Институт международного права и экономики им. А.С. Грибоедова шоссе Энтузиастов, 21, Москва, Россия, 111024 В статье рассматривается случай «второго» интертекста на примере повести Б. Акунина «Перед концом света». Под «первым» интертекстом в данном случае понимается роман У. Эко «Имя Розы», на который автор явно намекает, посвящая повесть Умберто Эко и используя в тексте игру с читателем в виде намеков на текст Эко, общей сюжетной канвы и деталей рас-следования преступления.В то же время в тексте присутствует и второй слой: описанный автором порядок смертей найденных староверов и обстоятельства их смерти практически буквально следует стихотво-рению Н.С. Гумилева «Три мертвеца» 1918 года. Поскольку автор не использует явные намеки на Гумилева, нельзя сказать с однозначной уверенностью, какой именно вид взаимодействия двух текстов представлен в «Перед концом света»: сознательное шифрование второго слоя интертекста «для посвященных» либо спонтанная опора на чужой текст, не осознаваемая са-мим автором.Ключевые слова: Акунин, Гумилев, Эко, интертекст, парадокс, аллюзия, интертекстуальный мотив, семантическая перекличка Взаимодействие и взаимопроникновение двух текстов зачастую обставляется автором как некая игра с читателем: в произведении расставлены намеки на не-кий прецедентный текст, иногда настолько прозрачные, что не догадаться невоз-можно [3].Примером такой открытой игры с читателем, в частности, является сборник Бориса Акунина «Нефритовые четки», открывающийся посвящением десяти при-знанным мастерам детективного жанра. Для удобства читателя эти мастера вы-строены ровно в том порядке, в каком в сборнике следуют произведения, обы-грывающие их сюжеты, заимствующие героев или общую атмосферу.Предпоследним в списке авторов стоит Умберто Эко, предпоследним в сбор-нике -повесть «Перед концом света». С остросюжетным детективным романом Умберто Эко эту повесть роднит прежде всего сюжет: пожилой слепой человек убивает людей, проникнувшись предчувствием скорого конца света, при этом физически убийца не воздействует на жертв, они все совершают добровольно. Ключом к убийствам служит некий текст, в котором большую роль играют циф-ры, но сыщикам далеко не сразу удается разгадать его смысл. Этот текст связан с апокалиптическими видениями. Представители официальных властей считают
This article is devoted to text comprehension in the era of online literature, which implies a closer interaction with the reader than ‘a paper format’ one. As an illustration of the named trends using hypertext, the project by Artemy Lebedev “To Favorable Attention, Illustrations to the Project Table-Talk 1882. (Based on the work of the same name by B. Akunin)”, created in 2004, was chosen. The project is a visualization of text details, divided into eight chapters. The text of Akunin’s story was aimed at play with the reader. First the author and his fans publish an abridged version of the story in the network, then the detective announces the key to the crime, and asks readers to write a sequel. The project of Artemy Lebedev is a kind of attempt to write a sequel particularly by visual means. Similar experiments with a text are characteristic of postmodern literature: numerous interpretations of the text interact with each other and multiply its intertextual connections. Thanks to electronic format authors expand the boundaries of the text, creating various versions. In fact, the text generated by Internet navigation has the same quality: the reader, following the links, independently creates the text seen by each user of the network, as a result — the text is individual. Authors of publications cannot create texts with the same features: many works have a continuously developing plot that does not allow mixing fragments of texts. A detective as a genre that implies a play with a reader: in the classic detective stories of Arthur Conan Doyle and Agatha Christie where the reader tries to figure out who committed the crime. The digital format allows transferring this game with the reader to the network and beating the layering of the text in a new way. Keywords: Postmodernism, Akunin, online literature, digital text
The subject of the study is the use of the form praesens historicum ("the present historical") in texts in modern Russian. The object of the study is the function of the present historical, which has not been previously investigated in Russian science – its use as a tool for neutralizing gender opposition in texts written in the first person. B. Akunin's texts are used as the research material, in which the function of playing with the reader is realized with the help of praesens historicum. The authors consider in detail such aspects of the topic as the functioning of this form in the texts of the original genre, as well as its use as a factor of detective intrigue. The main conclusions of the study are the following. The praesens historicum form makes it possible to neutralize gender opposition by drawing a demarcation line between the narrator as a subject and the narrator as an object. Accordingly, in the text of a detective work, this allows you to strengthen the game with the reader, since both male and female characters can act as a potential suspect. In the experimental text "Sulazhin", the use of the real historical allows you to increase the number of plot options. The novelty of the research lies in the identification of the neutralization of gender opposition as a cycle-forming motive and a means of uniting the "Akunin universe" into a single textual whole.
The subject of the study is the onomastic code as a tool for playing with the reader based on the corpus of works by the modern Russian writer B. Akunin and his "author's masks" (Anatoly Brusnikin and Anna Borisova). The object of the research is the use of distortion and change of proper names as a principle of the organization of cycles and supercycles, as well as the vector of the formation of the literary reputation of the author. The authors consider in detail such aspects of the topic as deformation and voluntary change of name / surname, characteristic of the central and secondary characters of the studied corpus of texts. Special attention is paid to the motive of playing with the reader using onomastics as a tool for creating the literary reputation of the author. The main conclusions of the study are: highlighting the principle of onomastic play as end-to-end for the entire work of the modern writer B. Akunin, as well as substantiating the implicit meanings of using this principle in the framework text of works. A special contribution of the authors to the study of the topic is the formulation of the directions of diversification of the motif of the onomastic game and the description of the "opening of the text" and reaching another level of the game with the reader. The novelty of the research lies in the comparison through the prism of cyclical bonds of several literary universes of the same author, which were previously considered as independent projects and were not considered in a single coordinate system.
The article analyzes the receptions of A.С. Doyle’s masterpieces and the circle of novels “Fandorin” by Boris Akunin. Based on the analysis of the works “Azazel”, “Decorator”, “Scarpei Baskakovs”, “Prisoner of the Tower”, a number of conclusions are made about the specifics of B. Akunin’s intertextual strategy. It is shown that the intertextual dialogue between Akunin and Conan Doyle is carried out through character and narrative projections, in particular, structural stylization, the transposition of the plot on Russian soil, etc. The ambiguous role of Conan Doyle receptions, performing, firstly, the para-genre (detective) function of plot-semantic coding, secondly, the function of the transtextual riddle, the solution of which lies outside the work - in the Conan Doyle pretext, thirdly, the function of a parody imitation of the predecessor’s stylistic manner, including the specifics of Russian translations of short stories about Sherlock Holmes, is revealed.
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