Библиографическое описание:Толстовская парадигма "Хозяина и работника" у Бунина: "метельный (кон)текст" философии субъекта : научное издание / К. В. Анисимов. - Текст : непосредственный // Критика и семиотика. - 2018. - № 1. - С. 187-215. - ISSN 2307-1737, DOI 10.25205/2307-1737-2018-1-187-215. Перевод заглавия: Bunin and the Tolstoy’s Paradigm of "Master and Man": The "Snowstorm (Con)text" of the Philosophy of Subject
Аннотация:Статья посвящена рецепции Буниным сюжета поиска пути в метель, который, восходя к Пушкину, был унаследован Толстым, и в итоге преобразован: сюжет, подававший метель как аллегорию социальной и/ или нравственной смуты, был превращен в историю трансгрессии субъекта, который переживал самоотождествление с подчиненным ему героем, олицетворявшим Природу. Доказывается, что ситуация, в которой в пореволюционные годы ощущал себя Бунин, потребовала от него дальнейшего видоизменения суммы решений, предложенных Толстым. Так, отмечена сложность позиции Бунина, который был вынужден и экзотизировать героев-крестьян, что диктовалось особым отношением писателя к высокой культуре, и одновременно, продолжая Толстого, снимать экзотические пресуппозиции, существенно трансформируя нарративную поэтику своего текста и стремясь (особенно в рассказе «Сверчок») соединить противостоящих друг другу героев в общем для них переживании жизни и смерти.
The starting point for the present research is Tolstoy’s short story «Master and Man» in which the author finishes his elaboration of one of the archetypal plots of the Russian literature, initiated by him in the short story «The Snowstorm» and then continued in «Anna Karenina». Since Pushkin’s times this plot had been focused on the story of interaction between the two characters who personified what conventionally might be called «people» vs «power» juxtaposition, whereas the snowstorm itself symbolized a social revolt and/or some moral errors, illegitimate deeds. In 1890s this plot was fully revised by Tolstoy: in the foreground of the scene the reader now sees the pair of the two interconnected figures while the allegorical semantics of the snowstorm is reduced. The winter hurricane is left with the only function given to it by the author - to bring death. Within this frame Tolstoy sets up an artistic and ideological experiment representing how the psychological transgression is done and how the consciousness of one character morphs into the consciousness of another: Brekhunov saves Nikita, and by doing this he rejects his own subjectivity which is assessed by Tolstoy in his late years exceptionally as the trap of egoism. According to Tolstoy, to overcome one’s ego means to reach immortality, because isolation, as the novelist believes, is a synonym to the helplessness in the face of death. Finding himself in a new historical and cultural situation Bunin, who in this sphere of plots and motifs was Tolstoy’s obvious successor, had to reorganize his great ancestor’s poetic devices yet again. Thus, the very idea of the impossibility to cover a cultural and linguistic distance in the interaction between different social agents was totally unfamiliar to Tolstoy who always relied on Rousseau when dealing with this theme. Tolstoyan moralistic demand of any individual to descend into a «simple life» ( oproschenie ) presumed the construction of an ideal position which makes possible the expression of a «defamiliarized» ( ostranennyi ) view of the world around, a view that can resolve any communicative problem. Animal as a character, antisocial and remote from the world of humans, was a suitable paragon for this, as we see it in «Kholstomer». Bunin analyzes the problem of an animal not in terms of social life, but in the ontological perspective - seeing in animal first of all a flesh which is doomed to die. And if the link between peasant and animal, which Tolstoy had in mind by default, made both of them the possessors of an ideal «defamiliarizing» language, for Bunin, who emphasized ties of an animal with death, the imminent step was to put both - the beast and the peasant, bonded by Nature itself - under the lens of exoticism, transforming them from subjects, into vice versa objects of «defamiliarization». Of course, this device produced superficial effect: the writer of the 20th century chooses the strategy to overcome the exoticism in order to connect the opposed social forces and therefore to solve the problem of a subject - but on different ways as compared to Tolstoy. Thus, in the narrative structure of the short stories where the snowstorm plays a crucial role Bunin reduces the status of a hero associated with the social power and culture and converts a moujik into a protagonist who sometimes also becomes the subject of narrating. The linkage between the opposed poles is set with complex system of motif allusions, which refer to the idea of the common life. Such stories as «Pines», «Celestial Birds», «The Cricket» and «Bast Shoes» are attracted for the narratological analysis.
Ключевые слова:Л. Н. Толстой, И. А. Бунин, "Хозяин и работник", "метельный сюжет", экзотизм, нарратология, сюжет, мотив, Leo Tolstoy, Ivan Bunin, "Master and Man", "snowstorm text", exoticism, narratology, plot, motif
