METAMOTIVES OF POWERFUL DEATH IN PROSE OF GAYTO GAZDANOV

Abstract

The article analyzes the role of the metamotive of violent death in the poetry poetry of Gazdanov (The Return of the Buddha, The Phantom of Alexander Wolf, The Prisoner). In this case, the motive for the murder is considered in connection with the motive of sleep as a single semantic complex, reflecting the transgression of going beyond the limits of present reality. The Oneirotop in these works not only defines the modes of the impossible (such as the elimination of reality through the narration of the ghost in “Return of the Buddha” or irrealism in “The Ghost of Alexander Wolf”), but also conveys the immanent author’s strategy of “rebirth”. In this article, the gazdanov hero’s intention to gain selfhood is first described in terms of Gurdjieff’s ideas (“man-sleeping machine”, “pluralism of consciousness”, etc.). Gazdanov's literary texts correlate with the provisions of his teaching on the moral transformation of personality. Using traditional methods of continuous sampling, motivational and typological analysis, specific features of the metamotive of violent death were revealed by G. Gazdanov in intertextual coverage. The Gazdanov hero is represented in the anthropological paradigm of F. Schiller-A. Pushkin-F. Dostoevsky, on the one hand, on the other hand, defines his place in the romantic series of “extra people” coming from Adolf Constant. The altered state of consciousness in the form of a fight against sleep, which is observed in all texts and allows us to talk about the metatextuality of the topic of murder in the writer's work, is separately noted. Through the prism of the meta-motive of violent death, a new approach is proposed to understanding G. Gazdanov’s dominant discourse of mortality, which is presented as an intention to “awakening”. The experience of transition in the context of the phantom and likeness of war and emigration totally eliminates historical reality and is assessed as anti-stabilization. At the same time, the unshakable faith of the lyrical hero in “rebirth” manifests vitalism, which turns out to be the paradoxical underside of mortality