Early works of V. M

Unflagging interest in the prose of V.M. Garshina indicates that this area of ​​research remains very relevant for modern science. And although scientists are much more often attracted by the work of writers of the “older” generation (I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy, etc.), the prose of Garshin, a master of psychological storytelling, also rightfully enjoys the attention of literary scholars and critics .

The writer’s work is an object of study from the perspective of different directions and literary schools. However, in this research diversity, three main approaches stand out, each of which brings together a whole group of scientists.

The first group should include researchers who consider Garshin’s work in the context of his biography. Characterizing the prose writer's writing style in general, they analyze his works in chronological order, correlating certain “shifts” in poetics with the stages of his creative path. In studies of the second direction, Garshin’s work is covered mainly in a comparative aspect. The third group consists of the works of those researchers who focused their attention on the study of individual elements of the poetics of Garshin prose.

The first (“biographical”) approach to Garshin’s work is represented by the works of G.A. Byalogo, N.Z. Belyaeva, A.N. Latynina and others. The biographical studies of these authors describe Garshin’s life and literary activities as a whole. So, N.Z. Belyaev in the book “Garshin” (1938), characterizing the writer as a master of the short story genre, notes the “rare literary conscientiousness” with which Garshin “worked on his works, polishing every word.” The prose writer, according to the researcher, “considered this task to be the most important task of the writer.” Following it, he “threw out” heaps of waste paper from his stories, removed “all the ballast, everything superfluous that could interfere with reading the work and perceiving it.” Paying increased attention to the connections between Garshin’s biography and creativity, N.Z. Belyaev, at the same time, believes that one cannot equate literary activity with a writer’s mental illness. According to the author of the book, the “gloominess” of some of Garshin’s works is most likely a consequence of his sensitivity towards manifestations of evil and violence in society.

The author of another biographical study is G.A. Byaly (“Vsevolod Mikhailovich Garshin”, 1969) focuses on understanding the socio-political conditions that determined the nature of creativity and the personal fate of the prose writer, notes the influence of the Turgenev and Tolstoy traditions on the literary activity of the writer. The scientist especially emphasizes the social orientation and psychologism of Garshin’s prose. In his opinion, the writer’s creative task “was to combine the image of the inner world of people who acutely feel personal responsibility for the untruths prevailing in society with broad pictures of everyday life in the ‘big outside world’.” G.A. Byaly analyzes not only prose, but also Garshin’s articles on painting, which are fundamental for understanding the writer’s aesthetic views, as well as for studying his works related to the theme of art (stories “Artists”, “Nadezhda Nikolaevna”).

Written in the mid-1980s, the book by A.N. Latynina (1986), is a synthesis of biography and analysis of the writer’s work. This is a thorough work, containing a huge number of references to various studies. A.N. Latynina largely abandons the social accents characteristic of the works of earlier biographers and approaches Garshin’s work primarily from a psychological point of view. The researcher explains the peculiarities of the writer’s creative style by the uniqueness of his mental organization, which, in her opinion, determined both the strengths and weaknesses of Garshin’s literary talent. “This amazing ability to reflect someone else’s pain,” says A.N. Latynin is the source of that genuine sincerity that gives such sad charm to Garshin’s prose, but here is also the source of the limitations of his writing gift. Tears prevent him from looking at the world from the outside (which an artist should be able to do); he is unable to understand people of an organization other than his own, and even if he makes such attempts, they fail. Only one hero seems impeccably alive in Garshin’s prose - a person close to his own mental make-up.”

Among the comparative studies that offer attention. reader's comparison of Garshin's works with the work of any of his predecessors, one should first of all mention the article by N.V. Kozhukhovskaya “Tolstoy’s tradition in the military stories of V.M. Garshin" (1992). The researcher, in particular, notes that in the minds of Garshin’s characters (as well as in the minds of L.N. Tolstoy’s heroes) there is no “defensive psychological reaction” that would allow them not to be tormented by feelings of guilt and personal responsibility.

Works in Garshin studies of the second half of the 20th century are devoted to a comparison of the works of Garshin and F.M. Dostoevsky. Among them is an article by F.I. Evnina “F.M. Dostoevsky and V.M. Garshin" (1962), as well as the candidate's dissertation of G.A. Skleinis “Typology of characters in the novel by F.M. Dostoevsky's "The Brothers Karamazov" and in the stories of V.M. Garshin 80s." (1992) The authors of these works note the influence of Dostoevsky on the ideological and thematic orientation of Garshin’s stories, and emphasize the similarities in the construction of plots and in the characterology of the prose of both authors. F.I. Evnin, in particular, points to “elements of ideological closeness” in the works of writers, including “tragic perception of the environment, increased interest in the world of human suffering,” etc. . The literary critic identifies in the prose of Garshin and F.M. Dostoevsky signs of increased stylistic expressiveness, explaining them by the commonality of the psychological sphere depicted by the writers: and F.M. Dostoevsky and Garshin, as a rule, show the life of the subconscious in a situation “at the last line,” when the hero plunges into his inner world in order to understand himself “on the brink.” As Garshin himself pointed out, “The Incident” is “something from Dostoevsky. It turns out that I am inclined and capable of developing his (D.) path.”

Garshin's prose is also compared by some researchers with the work of I.S. Turgenev and N.V. Gogol. Thus, A. Zemlyakovskaya (1968) in the article “Turgenev and Garshin” notes a number of common features in the works of Garshin and I.S. Turgenev (type of hero, style, genres - including the genre of prose poems). According to A.A. Bezrukov (1988), N.V. Gogol also had an aesthetic and moral influence on the writer: “Gogol’s faith in the highest social purpose of literature, his passionate desire to help the revival of the human personality<.>- all this activated Garshin’s creative thought, contributed to the formation of his “humanistic views, fueled the optimism of “The Red Flower” and “Signal.” Following N.V. Gogol, the researcher believes, Garshin “spiritualizes” art, speaking out against the pursuit of external artistic He, like the author of “Dead Souls,” relies in his work on the effect of moral shock, believing that an emotional shake-up will give impetus to the “reorganization” of the people themselves and the whole world.

The third group of literary scholars and critics writing about Garshin includes, as already noted, authors who have chosen as their subject the analysis of individual elements of the writer’s poetics. The “initiator” of this direction can be considered N.K. Mikhailovsky, who in the article “About Vsevolod Garshin "(1885) gave an interesting "report" on the writer's prose. Despite the ironic style, the article contains many subtle observations on the names of the characters, the narrative form of Garshin's works and the plot structure of his stories. N. K. Mikhailovsky notes the writer's individual approach to military topics.

Psychologism and storytelling in Garshin’s works have been studied by few researchers. Also V.G. Korolenko, in an essay dedicated to Garshin’s work, points out: “Garshin’s time is still far from history. And in Garshin’s works, the main motifs of this time acquired that artistic and psychological completeness that ensures their long existence in literature.” V.G. Korolenko believes that the writer reflects the characteristic moods of his time.

In 1894 Yu.N saw a certain subjectivity in Garshin’s prose. Govorukha-Youth, who noted “Garshin and reflected in his works the feelings and thoughts of his generation - sad, sick and powerless.<.>There is truth in Garshin's works, but not the whole truth, much except the truth. The truth of these works lies only in their sincerity: Garshin presents the matter as it appears to him in the depths of his soul.” .

In the first half of the 20th century (since 1925), interest in the study of the writer’s life and work increased. Particular attention should be paid to Yu.G. Oksman, who did a great job in publishing the writer’s unpublished works and letters. The researcher gives detailed comments and notes on Garshin's letters. Studying archival materials, Yu.G. Oksman reflects in detail the political and social life of the 70-80s of the 19th century. Separately, the scientist stipulates the sources of publications, storage locations for autographs and copies, and provides basic bibliographic information about the recipients.

In the first half of the 20th century. Several articles were published devoted to the study of Garshin’s life creativity. P.F. speaks about the deep introspection of the writer’s hero, the dissection of his inner world. Yakubovich (1910): “Scourging “man,” exposing our inner abomination, the weakness of our best aspirations, Mr. Garshin, with particular detail, with the strange love of a patient for his pain, dwells on the most terrible crime lying on the conscience of modern humanity, war ".

This is how V.N. writes about the influence of content on form. Arkhangelsky (1929), defining the form of the writer’s works as a short psychological story. The researcher focuses on the psychological appearance of the hero, who “is characterized by extreme nervous imbalance with its external manifestations: sensitivity, melancholy, awareness of his powerlessness and loneliness, a tendency to introspection and fragmentary thinking.”

C.B. Shuvalov in his work (1931) retains interest in Garshin’s suffering personality and speaks of the writer’s desire to “reveal a person’s experiences, “tell his soul,” i.e. [interest] determines the psychologism of creativity.” .

Of particular interest to us is the dissertation research of V.I. Shubin “Mastery of psychological analysis in the works of V.M. Garshin" (1980). In our observations, we relied on his conclusions that the distinctive feature of the writer’s stories is “. internal energy, requiring short and lively expression, psychological richness of the image and the entire narrative.<.>The moral and social issues that permeate all of Garshin’s work have found their bright and deep expression in the method of psychological analysis, based on understanding the value of the human personality, the moral principle in a person’s life and his social behavior.” In addition, we took into account the research results of the third chapter of the work “Forms and means of psychological analysis in the stories of V.M. Garshin”, in which V.I. Shubin identifies five forms of psychological analysis: internal monologue, dialogue, dreams, portrait and landscape. While supporting the researcher’s conclusions, we note that we consider portraits and landscapes in a broader functional range, from the point of view of the poetics of psychologism.

Various aspects of the poetics of Garshin’s prose have already been analyzed in our days by the authors of the collective study “Poetics of V.M. Garshin" (1990) Yu.G. Miliukov, P. Henry and others. The book touches, in particular, on the problems of theme and form (including types of narration and types of lyricism), images of the hero and the “counter-hero”, examines the impressionistic style of the writer and the “artistic mythology” of individual works, and raises the question of the principles of studying Garshin’s unfinished stories ( reconstruction problem). Researchers state the general direction of the genre evolution of Garshin the prose writer: from a social and everyday essay to a moral and philosophical parable; emphasize the importance of the “diary entries” technique and the “hero - counter-hero” plot scheme, which, in their opinion, is not a simple imitation of the “two worlds” of the romantics. The study rightly emphasizes the importance of the story “The Red Flower”, in which the writer managed to achieve an organic synthesis of impressionistic writing techniques and an objective (in the spirit of realism) reproduction of the spiritual makeup of the Russian intelligentsia of the 1870s - 80s. In general, the book makes an important contribution to the study of Garshin’s prose, however, significant elements of poetics are still analyzed in it not comprehensively, but separately, selectively - without indicating their common connection in the unity of the creative manner of the author being studied.

Separately, we should dwell on the three-volume collection “Vsevolod Garshin at the turn of the century,” which presents research by scientists from different countries (Bulgaria, Great Britain, Germany, Russia, Ukraine, etc.). The authors of the collection develop various aspects of poetics (S.N. Kaidash-Lakshina “The image of a “fallen woman” in the work of Garshin”, E.M. Sventsitskaya “The concept of personality and conscience in the work of Vs. Garshin”, Yu.B. Orlitsky “Poems in prose in the works of V. M. Garshin”, etc.). Foreign researchers introduce us to the problems of translating the writer’s prose into English (M. Dewhirst

Three Translations of Garshin's Story "Three Red Flowers" and others). V. Kostrica in the article “The reception of Vsevolod Garshin in Czechoslovakia” notes that the writer’s works during his lifetime (since 1883) were published in twenty different translations, Garshin's prose especially attracted Czech publishers for the volume of stories and their genre character.The collection “Vsevolod Garshin at the turn of the century” deserves special attention from scientists studying the literary activity of the writer.

As we can see, the problems of the poetics of Garshin’s prose occupy an important place in studies devoted to the work of this writer. At the same time, most of the research is still of a private, episodic nature. Some aspects of Garshin's prose poetics (including narrative poetics and the poetics of psychologism) remain almost unexplored. In those works that come close to these problems, we are talking more about posing the question than about solving it, which in itself is an incentive for further comprehensive research in this direction. In this regard, it can be considered relevant to identify the forms of psychological analysis and the main components of narrative poetics, which allows us to closely approach the problem of the structural combination of psychologism and narration in Garshin’s prose.

The scientific novelty of the work is determined by the fact that for the first time a consistent consideration of the poetics of psychologism and narration in Garshin’s prose, which is the most characteristic feature of the writer’s prose, is offered. A systematic approach to the study of Garshin's creativity is presented. The supporting categories in the poetics of the writer’s psychologism are identified (confession, “close-up”, portrait, landscape, setting). Such narrative forms in Garshin's prose are defined as description, narration, reasoning, someone else's speech (direct, indirect, improperly direct), points of view, categories of narrator and storyteller.

The subject of the study is eighteen stories by Garshin.

The purpose of the dissertation research is to identify and analytically describe the main artistic forms of psychological analysis in Garshin’s prose and systematically study its narrative poetics. The research priority is to demonstrate how the connection is made between forms of psychological analysis and narration in the writer’s prose works.

In accordance with the goal, specific research objectives are determined:

1. consider the confession in the poetics of the author’s psychologism;

2. determine the functions of the “close-up”, portrait, landscape, setting in the poetics of the writer’s psychologism;

3. study the poetics of narration in the writer’s works, identify the artistic function of all narrative forms;

4. identify the functions of “someone else’s word” and “point of view” in Garshin’s narrative;

5. describe the functions of the narrator and narrator in the writer’s prose.

The methodological and theoretical basis of the dissertation is the literary works of A.P. Auera, M.M. Bakhtina, Yu.B. Boreva, L.Ya. Ginzburg, A.B. Esina, A.B. Krinitsyna, Yu.M. Lotman, Yu.V. Manna, A.P. Skaftymova, N.D. Tamarchenko, B.V. Tomashevsky,

M.S. Uvarova, B.A. Uspensky, V.E. Khalizeva, V. Shmida, E.G. Etkind, as well as linguistic research by V.V. Vinogradova, H.A. Kozhevnikova, O A. Nechaeva, G.Ya. Solganika. Based on the works of these scientists and the achievements of modern narratology, a methodology of immanent analysis was developed, which makes it possible to reveal the artistic essence of a literary phenomenon in full accordance with the author’s creative aspiration. The main methodological guideline for us was the “model” of immanent analysis presented in the work of A.P. Skaftymov “Thematic composition of the novel “The Idiot””.

The key concept used in the dissertation is psychologism, which is an important achievement of Russian classical literature and characterizes the individual poetics of the writer. The origins of psychologism can be found in ancient Russian literature. Here we should remember hagiography as a genre (“The Life of Archpriest Avvakum”), where the hagiographer “. created a living image of the hero<.>colored the story with a range of different moods, interrupted it with waves of lyricism - internal and external." It is worth noting that this is one of the first attempts in Russian prose; psychologism as a phenomenon is only outlined here.

The psychological image was further developed at the end of the 18th - beginning of the 19th century. Sentimentalism and romanticism distinguished man from the masses, the crowd. The view of a literary character has changed qualitatively, and a tendency to search for personality and individuality has emerged. Sentimentalists and romantics turned to the sensual sphere of the hero, trying to convey his experiences and emotions (N.M. Karamzin “Poor Liza”, A.N. Radishchev “Journey from St. Petersburg to Moscow”, etc.).

Psychologism as a literary concept manifests itself fully in realism (F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov). Psychological depiction becomes dominant in the work of realist writers. It’s not just the view of a person that changes, the authors have a different approach to revealing the inner world of their heroes, forms, techniques and ways of depicting the inner world of the heroes are revealed.

V.V. Kompaneets notes that “the developed element of psychologism is the key to the artistic knowledge of the inner world, the entire emotional and intellectual sphere of the individual in its complex and multifaceted dependence on the phenomena of the surrounding world.” In the article “Artistic psychologism as a research problem,” he separates the two concepts of “psychologism” and “psychological analysis,” which are not completely synonymous. The concept of psychologism is broader than the concept of psychological analysis and includes a reflection of the author’s psychology in the work. The author of the article emphasizes that the writer does not decide the question: whether there should be psychologism in the work or not. Psychological analysis, in turn, has a number of means aimed at the object. There is already a conscious attitude of the author of the work of art.

In the work “Psychologism of Russian classical literature” A.B. , Esin notes the “special depth” in the artistic exploration of the inner world of man by “psychological writers.” He especially considers F.M. to be such. Dostoevsky, L.N. Tolstoy, since the artistic world of their works is marked by extreme attention to the inner life of the characters, to the process of movement of their thoughts, feelings, sensations. A.B. Esin notes that “it makes sense to talk about psychologism as a special, qualitatively defined phenomenon that characterizes the originality of the style of a given work of art only when a form of direct depiction of the processes of internal life appears in literature, when literature begins to sufficiently fully depict (and not just designate) such mental and mental processes that do not find external expression when, accordingly, new compositional and narrative forms appear in literature that are capable of capturing the hidden phenomena of the inner world quite naturally and adequately.” The researcher claims that psychologism makes external details work to depict the inner world. Objects and events motivate the hero’s state of mind and influence the characteristics of his thinking. A.B. Esin distinguishes psychological description (reproduces a static feeling, mood, but not a thought) and psychological narration (the subject of the image is the dynamics of thoughts, emotions, desires).

However, the depiction of a person and everything connected with him distinguishes any writer of the era of artistic realism. Word artists like I.S. Turgenev, I.A. Goncharov, A.N. Ostrovsky has always been distinguished by his human skills. But they revealed the hero’s inner world in different ways, using different psychological techniques and means.

In the works “Ideas and Forms in the Works of L. Tolstoy” and “On Psychologism in the Works of Stendhal and L. Tolstoy” A.P. Skaftymov we find the concept of psychological drawing. The scientist determines the mental content of the characters in the works of L.N. Tolstoy, noting the writer’s desire to show the inner world of a person in his process as a constant, continuous flow. A.P. Skaftymov notes the characteristic features of L.N.’s psychological drawing. Tolstoy: “cohesion, continuity of external and internal being, the diverse complexity of mutually intersecting psychological lines, the continuous relevance of the mental elements given to the character, in a word, that “dialectic of the soul”, which forms a continuous individual stream of running collisions, contradictions, always caused and complicated by the closest connections of the psyche with the environment of the current moment.”

V.E. Khalizev writes that psychologism is expressed in the work through “individualized reproduction of the characters’ experiences in their interrelation, dynamics and uniqueness.” The researcher talks about two forms of psychological depiction: explicit, open, “demonstrative” psychologism is characteristic of F.M. Dostoevsky, L.N. Tolstoy; implicit, secret, “subtextual” - I.S. Turgenev, A.P. Chekhov. The first form of psychologism is associated with introspection, the character’s internal monologue, as well as with a psychological analysis of the hero’s inner world, which is carried out by the author himself. The second form manifests itself in an implicit indication of certain processes occurring in the character’s soul, with the reader’s perception being indirect.

V.V. Gudonienė considers psychologism as a special quality of literature and the problems of its poetics. In the theoretical part, the researcher analyzes the literary character as a psychological reality (writers’ attention is not to character, but to personality, the universal nature of individuality); interpenetration of forms of psychological writing (interest in portrait description, author’s commentary on the hero’s state of mind, the use of indirect speech, internal monologue), F. Shtanzel’s circle as a set of basic methods of storytelling, means of psychological writing, landscape, dreams and reveries, artistic detail, etc. etc. In the practical part, based on the material of Russian literature (prose and lyrics) V.V. Gudonene applies the developed theory to the texts of I.S. Turgeneva, F.M. Dostoevsky, L.N. Tolstoy, I.A. Bunina, M.I. Tsvetaeva and others. The author of the book emphasizes that psychologism has been actively studied in recent decades; Each literary era has its own forms of psychological analysis; the most studied are portrait, landscape, and internal monologue as means of psychological writing.

In the first chapter we examine forms of psychological analysis: confession, close-up, portrait and landscape. The theoretical basis for studying the concept of confession is the work of A.B. Krinitsyn “Confession of an Underground Man. On the anthropology of F.M. Dostoevsky”, M.S. Uvarov “The Architectonics of the Confessional Word”, in which the characteristic features of the narrator and the peculiarities of the presentation of internal experiences are noted.

E.G. Etkind in his work “The Inner Man and External Speech” speaks of psychopoetics as “an area of ​​philology that examines the relationship between thought and word, and the term “thought” here and below means not only logical inference (from causes to consequences or from consequences to causes), not only the rational process of understanding (from the essence of a phenomenon and back), but also the entire totality of a person’s inner life.” The scientist defines the concept of “inner man,” by which he means “the diversity and complexity of the processes occurring in the soul.” E.G. Etkind demonstrates the relationship between the speech of the heroes and their spiritual world.

Fundamental to the dissertation research (for the first chapter) are the concepts of “close-up” and “immediateity,” the essence of which is revealed in the scientist’s work. Important works in the study of the concept of “close-up” were also the works of Yu.M. Lotman “On Art”, V.E. Khalizeva “Value orientations of Russian classics”.

Psychologism reveals itself fully in realism. Psychological depiction is indeed becoming dominant in the work of many writers. The view of a person changes, the authors take a different approach to depicting the psychology of their heroes, their inner world, identifying and focusing attention on its complexity, inconsistency, perhaps even inexplicability, in a word, depth.

The second main term in the dissertation research is “narration,” which in modern literary criticism is understood quite broadly. The following definitions of “narration” can be found in dictionaries:

Narration, in an epic literary work, the speech of the author, personified storyteller, storyteller, i.e. all text except for the direct speech of the characters. Narration, which is a depiction of actions and events in time, description, reasoning, and indirect speech of the characters, is the main way of constructing an epic work that requires an objective-event reproduction of reality.<.>By consistent development, interaction, and combination of “points of view,” the composition of the narrative is formed.”

Narration is the entire text of an epic literary work, with the exception of direct speech (characters’ voices can be included in the narrative only in the form of various forms, improper direct speech).

Narration - 1) a set of fragments of the text of an epic work (compositional forms of speech), attributed by the author-creator to one of the “secondary” subjects of image and speech (narrator, narrator) and performing “intermediary” (connecting the reader with the world of characters) functions; 2) the process of communication between the narrator or storyteller and the reader, the purposeful unfolding of the “storytelling event”, which is carried out thanks to the reader’s perception of the specified fragments, the text in their sequence organized by the author.”

N.D. Tamarchenko stipulates that in a narrow sense, narration is one of the typical forms of utterance, along with description and characterization. The researcher notes the duality of the concept: on the one hand, it includes special functions: information content, focus on the subject of speech, on the other hand, more general, even compositional, functions, for example, focus on the text. N.D. Tamarchenko talks about the connection between the terminology of Russian literary criticism “with the ‘theory, literature’ of the last century, which in turn relied on the doctrine developed by classical rhetoric about such compositional forms of constructing prose speech as narration, description and reasoning.”

Yu.B. Borev notes two meanings of the concept of narrative: “1) a coherent presentation of real or fictitious events, a work of artistic prose; 2) one of the intonation universals of the narrative." The researcher identifies four forms of conveying artistic information in prose: the first form is a panoramic overview (the presence of an omniscient author); the second form is the presence of a narrator who is not omniscient, a first-person story; the third form is dramatized consciousness, the fourth form is pure drama. Yu.B. Borev mentions the fifth “variable form”, when the narrator either becomes omniscient, then a participant in events, or merges with the hero and his consciousness.

In the second chapter we focus on four narrative forms: types of narration (description, narration, reasoning), “alien speech”, subjects of image and speech (narrator and narrator), point of view. The methodological basis for the study of narrative types was the linguistic work of O.A. Nechaeva “Functional-semantic types of speech (narration, description, reasoning)”, which proposes classifications of description (landscape, portrait, setting, description-characteristic), narration (specific stage, general stage, informational), reasoning (evaluative nominal , with the meaning of a state, with the justification of real or hypothetical actions, with the meaning of necessity, with conditional actions, with a categorical denial or affirmation). The researcher defines the term narrative in the text of a work of art as follows: “a functional-semantic type of speech that expresses a message about developing actions or states and has specific linguistic means for the implementation of this function.”

When studying “other people’s speech,” we focus primarily on the works of M.M. Bakhtin (V.N. Voloshinov) “Marxism and Philosophy of Language” and H.A. Kozhevnikova “Types of narration in Russian literature of the 19th-20th centuries.” , in which researchers identify three main forms for transmitting “alien speech” (direct, indirect, improperly direct) and demonstrate its features using examples from fiction.

Studying the subjects of image and speech in Garshin’s prose, theoretically we rely on the work of H.A. Kozhevnikova “Types of narration in Russian literature of the 19th-20th centuries.” , candidate's dissertation research by A.F. Moldavsky “The Storyteller as a Theoretical and Literary Category (Based on Russian Prose of the 20s of the 20th Century)”, articles by K.N. Atarova, G.A. Lesskis “Semantics and structure of first-person narration in fiction”, “Semantics and structure of third-person narration in fiction”. In these works we find features of the image of the narrator and storyteller in literary texts.

Addressing the problem of studying point of view in literary criticism, the central work in our study is the work of B.A. Uspensky "Poetics of Composition". The literary critic emphasizes: in fiction there is a technique of montage (as in cinema), a plurality of points of view is manifested (as in painting). B.A. Ouspensky believes that there may be a general theory of composition applicable to various types of art. The scientist identifies the following types of points of view: “point of view” in terms of ideology, “point of view” in terms of phraseology, “point of view” in terms of spatio-temporal characteristics, “point of view” in terms of psychology.

In addition, when exploring the concept of point of view, we take into account the experience of Western literary criticism, in particular, the work of V. Schmid “Narratology”, in which the researcher defines the concept of point of view as “a node of conditions formed by external and internal factors that influence the perception and transmission of events.” V. Schmid identifies five planes in which a point of view is manifested: perceptual, ideological, spatial, temporal, linguistic.

The theoretical significance of the work is that, based on the results obtained, it is possible to deepen the scientific understanding of the poetics of psychologism and the structure of the narrative in Garshin’s prose. The conclusions drawn in the work can serve as the basis for further theoretical study of Garshin’s work in modern literary criticism.

The practical significance of the work lies in the fact that its results can be used in developing a course on the history of Russian literature of the 19th century, special courses and special seminars dedicated to Garshin’s work. The dissertation materials can be included in an elective course for humanities classes in a secondary school.

Approbation of work. The main provisions of the dissertation research were presented in scientific reports at conferences: at the X Vinogradov Readings (GOU VPO MSPU. 2007, Moscow); XI Vinogradov Readings (GOU VPO MSPU, 2009, Moscow); X Conference of Young Philologists “Poetics and Comparative Studies” (KGPI, 2007, Kolomna). Five articles were published on the topic of the research, including two in publications included in the list of the Higher Attestation Commission of the Russian Ministry of Education and Science.

The structure of the work is determined by the goals and objectives of the study. The dissertation consists of an Introduction, two chapters, a Conclusion and a list of references. The first chapter examines sequentially

Conclusion

In conclusion, I would like to summarize the results of the study, which only outlined the problem of studying narrative and artistic, psychologism in Garshin’s prose. The writer is of special interest to researchers of Russian literature. As noted in the introduction, the psychologism and narration in Garshin’s stories have been analyzed in the works of few researchers. At the beginning of the dissertation work, the following tasks were set: “to consider confession in the poetics of the author’s psychologism; to determine the functions of a close-up, portrait, landscape, setting in the poetics of the writer’s psychologism; to study the poetics of narration in the writer’s works, to identify the artistic function of all narrative forms; to identify the functions of “ someone else's word" and "point of view" in Garshin's narrative; describe the functions of the narrator and narrator in the writer's prose.

Studying the poetics of psychologism in the writer’s works, we analyze confession, close-up, portrait, landscape, setting. The analysis shows that the elements of confession contribute to deep penetration into the inner world of the hero. It was revealed that in the story “Night” the hero’s confession becomes the main form of psychological analysis. In other prose works of the writer (“Four Days”, “Incident”, “Coward”) it is not given a central place; it becomes only part of the poetics of psychologism, but a very important part, interacting with other forms of psychological analysis.

“Close-up” in Garshin’s prose is presented: a) in the form of “detailed descriptions with comments of an evaluative and analytical nature (“From the memoirs of Private Ivanov”); b) when describing dying people, the reader’s attention is drawn to the inner world, the psychological state of the hero, who is nearby (“Death”, “Coward”); c) in the form of a list of the actions of the heroes performing them at the moment when consciousness is turned off (“Signal”, “Nadezhda Nikolaevna”).

Analyzing portrait and landscape sketches, descriptions of the situation in Garshin’s prose works, we see that they enhance the author’s emotional impact on the reader, visual perception and largely contribute to identifying the internal movements of the heroes’ souls. The landscape is to a greater extent connected with the chronotope, but in the poetics of psychologism it also occupies a fairly strong position due to the fact that in some cases it becomes the “mirror of the soul” of the hero. Garshin’s keen interest in the inner world of man largely determined the image of the surrounding world in his works. As a rule, small landscape fragments woven into the experiences of the characters and the description of events are complicated in his stories by a psychological sound.

It was revealed that the interior (furnishings) performs a psychological function in the stories “Night”, “Nadezhda Nikolaevna”, “Coward”. When depicting an interior, it is common for a writer to concentrate his attention on individual objects and things (“Nadezhda Nikolaevna”, “Coward”). In this case, we can talk about a passing, condensed description of the situation.

In the process of analyzing Garshin's stories, three types of narration are considered: description, narration and reasoning. We argue that description is an important part of Garshin's narrative poetics. The most characteristic in the structure of the description are four “descriptive genres” (O.A. Nechaeva): landscape, portrait, setting, characterization. The description (landscape, portrait, setting) is characterized by the use of a single time plan, the use of the real (indicative) mood, and the use of supporting words that carry the function of enumeration. In a portrait, when describing the external features of the characters, nominal parts of speech (nouns and adjectives) are actively used for expressiveness. In the description-characteristic it is possible to use different tense verb forms (combining the past and present tense), it is also possible to use the surreal mood, in particular the subjunctive (the story “The Batman and the Officer”).

In Garshin's prose, little space is given to descriptions of nature, but nevertheless they are not without narrative functions. Landscape sketches serve more as a background to the story. These patterns are clearly evident in the story “Bears,” which begins with a lengthy description of the area. A landscape sketch precedes the narrative. The description of nature is a listing of the characteristics of the general appearance of the area (river, steppe, shifting sands). These are permanent features that make up a topographic description. In the main part, the depiction of nature in Garshin’s prose is episodic in nature. As a rule, these are short passages consisting of one to three sentences.

In Garshin's stories, the description of the hero's external features undoubtedly helps to show their inner, mental state. The story “The Batman and the Officer” presents one of the most detailed portrait descriptions. It should be noted that most of Garshin’s stories are characterized by a completely different description of the characters’ appearance. The writer focuses the reader's attention rather on the details.

Therefore, it is logical to talk about a compressed, incidental portrait in prose of Garshin. Portrait characteristics are included in the poetics of the narrative. They reflect both permanent and temporary, momentary external features of the heroes.

Separately, it should be said about the description of the hero’s costume as a detail of his portrait. Garshin's suit is both a social and psychological characteristic of a person. The author describes the character’s clothing if he wants to emphasize the fact that his heroes follow the fashion of that time, and this, in turn, speaks about their financial situation, financial capabilities and some character traits. Garshin also deliberately focuses the reader’s attention on the hero’s clothing, if we are talking about an unusual life situation or a costume for a celebration, a special occasion. Such narrative gestures contribute to the fact that the hero’s clothing becomes part of the poetics of the writer’s psychologism.

To describe the situation in Garshin's prose works, the static nature of objects is characteristic. In the story “Meeting,” descriptions of the setting play a key role. Garshin focuses the reader's attention on the material from which things are made. This is significant: Kudryashov surrounds himself with expensive things, which is mentioned several times in the text of the work, so it is important what they were made of. All things in the house, like the entire furnishings, are a reflection of Kudryashov’s philosophical concept of “predation”.

Descriptions and characteristics are found in three of Garshin’s stories “The batman and the officer”, “Nadezhda Nikolaevna”, “Signal”. The characterization of Stebelkov (“The Batman and the Officer”), one of the main characters, includes both biographical information and facts that reveal the essence of his character (passivity, primitiveness, laziness). This monologue characterization is a description with elements of reasoning. Completely different characteristics are given to the main characters of the stories “Signal” and “Nadezhda Nikolaevna” (diary form). Garshin introduces the reader to the biographies of the characters.

Studying the structure of the narrative, we note that the presentation. events in Garshin’s prose can be specific scenic, general scenic and informational. In a concrete stage narration, the dismembered concrete actions of the subjects are reported (we have a kind of scenario before us). The dynamics of the narrative are conveyed through the conjugated forms and semantics of verbs, gerunds, and adverbial formants. To express the sequence of actions, their assignment to one subject of speech is preserved. In a generalized stage narrative, typical, repeating actions in a given scene are reported. environment. The development of action occurs with the help of auxiliary verbs and adverbial phrases. A generalized stage narrative is not intended for dramatization. In information narration, two varieties can be distinguished: the form of retelling and the form of indirect speech (the topics of the message are heard in the passages, there is no specificity, no certainty of actions).

In Garshin's prose works the following types of reasoning are presented: nominal evaluative reasoning, . reasoning to justify actions, reasoning to prescribe or describe actions, reasoning with the meaning of affirmation or negation. The first three types of reasoning are correlated with the inferential sentence scheme (“The orderly and the officer”, “Nadezhda Nikolaevna”, “Meeting”). For nominal evaluative reasoning, it is typical to give an assessment to the subject of speech in the conclusion; the predicate in the inferential sentence, represented by a noun, realizes various semantic and evaluative characteristics (superiority, irony, etc.) - It is with the help of reasoning that the characteristic of an action is given for the purpose of justification (“Nadezhda Nikolaevna”). Reasoning for the purpose of prescription or description substantiates the prescription of actions (in the presence of words with prescriptive modality - with the meaning of necessity, obligation) (“Night”). Reasoning with the meaning of affirmation or negation is reasoning in the form of a rhetorical question or exclamation (“Coward”).

Analyzing Garshin’s prose, we determine the functions of “someone else’s word” and “point of view” in the author’s works. Research shows that direct speech in a writer’s texts can belong to both a living being (human) and inanimate objects (plants). In Garshin's prose works, the internal monologue is structured as a character's address to himself. For the stories “Nadezhda Nikolaevna” and “Night”, in which the narration is told in the first person, it is characteristic that the narrator reproduces his thoughts. In the works (“Meeting”, “Red Flower”, “Batman and Officer”) events are presented in the third person; it is important that direct speech conveys the thoughts of the characters, i.e. the true view of the characters on a particular problem.

An analysis of examples of the use of indirect and improperly direct speech shows that these forms of alien speech in Garshin’s prose are much less common than direct speech. It can be assumed that it is important for the writer to convey the true thoughts and feelings of the characters (it is much more convenient to “retell” them using direct speech, thereby preserving the inner experiences and emotions of the characters).

Considering the concepts of storyteller and storyteller, it should be said about the story “The Incident”, where we see two storytellers and a narrator. In other works the relationship is clearly presented: the narrator - “Four Days”, “From the Memoirs of Private Ivanov”, “A Very Short Novel” - a narration in the first person, two narrators - “Artists”, “Nadezhda Nikolaevna”, the narrator - “Signal” , “The Frog Traveler”, “Meeting”, “Red Flower”, “The Tale of Proud Arree”, “The Tale of the Toad and the Rose” - narration in the form of a third person. In Garshin's prose works, the narrator is a participant in the events taking place. In the story “A Very Short Novel” we see a conversation between the main character and the subject of speech with the reader. The stories “Artists” and “Nadezhda Nikolaevna” are the diaries of two hero-storytellers. The narrators in the above works are not participants in the events and are not portrayed by any of the characters. A characteristic feature of the subjects of speech is the reproduction of the thoughts of the characters, the description of their actions. We can talk about the relationship between the forms of depicting events and the subjects of speech in Garshin’s stories. The revealed pattern of Garshin's creative style boils down to the following: the narrator manifests himself in the forms of presenting events in the first person, and the narrator - in the third.

Studying “points of view” in Garshin’s prose, we rely on the research of B.A. Uspensky "Poetics of Composition". Analysis of the stories allows us to identify the following points of view in the writer’s works: in terms of ideology, space-time characteristics and psychology. The ideological plan" is clearly presented in the story "The Incident", in which three evaluative points of view meet: the view of the heroine, the hero, and the author-observer. We see the point of view in the plan, spatio-temporal characteristics in the stories "Meeting" and "Signal": there is a spatial attachment of the author to the hero; the narrator is in close proximity to the character. The point of view in terms of psychology is presented in the story “Night.” Verbs of the internal state help to formally identify this type of description.

An important scientific result of the dissertation research is the conclusion that narration and psychologism in Garshin’s poetics are in constant relationship. They form a flexible artistic system that allows narrative forms to transform into the poetics of psychologism, and forms of psychological analysis can also become the property of the narrative structure of Garshin’s prose. All this relates to the most important structural pattern in the poetics of the writer.

Thus, the results of the dissertation research show that the supporting categories in Garshin’s poetics of psychologism are confession, close-up, portrait, landscape, setting. According to our findings, the poetics of the writer’s narration is dominated by such forms as description, narration, reasoning, other people’s speech (direct, indirect, improperly direct), points of view, categories of narrator and storyteller.

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