Analysis of the story "Hygiene"

Let us turn to the story of Petrushevskaya "Hygiene".

What are your impressions after reading the story?

(Students' statements are written down in the form of phrases or short sentences on a blackboard or sheet of drawing paper or placed on a slide; the entries are drawn up in a table, the first column of which will be the primary impressions after reading the story, and the second is filled in after analyzing the story.)

Etrushevskaya "Hygiene".

When reading the story, the gloomy, oppressive atmosphere, the expectation of death, strikes. The hearts of the heroes are filled with fear.

What do family members do to save themselves from infection?

(The only salvation, according to the young man, is strict hygiene and the absence of mice that carry the disease. And therefore, everyone seeks to protect themselves: “Nikolai took off everything and threw it into the garbage chute, he rubbed cologne from head to toe in the hallway, all the fleece threw it out the window in a bag"; "... undressed on the stairs, threw clothes into the garbage chute and wiped himself naked with cologne. Having wiped the sole, he stepped into the apartment, then wiped the other sole, threw the fleece down in a piece of paper. He put the backpack to boil in the tank ... ".

Holding the cat in her arms, the girl reports that the cat ate the bloated mouse "and kissed, probably not for the first time, the cat's filthy muzzle." Grandfather, cursing, locks her in the nursery “for quarantine” (“Grandfather followed her and sprayed all her traces with cologne from a spray bottle. Then he locked the door to the nursery on a chair ...”). Although adults try to feed and control her, they doom her daughter and granddaughter to death. Before us is the complete degradation of the human personality.)

Doesn't this atmosphere remind you of that oppressive and crushing picture painted by one of the Russian classics?

This question was investigated by a group of analysts. They are given the floor.

The image of Dostoevsky's Petersburg, created by him in Crime and Punishment, appears in the mind. As in any postmodernist work, in Petrushevskaya's story for double coding the fourth dream of Raskolnikov is guessed.

He [Raskolnikov] lay in the hospital for the entire end of Lent and the Holy One. Already recovering, he remembered his dreams when he was still lying in a fever and delirium. In his illness, he dreamed that the whole world was condemned to the sacrifice of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe. All were to perish, except for a few, very few, chosen ones. Some new trichines appeared, microscopic creatures that inhabited the bodies of people. But these beings were spirits endowed with mind and will. People who took them into themselves immediately became demon-possessed and crazy. But never, never did people consider themselves as smart and unshakable in the truth as the infected thought. They never considered their judgments, their scientific conclusions, their moral convictions and beliefs more unshakable. Entire villages, entire cities and nations were infected and went mad. Everyone was in anxiety and did not understand each other, everyone thought that the truth was in him alone, and he was tormented, looking at others, he beat his chest, wept and wringed his hands. They did not know whom and how to judge, they could not agree what to consider evil, what good. They didn't know who to blame, who to justify. People were killing each other in some senseless malice. Whole armies gathered at each other, but the armies, already on the march, suddenly began to torment themselves, the ranks were upset, the soldiers rushed at each other, stabbed and cut, bit and ate each other. In the cities, the alarm was sounded all day: everyone was summoned, but no one knew who was calling and for what, and everyone was in alarm. They left the most ordinary crafts, because everyone offered his thoughts, his own amendments, and could not agree; agriculture stopped. In some places, people ran into heaps, agreed to do something together, swore not to part, but immediately began something completely different from what they themselves immediately assumed, began to accuse each other, fought and cut themselves. Fires started, hunger began. Everyone and everything died. The ulcer grew and moved further and further. Only a few people could be saved all over the world, they were pure and chosen, destined to start a new kind of people and new life, renew and cleanse the earth, but no one has seen these people anywhere, no one has heard their words and voices.

Raskolnikov was tormented by the fact that this senseless delirium echoes so sadly and so painfully in his memoirs that the impression of these feverish dreams does not pass for so long.

The story describes some unknown disease that struck the city in a matter of days, the consequences of which are unpredictable. (“... an epidemic of a viral disease has begun in the city, from which death occurs in three days, and a person is blown up and so on ...”).

The characters are exaggerated. (“…Nikolai ate a lot, including bread…”; “…for breakfast alone he ate half a kilo of sushki…”; “…Immediately, on the street, over my backpack I ate barley porridge concentrate, I wanted to try and, on you, everything ate…”)

The heroes of the work are lonely, no one cares about them, even the state has left them. ("Everyone was waiting for something to happen, someone to announce mobilization, but on the third night the engines roared in the streets, and the army left the city"). It is obvious that the young man who offered help will not be able to help everyone. (“Why did the young man come so late? Yes, because he had a lot of apartments on the site, four huge houses.”)

These features are characteristic of the literature of postmodernism.

Intertextuality one type of repetition. risteva: "any text is built as a mosaic of quotes, it is the absorption and transformation of other texts" . Many prose writers and playwrights use intertext when creating remakes.

Petrushevskaya's story intertextual : an unknown viral illness in Petrushevskaya and a "pestilence" in Dostoevsky; with Petrushevskaya, only a few remain alive who have acquired immunity; with Dostoevsky, only a select few survive. In both cases, there is a kind of purification of the world. The reality created in Petrushevskaya's story is doomed, because, according to Dostoevsky, "there can be no harmony in the world if at least one tear of a child is shed", and "Hygiene" is not about tears, but about the life of a girl.

What is the ending of Petrushevskaya's story?

(“... in R.’s apartment all the knocks have already subsided ...” “... however, the cat kept meowing ...”, “the young man, having heard the only living voice in the whole entrance, where, by the way, all the knocks and screams had already subsided, decided to fight at least for one life, brought an iron crowbar ... and broke the door. " Black heaps remained of all the inhabitants in the house, behind the cracked door was a girl "with a bald skull of a bright red color, exactly the same as that of a young man", a cat was sitting next to her and they both gazed at the young man.

In a world that has lost spiritual values, the naturalness and spontaneity inherent in animals, and unspoiled children's morality, remained untouched. Let's hope they have a future.

The cat is black - endowed with paranormal abilities.

A white cat is a bright beginning, radiant.

Illness in the form of a symbolic image of death with a scythe (yellow) - because Dostoevsky's yellow color is predominant, the color of spiritual poverty; in this case - the color of grief, misfortune, anger.

Figures of a girl and a young man (pink) - pink is the color of rebirth, morning, new.

Black abstract figures - symbolize the dead physically and spiritually.

Stairs (steps) - the way up, to the revival (and also, in fact, a man with bags went up the stairs, wanting to help the residents of the city).

The moon is yellow, round - a symbol of the unreality of what is happening, the deadness and evil of the surrounding world; circle - a hopeless situation.

A shiny knife is a symbol of evil and death.

5. Analysis of the novel "The Master and Margarita" - group work

- the founder of postmodernism. This means that his heroes are also postmodern heroes.

6. Writing syncwine - individual work

7. Summing up, homework

Today we made an attempt to analyze Petrushevskaya's story "Hygiene". We examined not only the superficial content structure, but also looked much deeper, drawing a parallel with classical Russian literature, which is the basis for all subsequent literature.

Do the world and the people depicted in the story "Hygiene" have the right to exist, or should they disappear from the face of the earth, as a natural stage of evolution? Can we guess in these people you and I, our world? Each of you formed your own opinion about what Petrushevskaya wanted to tell us. This is the main feature of the literature of postmodernism.

“Postmodernism,” as V. Erofeev wrote, “is a transition to a state when the reader becomes a free interpreter and when the writer does not hit him on the hands and say: “you read incorrectly, read differently” - this is the moment of release, and in this sense postmodernism today is the achievement of freedom in literature.

"Credo" - modern prose L.S. Petrushevskaya. Included in the collection "Changed Times" (2005) and "Two Kingdoms" (2007 - 2009). The date of creation of the work is October 10, 2004.

The plot of the prose is original and its content allows us to discuss the most important moral problem of our time, which the author emphasizes in the work with the help of various linguistic means of expression. L.S. Petrushevskaya places emphasis on the interpretation of the loneliness and moral exhaustion of a woman who needed faith in her strength from a particular person.

Theme, problems of the work

The main theme of the prose is the miraculous healing of the baby, and the problem lies in the power of faith.

Genre, genre identity

"Credo" refers to the genre of the story, and its genre originality is naturalism. The form of organization of textual material is hypertext.

Frame element analysis

The title of the prose immediately "warns" the reader about what will be in the center of attention and is one of the essential elements of the composition.

"Credo" (from lat.Credo- I believe) - a personal conviction, the basis of a person's worldview, sometimes the same as the motto. Faith is what the prose heroine and all other characters need.

The development of events in prose reflects the composition of the test.

The introductory text (prologue) is interconnected with the plot of the action. These two compositions reveal the beginning of the action in the text, the reason for the meeting acting characters, but do not reveal the main theme of the story, help to further penetrate the meaning of the story: “I don’t remember when Roberta told me about this - that a woman whose granddaughter had just died would come to visit.”

L.S. Petrushevskaya in the prose "Credo" presented the background of the event, in which the characteristics of the main characters are given, in the form of a delayed exposition (in the middle of the text), which makes the prose mysterious (information about the heroes of the story, when they met each other, about the time, place and reason meeting at a cheap hotel for foreigners in a student hostel).

The author describes the main action of the work after the above compositions. It says that two healers - two opposite personalities - Claudia and the "nameless woman", presented by the author in the first person, while in the hotel room, followed what was happening in the Krasnogorsk hospital. They were waiting for a woman whose granddaughter was on the verge of life and death in this hospital.

The culmination of the action reaches its greatest tension when the healer sees that the artificial lung ventilation machine is being turned off and she needs to act immediately - to save the life of the baby. To do this, the heroine needs faith in her gift, which she requires from the characters of prose, but above all, the faith of Roberta, who is skeptical of her gift, is important to her.

The climax turns into a denouement when, after general tension in the hotel room, Olga receives a phone call from her daughter, who reports that the child will live.

It is worth noting that in parallel with the development of events in the hospital of the city of Krasnogorsk, the heroine also followed what was happening in Penza. More specifically, Tim's sick daughter. And in the denouement of the work, the healer informs him that "Sanya is sitting in the elevator" and she needs help. This suggests that the girl needs the care of her father.

L.S. Petrushevskaya in the prose "Credo" expressed the epilogue in its own way as a continuation. That the healing of the baby only helped the healer to believe in herself again, and, most importantly, to gain faith in the recovery of Roberta Borchia. And Roberta herself is now waiting for a new miracle.

Basic artistic verbal images, motifs, symbols

as an aesthetically organized system, their internal connection and interaction

The word in a work of art is the material shell of the image, it is what forms, creates the image. So, if we remove key words from prose, such as “profoundly disabled”, “full of noble restraint”, “she burns”, “she moves around the world”, then a clear picture of the heroine Roberta is formed, who, despite a serious illness, travels around all over the world, with great desire and love to see your beloved.

To describe Tim (Timofey Gavrilovich), the author uses such keywords as “a mighty Trans-Volga kerzhak”, “a kind of aristocrat”, “hands with shovels, drinks liters of vodka”, “still a candidate of sciences”, “fifteen legalized children from different women", which characterizes him as a "windy" person in relation to the one who loves him.

When describing the characters of Tim and Roberta L.S. Petrushevskaya used the tropes: epithet, metonymy, antithesis and comparison (“Roberta Borchia. A pile, barely waggling, with small eyes, ash-red. A normal blonde Venetian, a duchess, changed by illness. But in general, aristocrats are not beautiful outwardly”, “Tim - a mighty Trans-Volga kerzhak, also a kind of aristocrat, hands with shovels, drinks liters of vodka. Still a candidate of sciences").

In order to characterize the main character of the prose, the writer used the trope antithesis. She compared two different women, Claudia and the narrator, who are united only by one gift of a healer. While Claudia won people over with the help of her beauty and the “gift of compassion and kindness”, the narrator, on the contrary, repelled them from herself by the fact that she was supposedly removed from the world, there is no “light” in her, a representative of the “poorest stratum of society” , did not like the "ostentatious theater", as the charlatan healer from this prose loved it. The story about his activities helps the reader to put together the image of the "heroine without a name" - a nondescript, insecure woman.

The rest of the Credo characters are described by the author using the same linguistic expressive means: epithets, metonymy and comparisons.

Key episodes, their semantics, role in the text, connection

work

The prose "Credo" includes two main episodes: a story about the life and acquaintance of the characters and an unexpected course of events that unfolded around a dying baby.

The connection between these episodes lies in the fact that before starting the story about the meeting of the characters in the hotel room, the author on behalf of the protagonist talks about them; what is their relationship. Only after this begins the description of the event itself, so that the reader has an idea about the images of the heroes.

Central and secondary characters, their place in the figurative system

L.S. Petrushevskaya at the very beginning of the prose highlights the central characters: Roberta, the narrator herself, Tim and Claudia, the infant Glasha.

The secondary ones include: Olga and daughter Vera (Verbushka); Joanna (Roberta's assistant), hostess and charlatan healer.

The essence of each prose character is revealed by describing their appearance, personal qualities and behavior. Their names also have a connection with character. For example, Olga, whose granddaughter was on the verge of life and death. The name of this heroine speaks of a strong will, intelligence and great performance. These character traits are reflected in the text of the work: “It turns out that at one time she graduated from theater studies. But how to make money for a family - she alone fed her mother and daughter. Went to the TV studio.

It is impossible not to notice the similarity of the name of prose, its problems with the name of another minor character- Vera or Verbochki. Due to the fact that the text of the work does not contain a description of the life and character of the heroine, we can draw her portrait only by characterizing her name. Faith can be described as an intelligent, truthful and benevolent person. This is a sensible girl who appreciates practicality. In the actions of the owner of this name, her prudence is always traced. She doesn't fantasize. Always trying to achieve his goals. Despite the kindness, Vera is characterized by tough actions. She is not an addictive person. Faith is characterized by equanimity.

And here it is worth noting that the characterization of the name of Olga's daughter coincides with the portrait main character- the narrator, from which we can conclude that, perhaps, according to the author's intention, the name of the narrator is Vera.

In prose, there is a kind of trap of everyday details that lead readers and critics away from their real meaning.

In "Credo" there is some kind of extraordinary concentration, the density of life, sometimes compressed into a moment. Probably, this living space of the characters is so compressed and closed that it turns into a “point of time”.

The work is filled with irony, repetitions and inversions. Sophisticated imagery or sentimental gesture, with which the writer "removes" the horror of life.

Petrushevskaya in the prose "Credo" seems to emphasize that our irresponsible attitude to our own life, when we live, obeying the shells of phenomena, everyday or clan stereotypes, cannot but destroy us from the inside, cripple our lives. As evidenced by the description of the lifestyle of Tim, Roberta and the main character.

Petrushevskaya turns the reader to the real, not the imaginary meaning of being. "Credo" is fundamentally anti-ideological. The writer, rejecting the stereotypes and mythologems of literature socialist realism, immerses its characters in the sphere of everyday life, with all its details and problems. However, the laconic plot volume, the recognizability of everyday situations and heroes quite unexpectedly, thanks to barely noticeable accents, an exact replica or almost unobtrusive speech and syntactic repetitions, give rise to a subtext that is not at all everyday, but existential. We understand that in the little things of life, in adversity and eternal problems also concluded the basic questions of human existence. Despite the impartiality of the author's position, the hero's voice, his lively intonation evoke empathy and response in the reader.

As you know, in addition to the narrator and the character in the text there is another narrative instance - the author. The narrative "voice" in the prose "Credo" belongs to both the character and the special subject of speech, which is introduced by the author, but does not coincide with the real creator of the work - this is the "heroine without a name" of the prose "Credo", which informs the reader about the events that will happen, happened and are happening at the moment here and in another place; describes objects, phenomena, etc., depicts, evaluates, etc.

The narrator acts as the protagonist of the work.

The structure of the narrative is historically changeable, it gradually becomes more complex, using the interaction of different "voices" and points of view, playing with their plurality. Prose "Credo" - the text of which, it would seem, is emphatically alienated from the author: the preface says that a woman whose granddaughter has died should come to Roberta. She is her acquaintance, but the narrator does not know her. The main text thus has a "personal" narrator and reflects his "voice". At the same time, it also includes the "voice" of other characters who participate in the event.

Appeals to addressees are supplemented in the text with appeals to the heroes of the story as imaginary interlocutors, as well as appeals to the described realities, time or place of action, for example: “In order to properly understand the situation ...”, “Actually, Tim must according to the schedule ...”, “Then our joint history (me and these two) developed…”, “This is the background…”, etc.

Close to metatextual elements are the author's interpretations of individual words included in the work. They can be drawn up as plug-in constructions, as constructions containing an explanation or clarification, as footnotes; finally, they can be directly introduced into the author's speech or the speech of other characters. The main function of the author's interpretation of words is to establish a common code with the reader, while taking into account the fund of knowledge of the possible addressee of the text about the world, the approximate nature of his thesaurus. In this case, the reader is already considered as a certain linguistic personality, focusing primarily on the norms of literary word usage, therefore, dialectisms, professionalisms, vernacular, etc. are mainly interpreted, for example: “The room is small, it has a huge king size (royal size) ottoman (Robertina) ... ”, “Right there sat an employee of Roberta, a gray-haired strong Joanna, barefoot. I sat with my feet on the couch, showing the world untreated dirty heels in the husk (highest chic, environmentally justified following nature, where animals do not cut their hair and do not clean their hooves) ... "

So, the communicative approach to the organization of the text consistently singles out such an important element in the structure of the narrative as the image of the addressee, which previously remained somewhat in the shadows. If different “faces” of the author and narrator are possible, then different hypostases of the image of the addressee are also possible. This is, firstly, a real reader who is related to a real author; secondly, the inner reader, which relates to the narrator. He can be a character of the text, a listener of an oral story (in a tale), etc. The addressee of the work must be characterized by such features as concreteness-abstractness, reality-conventionality, participation-non-participation in the inner world of the text, understanding-misunderstanding of the author's style, finally, agreement-disagreement with his intentions.

Plot-compositional level: plot composition,

based on the temporal sequence of events

L. Petrushevskaya built the plot composition of the prose "Credo" on the connection of individual episodes around one heroine - the baby Glasha, and not the narrator, since the plot of this work unfolds due to the difficult condition of the child.

Petrushevskaya in prose used compositional techniques of narration on behalf of the author, digressions, contamination - combining the techniques of repetition and opposition, creating a special effect - "mirror composition".

The work contains a composition of the narrative, which includes:

delayed exposure;

string;

action development;

climax;

interchange;

epilogue.

Language artwork: lexical level and linguistic means of artistic representation

The work of L.S. Petrushevskaya over the language of prose "Credo" includes the use of all the possibilities of expressiveness, all layers of vocabulary and styles that exist in the language.

Lexical level: borrowed words (kingsize, ottoman, brand, etc.), archaisms (outback, sickness, not living, etc.), colloquial vocabulary (idiotic music, etc.).

Expressive-emotional vocabulary: emotionally colored words (inspiring confidence in the blah-like appearance of a maniac, etc.).

Figurative possibilities of syntax: sentences with introductory words (Claudia and Tim, friends of Roberta, entered, explaining, etc.)

Verbal means of expression: synecdoche (a face at the door, etc.), grotesque (Claudia, a creature of heavenly grace, etc.), epithets (honey gaps, etc.), allegory (she has not yet gone down a floor (she has not died), etc.). ).

Syntax, figures of speech: oxymoron (pure grief, etc.), lexical repetition (And this woman, practically unknown to us, was supposed to come to Roberta, since Roberta flew away the next day, etc.)

Intertextual level: the work of art in its

relationships with other works of domestic and world literature.

L. Petrushevskaya is one of prominent representatives modern Russian literature and "belongs to the writers of the generation of the 70s", the so-called conditional-metaphorical direction for which the world consists on the basis of various types of conventions (fairytale, mythological, fantastic). Therefore, her works are devoid of deep psychologism, voluminous characters. Some critics attribute it either to “other prose”, or to postmodernism, for which the domestic environment is important, and “man is a grain of sand thrown into the whirlpool of history.” She created a special, in many ways unique art world.

The creativity of the writer can be considered as a complex, synthetic phenomenon. In the prose "Credo" the author focuses on the accessibility of the perception of the text and at the same time on its deep humane and philosophical meaning. This work by Petrushevskaya develops the traditions of A. Pushkin, F. Dostoevsky, A. Chekhov and other classics of Russian literature and at the same time uses techniques characteristic of the modern postmodern style. So, according to I. Sushilina, “typological similarities with Chekhov’s work in Petrushevskaya can be traced at the level of topics (everyday life of an average intellectual), genre (primary interest in the form of a short story) and speech element (colloquial speech), the author’s point of view (lack of obviously expressed attitude of the author to the hero, and even more so the refusal to sentence him), and at the deep level of understanding the meaning and purpose of art, freedom and dignity of a person, faith.

The work in the evaluation of criticism

The work of the prose writer and playwright Lyudmila Petrushevskaya caused lively debate among readers and literary critics as soon as her works appeared on the pages of thick magazines. More than thirty years have passed since then, and during this time numerous interpretations of her work have been published: book reviews, scientific and journalistic articles. In critical assessments, the writer was destined to go from almost "the ancestor of the domestic chernukha" to a recognized classic of literature of recent decades. At this stage, the place of the writer in the modern literary process is determined by a number of constant features: the original style, artistic language, the problems of the works, the themes and genres chosen by the author - in general, the artistic and scientific context can be considered established. In the process of studying scientific and journalistic materials, the main aspects developed in them are revealed: the theme " little man”, the theme of loneliness, death and mortality, fate and fate, the family and its decay, the relationship of a person with the world, and some others. In addition, research continues in the field of the chronotope of Petrushevskaya's texts, building a picture of the writer's world.

An important feature of modern art is dialogism, one of the forms of polyphony, which combines already existing artistic systems. As an author, Petrushevskaya is characterized by modeling the image of a world-dialogue or a polylogue of different cultures. “Paradoxically, the combination (for the sake of dialogue and mutual testing) of mythological and legendary archetypes with naturalistically recreated everyday life leads to the strongest effect not in multi-volume novels, but on a minimalist scale - as, for example, in the prose and drama of L. Petrushevskaya.” It can be seen that in contemporary art tradition is understood as a living diversity of linguistic forms expressed in the art of different epochs: it is necessary to rethink the heritage in order to return to culture the element of play, which was previously supplanted by pragmatism.

If we talk about the reaction to her books, then discussions around them have arisen and arise constantly. The writer was talked about even in those times when her works were not published, and performances based on her plays were not censored. The fact is that Petrushevskaya simply cannot go unnoticed: “no one refuses a writer’s talent,” a very “uncomfortable” talent, perhaps too frank and bright.

Initially, her work was criticized, literary critics and journalists did not understand and did not accept her, while readers quickly identified her characters as their own kind (Compare, for example: “... how does she know, and even with such details as men drink for three? The thought hurt my self-esteem a little). For a long time after reading Petrushev's texts, critics were at a loss as to the aesthetic significance of what she had created. Only a few years ago (in the 1990s) the aesthetic value of this writer's work became generally recognized.

Researcher N. Ivanova classifies Petrushevskaya's work as a "natural" trend of postmodernism. O. Bogdanova considers it possible to rank the writer among the conceptualists, thanks to the special constructive alignment and technological refinement of her prose.

Compare: “Petrushevskaya constructs, builds her text, and at this level she reaches the heights of mastery, becomes a model of literature. Maybe she was honest when she said that the reason for her "switching" to dramaturgy (and poetry) was the fact that "she saw that everything can be done in prose." Petrushevskaya's "pragmatic" writing with a clear tendency to destructurize reality through simplification and schematization, with a highly technological construction of the text, with the combination and transformation of the depicted characters and circumstances brought to perfection (and as a result - with aesthetic primitivism revealing itself) in its "made" turns out to be close to Sorokin. However, if we consider conceptualism as a "flow<...>characterized by deliberately demonstrative presentation of the author's concept<...>, an active game with recognizable styles, cliches of speech, mass consciousness, everyday behavior, with stereotypes of mass culture”, and a work of conceptual art as a total quotation that reproduces the essence of this or that phenomenon, it can be understood that Petrushevskaya’s work clearly does not fit into this framework. We believe that the writer's goal in itself is not to use quotations, clichés and stereotypes. Her works are original both in terms of their semantic load and in terms of artistic language. Therefore, another definition for her style must be sought.

For the first time and most fully and convincingly about the place and significance of her artistic heritage, N. L. Leiderman and M. N. Lipovetsky wrote in the textbook "Modern Russian Literature: 1950 - 1990s". These scientists see the process of further development of postmodernism differently and, in particular, associate the name of Petrushevskaya with the process of formation of post-realism, a new artistic method based on the interaction of modernism and realism.

Before talking about Petrushevskaya as a post-realist, it is worth making a few introductory remarks about the phenomenon itself. (The term “post-realism” has entered scientific circulation since the early 1990s, both in Russia and abroad. In our country, N. L. Leiderman first declares the process of forming a new artistic method in the article “Theoretical Problems of Studying Russian Literature of the 20th Century : Preliminary remarks Further, in 1993, this literary critic, in collaboration with M. N. Lipovetsky, characterizes the phenomenon itself, designated by the chosen term.

The creativity of Petrushevskaya can be correlated with this phenomenon by the presence of the following features: at the heart of her worldview are deep ontological problems (cf.: “Someone suffers, does not find a way out, and you start thinking what to do, and suddenly you write. And not about this person and not about myself, but about someone else, and in the end it turns out that it’s about him and about myself ...”); the structural basis of the image becomes the interpenetration of the typical and archetypal; ambivalence of artistic and aesthetic evaluation of creativity; modeling the image of the world as a dialogue (polylogue) of widely separated cultural languages. Petrushevskaya in her works - consciously or unconsciously - compares two languages ​​of culture, two worlds, two types of consciousness: modern and archaic. Many of her works gravitate towards the Christian cultural tradition.

For example, this concerns the way the characters are depicted. According to all the canons of ancient Russian art, the image of a person / object should be planar. Petrushevskaya in her texts also creates “flat” characters, one-line, does not prescribe details.

List of used literature and sources

Barzakh A. About the stories of L. Petrushevskaya [Text] - M., 1995;

Gordovich K.D. Artistic principles and techniques of L. Petrushevskaya // Transformation and functioning of cultural models in Russian literature of the twentieth century [Text]. - Tomsk, 2002;

Zhelobtsova S.F. Prose of Lyudmila Petrushevskaya [Text]. - Yakutsk, 1996;

Petrushevskaya L.S. collection Two Kingdoms, prose Credo [Text]. – Moscow, 2009

Internet resources:

library.kholmsk.ru - Modern literature of Russia: female voice;

revolution.allbest.ru - L.S. Petrushevskaya's work in the system of school literary education;

Poetics and problems of L.S. Petrushevskaya

Municipal educational institution

“Secondary school No. 10”

Certification work in literature

Topic: “The problem of moral choice in the work of Lyudmila Petrushevskaya”

Completed:

Student 11 "A" class

MOU secondary school No. 10

Grade:

Chairman of the attestation

commissions:

Teacher:

Assistant:
I.Introduction…………………………………………………........................... .........3

1. 
   1. Creative destiny of Lyudmila Petrushevskaya; features of the style of the writer…………………………………………………………………………. ........................................4

2. Cycle “Gardens of other possibilities”: artistic originality, heroes and meanings of stories………………………………………………….…….6

3. The problem of moral choice in the story "Glitch" (from the cycle

“Gardens of Other Opportunities”)……………………………………….…….…11

III. Conclusion…………………………………………………………....………19

IV. Bibliography……………………………………………………………………20

V. Appendix

1. L.S. Petrushevskaya

Glitch………………………………………………………………………...21

2. Hieronymus Bosch

Carriage of hay…………………………………………………....……...................32

Introduction

The twenty-first century, the century of high communication technologies, new economic and political relations, has opened up great opportunities for a person to realize his inner potential, develop personal qualities. But at the same time, the twenty-first century is also the century of natural disasters, national conflicts, the age of terrorism, the age when everything is sold and everything is bought, even human life. Finishing the eleventh grade, I increasingly began to think about the question: what influences the moral choice modern man? What helps a person to keep his identity? I decided to find the answer to this question in the works of the modern writer Lyudmila Petrushevskaya. My choice is not accidental. Firstly, Lyudmila Petrushevskaya is one of the most popular and sought-after writers of modern literature, who explores this problem in her work. Secondly, her works are hardly studied at school, but they attract many readers with their unusualness, dissimilarity both in content and in form. Petrushevskaya received worldwide recognition (in 1983 she was awarded the German Pushkin Prize). This work will help me discover Petrushevskaya as a writer and find answers to my questions.

The purpose of my work: to study the theme of moral choice in the work of Lyudmila Petrushevskaya. In the process of work, I need to study the existing works on the work of Petrushevskaya; identify the features of the writer's style; consider the artistic originality of the cycle of stories "Gardens of Other Possibilities"; conduct a holistic analysis of the story "Glitch", which is part of the cycle "Gardens of Other Possibilities".

The methods of my work are exploratory and descriptive analysis, analysis of a work of art, generalization of information and facts.

The creative fate of Lyudmila Petrushevskaya, features of the style of the writer

Lyudmila Stefanovna Petrushevskaya was born in 1938. Entered literature as a playwright. Under Soviet rule, most of her plays were rejected. state theaters and were censored. In the mid-eighties, Petrushevskaya became one of the most famous and popular contemporary playwrights. Heavy, "black" plays about the meaninglessness and cruelty of life were perceived at that moment as criticism of the social system.

Her story “My Circle” (1988) gained wide popularity. The history of the life of a company of intellectual friends is presented on behalf of one of the participants in the “circle”. A person is cruel, here, as in all of Petrushevskaya's early prose, this is an axiom that does not require proof. The heroine of the story knows that she is terminally ill and will die soon. Her ex-husband, reputed to be a decent person in his elite circle, started another family. But the heroine understands the price of this decency and is afraid that after her death he will not take their son to him, but under a plausible pretext will give it to Orphanage. She needs to send the boy to his father during his lifetime. And for this it is necessary that the public opinion of “its own circle” consider that the child cannot be with the mother, and force the father to take the son. Therefore, having called the guests, she demonstratively beats the child in front of the whole company - and, having caused general indignation, reaches the goal ...

As we can see, already in her early works, Petrushevskaya is concerned with the theme of a person's moral choice. And already in her early work, the writer declared her dissimilarity. Perhaps that is why in criticism there are significant differences in the assessment of Petrushevskaya's works. So, for example, G.L. Nefalgina in her monograph on modern Russian prose classifies Petrushevskaya’s works as “other prose”. The researcher classifies the writer as a natural movement, which "genetically goes back to the genre of physiological essay with its frank and detailed depiction of the negative aspects of life, interest in the "bottom" of society." Writers-"naturalists" are not inclined to disguise the terrible and cruel reality, where human dignity is violated, where there is no line between life and death, where murder is perceived as deliverance from bullying. In "naturalistic" prose, the hero is always dependent on the environment; being its offspring, he himself contributes to the strengthening of its norms, habits, canons. As a result, the circle is closed. This is “its own circle”, from the limits of which, no matter how hard you try, you can’t break out.

The combination of cruelty and sentimentality in Petrushevskaya's prose is emphasized by publicist D. Bykov. He argues that the writer has established a reputation as a master of "case and dystopia", that in the "genre of case" Petrushevskaya can be compared with Kharms. The critic also finds features of the absurd in her prose.

Petrushevskaya's stories are perceived differently by readers and have different effects on them (emotional, aesthetic, etc.).

“Gardens of other possibilities”: artistic originality, heroes and meanings of stories

The creative face of Lyudmila Petrushevskaya, in my opinion, was expressed brightly individually in the cycle of works “Gardens of Other Possibilities”. Her work is characterized by the world of metaphorical consciousness, she comprehends “the world as a text”.

Her hero is a private person, declared by Chekhov, immersed in the world of everyday life, personal interests, his own existence, but today he has lost the ability to actively reflect. Brought up on social and ideological simulacra, he withdrew, lost interest in "general issues and the holy ideals of mankind." His soul froze, curled up into a “chrysalis”. This mythological image-symbol is interpreted in the work of Petrushevskaya as a state of mind of a contemporary.

The author refers to diverse ways of narration, uses a cinematic technique of rapid change of meaning, a transition from the real to the unreal world (as in Buñuel’s surreal film “Beauty of the Day” or in the famous film by Kira Muratova “Asthenic Syndrome”)

An important point is the type of narrator. On the one hand, this is an intellectual who is able to convey numerous shades of behavior and experiences of his characters, deeply experiencing and sympathizing with them. On the other hand, this is a skeptical ironic author. One gets the impression of a plurality, polyphony of different points of view, a “choir of voices”; multidimensional meaning that creates a textual dialogue with the reader. Petrushevskaya succeeds in this by including in her narrative the context of culture, primarily myth. Myth is practiced by the author, first of all, as an image-symbol. As noted above, the myth of the "chrysalis butterfly", which was expressed in the story "On the Road of Eros", becomes transparent.

Myths-symbols also lie in the structure of the stories “Minerva”, “Child”, “Shadow of Life”, “Son of God Poseidon”.

The name of the cycle “Gardens of Other Possibilities” is also symbolic. The garden itself symbolizes beauty, fertility, creativity, reminiscent of the biblical garden, Eden. Thus, the garden is a meaningful author's symbol. The name, I think, intersects with the name and meaning of Bosch's painting "Gardens of Earthly Delights". In Bosch's triptych there is an expressive fragment "Hay Carriage". The content of the canvas is clearly symbolic: small, quirky, like ants, men surrounded a wagon of hay, each of them is trying to contrive and pull out a larger, more weighty tuft. Some even climbed onto the cart, snatching armfuls from each other, while not knowing the squalor of their greedy troubles.

Many of the heroes of the stories of Petrushevskaya's cycle are close to these Bosch characters in their desire to cut off their own tuft of hay from life without any special expenses. The writer is primarily interested in the relationship of the characters with their own lives, their life strategy.

For some, this is a wait-and-see position on the path of hope, relying on chance (for the heroine of the story “On the Road of God Eros”, the quietly virtuous Pulcheria, who, hiding, seeks to outplay her rival). Others have passive contemplation (“Sleep and Awakening”), either a stoic acceptance of what life has given (“I love you”), or an actively creative overcoming of fate (“Jewish Verochka”), or an aggressive disagreement with fate (“Child”) , or going into a dream, sleep, even death (“Shadow of Life”, “God Poseidon”, “Two Kingdoms”)

With all the variety of paths, the author is interested in the life-creating principles in a person, which manifested themselves in the story “Jewish Verochka” and “I love you” - despite the disastrous circumstances that managed to carry in their short journey the ability to deeply love, give warmth and protect the life of those whom they liked:

“And behind the wall, his children, a boy and a girl, were crying and screaming in their sleep, and his heart-wife, old and more and more loving, was snoring. It's incomprehensible to the mind how she, an old old woman with so many years, loved him and pleased him! She, it seems, never believed at all that he loved her, that this chic, gray-haired man was her husband, and she always kept quiet and refused to go anywhere together with him. She sewed dresses for herself according to a single unpretentious style, both long and baggy to hide her fullness and patched stockings, for which there was always not enough money ... She had long spit on her braid and dimples, cared for her husband and mother, watched the children, devotedly ran for the owner of my life to the market, I didn’t have time to go anywhere on time ...

... When the children were born, a boy and a girl, then her first thought was about her husband: to take him to work with breakfast, to meet him with a hot lunch from work, to listen to everything he wants to tell ... ”

Passively suffering, saving even the little that remains to her lot, having lost her self-esteem, silently loving, and forgiving, the heroine of the story managed, with the quiet persuasiveness of her feelings, to turn over the meager, superficial consciousness of her husband, who suddenly saw in the irretrievably past the meaning and essence of true being, which he searched in “pretty plump blonde”:

“On the night she died and they took her away, the husband collapsed and fell asleep, and suddenly heard that she was there, lay her head on his pillow and said:“ I love you ”, and he slept on with a happy dream and was calm and proud at the funeral, although he was very thin, and was honest and firm, and at the commemoration, with a full meeting of people, he told everyone that she had told him “I love you” ... and he suddenly, right there at the table, began to show everyone small, pale family photographs of wife and children.

Petrushevskaya is inclined not to judge her heroines and heroes, but to comprehend not only them different tempers, but also to delve into individual situations, comprehend the different levels of their consciousness, their worldview and personal paths.

In the story “Child”, the poor consciousness, underdevelopment of the spirit, poverty and the heroine’s own movement through the biological cycle determine the enormity of the protest expressed: getting rid of her just born child:

“Her birth went well, since she was able immediately after these births to develop such an activity and lay her son with stones on the road in complete darkness, and managed to lay him down so that there was not a scratch or a scratch on him when he was subsequently examined by doctors .

She had a suitcase with her, and in it they found cotton wool and an awl, which, according to everyone, could serve for the sole purpose of killing a child with it.

It was said that the newborn boy came from no one knows who, and that the woman in labor works somewhere in the dining room as a cleaner and feeds her father and children, and that she did not say a word about her new pregnancy, and did not take vacations, and with her full figure everything went unnoticed .

From all this it follows that from the very first days she was preparing to kill the child.

The motive "Mother and Child", "Madonna and Child" are transformed in the story into the motive of the underdevelopment of the soul, the inability to morally understand one's own actions, overcome and resolve life problems. A weak person always blames someone else. He is not capable of self-development, he has a passive non-self-critical consciousness.

The birth of a child gives impetus to the development of the mother. It was the child that awakened in her the human conscience, the realization of the evil that she had committed!

The story “Jewish Verochka” presents a dual situation of choice:

“...Verochka died three years ago from breast cancer...Verochka really wanted to give birth, but she was banned because of breast cancer, but she didn’t have an abortion, but gave birth. She died when the baby was seven months old. She did not go under radiation and did not take any medication so as not to harm him during pregnancy ... They took the parent, they took him, although the relationship was bad ... ”

As you can see, the motivational choice is provided for the heroine by an effort of will.

The heroes of Petrushevskaya are different voices of reality itself. The author invites the reader to delve into and understand how diverse the ways of a person to self-expression and comprehension of his being. A person goes all his life to understanding his path, comprehending and rethinking it, pointing his way - “gardens of other possibilities”.

In the stories, Petrushevskaya showed the impossibility of reaching other gardens due to the influence of circumstances, fate, fate, different ideas of the characters about the meaning of human existence. And how different the attitude to the “gardens” of different heroes. Some of them are aimed at the absorption of fruits, pleasures, pleasures. Some heroes create their own “garden”, however, there is an opportunity to create in any position, in any, even hopeless situations. In each person himself, the idea of ​​“gardens of other possibilities” is preserved, and another possibility is largely in ourselves.

As M. Heidegger wrote, we should not allow someone to say "... for us, through us, instead of us." Lyudmila Petrushevskaya is faithful to this covenant.

In the "Gardens of Other Possibilities" series, the story "Glitch" caught my attention. The main character of this work is my age. Which life path Tanya chooses, what moral, spiritual values ​​determine her choice? I think the analysis of the story will help to find answers to these questions.

The problem of moral choice in the story "Glitch" (from the series "Gardens of Other Possibilities")

“Once, when the mood was as always in the morning, the girl Tanya was lying and reading a beautiful magazine. It was Sunday. And then Gluck entered the room. Handsome, like a film actor (you know who), dressed like a model, he took it and easily sat down on Tanya's ottoman. How can you read a beautiful magazine, read an interesting, even thick magazine - this is understandable, but here ... beautiful. Consequently, our heroine simply looks at the pictures, external attractiveness is important for her. It is no coincidence that the word “beautiful” is used twice in such a small paragraph, and both times Tanya is only interested in appearance: both in Gluck and in the magazine. What will her yesterday tell us about Tanya?

“Hi,” he exclaimed, “Hi, Tanya!

Oh, - said Tanya (she was in a nightgown). - Oh, what is it?

How are you? Gluck asked. Don't be shy, it's magic.

Right, - objected Tanya. - These are my glitches. I don't sleep much, that's all. Bot and you. Yesterday he, Anka and Olga at the disco tried the pills that Nikola brought from his friend. One tablet was now in reserve in a cosmetic bag, Nicola said that the money could be given later. Tanya takes drugs. But you don’t need to immediately blame the person, maybe Tanya doesn’t know that taking pills is bad, maybe she doesn’t know about their danger?

Tanya knows everything, because she is unpleasant that Gluck knows about the pill, she is even ready to refuse to fulfill her desire, which means she is aware of the danger.

Already at the beginning of the story, Petrushevskaya defines the life values ​​of the main character: the desire for a glamorous life, the desire for gloss, the absorption of pleasures, pleasures, while without any special mental costs. It is no coincidence that Glitch appears in Tanya's house.

Gluck is ready to fulfill any desire of the heroine. In literature, you can find many similar tricks, when the hero is given the opportunity to make any wish, and it will certainly come true. "The Tale of the Fisherman and the Fish" by A.S. Pushkin, "By the Pike", "Flower-Semitsvetik" by V.P. Kataev, "The Black Hen" by A. Pogorelsky. By what a person desires, by what he wants, by what he dreams of, we can understand a lot about a person, about his character.

What did Tanya think? “I want to finish school ... - Tanya said hesitantly. - So that Marya does not put a deuce ... Mathematician. "I want to be beautiful!" "And if I'm fat? .. Katya is thin." "Earring to ... well, that's the most." Why Gluck, who promised to fulfill any desire, does not want to fulfill it? It’s not even worth spending magic on such desires, a person can fulfill them himself, on his own, by the way, without even putting in much effort. And here we understand that our heroine is a weak person, unable to change something in her life, unable to set a goal and achieve it. This part can be called an exposition.

And what is a binding? This is Tanya's desire that Gluck fulfilled. "Well... Lots of money, a big house by the sea... and living abroad!" Who doesn't want this? And there is nothing wrong with desire itself, but then what is the essence, the idea of ​​the work, what does the author want to tell us? And now the wish is fulfilled, but that's when it all begins.

Here is our heroine at the moment when her wish comes true: “Bang! At the same moment, I'm lying in a pink, strangely familiar bedroom. On the table is an open suitcase full of money. I have a bedroom like Barbie! - I thought then. I saw such a bedroom in the window of the "Children's World" store. Then I decided to see where it is. The house turned out to be two floors, pink furniture everywhere, like in a doll's house. Dream! I even jumped on the couch, looked in the closets (nothing). There was a refrigerator in the kitchen, but it was empty. I had to drink water from the tap. It is a pity that I did not think to say, "so that there is always food." I should have added "and beer". In general, I loved beer, the guys and I constantly buy a can. Only sometimes there is no money, but I take it from my dad out of pocket. Mom's stash is also well known to me, you can't hide anything from me! No, you should have said to Gluck like this: "And everything that is needed for life!" There was a machine in the bathroom, apparently a washing machine. But I couldn’t figure out the buttons, just like with the TV, by the way. Then I decided to see what was outside. My house was on the edge of the sidewalk. Ugh! I should have said: "With a garden and a pool!" Fortunately, although the keys were hanging on a copper hook in the hallway by the door, I took a suitcase of money and went outside.

Tanya's character is given in development. It got even worse, because when you get everything undeservedly, you start to think that you could have given more. Now she does not think what to think of, does not doubt, but demands. Tanya can hardly do anything, even turn on the TV or the washing machine; often takes without asking (steals from her father) money, is addicted to beer, although her commitment to Barbie and Detsky Mir betrays her age. At the same time, it adds to the tragedy of the situation: another child takes drugs.

What happens next? “Until the evening, hungry Tanya walked and walked along the shore, and when she turned back, hoping to find some kind of store, she confused the area and could not find the wasteland from where the straight street led to her house.” Tanya is lost. This scene is symbolic: Tanya has long gone astray from the right path of life.

“The suitcase with money pulled her hands. The slippers were wet from the surf. She sat down on the damp sand, on her suitcase. The sun was setting. I was terribly hungry and especially thirsty. Tanya scolded herself last words that I didn’t think about returning, I didn’t think about anything at all - I had to find at least some store first, buy something. Mom and dad took care of everything at home, Tanya was not used to planning what to eat, what to drink tomorrow, what to wear, how to wash dirty clothes and what to put on the bed. She has a suitcase of money, and she cannot find a way to drink and eat. And then the author adds more and more black colors: having a suitcase of money, Tanya picks up jars from the ground and drinks the rest of the lemonade from them. Tanya is a helpless person. We understand that even if Tanya has two suitcases of money, she will still die of hunger and thirst. She herself does not know how, everything was always taken care of by her parents. The suitcase of money itself (as a symbol) for a person who knows nothing in life means nothing.

There is little about Tanya's parents in the story. This is more likely not about them, but about Tanya's attitude towards her parents. Mom tries to explain a lot to Tanya in this life, Gluck repeats the same words, saying: “I wish you well,” emphasizing the purpose for which Tanya’s mother did this. The daughter perceives this as "bazaars", saying: "They scream at me like they are sick." Mom and dad always took care of her, and her daughter responded with ingratitude: she stole money, drank, took pills, forgot, as now, to call them. Tanya does not know how to be grateful.

Tanya, who is lost and cannot find her way home, is now losing her suitcase with money. Then Gluck appears and offers to fulfill three wishes again.

Why does the author arrange the plot in this way? For what? If Gluck is so omnipotent, then he could make sure that Tanya does not lose anything. In this case, Tanya is given a second chance, another opportunity to understand and correct her mistake, while its consequences are not so terrible. Many in life are given a second chance, but they do not use it. But Tanya does not realize the danger of her actions, this is her next desire.

“- Here are three more wishes for you, Tanechka, speak! Tanya, now already smart, said hoarsely: “I want my wishes to always be fulfilled!” Always? - asked the voice somehow mysteriously. Always! - answered, all, trembling, Tanya. There was a very strong stench of rot from somewhere.” The smell of rot seems to come from nowhere.

“Yes, I don’t want to save anyone,” Tanya said, shaking from cold and fear. - I'm not that kind. Well, say your desire, - said the voice, and there was also a smell of disgusting smoke. Rot and smoke, like in a garbage heap."

“She lay and felt that from the cosmetic bag, which was hidden in her backpack, she was carrying familiar nauseating rot - there was still a pill from the disco, for which Nicola had to pay money ...” This smell accompanied everything bad, terrible, what a place only in the dump.

Where does this smell come from? Is there a garbage dump nearby or is something rotting nearby? It is the rotting of human souls. Smell is also a metaphor. We can note one of the features of Petrushevskaya's style, the metaphorical nature of many images in her works. But at first Tanya thinks everything is “fun”, “cool”, “class”. And we see that for this it was necessary for Tanya, “I want to be in my house with a full refrigerator, and that all the guys from the class were there, and call my mother on the phone.” “... The guys opened the refrigerator and began to play locusts, that is, to destroy all supplies in the cold”, Locusts are herd insects. They form huge flocks and destroy all vegetation in their path, moving in large groups in search of food, eating any plants that they come across, devastating everything around, causing great harm. If the path of the flock passed through the lands of a farmer or a collective farmer, then a person could only watch in powerless despair as the locusts destroy the fruits of his labors. I think that this game here is a kind of metaphor, and the keywords tell us that these are not people, but a herd, that they are unscrupulous in food and, in their essence, they are all destroyers. And now the locusts are full, and the author even accurately names the products that Tanya considered mandatory in the refrigerator. But this was not enough. What does Tanya spend her desires on next? ice cream, beer. Seryozha asked for vodka, the boys asked for cigarettes. Tanya slowly, turning away, wished herself to be the most beautiful and everything that the guys ordered. “Anton asked in his ear if there was any weed to smoke, Tanya brought a cigarette with grass, then Seryozhka said with a slurred tongue that there is a country where you can freely buy any drug, and Tanya replied that such a country is here, and brought a lot of syringes” . This is exactly what happens in life: first - promiscuity in food, and then - in friends, in entertainment; first - indulge in beer, and then - smoke weed and inject.

And why did Tanya still decide to take an injection? “She didn’t know how to inject, Anton and Nikola helped her. It hurt a lot, but she just laughed. Finally she had many friends, everyone loved her! And, finally, she was no worse than the others, that is, she tried to prick herself and was not afraid of anything! Tanya thinks that “beer” is nothing to worry about, but this is where drunkenness, alcoholism begins, and even light weed at the end
eventually lead to addiction. And where there is alcohol and drugs, there is promiscuity, there will be both sexual promiscuity and sexual availability. There is an indication in the story of this problem in our life... Violence did not happen, but the worst thing happened...

“Suddenly everyone got up from their seats and surrounded Tanya, grimacing and laughing. Everyone openly rejoiced, opened their mouths. Suddenly Anya's skin turned green, her eyes popped out and turned white. Decaying green corpses surrounded the bed, Nikola's tongue fell out of his open mouth right on Tanino's face. Seryozha lay in a coffin and choked on a snake that crawled from his own chest. And there was nothing to be done about all this. Then Tanya walked along the black hot earth, from which tongues of flame jumped out. It went straight into the open mouth of Gluck's huge face, like the setting sun. It was unbearably painful, stuffy, the smoke corroded my eyes. She said, losing consciousness: “Freedom!” ”Tanya is currently asking for freedom, but just recently she allowed everything to everyone. So why isn't she free? Maybe her wish didn't come true? This wish came true - it's scary. It is also terrible that Tanya does not realize that the personal freedom of each should not violate the freedom of another person. It should not be replaced by permissiveness. And most importantly, a person is responsible for his freedom. This is the climax of the story.

And what is the connection? Tanya woke up, saw that everyone had died, and then wished "that everything be as before," after which she was safely transported home. “The earth immediately cracked, it stank of unimaginable rubbish, someone howled like a dog that had been stepped on. Then it became warm and quiet, but my head ached a lot. Tanya lay in her bed and could not wake up. A beautiful magazine lay nearby. The father came in and said: How are you? The eyes are open. He touched her forehead and suddenly opened the curtains, and Tanya screamed, as always on Sundays: "Oh, let me sleep once in my life!" Lie down, lie down, please, - the father peacefully agreed. - Yesterday, the temperature was still - forty, and today you are screaming like a healthy one!

Tanya suddenly muttered: “What a terrible dream I had!” There is no description of Tanya's parental home in the story, but there are words in this passage that explain everything. "Warm and quiet", "peaceful" - this is the main thing that should be there, at home. But Tanya's awakening raises another question. So it was nothing? No, we can’t say that unambiguously, because the author leaves us details, hints that it all happened. “And my father said: “Yes, you have been delirious for a whole week. Your mother gave you injections. You even spoke some language. An epidemic of flu, you have a whole class lying around, Seryozhka generally ended up in the hospital. Katya was also unconscious for a week, but she was the first to fall ill. She said about you that everyone is in some kind of pink house ... She was talking nonsense. She asked to save Seryozha.

Why is the story called that? Glitch - from glitches - this is a slang formation from a hallucination, that is, a painful imagination .. Therefore, Glitch is a magician from painful fantasies, if there weren't him, nothing would have happened to Tanya. Glitch in German means happiness. And I think that the author is simply asking us, how do you imagine happiness, are you happy, what did you do to become happy?

The intonation of the story about the "gardens of other possibilities" sounds tragic here. Petrushevskaya warns what the "happiness" that Tanya dreams of can lead to - premature death. The desire to consume, snip off her tidbit from life at no particular cost makes the heroine related to many characters in the cycle. IN this story the writer is close to the position of V. Dudintsev in the novel “Not united by bread”: a person is not born just to eat and drink. For this, it would be much more convenient to be born an earthworm. We cannot imagine the future life of the heroine. But on the other hand, we understand: Tanya's life, what it will be, depends only on herself.

Conclusion

During my work, I came to the following conclusions:

L. Petrushevskaya, exploring the problem of moral choice in her work, depicts the disharmony of life and human relations, alienation, loneliness, lack of spirituality of the characters.

The hero of the writer is a private person, close to Chekhov's characters. Sometimes this is a smart, cultured person, even capable of creativity, but who has lost honor, self-esteem. There was an impoverishment of his soul. The commercialization of culture, individual dialogue with the computer, according to Petrushevskaya, has led to the impoverishment of the spiritual content of life. Therefore, many of its heroes are consumers. Nevertheless, the writer is sure that even in a hopeless situation there are opportunities to create, there are “gardens of other possibilities” in every person. It is important for each of us to learn to see beauty, to believe in goodness, happiness, light, to dream and hope.

Bibliography

1. 
   Magazine “Literature at School”, December 2004, Moscow
2. 
   Magazine " New world”, February 1993, Moscow
3. 
   Department of Education Perm Region State Educational Establishment of the Perm Region Institute for Advanced Studies of Educational Workers “Vestnik Poipkro No. 1”, Perm 2005
4. 
   http://www.ladoshki.com/?books&group=13&author=881&mode=i&id=11094&el=1"%20target=
5. 
   http://www.sferamm.ru/books/authorbio2039.html
6. 
   http://www.gothic.ru/art/paint/bosch/voz.jpg

Lyudmila Stefanovna Petrushevskaya

Once, when the mood was as usual in the morning, the girl Tanya was lying and reading a beautiful magazine.

It was Sunday.

And then Gluck entered the room. Handsome as a film actor (you know who), dressed like a model, he took it and easily sat down on Tanya's ottoman.

Hello, - he exclaimed, - hello, Tanya!

Oh, - said Tanya (she was in a nightgown). - Oh, what's this?

How are you? Gluck asked. Don't be shy, it's magic.

Straight, - Tanya objected. - These are glitches with me. I don't sleep much, that's all. Here you are.

Yesterday he, Anka and Olga at the disco tried the pills that Nikola brought from his friend. One tablet was now in reserve in a cosmetic bag, Nicola said that the money could be given later.

It doesn't matter, let the glitches, - Glitch agreed. - But you can express any desire.

Well, you first express, - Gluck smiled.

Well ... I want to finish school ... - Tanya said hesitantly. - So that Marya doesn’t give two marks ... Mathematician.

I know, I know, - nodded Gluck.

I know everything about you. Certainly! It's magic.

Tanya was confused. He knows everything about her!

Yes, I don’t need anything, and get out of here, ”she muttered embarrassedly. - I found a pill on the balcony in a piece of paper, someone threw it.

Gluck said:

I'll leave, but won't you regret all your life that you drove me away, but I can fulfill your three wishes! And don't waste them on nonsense. Math can always be adjusted. You're capable. You just don't do it, that's all. That's why Marya put you a "bucket".

Tanya thought: indeed, this Glitch is right. And my mother said so.

Well? - she said. - I want to be beautiful!

Well, don't be stupid. You're beautiful. If you wash your hair, if you walk for a week for an hour a day just in the air, and not in the market, you will be more beautiful than she (you know who).

Mom's words, for sure!

What if I'm fat? - Tanya did not give up. - Katya is thin.

Have you seen fat people? To lose those extra three kilograms, you just have to not eat sweets endlessly. This you can! Well, think!

Earring to ... well, that's the most.

Earring! Why does he need us? The earring is already drinking. You want to marry an alcoholic! Look at Aunt Olya.

Yes, Gluck knew everything. And my mother said the same thing. Aunt Olya had a nightmare life, an empty apartment and an abnormal child. And Seryozhka really likes to drink, but he doesn’t even look at Tanya. He, as they say, “climbs” with Katya. When their class went to St. Petersburg, Seryozhka grunted so much on the way back on the train that they could not wake him up in the morning. Katya even beat him on the cheeks and cried.

Well, you are just like my mother, - Tanya said after a pause. - Mother also markets the same way. She and her father are screaming at me like they are sick.

I want you well! Gluck said softly. - So, attention. You have three wishes and four minutes left.

Well... Lots of money, a big house by the sea... and living abroad! Tanya blurted out.

Bang! At that very moment, Tanya was lying in a pink, strangely familiar bedroom. A light, pleasant sea breeze blew through the wide window, although it was hot. On the table lay an open suitcase full of money.

“I have a bedroom like a Barbie! ' thought Tanya. She saw such a bedroom in the window of the Children's World store.

She got up, not understanding anything, where is that. The house turned out to be two floors, pink furniture everywhere, like in a doll's house. Dream! Tanya gasped, was amazed, jumped on the sofa, looked at what was in the cupboards (nothing). There was a refrigerator in the kitchen, but it was empty. Tanya drank some water from the tap. It’s a pity that I didn’t think to say: “So that there is always food.” I should have added: "And beer." (Tanya loved beer, she and the guys were constantly buying cans. There just wasn’t any money, but Tanya sometimes took it from her dad out of her pocket. Mom’s stash was also well known. You can’t hide anything from children!) No, you should have said Gluck like this: "And everything you need for life." No: “For a rich life! “There was some kind of machine in the bathroom, apparently a washing machine. Tanya knew how to use the washing machine, but at home she was different. You don't know where to press which buttons.

There was a TV in the house, but Tanya could not turn it on, there were also incomprehensible buttons.

Then we had to see what was outside. The house, as it turned out, stood on the edge of the sidewalk, not in the yard. Should have said: "With a garden and a pool." The keys hung on a brass hook in the hallway, by the door. Everything is provided!

Tanya went up to the second floor, took a suitcase of money and went out into the street with it, but found herself still in her nightgown.

True, it was a shirt like a sarafan, with straps.

On Tanya's feet were old flip-flops, still not enough!

But I had to go like this.

They managed to lock the door, there was nowhere to put the keys, not in a suitcase with money, and I had to leave them under the rug, as my mother sometimes did. Then, singing with joy, Tanya ran wherever her eyes looked. The eyes looked out to sea.

The street ended in a sandy road, small summer houses were visible on the sides, then a large wasteland turned around. There was a strong smell of a fish store, and Tanya saw the sea.

People were sitting and lying on the shore, people were walking. Some swam, but few because there were high waves.

Tanya wanted to take a dip immediately, but she didn’t have a swimsuit, only white panties under her nightgown, Tanya didn’t show off in this form and just wandered through the surf, dodging big waves and holding flip flops in one hand, in the other suitcase.

Until evening, hungry Tanya walked and walked along the shore, and when she turned back, hoping to find some kind of store, she confused the area and could not find the wasteland from where the straight street led to her house.

The suitcase of money pulled her hands away. The slippers were wet from the surf.

She sat down on the damp sand, on her suitcase. The sun was setting. I was terribly hungry and especially thirsty. Tanya scolded herself with the last words that she didn’t think about returning, she didn’t think about anything at all, she had to find at least some store first, to buy something. Food, slippers, about ten dresses, a swimsuit, glasses, a beach towel. Mom and dad took care of everything at home, Tanya was not used to planning what to eat, what to drink tomorrow, what to wear, how to wash dirty clothes and what to put on the bed.

The nightgown was cold. Wet flip flops were heavy with sand.

Something had to be done. The beach is almost deserted.

Only a couple of old women were sitting and screaming in the distance, about to leave the beach, some schoolchildren led by three teachers.

Tanya wandered in that direction. Hesitantly, she stopped near the children screaming like a flock of crows. All these guys were dressed in sneakers, shorts, T-shirts and caps, and each had a backpack. They shouted in English, but Tanya did not understand a word. She studied English at school, but not like that.

The children drank bottled water. Some, not having finished drinking precious water, threw the bottles away in a big way. Some, fools, threw them into the sea.

Tanya began to wait until the noisy children were taken away.

The preparations were long, the sun had almost set, and finally these crows were lined up and led under a triple escort somewhere out there. There were a few bottles left on the beach, and Tanya rushed to collect them and greedily drank the water from them. Then she wandered further along the sand, still peering into the coastal hills, hoping to see in them the way to her home.

Night suddenly fell. Tanya, not distinguishing anything in the dark, sat down on the cold sand, thought that it would be better to sit on the suitcase, but then she remembered that she had left it where she sat before!

She wasn't even scared. She was simply crushed by this new misfortune. She wandered off, seeing nothing, back.

She remembered that two more old women remained on the shore.

If they are still sitting there, then you can find a suitcase next to them.

But who will sit on a cold night on damp sand!

Behind the sandy hills, lanterns had been burning for a long time, and because of this, nothing could be seen on the beach at all. Darkness, cold wind, icy slaps, heavy from wet sand.

Previously, Tanya had to lose a lot - her mother's best shoes at the school disco, hats and scarves, countless gloves, umbrellas ten times already, but she didn’t know how to count and spend money at all. She lost books from the library, textbooks, notebooks, bags.

Until recently, she had everything - a house and money. And she lost everything.

Tanya scolded herself. If she could start all over again, she would, of course, think hard. First, it was necessary to say: “May everything that I want always come true!” Then now she could command: “Let me sit in my house, with a full refrigerator (chips, beer, hot pizza, hamburgers, sausages, fried chicken). Let there be cartoons on TV. Let there be a telephone so that you can invite all the guys from the class, Anka, Olga and even Seryozha! “Then I would have to call my dad and mom. Explain that she won a big prize - a trip abroad. So that they don't worry. They are now running around all the yards and have already called everyone. Probably, they filed a statement with the police, as a month ago the parents of the hippie Lenka, nicknamed Paper, when she left for St. Petersburg hitchhiking.

But now, in only a nightgown and damp slippers, you have to wander in complete darkness along the seashore when a cold wind blows.

But you can’t leave the beach, maybe in the morning you’ll be lucky to be the first to see your suitcase.

Tanya felt that she had become much smarter than she was in the morning, when talking with Gluck. If she had remained the same fool, she would have left this damned coast long ago and ran to where it was warmer. But then there would be no hope of finding the suitcase and the street where the native house stood...

Tanya was a complete fool three hours ago, when she didn’t even look at her house number or street name!

She rapidly grew wiser, but she was terribly hungry, and the cold permeated her whole to the bones.

At that moment, she saw a flashlight. It approached quickly, as if it were the headlight of a motorcycle, but without making any noise.

Again glitches. Yes, what is it!

Tanya froze in place. She knew that she was in a completely foreign country and could not find protection, and here was this terrible silent flashlight.

She swerved and thrashed in her iron-heavy slaps over the sand-heaps towards the hills.
But the flashlight was nearby, on the left. Gluck's voice said:

Here are three more wishes for you, Tanechka. Speak!

Tanya, now already smart, blurted out hoarsely:

I want my wishes to always come true!

Always! - answered, all trembling, Tanya.

There was a strong smell of rot from somewhere.

There is only one moment, - said the Invisible One with a flashlight. - If you want to save someone, then your power will end there. You will never get anything. And you yourself will be bad.

I don't want to save anyone! - Tanya said, shaking from cold and fear. - I'm not so kind.

I want to be in my house with a full refrigerator, and that all the guys from the class were there, and the phone to call my mother.

And then she was in what she was - in wet slippers and a nightgown - she found herself, as in a dream, in her new house in a pink bedroom, and her classmates were sitting on the bed, on the carpet and on the sofa, and Katya and Seryozha were in the same chair .

There was a telephone on the floor, but Tanya was in no hurry to call it. She had fun! Everyone saw her new life!

Is this your house? - shouted the guys. - Cool! Class!

And I ask everyone to the kitchen! Tanya said.

There, the guys opened the refrigerator and began to play locust, that is, to destroy all the supplies in the cold. Tanya tried to warm up something, some pizzas, but the stove would not light up, some buttons would not work... More ice cream and beer were needed, Seryozhka asked for vodka, the boys asked for cigarettes.

Tanya slowly, turning away, wished herself to be the most beautiful and all that the guys had ordered. Immediately outside the door, someone found a second refrigerator, also full.

Tanya ran to the bathroom and looked at herself in the mirror. Her hair was curly from the sea air, her cheeks were like roses, her mouth was plump and red without lipstick. His eyes shone like flashlights. Even the nightgown looked like a lacy evening dress! Class!

But Seryozhka sat with Katya, and sat. Katya quietly cursed with him when he opened the bottle and began to drink from the neck.

Oh, what are you bringing him up, bringing up! - Tanya exclaimed. - He will leave you! I allow everything! Ask for whatever you want guys! Do you hear, Seryozha? Ask me what you want, I will allow you everything!

All the guys were delighted with Tanya. Anton came up, kissed Tanya with a long kiss, as no one had ever kissed her in her life.

Tanya looked triumphantly at Katya. He and Serezha were still sitting on the same chair, but they had already turned away from each other.

Anton asked in his ear if there was any weed to smoke, Tanya brought cigarettes with grass, then Seryozhka said with a slurred tongue that there is a country where you can freely buy any drug, and Tanya replied that such a country is here, and brought a lot of syringes. With a sly look, Seryozhka immediately grabbed three for himself, Katya tried to snatch them from him, but Tanya decided - let Seryozhka do what she wants.

Katya froze with her hand outstretched, not understanding what was happening.

Tanya felt no worse than a queen, she could do anything.

If they had asked for a ship or a flight to Mars, she would have arranged everything. She felt kind, cheerful, beautiful.

She did not know how to inject, Anton and Nikola helped her. It was very painful, but Tanya just laughed. Finally she had many friends, everyone loved her! And finally, she was no worse than the others, that is, she tried to prick herself and was not afraid of anything!

Head is spinning.

Seryozhka looked strangely at the ceiling, and the motionless Katya looked at Tanya with an evil look and suddenly said:

I want to go home. Serezha and I must go.

And what are you doing for Seryozha? Go alone! - Barely moving her tongue, said Tanya.

No, I have to go back with him, I promised his mom! Katya shouted.

Tanya spoke:

Here I manage. Got it, bitch? Get out!

I won't leave alone! - Katya squeaked and began to look, unable to move, at the completely insensible Seryozhka, but quickly melted away like her squeak. No one noticed anything, everyone was lying in the corners, on the carpet, on Tanya's bed, like rag dolls. Serezha's eyes rolled back, whites were visible.

Tanya climbed onto the bed, where Olga, Nikola and Anton were lying and smoking, they hugged her and covered her with a blanket. Tanya was still in her nightgown, in lace, like a bride.

Anton began to say something, to babble like “don’t be afraid, don’t be afraid”, for some reason, with a naughty hand, he shut Tanya’s mouth, called Nikola to help. Drunk Nikola crawled up and leaned over. There was nothing to breathe, Tanya began to tear, but a heavy hand flattened her face, her fingers began to press on her eyes ... Tanya writhed as best she could, and Nikola jumped on her knees, repeating that he would now take a razor ... It was like a terrible dream. Tanya wanted to ask for freedom, but she could not form words, they slipped away. There was no air at all, and the ribs cracked.

And then everyone jumped up from their seats and surrounded Tanya, grimacing and laughing. Everyone openly rejoiced, opened their mouths. Suddenly Anya's skin turned green, her eyes popped out and turned white. Decaying green corpses surrounded the bed, Nikola's tongue fell out of his open mouth right on Tanino's face. Seryozha lay in a coffin and choked on a snake that crawled from his own chest. And there was nothing to be done about all this. Then Tanya walked along the black hot earth, from which tongues of flame jumped out. It went straight into the open mouth of Gluck's huge face, like the setting sun. It was unbearably painful, stuffy, the smoke corroded my eyes. She said, losing consciousness: "Freedom".

When Tanya woke up, the smoke was still eating her eyes. Above it was a sky with stars. It was possible to breathe.

Some grown-up people crowded around her, she herself was lying on a stretcher in a torn shirt. A doctor bent over her, asked her something in a foreign language. She did not understand anything, sat down. Her house had almost burned down, only the walls remained. On the ground around lay some heaps covered with blankets, from under one blanket protruded a black bone with charred meat.

I want to understand their language, - said Tanya.

Someone nearby said:

There are twenty-five corpses. Neighbors reported that this is a newly built house, no one lived here. The doctor claims that they were children. On the remnants of unburned bones. Syringes found. The only surviving girl says nothing. We will interrogate her.

Thanks chief. Don't you think that this is some sect of a new religion that wanted to commit suicide en masse? Where were the children taken?

Until I can answer your question, we need to take a statement from the girl.

And who is the owner of this house?

We will find out everything.

Someone energetically said:

What scoundrels! Kill twenty-five children!

Tanya, shaking from the cold, said in a foreign language:

I want everyone to be saved. To keep everything as it was before.

Immediately the earth split open, it stank of unimaginable rubbish, someone howled like a dog that had been stepped on.

Then it became warm and quiet, but my head ached a lot.

Tanya lay in her bed and could not wake up.

A beautiful magazine lay nearby.

Father came in and said:

How are you The eyes are open.

He touched her forehead and suddenly opened the curtains, and Tanya screamed, as always on Sundays: “Oh, let me sleep once in my life! ”

Lie down, lie down, please, - the father peacefully agreed. - Yesterday, the temperature was still forty, and today you are screaming like a healthy one!

Tanya suddenly muttered:

What a terrible dream I had!

And the father said:

Yeah, you've been delusional for a whole week. Your mother gave you injections. You even spoke some language. An epidemic of flu, you have a whole class lying around, Seryozhka generally ended up in the hospital. Katya was also unconscious for a week, but she was the first to fall ill. She said about you that everyone is in some kind of pink house ... She was talking nonsense. She asked to save Seryozha.

But is everyone alive? Tanya asked.

Who exactly?

How about our whole class?

How about it, my father replied. - What are you!

What a terrible dream, - repeated Tanya.

She lay and felt that from the cosmetic bag, which was hidden in a backpack, she was carrying familiar sickening rot - there was still a pill from the disco, for which Nicola had to pay money ...

Nothing ended. But everyone was alive.

Hieronymus Bosch

M A Maslova (Nizhny Novgorod)

FEATURES OF L. PETRUSHEVSKAYA'S FAIRY TALES

The fairy tales of L. Petrushevskaya do not lend themselves to an unambiguous definition. They are called differently: new, modern, childish, absurd, "anti-tales". The artistic merit of these tales in criticism is defined in contrast: from the recognition of their value, to the denial of it. So, for example, N.L. Leiderman, evaluating the “horror stories” (“Songs of the Eastern Slavs”) and the fairy tales of Petrushevskaya, says that “all these forms, in essence, sublimate ... the dimension of myth. She (Petrushevskaya) associates character not with social circumstances, but with a more ancient, abstract and strictly metaphysical category - with fate. Man in her is completely equal to his destiny, which, in turn, contains some facet of the universal - and not historical, but precisely the eternal, primordial destiny of mankind "(1). M.P. Shustov emphasizes that Petrushevskaya ignores the laws of a literary fairy tale and “this leads to the destruction traditional genre, especially when the author is eager to show magic without borders” (2).

However, the deconstruction of the fairy-tale world does not at all mean the destruction of the genre, but serves certain purposes in new living conditions. For Petrushevskaya, this is, first of all, a parodic and satirical goal. She paints the true face of our time, the main feature of which, according to the writer, is lack of spirituality. And here she has her predecessors. V. Shukshin in the story "Until the third roosters" fairy world appears both traditional and shabby-modern.

In her autobiographical novel Stories from My Own Life, Petrushevskaya repeatedly repeats that "each genre requires its own means of expression ... a fairy tale ... always requires a good end" (3). This statement sounds directly and in the endings of her fairy tales: “So our story has come to its happy end, as it should be” (4). This is the fairy tale "Stupid Princess", where Princess Ira is considered a fool, because. she is too honest and trusting, and therefore the groom is suitable for her - a donkey.

Answering the question - why she writes - Petrushevskaya determines the main reason: "there is an insoluble problem, and it will remain so ... so that there is something to think about" (3, p. 536). This is said about the plays, but also determines the specifics of her fairy tales. Almost all happy endings of fairy tales have a pessimistic connotation. So "The Tale of the Clock" ends with the phrase of the old sorceress: "Well, so far the world has remained alive." The ending clearly does not affirm the final and complete victory of good. The tale “The Donkey and the Goat”, where the hero is rewarded with the fulfillment of all wishes for one evening, sneers at the happiness of the modern layman: “And, happy and calm, he grabbed a piece of bread from the table, a fish tail from the pan and went to watch TV, it’s all the same” (4, V.4, p.133). The hero himself is not happy with the reward, because. as wishes from his wife, children, neighbors, passers-by, he is afraid of nasty things like - so that you die! In the fairy tale "The New Adventures of Elena the Beautiful" the characters - Elena and her beloved millionaire - live happily, but in a world divorced from reality, where there is no fuss and money.

Thus, in the fairy tales of Petrushevskaya, the principle of dual worlds is traced in the organization of the space-time model. The heroes of Petrushevskaya live in an ordinary world, where they are cheated in the store, sent to a school for the mentally retarded, rude on the bus and can be beaten in a dirty entrance. The conditional fairy-tale world appears through the figure of a wizard or sorcerer, wonderful magical objects, motives for the transformation, animation of inanimate objects, the natural world. In the fairy tale “The Saved One” (genre features of the legend are strongly expressed here), real events are mentioned - an earthquake in Armenia and a real “non-fabulous” death of people, and ghosts of the dead appear in the ghostly-mystical world. In the cycle "The Adventures of Barbie" as in folklore, the inanimate - toys, dolls - are animated. In the fairy tale "Happy Cats", a girl turns into a cat. In the fairy tale "Marilena" two sisters-ballerinas - into one fat, ugly aunt.

The magic itself and the figure of the magician in Petrushevskaya are specific. Most often, she depicts not good wizards, but an evil sorcerer, evil magic that brings very real troubles - injury, illness, loneliness, loss of loved ones and even death. Emphasizing such magic is also a way of characterizing modern life her inherent cruelty. For example, in the fairy tale "Girl-nose" the sorcerer cuts off the fingers on Nina's hand - this is a payment for the recovery of a loved one. In the fairy tale "The Bell Boy", the sorcerer wants to fill up the well with a stone, where the child's mother fell. Even good magic sometimes seems dubious. In the fairy tale "The Donkey and the Goat", the old woman thanks the hero for his courtesy, for giving her a seat on the tram - the motive for fulfilling wishes is introduced. As already mentioned, the hero is not happy about this. The structural motif of the fairy tale of the fulfillment of a wish is rethought - other people's wishes to the hero are fulfilled. The hero himself is petty, his feat in giving way to an old woman (in modern times, indeed, a feat for many young people) - and a corresponding reward. A similar perspective of this motif is in the fairy tale "Happy Cats". The girl herself asks the sorcerer to turn her into a cat so as not to go to school.

In the structure of Petrushevskaya's fairy tales, there is a motive for violating the ban and a motive for trials. For example, in the fairy tale "The Bell Boy" the child violated the ban - he took the bell off his hand and his mother lost it. Then the hero's trials follow: he is afraid of losing his mother and goes in search of her, collides with a sorcerer. In the fairy tale "Anna and Maria", a kind wizard violates the prohibition: not to help those you love. He changed the body of his dying wife to the body of another patient, both recovered. The test of the hero is that the wife shuns her husband and, in the end, leaves him for a strange family. The hero finds a woman to whom he gave the body of his wife (and her head is someone else's). The ending is conditionally good, but it accurately defines the moral of the tale: they love with their hearts, not their heads.

Magic itself, magical objects are represented by the writer in two ways. On the one hand, this is fabulous magic. For example, in the "Tale of Mirrors" - a traditional magical attribute of a mirror that saves the heroine, a girl nicknamed Red Baby. Evil magic is inexplicable - it is a shadow, fog, something "invisible that destroyed the images in the mirrors" (5). It is called hungry loneliness, it is looking for a victim and takes the most beautiful thing in the world - after its appearance, children disappear. Only a small magic mirror managed to reflect the ghost of the invisible, saved the heroine, and itself was broken. However, the shard of the mirror was melted down, and a new magic mirror appeared. “It is not clear why a stern old man, a chief physician by profession, bought it and hung it in the locker room of his children's clinic. There it reflects children running around… mothers also look anxiously into the mirror” (5, p. 346). Fairy-tale magical objects are also present in the fairy tales "Magic Glasses", "Magic Pen", "The Tale of the Clock".

In addition to fairy-tale magic, there is a modern miracle - plastic surgery, fast-acting diets, perfumes and cosmetology. They will turn anyone into a beauty. The author's attitude to such miracles is parodic and satirical, they reveal the realities of modern life, its absurdity, deviation from "eternal" truths and values. So, in the fairy tale "Nose Girl" the sorcerer - plastic surgeon. He makes Nina an operation, removes a long nose. But the girl is not happy. She has many suitors who had not noticed Nina before. They also quickly disappear when the long nose returns. In the fairy tale "The Secret of Marilena", the heroine is in the clinic of plastic surgery and dietary nutrition, where a slender beauty must be made from a fat woman. But instead they are drugged and going to kill. Elements of a gangster detective appear. For the sake of profit, Marilena's fiancé Vladimir "orders" her to special forces killers. Modern advertising is parodied, imposing services on the consumer: “advertising for an amazing clinic, where in three days a person is given a new body plus the body is restored due to ideal nutrition with herbs” (4, T4, p. 156), “the teeth were so large and white that on All manufacturers of toothpaste and brushes rushed to Marilena, begging her to advertise their product” (4, V.4, p.149). Thanks to the advertisement, the heroine “became richer than she was ... she already began to forget that two souls were languishing in her, these souls were silent and cried without tears in the dungeon, which was for them the powerful body of Marilena, and instead of them a completely new one grew in this body, an outside soul, fat and gluttonous, impudent and cheerful, greedy and unceremonious, witty when it is profitable and gloomy when it is not profitable” (4, Vol. 4, pp. 149-150). Ironically rated Bank operations as a wonderful way to get rich quick: "Vladimir asks for temporary assistance in debt of thirty million with a return in forty-nine years" (4, V.4, p.158). The details of the lifestyle of the elite are presented in the same vein - Marilena knew perfectly well which journalists to treat before the interview, when to give gifts to orphans from the company, etc.

A characteristic feature of Petrushevskaya's fairy tales is the combination of elements of different genres: fairy tales, legends, bylichki, anecdote, detective story, etc. Thus, the fairy tale "Jack's Vest" is written according to the canons of the detective story. There is an amateur detective cat Vest Jack, a professional police bloodhound Sharik from the "land shepherd dogs". The plot of the kidnapping develops. Chicken Chick turns out to be the victim of the crime, there is a chase motive, as in a classic detective story an amateur detective solves a crime, and a professional is put to shame.

In an ironic perspective, Petrushevskaya uses literary reminiscences and allusions. In the fairy tale "Secret of Marilena" Goethe's reminiscence. The guard of the sisters Maria and Lena is going to write a novel about the amazing power of love of one young man called "The Suffering of Young V" based on the letters of Vladimir, who, after the collapse of the scam with his bride Marilena, shows an increased interest in the sisters. The fairy tale "All the slow-witted" alludes to Krylov's fable "The Crow and the Fox", and "Treatment of Vasily" - to Chukovsky's "Moydodyr". The fairy tale "Princess White Legs", according to Petrushevskaya herself, was written under the influence of Andersen's "The Little Mermaid" (this is a fairy tale about a girl who cannot walk). On the other hand, here stable folklore types are combined in one image of the heroine: the type of the youngest loving daughter and the capricious sissy princess. Parodied male type betrothed prince. He is greedy for external beauty, indifferent to other people's troubles, he is going to leave the kingdom on the day of the funeral of the princess, who overstrained herself and fell ill, saving the prince who fell from the horse. There is a motif of the plot about the sleeping beauty: "... his (prince's) heart trembled with pity ... he quickly kissed the princess on the lips - he read somewhere that it was possible to revive princesses in this way" (T.4, p.201-202). In the fairy tales "Mother cabbage", "Small and even less" structural elements and images of Andersen's "Thumbelina" are used.

In some of Petrushevskaya's tales, there is onomatopoeia ("Once upon a time Trr"), a play on words, grammatical forms ("Puski beaten", "Burlak"). The writer uses the method of contrast characteristic of the folklore and literary tradition, opposes true and false, good and evil. In the fairy tale “Barbie Smiles”, two ways of life and the worldview corresponding to them are opposed: a luxurious life and indifference to others - these are Barbie dolls Toy, Ken, Susan - they live in the palace, spend time playing in the casino, dancing, visiting swimming pools and tennis courts. On the other hand, life is modest, without luxurious cars and dresses, but with the thought of dear and close people. Barbie prefers to get back her cotton dress, leave the palace and lie in the dust among the midges and ants, to be found by the little mistress who cried all night after losing the doll.

The criterion for the value of life and the hero in Petrushevskaya is often the motive of death. Petrushevskaya always has a serious attitude towards death, no matter how absurd the situation may seem. In the fairy tale "Anna and Maria" a nurse says to a relative of a dying woman: "Don't interfere with her, your wife is busy with serious business" (5, p. 273). In the fairy tale "Magic Glasses" the problem of mutual understanding of people is acute. The heroine of the tale is a girl who is not like the others, they are even going to transfer her to a school of fools or send her to a psychiatric hospital. The girl decides to commit suicide, jump from the sixth floor, but she remembered her mother, and she felt sorry for leaving her loved one, bringing him grief and tears. “After getting acquainted with the hard life of adults”, the girl “decided to stay alive in order to help people” (4, V.4, p.284). A similar moral is in the fairy tale "Grandfather's Picture". The girl is ready to die to save everyone from the eternal winter.

The motive of death is also present in The Tale of the Clock, a lyrical narration about the relationship between mother and daughter. There are also archetypal images characteristic of Petrushevskaya's work - a mother and a child. The daughter manifests childish egoism, the desire of youth to live beautifully, focusing on one's own "I". Mother is the embodiment of sad wisdom, understanding of others, awareness of oneself as a common stream of life. The daughter wants to have a gold watch, not thinking that it will shorten her mother's life. And only becoming wiser, becoming a mother, she is ready for the sacrifice - she winds the clock herself, thereby prolonging the life of her mother and starting the countdown of her own life. Archetypal images of a mother (father) and a child are present in the fairy tales “Mother Cabbage”, “Father”, “The Bell Boy”, etc. They are characteristic of Petrushevskaya’s work as a whole (the stories “Your Circle”, “Time is Night”, the play “ Three Girls in Blue.

A special place in the work of Petrushevskaya is occupied by "Wild Animal Tales", which, according to L.V. Ovchinnikova, like a folk tale about animals, are built on the basis of allegory (6). However, the folk tale about animals is allegorical, while allegory is concrete. Therefore, animals in folklore, wandering from fairy tale to fairy tale, embody a certain human type. Petrushevskaya's characters (animals, insects, birds) are presented in different situations of modern life, where they manifest themselves ambiguously and sometimes do not correspond to the folklore type. For example, the wolf Petrovna and her husband Semyon Alekseevich are far from the folklore wolf-villain. The careless alcoholic and reveler Semyon Alekseevich does not want to quarrel with his wife, the wolf Petrovna, who is demanding a divorce. Petrovna herself is a tired woman who has ceased to look after herself (the fairy tale "Consent"). Leopard Edward is not at all the king of animals, like a folklore lion, but a somewhat infantile aristocrat with a refined taste. So refined that in his new version of "The Seagull" the female roles are played by men: Nina Zarechnaya - the wolf Semyon Alekseevich, Arkadin - the goat Tolik, whose beard was removed under a bow, the horns were covered with a hat, shaved until pale, glued eyelashes, what is there! They hung a bra, a belt with black stockings, ladies' underarms and shoulder pads, a bag with tampex, a complete triumph, in short ”(4, V.5, p. 205, fairy tale“ The Power of Art ”). So harmless that he "couldn't understand a thing" when Sof the mouse in his chest of drawers brought mice. “The leopard was forced to adopt (adopt) fifteen mice, among which were Sofa’s parents, and grandfathers up to the third knee, you don’t understand, you will understand” (4, V.5, p. 81, fairy tale “Grandfather Edik”). Literary allusions and animal masks in "Wild Animal Tales" create a parodic picture of modern life (ordinary people, everyday situations) without pretensions to the seriousness of the problems of literary and folklore sources.

The author's position in Petrushevskaya's fairy tales can be called detached and wise: “A special property of Petrushevskaya's individual manner is that the most terrible and terrible things are reported as if easily, calmly, as if it were self-evident and everyone has long known, often using colloquial vocabulary. In this way, an absurd image of the world turned inside out is created” (6, p. 212). The absurdity of the world is emphasized by a trivial everyday situation, language design - the speech of the characters is ordinary, confused, sometimes rude and illiterate. A vivid example of this is the fairy tale "Donkey and Goat", "Garland of Birds", "Uncle Well, Aunt Oh." In conclusion, let us once again emphasize the high degree of generalization inherent in Petrushevskaya. Private history, private fate reveal generally significant, timeless categories of life. Such generalizations are present in almost all the fairy tales named here.

Notes

1. Leiderman N.A., Lipovetsky M.N. Modern Russian Literature: 1950-1990s. In 2 t. - V.2. – M., 2006. – P.618.

2. Shustov M.P. The originality of the fairy tales of L. Petrushevskaya //Materials to independent work students of philology in literature at the correspondence department. Issue.U. - N.Novgorod, 2006. - P.76.

3. Petrushevskaya L. Stories from my own life. - St. Petersburg, 2009. - P.536.

4. Petrushevskaya L.S. Collected works in 5 volumes. - Kharkov, M., 1996. - V.4. – P.195.

5. Petrushevskaya L. Two kingdoms. - SPb., 2009. - P.340.

6. Ovchinnikova L.V. Russian literary fairy tale of the XX century. History, classification, poetics. - M., 2003. - P.208.

• Specialty HAC RF10.01.01
• Number of pages 171

Chapter I. Cyclicity as the leading principle of organizing texts in the work of Lyudmila Petrushevskaya.

1.1. Title in the cycle system.

1.2. The role of the text frame within the cycle and within the story.

1.3. Figurative system of stories by L. Petrushevskaya.

14. Intertextuality as an element of L. Petrushevskaya's idiostyle.

1.5. Prose of Lyudmila Petrushevskaya in the context of folklore and literary traditions.

Chapter II. Narrative masks and roles of L. Petrushevskaya.

2.1. Stylistic tendencies of L. Petrushevskaya's fairy tale.

2.2. The hero-narrator and his masks.

2.3. The communicative situation "narrator" - "listener" in prose

L. Petrushevskaya.

2.4. Spatio-temporal organization of L. Petrushevskaya's prose.

L. Petrushevskaya.

2.6. Speech style of L. Petrushevskaya.

Introduction to the thesis (part of the abstract) on the topic "Poetics of short prose by L. S. Petrushevskaya"

The subject of this study is the prose of Lyudmila Petrushevskaya, about whose work M. Rozanova, a master of capacious formulations, once said: “Petrushevskaya writes like two men plus three crocodiles put together” [cit. according to: Bykov 1993: 34]. The works of a bright and original, and at the same time one of the most controversial modern prose writers and playwrights, after many years of silence in censored literature, finally found access to a wide range of readers, became a noticeable fact of the modern literary process. The steady interest in the works of L. Petrushevskaya by both Russian and foreign researchers indicates that her work is not a private, local phenomenon, but an expression of characteristic trends in the development of Russian prose at the end of the 20th century. The name of L. Petrushevskaya is put on a par with the names of such recognized masters as M. Zoshchenko, A. Platonov, Y. Trifonov, A. Vampilov; on the other hand, it sounds among the names of those modern authors who conduct creative searches in line with the most diverse literary movements (V. Makanin, F. Gorenshtein, and others).

At the same time, recognizing the undoubted talent of L. Petrushevskaya (recently, even such a definition of her work as classical has appeared in criticism), researchers find it difficult to establish its very essence, attributing it to a “special type of realism”, “naive”, “magic realism”, then calling it “socionaturalism”, “shock therapy prose”, “darkness”, “primitive”; reckoning it either with the “other”, “alternative” prose, then with the “new natural school”, then with the “female prose” (which, we note, L. Petrushevskaya herself is very opposed to, believing that women's literature as such simply does not exist).

It seems that such a diversity of opinions is explained by the fact that the logic of the development of modern literature will be visible only many years later, when considerations of relevance disappear and the overall picture becomes visible behind the outwardly chaotic development. In the meantime, “the panorama of modern literature can be imagined as a vast expanse of a raging, stormy sea with the dome of eternity above it. Attempts to enter this raging space and schematize the literary process of the 90s using the usual methods. give such an approximate, and sometimes distorted picture, that conclusions arise both about the imperfection of the old methods, and about the fact that the literary material resists all attempts to “push” the writer’s individuality into a group, direction, school, etc., ”writes S. Timina [Timina 2002: 8].

It should be noted that as soon as the first book of Lyudmila Petrushevskaya's prose (collection "Immortal Love") came out of print, she immediately attracted the attention of critics. Since the beginning of the 1980s, several dozen critical articles, book reviews, reviews and research papers devoted to her works have been published, both in our country and abroad. However, as the author of a representative bibliographic essay S. Bavin 1995 notes, “critics, faced with the world of Petrushevskaya’s characters, for a long time were at a loss about the aesthetic significance of what they saw and read.” The titles of some articles are already symptomatic: “Paradise of Freaks” (D. Bykov), “Theory of Catastrophes” (M. Remizova), “Running or Crawling?” (N. Klado), “Reflections with a Broken Trough” (E. Krokhmal), “Creators of Decay” (E. Ovanesyan), “Immersion in Darkness” (I. Prusakova), etc.

In our opinion, all literary criticism works devoted to the work of L. Petrushevskaya can be divided into three groups: 1) sharply negative in relation to her works (at the same time, the authors of these works almost do not analyze the text as such, relying on subjective-emotional evaluative perception); 2) articles, the authors of which evaluate the works of the writer rather favorably, but use the same principle of evaluation; both are united by a rather narrow, rather incorrect approach to a literary text: the subject of analysis is, as a rule, the substantive, but not the aesthetic side of the existence of the text; and, finally, 3) actual literary studies, the authors of which, regardless of subjective predilections, are trying to apply an integrated approach when analyzing the works of L. Petrushevskaya.

The most controversial issues that arise when trying to analytically read the stories of L. Petrushevskaya is the question of the author's attitude to the displayed reality and to his characters; the problem of the characters' typology, as well as the problem of the linguistic style of the writer.

So, S. Chuprinin believes that “L. Petrushevskaya, with merciless simplicity, exposes the wretched mechanics of "immortal love" in her stories", and defines her characters as "catatonic" and "lumpen-intellectuals" [Chuprinin 1989: 4]. In part, this point of view is shared by E. Shklovsky: “Here is the truth for you, but away with aesthetics. It's not rubbish, it's sur! The reality is this, and we all wrap it, gray-ashy, in colorful clothes. Is it really like that? It seems that it is precisely the literary view that perceives reality in this way. here the gaze itself generates rubbish, the soul itself brings it out of itself, turning its fear of life into an endless scandal” [Shklovsky 1992: 4].

Another opinion: “Telling about them (about us, about himself), the author does not judge, but dots the 1. Rather, he asks those who are able to hear,” M. Babaev believes [Babaev 1994: 4].

V. Maksimova speaks of the “direction” of L. Petrushevskaya “with its aesthetics of ugliness, analytically merciless attitude towards a person, with the concept of an “incomplete” person, pitiful, but not causing compassion”, however, M. Vasilyeva believes that “the measure of the author’s pity for designated to its heroes new era humanity” [Vasilyeva 1998: 4]. M. Stroeva also notes "the tender, hidden love (of the author. - I.K.) for his heroes." “The author seems to just stand back and watch. But this objectivity is imaginary. . .here is her pain” [Stroeva 1986: 221].

Unfortunately, many critics share Maksimova's point of view, for example: "The main characters of her stories often remain behind the scenes of the author's attention, thereby confusing the threads that connect them with prosaic reality" [Kanchukov 1989: 14]; “...private life (of the heroes of Petrushevskaya. -I.K.) is not connected by a system of communicating vessels with the processes that were going on long years in the country.<.>.in her eyes, a person is a rather insignificant creature, and nothing can be done about it” [Vladimirova 1990: 78]; “Petrushevskaya keeps a distance between herself and what she is talking about, and the quality of this distance is such that the reader feels himself subjected to scientific experience” [Slavnikova 2000: 62]; “...she has unmistakably chosen her reader, since it is teenagers who are most inclined to see only the dark side of life.<.>It is quite difficult to analyze what a writer has written. first of all, from the gloomy monotony of that hopelessness, which seems to give pleasure to the writer, who is very similar to one of her heroines (purely in literary terms, of course), who suffers from acute hatred for her husband. [Vukolov 2002: 161]; examples of this kind can be multiplied.

The most serious disagreements arise when trying to analyze the images created by L. Petrushevskaya.

In the prose of Petrushevskaya, mentally healthy people apparently not. The most common hereditary disease is schizophrenia. The author develops the theme of a person's doom to mental deviations from the moment of development. The theme of the "sick family" runs through all the prose, in which the mutilated roots are powerless to produce healthy offspring" [Mitrofanova 1997: 98].

Illness is the natural state of the heroes of Petrushevskaya,” O. Lebedushkina believes, however, in her opinion, “life comes through pain, blood and dirt. through everyday ugliness” [Lebedushkina 1998: 203]. when you try to get used to their circumstances and destinies, when you are imbued with their problems. you begin to understand: really normal people, ordinary people.<.>They are flesh of today's flesh. streets” [Viren 1989: 203].

Man in her is completely equal to his fate, which in turn contains some extremely important facet of the universal - and not historical, but namely the eternal, primordial fate of mankind.<.>Moreover, the fate lived by each of the heroes of Petrushevskaya is always clearly attributed to a certain archetype, an archetypal formula. [Lipovetsky 1994: 230].

Among the works whose authors explore some features of the poetics of Petrushevskaya's prose, in our opinion, we should note the afterword to the collection of plays by R. Timenchik (1989), the author of which is one of the first to make an objective attempt to analyze the writer's dramatic works, defining them as a complex genre phenomenon (we it seems that a number of these accurate observations can also be attributed to the prose works of L. Petrushevskaya), the article by A. Barzakh, devoted to the analysis of the style of the writer’s prose and containing a deep and detailed analysis of her short stories (1995), and the works of E. Goshchilo, (1990, 1996 ), showing a steady interest in the poetics of Lyudmila Petrushevskaya's prose. M. Lipovetsky's literary criticism works (1991, 1992, 1994, 1997) are also interesting and meaningful, where the researcher comes to the conclusion about the connection between the works of L.S. Petrushevskaya with the poetics of postmodernism, and in addition, about the presence in her works of signs of high culture and the attribution of her characters to a certain archetype. Of no less interest to us are the articles by N. Ivanova (1990, 1991, 1998), in which the critic explores the phenomenon of vulgarity in modern prose and offers his own, convincingly reasoned view of the work of L. Petrushevskaya, O. Lebedushkina (1998), devoted to the analysis figurative system and the chronotope of the writer's works. Very interesting (but far from indisputable) are the works of V. Milovidov (1992, 1994, 1996), the author of which explores the problems of a “different” prose, to which L. Petrushevskaya also refers, in the context of the poetics of naturalism. A number of interesting and accurate conclusions are drawn by Y. Sergo (1995, 2000), analyzing both individual stories by L. Petrushevskaya and the features of one of her cycles. The article by O.Vasilyeva (2001) is devoted to the analysis of a rather local problem - the poetics of "darkness" in L. Petrushevskaya's prose. A. Mitrofanova (1997) is trying to solve the same rather particular problem - designated, nevertheless, very broadly ("the artistic concept of L. Petrushevskaya's prose"), exploring "the theme of a person's doom to mental deviations from the moment of birth" in L. Petrushevskaya.

An analysis of individual moments of her work, as indicated above, has already taken place in a number of critical and literary works; in addition, in 1992, G. Pisarevskaya defended her Ph.D. thesis on the topic: “Prose of the 80-90s. L. Petrushevskaya and T. Tolstaya”, the author of which examines the originality of the prose of this period on the example of the short stories of these authors, revealing the typology of the heroes of their prose and determining the signs of female consciousness in the analyzed texts, thereby revealing their contribution to the formation of a new humanitarian consciousness.

At the same time, the features of genre thinking, and consequently, the concept of the artistic world of L. Petrushevskaya, in fact, remained unclear. This problem, connected with the definition of the very nature of the essence of the creative thinking of the writer, needs, in our opinion, deep reflection and serious historical and literary research, which determines the relevance of this work.

The purpose of the dissertation is to analyze the problem creative method L. Petrushevskaya through the study of the poetics of the prose of this author in its most essential aspects, conceptual integrity, the main constants of style that form the unique artistic world of the writer, in order to try to establish, on the example of her work, some typological features of literary development at the present stage.

The purpose of this work is specified in the following tasks:

1). Reveal the socio-historical, historical and cultural origins that determine the features of the artistic world of L. Petrushevskaya, show how they were refracted in the artistic fabric of the works;

2). Determine the leading principles of the poetics of the writer's prose, analyze the most important philosophical and aesthetic foundations of her work;

3). To reveal the principles of the artistic embodiment of the author's position in L. Petrushevskaya's prose.

4). To establish the general laws for constructing a model of the author's world of Lyudmila Petrushevskaya.

The set goal and objectives determined the structure of this work, consisting of an Introduction, which notes the feasibility of this study, its novelty, methodological basis, gives motivation for the content, review of critical and literary works devoted to the work of L. Petrushevskaya, defines the goal and tasks facing the researcher ; two chapters: 1) “Cyclicity as the leading principle of organizing texts in the work of L. Petrushevskaya”, 2) “Narrative masks and roles of L. Petrushevskaya”, each of which is divided into a number of paragraphs, as well as Conclusions, which contain general conclusions about the features of poetics the writer's prose. At the end of the work there are Appendixes and a List of References.

The scientific novelty of the work lies in the fact that for the first time in it an attempt is made to holistically, comprehensively comprehend the features of the poetics of L. Petrushevskaya's prose.

The methodology of the work is based on a combination of cultural-typological, historical-literary and structural-functional approaches. Methodolo

10 The logical basis of the study is the work of M.M. Bakhtin, V.V. Vinogradov, B.O. Korman, Yu.M. Lotman, L.E. Lyapina, B.A. Uspensky.

Dissertation conclusion on the topic "Russian literature", Kutlemina, Irina Vladimirovna

CONCLUSION

The fact that Lyudmila Petrushevskaya is one of the outstanding masters of modern prose and drama is beyond doubt by the vast majority of researchers. Some even call it a classic, about which L. Petrushevskaya herself spoke in one of her interviews with all certainty: “There is no need to say this word. I hope I am not a classic.” Obviously, the final accents, as always, will be determined by time, and today Lyudmila Stefanovna Petrushevskaya is an academician of the Bavarian Academy of Arts, a laureate of the Roizkt-rpge award (Toepfer Foundation, Hamburg), the Dovlatov award, etc.

The work of L. Petrushevskaya is chronologically “inscribed” in the period that today is commonly called “post-perestroika” (recall that her first collection was published in 1988). A distinctive feature of the style of the end of the 20th century (or the literature of the "end of style") is the attraction to small genres, the forms of "cards" (L. Rubinshtein), "candy wrappers" (M. Kharitonov), "albums for stamps" (A. Sergeev) , “comments on comments” (D. Galkovsky), passages and fragments, stories and stories, etc. L. Petrushevskaya also shows a steady interest in such genres: in her artistic arsenal we find “cases”, “monologues”, “stories”, “songs” (author’s definitions), parables, stories (the volume of which in many cases is extremely small - two -three pages).

At the same time, one of the most striking features of L. Petrushevskaya's work is the desire to combine all these "songs" and "cases" into cycles; moreover, the cycles are composed of works belonging not only to different genres (stories, fairy tales, etc.), but also to different types of literature (epos and drama). The cycle, as a special genre formation, claims to be universal, to be "inclusive", it strives to exhaust the integrity of the author's idea of ​​the world in all its complexities and contradictions, that is, it claims to embody the content of more than is possible for a collection of individual stories or plays. In addition, such a property of the cycle as antinomy seems to be especially important: its structure is closed and open at the same time, it is discrete and at the same time integral. Obviously, for the artistic consciousness of the author, it was the cycle that became the form that was able to most adequately reflect the fragmented, split consciousness of modern man, due to the catastrophic and chaotic nature of the modern world.

The unity of the cycle is created by L. Petrushevskaya through the use of a rich set of connections: the correlation of the title as with extra-textual series (for example, with everyday realities - "Violin", "Influenza", "Observation deck", with a certain cultural and historical layer - "Medea", " God Poseidon ", etc.), and with the text of the work (or works) itself - ("Requiems", "Stories"); certain ratios of the beginning and end of stories; the unity of the problematics and the system of images; using leitmotifs, etc. The cycle means the unfolding of the writer's intention through the texts, which has as its goal ideological completeness. In the artistic world of L. Petrushevskaya, cyclicity through a constant return to topics and situations that have already been raised, to a certain type of characters, to a circle of ideas that she clarifies, strengthens, continues, are due to the completeness of the author's worldview. In other words, the unification of individual works leads to an enlargement of meaning, develops into a conceptual view of reality, due to the impossibility of reducing the conceptual picture of the world to reduced works. Since the choice of genre is determined by the artist's view of the world, it seems to us that the work of L. Petrushevskaya contributed to the fact that the prose cycle received the status of an independent genre.

Features of the author's idiostyle are very clearly manifested at the plot level. At first glance, one gets the impression that there is no plot as such in her stories. For example, in the story "Sweet Lady" She "was born a little late", and this fact confused all the cards, and "a classic novel involving many actors' did not take place. In "The Story of Clarissa", "similar to the story of the ugly duckling or Cinderella", everything ended with the fact that "three months after the vacation, Clarissa moved in with her new husband" and "a new streak began in the life of our heroine." The Jew Verochka, the heroine of the story of the same name, gave birth to a child from a married man and died when the baby was seven months old - and the reader, like the narrator, learns about this three years later from a telephone conversation with a neighbor, etc. But often the “stories” of L. Petrushevskaya are devoid of even this minimal “event”: in the story “Manya”, for example, it is said about love story, which never took place. R. Timenchik was one of the first to note this feature: in the preface to the collection of L. Petrushevskaya’s plays, he speaks of the novelistic beginning of the writer’s dramatic works, calling them “novels folded to the transcript”. It seems that this observation is also true for prose: from a general plan, the narrative is translated into a short one. close-up, which is "torn out" so that behind it the presence of a general plan is always noticeable. M. Lipovetsky therefore believes that the secret of L. Petrushevskaya's prose lies in the fact that "a fractional, incoherent, fundamentally unromantic and even anti-romantic picture of life in her stories is consistently romanized." The “romance” of the stories, according to M. Lipovetsky, comes through in the special tone of the narration, the unusual beginning, ending, where “everyday rattles are combined with truly novel pain for life as a whole”, as well as in the unusual correlation of reality, limited by the framework of the story, with the text reality [Lipovetsky 1991: 151].

Main character(more precisely, the heroine) of L. Petrushevskaya's prose is the “average person”, the bearer of mass consciousness. L. Petrushevskaya destroys the traditional model of masculinity/femininity, since the man in her works loses his characteristic features, is depicted as inferior, weak and defenseless, often childish (for example, in the story "Dark Fate"). A woman in this situation is faced with the need to take the initiative, be strong, aggressive, "change sex." The model of femininity is also destroyed: for example, the maternal principle is traditionally protective, protective, and giving. J.I. Petrushevskaya does not deprive her heroines of these qualities; on the contrary, she emphasizes and takes them to the extreme, thus, motherhood in her image loses the halo of softness, warmth, and idyllicity. “Evil, cynical. She-wolves. But - and here the main thing! - she-wolves rescuing cubs. .Because of malice and cruelty, bared teeth and withers on end,” writes G. Viren [Viren 1989: 203]. Often motherhood appears in JI. Petrushevskaya as a form of power, property and despotism. A loving mother becomes a tormentor and an executioner ("The Case of the Virgin"). It is interesting, in our opinion, that the prose of L. Petrushevskaya is emphatically anti-erotic. A vivid example is the situations shown by her in the stories "Ali Baba" and "Dark Fate". This is the author's principled position, as evidenced by the following review: “Several years ago, in the journal Foreign Literature, writers were asked about sex and erotica. And Petrushevskaya immediately broke out of the ranks with her characteristic energy: in her article it was indisputably proved that a Soviet woman, after she had served her obligatory eight hours of creative work at a drawing board or a desk, and then ran around shopping, squeezed in buses yes run home, wipe the floor, cook dinner - after all this, she is hardly capable of experiencing emotions of this kind.<.>Before any sex, before any love, there are other urgent concerns for a driven, humiliated, oppressed person. And love for him is an unimaginable luxury” [Prussakova 1995: 187-188].

A sign of change, a breaking of traditional stereotypes in L. Petrushevskaya's prose is the choice of artistic space, scene of action. The author's chronotope is hermetic ("Own circle", "Isolated box", etc.), which serves as evidence of the disunity of people, their isolation from each other. In the stories of the writer there is the topos of the House, the Hearth, but most often in distorted, mutilated forms (“Father and Mother”). Often we see mutant families (“Own Circle”, “Daughter of Xenia”, etc.). “The motive of homelessness, which in modern literary criticism is usually associated, first of all, with the work of M. Bulgakov,” notes E. Proskurina, “is actually a cross-cutting one for all Russian literature of the 20th century. Its main overtones are the motives of the destruction of the family nest, "communal" and hostel. Consistently subordinating his actions to the logic and goals of this world (i.e., the earthly one as the only and self-sufficient reality. - I.K.), the hero gradually loses his personality traits, the face is taken away from the person, and the person becomes faceless, that is, nobody " [Proskurina 1996: 140].

Central themes The works of Lyudmila Petrushevskaya are the theme of everyday life, the hopeless loneliness of a person and the incoherent illogicality of life as a law of being. Hence - the natural "interchangeability" of characters when discussing this topic, the same type of characters. Researchers note that L. Petrushevskaya has been “processing” the same type for many years - a person of the “crowd”, one of the representatives of the “languageless street”, “natural outcast”, hallmark which is that a person objectively remains within the framework of this class, but loses subjective signs, psychologically declasses. This happened because, from the point of view of E. Starikov, “the “revolution of growing expectations” (endure in the name of a brighter future) was replaced by a “revolution of lost hopes” with the deepest spiritual breakdown, cynicism, and psychological declassification” [Starikov 1989: 141].

Perhaps it is here that there is an explanation of why "apparently, there are no mentally healthy people in Petrushevskaya's prose" (A. Mitrofanova). Illness is life constrained in its freedom. We believe that there is no clear line between moral, ethical and mental pathology: any pathology is a form of a defective adaptation of a person to a traumatic environment. The unsatisfied need for communication, the impossibility of self-realization inevitably lead to illness, and in this case, L. Petrushevskaya acts as an attentive and competent diagnostician.

In Lyudmila Petrushevskaya's short stories, the conflict between the hero and the world is resolved not at the level of the plot, but through the style and manner of narration. The author is often more important not so much what is said, but how; We believe that this explains the artist's commitment to the tale form of narration, which is noted by many researchers. It seems to us that, in addition to this, one of the reasons for L. Petrushevskaya's appeal to the tale is the fact (confirmed by a number of statements by the author himself) that hearing is primary for her; perhaps the influence of her dramatic work also affects here. Even her drama is designed not only (and not so much) for visual perception, but also for auditory perception; when reading text dramatic work“internal” hearing is turned on: one must catch the intonation that is not articulated in any way in the text, understand not only what, but also why, why it is said. Behind all these "monologues", "stories" and everyday rattles, the voice of the author is clearly audible - the voice of a lively, extremely sensitive interlocutor who has no other interests than to listen and hear you. “Dramaturgy opened its prose to the reader. Prose allows the theater to understand its dramaturgy as a set of voices, as a choir, as a mobile, moving, rushing multitude" [Borisova 1990: 87].

In the works of L. Petrushevskaya, the measure of alienation (increasing the distance between the author and the depicted) turned out to be multidimensionality, and the author's multifacetedness turned out to be a way of expressing it.

According to M. Bakhtin, the author is always "objectified as a narrator". The author is the designation of “a certain concept”, “a certain view of reality, the expression of which is his work” (B. Korman). Being an excellent master of monologue and dialogue, L. Petrushevskaya uses them as a means to reveal the thoughts, feelings, motives, actions of the characters, and they also carry a compositional function - often the plot, climax, denouement

147 of the story is given directly in the speech of the characters. However, behind everyday plots and conflicts, endless verbal outpourings and squabbles of her heroes, a high existential content is always found. Numerous literary signs and signals, allusions to mythological, folklore, antique, etc. serve as one of the ways to “translate” garbage, called life, everyday life, into another ontological plane. plots and images ("Oedipus' mother-in-law", "New Robinsons", "The Story of Clarissa", etc.).

With all her work, Lyudmila Petrushevskaya affirms the idea that modern reality, with all its catastrophes, cannot cancel universal ideals.

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