Abstract
The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.
Highlights
It is truly said that Boris Konstantinovich Zaitsev – the largest literary chronicler of the several Russian history eras – is the latest knight of Silver age
Numerous publicistic notes of the writer have a great value for understanding his style and ethos because they are often sketch projections of his major works and they complete and extend figurative and meaningful space of Zaitsev's large-scaled memoir compositions
“Zaitsev's style is characterized by a pensive, sad-veiled lyricism. < ... > His sadness is bright...” [15
Summary
All-Russian Public Organization “Union of Writers of Russia”, Regional Office of the Karachay-Cherkessia Republic. И это при том, что основные художественные тексты Зайцева стали доступными на исторической родине через многие годы после смерти писателя. Его этос зиждется на том, что «небеса», горний мир – это не мечта о «земном рае», а средоточие абсолютной Истины, в постижении которой и заключается смысл искусства. Что отличает «портретных» героев Зайцева, который всегда чуток в передаче стилевых особенностей самих первообразов, все они предстают как персонажи интимных, исповедальных диалогов с автором. Только этим можно объяснить то, что картины природы даже в публицистических повествованиях Зайцева никогда не «замкнуты на себе». Но есть все основания полагать, что, живописуя картины северорусской природы, автор включил в свои пейзажи (как некую духовно осязаемую натуру) дух народного языка, воспринимаемого в качестве органичной части сурового и величественного ландшафта.
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