Коллизия национального самосознания и советской идеологии в мотиве русский человек на rendez-vous (на материале рассказов Пантелеймона Романова Видение и Без черёмухи)

Abstract

The motive of “a-Russian-at-a-rendez-vous” and his type of hero is entrenched in the creative memory of Russian literature and culture as an initially complicated socially and literary phenomenon by its very nature. Transformations of this motive in the national literature and cultural process often lead to paradoxical results and require new research methods. This determines the relevance and productivity of the extrapolation and adaptation of the theory ideas of Russian formalism, Siberian school (E. Romodanovskaya, V. Tupa, I. Silantev) and S. Bocharov, U. Bibler. The motive of “a-Russian-at-a-rendez-vous” for the Russian pre-revolutionary intelligentsia becomes the symbol indecision, irresponsibility, internal confusion, weakness, selfishness, insecurity, and the doom to be spiritual wanderers (D. Ovsyaniko-Kulikovsky). These heroes are torn, thirsty and live with high ideas, ideals, and the remaining speculative, projectors and senseless projects. The stories of Panteleimon Romanov Vision and Without bird cherry have been written and published in the mid–1920s. In these stories, there is a paradox and collision of national identity, its cultural, ideological, psychological, moral and ethical, value constants and the emerging Soviet ideology, everyday life. This collisions most brightly, sharply and boldly are appearing through “inner life and history” the motive of “a-Russian-at-a-rendez-vous”. The essence this collisions can articulate so. Literary heroes different in their ideological convictions, character and worldviews equally turn out to be internally dependent on meanings and mental orientations set by the literary and social the motive of “a-Russian-at-a-rendez-vous”. The value, semantic, psychological, socio-cultural, moral and moral features and properties of this motive, generated by the national consciousness, formed and fed by the creative and cultural memory of the verbal and cultural process, are stronger than the ideological and historical specifics of any era. The stories of P. Romanov turn out to be yet another proof that the motive of “a-Russian-at-a-rendez-vous” is both a constant of the national literary and cultural tradition, and part of the social national mythology, manifested through a work of art.