Yuri Trifonov biography briefly. Ext.Thu

Yuri Valentinovich Trifonov, one of the largest prose writers of the second half of the 20th century, an exponent of the mindset of the Soviet post-thaw intelligentsia, a leader of urban prose, a writer-philosopher, considered literary activity a special form of self-expression, which does not accept apprenticeship, does not allow co-creation and is in itself a similarity existential situation that maximally reveals the artist’s personal potential. “Writing is a lonely, personal matter. The writer is responsible for himself, he builds his own destiny,” these lines written by Yu.V. Trifonov shortly before his death in 1981, today are perceived as an expression of his creative and life credo. The creative individuality of the writer was formed under the influence of F.M. Dostoevsky, A.P. Chekhova, I.A. Bunina, M.A. Bulgakova, M.A. Sholokhov, but in the fundamental elements his “handwriting” remained deeply original, distinctive, recognizable from the first lines. The writer's legacy does not fit into the Procrustean bed of trends, trends, tendencies; it forms a special artistic world\ which is perceived as a unique ethical and aesthetic reality.

In the study of the creative heritage of Yu.V. Trifonov can distinguish several stages. The first stage (1950s - first half of the 60s) was a period of one-time reviews from critics and the readership for the publication of the story “Students,” Turkmen stories, sports and travel essays. All publications of this time were distinguished by their attention to the ideological content of the works and assessed the accuracy and reliability of the reflection

1 Under the artistic world, we, following D.S. Likhachev, we understand “the world of reality in. creative angles" [Likhachev, D.S. The inner world of a work of art [Text] / D.S. Likhachev // Questions of literature. - 1968. - No. 8. - P. 74]. At the same time, the concept of “the artistic world of Yu.V. Trifonov" implies an expansion of meaning, and in this case the "artistic world" is perceived "as a synonym for the writer's creativity" [Chernets, L.V. The world of a literary work [Text] / L.V. Chernets // Fiction in the sociocultural context. Spell readings. -M., 1997. - P. 32]. The idea that the “world of Trifonov” is an aesthetic reality equal in size to the “world” of A. Platonov or M. Bulgakov was expressed by such researchers as I.N. Sukhikh and N.B. Ivanova. author of Soviet reality. At this stage, the leading genres were review, review, article, discussion, and reader's conference. According to the fair remark of V.V. Cherdantsev, “the writer’s works were considered in the general mainstream of the ideological and artistic quest of Soviet literature,” while attention to Trifonov’s creative individuality was minimal.

The second stage, the beginning of which dates back to 1969 (with the publication of the story “Exchange” and the appearance of the first responses to this work), includes the first attempts at an analytical reading of Trifonov’s texts, undertaken by A.G. Bocharov, V.I. Gusev, F.F. Kuznetsov, B.D. Pankin. Despite the significance of the publications of this period, one cannot help but note their orientation towards the social issues of “Moscow” stories, tendentiousness in the interpretation of the images of representatives of the “intelligentsia” and “philistinism”, and the imposition on the writer of participation in the ideological confrontation between “village” writers and “city dweller” writers. Transitional works, the authors of which turned to the ideological and aesthetic foundations of Trifonov’s prose, identified and substantiated the relationship between “Moscow” stories and historical prose, were the articles by A. Bocharov “Ascent” (1975) and B. Pankin “In a circle or in a spiral?” (1977).

The third stage, the beginning of which can be roughly designated as the end of the 1970s, became the time when Trifonov’s work firmly entered the sphere of interests of professional literary scholars. In the first candidate's theses E.A. Aleskerova, I.I. Plekhanova, T.D. Rybalchenko, S.R. Smirnov in conceptual articles of JI.A. Anninsky, O.A. Kutmina, V.D. Oskotsky, JI.A. Terakopyan, A.B. Pankov outlines approaches to the study of the writer’s heritage, and the moral issues of the works, the ideological originality of historical prose, genre specificity and features of the language of stories and tales are identified as research priorities. This stage also includes the publication of the first significant articles and studies about Trifonov in foreign publications (a detailed analysis of the works of foreign Slavists of the 1960-70s was made by A.I. Ovcharenko): articles by John Updike, Giovanna Spendel, George Gibian, Nadine Natova showed that Western European readers are interested in Trifonov more as a potential dissident writer, expressing his disagreement with the policies of the Soviet regime at the subtext level, than as a creator of talented prose. The works of other Western Slavists (including S. McLaughlin, T. Patera, L. Scheffler, C. Houseman) showed interest in the genre uniqueness and historical and literary context of Trifonov’s prose. Among the leading trends in Western Trifonov studies, we should note the study of Trifonov’s literary fate and reputation, the study of the socio-political issues of his work, and the analysis of ways of expressing the author’s position in novelism and journalism.

At the fourth stage, there was a surge of interest in the heritage of Yu.V. Trifonov was caused by the untimely death of the writer and the urgent need to evaluate his work as an integral artistic phenomenon in the context of Russian literature of the 20th century, as well as in the light of the traditions of Russian literature. In our opinion, the beginning of the fourth stage should be dated to 1984, the time of publication of the first monograph dedicated to the writer, the book by N.B. Ivanova “Prose of Yuri Trifonov”. It should be noted that a year earlier the book by T.A. Patera “Review of creativity and analysis of Moscow stories by Yuri Trifonov” (Michigan, 1983). This monograph, despite the fact that it was written in Russian and contained a number of important scientific observations and conclusions, did not have the same resonance in domestic literary criticism as the work of N.B. Ivanova.

Subsequently, this genre became in demand by researchers, monographs by Yu.M. were published one after another. Oklyansky (1987), J. Wall (1991), N. Kolesnikoff (1991), D. Gillespie (1992), E. Nikadem-Malinowski (1995), K. De Magd-Soep (1997), L. Scheffler (1998 ). In 1997, the first biographical study was published - the work of A.P. Shitov "Yuri Trifonov: Chronicle of Life and Creativity." At the same stage, the candidate's dissertations of E.JI. Bykova, E.A. Dobrenko, T.V. Yemets, N.B. Ivanova, I.I. Igolchenko, M.JI. Knyazevoy, O.A. Kutmina, Lohan Amarjit Singha, A.A. Mamed-Zadeh, Sim Yong Bo, V.A. Sukhanova, V.V. Cherdantseva, A.B. Sharavin formed the conceptual apparatus of Trifonov studies, contributed to clarifying the issues of periodization, genre-style evolution, ideological and thematic genesis, and the linguistic and stylistic originality of Trifonov’s work. Articles by G.A. Beloy, I.A. Dedkova, JI.JI. Kertman, A.G. Kovalenko, V.M. Pisku nova, devoted to certain aspects of the problematics and poetics of the writer’s heritage, contributed to the introduction of the main tryphonological concepts into scientific circulation. The second half of the 1980s - 1990s - the period of formation of triphon studies as a separate branch of literary criticism.

The beginning of the modern stage of development of Trifonov studies, of course, was the holding of the I International Conference “The World of Yuri Trifonov’s Prose” (Russian State University for the Humanities, 1999), in which the most prominent domestic and foreign researchers of the writer’s heritage took part. This event contributed to clarifying the main directions of triphon studies as a literary branch, identifying the features of the writer’s artistic method, the autobiographical motives of his works, and understanding the continuity with Russian classical literature. The most significant scientific works created at this stage are the monographic essay by H.JI. Leiderman and M.N. Lipovetsky “From a Soviet writer to a writer of the Soviet era: The Path of Yuri Trifonov” (2001), dissertation by V.A. Sukhanova (2001), H.A. Bugrova (2004), historical and biographical research by A.P. Shitov and V.D. Polikarpov “Yuri Trifonov and the Soviet era: facts, documents, memories” (2006).

At present, two promising directions for the development of Triphon studies as a literary branch can be identified. The first direction is the study of the heritage of Yu.V. Trifonov in a system-integral aspect. A significant step towards reconstructing the writer’s artistic system was the doctoral dissertation of V.A. Sukhanov “Novels of Yu.V. Trifonov as an artistic unity" (2001), in which samples of the author's major epic prose are analyzed from the point of view of ideological-thematic, axiological, systemic-figurative and genre-style originality, but at the same time the cycles of short prose, "Moscow" ones, remained outside the scope of research attention stories, story in stories “The Overturned House”. The problem of “urban prose of Yu.V. Trifonov as an artistic system" requires further study and, above all, in such aspects as the evolution of creativity from cyclization to systematicity, the formation of an individual author's "Moscow text", the formation of a historiosophical concept, the embodiment of the worldview of the Russian intelligentsia of the post-thaw period, the formation of a new type of polyphonic novel .

The second direction is to identify the role of Yu.V. Trifonov in the formation of such a literary phenomenon as urban prose of the second half of the 20th century, which involves studying the writer’s development of the traditions of urban prose of Russian literature of the 19th - first half of the 20th centuries, comparing the nature of the reconstruction of the social, cultural, spiritual space of a modern city by writers-“citizens”, identifying features perception of Trifonov’s artistic discoveries by writers of the “forty-year-old” generation and representatives of the literature of the metropolis at the turn of the 20th - 21st centuries. Within the framework of this direction, such scientific problems as the problem of typology and codification of local texts of Russian literature, the problem of reading urban prose in a theosophical key, the problem of the evolution of “Moscow” and “St. Petersburg” texts in the second half of the 20th century, the problem of the relationship between traditional and individual

2 In modern literary criticism, local texts are usually considered as supertexts. In this case, supertext is understood as “a set of statements, limited temporally and locally, united meaningfully and situationally, characterized by an integral modal setting, fairly defined positions of the addresser and addressee, with special criteria of the normative/abnormal” (N.A. Kupina, G.V. Bitenskaya), or “a complex system of integrated texts that have a common extra-textual orientation, forming an open unity, marked by semantic and linguistic integrity” (N.E. Mednis). author's components in the work of prose writers of the “Trifonov school”, the problem of the influence of urban prose and, in particular, Trifonov’s prose on modern literature of the metropolis. The relevance of the dissertation research is determined by addressing the problems identified within the two directions.

The purpose of the dissertation is to study the artistic world of Yu.V. Trifonov as the ideological and aesthetic basis of urban prose of the 2nd half of the 20th century, designating the role of genre-style and ideological-artistic quests of the writer in the formation of the “Moscow text” of Russian literature and identifying the nature of the influence of urban prose of the 1960s-80s on the literary process at the turn of the 20th century - XXI centuries. This goal defines the main objectives of the study:

Consider urban prose as an ideological and aesthetic phenomenon of Russian literature and as one of the main components of the historical and literary process of the 60-80s of the 20th century;

Identify the main stages and features of the formation of local texts of Russian literature;

Determine the criteria for individual author’s texts to belong to the “St. Petersburg” and “Moscow” texts;

To trace the evolution of the poetics of urban prose by Yu.V. Trifonov from “descriptive literature” of the 1950s-60s to “thinking prose” of the 1970s-80s and recreate the writer’s path from the cyclization of texts to the formation of an artistic system;

Consider Trifonov’s urban prose as an individual author’s version of the “Moscow text” of Russian literature;

Identify the historiosophical and theosophical views of Yu.V. Trifonov, who determined the uniqueness of the writer’s artistic world;

Immerse Trifonov’s work in the context of urban prose of the 60-70s of the 20th century (prose by Yu.M. Nagibin, I. Grekova, G.V. Semenov, A.G. Bitov);

To reveal the originality of the poetics and problems of B.C. prose. Makanin in the aspect of creative dialogue with urban prose Yu.V. Trifonova;

To analyze the nature of the rethinking of ideas and images of urban prose of the 1960-70s in the literature of the turn of the 20th - 21st centuries using the example of the work of E.V. Grishkovets.

The set goals and objectives determine the choice of research method - systemic and holistic using elements of historical-genetic, historical-functional, comparative-typological methods.

The theoretical and methodological basis of the study was developed on the basis of the works of leading domestic and Western European triphonologists E.A. Aleskerova, H.A. Bugrovoy, E.JI. Bykova, D. Gillespie, E.A. Dobrenko, T.V. Yemets, N.B. Ivanova, M.JI. Knyazevoy, N. Kolesnikoff, O.A. Kutmina, H.JT. Leiderman, M.N. Lipovetsky, K. De Magd-Soep, E. Nikadem-Malinowski, T. Patera, V.M. Piskunova, I.I. Plekhanova, V.A. Sukhanova, J. Wall, J. Hosking, V.V. Cherdantsev, R. Schroeder; studies of the literary process of the second half of the 20th century and urban prose by M.F. Amu-sina, L.A. Anninsky, V.G. Bondarenko, T.M. Vakhitova, V.E. Kovsky, I.N. Kramova, A.A. Mikhailova, A.S. Nemzera, B.D. Pankina, I.B. Rodnyanskoy, D.V. Tevekelyan, A.B. Sharavin, works on city semiotics and typology of local texts by V.V. Abasheva, N.P. Antsiferov, K. Lynch, Yu.M. Lotman, A.P. Lyusogo, N.M. Malygina, N.E. Mednis, V.N. Toporova, M.S. Uvarov. The work of literary theorists M.M. had a significant influence on the formation of the concept of the work. Bakhtin, M. Butora, V.V. Vinogradova, V.A. Grekhneva, M.N. Darwin, Vyach. Sun. Ivanova, B.O. Korman, V.I. Tyupy, B.A. Uspensky, E.G. Etkind, culturologists S. Boym, Yu.V. Boreva, D.N. Zamyatina, L.G. Ionina, V.Z. Paperny, V.N. Syrova, M.P. Shubina, philosophers and sociologists K.Z. Akopyan, I.V. Kondakova, V.F. Cormera, L.A. Koshelevoy, Yu.A. Levada.

The subject of the study is the artistic system of urban prose by Yu.V. Trifonov in the aspect of interaction of all its levels - generic, genre-style, spatio-temporal, plot-compositional, systemic-figurative, motive, subject-speech. The object of the study is the influence of the urban prose of Yu.V. Trifonov, formed in line with the traditions of the “Moscow text” of Russian literature of the 19th - 1st half of the 20th centuries, on the literary process of the 2nd half of the 20th century and the role of Trifonov’s “Moscow” prose in the formation of the creative style of “forty-year-old” writers and representatives literature of the metropolis.

The material for the dissertation is the urban prose of Yu.V. Trifonov: works of the 50-60s of the XX century, in which the formation of the urban text took place (the story “Students”, “Turkmen” prose - stories and the novel “Quenching Thirst”), “urban” stories of the 2nd half of the 1960s , “Moscow” stories (“Exchange”, “Preliminary Results”, “Long Farewell”, “Another Life”, “House on the Embankment”), works of “thinking prose” (novels “The Old Man”, “Time and Place”, “ Disappearance", story in stories "The Overturned House"). The analysis involves the historical prose of Yu.V. Trifonov (“Impatience”, “Glimmer of the Fire”), journalism, essays, interviews and profiles of the writer, materials from the archives of the magazines “Znamya”, “New World”, Mosfilm, the Union of Soviet Writers, the Foreign Commission of the SSP, correspondence with A. TO. Gladkov, P.F. Nilin, B.A. Slutsky, memoirs of E.B. Rafalskaya. Also used as research material are the works of Yu.M. Nagibin, I. Grekova, A. Bitova, S. Dovlatov, reflecting the originality of the poetics and problems of urban prose of the 60-70s of the 20th century, prose by B.C. Makanin, which is an example of the continuation and rethinking of ideas and images of urban prose by writers of the “Moscow school”, the works of E.V. Grishkovets, adapting the ideological and artistic principles of urban prose to the realities of the turn of the 20th - 21st centuries and recreating the moral and philosophical paradigm of the modern city hero.

Provisions for defense:

1. The theme of the city, which dominated the thematic range of Russian literature of the 19th - 20th centuries, became the source of the formation of the urban text, which is a set of local texts with a special reading code, a mythopoetic basis, a typology of characters, and the poetics of urbanism. In the 19th century, the “St. Petersburg text” received the exclusive status of the first and leading supertext of Russian literature; in the 20th century, this position was occupied by the “Moscow text,” while provincial (Crimean, Oryol, Perm) and Western European (Venetian, Florentine, London) texts in literary process of the 19th - 20th centuries existed as peripheral and insufficiently representative.

2. In the second half of the 20th century, in Russian literature, urban text was conceptualized as an ideological and aesthetic phenomenon and framed as a corpus of urban prose texts. Urban prose, which for a long time existed in the status of a literary movement along with rural, military and camp prose, is a complex open system of integrated texts with problem-thematic and genre-style integrity. The authors of urban prose proposed an ideological and artistic understanding of the process of urbanization, put forward a special concept of personality and environment, recreated the worldview of the post-thaw intelligentsia, presented a new poetics of urbanism, and proposed a number of genre and style modifications of the story and novel.

3. The writer who created the artistic guidelines and moral and philosophical coordinate system of urban prose is Yuri Valentinovich Trifonov, whose work is an artistic system with a single narrative and motive structure, spatio-temporal organization, typology and architectonics of characters, an autobiographical basis and a historiosophical concept.

4. “Moscow text” Yu.V. Trifonova acts as an individual author’s version of the “Moscow text” of Russian literature, created based on traditional mythologies (Moscow is a city-forest, a city-woman, a city burned by fire), a reading code and the poetics of urbanism, but also putting forward an original interpretation of the Moscow topos - city-houses, the individual loci of which are “overturned houses.” In urban prose of the 1960s-70s, author’s versions of the “Moscow text” close to Trifonov’s were created by Yu.M. Nagibin. I. Grekova, G.V. Semenov, but in general there has been a tendency towards the unification of various local texts, as evidenced by the similarity of plot collisions, typology of characters, and the motivic structure of the “Moscow text” by Yu.V. Trifonov and the “Petersburg text” by A.G. Bitova.

5. In the “Moscow” prose of Yu.V. Trifonov recreated the moral and philosophical paradigm of a representative of the post-thaw intelligentsia. Trifonov’s intellectual hero is a person with “double consciousness” (V.F. Kormer’s term), who is distinguished by such qualities as refusal of social activities, immersion in a private family environment, conformism, inertia, a tendency to compromise, disappointment in ideals of the “thaw” and, at the same time, internal nonconformism, hidden dissidence, faith in the traditional values ​​of the Russian intelligentsia, a romantic (naive, maximalist, rebellious) worldview.

6. Urban prose became for Yu.V. Trifonov’s form of expression of historiosophical views. The historiosophical concept of the writer is to reject the antithesis history/modernity and affirm the presence of history in every day and in every destiny. Trifonov proves the equivalence of the little things in life and large-scale historical events in the context of everyday life and considers human memory to be the thread that inextricably connects history and modernity.

7. Continuation of the artistic quest of Yu.V. Trifonov is the work of writers of the “Moscow school”, which received the conventional designation in criticism of the prose of “forty-year-olds”. The most consistent, but at the same time creative and polemical, development of Trifonov’s ideas and images is found in the prose of B.S. Makanina. The writer, focusing on such components of Trifonov’s artistic world as the theme of the destruction of old Moscow, the theme of a failed life, the theme of confrontation between generations, the theme of death as a test, the motif of “escape”, the motif of life-flow, the motif of marriage-collision, creates the image of the “middle man” , trying to overcome the “gravity of life” and revealing his true potential in “embarrassing situations.” Makanin rejects Trifonov’s concept of Moscow as a home city and, showing the capital through the eyes of yesterday’s provincials, creates the image of an impregnable Moscow, a fortress city that destroys the usual way of life and worldview of the heroes.

8. In the modern literary process, the place of urban prose is taken by the literature of the metropolis - the latest urban prose, in which the socio-cultural environment of the metropolis is recreated, a new type of hero is formed - a representative of the intelligentsia, adapting to life in a consumer society, patterns are revealed between the expansion of the circle of friends and the increasing feeling of loneliness in big city, the problem of preserving morality in the conditions of scientific and technological progress is raised. A prominent representative of the literature of the metropolis is E.V. Grishkovets, who transfers the collisions and images of the urban prose of Yu.V. Trifonov on new ground and seeks to update traditional problems of urban prose in the conditions of pragmatic urban culture at the turn of the 20th - 21st centuries.

The scientific novelty of the work lies in the study of the urban prose of Yu.V. Trifonov as an artistic system, the key elements of which are reproduced in the literary process of the 2nd half of the 20th century in the works of “city dweller” writers, in the prose of “forty-year-olds”, in the literature of the metropolis; in the study of urban prose as an ideological and aesthetic phenomenon represented by a set of local texts; in the reconstruction of the “Moscow text” of Russian literature of the 20th century (from prose of Russian abroad to the latest urban literature); in determining the place of the individual author’s “Moscow text” Yu.V. Trifonov in the paradigm of local texts of Russian literature, in the study of metropolitan literature as a variant of artistic testing of the problems and imagery of urban prose of the 1960-80s in the modern literary process.

The theoretical significance of the dissertation lies in the systematization of the urban prose of Yu.V. Trifonov from the point of view of the evolution of the artistic method, the formation of the individual sign-symbolic field of the “Moscow text”, continuity in the reconstruction of the moral and philosophical paradigm of a representative of the Russian intelligentsia, the formation of the theosophical and historiosophical views of the writer; in substantiating the terminological status of the concept of “urban prose” and the transition from the thematic principle of codification of urban prose texts to the ideological and artistic one; in the study of the genre structure of the polyphonic novel by Yu.V. Trifonov, in identifying the principles of the typology of characters in “Moscow” prose, in studying the “Moscow” chronotope as a special form of spatio-temporal organization, in recreating the path of evolution of the poetics of urbanism in city prose of the 2nd half of the 20th century.

The practical significance of the dissertation lies in the possibility of using its materials in an academic course on the history of Russian literature of the 20th century, in elective classes, special courses and special seminars, in the practice of school teaching of Russian literature, as well as in the development of teaching aids on the issues under study.

The main provisions of the dissertation work were tested at scientific conferences of various statuses - international, all-Russian, regional, interuniversity, including “Russian literary criticism of the third millennium” (Moscow, M.A. Sholokhov Moscow State University for the Humanities, 2004 - 2007); “M.A. Sholokhov in the modern world" (Moscow, MSTU named after M.A. Sholokhov, 2002- - 2007); “Sheshukov Readings” (Moscow, MPGU, 2004-2008); “Vinogradov Readings” (Moscow, Moscow State Pedagogical University, 2004-2007); “Pushkin Readings” (St. Petersburg, Leningrad State University named after A.S. Pushkin, 2005 - 2008); “Classical and non-classical models of the world in domestic and foreign literature” (Volgograd, VolSU, 2006); “National and regional Cosmo-Psycho-Logos” (Elets, Yerevan State University named after I.A. Bunin, 2006); “Epic text: problems and prospects for studying” (Pyatigorsk, Perm State Linguistic University, 2006); “Dergachev Readings” (Ekaterinburg, Ural State University, 2006, 2008); “Modernity of Russian and world classics” (Voronezh, VSU, 2006), “Synthesis in Russian and world artistic culture” (Moscow, MPGU, 2006 - 2007), international symposium “Time of Cultural Studies” (Moscow, Russian Institute of Cultural Studies, 2007), IV Lazarev Readings (Chelyabinsk, Chelyabinsk State Pedagogical University, 2008), “Literary text: interpretation options” (Biysk, BPSU, 2006 - 2008), “Text interpretation: linguistic, literary and methodological aspects” (Chita, Transbaikal State University named after. N.G. Chernyshevsky, 2007), “Changing Russia - changing literature: artistic experience of the 20th - early 21st centuries” (Saratov, SSU, 2008), annual conferences of doctoral students and graduate students (Elets, Yelets State University named after I.A. Bunin, 2006 - 2008).

Structure of the work: the dissertation consists of an introduction, four chapters, a conclusion, a bibliography including 570 titles, and three appendices. The appendices examine the principles of cyclization of Trifonov's short prose and the main cyclic unities of the 1950s-60s, the typological originality of the character system of Trifonov's urban prose, identify dominant/peripheral artistic types and the peculiarities of the poetics of their embodiment at different stages of the writer's creative evolution.