of St. Petersburg with other cities; the motive of the struggle of human creation with the elements, developing into the motive of the death of the city under the onslaught of natural forces; highlighting the characterological features of the northern capital (intentionality, abstractness, tragedy, mirage, fantasy and 1 and ity, duality); description of the landscape, landscape and architectural framework; continuity and traditions in the depiction of the city on the Neva; evolution of the image-symbol of the Bronze Horseman; "Petersburg" myths, etc.

For N.P. Antsiferov, the "fluid", "creatively changeable" image of the city determines the unity and "special rhythms of development" of works about St. Petersburg. The scientist's approach in many respects anticipates the principles of the structural-semiotic school, but it is not adequate to the idea of ​​the "Petersburg text". Considering that N.P. Antsiferov connects the development of the image of the northern capital during the 18th-20th centuries with the concept of la c!uree (duration), borrowed from A. Bergson, the method of the author of the book "The Soul of Petersburg" can be characterized as a study of the St. Petersburg line of literature . The principles developed by the scientist were further developed in the works of L. Vidgof, L. Dolgopolov, G. Knabe, V. Krivonos, V. Markovich (Vidgof 1998, Dolgopolov 1985, Knabe 1996, Krivonos 1994, 1996a, 19966; Markovich 1989, etc. .d.).

Representatives of the structural-semiotic school (Yu. Lotman, Z. Mints, V. Toporov, etc.) developed a special approach to the problem of the embodiment of St. Petersburg in works of fiction. Researchers develop the idea of ​​4 city-texts, in particular, the "Petersburg text". The essence of this approach is the formation of an empirical monolithic supertext based on specific works of literature. The cementing beginning and selection criteria are connected with the unity of the description of the object (Petersburg), with a single local Petersburg dictionary, with subordination to the maximum semantic setting - the path to moral, spiritual rebirth, when life perishes in the kingdom of death, and lies and evil triumph over truth and good , - realized in the elements of the internal structure (objective composition, natural and cultural phenomena, mental states) of the St. Petersburg supertext, with a thickening of tension, sharpness or relaxation of energy preconceptions that manifest themselves at the subconscious level. For researchers, the diversity of genres of works, the time of creation, the ideological, thematic, philosophical, religious and ethical ideas of the authors do not play any role. This is the main difference, notes V.Toporov, between the themes "Petersburg in Russian literature" ("Image of Petersburg") and "Petersburg text of Russian literature". Despite the specificity of the approach and methods of research, the conclusions of the structural-semiotic school are very fruitful and important. The achievements of this area of ​​literary thought were used by scientists who turned to the problem of city-literature from more traditional positions.

It should be noted that by the mid-1990s, in the traditions of the structural-semiotic school, the concept of the "Moscow text" of literature was also being developed (Moscow and the "Moscow text" of Russian culture 1998; Weiskopf 1994, Lotman's collection 1997, etc.).

However, the most common approach to the problem of a big city in literature in the works of Soviet literary critics is thematic. And in this case, Moscow, St. Petersburg or Leningrad are perceived only as a background, and the townspeople as the protagonists of the works (Aleksandrov 1987, Borisova 1979, Vernadsky 1987, Makogonenko 1987, etc.).

An analysis of the scientific literature on the topic allows us to identify a number of concepts that function at the terminological level: the theme of St. Petersburg, Moscow (big city) in Russian literature, the St. Petersburg tradition in Russian literature, the St. Petersburg - Moscow line (branch) of literature, the St. Petersburg - Moscow text. In accordance with these literary concepts, the author uses them in his dissertation.

In foreign literary criticism, the appearance of works related both to the theme of the city and the reflection of urban processes in art has become quite traditional. Researchers turn to opposition

C and m w "desirable village and terrible city and their significance in European culture from antiquity to the present day in various aspects (Sengle I. Wunschbild Land und Schreckbild Stadt; Sengle F. "The image of a desirable village and a terrible city-fla"); Williams R. "The country and the city; (William P. "The Village and the City"); Knopfimacher U.C. The novel between city and country; (Knopflmacher W. "The novel between city and country"), to the study of the city as a projection of central themes in works, to the problem of the space of the city and the countryside as an ideal utopian space (Poli V. Le roman american, 1865-1917: Mythes de la U frontiere et de la ville" (Poli B. "American novel 1865-1917: Mythology borders and cities "); Stange G.R. The frightened poets (Standzh G. Frightened poets); Watkins F.C. In time and space: Some origin of American fiction. (Watkins F. "In time and space: On the origins of the American novel"), etc. .d.

Of the books written by foreign scientists, it is worth highlighting the following studies: Fanger Donald "Dostoevsky and Romantic Realism. A Stady of Dostoevsky in Relation to Balthac, Dickens and Gogol". (Fanger D. Dostoevsky and Romantic Realism. The study of Dostoevsky in the context of Balzac, Dickens and Gogol) and Pike V. Image of the city in modern literature. (Pike B. "The image of the city in modern literature"). In the first of these works, the literary critic characterizes in detail the demonic city (the "spiritual city" of Benyan or John Chrysostom, captured by demonic passions) in its metropolitan-European projection, which was artistically embodied by Gogol, Dostoevsky, Balzac and Dickens (Fanger 1965: 106-115). In the book of the American researcher B. Pike, the city in the European literary tradition is considered through the interaction of contradictory, and often polar attitudes. On the one hand, it is the result of the development of civilization, a repository of accumulated knowledge and wealth, and on the other hand, it is a degenerate, emasculated source of moral and spiritual decay. The literary critic analyzes the city as a socio-psychological organism and a mythological structure in space and time.

In the works of foreign researchers, a special point of view on the city as a "locus of modernism" has also developed and, as a result, the assimilation of the style of modernism by the style of the city's literature (F.Maierhofer "Die unbewaltige Stadt: Zum problem der Urbanization in der literatur". Mayerhöffer F. Nepokorenny City: On the Problem of Urbanization in Literature W.Sharpe, L.Wallock "Visions of City" W.Sharp, L.Wallock "Journey to the City").

In the noted works of researchers, the focus was primarily on those writers, some of whom, as N.P. Antsiferov wrote, “created a complex and integral image of the northern capital”, others “contributed their ideas and aspirations to comprehend St. Petersburg in connection with with a common system of their world outlook", others, "combining all this, created a whole world from Petersburg, living its own self-sufficient life" (Antsiferov 1991: 47). In other words, literary critics turned to the work of prose writers and poets, who primarily and to a greater extent perceive reality in the image of a big city.

Especially in connection with the problem of the city and literature, it is necessary to dwell on the assessment of the works of A.P. Chekhov by scientists (in the context of the creative influence of the master of the short story on the urban prose of the 70-80s of the XX century). N.P.Antsiferov gave the following description of the work of the author of "A Boring History", "The Black Monk": "A.P.Chekhov also remained indifferent to the problem of the city as an individual existence. By the end of the 19th century, Russian society had completely lost its sense of the identity of the city. A.P. Chekhov, one can find only fleeting remarks characterizing the life of St. Petersburg" (Antsiferov 1991: 108).

Indeed, the image of a big city does not occupy such a place in the artistic world of the master of short stories as in the work of A.S. Pushkin, N.V. Gogol, F.M. Dostoevsky. The most characteristic chronotope of his works is a provincial town or a noble estate, St. Petersburg, "the most abstract and deliberate", and Moscow, which is increasingly assimilating this abstraction and intentionality, is the scene of a relatively small number of A.P. Chekhov's narratives.

So, the appearance of the northern capital was reflected in the stories "Sly", "Protection", "Longing", "The Story of an Unknown Man" and some others. Moscow acts as a background against which events take place, in the following works - "Strong Feelings" , "Good people", "Without a title", "Seizure", "Lady with a dog", "Anyuta", "Wedding", "Three years", etc. And yet, many researchers recognized that the work of A.P. Chekhov is primarily associated with the development of urban culture. "If you are not afraid of some aggravation of the formulation, then it can be argued that the epic," rural "image of the world in Chekhov's work is being replaced by the chronotope of the" big city ", because the openness and heterogeneity, the mismatch geographical space with a psychological field of communication - signs of urban society, - rightly points out I. Sukhikh. - "The Big City" is not at all a theme and not an image in Chekhov's work (formally, of course, he is a less "urban" writer than Gogol or Dostoevsky), but precisely a method, principle, artistic vision that unites different areas of the image "(Sukhikh 1987: 139-140)."Big city" as a principle of artistic vision is manifested in the work of A.P. life of the "humiliated and insulted"), and in the embodiment of a type of disoriented worldview, and in a heightened interest in the "average person" - a loser and "ordinary life", and in understanding the world as having lost its integrity, connection, which has become a mechanical set of random, heterogeneous and diverse phenomena, and in bringing to the limit the psychological incompatibility of the characters, and in the theme of alienation, and in the special means of poetics. Much of what the master of short stories ingeniously felt and artistically embodied, modern culturologists and sociologists will use to characterize and identify the "urbanized habitat".

Taking into account the significance of Nabokov's traditions for urban prose of the 70-80s of the XX century, we note a similar approach (similar to the assessment of A.P. etc. Z. Shakhovskaya in her book "In Search of Nabokov" emphasizes that V. Nabokov is "a metropolitan, city Petersburg man", the direct opposite of "Russian landowner writers who had land roots and knowledge of the peasant dialect" (Shakhovskaya 1991: 62-63). For the researcher, this dominant attitude of Nabokov the man turned out to be a leitmotiv way of seeing and the principle of the artistic embodiment of reality, characteristic of the creative individuality of the prose writer. As Z. Shakhovskaya notes, in the work of V. Nabokov "descriptions of Russian nature are similar to the delights of a summer resident, and not a person who is blood-connected with the land", mostly "landscapes, not rural", in the descriptions "new words, new shades" prevail colors and comparisons" - unusual and exotic, unusual for Russian literature and the hero's hobbies - collecting butterflies (Shakhovskaya 1991: 63). "Nabokov's Russia is a very closed world, with three characters - father, mother and son Vladimir," the researcher concludes. Widespread, including in the works of foreign literary critics, is the interpretation of V. Nabokov's works as a modernist "locus" of urban culture. Recently, special works have appeared that consider the specifics of the refraction of the theme of the city in the work of V. Nabokov

Engel-Braunschmidt 1995). This approach - an attempt to evaluate this or that writer from the standpoint of the development of primarily urban culture - seems to be an extraordinary perspective that allows you to see unexpected features of the creative individuality of the artist of the word.

It should be noted a number of aspects of the city-literature problem, which were addressed by the researchers.

The mythological aspect is focused not only on St. Petersburg or Moscow myths, but also on the urban type of culture in the context of the cosmogonic process (sacred sign, sacred location; the cult of the founder, endowed with the features of a cosmocrator, demiurge and gradually acquiring the functions of a guarding spirit, deity; special rituals associated with foundation of the city). The identification of a specific "archaic prototype" of the city behind concrete historical realities can also be named in the same row (Antsiferov 1924, Braginskaya 1999, Buseva-Davydova 1999, Weiskopf 1994, ^ Virolainen 1997, Gracheva 1993, Dotsenko 1994, Knabe 1996, Krivonos 1996a , Lo Gatto 1992, Nazirov 1975, Ospovat, Timenchik 1987, Pike 1981, Petrovsky 1991, Skarlygina 1996, etc.). Another aspect of the city-literature problem is genre. A number of researchers have singled out the genre of "Petersburg story" (Makogo-nenko 1982, Markovich 1989, Zakharov 1985, O. Dilaktorskaya 1995, 1999). L.P. Grossman writes about the "urban novel", L. Dolgopolov and Dilaktorskaya about the "Petersburg novel" (Grossman 1939; Dolgopolov 1985, 1988, Dilaktorskaya 1999). This approach to works of art is not limited to Russian literature of the 19th and early 20th centuries. type of urban novel in American literature and B. Gelfant (Gelfant 1954).

One of the ways of developing research thought, which turned to the specifics of the city-literature correlation, was an attempt to see the conceptuality of symbolism, acmeism and futurism as literary trends through understanding reality in the form of centers of civilization. However, this problem is more stated than solved. Perhaps, only for futurism as a literary trend, almost all researchers emphasized the importance of urbanism, both for policy statements and for creativity (“Futurists showed interest in the material culture of the city,” A. Mikhailov (1998: 86) notes; “How it is known that the life of a large modern city was part of a futuristic program,” write the authors of “History of Russian A literature. Literary critics note the ecstasy of describing technology and the achievements of civilization, the desire to reflect the hectic life of a big city, the "religion of speed" that conveys the dynamism of the development of reality, the embodiment of the principle of "simultanism" (transferring chaos and cacophony of heterogeneous perceptions), the introduction of the "telegraph style", the cultivation of compositional and plot shifts, displacements and breaks of the form. One can single out a number of scientific works devoted to the study of the image of the city in the work of futurists (Stahlberger 1964, Kiseleva 1978; Chernyshov 1994; Marchenkova 1995; Bernstein 1989; Starkina 1995; Bjornager Jensen 1977, 1981, etc.) .

The city has always been of interest to representatives of another literary trend in Russian literature of the early 20th century, the acmeists, as a cultural and historical phenomenon. Researchers wrote about Petersburg to A. Akhmatova (Leiten 1983, Stepanov 1991, Vasiliev 1995); O. Mandelstam (Barzakh 1993; Van Der Eng-Liedmeier 1997, Seduro 1974, Shirokov 1995, etc.); Moscow, Rome O. Mandelstam (Vidgof 1995, 1998, Pshybylsky 1995, Nemirovsky 1995, etc.). However, to correlate the specifics of acmeism as a literary trend with the artistic principles of the embodiment of the image of the city in the work of these poets and N. Gumilyov has yet to be. For the first time this problem was posed by # V. Veidle. In the article "Petersburg Poetics", the literary critic pointed out that acmeism organically grows out of Petersburg poetics ("What turned out to be common among the three poets who wrote the poems "Alien Sky", "Quiver", "Stone", "Evening" and

The Rosary" laid the foundation for what can be called Petersburg poetics. Gumilyov was its initiator, since his innate penchant for poetic portraiture or picturesqueness resonated with Mandelstam, and at first with Akhmatova." (Weidle 1990: 113). However, in the future, the designated line of research did not receive its development.

The problem of St. Petersburg (and more broadly the city) and symbolism as a literary trend also became the subject of attention of scientists. (Mints, Bezrodny, Danilevsky 1984, Mirza-Avakyan 1985, Bronskaya 1996, etc.). First of all, we are talking about the urbanism of V. Bryusov (Burlakov 1975, Dronov 1975, 1983, Nekrasov 1983, Maksimov 1986, Gasparov 1995, etc.) and A. Blok’s Petersburg (Lotman 1981, Mintz 1971, 1972, Orlov 1980, Aleksandrov 1987 , Prikhodko 1994) and A. Bely (Dolgopolov 1985, 1988, Dubova 1995; Tarasevich 1993; Chernikov 1988; Fialkova 1988; Simacheva 1989, etc.). Enough material has accumulated on this issue to give an answer: is it the center or the periphery of the mystical doctrine of the "terrible world" of the city? Or, if we formulate the problem posed in other words: is the comprehension of reality in the image of St. Petersburg conceptual for symbolism and symbolists? And in the case of an affirmative statement, how do the northern capital and other cities (Moscow, Rome) relate to the idea of ​​Eternal Femininity, characteristic of the work of the "younger symbolists" and constituting the quintessence of this trend? The answers to these questions will help to identify the laws and principles by which the generalized model of the city is constructed by the Symbolists, and significantly expand the idea of ​​the embodiment of St. Petersburg in the work of individual representatives of the "Silver Age".

At the same time, the following fact should also be noted: a number of researchers believe that the "junior symbolists" solve urban themes in the spirit of eschatological anti-urbanism. However, as D. Maksimov rightly notes: "...an anti-urban spirit is characteristic of any genuine and profound urbanism." (Maksimov 1986: 26-27). Indeed, the remark of literary critics is not entirely accurate: eschatological nature cannot determine the anti-urban nature of the work of A. Blok, A. Bely and others. We are talking about various concepts of centers of civilization at the turn of the 19th-20th centuries. Urbanism is not reduced to understanding it as only a positive trend taken in opposition to nature. For some writers, it is associated with the processes of technization, for others - with the ultimate mythologization, for others - with ideas about a possible balance between artificial and natural, etc.

The work of the Symbolists, Acmeists and Futurists did not become a "final summing up" for literary critics. Over the past few years, a number of works have appeared that explore the specifics of understanding reality in the image of the city in the works of writers of the 1920s and 1930s. The interest of literary critics in the work of A. Akhmatova, M. Bulgakov, O. Mandelstam is traditional, and a number of new names have appeared - D. Kharms, A. Egunov, K. Vaginov, A. Platonov, B. Lifshits, B. Pilnyak, A. Remizov , M. Kozyrev. (Arenuson 1995, Vasiliev 1995, Gaponenko 1996, Gasparov 1997, Gorinova 1996, Grigoryeva 1996, Daryalova 1996, Dotsenko 1994, Dlubek-Mayer 1994, Catsis 1996, Cybanker 1993, Knabe 1996, Lyubimova 1995, Softkov 1993, Obukhova 1997, Petersburg text 1996 etc.).

In the work of the noted writers (and literary critics have repeatedly emphasized this) the theme of the city has found its completion in the perspective in which it | came into being in the 19th century. It is no coincidence that the representatives of the structural-semiotic school developed the idea that the Petersburg text was "closed", that it was completed by the works of K. Vaginov (although V. Toporov raised the question of the possibility of including the works of V. Nabokov and A. Bitov in the Petersburg text).

In our opinion, it is expedient to speak not about the extinction of tradition, but about the emerging changes in the comprehension of reality in the image of a big city in the 20-30s.

L. Dolgopolov in the book "Andrei Bely and his novel" Petersburg "" identified a special path along which the theme of the city is developing": "Petersburg generates a new and independent line in the emerging genre of the historical novel. Elements of mythologism make themselves felt here too" (A.N. Tolstoy, Yu.N. Tynyanov and others) (Dolgopolov 1988: 202).

The researchers noted another specific understanding of reality in the images of the city and the countryside as a dramatic opposition of the two principles of Russian life in the works of B. Pilnyak, N. Klyuev, S. Klychkov, N. Nikitin, L. Leonov, L. Seifullina and others. We emphasize that the emerging opposition city-village and determined the ideological and artistic aspect in the stories, novels, poems of these writers due to the very antinomy of the concepts used. The city and the countryside in the post-revolutionary works turned out to be those differently charged poles, between which the dynamic semantic tension of the narrative arose. The theme of the city in the 30s of the XX century was also transformed in its refraction through correlation with the material and practical sphere. This was due to the special attitude of a person who survived the revolution and the civil war. People suddenly felt like Robinsons, thrown out after a shipwreck on a desert island. The devastation, the lack of necessary things and goods, the lack of food led to the active inclusion of a person in the material and practical sphere. And as a result, a large number of works on the production theme appear - "Sot" (1929) by L. Leonov, "Time, forward!" (1932) V. Kataeva, "Kara-Bugaz" (1932), "Colchis" (1934) K. Paustovsky, "Courage" (1934-1938) V. Ketlinskaya, "Hydrocentral" (19291941) M. Shaginyan, "Alive water" (1940-1949) by A. Kozhevnikov, "On the wild shore" * (1959-1961) by B. Polevoy and others. Books telling about the construction of a metallurgical giant ("Time, forward!"), A pulp and paper mill ("Sot"), a hydroelectric power station ("Hydrocentral"), a new city ("Courage"), dams ("On a wild shore") were written from 1929 to 1951. However, what they have in common is the gravitation of problems towards a single center: man - time - business, in material and practical refraction. In these works, an essential and distinctive feature of the actual urban civilization is revealed - the predominance of exclusively activity-labor, production meanings of human existence. Here, as culturologists note, and ^ the main difference between the rural world formation and the urban one was identified. The first is characterized by "the central position of the earth as a single and whole solid spiritual and bodily phenomenon of the generic soil basis of human life and living in the world" (Istoricheskaya tread of culture 1994: 120). For the second, the image of the earth acts as a production object for the application of forces, in a purely utilitarian sense. Novels, short stories and stories on the production theme of the 20-60s artistically recorded the "entry" of a person into the material and practical sphere, which marked a completely special turn of the city theme in relation to the course of socio-historical development.

From these positions, the urban prose of the 70-80s of the XX century marked a departure from the image of a person in the material, practical, activity-labor sphere and a return to the St. Petersburg-Moscow tradition of Russian literature.

The noted literary aspects determine the peculiarity of the approach to urban prose as one of the pinnacle achievements of the historical and literary process of the 70-80s of the XX century. This most important layer of our culture still remains insufficiently explored. Hence the purpose of the dissertation follows - to comprehensively analyze Russian urban prose * of the 70-80s as an artistic system, to find out its components and features of functioning in the historical and literary process.

Achieving the goal of the study required solving a number of theoretical and historical-literary tasks:

Consider the urban prose of the 70-80s as one of the trends in the development of the historical and literary process, as an aesthetic community;

To trace the Petersburg-Moscow tradition of Russian literature in urban prose;

Determine the nature of the aesthetic productivity of urban prose; - present various forms of psychologism in urban prose; -to analyze the creative discoveries of urban prose in the context of both Russian literature of the 19th-20th centuries and world literature.

The scientific novelty of the dissertation lies in a holistic monographic study of the urban prose of the 70-80s as an artistic system, as an aesthetic community and as one of the trends in the development of the historical and literary process. This work is one of the first to consider the works of Y. Trifonov, A. Bitov, V. Makanin, L. Petrushevskaya, V. Pietsukh from this angle. The dissertation is also innovative in the fact that urban prose is analyzed in a single typological series with the St. Petersburg-Moscow line of Russian literature as its continuation and development in the 70-80s of the XX century. A special place is given to identifying the specifics of urban prose based on similarities and differences with Western European, rural, emigrant prose. In the dissertation, urban prose is analyzed for the first time through a diverse range of characteristics - chronotope, traditions, the specifics of the development of reality, the typology of heroes. The author outlines a value vector of continuity, determined by the artistic orientation to the work of A.S. Pushkin, F.M. Dostoevsky, A.P. Chekhov, M.A. Bulgakov, V.V. Nabokov. For the first time, the study of urban prose as an artistic phenomenon that precedes the formation of postmodernism in Russian literature is proposed.

Theoretical value of the dissertation

In the creation of theoretical foundations that make it possible to introduce urban prose as a terminological concept into the history of Russian literature in the 70s and 80s;

In substantiating the integrity and consistency of urban prose as a literary phenomenon;

In the allocation of a single motive structure in relation to urban prose;

In developing the concept of personality and typology of heroes in the artistic system of urban prose.

The reliability and validity of the research results is determined by reference to the fundamental, methodological works of literary critics, philosophers and culturologists of the 20th century, related to the problem posed, as well as various forms of approbation. The conclusions reached by the dissertation student are the result of direct research work on the literary texts of the studied authors.

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

CONCLUSION

The city as a conditional background, a specific historical and literary color, existing living conditions, appears in literature from ancient times. The tragic transition from ancestral ties to the laws of ancient city-states, medieval urban literature, the St. Petersburg-Moscow tradition in Russian literature, the Western European urban novel - these are just some of the milestones that marked the stages of the "urban text" in world literature. Researchers also could not ignore this fact. A whole scientific direction has developed that analyzes the features of the image of the city in the work of masters of the word.

Thus, researchers who turned to Russian literature of the 60-80s of the 20th century note that it showed a tendency of writers to form aesthetic communities with artistic linkage between stories, novellas, novels within the framework of military, rural, urban prose. Of the "triad" noted, urban prose is the most significant white spot on the map of the history of literature of this period.

The core of this unique artistic phenomenon, designated in the dissertation as urban prose, is the work of Yu.Trifonov, A.Bitov, V.Makanin, L.Petrushevskaya, V.Pyetsukh.

The work clarifies the "status" and criteria that make it possible to single out urban prose in the historical and literary process of the 70-80s of the XX century.

From the point of view of the development and interaction of the creative personalities of Y. Trifonov, A. Bitov, V. Makanin, L. Petrushevskaya, V. Pietsukh, urban prose is an aesthetic community of writers. In the context of the historical and literary process, urban prose is one of the development trends. In terms of connections, links between the texts of writers, urban prose is an artistically organized system.

Of course, we are not talking about individual parameters - the characteristics of the described phenomenon, but interconnected and interacting components of a single whole.

Thus, urban prose, as an aesthetic community of writers, is primarily realized in the creative principles of modeling reality in the light of an ideal that has been formed in the axiological direction of urban culture. The selectivity of Yu.Trifonov, A.Bitov, V.Makanin, L.Petrushevskaya, V.Pyetsukh is deeply conceptual. A kind of counterpoint to the artistic worlds created by writers is a big city and the processes taking place in it. The images of Moscow or Leningrad were reflected differently in the works of Y. Trifonov, A. Bitov, V. Makanin, L. Petrushevskaya, V. Pietsukh, however, for each of the noted writers, the appeal to the life of the technopolis is undoubtedly comprehended at the level of the program, manifesto and is the basis that allows us to consider the stories, novels, novels of these authors as phenomena of a single aesthetic order. The created world is built according to completely different laws than the one that is modeled by the artists of the word, whose work develops in line with the agrarian and agricultural culture and is referred by critics and literary critics to rural prose. And the point is not only that urban landscapes are often found in the works of writers. The action of individual stories, short stories or novels can unfold anywhere in Russia - from Makanin settlements located near the Ural Mountains to the southern borders, where the heroes and heroines of L. Petrushevskaya go to rest. In all the cases noted, the peripheral space of the country overlaps, merges with the technopolis as the center of an evolving, emerging system.

And the constant earth-moving work performed by the characters of V. Makanin - the descendants of the first Ural prospectors, gold miners and masters of mining - turn out to be indissolubly one with the image of Moscow - a cave, with that emptiness, emptyness, lack of foundation soil under a huge city in the novel "Disappearance" by Yu .Trifonova, story "Laz". It could not be otherwise, because in urban prose, in the words of a modern literary critic, the “big city” dominates as “a method, a principle of artistic vision that unites different spheres of representation” (Sukhikh 19876: 140).

Urban prose as an aesthetic community of writers reveals connections and continuity in the use of homogeneous key, dominant means of poetics. The symbolic images, the perceptual chronotope of the house-ark, the house-carriage, the city-text, the city-forest organize the artistic world of urban prose.

Urban prose as one of the trends in the development of the literary process in the 1970s and 1980s is a historically developing phenomenon. The phenomenon of urban prose of this period can be adequately assessed only in the text of rural and, to a lesser extent, military and émigré prose. Urban prose is selective in historical and literary traditions and preferences - they go to the St. Petersburg and Moscow line, creativity

A.P. Chekhov. One can also note the special correlation of stories, novels and novels by Y. Trifonov, A. Bitov, V. Makanin, L. Petrushevskaya, M. Kuraev,

B. Pietsukha with a "folk-mythological" layer.

The biblical "wicked" Babylon is a kind of "archaic prototype" of Moscow and Leningrad in urban prose. The work traces the Babylonian realities, reflected in the features of the technopolis of the late XX century.

All of the above allows us to see not only the unified, fastening foundations of urban prose as an aesthetic community, but also a special internal integrity, manifested in the logic of the artistic formation, development and evolution of the work of Y. Trifonov, A. Bitov, V. Makanin, L. Petrushevskaya, V. Pietsukha as an artistic system. Motives, the concept of personality are the main components that determine the structure of urban prose.

For urban prose, motifs have become a kind of intermediary between reality and aesthetic reality. "Housing issue", "another life", escape- "escape", the impact of the city on a person are elements of the system that activate the mechanism of interaction of all its components. It is the motifs that "generate" a special force field of urban prose, which creates opportunities for the manifestation and deployment of a wide variety of intersections, linkages, and connections.

The concept of personality most clearly reflected the inner nerve of the development of urban prose in the 70s and 80s. The specificity of the view of the world and man is realized primarily through the dynamics of searches and acquisitions. There is no doubt that the original center of urban prose is the work of Y. Trifonov. It was the author of the Moscow stories who set with his works a special tonality and direction of urban prose, defining the specifics of its development in the 70-80s of the XX century. A. Bitov, as a writer, developed in many ways in parallel with Y. Trifonov, and the prose writers themselves felt their own creative closeness, but the priority of artistic discoveries that are directly related to the sphere of modern technopolis still remains with the creator of "Time and Place", " Disappearances". Moscow stories and the novel "Pushkin's House" marked the authors' appeal to the Chekhov type of hero-loser. However, A. Bitov produced a "fusion" of realistic principles of depicting personality with postmodern ones. As for Y. Trifonov, in "Exchange", "Preliminary results" an attempt was made to connect the Chekhov type of hero with the Proustian search for lost time, later purposefully realized in the novel "Time and Place", "Disappearance". V. Makanin in the 80s, after the death of Y. Trifonov, acted as a successor to the planned path of development, acquiring by the end of the decade his own original sound in the development of only dotted outlined by urban prose traditions. In the novel One and One, the writer continued Trifon's experiment, connecting Chekhov's unsuccessful hero with the artistic discoveries of Western European existentialists. The concept of outsiderness as the main line in the development of urban prose was also realized in the appeal of the artists of the word to the image of a small man, reminiscent of the St. Petersburg tradition in Russian literature ("Long Farewell", "Another Life" by Y. Trifonov, "Klyucharev and Alimushkin" by V. Makanin).

A special role belongs to the work of L. Petrushevskaya - it was she who saw in modern life and introduced into artistic practice the images of the "humiliated and insulted" of the 70-80s of the XX century. And urban prose, along with Chekhov's concept of a disoriented world view, also acquired the "weak bones" of a mortal little man. And, of course, from the noted positions, the work of V. Pietsukh has a unique value. Just as A.P. Chekhov, in the genre of cryptoparody, artistically recorded the triviality of the theme of a little man in the story "The Death of an Official" and the image of an underground paradoxicalist in the story "Words, Words", so the works of the author of "New Moscow Philosophy" turned out to be a distorted mirror, I who smashed the hero of urban prose. V. Pietsukh is interested in evolutionary dead ends, and his task is to discover them even where they are just beginning to appear. That is why the writer's work "explodes" with a variety of parodic resonances, having in the focus of sight not only the primary source in the stories, novels and novels of A.S. Pushkin, N.V. Gogol, F.M. Dostoevsky, A.P. Chekhov, but before all its reflection on the pages of urban prose. The satirical gift of V. Pietsukh does not bypass the works of Y. Trifonov, which are also used more than once as indicators to designate a number of modern phenomena. The writer's work, illuminated by parodic reflections, became the result, a kind of final stage, drawing a line under the works of Y. Trifonov, A. Bitov, V. Makanin, L. Petrushevskaya.

The concept of personality reflected the internal direction of the development of urban prose: from a purely realistic canvas of Russian life to a realistic canvas with pronounced postmodernist patterns.

Thus, on the basis of integrity, structure, organicity, urban prose forms a system that develops itself according to the laws of artistic probability and necessity.

The study of urban prose required a combination of synchronous and 1 diachronic approaches. The synchronous cut of urban prose is determined by a specific segment of the historical and literary process of the 70-80s and requires an appeal to the entire set of works of writers of this period (prose, articles, essays, etc.). The diachronic plan traces the genetic links with the domestic and foreign literary tradition, the rhythms of continuity going back to the folk-mythological layer.

The beginning of the 1990s marks a completely different situation. And although a number of themes, motifs, and ideas that are significant for urban prose found their further artistic comprehension in the works of A. Bitov, V. Makanin, M. Kuraev, L. Petrushevskaya, nevertheless, prose writers gravitate towards other aesthetic platforms, are part of artistic systems, formed according to other creative laws. However, we are not talking about the exhaustion of the traditions of urban prose, they are evolving and transforming in accordance with the realities of the new era. There has been a shift in the perceptions of East - West, city - village, world - country, as evidenced by the latest stories, novels and novels by A. Bitov, V. Makanin, L. Petrushevskaya, V. Pietsukh, M. Kuraev.

In the mid-late 90s, a large number of works appeared that were directly related to the theme of the city in its St. Petersburg and Moscow incarnations ("Boy. A novel in memories, a novel about love, a St. Petersburg novel in six canals and rivers" O. Strizhak, " The Last Hero" ^ A. Kabakova, "Blind Songs" N. Sadur, "On the ruins of our Rome"

T. Voltskoy, "Member of society, or Hungry time" by S. Nosov, etc.). However, that conceptuality that determines the specifics of urban prose, born of polemics with rural prose, the need for a new return to the humiliated and offended "at the end of the 20th century, somehow lost its significance, and in some ways the element of novelty. The middle and the end of the 90- x set new tasks, define new searches. It is still difficult to answer what final form the urban theme will take. There are only individual touches that have not yet formed into a coherent picture. The urban theme is waiting for its new leader, who was Y. Trifonov in the 70s of XX The 90s have become interesting and fascinating, but still a preface to new pages that will be written in the 21st century.

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