— Elizaveta Igorevna, why should a journalist understand the theory of literature and, for example, distinguish plot from plot?
- In the first year, you pass only basic things, which this subject is not limited to. Of course, not every journalist should be well versed in literary theory, but any journalist and educated person should have analytical skills. And literary theory is a subject that helps develop these skills. There are journalists for whom knowledge of the fundamentals of literary theory is vital - these are critics. And not only literary, but also those who specialize in theater, cinema ...
And the discrepancy between the plot and the plot is a very common technique that is often used by both writers and directors. Of course, you can ignore all these subtleties and be content with superficial perception. But it's much more interesting to read a book or watch a movie, understanding their depth, than just following the change of characters and events.

— What can you advise your students to better understand the subject, love it and pass it successfully?
- Try to reason on your own, not just memorize definitions, but select examples from different works for them. And carefully reread the lecture notes of Nikolai Alekseevich.

- Do you need to have a certain mindset in order to analyze and systematize literature?
- You need to have a certain mindset in order to analyze and systematize anything. However, literature needs a special approach, it is important to remember that this is not just a set of elements, but artistic whole, and you need to treat the text as a work of art, and not a lifeless constructor that can be disassembled into elements and see what it consists of. That is, in the process of analysis it is important not to lose the most important thing that is the essence of the work.

— And what would you recommend to those who are going to create any artistic text?
- To be honest, I'm afraid to give any advice in this area, since I don't write literary texts myself. It seems to me that, firstly, some kind of natural talent is needed here, a special view of the world that allows you to create your own artistic reality, and secondly, you need to read a lot in order to learn to see which work is good and which is not. The most important thing is to draw a line between writing and graphomania.

Why did you choose not ancient or Russian literature, but theory? Why are you interested in this subject?
- Firstly, because the curriculum is built that way. There are no seminars or colloquia on Russian literature, and in order to give lectures, one must at least defend a PhD thesis. Secondly, I have always liked this subject. It helps you see the invisible. In addition, literary theory does not exist in isolation from literature itself. We analyze texts in class. I select works written in Russian for seminars, because then it is not necessary to separate the voice of the author from the voice of the translator, but the methods we use can be applied to foreign works as well. Without knowledge of the foundations of the theory of literature, it is impossible to study any literature, neither Russian nor foreign.

— And what was your thesis on?
- I wrote a diploma on poetry by Sergei Gandlevsky, and more specifically, about how intertextuality manifests itself in his poems.

- Do you have any favorite idea?
- It is impossible to answer this question. It's like asking for your favorite song/poem/movie. And then with the work it would be easier: you can at least name what you listened to / read / watched repeatedly. And there are as many good thoughts as there are hairs on your head. You can't snatch one and say it's your favorite.

What is your favorite thought about literature?
- For some reason, a Dovlatov joke comes to mind about how, in the company of Russian emigrants, parents complained that their children were becoming Americans, saying: “They don’t read Russian! They don't read Dostoevsky! How will they live without Dostoevsky?” To which one of those present remarked: "Pushkin lived, and nothing."

— What is your favorite place at the Faculty of Journalism?
“Of course, the balustrade. Especially in the evenings.

- If you could meet any person from the past or a celebrity from the present, who and what would you ask?
— Mikhail Mikhailovich Bakhtin on how to explain to students what a chronotope is, so that they finally understand 🙂

Interviewed by Andrey Turkevich

The Literary Institute was founded in 1933 on the initiative of Maxim Gorky as the Evening Workers' University. Until 1992, he was a university of the Union of Writers of the USSR; now it is a state university and is under the jurisdiction of the Ministry of General and Vocational Education of Russia.

The education system provides for the study of courses in the humanities, classes in creative workshops by genre and genre of fiction ( prose, poetry, dramaturgy ), literary criticism, journalism and translation of fiction. Konstantin Paustovsky, Konstantin Fedin, Mikhail Svetlov, Lev Ozerov, Lev Oshanin taught at the institute. Lectures were given by scientists V. Asmus, I. Tolstoy, G. Vinokur, A. Reformatsky, S. Radtsig, A. Takho-Godi, B. Tamashevsky, S. Bondy, and others. At present, many well-known writers lead creative seminars.

As part of the Institute:
Department of literary skill.
Department of Literary Translation.
Department of Social Sciences.
Department of Russian literature of the XX century.
Department of Foreign Literature.
Department of Russian Classical Literature and Slavic Studies.
Department of Literary Theory and Literary Criticism.
Department of Russian language and stylistics.

The training of specialists in the state higher educational institution \"Literary Institute named after A. M. Gorky \" is carried out both at the expense of the federal budget within the state assignment, and in excess of the target figures - under the relevant agreements with payment of the cost of education by individuals and (or) legal entities.

Admission to the institute is carried out on the basis of personal applications of citizens with secondary (full) or secondary vocational education, in the selection process based on the results of entrance examinations (except for cases provided for by the legislation of the Russian Federation on education). All applicants to the institute pass a creative competition, entrance exams, and a final interview.

creative competition held from January 15 to May 30 annually. Applicants from other cities send work by mail (including electronic) with a brief autobiography and an indication of the form of study. Entries will not be returned. Works are submitted in the amount of at least 30 typewritten pages (literary translation - together with the original and only when choosing a full-time form of study, poetry - at least 350 lines), which are subject to closed review at the departments of literary skill, theory of literature and literary criticism, literary translation and foreign languages. To ensure objectivity, two independent reviews are written for each competitive work (in case of a divergence of estimates, the work is sent to the third reviewer), after which the final decision of the selection committee with a score \"positive\" or \"negative\" is reported (without specifying the names of the reviewers ) to the contestant.

Entry exams for persons who have successfully passed the creative competition, they are held according to programs of secondary general education, focused on classes and schools of a humanitarian orientation. Acceptance of documents takes place on July 21-22, entrance exams are held from July 23 (for correspondence forms - from August 11).

Applicants for full-time study take the following exams:
- creative sketch - improvisation on one of the given, not known topics in advance, but not according to the content of literary works - in writing
- Russian language (exposition) - in writing
- Russian language and literature (oral)
- History of the Fatherland (oral)
- foreign language (oral).

Applicants for the correspondence form students pass all the specified exams, except for the exam in a foreign language.

Final interview, conducted by the selection committee with the participation of representatives of major departments, aims to identify the presence (or absence) of an applicant's inclination to the chosen specialty and chosen genre, general and literary erudition, etc., confirming (or refuting) the results of entrance examinations.

Full-time students have military draft deferment. Hostel provided for non-residents at the time of entrance examinations, and in case of admission - for the duration of the study.

The department is sure that its scientific interests - the latest Russian literature of the 20th and 21st centuries, theoretical aspects of literature, problems of historical and theoretical poetics, principles of typological analysis of literary texts, problems of studying the literatures of the peoples of Russia- a worthy and high object of study, the relevance of which will only increase.

Through its activities, the department contributes to the preservation of the best traditions of fundamental university education, one of which remains the priority of the theoretical approach in teaching the latest literature.

In 2011, the department opened a profile for the preparation of bachelors "Applied Philology" (Russian language).
This profile provides for the preparation of bachelors for work in the field of communication, publishing, cultural institutions and management. The profile provides the acquisition of professional skills in multi-aspect work with various types of texts (creation, interpretation, examination, transformation, distribution of artistic, journalistic, official business, scientific, etc. texts) and the implementation of linguistic, interpersonal and international written and oral communication.

YEAR OF LITERATURE: RESULTS OF THE DEPARTMENT

This year has become significant for the Department of Russian Literature of the 20th Century and Literary Theory, for which participation in educational, educational, educational projects of the university, city and republic is a tradition. These are the International on-line readings “Chekhov is alive” (assistant Zhirkov D.D.), the organization of the contact session “Vivat, student”, the university intellectual quiz “Vivat, teacher”, public lectures. Also, anyone can become a full member of the Internet forum "Dialogues about Literature" on the website of the Faculty of Philology. Students work in the scientific circles "Audiovisual Aspects of Russian Literature of the 20th Century" and "Autograph", participate in theatrical seminars on the work of classic writers.

Within the framework of the project "Anniversaries of Russian Literature", a university competition of literary video projects "February. Get Ink” and the literary evening “Pasternak. Rebirth”, dedicated to the 120th anniversary of the birth of Boris Pasternak. Also for the anniversary of I.A. Brodsky, applied students filmed a popular science film "Brodsky in Yakutia" and developed a literary website about the poet's work.

The author's project by S.F. Zhelobtsova "Literary Yakutsk", which opened the literary biography of the capital, became successful. On bus excursions, schoolchildren, students, guests of the university and the republic get acquainted with the work of great poets of the twentieth century - Joseph Brodsky, Sergey Mikhalkov, Evgeny Yevtushenko, Andrey Voznesensky, Valentin Rasputin.The literary route included the realities of the toponymic symbols of the novel "Cold" by the creative Russian writer Andrey Gelasimov, dedicated to his "small" homeland.

In the City Classical Gymnasium of Yakutsk, within the framework of the Year of Literature and the anniversary of the faculty, a lecture was held by Professor Khazankovich Yu.G. The stated topic is “Do we know literature?” turned out to be resonant and aroused genuine interest both among the children and language teachers. As part of the public lecture, a virtual tour of the work of Arctic writers and literary places in the city of Yakutsk took place, and career guidance work was carried out with high school students.

On November 9, the participants of the All-Russian conference "Issues of teaching Russian as a non-native language in a multi-ethnic educational environment" visited the tourist complex "The Kingdom of Permafrost". Associate Professor Zhelobtsova S.F. showed the guests of the Faculty of Philology from Moscow, St. Petersburg, Altai, Khanty-Mansiysk, Kemerovo, Vladivostok and other realities of the environs of Yakutsk, which became the toponymic signs of the North in Andrey Gelasimov's novel "Cold", dedicated to his "small homeland".

The discussion club "Vivat, student" regularly organizes meetings of students and teachers of the faculty with literary critics, poets, and famous public figures. So, on April 4 of this year, a meeting was held with prose writer A. Gelasimov.

The blog "Dialogues about Literature" is posted on the website of the department, opened by a discussion forum for F. Bondarchuk's film "Stalingrad". Associate Professor S.F. Zhelobtsova, starting from the original source of the film of the novel by V. Grossman "Life and Fate", proposed a number of questions. The answers, remarks, summaries of the site visitors are distinguished by a fresh look at history, polemical assessment of the feature film, civic and patriotic feelings of our contemporaries.

in the city library. V.G. Belinsky, February 26, 2015, a presentation of the lecture project "New Prose of Russia" was held.

On February 12, 2015, IMI NEFU hosted an act lecture on topical issues of modern literature.

Within the framework of the All-Russian Scientific Conference dedicated to the 80th anniversary of philological education in the Republic of Sakha (Yakutia), the work of the section "Theoretical Aspects of the Literature of the 20th Century: on the 120th Anniversary of the Birth of M.M. Bakhtin" was organized. During the work of the section, presentations of scientific research on the poetics of the author's word in the novel, on the problems of the artistic mode, "private" literary issues in the framework of the study of the fundamental works of M. M. Bakhtin.

Head of the Department: Saenkova Lyudmila Petrovna, Candidate of Philology, Associate Professor

Aksana Byazlepkina-Charnyakevich, a lecturer of the Department of Literary and Artistic Krytka, was a guest of the television program "Surazmoytsy". Aksana Pyatrouna, among the people of Gutaria, with Navum Yakavelicham Galpyarovicham, opened the right books, current literary practices, laid out at the faculty of journalism and celebrated the good state of my situation in the country.

The next issue of the student newspaper "Behind the Scenes" has been published.

According to the results of the Final of the I International Championship "Quality in Education - 2018" (Russia, Moscow; 14.01.2019):

3rd year student (specialty "Literary work. Creativity") Emelyanova A.V. received the DIPLOMA of the II DEGREE for the scientific work "Literary translation as interpretation" (on the material of A. Alexandrovich's translation of the poem "Ruslan and Lyudmila" by A. Pushkin). Scientific hands - art. teacher E.V. Loktevich;

3rd year student (specialty "Literary work. Creativity") Kostevich E.Yu. was awarded a 1st DEGREE DIPLOMA for the scientific work "Author's strategies in creating a figurative structure of a literary text" (based on the stories "Viy" and "The Nose" by N.V. Gogol) and a 1st DEGREE DIPLOMA for the creative work "Village Breath". Scientific hands - Art. teacher E.V. Loktevich;

2nd year student (specialty "Print media") Krichevskaya V.A. received a DIPLOMA of the II DEGREE for the creative work "Photography" and a DIPLOMA of the III DEGREE for the creative work "Wound". Scientific hands - art. teacher E.V. Loktevich.

The scientific work of master student Tachytskaya Nadzeya Alyaksandraўna "Belarusian art journalism: thematic cantent, genre assemblies, classification", carved out by Lyudmila Pyatrouna Sayankova, atrymala another category at the Republican student works competition

Number of full-time teachers: 18 employees, including 9 candidates of sciences, 10 associate professors.

General information: The main task of the Department of Literary and Artistic Criticism is to train highly qualified specialists to create a literary basis in various types of literary and artistic creativity: literary and artistic criticism, prose, poetry. The qualifications of future specialists will allow them to work in the literary and journalistic fields of creative activity.

Scientific directions:

media strategies in the formation of the humanitarian culture of society, author's strategies in modern literary and artistic criticism, media criticism as a value-orienting factor in the activities of the media, media strategies in the representation of culture and art in the context of the industrialization of culture, the personality of a critic in the formation of cultural space.

"Modern Media Strategies in the Representation of Culture and Art".

The subject of scientific research of the Department of Literary and Artistic Criticism (the first head was Associate Professor L.P. Saenkova) is literary and artistic criticism, cultural issues in the media. The department has created creative workshops for future culture observers, film critics, theater and literary critics, critics of fine arts. Authoritative specialists, well-known critics in the field of various types of art work here: literature, theater, painting, cinema - L. P. Saenkova-Melnitskaya, P. V. Vasyuchenko, G. B. Bogdanova. Among the teachers of the department are not only well-known theoreticians, but also practitioners - editors of specialized publications, observers on culture.
The center of the creative unity of students who show interest in art was the Krytyk circle, which later became a student research laboratory. For many years, its members have been publishing specialized educational newspapers, on the pages of which student materials about art appeared in various genres. For many years, the Department of Literary and Artistic Criticism has been publishing a unique publication - the annual almanac of student literary and artistic creativity “Autograph” (more than 20 issues have already been published, most of which were prepared under the guidance of Professor E. L. Bondareva). The names of many students who first appeared on the pages of this publication are today the pride of Belarusian culture: Ivan Chigrinov, Ivan Ptashnikov, Boris Sachenko, Anatol Vertinsky, Igor Dobrolyubov and others.

Students participating in the laboratory (under the guidance of Associate Professor V. A. Kaptsev) are also preparing issues of the literary and artistic newspaper “Perya”. Master classes of famous Belarusian writers and creative meetings were timed to coincide with the release of some issues. The department provides teaching of disciplines of a humanitarian and cultural profile: “Literary and artistic criticism”, “Culturology”, “History of arts”, “Belarusian literature”, “Russian literature”, courses on the profile - “Theatre critic”, “Film critic”, “Literary critic”, “Critic of fine arts”.

Dystsyplina considers literary-artistic creativity as an adnu from the forms of spirituality-peraўtvaralnaya dzeynastsі ў grammatics. Прадмет дазваляе навучыцца абгрунтавана і комплексна ставіцца да твораў прыгожага пісьменства, прымяняць атрыманыя веды на практыцы, арыентавацца ў разнастайнасці відаў літаратурных твораў, мець уяўленні пра стылі і жанры, сур'ёзна і ўдумліва разважаць і выказвацца аб сучасным літаратурна-мастацкім працэсе, улічваючы традыцыі як aichynnai, so and ordinary literature, and taxa tendentsyi modern metadalogy of the creation of literary works.

Discipline of sadzeynychae sensible asablіvastsyaў development of the real cinematography; Availability of skills in analysis of creative cinematography of different styles and genres; asensouvannya cultural, aesthetic, idealistic functional modern cinematography; reasonable skillful whispering and admonishment at the Galina cinematographer. On the basis of practical training, the students analyze the plot-thematic cantent, figuratively expressive affinities, assablіvastsі style of the genre and the аўtarskaga of cinematography, aryentacy and development of the contemporary artistic language of the cinema screen.

Dystsyplіna farming a healthy bachanna and a reasonable light of mastatstva, as if I have my assablіvu sutnasts and ways of іsnavannya, daksama pracesaў, yakіya adbyvayutstsa ў mastatstva sennya. The very mastatstva vyvuchayetstsa like an aesthetic phenomenon. Разглядаюцца сэнс мастацтва ў класічнай эстэтыцы, мастацтва і тэхнагенная цывілізацыя, прырода мастацтва, асноўныя прынцыпы мастацтва, асноўныя тэарэтычныя падыходы да разумення прыроды мастацтва, мастацтва і гульня, элітарнае і масавае ў мастацтве, мастацтва ў сістэме культуры, роля мастацтва ў трансляцыі культурнай традыцыі. XX stagodze, radical metamorphoses of art.

Pharmacy of the Vedas of the theatrical palazhennya nauka ab mіfe, zdolnasts and yago razrezannya ў modern literature, kіnematografiya, paўyadzenny pramov, masavay kamunikatsyі relatives. Vyvuchayetst filasofiya myth: kantseptualnaya i metadalagіchny podstav tearetychnaga analysis of myth; myth and mythalogical light – sprymanne; myth and related fields of knowledge; mythological vault; mіfarelіgіyny asnova kulturstvaralnastsі; Evaluation of mythical metamorphoses: the hell of classic and modern forms of myth; nature, like a jerk of a represen- tative myth; myth and rite of dyyahranіі and synchrony of culture; mіfacemantika ўkhodneslavyanskа falklore; myth in skill: becoming mythical images; small myths; myth and mass culture.

The phenomenon of intertextuality and yago natives of modern culture is expressed, it is vyznachaetstsa stylyaetsya and genre transfarmacy ў literary, literary-covered texts. Vyvuchayutstsa peremnasts literary traditions, evalutsyya adnosin and text as folded tselasnasts, social and cultural situation of the XXI stage: hell "post-" and "prota-", typalagic lynxes of post-madernism ў modern grammatical-cultural canteksce; culturally agile abstraction of increasing intertextual investigations of the "universal" text, theatrical foundations of the phenomenon of intertextuality, philosophic incidents and chanceptsy: R. Bart, Yu. Krystseva, M. Bakhtsin, I. Hasan; Intertextuality as an intellectual walk and marketing move in the literature: U. Eka, M. Pavich, M. Kundera, and insh. Functions of intertext in mastak and literary-lidded texts; ways of pharmaceutical preparation of intertextual thought and modern roof; recepcy to postmadernism and mascult; intertextuality as a phenomenon of masavay svyadomastsi. Intertextual and hyperextual culture. Uzaemadzeyanne mediatextu and intertexta; transpharmacy genre and style ў current interviews, essays, reviews.

Dystsyplіna let me work on the creation and interpretation of masterful texts from the streets I will float away the individual-psychological assemblies of the author and recipient on the spray of creation. Вывучаецца паняцце і гісторыя крэатыўнасці, тэхнікі актывізацыі творчага патэнцыялу чалавека, спосабы арганізацыі творчага працэсу, сучасныя тэхнікі крэатыўнага пісьма, падыходы псіхалагічнай школы да разгляду мастацкіх тэкстаў, сувязь крэатыўнасці з асабістымі якасцямі і ўнутранай ды знешняй матыацыяй аўтара, уплыў псіхалагічных фактараў на фарміраванне ўласнага пісьменніцкага стылю .

Distsyplіna farmіrue ўstoylіvіy ab brіntsypah uzаemadzeyannya muzychnay і smyslya, znachennі musychnaya krykі і zhurnalistsі ў ў razvіtstsі musіchnai culture. Detauchayutz Role SMI ° Voviktzi Music Culture, Music Padzeya і Pryntsypyu adlustvannya ol vijes SMI, Out of the Palitra of Music ° Case Close, Interprotatsya, Asabellyvasets, as-Bloodsi solo kanzert: kryteryі atsenkі; publications of musical performances; song, video clip, magnet album: ancestral fall; different young musical cultures; music festivals and competitions in Belarus; dzeynasts creative sayuzas at Galina Music; assemblages of stasunkas with musicians.

Students atrymlivayutsya sensibly asblіvastsyaў development of everyday cinematography and the role of kіnakrykі ў igo consecrated; Availability of skills in analysis of creative cinematography of different styles and genres; asensoўvanne culturally flexible, aesthetic, ideally functional modern cinematography. Reasonably masterful quizzes and adtskrystsya in Galina cinematography, analysis of the plot-thematic cantent, figuratively expressive relatives, assembling the style of the genre of the genre and the art of cinematography, aryentacy and the development of the modern cinema screen.

The main teaching aids developed at the department:

Orlova T.D. Theater journalism. Theory and practice.: In 2 hours - Minsk: BSU, 2001 - 2002. - Part 1. - 146 p.; Part 2. - 139 p.

Current tendencies in literature and craftsmanship: theory, practical experience / Bondarava E. L., Arlova T. D., Sayankova L. P. and insh. - Minsk: BDU, 2002. - 114 p.

Saenkova L.P. Mass culture: The evolution of spectacular forms. - Minsk: BGU, 2003. - 123 p.

Saenkova L.P. 9 1/2 weeks "Listapad": from the experience of crit. reviews of the International Film Festival (1994–2002). - Minsk: Ark, 2003. - 98 p.: ill.

Bondareva E. L. Coverage of literature and art in the media: a course of lectures. - Minsk: BSU, 2004. - 119 p.

Saenkova L.P. Art History: the end of the 19th - the first half of the 20th century: Lecture notes. - Minsk: BGU, 2004. - 87 p.

Orlova T.D. Theory and methods of journalistic creativity. Part 1: Textbook. - Minsk: CJSC "Modern knowledge", 2005. - 120 p.

Types of literary and artistic criticism: the experience of a historical and theoretical review: Sat. scientific Art. / Under the total. Ed. L. P. Saenkova. - Minsk: BGU, 2005. - 138 p.

Orlova T. D. Culture and business (in publications of the domestic press): Course of lectures. - Mn., 2005. - 188 p.

The work of art is the object of the critic's analysis. Collection of scientific papers. Issue. 1. Mn. – 2009.

Time. Art. Criticism. Collection of scientific papers. Issue. 2. - Mn., 2010.

Mass culture and journalism: a collection of scientific papers. - Issue. 3. - Mn., 2012.

Transformation of genres in literary and artistic criticism: a collection of scientific papers. Issue 4 / editorial board: L.P. Saenkova (editor-in-chief) [and others]; ed. L.P. Saenkova. Minsk: BGU, 2013. - 170 p.

Literary and artistic criticism in the modern Internet space: a collection of scientific papers. Issue 4 / editorial board: L.P. Saenkova (editor-in-chief) [and others]; ed. L.P. Saenkova. Minsk: BSU, 2016. - 128 p.

As a manuscript

ESIN Sergey Nikolaevich

A WRITER IN THE THEORY OF LITERATURE: THE PROBLEM OF SELF-IDENTIFICATION

Specialty 10.01.08 - theory of literature. Textology

Moscow - 2005

The work was done at the Department of Literary Theory and Literary Criticism of the Literary Institute. A.M. Gorky

Supervisor:

Doctor of Philology, Professor LUKOV Vladimir Andreevich

Official opponents:

Doctor of Philology, Professor

Doctor of Philology NEBOL'SIN Sergey Andreevich Leading organization: Lomonosov Moscow State University M.V. Lomonosov

at a meeting of the dissertation council D 212.154.10 at the Moscow State Pedagogical University at the address. 119992, Moscow, GPS-2, M. Pirogovskaya street, 1, room. 313.

The dissertation can be found in the library of the Moscow State Pedagogical University at the address: 119992, Moscow, GPS-2, M. Pirogovskaya street, 1, room. 313.

Scientific Secretary

MIKHALSKAYA Nina Pavlovna

dissertation council

N. I. Sokolova

general description of work

In the nature of the writer (meaning his professional qualities) there is a desire to learn something about himself. How it's done? What is behind the closed door, how does the world arise, which the writer, like a silkworm caterpillar, squeezing out a silk thread, takes out of himself? Probably, it no longer requires proof that the writer does not just “write off” the world and the environment, because it is practically impossible to write off, because touching a word, arranging words in a certain order already carries a certain subjective moment. The writer's work is, as it were, a mix of his own dreams and fragments of the objective reality that he managed to capture, that same reality stitched with fantasies. By its nature and mode of activity, the writer, as, indeed, any artist, is prone to reflection, to the “trembling” of choice, to unnecessary questions not only about matter itself, not only about verbal givenness, but also about what this given consists and how it is transformed in the process of creativity. But after all, isn't it true that the laws of their own little creativity lead to the knowledge of more generalized laws, universal laws, and that is why every writer is almost always, to one degree or another, a researcher, he always discovers a theoretical world, literary rebuilt anew?

Material research. Undoubtedly, the "author" occupied a certain place in the works of theorists. The dissertation traces the process of formation of the concept of a writer as an author acting in different guises, outlines the views on this subject of Plato and Aristotle, classicists, romantics, S. O. Sainte-Beuve and other thinkers up to R. Barthes, Yu. Kristeva, M. Foucault, who put forward the idea of ​​the "death of the author", and literary scholars of the 1990s, who criticized this idea. In domestic literary criticism, the scientific school of the theory of literature of Moscow State University named after M.V. M. V. Lomonosov, for many years headed by Academician of the Russian Academy of Sciences P. A. Nikolaev, the Purishev Scientific School of the Moscow State Pedagogical University was characterized in detail (B. I. Purishev, M. E. Elizarova, N. P. Mikhalskaya, and also V. N. Ganin, V. L. A. Lukov, M. I. Nikola, N. I. Sokolova, V. P. Trykov, G. N. Khrapovitskaya, E. N. Chernozemova, I. O. Shaitanov, etc. .). And yet, the works of the Nikolaev, Purishev and other scientific schools, in their close attention to the problem of the writer, remain mainly within the framework of the history of literature (and the theory of this history). Valuable remarks by literary theorists from Yu. N. Tynyanov and M. M. M. Bakhtin to B. O. Korman and V. E. Khalizev outline l (RIMACI robopy - the author, but a number of questions remain in the shadows so far.

LIBRARY | Spete | £ (* g / - V "O"

The purpose of the dissertation, therefore, is quite ambitious: to indicate the place that the figure of the writer should occupy in the theory of literature in its perspective, which forms the problem of author's self-identification.

The specific tasks of the work follow from the goal: (1) to present the figure of the writer in the theoretical and methodological light; (2) on the basis of self-identification, reveal the features of the writer's thesaurus; (3) analyze the writer's self-observation of literary work.

The tasks formulated in this way entail the choice of a specific structure of the dissertation: it consists of an Introduction, three sections corresponding in content to the three tasks set and sequentially revealing them (with internal subsections: chapters and paragraphs devoted to the analysis of specific issues and aspects), Conclusion and List of used literature.

The research methodology is based on the historical-theoretical and thesaurus methods, the development of which began in the works of D. S. Likhachev, Yu. B. Vipper, B. I. Purishev, P. A. Nikolaev and other prominent philologists and continued in the works of Val. and Vl. Lukovykh, I. V. Vershinin, T. F. Kuznetsova and a number of researchers working in various fields of humanitarian knowledge. A special place is occupied by an appeal to the one and a half thousand-year tradition underlying European culture - the tradition of introspection (Augustine Blessed, J.-J. Rousseau, L. Tolstoy), which is transformed and concretized in the dissertation research, where writer's self-identification becomes the leading method. As for other methods - comparative-historical, typological, historical-theoretical and others - they are also used in the work as needed.

The style of presentation of the dissertation material should be specially specified. Its author is an active writer, and this is the specificity of the defended work. Here, both the conclusions of the researcher-applicant and the considerations of the active writer-author are equally important, complementing each other, and sometimes even entering the space of dialectical confrontation on the pages of the study. The objective "I", that is, the researcher, argues with the subjective "I", that is, the writer, the author. The style is prompted primarily by the experience of M. Proust, his work Against Sainte-Beuve. Exposing the weaknesses of the "biographical method" of S. O. Saint-Beuve, Proust widely used not an academic, but an artistic, artistic and journalistic way of proving his case. An artistic narrative was born from a theoretical article. Since I fully share the main idea of ​​Proust in the book “Against St. BbVVTs I MeiNyu directly related to the topic of the dissertation, then I use, *gM Uyyyg ^^stestsno, and his method of presentation, combining theoretical positions and * their justification in artistic, artistic

zhestvenno-journalistic form. The only difference is that with Proust a novel was born from a theoretical work, while with me a theoretical work is formed from an artistic and journalistic material. Actually, I'm not a pioneer here. Thanks to postmodernists (J. Derrida, M. Foucault, R. Barthes), this method of presentation has recently become generally accepted in the West.

However, of course, the scientific novelty of the work is not determined by the style of presentation, but, above all, by its main idea. The dissertation substantiates the need to update, and partially develop anew in the theory of literature, the problems associated with the figure of the writer, his thesaurus, and, proposed on the basis of introspection, self-identification of the author (actually

a leading writer working in various genres of prose, dramaturgy, journalism) possible ways of solving this problem.

The following provisions of the dissertation are submitted for defense:

The writer sharply sees the phenomenology of his own creativity, the urge to it and the motives that he himself cannot always substantiate.

A writer is almost always, perhaps unconscious, but a theoretician, and at the same time always a theoretician of his own creativity. The special knowledge of each theoretical writer has a certain significance both for science and for literature.

The historical and theoretical approach allows us to characterize the historical variability of the content that has been invested in the concept of "writer", "author" over the centuries, to identify the stages and typology of its development from Plato to the present day.

Imagination is the basis of the individual in the writer, which is revealed either through the reconstruction of a philologist, or through the writer's self-identification - the writer's reflection on his own peculiarity recorded in the text. At the same time, each writer realizes his or her own image not only in creativity, but also in “automyth”, which is reflected in

the process of self-identification.

The perception of the world is carried out by the subject through the thesaurus - a subjective system of ideas, ideas, images, knowledge of that part of the world culture that he has mastered. In relation to the writer, the thesaurus acts as a personal picture of the world, intended for translation into a word, into a work. It is made up of both one's own ideas and quotes that give harmony to one's own ideas, intentions, and values.

A writer's thesaurus is a kind of independent structure in a general thesaurus, and it is structured not according to a general model, but exclusively according to an individual layout of preferences, and the characterization of a writer as the most important part of the literary process in literary theory should be built taking into account this circumstance, while the structure of a writer's thesaurus can only be determined as a result of careful thesaurus analysis.

The study of one's own writer's thesaurus allows one to carry out the procedure of self-identification, and the implementation of the procedure of writer's self-identification gives knowledge of one's own thesaurus.

The writer, perceived through his self-identification, should be the focus of literary theory, which is now moving away from the recently so popular concept of "death of the author."

The dissertation also formulated a number of positions on issues considered by literary theory: the writer - literature - society, reality in documents and literature, the writer as a psychologist, the talent and skill of the writer, realism and modernism, word, style, language, plot, genre specificity of the story , novels, plays, diaries and memoirs, writing and criticism, censorship and writer, literary apprenticeship. Taken together, the stated provisions can be considered as a certain system of theoretical and literary knowledge.

The scientific and theoretical significance of the dissertation is seen in the enrichment of theoretical and literary knowledge, modification of the structure of the theory of literature, in which, according to the dissertation candidate, the development of the theory of the author of a literary work should occupy a prominent place, which should inevitably lead to the transformation in the indicated direction of specific literary studies.

The practical significance of the dissertation is determined by the possibility of using its materials and conclusions in the university teaching of the theory and history of literature, in textbooks and teaching aids in philological disciplines (this work has already been successfully carried out for a number of years at the Literary Institute named after A. M. Gorky and other universities of Russia ).

The scientific approbation of the dissertation is recorded in the dissertator's publications - more than 300 publications - theoretical, journalistic, - works of art, including in the monographs generalizing the dissertation materials “The power of the word. Philological notebooks” (M., 2004), “The power of the word. Practice” (M., 2005), “Literary Institute in creative workshops of masters. Portrait of a non-existent theory” (M., 2000), his reports and speeches at Russian conferences (annual Gorshkov and Ozerov readings at the Literary Institute named after A.M. Gorky, Gorky readings in Nizhny Novgorod (1993, 2003), Fadeev readings in Vladivostok (1991 ), Nekrasov conference in Yaroslavl (1996)) and international conferences (Marburg conferences in memory of M.V. Lomonosov and B.L. Pasternak (1997, 2000); readings of "Floiano" in Pescara (Italy) (2000), at the University of Xuzhou (China, 2003), at the Academy of Social Sciences (Beijing, 2005), at the Paris-8 University (Paris, 2000), at the National Autonomous University of Mexico City and the Autonomous University of Puebla (Mexico, 2001), etc. .), symposia, congresses of the Union of Writers, at meetings of the Academic Council and departments of the Literary Institute. A. M. Gorky, in work with students and graduate students of this university.

The introduction substantiates the relevance and research of the topic, scientific novelty, methodological foundations of the work, formulates its purpose and objectives, and the provisions submitted for defense.

Section 1 - "Writer in theoretical and methodological coverage" - consists of three chapters.

In chapter 1 - "The concept of the writer in the theories of literature" historical-theoretical approach "- it is indicated that the named approach (described in detail in the chapter) can be applied to such a category of literary theory as a writer. The initial premise here is as follows: the very concept of a writer who creates literary text, historically changed, > saturated with different contents.

sts and the theoretical positions presented in them, the conclusion is made: the historical-theoretical approach allows us to characterize the historical variability of the content, which for centuries has been invested in the concept of "writer", "author". The main stages here are: (1) the Platonic idea of ​​the writer as a "medium", broadcasting the messages of the gods and therefore of no interest as an individual; (2) coming from Aristotle and found its highest embodiment in the aesthetics of classicism (Malerbe, Boileau, etc.) the idea of ​​a writer as a worker who, like a scientist, knows the rules, norms, patterns, according to which it is necessary to embody an impersonal, universal ideal in art, therefore, the writer's individuality also does not become an object of attention for literary theorists; (3) the romantic conception of the writer as the leader of mankind: from the romantic dual world arises the opposition of personal life (a part of reality that is always low and ugly) and belonging to an ideal that cannot be translated into reality (F. Schlegel, Novalis, Hoffmann, etc.). ); (4) formed within the framework of romanticism, but also overcoming it, the biographical "method of Sainte-Beuve, in which everything connected with the personality of the writer is considered

is decisive for creativity; (5) a line from I. Taine through formalists, structuralists to postmodernists - a decrease in attention to the writer as a subject of creativity up to the recognition of the "death of the writer"

(R. Bart's term); (6) an approach dating back to M. Proust, which separates the concepts of "biographical author" and "author - the subject of consciousness." Depending on this or that concept, the writer occupies a greater or lesser place in the theory of literature (from the defining one in Sainte-Beuve to the insignificant one in the concept of "death of the author").

Meanwhile, there are a large number of sources that make it possible to bring some clarity to the characterization of the real significance of the figure of the writer in the grandiose phenomenon denoted by the concept of "literature". These are the self-characteristics of writers scattered over different pages, the mechanisms of their creativity. Sometimes these are diaries, letters, memoirs. Sometimes works of art are like small ones (for example, Balzac's short story "Facino Canet", at the beginning of which the writer talks about his method of observing people passing along the street, whose biographies

he seeks to guess the fii and relationships from subtle details, and the reader finds himself in the laboratory for creating future literary characters), and huge ones (like Proust's novel In Search of Lost Time, the hidden core of which is the formation of a writer).

In chapter 2 - ". The real world and the world through the eyes of the writer ■ reality in documents and in literature" - it is noted: the researcher always stops in some amazement before the world of literature - where and how this reality arises, which in some cases fascinates and captivates people significantly stronger and more active than what we call life. How does this reality, which has artificially arisen in the artist's fantasy, see our immediate life, as you would have burst out L. N. Tolstoy - physical? It is ridiculous to say that this "physical" life directly affects the artistic world and the writer. Life happens independently, the writer only describes it. Already in the very fact of description there is a boundary, a transition into the world of selection, into the world of subjective feeling, and only then - into the work. The word only alludes to the thing, naming it rather than defining it; determines only the totality of words, and it is also a reflection that refracts one word in another. The writer, to a certain extent (although not to the extent that Plato defined for him), is a medium, a somnambulist of the visible, in which not only the writer's ideas about ethics, morality, philosophy, history, but also the features of a purely writer's psychology are superimposed on what is actually seen. and physiology (which at one time was especially emphasized by representatives of the psychological school of psychology). One sees better, the other hears better, one has stereoscopic vision, the other has two-dimensional vision. One sees the world in bright picturesque spots, while the other sees it, as if in rain, with a gray veil. But all this lies behind the text, the reader is dealing with an already finished picture; and perhaps that is why the recognition of the writer himself as the main "laboratory from the inside" is so important. 4

Over forty years ago, the author wrote his first story, “We Only Live Twice,” a story practically dedicated to one of the ordinary heroes of the Great Patriotic War. Then the author decided to himself that he would write on this topic for the rest of his life. Thirty years ago, the war seemed to the author to be a life drama very close to him. His decision was also definitely influenced by a very justified literary fashion - the “context” of literature, its vital inertia, saturated with memories of the recent war: then the novels and stories of Bondarev, Bykov, Baklanov were in sight, the poetry of recent front-line soldiers was noisy. The author, to a certain extent, was himself a "participant" in the war, remembered it from childhood, sensually, the very fact of the beginning of the war, memories of the evacuation to the Ryazan region, the return to Moscow in 1943, and the day the war ended - May 9 1945. Memories always surround the writer and take him prisoner, but all this is a common creation.

background, and the story itself was born from a specific episode. Further in the work, this episode is analyzed in detail, which served as an impetus for the work on the work. But the author only described this fact, the author had to “weld” something else here, and he came up with several front-line episodes. One of them is the first attack in his life on the front of the real prototype of the hero, with his amazing fear of death and the shock of youth. It is now that the author understands that fiction has invaded life. Then the fact prevailed for him. Now the author sees another curious phenomenon in this young story of his. A number of stylistic moments were influenced by Solzhenitsyn's story "One Day in the Life of Ivan Denisovich", which appeared almost at the same time, which made an indelible impression on the author. Of course, the tricks were taken from the "surface". First of all, verbal inversion, a kind of dictionary style. This, perhaps, lay at the origins of his personality - the first intellectual with a higher education in the family. Since the war, the author remembers well the common speech of his grandmothers and aunts. So, the author admits that the hero of his first great literary work turned out to have a prototype. But, in fact, here the author, perhaps, is rushing through the open gate, because the question arises: what kind of literary work arose on its own9

Long before getting acquainted with A. Mauroy's book on Proust's methods of work, the author, who, of course, knew that Proust often used prototypes in his writings, but was nevertheless shocked by that amazing sensual-documentary basis that lay under what seemed to be full of fiction, notions and wonderful images of the Proustian epic. But everything here is not full of happy phenomena of Proustian fiction, but of the happiness of Proustian observation. Of course, there is much in literature that could be called a happy fantasy or a happy invention, but the author, relying on his own experience, begins to think that everything that we consider fiction and fantasy in literature is simply not yet known by literary criticism as the basis is reality. What we call fantasy, flowers of ingenious imagery, is only embroidery on the rigid basis of life, just the upper thread, the “knot” that the tapestry maker knits. And in this sense, the author, as he sees himself, does not represent any exception, this also applies to this first work of his, and further, right up to his last novel, Death of a Titan, in which the reader is shown a simple documentary basis. But how the author will explode if he is told that this is only a mosaic and a compilation of facts! Oh no! All this is passed through itself, coordinated by the general design and the secret desire of the author to show it the way he wants, and not the way others would like.

Further, other works of the author are analyzed in detail in the chosen aspect. The result of the analysis is as follows: vital material passes through a special "writing laboratory" before appearing before the reader in the form of a work addressed to him. At the same time, it is revealed that the desire to convey life circumstances with documentary

accuracy, directly, without the mediation of this "laboratory" - a dead end, the very possibility of such a transfer is a myth. Without the figure of the writer, the material "does not work." What is possible is only a more or less convincing imitation of the elimination of the author's gaze, the author's "prism" through which life makes its way onto the pages of the work. Imagination is a key concept for characterizing the essence of a writer not only within the framework of a romantic understanding of the literary process or in relation to certain areas of it (for example, fairy tales, science fiction, fantasy, etc.), but also in relation to all literary activity. The imagination works with the material of emotional memory (or, in the words of I. A. Bunin, “figurative memory”), grouping it into figurative meanings, through which the desired effect is achieved (realistic, romantic, surreal, etc.). It is the imagination that is the basis of the individual in the writer, which is revealed either through the reconstruction of a philologist, or through the writer's self-identification. This second path is chosen in the dissertation.

In chapter 3 - "Self-identification of the writer as a theoretical problem" - it is noted that this is one of the new problems in science, although the phenomenon itself has existed for hundreds of years. Different approaches to self-identification in the "Confessions" of Augustine the Blessed, J.-J. Rousseau, L. N. Tolstoy. Tolstoy's remark: “If Rousseau was weak and sent his children to an orphanage and many others. etc., then all the same, his deeds, as a writer, are good and he cannot be equated with an idle debauchee ... ”- gives grounds for the conclusion: Tolstoy distinguishes between the characteristics of a person and the characteristics of a writer, does not confuse them, moreover, he contrasts them. The statement can easily be transformed into a mirror judgment: a person can be good, even ideal, but a mediocre writer, nothing. In other words, a writer is a kind of special entity that needs to be singled out and characterized somehow, in addition to biographical data, the characteristics of everyday, emotional and other manifestations of a particular bearer of the writer's gift. This work, it seems, has not yet been done in a systematic form. Great writers - masters of introspection have used this tool they found for other purposes. Neither Augustine, nor Rousseau, nor Tolstoy in the "Confessions" subjected their writer's specificity to powerful introspection. This kind of self-analysis should be singled out as a special problem and defined by a term that emphasizes the specific orientation, vector nature of self-analysis carried out by the writer precisely as a writer. This term quite naturally becomes a writer's self-identification.

In our understanding, the writer's self-identification is the writer's reflection on his particularity, fixed in the text: who am I? what is the world like? what is my place in it? and what among people? what do I want to tell them? what is my talent? What is my attitude to the word and to literature? How do I see, hear, feel, think? and in what ways do I translate it into words and works? How do I differ from other writers? what me with

brings them closer? Is writing some kind of separate entity in me (alien voice - God, the devil, the universe) or my integral part? what is my writing power? weakness? and will I be able to... Once again I emphasize the specificity of writer's self-identification is not reduced only to the content - reflection on the features of the gift of verbal creativity, but also has to do with the form - the written fixation of this reflection. Because otherwise, without translation from the language of thoughts and sensations into the language of verbal formulas, it is inaccessible to the thinker and completely inaccessible for research (directly, without hypothetical reconstructions). With regard to the figure of the writer in the theory of literature, such self-identification makes it possible to reveal the being of the writer in the writer.

The emergence and rapid development in recent years of the so-called thesaurus approach in the field of humanitarian knowledge sheds unexpected light on the problem of writer's self-identification. The central concept of the thesaurus approach is the thesaurus. It is understood as a subjective image, a set of ideas and knowledge of that part of the world culture that the subject has mastered (definition by Val. and Vl. Lukovs). Thesaurus (as a characteristic of the subject) is built not from the general to the particular, but from one's own to the other's. In relation to a writer, I would define a thesaurus as a personal picture of the world. What is it made up of? Not only from their own ideas, but also from quotes (in the spirit of postmodern intertext), and often quotes crowd out their own vague thoughts, since quotes are given because they are better formulated. This is a kind of corset that gives harmony to one's own ideas, intentions, values. By studying your own writer's thesaurus, you carry out the procedure of self-identification, and by carrying out the procedure of writer's self-identification, you learn your own thesaurus.

This problem will be solved in the following sections of the dissertation. However, an important clarification needs to be made. In a work on literary theory, it is not the thesaurus of the writer as a person that is of interest, but that e! o the part that can be defined as a writer's thesaurus. This means that, firstly, not everything will be in the field of research, and secondly, the logic of presentation will be different, subordinate to the figure of the writer. The writer's thesaurus is structured not according to a general model, but exclusively according to an individual layout of preferences, and the characterization of the writer as the most important part of the literary process should be built taking into account this circumstance, while the structure of the writer's thesaurus can only be determined as a result of a thorough thesaurus analysis. This analysis is carried out in the following sections of the dissertation.

Section 2 - ". Thesaurus of the writer - Experience of self-identification" - consists of three chapters.

In chapter I - "The writer's personality and lifestyle" - 7 paragraphs are allocated ("General view", "Automythology", "Writer", "Old writer", "Techniques and methods workshop", "Writer as a psychologist",

"On Talent"), which correspond to the structure of the author's individual thesaurus in relation to the chosen aspect.

In the dissertation, the author himself becomes the “figure” of self-identification. Therefore, a large place is given to autocharacteristics: the life and creative path (the novels "Imitator", "Spy", "Temporary Worker and Temporary Worker: A Novel of Love and Friendship", "Governor", "Eclipse of Mars", "Death of Titan. V.I. . Lenin "and others), pedagogical activity at the Literary Institute. The book-research “Passing Thoughts. The experience of research on writing, in which the author for the first time made public what he is really interested in and what he has been doing for a long time and with enthusiasm, where he quite consciously realized the category of density characteristic of his own style. An ambitious desire arose in her, contrary to literary practice, to make a work without the "intervention" of the author. Fight quotes. The author only gives each quotation his own title, thereby revealing his will and tendency, and this option passes. But his own experience turned out to be unrealized, and his own began to appear in the teeth of other people's thoughts. The comments grew. To a certain extent, some special, own, genre was born. A genre arose, a work arose that did not tell about all areas of the writer's activity and psychology, but only about those that were especially interesting to the author. It is this principle of text organization that is preserved in this section of the dissertation.

In the paragraph "Writer", the writer's thesaurus of the author emerges from other people's statements (I. V. Goethe and C. P. Snow, T. Mann and D. Steinbeck, V. Rozanov and K. Chukovsky, V. Shalamov and Yu. Nagibin and many others . etc.) reflecting their own ideas about the writer (the following aspects are highlighted: “Surname”, “Glory”, “The writer is the voice of the people”, “The tragic fate of the artist”, “The writer and justice”, “Does the writer write easily and freely?”, “ Will and firmness”, “Motives of creativity”, “A man of a harmonic vision of the world”, “Life expectancy”, “Lifestyle”, “Life of writers in Russia and America”, “Imalignity”, “Talent and morality”, “Hatred”, "... and friendship", "Venomance", "Suffering is a professional feature", "Conformity", "Jealousy", "Special Phenomenon: Soviet Writer", "Russian Writer and Motherland", etc.). The same procedure is carried out in other paragraphs. For example, in the paragraph "Old writer": "The age of the writer", "The youth of style is a purely technical issue", "There is no old writer! There is - written from youth”, “When a certain “velvety” disappears from books”, “Wisdom is a property of the young”, “Any work is like the last”, etc. (based on the statements of M. Proust, A. Morois, N. Mandelstam, L. Ginzburg and others). In the section "Workshop. Techniques and methods”: “On the dubious pleasure of moving a pen on paper”, “A monologue that habitually buzzes in the head”, “The duty of a person in general and a writer in particular”, “When a writer works, reading is dangerous for him”, and many others. etc. (based on the statements of M. Montaigne, J. V. Goethe, T. Mann, G. Miller, G. Ivanov, V. Kaverin, V. Nabokov and others). In the paragraph "The writer as a psychologist":

“Do not abuse psychology (it’s boring and dangerous)”, “All our inclinations, addictions and sins are from childhood”, “Psychology as an invention of literature”, “On some bad methods of conveying the internal state of characters”, etc. (based on the statements of S. Maugham, A. Morois, V. Shalamova, V. Orlova and others). In the paragraph “About talent”: “The talent of a writer is a phenomenon of a special kind”, “It is important to have your own voice (But maybe this is talent?)”, “Or maybe “talent” is just a term, and that’s all explained in some other way?”, “Direction of talent - from the social soil?”, “A talented person, contrary to popular belief, is not talented in everything”, etc. (based on the statements of V. Belinsky, G. Adamovich, D. G Lawrence, J. Genet and others).

In the chapter, such quotations, interpreted by the author, are combined with absolutely personal material that allows one to penetrate into the process of creating a writer's "automyth". Every writer comes up with some kind of legend about himself. Maybe this is generally the specificity of the "figure of the writer." I have several. But due, apparently, to the peculiarities of the imagination, my legends are almost completely true. Maybe I tweak them a little, dramatize them, make them smarter.

This personal material should also include the very choice of texts that form the contours of the writer's thesaurus, and, of course, their interpretation and a generalized view of the problem. An example is the final reflection in the paragraph “Techniques and Methods Workshop”: a writer must always work, and, firstly, of course, be in a creative force field, and secondly, constantly think about two of his own properties: (1) What an abyss the writer should know - I'm not talking here about professional, academic knowledge, he can know a lot in feelings. But you must know. In this sense, he is a generalist who can add his life to the life of a Negro in Tahiti, to the life of the Ussuri tiger, and begin to think with a dog's heart. (2) The writer must always do something with his soul. What a subtle and obedient instrument it is, how flexible, how diverse, how many tones it can produce, what various feelings it can perceive and recreate. But it is a tool that requires surprisingly careful handling.

In Chapter 2 - "The Writer and Literature" - the procedure of self-identification by building a writer's thesaurus is continued already within the framework of orientation in literature itself.

It is believed that a writer should know his home - literature. It's true. From above, the writer sees how vast and majestic the fields of literature are. Its geography is truly boundless. There are stream writers, rock writers, open highway writers, forests, groves and islands, but there are also ocean writers! The scales when viewed from the inside and outside are different. The perception of these scales changes with age. What in youth seemed to be the result of perseverance, becomes a phenomenon of a different kind. In the minds of a colleague and a writer, such definitions as talent and destiny flash through.

In the chapter, through its 11 paragraphs, it is built - through intermediaries, statements of writers and critics from different times and countries and grouping, interpretation of these statements - a system of the author's ideas about the essence of literature, its genres, language and style. The methodology is the same as in the previous chapter, so we will present the materials of the paragraphs schematically.

In the paragraph “Realism and Modernism”: “Of course, one wants to immediately be branded as a genius”, “To sum up: to write simply, you need a certain courage”, “But literature wants not only to describe the weather”, “One should not confuse artistic realism and banal similarity” and etc. (based on the statements of J. La Bruyère, P. Picasso, R. Barthes, A. Genis, P. Weill and others) Some thoughts of the author: Only a great deal of literary criticism can separate realism from modernism. Personally, in my great literary life, I give up with this detective. I sometimes feel embarrassed to read some mossy homegrown pea-

sheet, but then I come across a modernist who, at first glance, will not say a word in simplicity, and I swallow it all with pleasure. What's the matter here? By nature, I am a person inclined to a simple image and perception of life, and, if an autocharacteristic is required, a realist! Each time requires its own techniques and skills in work. I am always very afraid of inducing students, whether due to "pressure" or their attachment to me, to their own practice. Long ago I established from my own experience what has always been clear to theoreticians: there are group, age, national and ethical predilections. Let each tree develop as it can, as nature and roots dictate to it. Are people born realists, or does some kind of internal chemistry make them become just that, and not any other? It is impossible to answer these questions, but let us agree that the formulation of the question is already quite a lot. As for postmodernism: one can speak of postmodernism as a completely finished phenomenon. Postmodernism is of interest to anyone only as a given in the history of literature. Not individual strokes of the tail of this reptile testify to its life, but only the appearance of talented people who sometimes pour new wine into old furs. All fashion trends of recent times, like the manuscripts of graphomaniacs, stick together in the mind of a person engaged in literature. So sometimes the texts of badly written people still make an impression when read fresh: there is something in the imagery, sometimes in style, but one or two days will pass, and you can hardly remember, or maybe you don’t remember what everyone is talking about. This. What is it all about? About how the author did not strain to clearly, clearly translate the image formed in the mind into a verbal formula. The author preferred some shimmery touches to bring it all together in the mind of the reader. There is some kind of flash and movement, in another corner of the literary space there is a backlight, and it seems that a certain image appears, which the reader himself finishes drawing. But the reader has no image either. The reader has only a mood while the emotions of this half world tickle his mind. The image did not merge and did not turn out to be rigidly outlined.

In the paragraph "Word": "The word sometimes becomes above life (and has a mystical property)", "The word as an independent force", "The word is not a phenomenon fluttering like a butterfly (it is firmly attached to a phenomenon or object)", "At the word there is a taste, - says one classic", "The word has a smell, - says another", "The same words in different writers have a different weight", "Several words connected to each other on paper - and it is immediately clear that is a writer", "Do not take a single word for rent (otherwise you will not become a classic)", "At the junction of words, in their" reverse side "sometimes there is a hidden meaning", "About the artist's intuition in preserving the whole and about" purebred Russian speech " (the word “right”, the word “left” means escape)”, “The danger and unpredictability of the word is that it is able to pull the devil out of human memory”, etc. (based on the statements of N. Berdyaev, J.- P. Sartre, O. Mandelstam, K. Chukovsky, D. G. Lawrence, A. Tvardovsky, R. Kireev and

others). Some thoughts of the author: The word is a very accurate identification mark. Once I was talking on the phone with a German Slavist I didn't know very well. This man knew neither my biography nor my age. And in the conversation, he gave the date of my birth with great approximation. My interlocutor said: “In a conversation, you used the expression “lean oil”. The generation after the 40th does not use this phrase anymore. We often determine the social, taste, ethnic parameters of our interlocutor by intonation, by the structure of his phrase, by phonetic vowels, but sometimes a word determines a lot. Mining instead of mining - miner; kochet instead of a rooster - a southerner; compAS - instead of compass - a sailor, a former sailor; convict instead of convict - a lawyer, a person who served in the camp guard; start - instead of start

Political figure (south of Russia). One word contains everything: birth, the object itself, its life, its legal or social death, inspiration, and the person who exhales this word.

In the paragraph “Style”: “The requirement of simplicity is always higher than the concept of style”, “If there were simplicity and accuracy, the rest will follow”, “On the art of writing simply”, “Along with simplicity, one must not forget about the fullness of artistic truth”, “Verbosity - this is also a kind of lie", "This is the case when the tropes do not decorate the text, but carry the main meaning", "Not only the epithet is important, but also the place where it stands", "Writing simply and avoiding metaphors", “Well, why, there is another point of view”, “Two modern aphorisms: Style as an opportunity to recognize a lie ...”, “...and as a possibility for the very existence of literature”, “The problem of style and the problem of borrowing”, “Style is the choice of the only one out of many” and others (based on the statements of V. Nabokov, G. Benn, V. Lakshin, N. Mandelstam, I. Dedkov, M. Aizenberg, L. Skvortsov, etc.). Some thoughts of the author: The concept of style is a dark thing. This, however, does not exclude the possibility that any theorist has his own precise and intrepid opinion on this matter. The theoretician does not hesitate, his words bear the stamp of certainty, he has thought through everything well and knows better. Another thing is the writer He knows from his own experience that the style

It's all. These are his works, his landscapes, portraits, his images. No style - no writer. Even to be a "non-writer" one needs style. It is true that it is special: so that the speech skips without lingering in the mind, so that the images only sparkle, and do not exist, so that the thought is an imitation, so that it is no wider than the reader’s capabilities. It is difficult to imitate such a style, you also have to be born with it. A bad writer is also a talent, but, I repeat, of a special kind. Style is, as it were, everything that the writer owns, which is his tool and building material. Without style, there is no imagery, there are drawings, but no landscapes, there are anatomical drawings, but no portrait. Without style, there is no thought, because thoughts are some kind of verbal accents about what is already known. There are almost no new ideas in the literature. New thoughts are everything that has been discovered for a long time, only written by the writer in his own way, as he felt it in his soul. Pushkin on

At the end of his life, he writes: “This is no longer new, it has already been said - this is one of the most common accusations of criticism. But everything has already been said, all concepts have been expressed and repeated over the course of centuries: what follows from this? That the human spirit no longer produces anything new? No, let us not slander him: the mind is inexhaustible in the consideration of concepts, just as language is inexhaustible in the combination of words. All words are in the lexicon; but books appearing every minute are not the repetition of a lexicon. Thought alone never represents anything new, but thoughts can be infinitely diverse. Try after the ego to say that only a certain abstract talent, an excess of feelings and floweryness in a word is important for a writer. What about thought? It is very difficult to translate what a writer felt into words. This is where style comes in. His own, special, inherent only to this writer, individual dictionary, word order, sentence features, his favorite epithets and his shifts in the use of vocabulary, and his mistakes. Mistakes, omissions and inaccuracies - can often become the basis of style. What peasants and what hard workers spoke in such inversions, but “One Day in the Life of Ivan Denisovich” was written with just such an absurd, non-existent, but ... convincing inversion. People easily succumb to someone else's style, especially a great national writer. But this “everything” already belongs to someone, and no one needs a new one, even very elegantly executed. At the end and in the middle of the XIX century there was a huge number of fakes under Pushkin, in our time - this is an incredible number of Brodskys, Mandelstams and Nabokovs. Writers and poets with passion and individuality I most willingly forge I, but they only forge the outside, the inside, the inner world - always beyond imitation. He, in fact, is a feature of a great writer. However, you can write about everything about this for a long time.

Style is the lift of the wing. Finding at least some of your own style and your own approach to seeing the world, you begin to feel like a writer. For a writer in general, it is very important that no one can throw an accusation at him - this is badly written. He may have unschooled books, unformed plays and failed essays, but with his style he cannot write badly: his style keeps him. Style, from my point of view, is a natural phenomenon. You can be born wearing a shirt, with a silver spoon in your mouth, as the English say, or with a natural singing voice. You can be born with a natural ability to put words together and put them next to each other in a certain sequence that is most beneficial for the meaning. Meaning, feelings and words are inseparable. Of course, there are certain rules, laws and norms for arranging words and making sense through them - this is called stylistics.

In the paragraph “Language”: “An amazing property of the great Russian language”, “Language as an expression of will and action”, “The writer is a sensor of language indications”, “The stamp is evidence of the decline of literature”, “The language of belles-lettres as something unnatural”, “Expressiveness language and truth”, “What does it mean to speak the language of today?”, “Abnormal

native vocabulary as a sign of bourgeoisness”, “The point of view of another professor of the Lshingstitut (which he expressed through the mouth of one of the heroes)”, etc. (based on the statements of G. Adamovich, M. Foucault, S. Maugham, K. Chukovsky, V. Shalamov, N. Mandelstam, V. Orlova and others). Some thoughts of the author: Language seems to me a sticky mass, transparent and glass-like, which covers the whole world. Everything around - mountains, cities, spaces of forests and fields - are flooded with this substance. From space, if I were an astronaut, the globe would not seem like a "blue planet" to me. I would see how the tongues of this earth intertwine and shine with different light. First, of course, dry, orange, like a peacock's eye, China would shine. Over North America, Great Britain, Australia and Canada, a haze of violet color would spread,

fired by a scan of red charges. Over France would swirl bunk ruby, the color of Bordeaux wine, coloring. Germany would appear in fractional yellow-black tones, like a canvas of one of them,

Pressionists, but with crimson-red strokes. But Russia would float in the milky-pearl tones of its great culture and language. Over the years, as I use it, get to know it and live it, the Russian language becomes more and more for me! hell. He ceased to be just a communication tool, but became a truly living being. Without the former fearlessness, I already very carefully divide it into morphology, syntax and other scientifically verified parts. These are living parts, this is a living being, in which my life is enclosed, as in the environment. And what are we without this language, without the features associated with the language, illuminating the conceptual apparatus? I admit that in every language there are such concepts as father, mother, homeland, soul, road, space. But let's agree that in every language these ponies mean a little spacing - and something very Russian with us. We have a dairy language and Great, White and Little Russia. There is also Novo-Vorossia. How do these words run in, polished, falling into the streams of each of these rivers? The currents carry us through life in their rapids, but we also row, helping the wave. Everything here belongs to springs with living water gushing from the depths, streams falling from fields and hills, rain flying over plains and lakes. We speak following folk life, viviparous folk wisdom and folk philological gift. The people collect words, expressions, tropes and comparisons in their lexicon, they construct verbs from their life and needs, and adjectives and participles from the desired qualities and means. But the writer, too, I confess, does not sleep. It is impossible to divide into streams, to separate a given current of the surface stream, to single out warm strands of water, to mark and isolate all the living interlacings of waters and streams in a river. But in the river, or rather, in the ocean of the Russian language, one can nevertheless feel the current of Pushkin and the current of Tolstoy, the rapids of Dostoevsky and the pools of Avvakum. Russian writers are participants and workers in the construction of the language. Are they theorists? Theory emerges from their practice, and their mistakes give vitality and strength to the language. But what is language, how does it come into contact with our

life while we live in this life and in language? The writer only guesses, and in the dark, by sounds and hints, he tries to find his way. It is most difficult for us to judge and analyze close and dear people: wife, mother, father, son, daughter - and the Lord God.

In the paragraph “Plot”: “Accounting for plots and constructions”, “If you understand it properly, real life is the plot”, “Why are complex constructions annoying?”, “A good composition of a work is always flawed”, etc. (based on the statements of I V. Goethe, Alena, A. Morois, S. Maugham, V. Nabokov). Some thoughts of the author: The twentieth century speaks of a weakening of the plot. As a rule, in the best literary classics, the plot goes to the side of the story and only dimly flashes. The plot is like a locomotive driving a whole train of cars. It seems to the people sitting in the compartment that "they are driving on their own, they do not care about the huge car in front of the train, to all these tenders with water and coal, hissing pistons, huge wheels. landscapes In modern literature, only the writer knows that these pictures, these characters, these wonderful characters, which he presents to the reader and which, in fact, are only remembered, must be somehow organized, must be fastened together by relationships and everything arises for a writer from a feeling of characters, if it is normal literature, from fragments of some conversations, from the anguish of his own heart, and then he kind of remembers, deposits this feeling and looks for a plot. the most unimportant, but obligatory. The plot is unusually difficult for a real writer, as all extraordinary things are difficult. It is invented, collisions are selected for it, but collisions I'm really interested! reader - there are few of them. This, of course, is birth, this is death, this is betrayal, this is love, this is treason, this is an accident, this is paternal, maternal and sonian feeling, this is greed, bribery and something else. In practice, the plot should enable the author to show the gradation of feelings, that is, how death occurs, a specific death, or a specific betrayal. Betrayal and death - this is, as it were, the presence of a plot. This means that gradations due to this character are necessary. The plot must have a certain duration in order to demonstrate these characters. Speaking of the death of the plot, writers of my age do not have in mind the simple and uncomplicated works of modern reading. The reader who is carried away by this kind of literature is like a savage who constructs his old fantasies on the basis of small signs: the white color of the alien's skin, the smoke from his musket, the mirror in which the sun and waves reflect. Even an intellectual reader, when such works fall into his hands, as if turns on a certain wave mode in his mind, which allows him to believe in all these nonsense. It is read all the same - I repeat - not this, it is read not what, but how - that only keeps interest. After all, the reader knows who will be killed now,

who in five minutes, it is important for him that before his death the hero or heroine will cry out - this is the prey of fiction: to intersperse the question with the answer. Actually, the quality of literature is not the quality of the plot, but a certain distinct content, a few breaths from point to point. The plot of "Crime and Punishment" could well have been prescribed by the modern Dostoevsky Marinina, and it would have turned out well, but it would have turned out to be already forgotten today. The modern reader of serious literature has long understood the secondary nature of the plot for their own experiences. True, these experiences without a plot may not work out at all, nevertheless, the point of view is fair that this most cunning reader, experienced in all blocks of an entertaining narrative, is only interested in the most unpredictable: the course of Her Majesty Human life. The more experienced the reader, the sooner he switches to diary prose, memoirs, and the recollections of eyewitnesses. Consequently, the task of the modern novelist and narrator is to make the fictional world fit as closely as possible 4 to the real, existing one. Write a novel in such a way that it is not clear who is writing it - the author, one of the characters or the publisher. Or maybe all together? By and large, the novel is written by the reader, and the writer only corrects his vision. Recently, a new kind of literature has appeared - when the writer turns literature into his life. She pushes and drags him along, and it is not clear who is shooting from a machine gun somewhere in Yugoslavia: the writer Limonov or his hero.

In the paragraph “Story”: “I repeat: a story is always a story”, “Does a story need a strong plot?”, “Does it matter how the story is told?”, “A short story is the design of the performance”, etc. (based on materials statements by S. Maugham, V. Rozanov, J.-P. Sartre, etc.). Some considerations of the author: A story, a story, a novel - in Russian literature, all this is so unsteady in terms of genre designation; and then the Russian story - the so-called story, with its huge range of passions, with the detailed, unhurried development of the plot - the story behind which, ^

Look, it's worth a lifetime. In general, after “We Only Live Twice,” I learned to write for a very long time, until I realized that in a story it’s not the plot that needs to be twisted, like a tight spring, but it’s necessary to come up with something completely (

something else, something that concerns not your mind, but your nature. After all, a story is what a story is for, to cry out, in order, first of all, to help the author to understand life. But without a story, a story is dead.

I confess, at least to myself, that I don't really like stories. Writing them is more interesting than reading. I do not like stories with intricate style, following our famous critic Mikhail Lobanov, I am very reserved about the stories of Yuri Kazakov and see more experience and talent than feelings in Bunin's stories. It seems to me that our time is beginning to be afraid of any literary, moving towards a documentary arrangement. If the story is old, from the middle of the 19th or the beginning of the 20th century, then it is good when the literary device has already been declared: a story in a story, or a manuscript found in a closet, or even, like Chekhov’s, “Zha-

forehead book. Reception should be obvious, declared and developed. And only then can the reader be deceived, take it all for life. The reader always remembers that this is only the construction of the author, and light inspiration is not some kind of objective property, but only the author's vision. I always liked to make my own stories under the document - to insert into them some obvious realities of everyday life: the prices of books, the type of furniture or shoes, the names of fashion companies. I started doing this in the 60s, now it's a common place.

In the paragraph "Novel": "The difference between a novel and a story", "The novel as an ideological phenomenon ...", ". As an indicator of the social significance of literature”, “... As a social measure”, “What does it take to write a novel”, “A novel is dead?”, “How does an idea arise. Its maturation”, “Signs and properties of the novel. Canonical”, “A few words about the novel vision (or does it not exist?)”, “When is the time to become the author of a novel?”, “Quick writing. A novel must be written slowly (the art of inhibition)”, “A novelist is all his characters”, “The main character should not be mediocre”, “The scheme is repeated, but another masterpiece is obtained”, “Each novel has its own stylistic manner”, “Exhaustion themes (when to finish the novel?)”, “Death of a Novelist”, etc. (based on the statements of G. Wells, S. Maugham, A. Maurois, A. Camus, V. Nabokov, G. Miller, G. Adair, V. Shalamov , V. Pikul, L. Ginzburg, A. Gavrilova and others). Some thoughts of the author: Since childhood, the novel seemed to me an unbearable phenomenon. How can you come up with all this, find out everything, trace it, arrange it in a certain order? The novel has always seemed to me more important and more truthful than life itself. Of course, I understood and already knew from the university course about prototypes, about influences, displacements, contaminations, but still it seemed to me that Lev Nikolayevich had only written War and Peace. So there are recordings of scripts but already filmed films. The novel is a kind of magical forest, a kind of enchanted country. Especially the Russian novel. We admit that in the Russian novel there is more windbreak, more winding paths. To a certain extent, he is always against the rules. The author, as it were, filters what he knows and wants to say, but does not forget about himself. For us, Russians, life, not lived in vain, means so much, Uplifting the spirit of the times, the witchcraft of lofty feelings, the ghostly magic of love, and here - the hero kills hares, sells skins from them; then he kills his wife - and such fashionable absurdism, and the language that is fashionable today - journalistic banter. Literature and the novel (I have in mind great literature, literature of great style) do not go along with the clumsiness and lacework of words and fantasies.

A story is about an event, about an action, it is character and characteristic. But the novel is, of course, about time. This is the author and time, this is David, with his weak hands and sling, and Goliath. In the novel, it seems to me, the end occurs in a different way: at some point, everything is said; the river that carried you suddenly becomes shallow, the landscape along the banks becomes boring - the novel is over. There comes a time when the flower closes. The writer has been accumulating strength for a marathon for a long time. He draws many lines, he has

there is a visionary opinion, intuition helps him, he sometimes does not understand why this line should be drawn and continued, sharpened, made the hero live, made the hero die. The dark power of the subconscious turns the boat of the novel from side to side. When the novel is already written, the writer once again takes a look at everything, as if from the mountain the landscape of the valley. This is the editing period. There it is still necessary to break through the alley, there - to fix the access roads, the deputy to build on the floor. This is cold rationalism. The river has become shallow for a long time, and the rower acts only on the basis of a temporary motor of inertia, his previous motor experiences. This is according to Stanislavsky: remember the action and the attached circumstances - and an image arises. But all this is already on a cold steam. The novel ends when it ends - when time has run out, when the cold and stony plain of life opens up ahead of the writer, with a lonely and boring road, along which you have to go again in order to collect words for a new song, listen to time, go to the horizon; and he keeps moving away. But you know for sure that there, somewhere on the way to it, there will suddenly be a feeling of a new novel. A novel is also the life of a novelist, a hard one, because you have to live a simple life - with the insults of everyday life and the impatience of loved ones, find time to lock yourself into the tunnel of a new novel and think all the time: what lies ahead. And how time falls on your all absorbing pages.

In the paragraph “A play”: “You can become a novelist, but you can only be born a playwright”, “A necessary condition to write a good play”, “Theater is the art of the present”, “Why go to bad plays? (and therefore write them)”, “About the theater as the most conditional of the arts”, “Dramaturgy is the art of indulging the viewer (by and large, it matters who indulges)”, etc. (based on the statements of I.V. Goethe, T. Manna, A. Murdoch and others). Some thoughts of the author: Bulgakov made all other arguments about how plays are written ridiculous with a few phrases in the Theatrical Novel. Something like: “A box appears in which people begin to act, living in it.” As a matter of fact, this is not only true and just, but exhaustive. The old literature considered dramaturgy to be the highest manifestation of writing skills. Of course, this point of view was due to the fact that this dramaturgy, when it was staged at the theater, could be "read" at once by a very large number of people. But I think it also had to do with a clear understanding of how incredibly difficult it is to write a good play. Nowhere is it so easy to hide a lack of talent as in drama. Now the plays are being designed. I have seen this many times; box-office plays associated with humor are especially easy to construct. Here we need to take a collision, a life story familiar to everyone. And then there are already newspaper flourishes: one trend, another trend, different generations, different characters, different social incarnations. Didn't Shakespeare and Ostrovsky calculate in this way? Yes, they probably intuitively calculated, figured it out, but there was still an incredible inner spirit, a striking and organic fuse. Therefore, each character in their plays carried

around him is a halo of many interpretations. A modern play, as a rule, is only an approximate sketch of a character, it must be recreated by the actor. Literature is compressed by the weight of what has already been written. A stream of different jets rushes forward. But in the play you need to choose some words, you need to show both action and thoughts - everything that is said in the play should be put in quotation marks. It is still possible to create a play out of a novel, but the material of one story, one story is not enough for a play. Oh, how much you need to think, finish, add, and then squeeze everything out in order to get a dialogue, so that life situations and characters arise behind the words. It was very painful to write my first play, which, as it seemed to me at first, was a piece of cake, or rather, my first staging. And these act one, act two, act three went farther and farther away from what I had written earlier. I have already said that a play is a novel; what the prose writer does stylistically, juxtaposing and twisting words, the playwright has to say in direct speech. The most unexpected for me was the occurrence of a domestic scene, or episode, with the writing of an anonymous letter by the main character. Here the hero delivered a monologue about the benefits of anonymity, in which, of course, there were separate notes of a monologue about slander from Beaumarchais's play, but there was also something new. I also made my anonymous person a philologist. He was surrounded by dictionaries, he was an anonymous writer, imitating his texts under the thinking of pensioners - intellectuals, workers, servicemen, etc. museum. I like plays with a happy ending, I believe that any time has its good hero. And what classic play does not have a positive hero? I love this play of mine, and I want to especially note - a play with a positive hero. I will never be ashamed of it.

In the paragraph “Diaries and Memoirs” “It’s not the events that matter, but the course of one’s own thoughts?”, “Fiction is doomed to death”, “Fiction is offensive to the reader who has seen the war”, “Your own life, like a novel?”, “A diary is like a pulse” , “What is a “good memoir”?”, “Nothing like that! facts don't matter", "By stringing facts, we sometimes provoke lies", "Memories of the past as a reason to understand the present...", "... Or as a tool for redesigning reality", "Memoir syndrome, where there is no longer a moral but the political aspect”, “Memoirs need comments”, etc. (based on the statements of Saint-Simon, M. Proust, A. Maurois, M. Remizova, V. Shalamov, Yu. Annenkov, etc.). Some thoughts of the author: I will immediately ask the question: is the diary still an intimate genre, intended to leave with the author, or does the author secretly hope for some other fate? I think that the motive for writing a diary is the thought of the living. By the way, this is a very un-Russian tradition; the Russian man, who has felt God's right hand over him all his life, has never aspired to some kind of continuation of earthly life after death, never

he did not seek to force the memory of himself ... In the Russian northern churchyards, a wooden cross was placed on the grave, no stones with carved names - these are all Western inventions; and buried in the same grave again pretty soon, as soon as the cross rotted away. Already the second, third generation vaguely remembered the graves, but, of course, this did not mean that they forgot those lying in them. However, the great Pushkin spoke exhaustively about this in his letters. So, the motives for writing the diary were still some kind of appeal to the living, a secret thought that after death these lines could be in demand - here a lot of smaller motivations arose, relatives could claim: children, grandchildren, great-grandchildren, from here it was possible draw on the experience of ancestors. Legal authorities could use the diary as a kind of document, right or wrong court, in the diary it was possible to settle scores with enemies, thank friends, donors or the master; in the diary one could talk to God. And again, the progenitor of this idea was Pushkin.

Another motivation for writing a diary is the ego, in addition to its own accounting of inner life and actions, it is also the organization of one's life, the organization of one's inner spirituality and one's life. Sometimes the diary was a confession to God or one's own conscience. But as for the diaries of writers, they all, it seems to me, are addressed to a contemporary. However, the boundaries and preferences of these beginnings are being erased, one goes into another. You can talk to God and be conceited at the same time. Most writers wrote diaries with the confidence that they would be published.

I started my diaries several times. Once in my childhood, probably because of fashion, because I read about it, but quickly gave up. It always seemed to me that my life was not so interesting for a diary, and I did not find exciting events, and most importantly, I probably did not find a style and angle in which my own diaries would be written compatible with my spiritual life. I already kind of gave up on it, but life was moving, something fell out tightly, there was no stopping time. Yes, and what time - I have long been accustomed to the fact that nothing lingers here: neither my own experiences, nor interesting impressions, nor my own, albeit not medieval, but dear to everyone passions. But people left. The time came when, for some reason, one by one, my peers, sometimes friends, began to drop out of life ... I decided to write a martyrology, write only about friends and people who left and were dear to me for one reason or another. Perhaps I made this decision under the influence of Mikhail Bulgakov's Molière, in which one of the characters, a friend of the protagonist in acting, puts an end to the theater chronicle in the days of special misfortunes. The cross gave anonymity to the characters of life. Only the heroes of what happened and the chronicler knew about this. Perhaps, in due time, these notes would have turned out to be a small book about departed friends - my days are like this, it's time to sum up. By the way, I did not fulfill my plan, it was transformed. Why did I write a diary? Of course, there was some

a swarm desire that the water in the bucket does not dry up. I also noticed that thoughts were often formulated in the diary, which then developed in what I did in prose. Sometimes I inserted plot stickers into the diary. In general, I believe that the writer should first formulate everything with a pencil in his hands. Therefore, at all performances and at all meetings, I come with a notebook.

A diary for a writer is also a kind of exercise to which he resorts when there is a pause in his main work. And in general, it is ridiculous to say in relation to the writer - to write or not to write. You always have to act - whether with a pen, or with another tool of labor. And then, as I already noted somewhere, the writer, like any person, has quite a lot of grievances. After all, a writer does not always have to fight back, as people of other professions imagine. Sometimes discussions on a free topic go so far, shake up our own consciousness so much that there is no time or energy left for any creativity. And the diary often allows you to put your own points in disputes - if you want, take revenge, construct your own answers and hear your own failures. The diary also allows you not to lie - as we sometimes lie in ordinary life and in traditional disputes. The diary is a parallel monologue with life and about life. And, as usual, the diary is some hope of having the last word.

When did writing a diary become my moral imperative? At a time when politics invaded my simple records, then work, service at the institute? Or when suddenly the diary became almost my main genre? . In principle, I never thought that I would start publishing my diaries, but only thought that due to my age, the absence of people in my family who, for one reason or another, are interested in my activities - what do I do and but if I do, I must understand this myself and that it would be better if all my preliminary materials were brought into some clarity during my lifetime. I always tried to protect not only my work, but also someone else's. And here some work has been done, and it needs to be completed. To complete is generally the main principle of my life, so I always urge the future writer to think carefully about what he undertakes. And so, completing this diary, laying out the materials with the help of my main assistant - Ekaterina Yakovlevna, stenographer and secretary - I suddenly realized that there was something unexpected in these texts. And even, perhaps, not because of my own outlook on life and the peculiarities of my writing, but because life develops in such a way that dozens and hundreds of people pass through my hands. Arranging all this in folders, I mentally imagined how some of my distant heir would deal with my handwriting and these typewritten pages. Of course, Pasternak rightly wrote: “There is no need to start archives, shake over manuscripts,” but this was only one of the points of view, only one of the beautiful poetic formulas - he had archives, and he was very careful about manuscripts, and Ivlinskaya diligently collected everything

what was associated with it. And not only my own letters and papers with texts passed through my hands, but also the manuscripts of students.

There is after all also a certain flair of the philologist. Have I ever written that a writer, in principle, is a person who is easily vulnerable, easily offended? So sometimes you want to behave like a human being, flare up, yell well, enter into a long correspondence with high authorities ... But when you think that after that you will have to go out of order, sit exhausted, torn to pieces by your own squabble, and not a single thought, not one inner movement - then you understand that your life is a different life. Here, on a grand scale, you begin to believe everything in the diary. A person has a reason to speak out, but I, back in an era when the assessments and the platforms for these assessments were deregulated, I had to formulate something according to *

about their students, and about the students of their colleagues, and about what they read. Diaries are also, of course, a great place for resentment. And where do you get these grievances more when you live in the fire of today's life? Here, any old woman is ready to throw a bundle of brushwood into the fire under your feet, any young man internally believes that one more free place would be useful to him. There are a lot of divorced rhinos in today's literature. And we're not arguing here. We sit down at the computer here in the evening.

Today, diaries become memoirs. The most interesting thing is the creation of memoirs, and indeed any memoir literature. A certain idea appears, one or two images from the past, and then another one begins to layer on this image. One event calls out another from non-existence. Forever, it would seem, the past and the lost again acquires concrete features. It acts like flashes. With a flash of lightning, a picture is seen. In an instant, it must be remembered and written down. Remember immediately, but write slowly. But these records are again interrupted by new outbreaks. Some currents should not interrupt others. The most interesting memoirs are in the head, in the most airy and elusive - in visions. When all this is caught and written down, the birder writer has to deal with the text. And we know that for expressiveness, in order to highlight himself, the author is ready to sacrifice both the fragment and the truth. Memoirs are the most subjective genre, "diaries are cleaner in this respect. But the author's mind always struggles with what he will do with his work, he has in mind a certain reader. His children, his offspring, that is, the children of his children or the whole world. Very often a writer cuts, edits, and censors his text in his mind.This is an edit that leaves no drafts.As in life, the truth here is insufficient, it sinks and dissolves in words.

In the paragraph "The Writer and Criticism": "Criticism as a phenomenon of art", "Where do good critics come from", "Concrete invective towards the critic", "That is, criticism can be philology?" , “Judge with honesty and breadth of view”, “Unfair criticism as a guarantee of truth”, etc. (based on the statements of T. Williams, K. Chukovsky, G. Klimov,

V. Bondarenko, O. Korosteleva, V. Gusev, M. Foucault and others). Some thoughts of the author: In general, criticism from a writer who is busy with his work rolls down like water off a duck's back. I'm used to not paying attention to anything. All my life I have always dealt with criticism of ours, Russia, and we have it for a number of reasons, and not only Soviet, but also group, national, ethical, due to the difference in educational qualifications among entire groups of writers, it is extremely tricky with us. Yuri Kazakov believed: the worst thing that can happen to a writer is when criticism is silent about him. But this too must be experienced. Both in criticism and in promotion, we had a terrible grouping. The point here is not only in the notorious secretarial literature. But if there was secretarial literature, there was also secretarial criticism. It is now the former heads of the prose departments of many thick magazines who can shout that they did not personally edit G. Markov, V. Kozhevnikov, V. Povolyaev, Yu. Surovtsev (the latter, however, was included in the criticism section). They themselves, perhaps, did not edit, edited by literary slaves, but they tacitly or untacitly approved of all this, kept quiet at the editorial boards and congratulated the luminaries on their publications. In Soviet times, the silence of the writer could become significant. Everything was coordinated. And so a writer who was not written about could turn into a second-class writer.

One of my biggest shocks, when perestroika was already over, as it were, and speeches were relaxed, was the statement of a very venerable and authoritative writer, he is a critic, a theater critic, and a literary critic. Then V. G. Rasputin spoke out, somehow very contrary to the mood of the liberal intelligentsia, and that mammoth of a critical pen said: “Actually, what is Rasputin? This is the result of the promotion of three or four Moscow critics. Well, there was probably some reason here - everything can be promoted, but even then I did not agree with this. I traveled several times with V. I. Belov and saw: huge masses of people in theaters and large sports halls welcomed a not very popular writer as a national writer, as a national hero. VG Rasputin, I was convinced in the fall of 2000, when I was in his homeland. Criticism, of course, is criticism, but if this love of the reader does not arise, if this mass excitement does not arise, then nothing more can arise for the writer.

It is necessary to distinguish "promotion" from criticism. Promotion is an invention of our time and our rapidly capitalizing century. Is this not an invention of Russian criticism? Of course, at all times, criticism has stuck to its camp. But nevertheless, the great raznochinets Belinsky wrote enthusiastic articles addressed to the oldest Russian aristocrat Pushkin. Somehow I stepped over social, economic, and I even think that aesthetic barriers as well. It is unlikely that the great critic with an incomplete higher education and the son of a district doctor was as well educated as the lyceum student Pushkin, who whispered with the maids of honor to the rustle

Tsarskoye Selo groves. And praised! It would seem that only for "his own" Pushkin was the sun of Russian poetry, but, it turns out, for a tuberculosis patient from a bureaucratic rank. In this case, to stand above the fight, you need a very strong foundation, a sense of your self-sufficiency and equivalence as a creative unit next to the object of criticism. Needless to say, the revolutionary democrats possessed not only charisma, but also an amazing faith in their cause and in the need for it for society. Our criticism only thinks of serving the clan. In the end, only the clan distributes grants, arranges foreign trips and has a hand in the mechanism of promotion of the now small critical name.

Nevertheless, I cannot smear the entire critical workshop with paint with a fresh smell of tar. There are people who burn themselves on fire, and people who are so closely connected with their profession, who understand so clearly that they live their own straightened spiritual life, that they cannot lie.

In chapter 3 - "The Writer and Society" - 3 paragraphs ("Literature and Society", "Censorship and the Writer", "Teachers and Students") are allocated, which correspond to the structure of the author's individual thesaurus in relation to the chosen aspect.

In the paragraph “Literature and Society”: “Writer and Politics”, “Is the Writer Always in Opposition?”, “Is There No Prophet in His Own Country?”, “Power and Literature”, or political clique”, etc. (based on the statements of I. Eckerman, K. Chukovsky, G. Klimov, V. Maksimov, E. Feoktistov, etc.). Some considerations of the author There is no writer who would not be involved in politics. Strictly speaking, politics is everything in this world. A person is designed in such a way that, moving, he always touches someone with his elbows. He apologizes, but the bruises remain. The world is arranged in such a way that there is not enough for everyone. You always want redistribution and a differently understood order. In theory, writers like to say that they are not subject to politics, that they are centrists, that they would like to write about something sublime, about something else. Almost everything is exactly the opposite. The writer is a brightly politicized person, serving his camp, his passions, his upbringing, his worldview. But in the nature of a writer - and a writer is usually a failure in life - there is a desire to remake life. This is another literature. Sometimes the writer's talent and temperament are not enough to make the structures of the universe sway or at least sway, and then the writer himself rushes into politics. Why does a writer go into politics? Well, firstly, of course, I want to knead life not only in my paragraphs and stanzas, and, secondly, the writer also wants life to influence him. Sometimes the gift is weakened, the nerves are loosened, and then circumstances must stir up the imagination. The writer always complicates and sharpens his life. If he does not do this, if he writes habitually and evenly, then suddenly it turns out that the writer does not develop a new quality in his work.

honor, the reader cools down to him. A writer cannot write novel after novel or story after story without interruption, without a pause for transplantation. In pauses, collecting material, one writer goes on safari to West Africa, another goes to the "people", the third - to politics. The writer is looking for a plot, looking for a character, looking for points of confrontation. Without confrontation, there is no literature; without confrontation, literature crumbles, disappears into petals, into the gentle smells of dreams. What a fragile substance - a dream! Politics for a writer is not only a fair of his stories and an intermission in his main activity. This is the area where he tests the effectiveness of his weapon and the relevance of his word. I dream of moving away from politics forever and at the same time thinking about how to start a new novel, into which all my bitterness about our tragic time would flow.

In the paragraph “Censorship and the writer”: “The Weimar minister believes that the sweetness of communication lies in preliminary resistance”, “A writer pisses, an editor edits (portrait of a spitter)”, “A private consideration of the sun of Russian poetry (demonstrating the defiant stupidity of censorship)”, etc. (based on the statements of I. V. Goethe, A. Pushkin, K. Chukovsky, I. Vishnevskaya, E. Limonov and others). Some thoughts of the author. The worst censors were the internal censors. Numerous editors and editors who are used to playing such exciting ideological games for them. Oh, how they loved to catch all sorts of allusions and allusions, for this one had to have a very spoiled imagination and a very specific mood of the soul. For example, on the days of some plenums and revolutionary holidays on literature, the classical work of Gogol, who managed to name his poem "Dead Souls", could not sound on the air. Allusion. On Lenin's birthday, Lermontov's poem "The Demon" should not be on the air. The name of the play “Storm” was considered dangerous, etc. Any censorship has its own overexposures.

In the paragraph “Teachers and students”: “In the process of teaching art there is a “first”, “second”, but the main thing is the highest concentration”, “The main subject in art is not reception, rule and law, but people”, “Genius, of course, is born, but a genius also needs a teacher and mentor”, “A professional is aware of the end of his time both in his own work and in his students”, etc. (based on the statements of J. V. Goethe, A. Morois, B. Shaw, A. Mikhailova and others). Some thoughts of the author: I have two standards when I talk about the Literary Institute. The first standard, so to speak, for the outside world, when it is necessary to defend before the public, before the government that always saves on culture, before snobs, the very existence of the Literary Institute, whose former students are not only writers and poets, but also television figures, cultural managers, publishers and people of many other professions, where a good humanitarian training and precise taste are required. In these cases, I don’t remember all this, but immediately throw out the “trump cards”: I list our largest domestic writers from

the first issue - Simonov, Aliger, Dolmatovsky - and beyond; I mention Yevtushenko and Akhmadulina, Trifonov, Aitmatov, Astafiev... And here's another standard: when I talk to my students. Here I argue that it is impossible to teach writing, that at best 1-2 writers will “hatch” out of 60 people of the course, that their personal life will almost certainly be lost, that the art of writing in our time is an art of little demand, impoverished ... Yes, I clearly know, I repeat the thesis: it is useless to teach a writer, one must be born a writer, one must possess a certain biological quality in order to look at the world in this way and put words together in this way. But everything else is a matter of gain. And practically the task of the teacher is to find someone who can be taught. And then things will work out. At our institute, a certain technique has been developed, or rather, as many “techniques” as there are teachers in the department of literary skill. The Art of the Writer

Just like the art of the storyteller, the art of the shaman, partly the art of the musician - is transmitted directly from the teacher to the student. And here it is not known what is more important: some techniques developed by the teacher or the strength of his personality. Behind the teacher should be (although the latter is sometimes not necessary) practice. And the student, as a rule, should first of all start by imitating someone. Of course, there are some incredible talents that break through the soil of culture, like the roots of an asphalt tree, well, for example, such as Rimbaud. But Verlaine still stood next to Rimbaud! Going through the memory of my students, I still do not see very big names. The student, of course, as he should be, is selfish and ungrateful. The teacher is always a hindrance until he is overgrown with a legend, a myth of his own creation or anecdotes of his own life. A teacher is also always a busy place, because students want to become teachers as soon as possible. Everything is so simple: you sit, talk, read manuscripts, make comments, among which most often there are taste - this is the teacher, the student thinks. But the student becomes different from these conversations and repetitions. I think of my students, I expect them to realize all my ambitious hopes. I hope through them to linger in Russian literature. But Russian literature is such a high and sheer cliff...

Section 3 - "The writer's self-observation of literary work"

Consists of three chapters.

Chapter 1 - "The Author - Literature - Life" - indicates that each writer, depending on his own experience and ideas about priorities, develops relationships with life and literature in different ways. Strictly speaking, for most people life itself, in its everyday and sensual modulations, theoretically always prevails and takes precedence over everything. Others have different priorities. Sometimes it depends on who suffered what, and sometimes on how they were brought up in the family and school. Personally, for the author, literature in terms of value has always stood above everything else on the ladder of preferences. The following is a detailed analysis of the author's work in various fields of literary

creativity and journalism, its connections with painting, theater, cinema.

In chapter 2 - "Novels Reflections of Time" - the author's self-observation is focused on his novel work. In this chapter, the author proposed to give a significant place to quotations from his own "artistic" works, to show the product in person. And he believes that this can become essential for work. Much attention is paid to the process of creating the novel "Imitator". What does it mean to "imitate" in life? This is, first of all, to imitate in your psyche, to create a cozy and multidimensional system there. The hero's profession must in some unthinkable way be combined with the experience of the author, not because the author owns the details and details of this experience, but because these skills are psychologically close to him. The author recalls: for the next novel, "The Temporary Worker and Timeman", he chose a radio journalist as the hero, and in "The Spy" the screenwriter became the main character. All this, of course, is close to the author, but can he say that everywhere, in each of these novels, only his own experience? No, here a lot of what was just dreamed of, tried on, but for one reason or another turned out to be familiar and close. The main thing for the author here was to place the figures on familiar squares and watch how these figures began to act. And if the writer correctly chose the profession of a hero, if he suddenly found a character, then how easily and freely he feels himself both an author and a hero at the same time. How does character emerge? The novel begins with an impulse, the writer cannot yet determine what the hero will be like; he's all premonitions. He marks the stage, sets the scenery, writes out the necessary furniture for the interior. The first remark - and suddenly he feels: the living has pecked, but still without the character of the protagonist. There are, of course, craftsmen who write without character, without development, and without style, but you can’t just work, you also have to have fun. Writing a novel is an incredible pleasure. This is torment, but also pleasure: how to give birth, and then take captive their heroes. What are their names? The names of the characters are an indescribably important problem in the novel. Just like its title, however, the title, in which the theme is concentrated, symbolizes the meaning ... So, the plot, aphorisms, which, from the author's point of view, do not always decorate the novel, maxims that the provincial writer remembered. But the author thinks - why was this novel written in the early 70s, why was not a love novel written, why was such a peculiar theme chosen - imitation in life? And the author comes to the conclusion: the theme was dictated by time, the theme was dictated by life. Just as suddenly, after a few years, life and changes in time dictated to the author another topic - the topic of spiritual slavery, the desire to get out of oppression at all costs, perhaps at the cost of one's own life. The theme of imitation rolls throughout the novels. When Pilate washed his hands, he also imitated his moral cleansing and liberation from his own problems and the problems of future world history. And in the novel "Eclipse of Mars ..." there was a coup. emo

the author's emotional shock. La Monada was repeated. Not in Chile! Time has changed again, it was necessary to fix it, at least, and pronounce your judgment on it, as in "Cucumbers ...". There, the author recorded the "letter of the 42s." Was it necessary to do this? And here, too, rather irrational. Here the author also recorded the duality of the intelligentsia, as well as the striking picture itself - the shooting of the White House. Crowd applauding near the Government House. Television films deteriorate and crumble, newspapers burn, but in some mysterious way, novels remain after everything and rise like islands in a boundless ocean of writing...

In Chapter 3 - "The Writer as a Writer in Life Contacts: Auto-Micro-Observation" - an attempt is made to reveal in the utmost detail the process of the work of the writer (in this case, the author) on life material, which, according to his plan, should form the basis for a new story. Here, in a special form - both analytical and artistic (the chapter is based on the author's self-observation story "Reading Technique") - the main thesis of the dissertation is realized about the presence in the writer as a person of a special structure - the writer himself. The interest of a person (the author) in a random interlocutor who has become a fellow traveler on the roads near Moscow turns out to be not at all equal to the specific interest of the writer, who literally draws from this “first comer” some character of the future literary character.

In conclusion, conclusions are drawn on the topic of the dissertation as a whole. The task of the author's self-identification turned out to be much more difficult than it seemed at first. Difficulties were already caused by the idea of ​​somehow structuring the material: where to start, how to build the logic of the text, what to come to in the final. In addition, the size of each paragraph also mattered. Size is not such an external side of the text at all, it is a problem of completeness and structure of information (for example, the novel is not just larger than a short story, it is structured differently).

As a result, I can note that the desire for sincerity in the procedure of self-identification unexpectedly ran into resistance, which needs to be explained. It is impossible not to notice the desire to build a semblance of an automyth. There is also some special assumption about the purpose of quoting "isn't it a way to express one's own as someone else's?

But, I think, with all possible nuances, the difficulties are based on the writing process itself: self-identification becomes building oneself as a literary character - and this is not an individual feature of the author, but, apparently, a general property of the writer as such, one of his essential features. Every writer constructs an "auto-myth", a legend about himself, which allows him to exist in two guises: a person with his own destiny and a writer.

These hypostases are not so opposed to each other. The author is forced to confirm the banal truth: everything stems in principle from reality: imagination and figurativeness, thoughts and experiences, doubts and

joy. There is a single source for everything: life and the person walking on it. All this has been proven on a variety of, I repeat, our own material,

What may be new is the thesis that often such a fantasy of observation or an entire figurative system can arise from the opposite experienced by the observer or the author.

At the beginning of the work, it was argued that the writer's thesaurus is a kind of independent structure in the general thesaurus, and is structured not according to the general model, but exclusively according to the individual layout of preferences, and the characterization of the writer as the most important part of the literary process in literary theory should be built taking into account this circumstance, while the structure writer's thesaurus can only be determined as a result of careful thesaurus analysis. Such an analysis was carried out. The conclusion may be the discovery of a certain dependence of the formation of this author on his journalistic practice.

Such practice broadens the horizon, provides new material, draws images of people and images of geography, but the author of the work insists that the artistic world of journalism and prose are different worlds. Journalistic accuracy often affects the mind, but the writer's liberty works harder with the reader's imagination and stays in his mind longer.

For this author, his acquaintance with art, with its various types and branches, is essential - this largely determines (structures) his writer's thesaurus. But the object of his novelism is also, as a rule, art. What is primary, what is secondary? Do these interests go hand in hand, or is one an impulse for the other? Most likely, life, transposed by the means of art, allowed the author to think about how this is done, and allowed the theme of art to develop further on its own. The author would note here a kind of avalanche growth of interests.

It would seem that the author should talk about his work in the historical genre, in documentaries, talk about his own "Diaries", which are trying to comprehend and keep time. But nevertheless, the author believes that there is a certain triad that is traditional for any person of art and over the years more and more acutely makes itself felt: documentary filmmaking, artistic comprehension of the world, theoretical understanding of what has been comprehended. The author even dares to assert that in this respect he follows the trend of today and tries to artistically combine it with elements of scientific knowledge. No one wants to shed tears over fiction. Fiction is now hiding under documentaries, under a historical novel, because no matter which way you look, it is incredibly difficult to separate fiction from reality.

And there is a need for further movement - in the theoretical understanding of the phenomenology of one's own creativity. The idea expressed at the beginning of the work is confirmed: a writer is almost always, perhaps, unconscious, but a theorist, and at the same time always a theorist of his own

venous creativity. However, a clarification is needed, we are talking about a modern writer. As the historical and theoretical analysis of the writer's concepts from antiquity to the present day has shown, in ancient times the writer, the poet resembled a shaman communicating with spirits (in fact, this is what Plato reflected in his characterization of the poet, contrasting him with a philosopher as a person who objectively evaluates reality on the basis of sober thinking ) Then the writer lost the right to free flight of imagination and became like a pure theorist. Then, among the romantics, the pendulum began to swing in the opposite direction. Today, the pendulum is somewhere in the middle "the unrestrained freedom of the imagination is combined in the writer with a theoretical attitude, expressed in a complex work of self-identification. Modern literary theory cannot, must not ignore this indisputable fact. And if the "death of the author" was announced, then It's time to announce that the author has risen.

I Esin S.N. The power of the word. Philological notebooks. Publishing House "Literaturnaya Gazeta". T. 1. M., 2004. 367 p. 27 p. l.

2. Esin S.N. The power of the word. Practice. Publishing House "Literaturnaya Gazeta". T.2. M., 2005. 287 p. 17.8 p.l.

3. Esin S.N. At the turn of the century. Rector's diary. OLMA-PRESS. M., 2002 637 p. 40 p.l.

4. Esin S.N. Passing thoughts (Experience of research on writing work) Publishing house of the Literary Institute. A.M. Gorky. M., 2002. 175 p.

5. Esin S.N. Invention technology. A small monograph about his own work (Experience of literary self-identification). Publishing house of the Literary Institute. A.M. Gorky. M., 2003. 110 p. 6. 25 p.l.

6. Literary Institute in creative workshops of masters A portrait of a non-existent theory. Publishing house of the Literary Institute. A.M. Gorky. M., 2000.287 p. 5 p.l. (25% of the author's participation Esin S.N.).

7. Esin S, N. Retreat from the novel, or In the season of pickling cucumbers. (Pedagogical studies and reflections on the art of becoming a writer). Modern writer. M., 1994.216 p. 13.5 p.l.

8. Esin S.N. Culture and power. Liter Publishing House of the 1st Institute. A.M. Gorky. M., 1997. 248 p. 14 p.l.

9. Esin S.N. Speech technique // Soviet literature. M., 1990, No. 2. S.241-286. 3 p.l.

10. Esin S.N. Chapters from a book about writer's work // Bulletin of the Literary Institute. A.M. Gorky. M., 2001, No. I. S. 10-32. 1.8 p.l

11. Esin S.N. Writer's Creative Workshop: Techniques and Methods // Literary Studies. M., 2003, No. 1. S. 167-179. 0.5 p l

12. Esin S.N. Considerations about the beginning of the writer's fate // October. Moscow, 1989, No. 12, pp. 175-177. 0.2 p.l.

13. Esin S.N. Dialogue with criticism // Bulletin of the Literary Institute. A.M. Gorky. M, 2003. No. 1-2. S.199-228. 2.5 p.l.

14. Esin S.N. Teachers and students. Reflections of the rector // Bulletin of the Literary Institute. A.M. Gorky. Special issue: young prose writers - students of the Literary Institute. M., 2001.S. 3-4. 0.2 p.l.

15. Esin S.N. It is impossible to teach to become a writer // Moscow Bulletin. M., 2004, No. 4. S.242-243. 0.1 p.l.

16. Esin S.N. Increasingly difficult to create a myth // Youth. M., 1997, No. 2. S. 75. 0.2 p.l.

17. Esin S.N. Do not look for his autobiography in the writer's books, because he always lies // Evening Club. M., 1997, November 13. C.7. 0.2 p.l.

18. Esin S.N. Apologia for Mikhail Lomonosov and Barbara Karhoff // Bulletin of the Literary Institute. A.M. Gorky. Special issue: Russia, Germany. Scientific and creative connections. M., 2001.S. 5-9. 0.4 p.l.

19. Esin S.N. Burning writer. Speech at the opening of the monument to F.M. Dostoevsky in Moscow on October 10, 1997 // Literature Day. M „ 1997, No. 5. S.Z. 0.3 p.l.

20. Esin S.N. Patriotic war and peace of the fatherland. Foreword // Tolstoy L.N. War and Peace. EKSMO, M., 2003. S. 7-22. 1.5 p.l.

Close to oven 05/11/2005 Volume 2.0 p.l. Order no. 179 Tyr 100 copies.

Typography Mili U

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RNB Russian Fund

SECTION 1. Writer in theoretical and methodological coverage. with. eighteen)

Chapter 1. The concept of the writer in the theories of literature: a historical and theoretical approach

Chapter 2. The real world and the world through the eyes of a writer: reality in documents and literature, (p. 42)

Chapter 3. Writer's self-identification as a theoretical problem. (p. 78)

SECTION 2. Thesaurus of the writer: the experience of self-identification, (p. 87)

Chapter 1. Writer: personality and lifestyle, (p. 87)

§ 1. General view (p. 87)

§ 2. Automythology (p. 107)

§ 3. Writer (p. 112)

§ 4. Old writer (p. 129)

§ 5. Workshop. Techniques and methods (p. 136)

§ 6. The writer as a psychologist (p. 159)

§ 7. About talent (p. 165)

Chapter 2. Writer and Literature, (p. 173)

§ 1. General view of literature (p. 173)

§ 2. Realism and modernism (p. 186)

§ 3. Word (p. 198)

§ 4. Style (p. 209)

§ 5. Language (p. 222)

§ 6. Plot (p. 232)

§ 7. Story (p. 237)

§ 8. Novel (p. 246)

§ 9. Play (p. 272)

§ 10. Diaries and memoirs (p. 283)

§eleven. Writer and Criticism (p. 302)

Chapter 3. Writer and society, (p. 311)

§ 1. Literature and society (p. 311)

§ 2. Censorship and the writer (p. 322)

§ 3. Teachers and students (p. 330) SECTION 3. The writer's self-observation of literary work, (p. 339)

Chapter 2. Novels. Reflections of time, (p. 369)

Chapter 3. Writer as writer in life contacts: auto-microobservation. (p. 391)

Dissertation Introduction 2005, abstract on philology, Esin, Sergey Nikolaevich

In the nature of the writer (meaning his professional qualities) there is a desire to learn something about himself. How it's done? What is behind the closed door, how does the world arise, which the writer, like a silkworm caterpillar, squeezing out a silk thread, takes out of himself? Probably, it no longer requires proof that the writer does not just “write off” the world and the environment, because it is practically impossible to write off, because touching a word, arranging words in a certain order already carries a certain subjective moment. The writer's work is, as it were, a mix of his own dreams and fragments of that objective reality that the writer managed to capture, that same reality stitched with fantasies. Usually the writer sharply sees the phenomenology of his own creativity, the urge to it and the motives that he himself can not always substantiate. ^

Why anyway? What dictates this or that epithet: computer calculation or some internal impulse? The writer asks himself early on: how does it all work out? There is a textbook remark by Anna Akhmatova: “If only you knew from what rubbish poetry grows, without knowing shame, like a plantain near a fence, like burdock and quinoa.” But after all not only from litter. Philosophy, and the latest achievements of philology, and echoes of political discussions and artistic opinions, and finally, even mistakes and reservations of life can become certain moves and steps of creativity. By its nature and mode of activity, the writer, as, indeed, any artist, is prone to reflection, to the “trembling” of choice, to unnecessary questions not only about matter itself, not only about verbal givenness, but also about what this given consists and how it is transformed in the process of creativity. The artist too often asks himself the question: why do I create, how does it work, how do my actions lead to this particular result? An artist is almost always, perhaps unconscious, but a theoretician. Sometimes, without formulating it, he understands from experience that he writes best in spring or autumn, or more precisely, in spring, but always at dawn. If we translate all this into a purely concrete language, then it is easiest to say: a writer is also always a theoretician of his own creativity. But after all, isn't it true that the laws of their own little creativity lead to the knowledge of more generalized laws, universal laws, and that is why every writer is almost always, to one degree or another, a researcher, he always discovers a theoretical world, literary rebuilt anew? And each such new knowledge - the special knowledge of each theoretical writer - has a certain significance both for science and for literature.

The relevance of the study of the figure of the writer in the chosen key is determined both by its significance for the existence of the phenomenon of literature, and by an unusually small amount of research in the framework of such a fundamental science for literary criticism as the theory of literature.

The dissertation will trace the process of forming the concept of a writer as an author acting in different guises, and will outline the views on this subject of Plato and Aristotle, classicists, romantics, S. O. Sainte-Beuve and other thinkers up to R. Barthes, J. Stevoy, M. Foucault, who put forward the idea of ​​“death of the author”, and literary critics of the 1990s, who criticized this idea.

We will also turn to the works of Russian literary theorists.

Characteristic in this sense is the path of evolution of the scientific school of literary theory at Moscow State University. M. V. Lomonosov, for many years headed by our largest theoretician, Academician of the Russian Academy of Sciences P. A. Nikolaev. At earlier stages, the main attention of the scientist was focused on the development of problems of the creative method (and it should be especially noted that the researcher, in contrast to many authors of that time, was looking not for an abstract-logical, but for a historical-theoretical solution of these problems1). At the same time, his interest in the historical aspect of the theory of literature manifested itself in the creation of the history of literary criticism as a scientific discipline2 and in the selection of the principle of historicism in the system of literary categories for monographic study3. But over time, P. A. Nikolaev began to pay more and more attention to the writers themselves (obviously, his theoretical and literary views developed in this direction), and the publication of biobibliographic dictionaries about Russian writers under his editorship became a kind of result of this movement4.

1 See: Nikolaev P. A. Realism as a creative method (historical and theoretical essays). - M.: Publishing House of Moscow. un-ta, 1975.

2 See: Nikolaev P. A. The emergence of Marxist literary criticism in Russia (Methodology, problems of realism). - M.: Publishing House of Moscow. university, 1970; Academic schools in Russian literary criticism / Ed. ed. P. A. Nikolaev. -M.: Nauka, 1975; The emergence of Russian science of literature / Ed. ed. P. A. Nikolaev. - M.: Nauka, 1975; Nikolaev P. A., Kurilov A. S., Grishunin A. L. History of Russian literary criticism / Ed. P. A. Nikolaev. - M.: Higher school, 1980; Nikolaev P. A. Marxist-Leninist literary criticism. - M.: Enlightenment, 1983; and etc.

3 See: Nikolaev P. A. Historicism in artistic creativity and in literary criticism. - M.: Publishing House of Moscow. un-ta, 1983.

4 Russian writers: 1800-1917. Biographical Dictionary / Ch. ed. P. A. Nikolaev. M.: Sov. encyclopedia, 1989. -T. one; Russian writers:

Let us dwell in detail on the ideas and works of the Purishev Scientific School of the Department of World Literature of the Moscow Pedagogical State University, in which much attention was invariably paid to the figure of the writer both in the works of its founders B. I. Purishev and M. E. Elizarova5, and its current representatives. An example is the book by N. P. Mikhalskaya “Ten English Romani-. stov"6. Under her editorship, an extensive bio-bibliographic dictionary “Foreign Writers”7 was published - a kind of result of the department’s activities in this direction (articles by N. P. Mikhalskaya herself, as well as V. N. Ganin, Vl. A. Lukov, M. I. Nikola , N. I. Sokolova, V. P. Trykov, G. N. Khrapovitskaya, E. N. Chernozemova, I. O. Shaitanova, etc.).

It is no longer a result, but a possible prospect, which was released in 2003 by a team of authors under the editorship of N. P. Mikhalskaya about the university textbook “Foreign Literature. XX century ”, where, almost for the first time in my memory, when presenting the literary process of the latest period, the material is presented in different directions (expressio

Biobibliographic Dictionary: In 2 hours / Ch. ed. P. A. Nikolaev. - M.: Enlightenment, 1990.

5 See, for example: Purishev B. I. Goethe. - M.: GIZ, 1931; Elizarova M. E. Balzac. - M.: Goslitizdat, 1951.

6 Mikhalskaya N.P. Ten English novelists: Monograph. - M.: Prometheus, 2003.

Foreign Writers: Bio-Bibliographic Dictionary: At 2 pm / Ed. N. P. Mikhalskaya. - M.: Enlightenment, 1997; 2nd, revised. and extended edition: Foreign Writers: Biobibliographic Dictionary: At 2 pm / Ed. N. P. Mikhalskaya. - M.: Bustard, 2003.

8 Foreign literature. XX century / N. P. Mikhalskaya, V. A. Pronin, E. V. Zharinov and others; under total ed. N. P. Mikhalskaya. - M .: Bustard, 2003. nism, surrealism, postmodernism, etc.), but according to the authors (Marcel Proust, James Joyce, Bertolt Brecht, Gabriel Garcia Marquez, etc.). To some, this may seem old-fashioned, but to me it seems to be a real innovation, behind which some new concept is visible, taking into account the fundamental importance of the author's individuality in literature.

The contours of this concept can be found in the book of one of the leaders of the same scientific school, Vl. A. Lukov “History of Literature: Foreign Literature from the Beginnings to the Present Day”9, where the concept of personal models is introduced for the first time10. However, the author rightly notes: “We single out authors who have created fruitful personal models, but we do not reconstruct the presentation of the history of literature in this vein, since there is no established theory here yet”11.

And yet, the work of the Nikolayevskaya, Purishevskaya, and other scientific schools remains largely within the framework of the history of literature (and the theory of this history). Even if a theory of personal models is developed, this will not resolve the issue of the theory of the author as an integral part of the actual theory of literature.

This thesis is intended to contribute to the solution of this latter problem.

The object of research is the writer as a creative person, the subject is his self-identification.

The purpose of the dissertation is thus quite ambitious: to indicate the place that the figure should occupy in literary theory.

9 Lukov Vl. A. History of Literature: Foreign Literature from the Beginnings to the Present Day. - M.: Academy, 2003.

10 Ibid. - P. 13-14, as well as the section "Examples of personal models in the literature of the XX century" (p. 456-483), etc.

11 Ibid. -WITH. 14. the writer in the perspective that forms the problem of the author's self-identification.

More specific tasks of the work follow from the goal: to present the figure of the writer in theoretical and methodological coverage; on the basis of self-identification, reveal the features of the writer's thesaurus; analyze the writer's self-observation of literary work.

The tasks formulated in this way entail the choice of a specific structure of the dissertation: it consists of an Introduction, three sections corresponding in content to the three tasks set and sequentially revealing (with internal subsections: chapters and paragraphs devoted to the analysis of specific issues and aspects), Conclusion and List of used literature.

List of scientific literature Yesin, Sergey Nikolaevich, dissertation on the topic "Theory of literature, textual criticism"

1. Esin S. N. Spy / / Znamya. - 1989. - No. 1-2. 1 00Esin S. N. Temporary worker and timekeeper: A novel about love and friendship // Banner. - 1987. - No. 1-2. In the book version, the novel was published under the title "The Timer".

2. Esin S. N. Guverner // Youth. - 1996. - No. 8-9.

3. Esin S. N. At the turn of the century. Rector's diary. - M., 2002.

4. Zinin S. (Esin S. N.) Between volleys: Photo album. - M., 1971.

5. Sound book about V. I. Lenin. - M., 1970.

6. Esin S. N. Konstantin Petrovich. A novel about V. I. Lenin. - M., 1987.

7. Esin S. N. Death of Titan. V. I. Lenin. - M., 2002.

8. Zinin S. Nine years of life of the chairman of the collective farm // Krugozor. - 1964. - No. 5.

9. Zinin S. (Esin S. N.). Hero's wife // North. - 1971. - No. 12.

10. Kuvaldin Yu. // New World. - 1995. - No. 6. - S. 93.

11. Quoted. on Sat.: Stalin in the memoirs of contemporaries and documents of the era / Comp. M. Lobanov. - M.: New book, 1995. - S. 661.

12. Shalamov V. // Banner. - 1990 - No. 7. - S. 79.

13. Adair G. A closed book // Foreign Literature. - 2001. - No. 6. - S. 99.

14. Eckerman I. Conversations with Goethe. - M.: Hood. lit., 1986. - S. 260.

15. Mann T. Sobr. op. in 10 t. M., “Thin. lit.", 1960, v. 5. - S. 308.

16. Adamovich G. From the other side. M., Literary Institute, 1996. - S. 135.

17. Rozanov V. Works. - L., 1990. -S. 68.

18. Nagibin Yu. Diary. - M .: Book Garden, 1995. - S. 243.

19. Chukovsky K. Diary 1930-1969. - M.: Sov. writer, 1994. - S. 456.

20. Chukovsky K. Decree. op. - S. 95.

21. McEwan I. Amsterdam. - M.: NG, 1999. - S. 62.

22. Chukovsky K. Decree. op. - S. 389.

23. Chukovsky K. Decree. op. - P. 457.1.7 Y Voinovich V. I am not a revolutionary writer. // VK. - 1996. - July 30.

24. Adamovich G. From the other side. - M.: Literary Institute, 1996. - S. 53.

25. Eckerman I. Conversations with Goethe. - M.: Hood. lit., 1986. 18bMorua A. Decree. op. -WITH. 209.1 Ya7 Mandelstam N. The second book. - M .: Moskovsky worker, 1990. - S. 352.

26. Ginzburg L. Notebooks. - M.: Zakharov, 1999. - S. 110. The first book, the last book. The latest editions are the key to the writer. Even if they are weaker than the previous ones, the consciousness, heart, and conscience of the author are especially clearly reflected in them. Georgy Adamovich189

27. Ginzburg L. Notebooks. - M.: Zakharov, 1999. - S. 334.

28. Genis A. // Banner. - 1997. - No. 6. -WITH. 236.

29. Rozanov V. Works. -L., 1990. -S. 175.

30. Kuvaldin Yu. // New World. - 1995. - No. 6. - S. 108.

31. Ackerman I. Decree. op. - S. 160.

32. Miller G. Tropic of Cancer. - M.: Izvestia, 1992. - S. 140.

33. Rozanov V. Decree. op. - S. 15.

34. Ellman R. Oscar Wilde. - M.: NG, 2000. - S. 603.

35. Morua A. Decree. op. - S. 314-315.

36. Nagibin Yu. Diary. - M.: Book Garden, 1995. -S. 413.

37. Vorontsov A. // New Russia. - 1995. - No. 3. - P. 83.

38. Limonov E. The Book of the Dead. - St. Petersburg: Limbus Press, 2000. - S. 112.

39. Mandelstam N. The second book. - M .: Moskovsky worker, 1990. - S. 172.

40. Nabokov V. Decree. op. - S. 68.

41. Maugham S. Art of the word. - M.: Hood. lit., 1989. - S. 120.

42. Shalamov V. // Banner. - 1993. - No. 4. - S. 126.

43. Ginzburg L. Notebooks. - M.: Zakharov, 1999. - S. 97.

44. Adamovich G. From the other side. - M.: Literary Institute, 1996. - S. 28.

45. Adamovich G. Decree. op. - S. 211.

46. ​​Eckerman I. Conversations with Goethe. - M.: Hood. lit., 1986. - S. 190.

47. Rozanov V. Works. - L., 1990. - S. 207.

48. Ackerman I. Decree. op. - S. 135.

49. Lawrence D. Lady Chatterley's Lover. - M.: Terra. - S. 126.

50. Nemzer A. // New World. - 2000. - No. 1. - S. 206.

51. Foucault M. Words and things. - St. Petersburg: Acad, 1994. - S. 80.

52. Eckerman I. Conversations with Goethe. - M.: Hood. lit., 1986. - S. 54.

53. Mandelstam N. The second book. - M .: Moskovsky worker, 1990. - S. 40.

54. Ackerman I. Decree. op. - S. 85.

55. Adamovich G. Decree. op. - S. 21.

56. Weil P., Genis A. Native speech. - M.: NG, 1994. - S. 48.

57. Ackerman I. Decree. op. - S. 264.

58. Mandelstam N. Decree. op. - S. 36.

59. McEwan I. Amsterdam. - M.: NG, 1999. - S. 84.

60. Melikhov A. // New World. - 1997. - No. 5. - S. 62.

61. Op. Quoted from: Morua A. From Montaigne to Aragon. - M.: Raduga, 1983. - S. 69.

62. Mann T. Collected. cit.: In Ut. -M.: Hood. lit., 1960. - T. 5. - S. 237.

63. Bykov D. // New world. - 2001. - No. 3.

64. Adamovich G. From the other side. - M., Literary Institute, 1996. - S. 244.

65. Lawrence D. Lady Chatterley's Lover. - M.: Terra. - S. 117.

66. Op. on Sat.: Paradox about drama. - M.: Nauka, 1993. - S. 472.

67. Chukovsky K. // Banner. - 1992. - No. 11. - P. 154. Mandelstam O. Word and culture. - M.: Sov. writer, 1987. - S. 40.

68. Kireev R. // Banner. - 1992. - No. 11. - S. 235. Cited. Quoted from: Morua A. From Montaigne to Aragon. - M.: Rainbow, 1983.

69. Morua A. Sobr. cit.: In 6 vols. - M., 1992. - T. 2. - S. 189.

72. Dedkov I. // New world. - 1999. - No. 11. - S. 190.

73. Lakshin V. "New World" in the time of Khrushchev. - M.: Book Chamber, 1991. -S. 157.

74. Adamovich G. From the other side. - M.: Literary Institute, 1996. - S. 151.

75. Dedkov I. Decree. op. - S. 183.

76. Nagibin Yu. Diary. - M.: Book Garden, 1995. - S. 157.

77. Nabokov V. Lectures on foreign literature. - M.: NG, 1998. - S. 176.3.3 Adamovich G. Decree. op. - S. 24.

78. Pavlov O. Old new story // Lit. newspaper. - 1995. - No. 5.

79. Maugham S. Art of the word. - M.: Hood. lit., 1989. - S. 96.

80. Satunovsky Ya. Do I want posthumous fame. - M.: Scales, 1992. - S. 67.

81. Adamovich G. From the other side. - M., Literary Institute, 1996. - S. 152.

82. Eisenberg M. // Banner. - 1994. - No. 6. - S. 192.

83. Terts A. // Syntax (Paris). - 1994. - No. 34. - S. 7.

84. Shalamov V. // Banner. - 1993. - No. 4. - S. 127.

85. Maugham S. Art of the word. - M.: Hood. lit., 1989. - S. 71.

87. Korolev A. Favorites. - M.: Terra, 1998. -S. 149.

88. Nabokov V. Sobr. cit.: In 4 volumes - M .: Pravda, 1990. - T. 3. - S. 154.

89. Eckerman I. Conversations with Goethe. - M.: Hood. lit., 1986. - S. 345.

90. Op. Quoted from: Morua A. From Montaigne to Aragon. - M.: Rainbow, 1983. - S. 191.

91. Adamovich G. From the other side. - M.: Literary Institute, 1996. - S. 136.

92. Maugham S. Decree. op. - S. 58.

93. Sartre J.-P. // Foreign literature. - 1989. - No. 7. - S. 31.

94. Slavnikova O. // New World. - 1999. - No. 12. - S. 14.

95. Weil P., Genis A. Native speech. - M.: NG, 1994. - S. 256.

96. Weil P. Genis A. Decree. op. - S. 186.

97. Op. Quoted from: Maugham S. The Art of the Word. - M.: Hood. lit., 1989. - S. 29.

98. Mandelstam N. The second book. - M .: Moskovsky worker, 1990. - S. 283.

99. Shalamov V. // Banner. - 1990. - No. 7. - S. 87.

100. Maugham S. Decree. op. - S. 35.

101. Shalamov V. Decree. op. - S. 71.

102. Ginzburg L. Notebooks. - M.: Zakharov, 1999. - S. 9.

103. Camus A. Writer // Marquis de Sade and the XX century. - M., 1992. - S. 170.

104. Morua A. From Montaigne to Aragon. - M.: Raduga, 1983. - S. 223.

105. Adamovich G. From the other side. - M.: Literary Institute, 1996. - S. 126.

106. Morua A. Decree. op. - S. 169.

107. Weil P., Genis A. Decree. op. - S. 174.

108. Gavrilov A. // New world. - 2000. - No. 1. - S. 225.

109. Op. Quoted from: Lyamport E. // Lepta. - 1994. - No. 21. - S. 207.

110. Maugham S. Decree. op. - S. 138.

111. Morua A. Decree. op. - S. 217.

112. Adair G. Decree. op. - S. 102.

113. Nabokov V. Sobr. cit.: In 4 vols. - M.: Pravda, 1990. - Vol. 3. - S. 212.

114. Adamovich G. Decree. op. - S. 96.

115. Chukovsky K. Decree. op. - S. 177.

116. Eckerman I. Conversations with Goethe. - M.: Hood. lit., 1986. - S. 176.

117. Weil P., Genis A. Native speech. - M.: NG, 1994. - S. 265.

118. Druzhinin A. Diary. - M.: Pravda, 1989. - S. 91.

119. Op. Quoted from: Chukovsky K. Chukokkala. - M.: Art, 1979. - S. 24.

120. Murdoch A. Sea, sea. - M.: Progress, 1992. - S. 166.

121. Saint-Simon L. Memoirs. - M.: Progress, 1991. - T. 2. - S. 461.

122. Mandelstam N. The second book. - M.: Moskovsky worker, 1990. - S.253.

123. Op. Quoted from: Morois A. In search of Marcel Proust. - St. Petersburg: Limbus Press, 2000. - S. 263.

125. Genis A. Dovlatov and environs. - M.: Vagrius, 1999. - S. 9.

126. Ginzburg L. Notebooks. - M.: Zakharov, 1999. - S. 308.

128. Saint-Simon L. Decree. op. - S. 462.

129. Smelyansky A. Results of the word // Nezavisimaya gazeta. - 1992. la.

130. Klimov G. Case No. 69. - M .: Slavia, 1974. - S. 5.

131. Chukovsky K. Diary 1930-1969. - M.: Sov. writer, 1994. - S. 406.

132. Bondarenko V. // Our contemporary. - 1997. - No. 12. - S. 269.

133. Maugham S. Art of the word. - M.: Hood. lit., 1989. - S. 41. Eremin M. They stupefy! // Literary Russia. - 1994. - No. 50.

134. Gusev V. // Our contemporary. - 1996. - No. 4.

135. Adamovich G. Decree. op. - S. 104.

136. Op. on Sat.: Stalin in the memoirs of contemporaries and documents of the era. - M.: New book, 1995. - S. 661.

137. Chukovsky K. Diary 1930-1969. - M., 1994. -S. 52, 382, ​​172.

138. Afanasiev N. I and He // Paradox about drama. M.: Nauka, 1993. - S. 347.

139. Eckerman I. Conversations with Goethe. - M.: Hood. lit., 1986. - S. 238.

140. Chukovsky K. // Banner. -1992. - No. 11. - S. 139.

141. Vishnevskaya I. Dramaturgy in the ideological air of October // Paradox about drama. - M.: Nauka, 1993. - S. 20.

142. Chukovsky K. Decree. op. - S. 389.

143. Maksimov V. // Continent. - 1994. - No. 2. - S. 381.

144. Fromm E. The art of love. - Minsk: Polifact, 1991. - S. 6.

145. Morua A. From Montaigne to Aragon. - M.: Raduga, 1983. - S. 44.

146. Morua A. Decree. op. - S. 190.

147. Ackerman I. Decree. op. - S. 181.

148. See, for example: Evening Moscow. - 1992. - July 8; Moscow truth. - 1992. - July 9; Moscow's comsomolets. - 1992. - July 9; Independent newspaper. 1992. - July 9; Businessman. - 1992. - July 613; Work. - 1992. - July 6.

150. Esin S. N. Industrial conflict: A Tale // Friendship of Peoples. - 1982. - No. 11.

151. Yesin S. N. Passing thoughts (Experience of research on writing work). - M., 2002. - S. 105-124.

152. Let us recall a certain regularity in the choice of a Shakespearean hero and the paraphrase of a Shakespearean plot. “To be” was the title of S. Zinin's essay about the filming of Kozintsev's film in Yalta with I. Smoktunovsky in the title role.

153. Salavat. Portraits. - S. 69.

154. Augustine Aurelius. Confession // Augustine Aurelius. Confession; Abelard P. History of my disasters: Per. from lat. - M.: Respublika, 1992. - S. 7-222. - (Man in the confessional genre).

156. Adamovich G. From the other side. - M.: Literary Institute, 1996.

157. Adair G. Closed book // "Foreign literature". - 2001. - No. 6.

158. Eisenberg M. // Banner. - 1994. - No. 6.

159. Academic schools in Russian literary criticism / Ed. ed. P. A. Nikolaev. - M.: Nauka, 1975. - 515 p.

160. Aksenov V. University as a metaphor // America. - 1993. - No. 442.

162. Alfieri V. Life of Vittorio Alfieri from Asti, told by himself: Per. with it. - St. Petersburg, 1904.

163. Annenkov Yu. Diary of my meetings. - M.: Hood. lit., 1991. - T. 1.

164. Aristotle. Poetics. - M., 1893.

165. Afanasyev N. I and He // Paradox about drama. - M.: Nauka, 1993.

166. Balzac O. Facino Cannet // Balzac O. Stories / Per. from fr. and approx. K. G. Loks. - M. Fiction, 1937. - S. 3-19.

167. Bart R. Sade - 1 // Marquis de Sade and the XX century. - M., RIK "Culture", 1992.

169. Benn G. From a report at a scientific conference at the Literary Institute, 1998.

171. Boileau N. Poetic art. - M: Goslitizdat, 1957. - 230 p.

172. Bykov D. // Capital. - 1993. - L "29.

173. Bykov D. // New world. - 2001. - No. 3.

174. Weil P., Genis A. Native speech. - M.: NG, 1994.

175. Vershinin I. V. Pre-Romantic Tendencies in English Poetry of the 18th Century and “Poetization” of Culture: Monograph. - Samara: Publishing house of SGPU, 2003. - 350 p.

176. Veselovsky A. N. Historical poetics / Ed., vst. Art. and comm. V. M. Zhirmunsky. - L .: Fiction, 1940. - 648 p.

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178. Vizbor Yu. We live only twice // Outlook. - 1966. - No. 8.

179. Vinogradov V.V. Selected works. On the language of artistic prose. M., 1980.

180. Vinokur G. On the study of the language of literary works // Selected works in the Russian language. - M.: Uchpedgiz, 1959.

181. Vishnevskaya I. Dramaturgy in the ideological air of October // Paradox about drama. - M.: Nauka, 1993.

182. Vlasov Yu. The circle of shame and filth closes. // Truth. - 1994.

183. The emergence of the Russian science of literature / Otv. ed. P. A. Nikolaev. - M.: Nauka, 1975. - 464 p.

186. Vorobyov VV Peculiarities of group identity of students in a Moscow university: Dis. cand. sociological and. - M., 2003.

187. VorontsovA. // New Russia. - 1995. - No. 3.

188. Gavrilov A. // New world. - 2000. - No. 1.

189. Genis A. // Banner. - 1997. - No. 6.

190. Genis A. Dovlatov and environs. - M.: Vagrius, 1999.

191. Gershenzon M. Creative self-consciousness. - St. Petersburg: News, 1990.

192. Ginzburg L. Notebooks. -M.: Zakharov, 1999.

193. Goya. A series of etchings on the subjects of "Caprichos". - M.: Center Roy, 1992.

194. Hoffman E. T. A. Don Juan // Hoffman E. T. A. Sobr. cit.: In 6 vols. - M., 1991. - T. 1. - S. 82-93.

195. Derrida J. Back from Moscow, in the USSR // Jacques Derrida in Moscow: Travel deconstruction: Per. from fr. and English. - M.: RIK "Culture", 1993. -S. 13-81.

196. Derrida J. About the postcard from Socrates to Freud and beyond: Per. from fr. - Minsk: Modern writer, 1999. - 832 p. - (Classical philosophical thought).

197. Joyce D. Ulysses. - M.: Respublika, 1993. - 670 p.

198. Druzhinin A. Diary. - M.: Pravda, 1989.

199. Elizarova M. E. Balzac. - M.: Goslitizdat, 1951. - 94 p.

200. Eliseev N. // New world. - 1999.

201. Eremin M. Dope! // Literary Russia. - 1994. - No.

202. Esin S. Memories of August // Youth. - 1982. - No. 8.

203. Esin S. Genius with a brush // Flock. - 1997. - No. 3.

204. Esin S. N. On the air // "Uncle Vanya": Lit. almanac. - M.,

205. Gusev V. // Our contemporary. - 1996. - No. 4.

206. Dedkov I. // New world. - 1999. - No. 11.

207. Esin S. N. The power of the word. Philological notebooks. - M.: LG, 2004. -367 p.

208. Esin S. N. The power of the word. Practice. - M.: LG, 2005. - 287 p.

209. Esin S. N. Temporary worker and timekeeper: A novel about love and friendship // Banner. - 1987. - No. 1-2.

210. Esin S. N. Vietnamese reports // Moskovsky Komsomolets. - 1968, No. 93-96, 97, 98, 99, 106, 110, 111.

211. Esin S. N. Guverner // Youth. - 1996. - No. 8-9.

212. Yesin S. N. The hero's wife: Essay // Outlook.

213. Esin S. N. We only live twice // Volga. - 1969. - No. 2.

214. Yesin S. N. Eclipse of Mars // Youth. - 1994. - No. 10.

215. Esin S. N. Favorites: Gladiator. Simulator. Casus, or the effect of twins. Spy. - M.: Terra. 1994.

216. Esin S. N. Konstantin Petrovich. A novel about V. I. Lenin. - M.: Soviet writer, 1987.

217. Esin S. N. Culture and power. - M.: Lit. in-ta, 1997.

218. Yesin S. N. Memoirs of a forty-year-old // Youth. - 1981. - No. 4.

219. Esin S. N. Memoirs of a forty-year-old: Tales, stories. M.: Sovremennik, 1984.

220. Esin S. N. At the turn of the century. Rector's diary. - M.: Olma-Press, 2002.

221. Esin S. N. Departure from the novel, or V. the season of pickling cucumbers (Pedagogical studies and reflections) // Moscow Bulletin. - 1994. - No. 2; Our contemporary. - 1994. - No. 7-8.

222. Yesin S. N. Retreat from the novel, or In the season of pickling cucumbers. Pedagogical studies and reflections on the art of becoming a writer. - M.: Modern writer, 1994.

223. Esin S. N. Singer of native nature. - Yaroslavl, 1965.

224. Esin S. N. Letters to Petrograd // October. - 1984. - No. 11.

225. Esin S. N. Escape // Banner. - 1981. - No. 2.

226. Esin S. N. Passing thoughts. Experience in research on writing. - M.: Lit. in-ta, 2002.

227. Yesin S. N. Industrial conflict: A Tale // Friendship of Peoples. - 1982. - No. 11.

228. Esin S. N. Flexible plate. GChiesa. - M., 1986.

229. Yesin S. N. Own master: A novel, a story. - M.: Soviet writer, 1985.

230. Esin S. N. Death of Titan. V. I. Lenin. - M.: Astrel, 2002.

231. Yesin S. N. Spy // Banner. - 1989. - No. 1-2.

232. Esin S. N. Standing at the door // Mash contemporary. - 1992. - No. 4.

233. Esin S. N. Speech technique // Soviet literature. - 1990. - No. 2.

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