Синтез жанровых традиций в романе Юза Алешковского «Кенгуру»

Abstract

The article is devoted to the analysis of the novel “Kangaroo” by Yuz Aleshkovsky, the largest representative of the “third wave” of Russian emigration, in the context of the traditions of Russian literature, which is explained by the need to identify the key features of the poetics of the writer’s early work, which would largely determine his subsequent writings. The aim of the study is to reveal the specificity of the synthesis of genre traditions in the novel by Yuz Aleshkovsky. The scientific novelty of our work consists in the fact that for the first time in “Kangaroo”, the elements of dystopia, satire, the picaresque novel, and diatribe are revealed and holistically comprehended. As a result, the intertextual connections of “Kangaroo” with “Tarakanishche” by K. I. Chukovsky, “Heart of a Dog” by M. A. Bulgakov, the poem “Kangaroo” by N. S. Gumilev, “1984” by G. Orwell were revealed. It is established that the fragmentary structure of the novel is subordinated to the system of motifs (dystopian and absurdist motifs, the motif of “reversing”) and is built with reliance on the elements of carnival poetics (the trickster as the protagonist passing through a series of miraculous and provocative situations; images of “material-bodily bottom” opposing the “official” culture; carnivalization of the plot and the very process of narration; the use of substandard vocabulary).