Сибирский федеральный университет

Тип публикации: статья из журнала

Год издания: 2021

Идентификатор DOI: 10.15826/izv2.2021.23.1.017

Ключевые слова: LEONOV L. M, IMAGE OF THE ARK, mythologeme, biblical plot, Noah, commune house, election, salvation, ЛЕОНОВ Л. М, образ ковчега, мифологема, библейский сюжет, Ной, дом-коммуна, избранничество, спасение, l. m. leonov

Аннотация: Статья посвящена анализу образа ковчега в романе Л. М. Леонова «Вор» как одного из сквозных в творчестве писателя (от рассказа «Уход Хама» до итоговой «Пирамиды»). Цель работы - определить семантику образа с учетом политического, общекультурного и литературного контекста времени создания произведения (было опубликовано в 1927 г.), исследований по данной теме на настоящий момент практически нет. В романе «Вор» мифологема ковчега включает в себя значение дома-коммуны, пространства с функцией «пережить время», что позволяет говорить о нем как о гетеротопии по терминологии М. Фуко. С помощью структурно-типологического метода были выявлены универсальные комплексы, в пределах которых раскрывается образ ковчега и его обитателей: оппозиция «свой» - «чужой» преодолевается за счет свободного перемещения ковчега между ее полюсами. Соотнесение библейского первоисточника (сюжет о Ноевом ковчеге) с авторским вариантом интерпретации позволяет по-новому оценить вопрос об избранничестве обитателей дома-корабля и о духовном лидере, их объединившем. Показательно отсутствие праведников на этом ковчеге, все пассажиры - жертвы обстоятельств и принадлежат маргинальным слоям общества. Собрание всех действующих лиц на «ковчеге» - в коммунальной квартире № 8 на именинах Балуевой - является значимым композиционным событием, после которого герои должны выбрать собственный жизненный путь. Внимание к разработанным аспектам текста (мотив открытого / закрытого окна, образ птицы-вестника, речевая характеристика персонажей) открывает совершенно новое, отличное от ветхозаветного сюжета, прочтение ситуации спасения: у Леонова «спасенные» не покидают ковчега по завершении пути, а продолжают оставаться на нем до момента изгнания судьбой. В результате исследования обнаружено, что идеи спасения, избранничества, выбора пути, традиционно связываемые с мифологемой ковчега, в романе «Вор» получают качественно новую трактовку, создавая тем самым модернистский образ эпохи 1920-х гг. This article analyses the image of the ark in L. M. Leonov’s novel The Thief as one of the writer’s recurring images (from the story The Departure of Ham to the final Pyramid). The purpose of the work is to determine the semantics of the image, taking into account the political, general cultural, and literary context of the time when the work was written (first published in 1927). There are practically no studies on this topic at the moment. In The Thief, the “ark” mythologeme includes the meaning of a commune house, a space meant for living through hard times, which makes it possible to refer to it as heterotopy in the terms of M. Foucault. Using the structuraltypological method, the author identifies universal complexes revealing the image of the ark and its inhabitants within it: the opposition “one’s own” - “other” is overcome due to the free movement of the ark between its poles. The correlation between the original biblical source (the plot of Noah’s Ark) and the author’s version of interpretation helps re-evaluate the issue of the chosenness of the inhabitants of the ship-house and the spiritual leader who united them. The meeting of all the characters on the “ark” - in communal apartment No. 8 at Balueva’s name-day celebration is a significant compositional event, after which the characters must choose their own life paths. The absence of the righteous on this ark is indicative, all passengers are victims of circumstances and belong to the marginal strata of society. Attention to the aspects of Leonov’s text (the motif of an open / closed window, the image of a messenger bird, the speech characteristics of the characters) unveils a completely new interpretation of the salvation situation: the “saved” do not leave the ark upon the end of their voyage but continue to remain on board until the moment they are exiled by fate. As a result of the study, it is demonstrated that in the novel The Thief, the ideas of salvation, chosenness, the choice of the path, traditionally associated with the mythology of the ark receive a qualitatively new interpretation, thereby creating a modernist image of the era of the 1920s. This article analyses the image of the ark in L. M. Leonov's novel The Thief as one of the writer's recurring images (from the story The Departure of Ham to the final Pyramid). The purpose of the work is to determine the semantics of the image, taking into account the political, general cultural, and literary context of the time when the work was written (first published in 1927). There are practically no studies on this topic at the moment. In The Thief, the ark mythologeme includes the meaning of a commune house, a space meant for living through hard times, which makes it possible to refer to it as heterotopy in the terms of M. Foucault. Using the structuraltypological method, the author identifies universal complexes revealing the image of the ark and its inhabitants within it: the opposition one's own - other is overcome due to the free movement of the ark between its poles. The correlation between the original biblical source (the plot of Noah's Ark) and the author's version of interpretation helps re-evaluate the issue of the chosenness of the inhabitants of the ship-house and the spiritual leader who united them. The meeting of all the characters on the ark - in communal apartment No. 8 at Balueva's name-day celebration is a significant compositional event, after which the characters must choose their own life paths. The absence of the righteous on this ark is indicative, all passengers are victims of circumstances and belong to the marginal strata of society. Attention to the aspects of Leonov's text ( the motif of an open / closed window, the image of a messenger bird, the speech characteristics of the characters) unveils a completely new interpretation of the salvation situation: the saved do not leave the ark upon the end of their voyage but continue to remain on board until the moment they are exiled by fate. As a result of the study, it is demonstrated that in the novel The Thief, the ideas of salvation, chosenness, the choice of the path, traditionally associated with the mythology of the ark receive a qualitatively new interpretation, thereby creating a modernist image of the era of the 1920s. This article analyses the image of the ark in L. M. Leonov's novel The Thief as one of the writer's recurring images (from the story The Departure of Ham to the final Pyramid). The purpose of the work is to determine the semantics of the image, taking into account the political, general cultural, and literary context of the time when the work was written (first published in 1927). There are practically no studies on this topic at the moment. In The Thief, the ark mythologeme includes the meaning of a commune house, a space meant for living through hard times, which makes it possible to refer to it as heterotopy in the terms of M. Foucault. Using the structuraltypological method, the author identifies universal complexes revealing the image of the ark and its inhabitants within it: the opposition one's own - other is overcome due to the free movement of the ark between its poles. The correlation between the original biblical source (the plot of Noah's Ark) and the author's version of interpretation helps re-evaluate the issue of the chosenness of the inhabitants of the ship-house and the spiritual leader who united them. The meeting of all the characters on the ark - in communal apartment No. 8 at Balueva's name-day celebration is a significant compositional event, after which the characters must choose their own life paths. The absence of the righteous on this ark is indicative, all passengers are victims of circumstances and belong to the marginal strata of society. Attention to the aspects of Leonov's text ( the motif of an open / closed window, the image of a messenger bird, the speech characteristics of the characters) unveils a completely new interpretation of the salvation situation: the saved do not leave the ark upon the end of their voyage but continue to remain on board until the moment they are exiled by fate. As a result of the study, it is demonstrated that in the novel The Thief, the ideas of salvation, chosenness, the choice of the path, traditionally associated with the mythology of the ark receive a qualitatively new interpretation, thereby creating a modernist image of the era of the 1920s. This article analyses the image of the ark in L. M. Leonov's novel The Thief as one of the writer's recurring images (from the story The Departure of Ham to the final Pyramid). The purpose of the work is to determine the semantics of the image, taking into account the political, general cultural, and literary context of the time when the work was written (first published in 1927). There are practically no studies on this topic at the moment. In The Thief, the ark mythologeme includes the meaning of a commune house, a space meant for living through hard times, which makes it possible to refer to it as heterotopy in the terms of M. Foucault. Using the structuraltypological method, the author identifies universal complexes revealing the image of the ark and its inhabitants within it: the opposition one's own - other is overcome due to the free movement of the ark between its poles. The correlation between the original biblical source (the plot of Noah's Ark) and the author's version of interpretation helps re-evaluate the issue of the chosenness of the inhabitants of the ship-house and the spiritual leader who united them. The meeting of all the characters on the ark - in communal apartment No. 8 at Balueva's name-day celebration is a significant compositional event, after which the characters must choose their own life paths. The absence of the righteous on this ark is indicative, all passengers are victims of circumstances and belong to the marginal strata of society. Attention to the aspects of Leonov's text ( the motif of an open / closed window, the image of a messenger bird, the speech characteristics of the characters) unveils a completely new interpretation of the salvation situation: the saved do not leave the ark upon the end of their voyage but continue to remain on board until the moment they are exiled by fate. As a result of the study, it is demonstrated that in the novel The Thief, the ideas of salvation, chosenness, the choice of the path, traditionally associated with the mythology of the ark receive a qualitatively new interpretation, thereby creating a modernist image of the era of the 1920s.

Журнал: Известия Уральского федерального университета. Серия 2: Гуманитарные науки

Выпуск журнала: Т. 23, № 1

Номера страниц: 254-264

ISSN журнала: 22272283

Место издания: Екатеринбург

Издатель: Уральский федеральный университет им. первого Президента России Б.Н. Ельцина

• Задорина Алена Олеговна (Сибирский федеральный университет)

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• Список ВАК