Тип публикации: статья из журнала
Год издания: 2023
Идентификатор DOI: 10.17223/15617793/497/2
Ключевые слова: image of Yermak in literature, Artyom Vesely, Evgeny Fedorov, commemorative practices, socialist realism, sentimentalism, образ Ермака в литературе, А. Веселый, Е. Федоров, коммеморативные практики, соцреализм, сентиментализм
Аннотация: Представлен сопоставительный анализ романов А. Веселого «Гуляй, Волга» (1932) и Е. Федорова «Ермак» (1955), с одной стороны, позволяющий проследить идеологическую трансформацию образа Ермака при переходе конца 1920-х - начала 1930-х гг. от революционного советского нарратива к сталинскому, а с другой - раскрывающий сдвиг в поэтике Показать полностьюсоветской литературы от рефлексов классицизма к сентименталистским клише. Автор заявляет об отсутствии конфликта интересов. The article examines the ideological transformation of the image of Yermak during the conversion from the revolutionary Soviet narrative (ideas about internationalism and the fight for “great-power chauvinism”) to the Stalinist one (the course towards the development of cultures “socialist in content and national in form”), which took place in the late 1920s - early 1930s. The image of Yermak could be considered as an indicator that allows one to detect and describe the contradiction within the seemingly homogeneous Soviet narrative. The key thesis of the article is the transition from the early Soviet social-class project to the late Soviet project can be correlated with how, at the turn of the 19th century, classicism, based on the principles of universality, rational hierarchy and normativity, was replaced by sentimentalism, according to which people were united based on common feelings. The research material comprised, on the one hand, several editions of Soviet encyclopediae, which were one of the key tools for constructing the Soviet worldview, and, on the other hand, two Soviet historical novels about Yermak: Walk, Volga (1926-1932) by Vesely and Yermak (1950-1955) by Fedorov. The genre of the historical novel was the dominant feature of Soviet fiction about the conqueror of Siberia in terms of the number of publications and reprints, and what is more, in the 1930s, it partially took on the role of a national myth laboratory with its set of consolidating historical events and a pantheon of heroes. The analysis showed the same shift both in the Soviet encyclopediae and in fiction narratives about Yermak: if in the 1920s the dominant feature in the image of the conqueror of Siberia was his role as an agent of power and oppressor of the Siberian tribes, then in the 1950s Yermak turns into a representative of the “general public” and the builder of a “people’s state”. Thus, the key structural principle of the novel by Vesely was the social differentiation of people: the work depicts a social system divided into exploiters and those exploited, and Yermak, as the arbiter of the colonial tsarist policy, acts as a tyrant of the working people and Siberian autochthons. In such a system, the sentimental principle, based on the categories of sensitivity, focused on the “inner man” and the socio-moral type of conflict, is revealed only as a significant gap. In the novel by Fedorov, after the “reassembly” of the image of Yermak, on the contrary, a consolidating principle comes to the fore in the figure of the Cossack ataman: Yermak acts as a leader, an assembler of Russian lands and a builder of a public’s empire. Furthermore, in the discourse of socialist realism, there appears a typological trace of sentimentalist poetics by that involuntarily returning to Karamzin as the creator of the classic image of the Cossack ataman and the leader of the Russian sentimentalist movement. The author declares no conflicts of interests.
Журнал: Вестник Томского государственного университета
Выпуск журнала: №497
Номера страниц: 16-25
ISSN журнала: 15617793
Место издания: Томск
Издатель: Национальный исследовательский Томский государственный университет