Through-cycle character term. general description of work

The reader is introduced to the events taking place in “Bezhin Meadow” by the hunter, who is a cross-cutting character in the cycle. What is the term for such a character?

Read the fragment of the work below and complete tasks 1–9.

I was mistaken in mistaking the people sitting around those lights for the herd workers. These were simply peasant children from neighboring villages who guarded the herd. In the hot summer, our horses are driven out to feed in the field at night: during the day, flies and gadflies would not give them rest. Drive out before evening and drive to morning dawn herd is a big holiday for peasant boys. Sitting without hats and in old sheepskin coats on the most lively nags, they rush with a cheerful whoop and scream, dangling their arms and legs, jumping high, laughing loudly. Light dust rises in a yellow column and rushes along the road; A friendly stomp can be heard far away, the horses run with their ears pricked up; in front of everyone, with his tail raised and constantly changing his legs, gallops some red-haired cosmach, with a burdock in his tangled mane.

I told the boys that I was lost and sat down with them. They asked me where I was from, remained silent, and stood aside. We talked a little. I lay down under a gnawed bush and began to look around. The picture was wonderful: near the lights, a round reddish reflection trembled and seemed to freeze, resting against the darkness; the flame, flaring up, occasionally threw quick reflections beyond the line of that circle; a thin tongue of light will lick the bare branches of the vine and disappear at once; Sharp, long shadows, rushing in for a moment, in turn reached the very lights: darkness fought with light. Sometimes, when the flame burned weaker and the circle of light narrowed, a horse’s head, bay, with a winding groove, or all white, would suddenly stick out from the approaching darkness, looking at us attentively and stupidly, nimbly chewing long grass, and, lowering itself again, immediately disappeared. You could only hear her continue to chew and snort. From an illuminated place it is difficult to see what is happening in the darkness, and therefore everything up close seemed covered with an almost black curtain; but further towards the horizon, hills and forests were vaguely visible in long spots. The dark, clear sky stood solemnly and immensely high above us with all its mysterious splendor. My chest felt sweetly ashamed, inhaling that special, languid and fresh smell - the smell of a Russian summer night. Almost no noise was heard all around... Only occasionally in the nearby river a large fish would splash with sudden sonority and the coastal reeds would rustle faintly, barely shaken by the oncoming wave... Only the lights crackled quietly.

The boys sat around them; Sitting right there were the two dogs who so wanted to eat me. For a long time they could not come to terms with my presence and, drowsily squinting and squinting at the fire, occasionally growled with an extraordinary sense of self-esteem; At first they growled, and then squealed slightly, as if regretting the impossibility of fulfilling their desire. There were five boys: Fedya, Pavlusha, Ilyusha, Kostya and Vanya.

(I. S. Turgenev. « Bezhin meadow»)

Explanation.

The narrator is a certain person (for example, a character), on whose behalf the narration is conducted in an artistic work, in particular in a literary work. In literature, the narrator observes and describes what the author has imagined. Sometimes the narrator is clearly outlined, sometimes anonymous, sometimes almost invisible.

They usually talk about the narrator in the general case, and about the storyteller - when the narrator is a direct participant in the events he describes.

Answer: narrator.

Answer: narrator|narrator|hero-narrator

As a manuscript

NESTEROVA SVETLANA VIKTOROVNA

CYCLIC TEXT CONSTRUCTION

IN SMALL EPIC PROSE

Specialty 01/10/08 – Theory of Literature. Textual criticism

dissertations for an academic degree

candidate philological sciences

The work was carried out at the Department of Literary Theory of the Federal State Educational Institution of Higher Professional Education "Tver" State University»

The defense will take place on November 27, 2012 at 13:00. at a meeting of the council for the defense of doctoral and master's theses D 212.263.06 at the Federal State Educational Institution of Higher Professional Education "Tver State University" at the address: 170002, Tver, Tchaikovsky Ave., 70.

The dissertation can be found in the scientific library of Tver State University at 170000, Tver,
st. Volodarskogo, 44a.

Scientific secretary of the dissertation council,

Doctor of Philology, Professor S.Yu. Nikolaev

general characteristics work

The prose cycle has a long history. The first cycles known to literature are cycles of fairy tales, sagas, and legends. The cycle developed into both new and modern times. The 20th century in world literature is characterized by the flourishing of this type of text construction both in poetry and prose. L.S. Yanitsky says that in the 20th century, cyclization is characteristic not only of literature, but also of culture as a whole. He calls the compensatory function of the cycle the reasons for this spread: “when they are destroyed traditional forms integrity, the cycle seems to keep works of art from decay and entropy, and performs a unifying function, linking together various works. This is how cyclicality develops artistic thinking"when an author conceives and creates his work within a larger context of several works." According to A.S. Yanushkevich, “...the first thing that formed the concept, a unique philosophy of the prose cycle, was the desire for the unity of the world image, the integration of a single thought, transforming private and individual stories, stories, stories into a system and integrity. The correlation between the private and the general, the everyday and the existential has determined the tendency, the author’s intention, to collect and generalize various life materials.”

Pulitzer Prize-winning author Michael Chabon explains the popularity of the prose series in terms of the reader's experience of the text: “A group of related stories can create an effect that you wouldn’t get from a novel or a single story. It's like a series of snapshots taken over time. The joy of reading comes from the fact that you can return to the novels again and again. The interest lies precisely in what happened in the intervals between them." Another reason for the popularity of the series can be cited as publishing practice, due to the fact that collections of stories are less popular among readers than a single text. Therefore, authors, and sometimes publishers, present such collections as something unified, as one book.

To date, neither in domestic nor in foreign literary criticism has a theoretical basis been formed for the analysis of the cyclic type of text construction in epic prose. Although it cannot be said that the prose cycle has been studied little. In domestic literary criticism, the issues of studying prose cyclization have been addressed to one degree or another by researchers of the lyrical cycle; about two dozen dissertation studies have been defended directly on the problem of the poetics of the prose cycle. Basically, all works cover a short period in the history of Russian literature (in the most to a greater extent The period of the end of the 19th century is considered. – beginning of the 20th century), or only the cycles of one writer are analyzed (“Belkin’s Tales” by A.S. Pushkin, “Evenings on a Farm near Dikanka” by N.V. Gogol, “Notes of a Hunter” by I.S. Turgenev). In addition, the concept of “prose cycle” is perceived as secondary in relation to the concept of “lyrical cycle”, which researchers began studying earlier. This situation also explains the terminological inconsistencies. The terms “lyrical cycle” and “prose cycle” correspond respectively to the generic division of literature (epic, lyric, drama) and methods of speech organization (prose and poetry). The terminological opposition “lyrical cycle”/“epic cycle” or the opposition “prose cycle”/“poetic cycle” would be more appropriate. We are aware of this terminological error, but we will continue to talk about the lyrical and prosaic cycle, using already established terms.

In foreign literary theory, there is, in principle, no terminological problem, since the object of study was only the prose cycle. This situation can be explained in terms of the characteristics national literatures, where the prose cycle became the most popular type work of art.

In modern scientific literature The term “cycle” often refers to all collections of stories by both one author and groups of authors (O.G. Egorova, V.G. Pottosina, S.G. Nosovets, etc.). Maybe, special role Editorial definitions, which have become widespread recently, play a role in this process (to a greater extent in the publication of science fiction and fantasy, when the cyclization of texts by one author is called a “cycle”). Another tendency can be noted in the works of modern researchers: they seem to avoid the term “cycle”, instead introducing other genre names (“novel in stories”, “book”, “novel cycle”).

All this, first of all, is explained by the fact that the place of the prose cycle in the system of genres has not been determined. If foreign researchers consider the cycle as an independent genre, then in domestic practice there is no such unity. It is difficult to determine the genre category of a text when we do not have single work, but a collection of independent texts, the totality of which creates a new work. After all, it is the genre of the work that “seems to be the most obvious principle of generalization, located between individual works and literary universals.” As you know, “there are no non-genre works,” because genre is “a representative of creative memory in the process literary development". Therefore, in order to correlate the concept of a prose cycle with the genre system, this type text construction was analyzed from the point of view of the history of its formation. As noted by L.V. Chernets, “a comprehensive approach to genres also involves careful historical and literary “restorations” genre systems of a particular period, and works of a typological nature that reveal general patterns, and continuity in the genre development of literature<…>In these mutually enriching types of work, the genre appears, in essence, in different volumes.” This approach allows not only to define the cycle as a genre category, but also to highlight the features of the poetics of the prose cycle in different periods of its existence, starting with Somadeva’s cycle “Ocean of Tales” and ending with the cycles of modern authors.

The most common definition of a cycle in literature can be formulated as follows: a cycle is a super-genre unity that has a stable type of structure. According to L.E. Lyapina, if cycle formation became a genre-creative process and led to the formation of the lyrical cycle as a genre, then in the epic, cyclization, first of all, carried out the work of transforming and developing the narrative itself, contributed to the development of new qualities and features of narrative structures. Thus, we can say that domestic researchers do not recognize the prose cycle as an independent genre.

The established practice of studying a prose cycle is characterized by the fact that researchers mainly analyze the cycle-forming connections: the general title, montage composition, unity of motives and themes, conceptuality, plot, “the commonality of a number of systemic elements of the cycle (genre, stylistic, rhythmic, figurative-metaphorical, lexical- phraseological, intonation and sound)". This approach characterizes only the features of specific texts and does not give a general idea of the poetics of the prose cycle, nor does it allow us to identify the universal features of this type of text construction. Therefore, in this dissertation research the emphasis is not on cycle-forming connections, but on the analysis of the internal structure of the cycle, on the principles of forming a single text from a number of independent stories.

The most interesting model of analysis is given in the monograph by Rolf Lunden. R. Lunden identified four types of story cycles (“combinations” of stories in the author’s terminology) and arranged them according to the “openness/closedness scale” in descending order of unity between parts. The leading criterion for classifying a particular cycle as a certain type is the specificity of the plot structure. We also arrange cycles along the “open/closed” axis, but when analyzing cycle-forming connections, we focus on the formative aspect of the interaction of parts, considering structure-forming mechanisms.

It should be noted that prose cycles of modern authors are increasingly being considered by researchers as new genre formations, which leads to a blurring of the boundaries between the terms “prose cycle” and “novel”.

Relevance dissertation research is determined by insufficient knowledge of the prose cycle, the lack of a unified definition of this type of text construction and classification of its varieties. The work also systematizes a vast layer of modern cyclical works that have not yet become objects of literary study.

Purpose research is to study the poetics of the prose cycle and determine the features of this type of text construction.

Achieving the goal requires solving specific tasks:

determine the content of the term “prose cycle”, clarify its meaning within the framework of this study;
consider the main points of view on the prose cycle in domestic and foreign literary criticism and, based on the available theoretical material, create big picture theoretical study of the concept;
study the features of the internal structure and principles of text construction in prose cycles;
to form a typology of story cycles based on their poetics;
distinguish between the concepts of “frame” and “frame” in a prose cycle;
trace the stages of development of the genre category of the cycle from the point of view of the diachronic approach;
explore the main trends in the development of the prose cycle in modern literature;
consider the prose cycle in relation to the genre of the novel and analyze these inter-genre associations.

Subject research is the author's prose cycle of stories on different stages its development, starting from ancient Indian literature and ending with texts of the 21st century, with the main emphasis being on works of Russian literature of modern times.

As object The dissertation examines the principles of text construction and the structure of prose cycles.

Material works of Russian writers of the 19th–21st centuries (V.F. Odoevsky, A.S. Pushkin, I.S. Turgenev, M.A. Bulgakov, M.M. Zoshchenko, Yu.V. Trifonov, V.T. Shalamov) , S.D. Dovlatov, L.E. Ulitskaya, M.I. Weller, A. Gelasimov, Y. Buida, etc.) and foreign authors (E. Hemingway, S. Anderson, B. Schultz, G. Garcia Marquez , M. Pavic).

Methodological basis were inspired by the works of I.V. Fomenko, M.N Darwin, V.I. Tyupy, L.E. Lyapina, M. Levina, E.Yu. Afonina, dedicated to the problem of the prose and lyrical cycle; MM. Bakhtina, N.D. Tamarchenko, L.V. Chernets, dedicated to issues of genre. When analyzing individual works, the ideas of Yu.M. were used. Lotman, V.B. Shklovsky, I.V. Arnold, S.N. Broitman. The research is based on cultural-historical, comparative-typological and structural-semiotic approaches.

Scientific novelty research is due to insufficient knowledge of the topic. The dissertation attempted to study all existing this moment types of cycles from the point of view of their internal structure, on the basis of which a typology of these texts is formed. The work systematizes the stages of development of the author's story cycles as in Russian literature, and in foreign literature; the specificity of the poetics of the prose cycle is revealed; a comparative analysis of the cycle and the novel and their inter-genre associations is carried out; material that has not previously been studied is considered.

Theoretical significance The work is determined by an attempt to present the cycle as a special type of text construction, to determine the specifics of its relationship with established epic genres.

Practical significance research is that its materials and results can be used in the analysis of creativity individual writers, in university courses on the theory of literature and the history of Russian and foreign literature, in special courses on analysis prose texts.

Provisions for defense:

Diachronic analysis allows us to consider the main stages in the development of the prose cycle and, based on the characteristics of the internal structure, to form a typology of this type of text construction. Such an analysis leads to the conclusion that the prose cycle continues to develop and form new principles of meaning formation in new conditions.
Prose cycles can be arranged along an axis characterizing the degree of “rigidity” of connections between the elements that make up the cycle; In order of increasing internal “consolidation” of texts, the following formations are distinguished: “cycle-collection”, “cycle with a frame”, “structured cycle”, “cycle-novel”.
The history of the development of the author's prose cycle leads to the need to distinguish between the concepts of “frame” of the text (the initial and final elements of the cycle, not related to the plots of individual stories, which introduce images of narrators, or explain the principle of cyclization of texts) and “framing” (independent text, autonomous short story, interacting with other elements of the cycle and forming its structure).
In the 20th century, the prose cycle became novelized, acquiring the characteristics of a novel form.
A prose cycle can enter into inter-genre relationships with a novel and form inter-genre unities of various types with it.

Approbation of work. The main provisions of the dissertation were presented at International and All-Russian conferences: international scientific conference “The phenomenon of the title. Final complex of text" (Moscow, Russian State University for the Humanities, 2009), international scientific conference "Title in Context" (Moscow, Russian State University for the Humanities, 2010), international hermeneutical conference "Understanding and reflection in communication, culture and education" (Tver, Tver State University, 2010), international scientific conference “A.P. Chekhov and world culture: a view from the 21st century" (Moscow, MSU, 2010), "Young science at a classical university" (Ivanovo, IvSU, 2011), "Chekhov readings in Tver" (Tver, Tver State University, 2011). The provisions of the work were repeatedly discussed at graduate student seminars and meetings of the Department of Literary Theory of Tver State University (2009–2012). The content of the research is reflected in publications in literary journals and collections of scientific works.

Work structure corresponds to the set goals and objectives. The dissertation consists of an introduction, two chapters, a conclusion and a bibliography, including 301 titles in Russian, Polish and English. The total volume of work is 190 pages.

Main content of the work

In Administered the choice of the topic of the dissertation research, its relevance, novelty and practical significance are justified, the goals and objectives of the work, the choice of material and research methods are determined, and the provisions submitted for defense are formulated.

First chapter - “Cycle: the problem of terminology and content of the concept”– is devoted to the analysis of existing theoretical works about the author's prose cycle of stories. Since in Russian literary criticism the consideration of this concept is based on the established theory of the lyrical cycle, and in many ways turned out to be secondary, the first paragraph of the chapter is "The concept "cycle" V domestic literary criticism »– is devoted to the analysis of works on the problem of the lyrical cycle. All this allows us to give a definition of a prose cycle: a cycle is a super-genre unity that has a relatively stable type of structure and is characterized by the unity of independent elements interacting with each other.

In the second paragraph - « Theory prosaic cycle V domestic literary criticism" – The work of domestic researchers of cyclic text formation in epic is analyzed. In the study of the prose cycle, the same problems arose as in the study of the lyrical cycle: there is no single definition of the cycle as a genre category, there is no classification, there is a constant confusion of the concepts of “cycle” and “cyclization”, the range of texts that are prose cycles is not defined.

At the end of the 20th century, the prose cycle became an object of study in foreign literary criticism. Unfortunately, domestic researchers do not pay due attention to these works, which led to the appearance of the third paragraph in the dissertation research - « Studying prose ical cycle A V foreign literary criticism". What we call a “cycle of stories” does not currently have a single name in American literary criticism. “Linked stories”, “short story cycles”, “novels-in-stories”, “story sequence”, “composite novel” ), “short story composite” – all these concepts denote the form fiction"in the gray area between a collection of short stories and a novel". “Story cycle” in American literary criticism is the name of the prose genre. You can trace the history of the formation of the concept of “story cycle” in English literary criticism: in the 1980s. The term "story cycle" has been used since the 1990s. new genre designations appear - “sequence of stories” and “composite novel”, and even later - “combination of stories”. But to date, foreign literary scholars have not developed a single genre definition, and the proposed classifications of cycles have not lined up in unified system.

The final part of the first chapter proposes a typology of story cycles from the point of view of a diachronic approach. The presented typology is based on the criterion of “openness/closedness” of the internal structure of cycles. Cycles are located on the axis of internal structure: from cycles with a rigid connection between elements to cycles with minimal “fastening” of parts. On this axis, in order of increasing internal “consolidation” of elements, we highlight following types cyclic text structures:

Collection cycles (“Dark Alleys” by I. Bunin, “The Jungle” by Y. Buida, “People of Our Tsar” by L. Ulitskaya);

Cycles with a frame that do not have an internal rigid formal structure (“Belkin’s Tales” by A. Pushkin, “The Prussian Bride” by Y. Buida);

Structured cycles (“Russian Nights” by V. Odoevsky, “Blue Book” by M. Zoshchenko);

Cycles-novels (“Notes of a Young Doctor” by M. Bulgakov, “Sin” by Z. Prilepin).

These types of cyclic text formations are analyzed in the second chapter of the dissertation research - “Types of cyclic text construction of short epic prose”, consisting of six paragraphs.

The object of study in the first paragraph was the most “closed” type of cycle from the point of view of internal structure - “ Structured cycle". This type of cyclic text construction was the first in history original literature(“The Ocean of Tales” by Somadeva, “The Decameron” by G. Boccaccio, “The Canterbury Tales” by G. Chaucer), but it was formed in ancient Indian literature: “Panchatantra”, “Shukasaptati”. A feature of a structured cycle is the presence of a framing story that connects all the stories into a single whole. Framing is not just a compositional element, its importance is emphasized by S.N. Broitman: “...the event of the narration itself, internally connected with the meaningful situation of the redemption frame, begins to acquire independent meaning.” The framing creates the structure of these cycles, since it is in it that the author initially prescribes the number of stories, the way they are grouped, and their sequence, the narrators are introduced and the storytelling situation is characterized. A structured cycle allowed the author to connect together texts that might not even have common motifs, “cross-cutting” characters or other cycle-forming connections. The framing and initially intended structure made it possible to insert texts not only of different genres, but also of different types of literature within the framework of the work.

G. Boccaccio in “The Decameron” complicates the model of the first prose cycles. His work opens not with a directly framing story, but with an introduction - an appeal “to lovely ladies.” This text element is not directly related to the content of the cycle; it is a frame text element.

The study of a cycle at different stages of its existence allows us to distinguish between the concepts of “framing” and “frame,” as can be seen from the analysis of structured cycles. The frame is an independent text, a relatively autonomous short story that interacts with other elements of the cycle. Insert stories can influence the framing plot by introducing new characters, changing the lives and views of the heroes. At the same time, the framing builds the composition of the cycle, and as F. Ingram noted, “... the cycle is then completed when the framing is filled.” The frame has nothing to do directly with the content and composition of the text. The frame is most often represented by the initial and final elements (introduction/preface, epilogue/afterword); it does not organize the cycle and does not become part of its internal structure.

“The Decameron” by G. Boccaccio and “The Canterbury Tales” by D. Chaucer became “invariant” cycles of the Renaissance. They led to the appearance of other works: books by Franco Sacchetti, Sir Giovanni, “Novellino” (“One Hundred Ancient Novels”) by Tommaso Masuccio, “Heptameron” by Margherita of Navarre, cynical short stories by Matteo Bandello, Agnolo Firenzuola, “Pentameron” by Giambattista Basile, “ Pleasant nights" Straparolas. The next stage in the development of the structured cycle was the era of romanticism, which is represented by the cycles “Conversations of German Refugees” by I.V. Goethe, Serapion's Brothers E.T.A. Hoffman, “Florentine Nights” by G. Heine, in Russian literature – “Russian Nights” by V.F. Odoevsky.

In the 20th century, the structured cycle became a rare type of text formation, and framing underwent significant changes. M. Zoshchenko in the “Blue Book” cycle removes the situation of storytelling and fictitious narrators from the frame. S. Dovlatov breaks the canons of framing even more in the cycles “Zone” and “Compromise”. The form of a structured cycle is also found in foreign literature of the 20th century. For example, Milorad Pavic's book " Paper theater"(2007) is also a structured cycle of stories, framed by an introduction from the author and “bio-bibliographical” information about the fictional authors. There is no rigid, predetermined sequence of episodes in the cycle. The stories are not thematically related to each other; common motifs are united not by fictional stories, but by the fate of their “fictional” authors.

The structured cycle turned out to be a productive form of the genre, but not widespread. However, the writers could not abandon the iconic element of the cycle - the frame - otherwise the cycle of stories would be perceived as a collection of texts that are autonomous in relation to each other.

Further development of the cycle followed the path of abolishing the rigid internal structure of the text. There are two main changes:
1) the cycle ceases to be divided into large sections (nights, days, stories of individual characters); 2) the frame ceases to be an element connecting all the stories, is not included in the internal structure of the text, and accordingly, narrows down to a frame (initial and final, or only initial element).

In the variety of collection cycles, two varieties can be distinguished: a collection cycle without “cross-cutting characters” and a collection cycle with “through-through characters”. Naturally, this is only one of the levels of typology of these cycles, but for us it is the main one.

In the fourth paragraph - « Collection cycles With O "end-to-end" characters" – The object of study is cycles with “end-to-end” characters, the structure of which is less open, since a formal connection is formed between the texts within the cycle: the stories are held together by common characters. Of course, there are “through” characters in both a structured cycle and a cycle with a frame, but in the previously described forms of the cycle they were not the main “brace” of the text.

Collection cycles with cross-cutting characters became most popular at the end of the 20th century. This type of cycle includes “The Jungle” by Y. Buida, works by L. Ulitskaya (“Girls”, “Poor Relatives” and the cycles that make up “Our Tsar’s People”), “Razgulyaevka” by A. Gelasimov. We consider the features of these cycles using the example of the work of Yuri Buida and Lyudmila Ulitskaya.

“The Jungle” by Yu. Buida, published in 2010, is characterized by the same features as “The Prussian Bride”, but in “The Jungle” there is no frame highlighted by the author. The title of the series “Jungle” is a metaphorical title, creating a myth about small villages outside the Moscow Ring Road, gradually becoming part of Moscow. Jungle is also the unofficial name of the village of Second Typography (“a village behind the ring road, part of Moscow and officially called Second Typography, where mostly old people, disabled people and alcoholics lived”), and single image several neighboring villages at once: Chudov, Kandaurovo, Novostroika, Koltsevaya and Hospital. These villages and main characters are listed in the story "Law of the Jungle". All the characters (except for the district police officer Semyon Semenovich Dyshlo and Doctor Zherekh) are called by nicknames: Stop, Crocodile Gena, Klims, Pink Po, Jester Newton, etc. The plots of the stories do not build a chronological sequence of events, and there is no single principle for the appearance of this or that character in the subsequent segment. The characters are connected either by kinship or by place of residence/work.

Lyudmila Ulitskaya has the same principle of the appearance of “cross-cutting characters”. A more complex structure is represented by L. Ulitskaya’s cycle “Our Tsar’s People”. This book consists of several cycles, created separately: the cycle of the same name “Our Tsar’s People”, “The Secret of Blood”, “They Lived Long...”, “Road Angel”. Separately, the cycles are collection cycles without “cross-cutting characters.” The cycles are also not formally connected to each other. The cycle-forming element is the general epigraph, the author’s introduction and the text called “The Last” - a kind of cycle within a cycle - short thoughts/anecdotes. Moreover, connecting the cycles into a single context, Ulitskaya defines the genre of the work as “novel”. Although L. Ulitskaya’s attempt to bring the cycle to one of genre forms epics have already been encountered before: the cycle “Through Line” is called by the author a “story”.

This tendency - to present the cycle as a genre category of a large form - a novel (less often a story) is becoming more and more widespread in literature. William Faulkner also called his cycle a “novel.” It's about about the book “Come Down, Moses.” This is a cycle of seven stories united by the image of the McCaslin family. Collecting stories into a cycle, Faulkner tried to build a structure reminiscent of a family chronicle, and even compiled an approximate family tree of the McCaslins. Therefore, many heroes of previously written stories received new biographies and names connecting them with the family. According to the author's plan, the structure of "Come Down, Moses" was supposed to repeat the one that Faulkner had already used in the novel "The Undefeated." However, the writer was unable to combine already written unrelated stories into a novel. When the series was first published in 1942, the subtitle “and other stories” was added, but in subsequent editions, at Faulkner’s insistence, it was removed, which consolidated the composition and sequence of stories in the cycle.

The works given as examples are cycles of stories with “end-to-end” characters; it is not difficult to distinguish these types of cyclic text structures. The situation is different with cycles, in which a single “end-to-end” character appears - the narrator, and the plots of individual stories are built into a single plot. We will classify such cycles as « Cycle novel » , to which the fifth paragraph of the dissertation is devoted.

In a cycle-novel, the “through” image of the narrator turns into the main character of the work. The plots of individual stories turn out to be parts of the narrator's storyline, which makes it possible to build a single plot of the cycle. This feature is a differentiating feature of the cycle-novel. The first of the novel cycles in Russian literature was Mikhail Bulgakov’s series “Notes of a Young Doctor.”

The cycles of stories by I.G. are structured in the same way. Ehrenburg “Thirteen Pipes”, “Cavalry” by I. Babel, “Stories of Nazar Ilyich Mr. Sinebryukhov” by M. Zoshchenko, “Kolyma Stories” by V. Shalamov, “Through Line” by L. Ulitskaya, “Sin” by Z. Prilepin, “Mishaherizade” M. Weller. In foreign literature, examples of a cycle-novel can be considered “Cinnamon Shops” and “Sanatorium under Clepsydra” Polish writer B. Schultz.

The appearance of a novel character (a single hero) in a cycle becomes evidence of the novelization of the genre. MM. Bakhtin notes that this kind of novelization cannot be explained only by the influence of the novel; changes in reality itself also have a direct influence. In our opinion, we can differentiate between a cycle and a novel using the category of fragment. A fragment is not equal to fragmentation as a method of text construction. “In a fragmented text type, the cause-and-effect relationships between text units are broken. The disruption of connections occurs due to a change in the logical sequence of text units (Cortazar “The Game of Hopscotch”) or due to the fact that in these text units the elements connecting them with adjacent units are omitted (Andrei Bely “The Baptized Chinese”).” In the classical or fragmented type of narration, elements (units) of the text are not independent works, they are fragments of the text as a whole. “The fragment, being an independent work, retains traditional markers of integrity, while demonstrating isolation into a certain, usually non-existent context, which is realized in the formal weakening of the boundaries of the test.” A cycle of stories is characterized by the fact that it consists of independent, complete texts that have a beginning, middle and end. Elements of a cycle cannot be fragments; they are characterized by “completeness and exhaustion of the plot.” Without pretending to create a complete picture of the relationship between the cycle and the novel, we identify a circle of texts that are a cycle in structure, and we justify this selection.

One of the first cycles, which was initially perceived by researchers as a novel, is the cycle of short stories by Polish prose writer Bruno Schulz “Cinnamon Shops” (“Sklepy cynamonowe”). The short stories included in the cycle were written by the author during 1930–1934. and were individually published in journals. The cycle opens with a short story entitled “August”. The title sets a time reference, a starting point for the narrative. August is the time of “white from the heat, stunning summer days", the time is fertile. The novella consists of three parts: in the first part, the time of August is depicted using past tense verbs; August is presented here as part of the year, as an element of cyclical time, constantly repeating. The second part of the story depicts the events of a specific August; syntactically this element is formalized using verbs in the present tense. The third part combines past time, constantly repeating, with concrete time: on this August, supposedly no different from Augusts of other years, the narrator meets his cousin Emil. The events of most subsequent short stories are arranged in the same time sequence: against the background of familiar, repeating events, an original, unique, isolated event develops.

The time element “August” also appears in the last novella of the cycle, the novella “Night of the Big Season.” This is also a time of fertility, but this is already “dissolute and belated fertility”, this is “a freak month, a half-withered shoot and more fictitious than actually existing.” Thus, the time of the cycle begins in August and ends in August, but in a month prolonged, as if in the thirteenth, fictitious month: “What we will talk about here happened in the thirteenth month, a supernumerary and seemingly unreal month.” Considering that the three short stories have the same title - “Treatise on Mannequins” - they can be considered as a cycle within a cycle. The first subtitle “Second Genesis” makes it possible to perceive these three short stories as a single text, the second and third subtitles – “Continuation” and “Conclusion” – indicate the integrity of this trilogy. The time of the “Cinnamon Shops” turns out to be cyclical, and, accordingly, mythological. The entire cycle is a story about one year in the life of Joseph's family, about a year that stretches for another - a fictitious month. This is “the novel of the year, this is a huge crumbling calendar book,” a book crumbling into separate short stories. Thus, the cross-cutting motif of time and the number of chapters become another cycle-forming element of the text.

In Russian literature, novel cycles with a single central character appeared in the second half of the 20th century. One of the first examples of this cycle is Varlam Shalamov’s “Kolyma Tales” cycle, on which the author began working in 1954. A variety of the novel cycle can be called “Through Line” by L. Ulitskaya, “Sin” by Zakhar Prilepin.

Despite the fact that the prose cycle is being novelized in the 20th century, it continues to retain its genre features, and sometimes enters into inter-genre relationships. The connection between the cycle and the novel in the work of one author became the object of analysis in the sixth paragraph - “Inter-genre interactions of the cycle and the novel”.

The cycle can be completely transformed into a novel by the author. This connection between the cycle and the novel is characteristic of Andrei Bitov’s work. The stories, first published separately and sometimes combined into cycles, were then transformed by the author into novels: this is how “ Pushkin House", "Flying Monks". After the creation of a single text of the novel, the cycle and the stories were no longer published separately, because they ceased to exist as independent works; they turned out to be only “sketches” of the novel. But in modern literature there are examples when both a cycle of stories and a novel coexist in the work of the same writer, remaining independent texts. A variant of such cross-genre unity is represented by the work of Yuri Trifonov, namely the cycle “Under the Sun” and the novel “Quenching Thirst”.

The cycle “Under the Sun” (1959) is a collection cycle without “through” characters. The themes of the stories are different, and the main cycle-forming connections are the location (the desert of Turkmenistan), the time of action (the post-war period, the construction of the Karkum Canal) and the type of characters. All characters in the cycle can be divided into two groups: indigenous people deserts and visitors (builders, scientists, journalists). In 1963, Trifonov’s novel “Quenching Thirst” was published. The novel is characterized by the same chronotope, the same problematic (the contrast between past and present time, the confrontation between the city and the desert), and the same types of characters as the cycle. The novel thus becomes a continuation of part of the stories in the cycle. The stories and the questions posed in them are gathered around a single “core” – the construction of the canal. Not all images and characters are repeated in the novel, so the cycle continues to exist as independent work. Accordingly, Trifonov’s cycle “Under the Sun,” which appeared earlier, determined both the problems and types of characters in the novel “Quenching Thirst.” Both genres ultimately represent an artistic unity, complementary but independent texts.

The movement from cycle to novel also characterizes the work of Yuri Buida. After the publication of the Jungle series in 2010, the author began work on the novel Blue Blood, published in 2011. The action of the stories in the cycle is concentrated in several towns and cities near Moscow, which are united by the name “jungle”. In the novel, the setting is the city of Chudov, also part of the “jungle”. Chudov's background, presented in the novel, was briefly described in the cycle. Both texts have the same chronotope (events take place in the 1990s–2000s), the same “cross-cutting” characters who “transferred” into the novel with their own characteristics, reproduced verbatim (Doctor Zherekh, Baba Zha, Pan Paratov). The main character of the novel, Ida Zmoiro, does not appear as a character in the cycle, but her story, in fact, is another plot of the Jungle. However, this type of hero is so different from the characters in the cycle that it could only fit into a novel. Thus, Yuri Buida’s novel does not develop a cycle, as in the work of Yu. Trifonov, but, on the contrary, turns out to be part of it. The cycle and the novel form not just a unity, but rather a synthesis in which the novel can be considered as an element of the cycle, which does not contradict the characteristics of the cycle as a super-genre formation.

A different principle of forming a multi-genre combination is found in the work of the writer Andrei Gelasimov. Over the years of work on the novel “The Steppe Gods,” the author’s original plan changed, many plot lines were removed from the novel, and only the story of the friendship of the boy Petka with the prisoner of war Hirotaro remained in the novel. But along with the novel, the “Razgulyaevka” cycle was published, which consists of stories that are “backstories” of the characters removed from the novel. “Razgulyaevka” is a prequel to the novel, revealing the “dark places” of the plot. The stories in the cycle not only provide background to the actions of the novel. Three of the four stories form a minicycle, the main character of which is Mitka Mikhailov, Petka’s father. In the novel, Mitka turns out to be a mysterious and even mythical figure: no one wanted to tell Petka anything about him, and most No one knew the events of Mitka’s life. The cycle, thus, introduces its own storyline, which ends precisely in the novel: the “Epilogue” briefly describes the last years and the death of Mitka.

“Steppe Gods” and “Razgulyaevka” represent a version of artistic unity in which the texts complement each other, and in such a way that one cannot be fully revealed without the other. “Steppe Gods” without “Razgulyaevka” leaves many “dark places”, questions, the answers to which can only be found in the cycle. “Razgulyaevka” without “Steppe Gods” can be considered as a microcycle about Mitka Mikhailov, but the emerging image of Petka in the strong positions of the cycle will then remain without semantic content, again “ dark spot».

Analysis of the above texts only partially reveals the potential of such cross-genre connections. This problem has not yet been studied and requires more detailed research.

IN Conclusion The results of the research are summed up and prospects for further work are outlined.

The dissertation research proposes a concept for analyzing the structure of cycles and the principles of their text construction. Analysis of the structure of the cycle and cycle-forming connections makes it possible to determine the principles of the montage composition of cycles and meaning-generating mechanisms. The work done in the study allows us to separate the cycle from other genre categories, and the diachronic approach makes it possible to consider the development and highlight productive types of the prose cycle in both domestic and foreign literature.

The main provisions of the dissertation are reflected
in the following publications:

Publications in peer-reviewed scientific publications included in the register of the Higher Attestation Commission of the Ministry of Education and Science of the Russian Federation:

Nesterova, S.V. “The Prussian Bride” and “The Jungle” by Yu.V. Buydy: genre features [Text] / S.V. Nesterova // Bulletin of Tver State University. – Series “Philology”. Issue No. 1, 2012. – No. 4. – P. 271-277.

Zatulo, S.V. Strong positions of the cycle “Poor Relatives” by L. Ulitskaya [Text] / S.V. Zatulo // Bulletin of Tver State University. – Series “Philology”. Issue No. 6, 2010. – No. 31. –
pp. 71–75.
Zatulo, S.V. Exclamatory and interrogative constructions in the titles of stories by A.P. Chekhov [Text] / S.V. Zatulo // A.P. Chekhov and world culture: a view from the 21st century: Abstracts of reports of the international scientific conference (Moscow, January 29 – February 2, 2010). M.: Publishing house Mosk. Univ., 2010. – pp. 43–44.
Zatulo, S.V. Features of the titles of epic prose cycles by L. Ulitskaya [Text] / S.V. Zatulo // Young science at a classical university: abstracts of reports of the scientific conference of the festival of students, graduate students and young scientists. Ivanovo, April 25–29, 2011: Ivan. state University, 2011. Part 2. – pp. 163–164.
Zatulo, S.V. Intonation titles in the epic of A.P. Chekhov [Text] / S.V. Zatulo // Chekhov readings in Tver: collection. scientific works – Tver: Tver. state University, 2012. – Issue 5. – P. 68–72.

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4 Darwin, M.N., Tyupa, V.I. Cyclization in Pushkin’s works: Experience in studying the poetics of convergent consciousness [Text] / M.N. Darwin, V.I. Tyupa. – Novosibirsk: Nauka, 2001. – 293 p.; Lyapina, L.E. Cyclization in Russian literature of the 19th century [Text] / L. E. Lyapina. – St. Petersburg: Research Institute of Chemistry of St. Petersburg State University, 1999. – 279 p.

5 Afonina, E.Yu. Poetics of the author's prose cycle [Text]: dis. ...cand. Philol. Sci. 10.01.08 / E.Yu. Afonina. – Tver, 2005. – 166 p.; Egorova, O. G. The problem of cyclization in Russian prose of the first half of the 20th century [Text]: dis. ...Dr. Phil. Sciences: 10.01.01. / O.G. Egorova. – Astrakhan, 2004. – 529 p.; Vorontsova-Maralina, A. A. Prose of Sergei Dovlatov: poetics of the cycle [Text]: dis. ...cand. Philol. Sciences: 10.01.01 / A.A. Vorontsova-Maralina. – M., 2004. – 196 p.; Rovenko, N.V. Veniamin Kaverin’s fairy tale cycle “The Night Watchman, or Seven Entertaining Stories Told in the City of Nemukhin in the Unknown Year of Nineteen Hundred”: Problematics and Poetics [Text]: dis. ...cand. Phil. Sciences: 10.01.01 / N.V. Rovenko. – Petrozavodsk, 2007. – 237 p.; Ryzhova, N.A. A cycle of works by A.M. Remizov about St. Nicholas the Pleasant (“Nicholas’ Parables”, “Three Sickles”): questions of the history of the text [Text]: dis. ...cand. phil.kh. sciences: 10.01.01 / N.A. Ryzhova. – Petrozavodsk, 2005. – 207 p. and etc.

6 See: Egorova, O. G. The problem of cyclization in Russian prose of the first half of the 20th century [Text]: dis. ...Dr. Phil. Sciences: 10.01.01. / O.G. Egorova. – Astrakhan, 2004. – 529 p.; Pottosina, V. G. Synthesis of arts in the theory and early work of Andrei Bely: The “Symphony” cycle [Text]: dis. ...cand. Phil. Sciences: 10.01.01 / V.G. Pottosina. – M., 2001. – 181 p.; Nosovets, S. G. Vladimir Nabokov’s color picture of the world in the cognitive-pragmatic aspect: The cycle of stories “Spring in Fialta” [Text]: dis. ... can. Phil. Sciences: 10.02.01 / S.G. Nosovets. – Omsk, 2002. – 249 p.

7 Companion, A. Demon of theory / A. Companion. – M.: Sabashnikov Publishing House, 2001. – P.184.

8 Theory literary genres[Text]: textbook / Ed. N.D. Tamarchenko. – M.: Publishing Center “Academy”, 2011. – P. 3.

9 Bakhtin, M.M. Problems of Dostoevsky's poetics [Text] / M.M. Bakhtin. – M.: Soviet writer, 1963. – P. 142.

10 Chernets, L.V. Literary genres (problems of typology and poetics) [Text] / L.V. Chernets. – M.: Publishing house Mosk. University, 1982.– P. 15.

11 See: Lyapina, L.E. Cyclization in Russian literature of the 19th century [Text] / L. E. Lyapina. – St. Petersburg: Research Institute of Chemistry of St. Petersburg State University, 1999. – 279 p.

12 Panchenko, P. V. Cyclization as a technique for creating artistic unity in the book of stories by V. Shalamov “Left Bank” [Text]: dis. ...cand. Phil. Sciences: 10.01.01 / P.V. Panchenko. – Astrakhan, 2009. – P. 11.

13 The use of the concept of “internal structure” is due to the montage composition of the author’s prose cycle, which assumes that the independent texts that make up the cycle interact with each other and these relationships form a “super-meaning”, and elements can interact at different levels. The relationships between the stories create a new structure for the text. F. Ingram, analyzing the cycles of the 20th century, identified two levels of cycle structure: static and dynamic, otherwise: internal - outher form - and external - inner form - forms (See: Ingram, Forrest L. Representative Short Story Cycles of the Twentieth Century Studies in a Literary Genre / Forrest L. Ingram. - The Hague: Mouton. 1971. - R. 220). And J. Barth built models according to the levels of narration in early cycles, such as “The Arabian Nights” (Barth, J. Stories within stories within stories [Electronic resource] / Per. V. Lapitsky. Access mode: http://kogni.narod.ru/barth.htm#_ftn1). Yu. Tynyanov wrote that the unity of a work is not a closed symmetrical integrity, but an unfolding dynamic integrity, which we analyze as an “internal structure.”

14 Lundn, Rolf. The united stories of America: studies in the short story composite [Аn electronic resource] / Rolf Lunden. – Amsterdam – Atlanta, GA, Rodopi 1999. – 208 p. Access mode: http://books.google.ru/books?id=2QNJqAkWvpkC&printsec =frontcover&dq=Lund%C3%A9n,+Rolf+%281999%29.+The+United+Stories+of+America:+Studies+in+the+Short +Story+Composite.&hl=ru&sa=X&ei=rNVmT9u0HO3c4QSnka2VCA&ved=0CDMQ6AEwAA#v=onepage&q&f=false

15 Lundn, Rolf. The united stories of America: studies in the short story composite [Аn electronic resource] / Rolf Lunden. – Amsterdam – Atlanta, GA, Rodopi 1999. – 208 p. Access mode: http://books.google.ru/books?id=2QNJqAkWvpkC&printse c=frontcover&dq=Lund%C3%A9n,+Rolf+%281999%29.+The+United+Stories+of+America:+Studies+in+the+ Short+Story+Composite.&hl=ru&sa=X&ei=rNVmT9u0HO3c4QSnka2VCA&ved=0CDMQ6AEwAA#v=onepage&q&f=false

16 The concept of “open structure” characterizes the text from the point of view of the principle of its text construction and we do not correlate it with the concept of “open text”, which was introduced by Umberto Eco. Under " in clear text“Eco means “extreme and most provocative cases of use (for aesthetic purposes) of the principle that underlies both the generation and interpretation of any texts,” this is the principle of perception of the text, when the reader acts as “an active principle of interpretation ... part of the very process of generating the text” (Eco, U. The role of the reader. Studies on the semiotics of text / Translated from English and Italian by S.D. Serebryany. - St. Petersburg: "Symposium", 2007. - P. 14.

17 Broitman, S.N. Historical poetics[Text] /S.N. Broitman // Theory of literature: in 2.t. T. 2. – M.: Academia, 2004. – P. 172.

18 Ingram, Forrest L. Representative Short Story Cycles of the Twentieth Century. Studies in a Literary Genre / Forrest L. Ingram. – The Hague: Mouton. 1971. – P. 220.

19 Degtyarenko, K.A. Language techniques of the comic in the book of stories by Y. Buida “The Prussian Bride”. [Text]: abstract of thesis. ...cand. Philol. Sciences: 10.02.01 / K.A. Degtyarenko. – Kaliningrad, 2009. – P. 5.

20 Buida, Yu. All those who float [Text] / Yu. Buyda. – M.: Eksmo, 2011. – 704 p.

22 Ingram, Forrest L. Representative Short Story Cycles of the Twentieth Century. Studies in a Literary Genre [An electronic resource] / Forrest L. Ingram. – The Hague: Mouton. 1971. – 234 r. Access mode: http://books.google.ru/books?id=f5_4 AkEI2iIC& dq=13.%09Ingram,+Forrest+L.+Representative+Short+Story+Cycles+of+the+Twentieth +Century.+Studies+in+ a+Lilerary+Genre&hl=ru&source=gbs_navlinks _s

23 Buida, Yu. Jungli [Text] / Yu. Buida. – M.: Eksmo, 2010. – P. 58.

25 Ryazanova, E. Fragmentation as the basis of text construction. A. Bely’s novel “The Baptized Chinese” [Text] / E. Ryazanova // Paradigms: collection of works of young scientists. – Tver: Tver. state University, 2000. – P. 29.

27 Schultz, B. Treatise on mannequins, prose, correspondence, essay [Text] / B. Schultz. – SPb.: INAPRESS, 2000. – P. 13.

28 Schultz, B. Treatise on mannequins, prose, correspondence, essay [Text] / B. Schultz. – SPb.: INAPRESS, 2000. – P. 56.

29 Our assumption is confirmed by the fact that on the official Polish website dedicated to the work of B. Schulz, the short stories are numbered in the table of contents, and “Treatise on Mannequins” is one short story there. Thus, there are 13 short stories in total in the cycle. In Russian translations there is no numbering, so the number of short stories increases to 15, which does not correspond to the semantic division of the text.

30 Schultz, B. Treatise on mannequins, prose, correspondence, essay [Text] / B. Schultz. – SPb.: INAPRESS, 2000. – P. 57.

31 See about this: Miroshkin, A. Andrey Gelasimov: “My novel is a reaction to the strengthening of the state” [Electronic resource] // Private correspondent. 2009. June 10. Access mode: http://www.litkarta.ru/dossier/gelasimov-interview-chaskor/dossier_956

Cyclization in prose

Cycle (from Greek - circle) means, as applied to literature, a series of works connected by a common plot and composition characters. The cycle, in one form or another, belongs to both ancient and medieval literature. It is found both in new literature and in Russian folk literature.

The concept of a cycle has not only the value of a guiding idea in research on the origin of such poems as the Illiad, Odyssey - among the Greeks, the Song of Roland - in the West, etc., but also has a general theoretical value - in the study of those visual features, which are determined by the presence of a cyclic connection.

The first meaning of this concept, referring to stories literary genres, is only indirectly involved, like any historical material, in theories artistic word. In its second meaning, the cycle is one of the central theoretical and literary concepts.

First of all, it is necessary to distinguish between the types of cycle into those where cyclization is the result of the subsequent development of already partly given material, and those where cyclization is the implementation of the main compositional plan. The first kind of cyclization is more characteristic of ancient and medieval poetry, the second kind - for works of modern literature.

An example of the first type of cycle is Greek cyclic poetry, consisting of many poems belonging to different authors, which describe the exploits greek gods and heroes. Thus, Proclus’s anthology conveys to us the content of some of them.

The Theogony and Titanomachy tell about the marriage of Uranus to Gaia (Heaven on Earth), the birth of giants and Cyclopes, and the battle between them and the gods, ending with the victory of Zeus. The poems are interconnected by their characters and complement each other in their plot. The same plot and personal connection between the content of the poems is also found among the Germanic and Romanesque peoples.

Such are the poems of the Carolingian cycle, the novels of the Round Table, the tales of the Nibelungs, such is the vast satirical epic Middle Ages "Romance of the Fox". Russian folk epic gives in its epics examples of similar cyclization - around the beloved heroes - Ilya Muromets, Dobrynya Nikitich, around the central figure of the epic work of Vladimir Krasnoe Solnyshko.

Such cyclization is partly the result of a natural process, partly the result of conscious alterations on the part of the performers. Favorable conditions for cyclization it was literary life itself, a way of disseminating poetry with the help of performers - singers and storytellers, mostly traveling.

This feature entailed:

1) the concentration of extensive narrative material in one person, which gave rise to an involuntary desire to unite all heterogeneous material with a common plot or personal connection,
2) the desire to adapt the narrative to the interests of different localities, as a result of which the material was confined not to local, regional heroes, but to national heroes. In the Russian epic epic, the cyclization of epics could also be facilitated by the presence of the so-called “ common places(see article on epics), the transfer of which from one epic to another could be accompanied by the transfer of entire episodes adjacent to them. literature cyclization prose

The subsequent growth of cyclical material around favorite characters is explained by the desire to associate a new narrative with an already known person in order to thereby evoke more attention and more sympathy. Thanks to the presence of extensive cycles, their favorite heroes acquire a sort of semi-real existence, becoming old acquaintances, even if a given individual episode is perceived for the first time.

The artistic effect of such appeals to the past literary experience of the listener or reader finds an analogy in lyric poetry, where the poet often names familiar literary characters, thereby evoking in the “memory of the heart” a wave of aesthetic emotions associated with the named name. (See this in the article under the word “name”).

New literature provides examples of the cycle both in the field of artistic prose and in the field of poetry, in the field of scientific and literary criticism. However, only when applied to artistic prose does this concept have some clarity; when applied to other areas, it is often indiscriminately used instead of the words “collection of articles,” “book of poetry,” etc.

A clearly expressed cyclic structure is given by E. Zola in his series “Rugon-Macars”, and in our days by Romain Rolland in “Jean Christophe”. The cyclization of material both here and there contributed to a more dissected fulfillment of the author’s main task: for Zola, it facilitated the resolution of the central question of heredity - as applied to individuals; connected by ties of kinship, for Romain Rolland helped to illuminate individual stages in the history of the creative personality of Jean Christophe.

In addition, the cyclical construction again contributed - both here and there - to a more coherent arrangement of plot material, too extensive for one plot center.

Cyclization is the combination of several independent works into a special integral unity. Cycles can be found in literature at all stages of its development (in antiquity - cyclic poems, in the Renaissance - “The Canterbury Tales”, 1380s, G. Chaucer, “The Decameron”, 1350-53, G. Boccaccio; during romanticism - “Jewish Melodies”, 1815, J. Byron). Yandex.Direct Training "How to write a bestseller?" New Year's sale of group participation. From the author of two bestselling books. artcoach.biz Ad hidden. The first Russian cyclical formations were folklore cycles (epics). The cycles “Imitations of the Koran”, 1824 (lyrical), “Belkin’s Tales”, 1830 (epic) and “Little Tragedies”, 1830 (dramatic), were created by A.S. Pushkin. The development of cyclization is indicated by the end of the 19th - beginning of the 20th century, especially in the works of symbolist poets (“Poems about the Beautiful Lady”, 1901-02, A.A. Blok); in the 20th century, the role of cycles in poetry remains (A.A. Akhmatova. Requiem. 1935-40; I.A. Brodsky. Part of speech, 1975-76), prose (A.N. Tolstoy. Walking through torment, 1922-41 ), dramaturgy (M.F. Shatrov’s cycle about Lenin: “The Sixth of July,” post. 1964; “The Thirtieth of August. Bolsheviks,” 1968; “Blue Horses on Red Grass,” 1978).

According to the degree of author's participation, cycles are divided into author's and non-author's: the first includes cycles, the composition and sequence of works in which is determined by the author, the second - cycles collected together by editors (“Evening Lights”, 1883-91, A.A. Feta, compiled with the participation of Vs.S. Solovyov) or researchers (“Denisevsky cycle” F.I. Tyutchev)

Separate cycles of poems can form a cycle poem - i.e. a series of poetic works published in a certain sequence and united by a lyrical hero (whose image can evolve throughout the poem cycle), motive, theme, image.

A cycle poem is characterized by the presence of a title that unites all parts (the parts may have separate headings, between which a certain relationship can be traced), artistic techniques and vocabulary that are repeated from text to text (“point words” in A. A. Blok’s cycles), and strings or parts of strings; metrical generality or a certain logic in the change in metric from work to work, a general epigraph, a short preface, numbering of poems. Poems included in a cycle poem retain their independence and can be published separately.

Author's adaptations of the cycle poem are possible, incl. inclusion and exclusion individual parts. The emergence of the cycle poem in Russian literature dates back to the turn of the 19th and 20th centuries: the subtitle “poems” was given to K.D. Balmont’s poetic cycles “Dead Ships” (1895), “Airy White” (1898). These facts were comprehended by domestic literary criticism only in the 1960s (L.K. Dolgopolov)

In the 20th century, the prose cycle underwent significant changes. Its development occurs in two opposite directions. In both cases, the cycle loses its formal method of connecting stories - framing, and later the frame. all stories are characterized by a common protagonist, "I". Even if the stories are not located in plot sequence, they create a single plot with one hero. The trends we noted in the development of the prose cycle began to develop simultaneously and continue to coexist. Both of these directions are discussed in the paragraphs “Cycle-collection” and “Cycle-novel”.

Cycle-collection” analyzes such combinations of stories that do not formally differ from any other collections of texts; them, in the terminology of L.E. Lyapina and V.I. Tyups can be called an “ensemble”. Such a cycle has no frame, and its genre is determined only by the author’s designation. The first collection cycle in Russian literature is “Notes of a Hunter” by I.S. Turgenev. Combining the essays into a cycle, I.S. Turgenev does not create a frame - a formal “brace” of the text.

The main cycle-forming connection is the image of the narrator-hunter and the motif of the “path”. The framing function is taken over by the title, represented by the phrase “substantive type, where the defining word, referring to each of the passages that make up the cycle, unites them inside general concept" Proposed by I.S. Turgenev's cycle form without a frame turned out to be popular. It is the interest in “Notes of a Hunter” that Forest Ingram calls one of the reasons for the flourishing of the cycle genre in the 20th century.

Collection cycles with “end-to-end” characters” - the structure of which is less open, since a formal connection is formed between the texts within the cycle: the stories are held together by common characters. Of course, there are “through” characters in both a structured cycle and a cycle with a frame, but in the previously described forms of the cycle they were not the main “brace” of the text.

These villages and main characters are listed in the story "Law of the Jungle". All the characters (except for the district police officer Semyon Semenovich Dyshlo and Doctor Zherekh) are called by nicknames: Stop, Crocodile Gena, Klims, Pink Po, Jester Newton, etc. The plots of the stories do not build a chronological sequence of events, and there is no single principle for the appearance of this or that character in the subsequent segment. The characters are connected either by kinship or by place of residence/work.

Lyudmila Ulitskaya has the same principle of the appearance of “cross-cutting characters”. A more complex structure is represented by L. Ulitskaya’s cycle “Our Tsar’s People”. This book consists of several cycles, created separately: the cycle of the same name “Our Tsar’s People”, “The Secret of Blood”, “They Lived Long...”, “Road Angel”. Separately, the cycles are collection cycles without “cross-cutting characters.” The cycles are also not formally connected to each other. The cycle-forming element is the general epigraph, the author’s introduction and the text called “The Last” - a kind of cycle within a cycle - short thoughts/anecdotes. Moreover, connecting the cycles into a single context, Ulitskaya defines the genre of the work as “novel”. Although L. Ulitskaya’s attempt to bring the cycle to one of the genre forms of epic has already been encountered before: the cycle “Through Line” is called by the author a “story”.

Therefore, many heroes of previously written stories received new biographies and names connecting them with the family. According to the author's plan, the structure of "Come Down, Moses" was supposed to repeat the one that Faulkner had already used in the novel "The Undefeated."

However, the writer was unable to combine already written unrelated stories into a novel. When the series was first published in 1942, the subtitle “and other stories” was added, but in subsequent editions, at Faulkner’s insistence, it was removed, which consolidated the composition and sequence of stories in the cycle.

The cycles of stories by I.G. are structured in the same way. Ehrenburg “Thirteen Pipes”, “Cavalry” by I. Babel, “Stories of Nazar Ilyich Mr. Sinebryukhov” by M. Zoshchenko, “Kolyma Stories” by V. Shalamov, “Through Line” by L. Ulitskaya, “Sin” by Z. Prilepin, “Mishaherizade” M. Weller. In foreign literature, an example of a cycle-novel can be considered “Cinnamon Shops” and “Sanatorium under Klepsydra” by the Polish writer B. Schulz.

The disruption of connections occurs due to a change in the logical sequence of text units (Cortazar “Hopscotch”) or due to the fact that in these text units the elements connecting them with adjacent units are omitted (Andrei Bely “The Baptized Chinese”).”

In the classical or fragmented type of narration, elements (units) of the text are not independent works, they are fragments of the text as a whole. “The fragment, being an independent work, retains traditional markers of integrity, while demonstrating isolation into a certain, usually non-existent context, which is realized in the formal weakening of the boundaries of the test.” A cycle of stories is characterized by the fact that it consists of independent, complete texts that have a beginning, middle and end. The elements of the cycle cannot be fragments; they are characterized by “completeness and exhaustion of the plot.” Without pretending to create a complete picture of the relationship between the cycle and the novel, we identify a circle of texts that are a cycle in structure, and we justify this selection.

The title sets a time reference, a starting point for the narrative. August is the time of “white from the heat, stunning summer days”, a fertile time. The novella consists of three parts: in the first part, the time of August is depicted using past tense verbs; August is presented here as part of the year, as an element of cyclical time, constantly repeating. The second part of the story depicts the events of a specific August; syntactically this element is formalized using verbs in the present tense.

The third part combines past time, constantly repeating, with concrete time: on this August, supposedly no different from Augusts of other years, the narrator meets his cousin Emil. The events of most subsequent short stories are arranged in the same time sequence: against the background of familiar, repeating events, an original, unique, isolated event develops.

Thus, the time of the cycle begins in August and ends in August, but in a month prolonged, as if in the thirteenth, fictitious month: “What we will talk about here happened in the thirteenth month, a supernumerary and seemingly unreal month.” Considering that the three short stories have the same title - “Treatise on Mannequins” - they can be considered as a cycle within a cycle.

The first subtitle “Second Genesis” makes it possible to perceive these three short stories as a single text, the second and third subtitles - “Continuation” and “Conclusion” - indicate the integrity of this trilogy. The time of the “Cinnamon Shops” turns out to be cyclical, and, accordingly, mythological. The entire cycle is a story about one year in the life of Joseph's family, about a year that stretches for another - a fictitious month. This is “the novel of the year, this is a huge crumbling calendar book,” a book crumbling into separate short stories. Thus, the cross-cutting motif of time and the number of chapters become another cycle-forming element of the text.

Despite the fact that the prose cycle was novelized in the 20th century, it continues to retain its genre characteristics, and sometimes enters into inter-genre relationships. The connection between the cycle and the novel in the work of one author became the object of analysis in the sixth paragraph - “Inter-genre interactions between the cycle and the novel.”

After the creation of a single text of the novel, the cycle and the stories were no longer published separately, because they ceased to exist as independent works; they turned out to be only “sketches” of the novel. But in modern literature there are examples when both a cycle of stories and a novel coexist in the work of the same writer, remaining independent texts. A variant of such cross-genre unity is represented by the work of Yuri Trifonov, namely the cycle “Under the Sun” and the novel “Quenching Thirst”.

In 1963, Trifonov’s novel “Quenching Thirst” was published. The novel is characterized by the same chronotope, the same problematic (the contrast between past and present time, the confrontation between the city and the desert), and the same types of characters as the cycle. The novel thus becomes a continuation of part of the stories in the cycle. The stories and the questions posed in them are gathered around a single “core” - the construction of the canal. Not all images and characters are repeated in the novel, so the cycle continues to exist as an independent work. Accordingly, Trifonov’s cycle “Under the Sun,” which appeared earlier, determined both the problems and types of characters in the novel “Quenching Thirst.” Both genres ultimately represent an artistic unity, complementary but independent texts.

The main character of the novel, Ida Zmoiro, does not appear as a character in the cycle, but her story, in fact, is another plot of the Jungle. However, this type of hero is so different from the characters in the cycle that it could only fit into a novel. Thus, Yuri Buida’s novel does not develop a cycle, as in the work of Yu. Trifonov, but, on the contrary, turns out to be part of it. The cycle and the novel form not just a unity, but rather a synthesis in which the novel can be considered as an element of the cycle, which does not contradict the characteristics of the cycle as a super-genre formation.

Three of the four stories form a minicycle, the main character of which is Mitka Mikhailov, Petka’s father. In the novel, Mitka turns out to be a mysterious and even mythical figure: no one wanted to tell Petka anything about him, and no one knew most of the events of Mitka’s life. The cycle, thus, introduces its own storyline, which ends precisely in the novel: the “Epilogue” briefly describes the last years and the death of Mitka.

Literature

1. Literary Encyclopedia- V.M. Fritsche., 1929-1939. SIE - A.P. Gorkina., SLT-M. Petrovsky
2. Lyapina, L. The problem of the integrity of the lyrical cycle / L. Lyapina // The integrity of a work of art and the problems of its analysis in the school and university study of literature. - Donetsk: 1977.
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6. Darwin, M.N. Artistic cyclization of lyrical works. - Kemerovo: 1997.
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