俄罗斯文艺

本文论述了弗拉基米尔·索罗金的文学作品与俄罗斯先锋派的世界观及审美态度之间的关系。文章作者认为,为了构建一幅世界图景,索罗金交替地使用不同时代的俄罗斯先锋派——立体未来主义者、奥贝利乌诗人和概念主义者——特有的艺术研究方法,聚焦于他们共同关注的存在的根本问题,首先关注作为世界秩序之基础的自然与文化的相互关系。然而,在索罗金的小说中,发生在文化习俗框架之外的自然生活丧失了吸引力,被赋予混乱的低生理现实特征。在现代作家看来,人所特有的"野性"是不受控制的,是世界上最糟糕的"动物",在谋杀、食人、嗜粪等可怕的场景中展现。因此,在小说作者的描绘中,自然的胜利引发了一场血腥的噩梦,或者——如果取消了文化习俗,自然和文化的对立化为乌有——自然的胜利会导致熵,即存在的能量的消失。索罗金认为,自然与文化的平衡是可能的,但其结果是暂时的、不可靠的。本文分析了弗拉基米尔·索罗金的早期小说《定额》、《特辖军的一天》、《熊掌山》等文本。

This article discusses the relationship of Vladimir Sorokin's literary work with the ideological and aesthetic attitudes of the Russian avant-garde. According to the author, to create a picture of the world, Sorokin alternately refers to the methods of artistic research, characteristic of different generations of Russian avant – garde – cubofuturists, oberiuts and conceptualists – with a common focus on the fundamental problems of life, first of all, on the relationship between nature and culture as the basis of the world order. However, in the works of Sorokin, the natural life that takes place outside the framework of cultural conventions loses its appeal and is endowed with features of chaotic and low-lying physiological reality. In the understanding of the modern writer, all the "wild" that only is in man, being uncontrolled, was the "animal" in the worst sense of the word and manifests itself in appalling scenes of murder, cannibalism, coprophagia, etc. Therefore, the triumph of nature in the image of this author gives rise to a bloody nightmare or – if there is a cancellation of cultural conventions and the rivalry of nature and culture comes to naught – leads to entropy, the extinction of the energy of being. The balance of nature and culture, according to Sorokin, is possible, but gives a temporary and unreliable result. This paper analyzes the early novels of Vladimir Sorokin: Norma, Day of Oprichnik, Manaraga, etc.