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Modernism and postmodernism in Russian literature. Postmodernism in Russian literature Russian writers postmodernist

11.02.2021

All over the world, it is believed that postmodernism in the literature is a special intellectual style, the texts of which are written as it were, and where a certain hero (not author) checks his own conclusions, playing for nothing binding games, getting into different life situations . Postmodernism critics are considered as the reaction of the elite on the widespread commercialization of culture, as the opposition of the general culture of cheap tinsel and gloss. In general, this is a rather interesting direction, and today we present to your attention the most famous literary works in the style mentioned.

10. Samuel Biscket "Molloy, Malone Dies, The Unnamable"

Samuel Bekket - a recognized master of abstract minimalism, whose technique hold the pen allows us to objectively overlook our subjective world, taking into account the psychology of a separate nature. An unforgettable work of the author, "Molloy, Malone Dies, The Unnamable", is recognized as one of the best - by the way, the translation can be found on lib.ru

9. Mark Danilevski "House of Leaves"

This book is a real product of literary art, since Danilevsky plays not only with words, but also the color of words, combining text and emotional information. Associations caused by a color combination of different words help to penetrate the atmosphere of this book, in which there are both elements of mythology and metaphysics. On the idea of \u200b\u200bpainting the words of the author pushed the famous color test of Rorschah.

8. Kurt Vonnegut "Breakfast of Champions"

That's what the author himself says about his book: "This book is my gift to the fiftieth anniversary. In fifty years, I have been so programmed that he behaves guader; I speak disrespectful about the American anthem, I draw the Nazi flag, and scuffs, and any other.

I think that this is an attempt to throw everything out of the head so that it becomes completely empty, as that day fifty years ago, when I appeared on this strongly damaged planet.

In my opinion, all Americans should do so - and white and non-white, which imitate white. In any case, my other people scored all sorts of all - a lot there and useless and ugly, and one with another does not fit and completely does not correspond to the real life that goes out of me, outside of my head. "

7. Jorge Luis Borges "Labyrinths"

This book is impossible to describe without resorting to deep analysis. In general, this characteristic is applicable to most of the works of the author, many of which are still waiting for an objective interpretation.

6. Hunter Thompson "Fear and Loatching in Las Vegas"

The book tells the adventures of lovers of psychotropic drugs in Las Vegas. Through simple, it would seem, the author creates a complex political satir of his era.

5. Bret Easton Ellis "American Psycho"

No other product is able to show the life of ordinary Yappa from Wall Street. Patrick Beitman, the main character of the work, lives the usual life to which the author imposes an interesting focus, in order to show the wrong reality of a similar way of existence.

4. Joseph Geller "Catch-22"

Probably, this is the most paradoxic novel that ever was written. The work of Geller is widely recognizable, and most importantly, recognized by the majority of the literary critics of our time. You can say with confidence that Geller is one of the greatest writers of our time.

3. Thomas Pinchon "GRAVITY'S RAINBOW"

All attempts to describe the plot of this novel will surely fail: this is the symbiosis of paranoia, pop culture, sex and politics. All these elements merge in a special way, creating an unsurpassed literary product of the new era.

2. William Burrow "Naked Lunch"

Too much was written about the effect of this work on the minds of modernity to write about it again. This work occupies a worthy place in the literary heritage of contemporaries of the era - here you can meet elements of science fiction, erotica and detective. This whole wild mix that mysteriously carries the reader, forcing everything from the first to the last page - the truth is not the fact that the reader will understand it from the first time.

1. David Foster Wallace "Infinite Jest"

This work is a classic genre, of course, if you can say about the literature of postmodernism. Again, here you can find sadness and fun, mind and stupidity, intrigue and vulgarity. The opposition of two major organizations is the main line of the plot, which leads to understanding of some factors of our life.

In general, these works are very difficult, and that makes them extremely popular. I would like to hear from our readers who read some of these works, objective reviews - perhaps it will allow the rest of the attention to the books of such a genre.

In Russian literature, the appearance of postmodernism refers to the beginning of the 1970s. Only at the end of the 1980s of the years about postmodern, it became possible to speak as non-US literary and cultural data, and by the beginning of the XXI century it is necessary to state the completion of the "Postmodern era". Postmodernism can not be described as an exclusively literary phenomenon. It is directly related to the principles of the world perception, which manifest itself not only in artistic culture, in science, but also in different areas of social life. More precisely, it would be possible to determine postmodernism as a complex of ideological attitudes and aesthetic principles, and the opposition to the traditional, classical picture of the world and methods of its presentation in the works of art.

In the development of postmodernism in Russian literature, it is possible to distinguish three periods:

1. END 60_X - 70_E GG. (A. TERS, A. Bitov, V. Erofeev, Sun. Nekrasov, L. Rubinstein, etc.)

2. 70_E - 80_E GG. The statement as a literary direction, which is based on the aesthetics of which the post-astructural thesis "Peace (consciousness) as the text", and the basis of the artistic practice of which constitutes a demonstration of the cultural intertertaint (E. Popov, Vic. Erofeev, Sasha Sokolov, V. Sorokin, and others. )

3. The end of 80_x - 90_e. Legalization period (T. Kibirov, L. Petrushevskaya, D. Galkovsky, V. Pelevin, etc.).

Modern postmodernism with its roots goes to the art of the avant-garde of the beginning of the century, in the poetics and aesthetics of expressionism, the literature of the absurd, the world V. Rozanova, Zoshchenkovsky story, creativity V. Nabokova. Picture of postmodern prose is very little, multi-family, there are many transitional phenomena. Sustainable stereotypes of postmodern work, a certain set of artistic techniques, which became a kind of cliché, designed to express the crisis state of the world of the end of the century and the Millennium: "Peace like chaos", "Peace as text", "crisis of authorities", essism of narration, eclecticism, game, Total irony, "exposure of acceptance", "Power of the letter", its clutch and grotesque character, etc.

Postmodernism is an attempt to overcome realism with its absolute values. The irony of postmodernism is, first of all, in the impossibility of its existence, both without modernism and without realism, which give this phenomenon some depth and significance.

Domestic postmodern literature has passed a certain "crystallization" process, before it was made in accordance with new canons. At first it was "Other", "New", "tough", "alternative" prose of veins. Yerofeyev, A. Bitova, L. Petrushevskaya, S. Kaltedina, V. Pelevin, V. Makanina, V. Piezuha, and others. This prose was a polemical, opposition to the tradition, it was sometimes even a "singing of public taste" Its anti-durability, nihilistic consciousness and hero, tough, negative, anti-systhetic style, comprehensive irony, quotality, excessive associativity, intertextuality. Gradually, precisely postmodern literature with its postmodern sensitivity and the absolutment of the game of words were separated from the total stream of alternative prose.

Russian postmodernism carried the main features of postmodern aesthetics, such as:

1. Refusal to truth, rejection of the hierarchy, assessments, from any comparison with the past, the lack of restrictions;

2. Communication for uncertainty, refusal of thinking based on binary opposition;

4. The focus on deconstruction, i.e. restructuring and destruction of the former structure of intellectual practice and culture in general; The phenomenon of the double presence, the "virtuality" of the world of the era of postmodernism;

5. The text allows infinite multiple interpretations, the loss of a semantic center, creating the author's dialog space with the reader and vice versa. It is important how information is expressed, predominantly attention to the context; The text is a multidimensional space composed of a quotation sending to many cultural sources;

The totalitarian system and national characteristics of the culture caused the bright differences between Russian postmodernism from Western, namely:

1. Russian postmodernism differs from Western more distinct the presence of the author through the sense of the idea of \u200b\u200bthem;

2. It is paralogied (from Greek. Paraloge Answers of the Nefple) in essence and accommodates semantic oppositions of categories, between which there can be no compromise;

3. In Russian postmodernism, avant-garde utopism and the echoes of the aesthetic ideal of classical realism are combined;

4. Russian postmodernism is born from the conflict of the consciousness of the splitness of the cultural whole, not on the metaphysical, and the literal "death death" and consists of attempts within the same text to restore the cultural organic by the dialogue of heterogeneous cultural languages;

Regarding postmodernism in Russia, Mikhail Epstein stated in his interview for the Russian journal: "In fact, postmodernism is penetrating much deeper into Russian culture than it could seem at first glance. Russian culture was late for the holiday of the new time. Therefore, she was already born in the forms of Newmodern, postmodern, starting from St. Petersburg<…>. Petersburg - brilliant quotes collected from the best samples. Russian culture, which is distinguished by the intertextual and quotation phenomenon of Pushkin, in which Peter reforms responded. He was the first sample of great postmodern in Russian literature. In general, Russian culture was built according to the model of Simulacra (Simulacro - "Copy", which does not have the original in reality).

Meaning here always prevailed over meant. And meaning here as such and there was no. Signal systems were built of themselves. What was supposed to be a modern - paradigm of the new time (which is a certain identity reality, there is a subject, its objectively knows, there are values \u200b\u200bof rationalism), - in Russia never appreciated and it was very cheap. Therefore, in Russia there was its own predisposition to postmodernism. "

In the postmodern aesthetics, the wholeness of the subject, the human "I": mobility, the uncertainty of the borders "I" leads almost to the loss of the face, to replacing it with many masks, the "womb" of individuality, hidden behind others. The motto of postmodernism could be the saying "I am no": in the absence of absolute values, neither the author nor the narrator nor the hero is responsible for all said; The text is done reversible - parody and irony becomes "intonational norms", allowing to give exactly the opposite washed away that the line back was claimed.

Output: Russian postmodernism, isolated from the West, a complex of worldview plants and aesthetic principles are excellent from the traditional painting of the world. Postmodern in Russian literature paralootic, there can be no compromise between his oppositions. Representatives of this area within the framework of one text lead a dialogue "heterogeneous cultural languages".

Postmodernism as a literary flow takes its beginning at the end of the XX century. It arises as protesting, excluding any restriction of actions and techniques, erases the boundaries between the styles and gives the authors absolute freedom of creativity. The main vector of the development of postmodernism is the overthrow of any well-established norms, the mixing of "high" values \u200b\u200band "low" needs.

The rapprochement of elite modernist literature, which was difficult to understand most of society, and the primitivism, rejected by intellectuals by virtue of its election, set the goal to get rid of the flaws of each style.

(Irene Sheri "For Book")

The exact dates of this style of this style are uncertain. However, its origin is the reaction of society to the results of the modernism era, the end of the Second World War, the horrors that occurred in concentration camps and bombardment of Hiroshima and Nagasaki. One of the first works allocate "Oral Demanding" (IHB Hassan), "Cannibal" (John Hawks) and "Cryat" (Allen Ginzberg).

Conceptual design and theoretical definition of postmodern received only in the 1980s. This was facilitated, first of all, the developments of J.F. Lyotar. Oktober's magazine exit to the United States actively promoted postmodern ideas of outstanding representatives of cultural studies, philosophy and literary studies.

Postmodernism in Russian literature of the XX century

Contrasting avant-garde and modern, where the mood of the silver century felt, in Russian postmodern, was expressed by a refusal of realism. Writers in their works describe harmony as a utopia. They find a compromise with chaos and space. The first independent response of Postmodern in Russia is the "Pushkin House" of Andrei Bitova. However, the reader could enjoy them only 10 years after the exit, as a ban was imposed on his seal.

(Andrei Anatolyevich Shustov "Ballad")

Russian postmodernism is obliged to multifaceted images in domestic socialism. It is he who is the starting point for thinking and developing the characters of the books of this direction.

Representatives

The ideas of comparison of the opposite concepts are pronounced in the work of the following writers:

  • S. Sokolov, A. Bitov, V. Erofeev - paradoxical compromises between life and death;
  • V. Pelevin, T. Tolstaya - Contact Real and Fantasy;
  • Piezuh - the border of the obstivities and absurd;
  • V. Aksyunov, A. Sinyavsky, L. Petrushevskaya, S. Dovlatov - denial of any authorities, organic chaos, combination on the pages of one product of several directions, genres and epochs.

(Nazim Hajiyev "Eight" (seven dogs, one cat))

Directions

Based on the concepts of "Peace as Text", "Peace like chaos", "Author's mask", "Double course" directions of postmodernism by definition do not have specific boundaries. However, analyzing the domestic literature of the late XX century, some features are allocated:

  • Orientation of culture on itself, and not on the real world;
  • Texts originate in stocks of historical eras;
  • Ephemerality and ghostity, narrative of action,
  • Metaphysical closure;
  • Non-selection;
  • Fantastic parody and irony;
  • Logic and absurdity are combined in a single image;
  • Violation of the law of sufficient justification and the exception of the third meaning.

Postmodernism in foreign literature of the XX century

The literary concepts of French poststructors are of particular interest among the American Writer Community. It is on his background that the Western theories of postmodernism are formed.

(Portrait - Collage of Art Mosaic Mosaic)

The article of Lesli Fidler published in the "playboy" becomes the point of no return to modernism. In the header of the text, the convergence of opposites is shouted - "cross the boundaries, fall asleep the piva." In the course of the formation of a literary postmodern, the trend of overcoming the boundaries between the "books for intellectuals" and "stories for ignorant" is gaining increasing revolutions. As a result of development, certain characteristic features are viewed between overseas works.

Some features of postmodern in the works of Western authors:

  • Decanonization of official norms;
  • Irony attitude to values;
  • Filling quotes, short statements;
  • Denial of the sole "I" in favor of the set;
  • Innovation of forms and ways of presenting thoughts during the change of genres;
  • Hybridization of techniques;
  • A humorous look at household situations, laughter as one of the parties of life disorder;
  • Theatricality. Game with plots, images, text and reader;
  • Taking the diversity of life through humility with chaotic events. Pluralism.

Motherland of postmodernism as a literary direction is considered to be the United States. The most bright postmodernism is reflected in the work of American writers, namely the followers of the "School of the Black Humor" in the face of Thomas Pinchon, Donald Bartelmi, John Barta, James Patrick Dunliwi.

In a broad sense postmodernism - this is a course of general in European culture, which has its philosophical basis; This is a kind of globility, a special perception of reality. In a narrow understanding, postmodernism is a flow in literature and art, expressed in creating specific works.

Postmodernism entered the literary scene as a finished direction as a monolithic education, although Russian postmodernism is the sum of several trends and currents: conceptualism and Neurokko.

Conceptualism or soci -art.

Conceptualism, or soc-Art. - This course consistently expands the postmodern picture of the world, involving all new and new cultural languages \u200b\u200b(from social realism to various classical trends, etc.). The gossip and comparing authoritative languages \u200b\u200bwith marginal (mat, for example), sacred with profanny, official with rebellion, conceptualism exposes the proximity of various myths of cultural consciousness, equally destroying the reality that replacing it with a set of fictions and at the same time totalitarianly imposing their own idea of \u200b\u200bthe world. True, ideal. Conceptualism is mainly focused on rethinking languages \u200b\u200bof power (whether it is a language of political power, that is, social identity, or the language of the moral and authoritative tradition - for example, Russian classics, or various history mythology).

Conceptualism in the literature is submitted primarily by such authors as D. A. Pigorov, Lev Rubinstein, Vladimir Sorokin, and in a transformed form - Evgeny Popov, Anatoly Gavrilov, Zufar Gareev, Nikolai Baitov, Igor Yarkvich and others.

Postmodernism is a flow that can be defined as neurokko. The Italian theorist Omar Calabreps in the book "Neurokko" allocated the main features of this course:

aesthetics repetitions: dialectics of unique and repeatable - polycentricism, regulated irregularity, ripped rhythm (thematically originated in "Moscow Cockery" and "Pushkin House", the poetic systems of Rubinstein and Kibirov are also built on these principles);

aesthetics excess - experiments on the extensibility of the borders to the last limits, monstreet (physicalness of Aksenova, Aleshkovsky, monstrocerance of characters and above all the narrator in the "Palisandria" Sasha Sokolov);

transfer of accent from the purpose to the part and / or fragment: redundancy of parts, "With which the part actually becomes the system" (falcons, thick);

chaotic, intermittentness, irregularity as dominant compositional principlesconnecting unequal and heterogeneous texts into a single methotext ("Moscow-Petushki" Yerofeev, "School for Fools" and "Between Dog and Wolf" Sokolova, "Pushkin House" Bitova, "Chapaev and Emptiness" Pelevin, etc.).

unresoluteness of collisions (which in turn, in turn, the "nodes" and "labyrinths" system): the pleasure of resolving the conflict, plot collisions, etc. It is replaced by the "taste of loss and riddles".

The emergence of postmodernism.

Postmodernism appeared as a radical, revolutionary current. It is based on deconstruction (the term is introduced by Zh.Derrid in the early 60s.) And decentration. Deconstruction is a complete rejection of the old, creating a new one at the expense of old, and decentration is the dispersion of the solid meanings of any phenomenon. The center of any system is a fiction, the authority of the authorities is eliminated, the center depends on various factors.

Thus, in the aesthetics of postmodernism, reality disappears under the stream of simulacros (divide). The world turns into chaos at the same time coexisting and superimposed on each other texts, cultural languages, myths. A person lives in the world of the simulars created by him by himself or other people.

In this regard, the concept of intertextuality should be mentioned when the text being created becomes a cloth quotes taken from previously written texts, a kind of paletmp. As a result, an infinite number of associations arises, and the meaning expands to infinity.

Some works of postmodernism are characterized by a rizomatic structure, where there is no opposition, beginning and end.

The main concepts of postmodernism also include remake and spawning. Remake is a new version of the already written work (Wed: Furmanov and Pelevine texts). Nature is a system of ideas about history. The story is not a change of events in their chronological order, but the myth, created by the consciousness of people.

So, the postmodern text is the interaction of the language of the game, he does not imitate life as traditional. In postmodernism, the author's function is also changing: not to create, creating a new one, but recycle old.

M. Lipovetsky, relying on the main postmodern principle of paraluded and on the concept of "paraloge", allocates some of the features of Russian postmodernism compared to Western. Paraloge - "conflicting destruction, designed to shift the structure of intelligence as such." The paraloge creates a situation, the inverse situation of binarity, that is, this in which there is a rigid opposition in prioritize some kind of one start, and, and the possibility of the existence of opposing it is recognized. Paralochiness lies in the fact that there are both of these starts at the same time, interact, but at the same time completely excluded the existence of a compromise between them. From this point of view, Russian postmodernism differs from Western:

    we are focused on the search for compromises and dialogical conjugates between the poles of opposition, on the formation of the "meeting place" between fundamentally incompatible in the classical, modernist, as well as a dialectical consciousness, between philosophical and aesthetic categories.

    at the same time, these compromises are fundamentally "paralogic", they preserve explosive character, unstable and problematic, they do not remove contradictions, but generate contradictory integrity.

Somework category is somewhat different. Simulacra control the behavior of people, their perception, ultimately, their consciousness, which ultimately leads to the "death of subjectivity": the human "I" also consists of a set of simulacris.

A set of simulars in postmodernism is not opposite not reality, but its absence, that is, emptiness. At the same time, paradoxically, the simulators become the source of the reality of reality only under the condition of the awareness of their simulation, i.e. imaginary, fictitious, illusory nature, only under the condition of the initial disbelief in their reality. The existence of the category of simulars forces its interaction with reality. Thus, a certain mechanism of aesthetic perception is appeared, characteristic of Russian postmodernism.

In addition to the opposition, Simulacro - reality, in postmodernism and other oppositions are recorded, such as fragmentation - integrity, personal - impersonal, memory - oblivion, power - freedom, and more. Opposition Fragmentality - Assumption By definition of M. Lipovetsky: "... Even the most radical options for decomposing integrity in the texts of Russian postmodernism are deprived of independent importance and are presented as mechanisms for generating some" non-classical "integrity models."

The category of emptiness also acquires a different focus in Russian postmodern. V. Velevine is emptiness "Nothing reflecting, and therefore nothing can be destined on it, a certain surface, absolutely inert, and so much that no instrument that entered into confrontation cannot shake her serene presence." Due to this, the emptiness of Pelevin has ontological supremacy over everything else and is an independent value. Emptiness will always be emptiness.

Opposition Personal - impersonal It is implemented in practice as a personality in the form of a changeable fluid integrity.

Memory - oblivion - Directly at A.Bitov is realized in the Culture Regulations: "... to save - you need to forget."

Relying on these oppositions, M. Lipovetsky displays another, wider - opposition Chaos - Space. "Chaos is a system whose activity is opposite to indifferent disorder, reigning in a state of equilibrium; No stability ensures the correctness of the macroscopic description, all possibilities are updated, coexists and interact with each other, and the system turns out to be at the same time with everything that it can be. To refer to this state, Lipovetsky introduces the concept of "chaosmos", which occupies the place of harmony.

In Russian postmodernism, the lack of purity of the direction - for example, with the postmodern skepticism, avant-garde utopism (in the surrealistic utopia of freedom from the "School for Fools" Sokolov) and the echoes of the aesthetic ideal of classical realism, whether "Dialectics of the Soul" at A.bits or "grace to the fallen" in V. Erofeeva and Tolstoy.

The peculiarity of Russian postmodernism is the problem of the hero - the author - the narrator, which in most cases exist independently of each other, but their permanent affiliation is the archiver of whisk. More precisely, the archetype of the yurody in the text is a center, a point where the main lines are converged. Moreover, it can perform two functions (at least):

    A classic version of the borderline, floating between diametrical cultural codes. So, for example, a broom in the poem "Moscow - Petushki" is trying, being on the other side, reunite in itself the same Esenin, Jesus Christ, fantastic cocktails, love, tenderness, editorial "Truth". And this turns out to be only possible within the limits of the scientific consciousness. Sasha Sokolov Hero from time to time is divided into half, also standing in the center of cultural codes, but without stopping by any of them, but as if passing their stream through themselves. This closely corresponds to the theory of postmodernism about the existence of another. It is due to the existence of another (or other), in other words of society, in the consciousness of a person, in it all sorts of cultural codes are intersect, forming an unpredictable mosaic.

    At the same time, this archetype is the version of the context, the line of communication with the mighty branch of the cultural archaic, which reached Rosanov and Harms to modernity.

Russian postmodernism also has several options for saturation of artistic space. Here is some of them.

For example, the work can rely on a saturated state of culture, in many ways the substantive content ("Pushkin House" A.Bits, "Moscow - Petushki" V. Erofeeva). There is another version of postmodernism: the saturated state of the culture is replaced by infinite emotions for any occasion. The reader is invited to the encyclopedia of emotions and philosophical conversations about everything in the world, and especially about the post-Soviet Sumbur, perceived as a terrible black reality, as a complete failure, a dead end ("endless deadlock" by D. Khakovsky, works V. sokorina).

Lecture №№ 16-17

Literature postmodernism

Plan

1. Postmodernism in the literature of the twentieth century.

a) the reasons that caused the appearance of postmodernism;
b) postmodernism in modern literary criticism;
c) Distinctive features of postmodernism.

2. "Perfume" P. Zuskinda as a vivid example of postmodern literature.

1. Postmodernism in the literature of the twentieth century

A. Reasons resulting in the appearance of postmodernism

As a recognition of the majority of literature postmodernism, "one of the leaders (if not the main thing) directions in the world literature and the culture of the last third of the 20th century, which reflected the most important stage of the religious, philosophical and aesthetic development of human thought, which gave many brilliant names and works." But it arose not only as a aesthetics or literature phenomenon; This is rather a certain type of thinking, which is based on the principle of pluralism - the leading trait of our era, the principle that excludes any suppression or limitation. Instead of the previous hierarchy of values \u200b\u200band canons - absolute relativity and multiplicity of meanings, techniques, styles, ratings. Postmodernism was born on the basis of the rejection of standardization, monotony and the same formal culture at the end of the 50s. It was an explosion, protest against the sadness of the alignment of philistine consciousness. Postmodernism is a blowout of spiritual timeless. Therefore, the early history of postmodernism turns out to be the history of the overthrow of established tastes and criteria.

The main feature becomes the destruction of all partitions, erasing the faces, mixing styles and languages, cultural codes, etc., as a result, the "high" became identical "low-albele" and vice versa.

B. Postmodernism in modern literary

In literature, the attitude towards postmodernism is ambiguous. V. Kuritsyn is experiencing "clean delight" to him and calls him "heavy artillery", who left the "literary field" "lurgy" after himself. "New direction? Not only. This is also such a situation, "wrote VL. Slavitsky, - such a state, such a diagnosis in culture, when the artist, lost the gift of imagination, life and lives, perceives the world as text, is not engaged in creativity, but creating structures from the components of the culture itself ... ". According to A. Zverev, this is the literature "very modest advantages or simply bad literature." "That is the term" postmodernism, "D. Zatonsky reflects, - then he seems to be only ascertaining some continuity in time and therefore it looks frankly ... hassle."

In these opposite statements, the essence of postmodernism contains grain of truth to the same extent as the maximalist gears. I like it or not, but today - postmodernism is the most common and fashionable direction in world culture.

Postmodernism can not be called an artistic system that has its own manifestos and aesthetic programs, he did not become a theory, nor the method, although the cultural and literary phenomenon became the subject of studying many Western authors: R. Barta, J. Derrida, M. Fouco, L. Fidler and others. Its conceptual apparatus is under development.

Postmodernism is a special form of the artistic vision of the world, manifested in the literature, both in the informative and formal level and related to the revision of approaches to the literature and the most artistic work.

Postmodernism is an international phenomenon. Critics belong to the writers of different in their ideological and aesthetic plants, which generates different approaches to postmodern principles, the variability and inconsistency of their interpretation. Signs of this direction can be found in any of the modern national literature: in the USA (K. Vonnegut, D. Bartelli), England (D. Falez, P. Acroid), Germany (P. Zyuskind, Grass), France ("New Roman ", M. Welbek). However, the level of "presence" of postmodern stylistics of these and other writers of unequal; Often in their works they do not go beyond the verge of the traditional plot, the systems of images and other literary canons, and in such cases it is legitimate to speak only about the presence of elements characteristic of postmodernism. In other words, in the whole manifold of literary works that the second half of the 20th century offers samples of "pure" postmodernism (novels A. Rob-Gryo and N. Sarrot) and mixed; The latter is still the majority and it is they who give the most interesting art samples.

The difficulty of systematizing postmodernism is explained, apparently, its eclecticity. Rejecting the entire preceding literature, it nevertheless synthesizes the former artistic methods - romantic, realistic, modernist - and creates its own style on their basis. When analyzing the work of a modern writer, the question of the degree of presence of realistic and unrealistic elements inevitably arises. Although on the other hand, the only reality for postmodernism is the reality of culture, "the world as text" and "text as a world".

B. Distinctive features of postmodernism

For all the uncertainty of the aesthetic system of postmodernism, some domestic researchers (V. Kuritsyn, V. Rudnev) made an attempt to build a number of the most characteristic signs of the direction.

1. Common in postmodern is a special position of the author, its multipleness, the presence of a mask or twin. In the novel, M. Frisch "I will call myself Gantenbayn" a kind of author's "I", pushing out of my observations, associations, thoughts, invents different kinds of "plots" (Hero's story). "I'm trying on stories like a dress," the author reports. The writer creates the plot of the works, creates his text in front of the reader. In the "elementary particles" M. Welbek, the role of the narrator is assigned to a human-like being - clone.

The author, at his discretion, simulates the world order in its work, shifts and spreads time and space on its whim. He "plays" with the plot, creating some virtual reality (not accidentally postmodernism arose in the era of computer technologies). The author is sometimes connected to the reader: from X. Borges has a thumbnail "Borges and I", in which the author claims that they are not enemies, not one person, but not different faces. "I don't know who of us write this page," the writer is recognized. But the problem of the sprouting of the author into many votes, on the second "I" in the history of literature is by no means Nova, it is enough to recall the "Eugene Onegin" and "Hero of our time" or any of the Romanov Ch. Dickens and L. Stern.

2. The mixing of the epoch, the sliding of the chronotop in the work contributes to the intertertainment, which can be viewed as a kind of dialogue between the texts of different cultures, literature and works. One of the components of this reception is neomymophism, which determines the appearance of a modern literary process in many ways, but it does not exhaust the variety of intertext. Each text, according to one of the theorists of postmodernism in the west of R. Barta, is an intertext, for it relies on the full potential of the culture of the past, therefore it is present at different levels and in different representation known recycled texts and plots.

"Sophistication" in the text of the work of several "other people's" texts in the form of variations, quotes, alluzius, reminiscence can be observed in the Roman P. Zuskinda "Piefumumer", in which the author ironically play romantic style through the styling of Hoffman, Shamisso. At the same time, alliances from Grass, E. Zola can be detected in the novel. In the novel "Woman of French Lieutenant", J. Faulza ironically rethinks the manner of writing writers of realists of the XIX century.

Postmodernism became the first direction in the literature of the 20th century, which "openly admitted that the text does not displays reality, and creates a new reality, or rather, even a lot of reality, often not dependent on each other." Reality is simply no, instead there is a virtual reality, recreated by intertext.

3. One of the main principles of postmodernism was a quote. "We live in an era, when all the words are already told," said S. Averintsev. In other words, every word, even the letter in postmodernism - a quote. Quotes cease to play the role of additional information when the author makes a reference to its source. It is organically enters the text and becomes an inseparable part of it. The famous bike about the American student comes to memory, who, who first read the "Hamlet" W. Shakespeare, was disappointed: nothing special, a collection of crowd winged words and expressions. In 1979, a novel-quotation came out in France, which represents 750 quotes from 408 authors.

4. In the work on postmodernism, more and more talk about hypertext. V. Rudnev gives him the following definition: "Hypertext - text designed in such a way that it turns into a system, a hierarchy of texts, at the same time constituting unity and many texts." The simplest example of a hypertext is any dictionary or encyclopedia, where each article makes references to other articles of the same publication. The "Khazar dictionary" of the Serbian writer Pavlya is built as a hypertext. It consists of three books - red, green and yellow, in which, accordingly, Christian, Islamic and Jewish sources are collected about the adoption by the Khazari faith, and each of the religions insists on its version. The romance has developed a whole system of reference, and in the preface the author writes that it can be read as if it is possible: from the beginning or from the end, diagonally, selectively.

In the hypertext, the author's individuality completely disappears, it is blurred, because it is not the author, but "Mr. Text", which provides for the plural number of readings. In the preface to the novel "Open" N. Sarrhrot writes: "The actors of these little drams are words, speaking as independent living beings. When they have a meeting with other people's words, the fence, wall erected ... ". And therefore - "Open"!

5. One of the variations of the hypertext is the collage (or mosaic, or grazing), when a combination of ready-made style codes or quotes is quite sufficient. But, as one of the researchers really noticed, the intertext and collage are alive until the meaning of their constituent elements did not destroy in the consciousness of the reader. You can understand the quote when it is known for its source.

6. The tendency to syncretism was reflected in the language manner of postmodernism letters, which is consciously complicated due to the violation of the norms of morphology and syntax, the introduction of the inferior style metaphoricity, "low", abnormative vulgarism, vulgarism or, on the contrary, of the high-intelligence language of scientific areas (novel "Elementary particles "Welbek, the story" Party what is necessary "Welsh). All the work often reminds one big deployed metaphor or tangled Rus (Roman N. Sarrot "Open"). The situation of the language game is characteristic of postmodernism - the concept introduced by L. Wittgenstein in his "philosophical studies" (1953), according to which the whole "human life is a set of language games," the whole world sees through the prism of the language.

The concept of "games" receives in postmodernism and a more extensive meaning - "literary game". The game in the literature is a deliberate "installation on deception." Her goal is to free a person from the oppression of reality, give him to feel free and independent, then she and the game. But ultimately, it means the primacy of artificial over natural, fictional over valid. The work acquires theatrical conditional character. It is based on the principle of "as it were": as if love, as if of life; It is not reflected in it what was really, but what "could be if ...". The overwhelming majority of artistic works of the last decades of the twentieth century represents this "as if" literature. It is not surprising that irony plays such a big role in postmodernism, mockery, joke: the author "jokes" with his feelings, thoughts.

7. Postmodern innovations touched on the genrefore of the artistic work. V. Kuritsyn believes that secondary literary genres nominated on the foreground: diaries, comments, letters. The romance form affects the organization of the plot of works - it becomes fragmented. This not accidentally the feature that arose in the plot is a look at the novel as a mirror reflection of the process of life, where there is nothing complete, there is also a certain philosophical perception of the world. In addition to the works of M. Frisch, similar phenomena can be found in the works of F. Durrenmatta, Belly, Gressa, A. Rob Gryo. There are works written in dictionary form, such definitions like "Roman-Sandnich", which combines romanticism and realism, mythoproza \u200b\u200band document. There are other options, novels "Elementary particles" M. Welbek and "Collector" D. Fausa, in our opinion, can be defined as "novels-centaurs". There is a merger in the genre level of the novel and drama, novel and parables.

One of the varieties of postmodernism is KITCH - "Mass art for chosen". Kitch can be "well made" by the work with a fascinating and serious plot, with deep and subtle psychological observations, but he is only a skillful fake under high art. In it, as a rule, there is no real feature discovery. Kitch uses genres of melodrama, detective and thriller, he has an entertaining intrigue that holds the reader and the viewer in constant tension. Unlike postmodernism, which can give samples of truly deep talented works of literature, KITCH is installed on the enactment, and therefore it is closer to "mass culture".

Movie Kitch made from the poem of Homer Odyssey A. Mikhalkov-Konchalovsky. Kitch became an indispensable addition to the production of Shakespeare's works, including Hamlet.

Postmodernism - the phenomenon in the literature of the second half of the twentieth century is extremely motley and extraordinary. There are a lot of works of "passing", "one-day" works; Obviously, it is such works and cause the greatest number of attacks on the direction as a whole. However, postmodernism nominated and continues to put forward truly bright, uncomplicable samples of artistic prose in the literature of Germany, Switzerland, France and England. Maybe the whole thing is to which the author is passionate about the "experimentalness", in other words, in what capacity is the "border guard" in his work or a separate work.

2. "Perfume" P. Zyuskinda as a bright example of postmodern literature

Novel Patrick Zyuskinda"Perfumeer" was first published in Russian in 1991. If you look for information about the author of the novel, they will be a bit. As stated in many sources, "Patrick Zyuskind leads a closed lifestyle, refuses literary awards, from any public speeches, rare cases when he agrees for a short interview."

P. Zyuskind was born on March 26, 1949 in the family of a professional publicist in the small Western German city of Ambach. Here he graduated from the gymnasium, received a musical education, began to try himself in literature. Later, in 1968-1974, P. Zyuskind studied at the University of Munich the history of Middle Ages. He lived in Munich, then in Paris, was printed exclusively in Switzerland. The world famous fame that came to the author "Perfume" did not make him open the veil over her life.

I started P. Zyuskind in the genre of miniatures. A genuine debut can be considered a monopiest "Double Bass", completed in the summer of 1980. For the past ten years, P. Zyuskind writes filmcenery for television, including scenarios of art series.

Roman "Perfumeer" (in another translation into Russian - "aroma") occupies a place in the world dozen bestsellers. It is translated by more than thirty languages. The work is in its own way unique.

Roman P. Zyuskinda can without exaggeration to be called the first true postmodern German novel, farewell to the modern and cult of genius. According to Wittshtok, the novel is an elegantly disguised journey through the history of literature. The author is interested in primarily the problem of creativity, creative individuality, the cult of genius, which was cultivated by German writers since the times of romanticism.

Of course, the problem of genius worried and romantics in England and France, and in "Parfumer" there are allusions to literary works of these countries. But in German literature, the genius turned into a cult figure, on the works of German writers it is possible to gradually trace the evolution of the image of a genius, his flourishing and degradation. In Germany, the cult of genius turned out to be more survivable and, finally, in the 20th century, in the perception of millions of Germans, the Germans were embodied in an ominous and mysterious figure of Hitler and turned into an ideology. The post-war generation of writers was aware of a considerable share of guilt lying on the literature, having placed this cult. Roman Zuskind destroys it by applying a favorite intake of postmodernism - "Use and abuse", "use and insult", that is, the simultaneous use of some topic, style, tradition and demonstration of its insolvency, undermining, doubt. Zyuskind uses a huge number of works of German, French, English writers concerning the topic of genius, and with their help criticizes traditional ideas about originality, the exclusiveness of the creative person. Zyuskind fits his novel into the tradition of the cult of genius, undermining it from the inside.

"Perfume" is a multi-level novel characteristic of postmodernism. His genre, like any other postmodern work, is not easy to determine, because the boundaries of genres in modern literature are blurred and constantly violated. According to external signs, it can be attributed to historical and detective genres. The subtitle "History of one killer" and the reproduction of Watto's painting with a dead nude girl on the cover are clearly designed to attract a mass reader and unequivocally make it clear that this is a detective. The beginning of the novel, which indicates the exact time of action, describes the life of Paris of that era, characteristic of the historical novel. The narrative is aimed at a wide range of readers' interests: high-grade language, stylistic virtuosity, ironic game with reader, description of private spheres of life and gloomy crime paintings. Description of birth, upbringing, studies of the main character suggest the genre of the Roman of Education, and the constant mention of the genius, the originality of Greena, his extraordinary talent, which leads it in life and subordinates all other properties of character and even the body, hint that we have a real novel About the artist, genius.

However, none of the expectations of the reader caused by hints to one or another genre is not justified. For a detective, it is necessary that the evil has been punished, the criminal is isotsed, the world order is restored, none of these conditions in the novel fulfilled. V. Freezen called "perfume" requiem on criminal novel. The value system of the novel of education is undermined. The "teachers" of Grenoia do not have any feelings for him, besides dislike. The formation of Grenoi comes down to recognizing and memorizing smells and mixing them in imagination. Love, friendly, family relationships as personality formation factors, without which it is impossible to imagine the romance of upbringing, there are no in general, the hero is completely isolated spiritually from the world. Until some time, Hrenui does not feel any feelings at all, as if he had only sense of perception of perception. The theme of love, compassion, friendship and other human feelings is closed with a grenut from the very beginning, when he voted his first cry "against love and after all for life." "He was from the very beginning a monster." The only feeling that matches in Grenuye is a disgust for people, but even it does not find a response. Forcing people to love themselves, rejected and ugly, Grenuy realizes that they are disgusting to him, which means that they don't need their love. The tragedy of Granuy is that he himself can not know who he is, and can not even enjoy his masterpiece. He realized that people perceive and love only his aroma mask.

The Roman "Perfumeer" can be called the program work of postmodernism, because in it with the help of a good literary language and the exciting narrative form embodiment almost all the main installations of postmodernism. Here and the multi-layeredness, and the criticism of the enlightenment, ideas about originality, identity, a game with a reader, a farewell to a modernist longing for comprehensive order, integrity, aesthetic principles that oppose the chaos of reality, and, of course, the intertextuality - allusions, quotes, semi-drugs - and stylization . The novel is embodied the rejection of the totalitarian power of the mind, from novelty, free handling of the past, the principle of entertainment, recognition of a fictional literary work.

The fiction of the main character, Grenoi, is emphasized from the very first lines: "... his genius and his phenomenal vanity was limited to a sphere that leaves marks in history." He could not leave the traces of Grenuy and because it was confused and eaten to the last Loskutka in the final of the novel.

In the first paragraph, the author declares the genius of his hero, inextricably connected with evil, Grenuy is "a brilliant monster." In general, in the image of Grenya, the author unites many of the features of the genius, as he was represented from romanticism to modernism - from the Messiah to Fuhrera. These inherent in the gifted individuality features the author borrows from various works - from Novis to Grass and Böll. The grotesque compound of these features to one thing reminds the creation of his monster Dr. Frankenstein. The author calls his creation "the monster". This deprived of almost all human qualities, besides hatred, the creature, rejected by the world, and itself, who turned away from him, seeking to conquer humanity with their talent. The lack of his own smell of his own smell means the absence of his individuality, his own "I". His problem is that, encountered with the inner void, Grenuy is not trying to find his "I". The search for fragrance would have to symbolize creative search for itself. However, Grenoi's genius is able to create only a skillful fake of the human smell. He is not looking for his individuality, but only masks her absence, which turns around with the collapse and self-dissemination of the genius in the final.

At the form of Grenuya V. Freezen builds a whole history of genius disease. First, since the genius should and externally stand out from the crowd, it certainly has a certain physical disadvantage. Hero Zyuskinda carries the grotesque features of degeneration. His mother is sick, it means heredity he got bad. At Grenoi Horb, a disheveled leg, all sorts of heavy diseases left their celebrations on his face, he came out of Cloaca, "he was even less than nothing."

Secondly, the genius anti-cancer, always remains a child, it is impossible to raise it, as it follows its internal laws. True, the genius of romantics, the teacher was still - this is nature. However, Grenuy is their own work. He was born, lived and died as if, contrary to all the laws of nature and fate, only at his own wishes. Genius Zyuskinda creates himself. Moreover, nature for him is naked material, Grenuy seeks to snatch the soul from her, decompose on the components and by connecting in the right proportion, create his work.

Third, genius and intelligence - not the same thing. Grenoi has a unique gift - his sense of smell. At the same time, everyone consider it weakly. Only to four years, Grenuy learned to speak, however, with abstract, ethical and moral concepts, he had problems: "... conscience, God, joy, gratitude ... was and left for him foggy." By definition of Schopenhauer, the genius combines a great power of will and a large proportion of sensuality - there is no speech about the mind. Grenuy is so obsessed with the work and desire to achieve the power that it subordinates all his life functions (for example, work at Baldini, in the Grass).

Fourth, genius to madness or at least to eccentricity, never accepting the norms of the alley. Therefore, in the eyes of the Burger, the genius-romantic is always crazy, child of nature, he is not considered with the standards of society. Grenui - the criminal and PRIRI, sentenced him already in the subtitle - "The History of one killer", and the first murder of Grenuy makes just what has appeared on the world, his first cry who became a death sentence for his mother. And in the future, the murder will be something natural for him, deprived of any moral painting. In addition to the 26 murders committed already in the conscious age, Grenuy makes a magical ways unfortunately to people related to him: Grimale and Baldini die, Marquis disappears, the Dryo is executed. Grenoi cannot be called immoral, since he alien to him all sorts of moral concepts that he could deny. He is out of morality over it. However, Grenuy at first does not oppose himself to the world around the world, disguised with the help of perfume. The romantic conflict is transferred to the inner sphere - Grenuy faces with him, more precisely with the lack of itself, in which the conflict of the postmodernist is seen.

Fifth, genius is an outsider of society, exile. The genius lives in an imaginary world, in the world of their fantasies. However, the Outsider of Granuy goes into autism. Due to the lack of smell of Grenoi, either just ignore, or feel incomprehensible disgust for himself. At first, Granuia does not care, he lives in the world of smells. In the mountains, where he is removed from the world, Grenuy creates the kingdom of smells, lives in the air castle of aromas. But after the crisis, the awareness of the absence of their own smell - he returns to the world in order to enter it, and the people who are deceived by the "human spirits" of Granuy take it.

Sixth, genius requires autonomy, independence. This requires the egocentricism of genius: his inner "I" is always more valuable and richer than the world around. Loneliness requires genius for self-improvement. However, self-isolation represents for the artist and the greater problem. Forced cutoff from the world of people was tragically perceived by the romantic hero. Grenoya makes it harmoniously not around the world rejecting him, but an internal need. With her first cry, the newborn Grenuy opposed himself to the outside world and after endured all the cruel blows of fate with inhuman perseverance, from the first years of life, moving towards the goal, not even realizing her.

Finally, in the image of Granua, it is possible to allocate such a feature as the exclusiveness of genius, the messianism, which is emphasized throughout the narrative. Grenuy was born for a certain higher goal, namely, "to carry out a revolution in the world of smells." After the first murder, he opened his purpose, he realized his genius and the direction of his fate: "... he had to become the creator of smells ... the greatest perfumer of all time." V. Freezen notes that in the image of the hero Zyuskinda is overlooked by the myth of the princess, which should grow into the Savior of his people, but the monster grows, the devil.

When Grenuy creates his first masterpiece - the human smell, having liked himself to God, he understands that he can achieve and larger - to create a superhuman fragrance to make people love themselves. Now he wants to become the "Almighty God of Aroma ... - in the actual world and over real people." In rivalry, Granuya and God seemed to be a hint of the Myth of Prometheus beloved by romantics. Grenuy is stealing from nature, God has a secret of soul-fragrance, but he uses this secret against people who kidding them the soul. In addition, Prometheus did not want to replace the gods, he made his feat from pure love to people. Grenuy acts from hatred and thirst for power. Finally, in the scene of the Vakhanlia, Perfumumer is aware of himself "Great Greno", is experiencing the "greatest triumph of his life", "Prometheus feat".

In addition, the hero Zyuskind combines almost all the features that the writers from romanticism have made a genius, Grenuy passes several stages of development - from romanticism to postmodernism. Up to the departure in the mountain, Grenuy is stylized under the romance artist. Initially, he accumulates, absorbs odors, constantly makes up new combinations of flavors in his imagination. However, he is still doing without any aesthetic principle.

The Grenui-artist develops and, having met his first sacrifice, finds the highest principle in it, according to which other flavors should be built. By killing her, he realizes himself as a genius, he learns his higher predestination. "He wanted to express his inner" I ", who considered more than anything that the outside world could offer." Therefore, Grenui will retire in the mountains for seven years. However, there was no secret of the universe, nor the path of self-knowledge. Instead of updating, Grenuy faced a lack of self. Revival through death did not work, because there was no "me" that could be reborn. This inner catastrophe destroyed the world of his fantasy and forced to return to the world real. He is forced to make a reverse escape - from himself into the outside world. According to V. Freezen, Grenuy leaves as a romantic, and descends as a decadent: "On his" magic grief ", the original artist aged, turned into an decadent artist."

Once at Marquis-Charlatan, Grenuy learns the art of illusion, creates a human fragrance, a mask that covered the absence of his individuality and opened the road to the world of people. In Grass, Grenuy is mastering the science of perfumery, the smell extraction technique. However, the goal of Granua is no longer a revolution in the world of smells. The first successful masterpiece allowed Grena to be so convicted in his own genius that he was not content with just the adoption of his people on Wednesday, he wants to make them love him like God. The decadent genius degrades further - in the Fuhrer, when the desire for integrity and unity turns into totalitarianism. In the scene of the Vakhanlia, Napoleon and Bismarck, and Hitler are recognized in Greno. After the collapse of the monarchy, the society was craving for a genius-Fuhrer and a teacher who had to withdraw from chaos, to combine. Parallels with Hitler here are quite clear. Documentary frames of the public speeches of Hitler testify to the mass ecstasy, in which he plunged his listeners. In the scene of the Vakhanlia, Grenuy, which does not have its own individuality, makes the rest of her, people turn into a herd of wild animals. The work of art should be withstanding chaos of reality, and Grenuy, on the contrary, sows around himself chaos and destruction.

Grenuy, finally, postmodern genius. He creates his masterpieces as a true postmodern: without creating his own, and mixing the stolen nature and living beings, nevertheless, getting something original, and most importantly, affecting the viewer / reader. According to V. Freezen, Grenuy - pseudogenies of postmodernism - creates for their own purposes, stealing someone else to make his own. Postmodernism of Grenoi's genius and in the fact that it combines all the historical phases of the cult of genius with disappointment in it, the awareness of its insolvency. The Creativity of Grenoi comes down to the fact that he steals the soul from nature, a little different from Baldini - Filter, who steal the works themselves.

"PERFUMER" is not by chance that the epigionism charges, the fashionable eclectic stylization is already because the author just subjures the idea of \u200b\u200bingenious individuality, originality, following the concept of postmodernism. Indeed, the novel is extremely polyphonic, the voices of different eras and genres sound quite clearly. Roman Woven from alluzius, quotes, half actions, themes of German and not only German literature. Zyuskind uses the technique of homogenization quotes, themes of other texts - according to the principle of spirits. The image of a genius, the idea of \u200b\u200bcreativity organize a story, and the Novels of Hoffmann, mainly the "Maiden Schuderi", are the coordinate system for the orientation of the reader. Roman Zuskinda is not a conglomerate quotation, but a carefully built dialogue game both with a literary tradition and a reader, more precisely with his literary luggage. As for the decoding of the text, then the German reader is in a more profitable position: most of the Alluzi in the novel - a literary canon from childhood.

"Perfume" is a typical postmodern novel and because it is consciously secondary. This is Roman-Pastish, a novel-game, it can be subjected to endless interpretations, finding all new allocations. The secret of the reader's success of Roman Zyuskinda is definitely not only in wide advertising, but also in a skillful stylization, high-quality fake to a detective and historical novel. An entertaining plot and a good literary language provide a novel attention both from the intellectual public and by the mass reader - a fan of trivial literature.

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