<<
>>

Introduction

The person and Boris Akunina's art creativity are phenomenal for modern Russian prose and literary process of the beginning of XXI century First, it was underlined time and again by researchers, speaking thereupon about a special variant of designing of a new image of the Russian writer when G.S.Chhartishvili, being the professional translator-japonistom and the literary critic, by means of B.Akunina's author's mask transforms the creator-artist «into the author, in connection with orientation to the commercial success, peculiar to it professionalizatsiej, presence of game and parody lines in the author's person (pseudonyms, game with genres, creation of ironical image in cycles« Adventures Erasta Fandorina "," Adventures of sister Pelagii "and" the Adventure of the master »)» (Kazachkova, 2015: 12). Secondly, interest to B.Akuninu of a wide reader's audience and scientific community on an extent already practically is directly proportional twenty years to quantity of the let out products. In article of M. And. CHernjak «Trajectories of current literary process» the phrase of Croatian writer D.Ugreshich about world tendencies of the modern literature is quoted: «Many writers feel more and more uncomfortably among the present literary landscape densely covered with publishers, editors, agents, distributors, brokers, advertisement makers, book-selling networks,« experts in marketing », television chambers, press photographers. The writer and its reader - the most important links of the general chain - now as never, are isolated from each other. The reader who is not accepting market game rules, simply dies out. The reader who is not accepting that offers him the market, is doomed to literary hunger or on perechityvanie already read books. The writer and its reader - for whom there is a literature, - are tired practically out today in an underground...» (CHernjak, 2011: 4). That fact, that it «uncomfortable position» does not feel B.Akunin, and the attention of readers, journalists and experts draws to its person. Understanding the mission as the successful fiction writer who has filled with
Creativity a niche empty in the Russian literature pulp fiction (having ennobled and "having improved" its art level), B.Akunin realises the popularity, according to researchers, as "reanimatora" the detective genre which has rehabilitated, by own words, «a plot which in the XX-th century has been absolutely suppressed by the form and a reflexion» (See, Solntsev, 2000). The considerable quantity literaturovedcheskih works is devoted creativity of the prose writer, on it dissertations (by R.H.Tuova «a phenomenon pretsedentnosti in a cycle of novels of B.Akunina about Eraste Fandorine are actively defended: kognitivno-semantic and lingvokulturologichesky aspects» (Tuova, 2017), A.V.Kazachkova «Genre strategy of detective novels of Boris Akunina 1990 - the beginnings of 2000th» (Kazachkova, 2015), N.A.Salujanova «the Problem intertekstualnosti in transfer: on a material of transfers of products of B.Akunina» (Salujanova, 2013), E.A.Truskova «Boris Akunina's Novelistic cycles: specificity of the hypertext» (Truskova, 2012), etc.) . Thirdly, working within the limits of a postmodern, B.Akunin moves apart borders of the system which have developed in literary criticism of genres, experimenting with traditional genre versions and creating own literary genres. Narrativnyj the spectrum of the modern detective novel often differs subject narrowness, scantiness of a cultural range, shablonnostju chronicles, stylistic roughness.

Dimensions and mnogosfernost akuninskih texts as postmodernist in particular, and ambivalence of a postmodernist literary situation as a whole essentially transformed structure of a detective genre. Thus it is important to notice, that author's genre updatings have synthetic character first of all in view of eklektizma detective and historical novelistic elements that is expressed not only in use in texts of realities and the "signs" inherent in a historical context of the described epoch, but also in construction of the concrete socio-historical concept (See Breeva, 2014; Popkov, 2016).

The present research is undertaken as attempt of complete judgement of creativity of B.Akunina from the point of view of a genre originality that promotes
Deep and organic retseptsii its features and development directions at the present stage, to more accurate revealing of its innovative lines, definition of a role and a place in a context of development of the Russian literature XX - XXI centuries

In the late nineties B.Akunin has let out the first best seller «fandorinskoj series» "Azazel" which have followed not less successful «Turkish gambit», "Leviafan", «Achilles's Death» etc. the Genre of these products was unequivocally definirovan scientific community as «a new detective». Lines of the classical detective novel, on the one hand, are inherent in "the New detective», on the other hand, this genre is specific the individual attributes introduced by the author. The most part of novels about Eraste Fandorine has subtitles - additional definitions of a genre. So, "Azazel" it is named by the author «konspirologicheskim a detective», "Leviafan" - «a tight detective», «the Lover of death» - «dikkensovsky a detective», etc. And as researcher A.V.Kazachkova notices, besides the genre designations standard in the detective literature ("konspirologichesky", "espionage", etc.) B.Akunin introduces in quality periteksta nonexistent nominations of a genre ("of high society", "decadent", etc.). Use of "genre archetypes» (type "espionage", "political") «leads to semantic enrichment of the text for the account of" memory of a genre », gives the ample opportunities for a parody and game» (Kazachkova, 2015: 21), and the reference to occasional genre terminology are created «by authenticity in reader's consciousness of perception of its author's text in the same row with a classical detective genre» (Kazachkova, 2015: 21).

In 2000 the first book about nun-detective Pelagii - «Pelagija and a white bulldog» is published. A fresh series again receives the accurate author's genre characteristic - «a provincial detective». Then the collection of stories «Fairy tales for idiots» which as it is visible, the author also does not leave without a distinct genre designation is created.

B.Akunina's project of 2005 "Genres" for today includes five books: "Fantasy", «the Children's book","the Espionage novel», "Quest" and «the Nursery
The book for girls »(in the co-authorship with Gloria Mu). The author so announced the publication of these books:« If a series «New detektiv"-"Adventures Erasta Fandorina» - represents a collection of versions of the detective novel: konspirologichesky, swindling, of high society, political, criminal and so forth the problem of this series where is wider. Here "pure" samples of different genres of a fiction will be presented, and each of books carries the name of a corresponding genre. The first volley - three books which will go on sale in February, 2004 with an interval in one week. On February, 4th there is «a Children's book», on February, 11th - «the Espionage novel», on February, 18th - "Fantasy". In the further plans - «the Family saga","the Industrial novel","the Terrible book","the Female novel» etc. »(Akunin, Interview to the"News"newspaper, 2004: an electronic resource).

2007 it is marked by the beginning of the edition of a new cycle of books of B.Akunina under the name «Death on brudershaft». It has a genre subtitle - «the cinema novel -», that also rivets on itself attention of literary critics and critics.

As to the writer original genre definition of own texts that is shown throughout all its creative way is peculiar to B.Akuninu. However till now in literary criticism it was not undertaken attempts of complete and all-round consideration of creativity of B.Akunina from the point of view of a genre category. Existing dissertations reflect the specified research aspect or within certain time frameworks (in particular, as a material for studying in them B.Akunina's art texts 1990 - the beginnings of 2000th are used) (Kazachkova, 2015)), or in them problems akuninskogo the creativity, not connected with genre specificity directly (i.e., questions of especially linguistic level (Minkova, 2005 are mentioned; Tuova, 2017), sjuzhetno-composite features, problems interteksta (Krasilnikova, 2008; Solujanova, 2013), functioning of texts of B.Akunina in borders of this or that literary direction (Bobkova, 2010; Dvinina, 2014), etc.). In separate literaturovedcheskih and critiques the concrete research aspects, concerning the genre, besides, reveal
Structures of required products quite often as component of other problem lifted in them (Bedova, 2012; Verhoturtseva, 2005; the Vishevsky, electronic resource; Zaharov, an electronic resource; Kalganova, 2014; Pavlova, an electronic resource; Ranchin, 2004: an electronic resource; Snigireva, 2015).

Let's notice, that the scientific discussions, concerning theoretical judgement of actually detective genre, do not stop to this day. Terminological researches of a genre as a whole require expansion of the context; evolution of studying of a detective demands the reference to a problem of development of a literary fiction. Therefore in work large enough block devoted to the genre theory and specificity of concept "middl-literature" contains.

Owing to all aforesaid the urgency of our research is caused as absence now complex literaturovedcheskogo the analysis of a genre component of creativity of B.Akunina, and not ceasing invariable interest to problems of genre transformations in a new millenium. At the heart of work representation about a genre not only and not so much as static and invariable formation, but as to practically inexhaustible base produtsirovanija various, at times of syncretic, genre models lays.

Dissertation subject is the analysis of genre forms of products of B.Akunina.

As object of research B.Akunina's following products are presented: a cycle of novels about E.P.Fandorine ("Azazel", «Turkish gambit», "Leviafan", «Achilles's Death», «Special commissions», "Councillor of state", "Crowning", «the Lover of Death», «the Mistress of death», «the Diamond chariot», «nefritovye beads», «All world theatre», «the Planet Water», «the Black city») with a genre subtitle «the New detective»; the project "Genres" («the Children's book», «the Espionage novel», "Fantasy", "Quest", «the Children's book for girls»); the project "Authors"; the novel-cinema «Death on brudershaft»; «the Most terrible villain and other plots». The choice of these texts is caused by that the author gives to these products genre nominations.

The work purpose is the analysis of genre forms and updatings of products of one of the most popular Russian writers of the XXI-st century - B.Akunina, and also definition of the basic features of new author's genre formations.

The object in view assumes the decision of several problems which are interfaced to the positions which are taken out on protection:

- To consider the basic approaches to definition of the term "genre", to define its role in modern literary process of our country;

- To give definitions to traditional genre names which uses in B.Akunin's creativity - one of the brightest representatives of the modern Russian middl-literature;

- To analyse new author's genre forms, to reveal and describe their basic lines;

- To investigate their interrelation with traditional genre formations, to allocate an innovative component;

- To present classification of genre subtitles of a series «New detektiv» from the point of view of various problems which in them are realised by the author;

- To find out, why such literary genres are used by B.Akunin, what components of these genre updatings help the author to achieve the big popularity in a context of a modern cultural situation of our country.

Theoretical and methodological basis of research works under the theory and history of the literature of M.M.Bakhtin (Bakhtin, 1979) make, L.JA.Ginzburg (Ginzburg, 2016), V.B.Tomashevsky (Tomashevsky, an electronic resource), N.D.Tamarchenko (Tamarchenko, 2008, 2012), E.V.Lozinsky (Lozinsky, 2004), N.L.Lejdermana (Lejderman, 2010), L.V.Chernets (CHernets, 1982), Century D and M.A.Chernjak (CHernjak, 2015), T.G.Jurchenko (JUrchenko, 2016), I.Martjanovoj (Martyanov, 2011), etc., some aspects of typology of communicative strategy of V.I.Tjupy (Tjupa, 2013).

Among the most significant for our research of works on B.Akunina's creativity we name A.V.Kazachkovoj's dissertations (Kazachkova 2015), N.G.Bobkovoj (Bobkova, 2010), E.A.Truskovoj (Truskova, 2012), M.A.Chernjak's manual (CHernjak, 2007), N.G.Bobkovoj's articles (Bobkova, 2009), E.P.Isakovoj (Isakova, 2013), A.Ranchina (Ranchin, 2004: an electronic resource), A.I.Hrapunovicha (Hrapunovich, 2016), S.P.Sorokin (Sorokin, 2011), E.A.Avvakumovoj (Avvakumova, 2011), etc.

The research methodology is characterised by the complex approach which is based on intertekstualnom, istoriko-typological, rather-comparative, descriptive methods. Use of these methods important for construction of system of genre realisations in B.Akunina's separate products, revealing of their genetic relations with genre tradition and relations to a modern literary context.

Scientific novelty of the dissertation consists that in research attempt literaturovedcheskogo judgements of creativity of B.Akunina through the analysis of genre forms of its products for the first time is undertaken. Such experience is obviously important for modern literary criticism in communication by cardinal changes of a literary situation in the end XX - the beginning of XXI centuries

On protection following positions are taken out:

1. B.Akunina's creativity can be carried to "middl-literature" which in turn is top, the most approached to intellectual (postmodernist, avant-garde) the literature a popular literature layer.

2. B.Akunina's products function under laws of the popular literature with use of the basic cliches and stamps of this literary and cultural phenomenon. At the same time its texts are based on intertekstualnosti, to the peculiar postmodernist literature, and differ special literary style.

3. Giving to the products genre designations, the author uses classical system of genres and creates new genre formations,
Polemizing with a genre canon and expanding horizons of traditional genre thinking.

4. Creation of new literary genre names is caused or tradition (for example, development of a genre of "novel-game" in the genre form of the novel-quest), or features of a cultural situation (the novel-cinema and a plot), or character of genre strategy (intertekstualnye subtitles in a cycle of novels about E.P.Fandorine, etc.).

5. Selection of genre forms occurs exclusively on the basis of their ability to visualisation.

The theoretical importance of work consists in definition of the basic features of the new author's genre formations characterised both direct continuity of classical genre system, and having own lines and problems.

The practical importance of results of research. Materials and results of work can be used by preparation of manuals on literary criticism, the literature theory; are applied by working out of courses and lectures on the modern Russian literature both other general and special disciplines of high schools.

Approbation of results of research. Research materials have laid down in a basis of the reports made at conferences at the Tver state university, at the international scientifically-practical conference «Scientific discussion: questions of philology, art criticism and cultural science». Work Substantive provisions are reflected in seven publications, three of which are published in editions of list VAK.

Structure and volume of the dissertation a definite purpose of research and the put specific targets, and also logic of expansion of the basic theme of work. The dissertation consists of the introduction, three heads, the conclusion, the list of the used literature numbering 218 names.

<< | >>
A source: Ponomareva Julia Vladimirovna. the GENRE ORIGINALITY of PRODUCTS + AKUNIN. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2018. 2018

More on topic Introduction:

  1. in introduction
  2. INTRODUCTION
  3. INTRODUCTION
  4. 10.1. Introduction
  5. INTRODUCTION
  6. approbation and introduction of results.
  7. Introduction
  8. Introduction
  9. INTRODUCTION
  10. INTRODUCTION
  11. Introduction
  12. Introduction
  13. INTRODUCTION
  14. Instead of Introduction …
  15. PRACTICAL INTRODUCTION OF RESULTS OF WORK
  16. 5. Attention strengthening to questions of legal introduction.
  17. Introduction
  18. Introduction
  19. Introduction