Americans about the specifics of Russian literature. Russian literature and American culture

Popkov Denis Sergeevich

Introduction……………………………..………………………………………….3

CHAPTER 1. Basic concepts of “literature” and types of literature.

1.1. The concept of “literature”, types and genres of literature……………….5

1.2. Statistics of book reading in the USA and Russia……………8

CHAPTER 2. Literature of the USA and Russia of the 19th century.

2.1. Literature of the USA of the 19th century………………………………………………………12

2.2. Russian literature of the 19th century……………………………………….…14

CHAPTER 3. Comparative characteristics main themes of the works of Jack London and M.Yu. Lermontov

3.1. The main themes of Jack London's work…………………………19

3.2. The main themes of M.Yu. Lermontov’s creativity……………………….23

3.3. General themes of the works of Jack London and M.Yu. Lermontov………26

3.4. Results of the survey…………………………….27

Conclusion………………………………………………………………………………...…28

List of references………………………………………………………..30

List of information sources used……………………………..30

Appendix 1…………………………………………………………………………………..….31

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Introduction

The eternal truth that says that a person stops thinking when he stops reading, in my opinion, is also relevant in our dynamic and turbulent 21st century. This applies, first of all, to classical literature, proven over the centuries, and not to widely advertised “reading material”. The role of literature in human life is difficult to assess. Books have educated more than one generation of people. Unfortunately, in modern society the role of literature is underestimated. There is a category of people who declare that literature has outlived its usefulness as an art form, it has been replaced by the Internet and television. But there remains that category of people who recognize and appreciate the importance of literature in our lives.

As you know, books perform two main functions: informational and aesthetic. From generation to generation, it was with the help of books that experience accumulated over centuries was passed on; knowledge was stored in books and discoveries were recorded.

Books provided a platform for the proclamation of new ideas and worldviews. In difficult life situations, a person resorts to a book and draws wisdom, strength and inspiration from it. After all, the book is universal, in it a person can find the answer to any question of interest.

Realizing its aesthetic function, literature teaches the beautiful, the good, and forms moral principles. Books not only shape moral ideals, but also ideals of appearance and behavior. Heroines and heroes of books become role models. Their images and thoughts are taken as the basis for their own behavior. Therefore, it is so important, during the period of personality formation, to turn to the right books that will give the right guidelines.

The purpose of this work is comparative analysis works of American and Russian literature of the 19th century.

Tasks:

1. Define the concept of “literature” and its types.

2. Determine the popularity of reading books in Russia and the USA.

3. Consider the works of American and Russian writers of the 19th century.

4. Reveal common topics in creativity and conduct a comparative analysis of the works of D. London and M.Yu. Lermontov.

5. Compose questions for the questionnaire and conduct a survey of students on their knowledge of the most popular works of American and Russian writers.

Relevance.

Literature is based on humanistic views and beliefs, and approves of imperishable and eternal universal human values. This is precisely why it is close, very necessary and simply necessary for humanity. Thus, the role of literature at all times and in modern times is to help a person understand himself and the world, to awaken in him the desire for truth, happiness, to teach respect for the past, for knowledge and moral principles passed on from generation to generation. The topic I have chosen is very important for people interested in foreign languages. You can often see people who either don’t read at all or read very little. Because of this, difficulties may arise in communication, writing, and expressing one’s thoughts. I believe that this work is of interest to a wide range of people.

Hypothesis.

The works of Russian and American writers have much in common, but there are also differences in the themes of the works.

The object of the study is American and Russian literature of the 19th century. The subject of the study is works of American and Russian literature of the 19th century.

Research methods

1. search
2. comparative
3. survey
4. analysis
5. generalization

CHAPTER 1. Basic concepts of “literature” and types of literature.

1.1. The concept of “literature”, types and genres of literature.

Literature (lat. lit(t)eratura, literally - written, from lit(t)era - letter) is one of the main types of art; V in a broad sense is a collection of any texts. This term is mainly used to refer to works that are recorded in written form and have public significance. Also, the word “literature” refers to the totality of all works of human creativity that reflect the history of mankind.

In a strict form, “literature” refers to works of artistic writing and fine literature. There are many types of literature, including:

• Fiction- a type of art that uses words and structures of natural (written human) language as the only material. The specificity of fiction is revealed in comparison, on the one hand, with types of art that use other material instead of verbal-linguistic (music, visual arts) or along with it (theater, cinema, song), on the other hand, with other types of verbal text: philosophical, journalistic, scientific, etc. There are four types of fiction:

DRAMA is one of the four types of literature. In the narrow sense of the word - a genre of work depicting a conflict between characters, in a broad sense - all works without author's speech. Types (genres) of dramatic works: tragedy, drama, comedy, vaudeville.

LYRICS is one of the four types of literature that reflects life through a person’s personal experiences, feelings and thoughts. Types of lyrics: song, elegy, ode, thought, epistle, madrigal, stanzas, eclogue, epigram, epitaph.

LYROEPIC is one of the four types of literature, in the works of which the reader observes and evaluates the artistic world from the outside as a plot narrative, but at the same time the events and characters receive a certain emotional assessment from the narrator.

EPOS is one of the four types of literature, reflecting life through a story about a person and the events that happen to him.

Each type of literature in turn includes a number of genres:

COMEDY is a type of dramatic work. Displays everything ugly and absurd, funny and absurd, ridicules the vices of society.

LYRIC POEM (in prose) is a type of fiction that emotionally and poetically expresses the feelings of the author.

MELODRAMA is a type of drama whose characters are sharply divided into positive and negative.

ESSAY is the most reliable type of narrative, epic literature, reflecting facts from real life.

SONG, or SONG - the most ancient look lyric poetry; a poem consisting of several verses and a chorus. Songs are divided into folk, heroic, historical, lyrical, etc.

NARRATIVE - middle form; a work that highlights a number of events in the life of the main character.

POEM - a type of lyric epic work; poetic story telling.

STORY - a short form, a work about one event in the life of a character.

ROMAN - large form; a work in which events usually involve many characters whose destinies are intertwined. Novels can be philosophical, adventure, historical, family, social.

TRAGEDY is a type of dramatic work that tells about the unfortunate fate of the main character, often doomed to death.

EPIC - a work or cycle of works depicting a significant historical era or a major historical event.

• Documentary prose- a type of literature characterized by the construction storyline exclusively on real events, with rare inclusions fiction. Documentary prose includes biographies of outstanding people, histories of certain events, regional descriptions, investigations of high-profile crimes.
• Memoirs - notes from contemporaries telling about events in which the author of the memoirs took part or which are known to him from eyewitnesses. Important Feature memoirs is to focus on the “documentary” nature of the text, which claims to be authentic to the reconstructed past.
• Scientific literature- a set of written works that were created as a result of research, theoretical generalizations made within the framework of the scientific method. Scientific literature is intended to inform scientists and specialists about the latest achievements of science, as well as to consolidate priority on scientific discoveries.
• Popular science literature- literary works about science, scientific achievements and scientists, intended for a wide range of readers. Popular science literature is aimed both at specialists from other fields of knowledge and at untrained readers, including children and adolescents. Unlike scientific literature, works of popular science literature are not reviewed or certified. Popular scientific literature includes works about the foundations and individual problems of fundamental and applied sciences, biographies of scientists, descriptions of travel, etc., written in various genres.
• References- supporting literature used to obtain the most general, unambiguous information on a particular issue. Main types of reference literature:dictionaries, reference books, encyclopedias.
• Educational literature, divided mainly into textbooks themselves and collections of problems (exercises), has a lot in common with reference literature: like reference literature, educational literature deals with that part of knowledge on a particular issue that is considered more or less generally accepted. However, the purpose of educational literature is different: to present this part of knowledge systematically and consistently so that the recipient of the text has a fairly complete and clear idea about it and masters a number of skills that are in demand in this part of knowledge, be it the ability to solve equations or correctly place punctuation marks.
• Technical literature- this is literature related to the field of technology and production (product catalogs, operating, maintenance and repair instructions, parts catalogs, patents, etc.).

Literature honestly and fairly reflects social reality: different periods of the life of the entire people, the aspirations and, of course, the hopes of people.

Fiction is a type of art that is the most powerful means of human knowledge, a tool that influences current reality. Literature shapes a person’s mind, his will and psyche, his feelings and human strong character, namely, it shapes a person’s personality.

Chapter 1.2. Statistical data on book reading in the USA and Russia.

According to a survey by the Public Opinion Foundation, 44% of Russians did not open a single book at all during the year. At the same time, 81% of adults surveyed fondly remember their school literature lessons. True, only 17% of respondents liked the reading process itself. The rest remembered the teacher’s colorful explanations (14%), fascinating plots of novels (12%), specific authors and works (11%). Russia has long lost its status as the most reading country. According to statistics, Indians now read the most, spending almost 11 hours a week on this activity. For Russians, this figure is a little over 7 hours – compared to the world average of 6.5 hours per week. With so many hours, Russia has not even been among the top ten reading countries for a long time. The only way to reassure yourself is that the British and Americans read even less. Interest in reading is falling not only because people don’t want to read. There is another global problem. Every year books become less accessible and more expensive. And the number of bookstores is constantly decreasing. If in European countries there is one bookstore per 5–6 thousand inhabitants, then in Russia there is one bookstore per 50–55 thousand inhabitants. During the years of the crisis, as a result of financial difficulties, about 600 bookstores were closed in the country, primarily in the regions.

The preferences of Russian readers are as follows (data from the Levada Center): 28% prefer “female” detective stories, 24% each - books about health and Russian action films, 23% - historical adventure classics, 19% - romance novels and books on the specialty.
The Russian Book Union provides the following data on the number of sales: fiction accounts for 42% of sales, reference books - 22%, literature for children and youth - 16%, textbooks - 5 percent, scientific literature - 1%.

The largest segment of the global book market (24%, or 27 billion euros) is in the United States, but its growth rate has noticeably decreased. The share of Chinese book publishing, on the contrary, is increasing and amounts to 13% (15 billion euros). In the near future, the indicators of the United States and China may become equal, and perhaps the Celestial Empire will take a leading position. The share of Germany is 8%, Japan - 5%, France - 4%, Great Britain - 3%. The remaining countries together provide 42% - 48 billion euros.

According to research, in 2014 the share of e-books in the United States was 13%, and in the fiction segment - 27%. Interestingly, 31% of e-book publishers are releasing enhanced versions with added multimedia and interactivity. However, only a few can count on success: usually this type of book business is not very profitable compared to the publication and distribution of books in “simple” formats.

The share of American adults who read e-books has increased to 8% in recent years. In 2015 alone, this figure increased by 20%. At the same time, Americans read on average five books a year. 42% of adults use tablets for reading, about 3 use e-readers. 92% of American adults own a smartphone, which they also use for reading.

The majority of those who do not read books do not have a college degree (40%), while only 13% of Americans who have completed college do not like to read.

Dislike of books is also related to income. 33% of people with incomes less than $30 thousand do not read books, while among people with incomes above $75 thousand only 17% do not like to read.

Latinos read less than white Americans. If you divide non-readers by ethnicity, 40% are Latinos, 29% are African-American and 23% are white.

As it turned out, men like to read books less than women. In addition, the larger the city, the less time its residents find to read. They equally love fiction and popular science literature. Most popular genres: action, thrillers and detective stories (47% of Americans read them), biographies (29%), history (27%) Science fiction(25%), religion (24%).

A Harris Interactive survey of American children and teens found that for teens ages 13-17, books rank fourth among their personal expenses (teens spend more personal money only on candy, clothing, and movie tickets). .

CHAPTER 2. Literature of the USA and Russia of the 19th century.

2.1. US Literature of the 19th Century.

Fiction in the proper sense of the word and in the quality that allows it to enter the history of world literature begins in America only in the 19th century, when such writers as Washington Irving and James Fenimore Cooper appeared on the literary arena.

A priority direction in US policy in the 19th century. was the expansion of territories (attached: Louisiana, Florida, Texas, Upper California and other territories). One of the consequences of this was the military conflict with Mexico (1846-1848). As for the internal life of the country, the development of capitalism in the USA in the 19th century. it was uneven. “Slowdown”, delay in its growth in the first half XIX century prepared for its particularly broad and intensive development, a particularly violent explosion of economic and social contradictions in the second half of the century. The uneven development of capitalism has left a characteristic imprint on the ideological life of the United States, in particular, it has determined the relative backwardness and “immaturity” of social thought and social consciousness of American society. The provincial isolation of the United States from European countries also played a role. cultural centers. Social consciousness in the country was largely dominated by outdated illusions and prejudices.

American romantics are the creators of US national literature. This, first of all, distinguishes them from their European counterparts. The book market was dominated mainly by works English writers and literature translated from other European languages. American book had difficulty making its way to the domestic reader. At that time, literary clubs already existed in New York, but tastes were dominated by English literature and focus on European culture: American was considered “vulgar” in the bourgeois environment.

At all stages of development, American romanticism is characterized by a close connection with the socio-political life of the country. This is what makes romantic literature specifically American in content and form. In addition, there are some other differences from European romanticism. American romantics express their dissatisfaction with the bourgeois development of the country and do not accept new values modern America. The Indian theme becomes a cross-cutting theme in their work: American romantics show sincere interest and deep respect for the Indian people.

The romantic direction in US literature was not immediately replaced by realism after the end of the Civil War. A complex fusion of romantic and realistic elements is the work of the greatest American poet, Walt Whitman. Romantic worldview - already beyond chronological framework Romanticism permeates Dickinson’s work. Romantic motifs are organically included in the creative method of F. Bret Harte, M. Twain, A. Beers, D. London and other US writers of the late 19th – early 20th centuries.

"Boston School". One of most important places in the literature of the United States after the Civil War, a trend known as the “literature of conventions and decency”, “tradition of sophistication”, etc. was acquired. This movement includes writers who lived mainly in Boston and were associated with magazines published there and with Harvard University. Therefore, writers in this group are often called “Bostonians.” This included such writers as Lowell (“The Biglow Papers”), Aldrich, Taylor, Norton and others.

Widespread in late XIX V. got a genre historical novel and stories. Such works as “Old Creole Times” by D. Cable (1879), “Colonel Carter of Cartersville” by Smith, and “In Old Virginia” by Page appeared. Some of them were not without artistic merit, such as “Old Creole Times,” which vividly reproduced the life and customs of the American South at the beginning of the century. In this regard, Cable will act as one of the representatives of “regional literature.”

Many creators of historical novels sought only to entertain the reader. This is precisely the task that D.M. set himself. Crawford, author of many pseudo-historical novels. That is why realist writers fought against pseudo-historical novels, seeing them as one of the most important obstacles to the development of realistic literature.

Along with the historical and adventure novels, the genre of “business stories” has become widespread. Works of this type usually told about a poor, but energetic and enterprising young man who, through his work, perseverance and perseverance, achieved success in life. The preaching of business in literature (S. White “Conquerors of the Forests”, “Companion”; D. Lorrimer “Letters of a Self-Created Merchant to His Son”) was reinforced by the teachings of pragmatists in American philosophy. W. James, D. Dewey and other American pragmatists provided a philosophical basis for business and contributed to the development of the cult of individualism and businessmanship among broad sections of the American population.

The development of American literature is largely connected with the “American Dream”. Some writers believed in it and propagated it in their works (the same “dealing literature”, later - representatives of apologetic, conformist literature). Others (most romanticists and realists) sharply criticized this myth and showed it from the inside out (for example, Dreiser in “An American Tragedy”).

American literature in each generation puts forward outstanding master storytellers, like E. Poe, M. Twain, or D. London. The form of a short, entertaining narrative is becoming typical of American literature.

One of the reasons for the prosperity of the novel is the rapidity of life in America at that time, as well as the “magazine way” of American literature. A noticeable role in American life, and therefore in literature, of the 19th century. still playing oral history. American oral history goes back initially to the legends (which persisted throughout almost the entire 19th century) of trappers.

2.2. Russian literature of the 19th century.

The 19th century is the heyday of Russian literature, which develops at a feverish pace; directions, trends, schools and fashions change with dizzying speed; Every decade has its own poetics, its own ideology, its own artistic style. The sentimentalism of the tenths gives way to the romanticism of the twenties and thirties; the forties see the birth of Russian idealistic “philosophy” and Slavophile teaching; the fifties - the appearance of the first novels by Turgenev, Goncharov, Tolstoy; the nihilism of the sixties gives way to the populism of the seventies, the eighties are filled with the glory of Tolstoy, artist and preacher; begins in the nineties new bloom poetry: the era of Russian symbolism.

By the beginning of the 19th century, Russian literature, having experienced the beneficial effects of classicism and sentimentalism, was enriched with new themes, genres, artistic images and creative techniques. She entered her new century on the wave of the pre-romantic movement, aimed at creating a national literature that was unique in its forms and content and that met the needs of the artistic development of our people and society. It was a time when, along with literary ideas began the widespread penetration into Russia of all kinds of philosophical, political, historical concepts that were formed in Europe at the turn of the 19th century.

In Russia, romanticism as an ideological and artistic movement in literature of the early 19th century was generated by the deep dissatisfaction of the leading part of Russians with Russian reality. The formation of romanticism is associated with the poetry of V.A. Zhukovsky. His ballads are imbued with ideas of friendship and love for the Fatherland.

Realism was established in the 30s and 40s along with romanticism, but by the mid-19th century it became the dominant trend in culture. In its ideological orientation it becomes critical realism. At the same time, the work of the great realists is permeated with the ideas of humanism and social justice.

For some time now it has become a habit to talk about nationality, to demand nationality, to complain about the lack of nationality in works of literature - but no one thought to define what he meant by this word.

Living literature must be the fruit of the people, nourished but not suppressed by sociability. Literature is and is literary life, but its development is constrained by the one-sidedness of the imitative trend, which kills the people, without which there cannot be a full literary life.

In the mid-1930s, critical realism established itself in Russian classical literature, opening up enormous opportunities for writers to express Russian life and Russian national character.

The special effective force of Russian critical realism lies in the fact that, pushing aside progressive romanticism as the predominant trend, it mastered, preserved and continued it the best traditions: dissatisfaction with the present, dreams of the future. Russian critical realism is distinguished by its strong national identity and in the form of its expression. The truth of life, which served as the basis for the works of Russian progressive writers, often did not fit into traditional genre-specific forms. Therefore, Russian literature is characterized by frequent violations of genre-specific forms.

V.G. most decisively condemned the errors of conservative and reactionary criticism. Belinsky, who saw in Pushkin’s poetry a transition to realism, considered “Boris Godunov” and “Eugene Onegin” to be the peaks, and abandoned the primitive identification of nationality with common people. Belinsky underestimated Pushkin’s prose and his fairy tales; on the whole, he correctly outlined the scale of the writer’s creativity as the focus literary achievements and innovative endeavors that determine the further development of Russian literature in the 19th century.

In Pushkin’s poem “Ruslan and Lyudmila” there is a palpable desire for nationality, which manifests itself early in Pushkin’s poetry, and in the poems “Bakhchisarai Fountain”, “ Prisoner of the Caucasus“Pushkin switches to the position of romanticism.

Pushkin's work completes the development of Russian literature at the beginning of the 19th century. At the same time, Pushkin stands at the origins of Russian literature, he is the founder of Russian realism, the creator of the Russian literary language.

Tolstoy's brilliant work had a huge influence on world literature.

In the novels “Crime and Punishment” and “The Idiot,” Dostoevsky realistically depicted the clash of bright, original Russian characters. The work of M.E. Saltykov-Shchedrin is directed against the autocratic-serf system.

One of the writers of the 30s is N.V. Gogol. In the work “Evenings on a Farm Near Dikanka” he is disgusted bureaucratic world and he, just like A.S. Pushkin, plunged into the fairy-tale world of romance. Maturing as an artist, Gogol abandoned the romantic genre and moved on to realism. The activities of M.Yu. Lermontov also date back to this time. The pathos of his poetry lies in moral questions about the fate and rights of the human person. The origins of Lermontov's creativity are connected with the culture of European and Russian romanticism. IN early years he wrote three dramas marked with the stamp of romanticism. The novel “Heroes of Our Time” is one of the main works of psychological realism literature of the 19th century.

Stage 1 of V.G. Belinsky’s critical activity dates back to the same time. He had a huge influence on the development of literature, social thought, and reading tastes in Russia. He was a fighter for realism and demanded simplicity and truth from literature. The highest authorities for him were Pushkin and Gogol, to whose works he devoted a number of articles. In conditions of post-reform life social thought Russia, which found its predominant expression in literature and criticism, increasingly turned from the present to the past and future in order to identify the laws and trends of historical development.

Russian realism of the 1860-1870s acquired noticeable differences from Western European realism. In the works of many realist writers of that time, motifs appeared that foreshadowed and prepared the shift to revolutionary romance and socialist realism that would occur at the beginning of the 20th century. The flowering of Russian realism manifested itself with the greatest brightness and scope in the novel and story in the second half of the 19th century. It was the novels and stories of the largest Russian artists of that time that acquired the greatest public resonance in Russia and abroad. The novels and many stories of Turgenev, L.N. Tolstoy, Dostoevsky almost immediately after their publication received a response in Germany, France, and the USA. Foreign writers and critics felt in the Russian novel of those years the connection between specific phenomena of Russian reality and the processes of development of all mankind.

The heyday of the Russian novel, the desire to penetrate the depths of the human soul and at the same time comprehend social nature society and those laws in accordance with which its development occurs, became the main distinctive quality of Russian realism of the 1860-1870s.

The heroes of Dostoevsky, L. Tolstoy, Saltykov-Shchedrin, Chekhov, Nekrasov thought about the meaning of life, about conscience, about justice. In the structure of the new realistic novel and story, their hypotheses were confirmed or rejected, their concepts and ideas about the world when faced with reality too often dissipated like smoke. Their novels should be regarded as real feat artist. I. S. Turgenev did a lot for the development of Russian realism with his novels. The most famous novel was “Fathers and Sons.” It depicts a picture of Russian life at a new stage of the liberation movement. The last novel Turgenev’s “Nove” was received by Russian critics. In those years, populism was the most significant phenomenon in public life.

The flourishing of critical realism also manifested itself in Russian poetry of the 1860s and 1870s. One of the peaks of Russian critical realism of the 60-80s is the work of Saltykov-Shchedrin. The brilliant satirist, using allegories and personifications, skillfully staged and carried out pressing issues modern life. Accusatory pathos is inherent in the work of this writer. The stranglers of democracy had a sworn enemy in him.

A significant role in the literature of the 80s was played by such works as “Little things in life”, “Poshekhonskaya satire”. With great skill, he reproduced in them the terrible consequences of serf life and no less terrible pictures of the moral decline of post-reform Russia. “The Tale of How a Man Fed 2 Generals” or “The Wild Landowner” are dedicated to the most important problems of Russian life; they were published with great censorship difficulties.

The greatest realist writers not only reflected life in their works, but also looked for ways to transform it.

Chapter 3. Comparative characteristics of the main themes of creativity

Jack London and M.Yu. Lermontov.

3.1. The main themes of Jack London's work.

The remarkable writer Jack London (January 12, 1876 - November 22, 1916) wrote about the destinies ordinary people of your country. The writer's love for working people, the desire for social justice, hatred of selfishness and greed are close and understandable to democratic readers around the world. Young people read his novels, stories, and stories with enthusiasm.

The first works of London published separate publications, there were collections of short stories: “Northern Odyssey”, “God of His Fathers”, “Children of Frost” and the novel “Daughter of the Snows”. They depict the adventures, life and everyday life of American gold miners in the far north. A vivid idealization of this life and its contrast with the calm, stupidity and limitations of the rest of bourgeois society - characteristic, which combines the above collections. In the foreground is a strong personality and its struggle with nature, a struggle in which individuality is tempered, loses its petty-bourgeois limitations, and is reborn physically and spiritually. A significant place in these works is occupied by clashes between whites and native Indians. London approaches this problem as an ideologist of a white enslaver: although he sometimes sees the predatory policy of the white towards the natives, he is fascinated by his power. And the writer views the natives only as a mass, analogous to a natural element, with which a strong bourgeois personality is fighting.

All these themes and motifs are also characteristic of London’s subsequent works. The writer was working on various topics(for example, in the period 1907-1909 he writes: the adventurous vagabond story "The Road", the socialist novel "The Iron Heel" and the brightly individualistic autobiographical novel"Martin Eden"). The most socially striking novels and short stories of London are thematically related to the life and everyday life of the American urban petty bourgeoisie, moving towards proletarianization ("Valley of the Moon", "The Game" and many others). Against the background of this bourgeois environment, a hero stands out from its depths - a strong personality, dissatisfied with his oppressed position in the surrounding capitalist society (the young driver in “Moon Valley”, the sailor in “Martin Eden”, the circus wrestler in “The Game”, etc. ). All of them are seized with a thirst to climb to the top of the capitalist ladder. The very social environment into which the heroes of London strive to penetrate is already characteristic. They are drawn either to mental work (“Martin Eden”), where it is easiest to demonstrate their personal talents and achieve bourgeois well-being, or to agricultural work. For the sake of the last hero"Moon Valley" leaves the city, reviving the traditions of the farming fathers absorbed by the capitalist city; the heroes of London are finally attracted to the bourgeois cultural prosperous life in the city itself (“The Game”). But in the conditions of a capitalist society, these attempts to get out of the suppressed petty-bourgeois environment into more independent strata more often end in disappointment and death. The hero of "The Game" dies on the eve of the implementation of his plans; Martin Eden becomes disillusioned with the ideal to which he aspired and commits suicide. The desired goal is achieved only through separation from real conditions. The end of "Moon Valley" is full of fiction and thoroughly idealized. The gaze of the heroic seekers is directed, first of all, to the colonial countries, where there is still ample opportunity for accumulation, where personal strength and enterprise have much more greater value than in a society with highly developed capitalist relations. Here London acts as an apologist for America's aggressive tendencies, idealizing and romanticizing the rapacity of the imperialists. The writer acts as an ideologist of the carriers of capitalism in the colony. He shows how in the fight against the natural elements, with the savage natives, the individual strength and abilities of the hero find their full application. The writer strongly idealizes his heroes both in the gold mines of the northern Klondike and on the semi-wild islands of the Great Ocean, etc.

With the same idealization and enthusiasm, he depicts the boundless oceans with their semi-wild islands (collections of short stories “When the Gods Laugh”, “Tales of the South Seas”, “Island Stories”, etc.; novels: “The Sea Wolf”, “Adventure”, “ Son of the Sun", "Mutiny on Elsinore", etc.), where enterprising heroes rush. The social essence of this category of characters is characterized by the novel "Adventure", where they are shown as " younger sons"capitalist family, who are cramped in their homeland and who, as the English song says, strive to "find" their hearth and "saddle" in the colonies, exploiting and subjugating the native slaves. To justify exploitation, London fully accepts the imperialist philosophy of domination personal strength and recognition of the physical, mental, racial, property, etc. inequality of people, dividing them into “masters, slave drivers and slaves.” This cycle of London’s works is also rich in sketches of individual bright human characters that have developed in the context of a struggle with nature and society (the “sea wolf” type), clever, strong colonial businessmen (the “son of the sun” type).

The next small group of London's works depicts the same heroes, but who have already reached a higher material and cultural level and strive only to increase wealth and enjoy the blessings of life ("The Little Mistress of the Big House", partly "Island Stories", etc.). "The Little Mistress" is a genuine apologetics for the capitalist businessman, in the image of entrepreneur Dick Forest. London praises his ability to run a large enterprise, etc. This kind of idealization can also be observed in the novel “Son of the Sun” and others. The direct struggle with the natural elements and society does not play a significant role in the depiction of these images; it is transferred in the hero's "forgecharge". The main motives of the works, on the one hand, are the motives of large-scale capitalist business and entrepreneurship, on the other - " peaceful life": love, home organization, sports, etc. With these facets, London's creativity is in close contact with the huge litera-sort of self-satisfied wealthy philistinism. This is natural, since the upper ranks of the philistinism are a social stratum to which, after all the ordeals, struggles, quests and etc. "strong personalities" eventually slipped down. There is no other way for an entrepreneur-owner rising from the philistine bottoms. However, London - the singer not only of joy, achievements and contentment, but also of disappointment ("Martin Eden") - could not not to look for another way out for their “strong personalities". These searches for other paths had roots in social reality. The unstable position of the American petty bourgeoisie at the end of the 19th and beginning of the 20th centuries, hopes to rise up, generated by the rapid general rise of capitalism in America, on the one hand, and the increasing absorption of the petty bourgeoisie by big capital, its proletarianization, on the other hand, all this gave rise, along with the idealization of personal success, strength, along with the theory of inequality of people, along with the apologetics of capitalism, also a certain tendency to perceive socialist theories, slogans of class struggle and revolutionary transformation of capitalist society. London also owns a number of works dedicated to the propaganda of socialism. The most striking of them (not counting the core of small essays and articles) is the novel "The Iron Heel".

The Path from Glorification strong personality to the depiction of the class struggle has its own stages in London's work. The first stage is the most direct protest of a strong individual against the capitalist society that absorbs it - going to the “bottom”, into the free life of a vagabond. This is the hero of the autobiographical story “The Road,” who, however, by the end of his wanderings comes to the conclusion that vagrancy is only an illusion of freedom, that “the road is not the way out.” The hero of the story advises his friend to abandon the “road” and look for other paths. The same “bottom”, but no longer from the point of view of an anarchist-individualist, adventurer (the hero of “The Road” is still very close to all other seekers of London), is depicted by London’s book “People of the Abyss”. In it, each image shows and proves the need for a restructuring of capitalist society to heal the “ulcers of human culture.” Ultimately, a strong man is completely helpless in his struggle alone. The next stage in London is the awareness of the need for class struggle to rebuild society. In this regard, in addition to a number of small works, the most characteristic novel is The Iron Heel, which is a vivid artistic illustration of many of the provisions of scientific socialism (mainly the theory of displacement and death of the middle strata of the petty bourgeoisie). Despite, however, this and the pathos of the struggle, the said novel, like all socialist works of London, is far from the proletarian worldview and reveals the petty-bourgeois basis of socialist tendencies in the writer’s work. First of all, this reveals the writer’s lack of understanding that socialism can only be won by the struggle of the proletariat; in essence, a lack of faith in the forces of the proletariat: the workers for the most part are depicted as "beasts of the abyss" who ultimately suffer defeat. The struggle of the masses in this novel essentially does not play a role: the same image of a strong personality, albeit in socialist attire, stands at the center not only of the novel, but of the entire struggle for socialism. The implementation of the latter is the work of heroic, strong, devoted individuals. London's socialism is only a "promised land" where gifted individuals from the petty-bourgeois environment seek to escape the hardships of capitalist society.

London is also the author of a number of purely autobiographical essays, such as "The Voyage of the Snark", an anti-alcohol novel, "John Barleycorn", "The Adventures of fishing patrol"and many others. London owns a number of novels and stories depicting animals, mainly dogs (" White Fang", "Jerry", "Michael", etc.). In all these works, the same motives of personal strength, exclusivity of the hero, etc., which are characteristic of all the work of London as a whole, dominate. The motives of the wild power of the primitive natural state of man appear in a number of fantastic works of London ("Before Adam", "The Scarlet Plague", etc.).Motifs of willpower, capable of self-denial, capable of resisting any suffering of the body, are in the story "The Jacket". The latter, along with the general for London a celebration of excellence white man and belief in immortality human race, characterizes London as a mystic who moves away from realistic depictions into the world of dreams and fantasy.

3.2. The main themes of the work of Mikhail Yuryevich Lermontov.

Mikhail Yuryevich Lermontov (October 3, 1814 - July 15, 1841), who worked in the era of romanticism, managed in his works not only to embody the basic aesthetic ideas, but also to supplement them with a unique author’s vision. The main themes of Lermontov's lyrics fully correspond to the aesthetic paradigm of romanticism.

One of the most important topics– the theme of loneliness. Loneliness was understood by Lermontov as natural state. In the concept of the world, the lyrical hero of romanticism is opposed to the real world and the crowd; this conflict turns out to be insoluble. The loneliness of the lyrical hero can be interpreted in different ways. Firstly, this is a kind of payment for moving towards inner comfort.

Lermontov's lyrical hero is constantly in search of peace for his soul, and that is why he does not want to contact society. Then loneliness is just a stage that needs to be passed through with dignity. It is worth mentioning here that in Lermontov’s poetic concept the hero remains lonely, unable to find peace.

Secondly, solitude can be seen as a way of escaping from noisy outside world into the world of illusions (“Excerpt”, 1830; “Alone among human noise”, 1830). Thirdly, the feeling of loneliness is enhanced by a disappointing conclusion: it is inherent in the character of the hero, and, accordingly, the lyrical hero will not be able to overcome it either on earth or anywhere else. A thrill alienation in Lermontov’s lyrics grows to cosmic proportions (for example, in the poem “Both Bored and Sad”).

The theme of will and bondage appears. Freedom for the poet turns out to be one of the main values. The right to be free must be defended and fought for, which is what the main character of Lermontov’s poem “Mtsyri” does. These motifs can also be traced in the poems “Will” and “Prisoner”.

The themes and motives of Lermontov's lyrics are closely interrelated. Thus, the theme of loneliness and the motive of alienation are connected with the theme of nature. Wanting to escape reality, the lyrical hero tries to find solace in nature. He admires and admires the beauty of the landscapes, which highlight his state of mind. It is worth noting that landscapes that contrast with the hero’s feelings are practically never found in the works of M. Yu. Lermontov.

Trying to understand the specifics of his era, the author paints an image of the crowd, the high society of that time. From such poems as “Hussar”, “He was born for happiness, for hopes”, “People often scolded”, “Duma” one can understand the poet’s attitude towards his contemporaries. Lermontov sharply criticizes society because of the pettiness, idleness, frivolity of young people, and lack of inner depth. Their spoiledness, laziness, lack of initiative. The crowd doesn't think twice and accepts everything that life has to offer. People are completely indifferent to life, being indifferent consumers, they contribute to the death of their souls. The lyrical hero deliberately moves away from them, not wanting to come into contact with such a society.

The cycle about the poet and poetry is connected with the theme of the crowd: “Prophet”, “Poet” (both versions), “To the death of the poet”. In these works, just like in others, there are motifs of freedom, doom, and misunderstanding. The public cannot understand the writer, which is why the latter becomes disappointed in both life and his gift. Opening oneself to the world and sharing one’s experiences with the public is no longer the path to a poet’s happiness: the public only needs what can amuse and brighten up the evening.

The theme of the Motherland is connected with the theme of nature. Lermontov contrasts the concepts of “motherland” and “state”; the author openly says that he does not accept the political system and the completely rotten patterns of existence of the ruling elite: at the same time, from the poems “Motherland”, “I go out alone on the road” and “Russian melody” "It's clear that the author loves his motherland for its originality, uniqueness of nature, inspiring landscapes, and even for the melodiously creaking peasant cart.

The theme of love in Lermontov's lyrics takes on a pessimistic sound. In Lermontov's love lyrics, love itself is never mutual; moreover, the lover and the beloved understand it differently. For the lyrical hero, the feeling of love can only be real; it, like the feeling of loneliness, intensifies and reveals itself in all its fullness. But for a lady, love is just a small affair, a frivolous hobby that allows you to not have a boring time.

The poet's lyrics floridly combine romantic tendencies and realistic details, love dramas, thoughts about the Motherland and the place of man in this world. If we specify the entire work of the author, the main directions of Lermontov’s lyrics can be called philosophical reflections (about the very nature of man and relationships with the surrounding reality) and a holistic reflection of civic and personal principles.

3.3. Common topics creativity of Jack London and M.Yu. Lermontov

Analyzing the work of D. London and M.Yu. Lermontov, I came to the conclusion that their work contains common themes characteristic of 19th-century literature:

The theme of the fate of a generation (denial of existing reality, lack of spirituality of society);

Theme of loneliness (motive of incomprehensibility, fatigue and hopelessness);

Theme of the Motherland (address to national history and the search for ideals in the past);

The theme of nature (nature as spiritualized beauty and as a reflection of the tragic moments of the life of the human soul);

Theme of love and friendship (passion and suffering as components of love, the search for spiritual intimacy and understanding);

Theme of self-knowledge (confrontation between earthly and heavenly forces, the motive of spiritual quest)

3.4. Results of the survey

I conducted a survey among students in grades 7-11 in order to determine the level of knowledge of American and Russian literature of the 19th century by students at our school. 39 people took part in the survey.

The questions were the following:

Analysis of the study showed the following results:

In 8th grade, 1 person answered all the questions correctly, but few answered question 5. It follows from this that they do not know such a writer as Agatha Christie.9th grade also does not know the writer from question 5; they answered all other questions absolutely correctly. Students 7th graders know Russian writers quite well, but foreign writers they don't know well.10th and 11th graders know very well both American and Russian writers. They answered all the questions correctly.

Based on the data received, I decided to make a visual diagram where I present the survey results.

Conclusion

Having analyzed American and Russian literature of the 19th century, the works of D. London and M.Yu. Lermontov and a survey of students, I came to the conclusion that literature plays a significant social role in both the life of the Russian and American peoples.

Literature is the whole world. A world of ideas, fantasies, an endless source of different points of view, philosophical foundations. And the most important thing is that in this world everything is in balance, every thought has the right to exist - this is the peculiarity of literature. Everything is there, and every person can find what he needs, can find answers to his questions.

Man needs literature like he needs air. It teaches you to feel – people, nature, the whole world around you. Makes us think deeply about different problems. She decorates our lives like nothing else; while reading, you begin to look at things from a different angle, in everyday life you begin to see something that you had not noticed before, your eyes open to many things.

Unfortunately, today the number of people who regularly and enjoy reading art books, are interested in new prose and poetry, and are well versed in classical literature, is steadily decreasing. Despite the fact that the new age of information technology has given people unlimited access to the best libraries in the world, the opportunity to read e-books(by downloading them for free and saving money and time) and keeping abreast of everything that is going on in the modern literary process, people have practically stopped reading books.

As a rule, a modern reader is a middle-aged or elderly person to whom reading was instilled during the Soviet Union(when education was also not particularly focused on personal development, but raised “gray masses”). Modern schoolchildren and students, for the most part, do not read at all, managing to successfully and without compromising their academic performance even skip publications that the educational course requires familiarization with. And this affects not only the general literacy of modern young people, but also their worldview, value guidelines, and morality. After all, literature can have a very serious influence on its reader.

Literature has a particularly great influence on children. A child’s personality is a very labile structure that is easily deformed under the influence of external influences and, as a result, develops according to predetermined algorithms. Literary education is one of external factors, which can significantly influence what kind of personality a child will grow up to be, what character traits he will have.

Considering the seriousness and undeniability of the influence of literature on anyone, every reader should be very careful about what he reads and select only the best works.

I think that the most best books, cultivating literary taste and the person himself - these are classic. Classic literature is time-tested; it really makes a person think, analyze, and feel.

I believe that this work will be useful for any person who is learning English and wants to know more about the culture of the language being studied. The results of the study can be used during lessons when studying regional studies material on this topic. I also think it would be really beneficial for cultural understanding between our two countries if we knew more about each other.

List of used literature

1. Alexander Sergeevich Pushkin “Biography and Poems”, 1987.

2. Nikolai Vasilievich Gogol “Biography” 1996.

3. Publishing house AST "Biographies of great Russian writers", 2012.

4. Publishing house AST "Biographies of great American writers", 2013.

List of information sources used.

1. https://ru.wikipedia.org
2. http://all-biography.ru/category/iskusstvo/writers
3. http://brightonbeachnews.com
4. http://www.yaklass.ru/materiali?mode=lsntheme&themeid=26

   1) What is the name of the naughty boy and bully from the works of Mark Twain? (Tom Sawyer)

   2) Ukrainian writer of the 19th century who wrote such works as “Taras Bulba”? (N.V. Gogol)

   3) In what year was A.S. Pushkin born? (1799)

   4) What is the name of the teenage boy, the wizard from the works of JK Rowling? (Harry Potter)

   5) What is the name famous detective from the works of Agatha Christie? (Hercule Poirot)

   Survey results.

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   Slide captions:

   “Comparative analysis of American and Russian literature of the 19th century” Author: Denis Sergeevich Popkov, student of 7 “A” class of the Omsk educational institution “Secondary school No. 129” Supervisor: Anastasia Yuryevna Pleshkova teacher of English language of the Omsk educational institution “Secondary school No. 129”

   The purpose of this work is a comparative analysis of the works of American and Russian literature of the 19th century. Relevance The role of literature at all times and in modern times is to help a person understand himself and the world around him, to awaken in him the desire for truth, happiness, to teach respect for the past, for knowledge and moral principles passed on from generation to generation. The topic I have chosen is very important for people interested in foreign languages. You can often see people who either don’t read at all or read very little. Because of this, difficulties may arise in communication, writing, and expressing one’s thoughts. I believe that this work is of interest to a wide range of people.

   Hypothesis The works of Russian and American writers have much in common, but there are also differences in the themes of the works. The object of the study is American and Russian literature of the 19th century. The subject of the study is works of American and Russian literature of the 19th century. Research methods: exploratory comparative questionnaire analysis generalization

   Literature (lat. lit (t) eratura, literally - written, from lit (t) era - letter) is one of the main types of art; in a broad sense, is a collection of any texts. This term is mainly used to refer to works that are recorded in written form and have public significance. Also, the word “literature” refers to the totality of all works of human creativity that reflect the history of mankind. Types of literature: Fiction Documentary prose Memoirs Scientific literature Popular science literature Reference literature Educational literature Technical literature

   There are 4 types of fiction: DRAMA LYRIC LYROEPIC EPIC

   Each type of literature in turn includes a number of genres: COMEDY LYRIC POEM (in prose) MELODRAMA ESSAY SONG, or SONG STORY POEM STORY NOVEL TRAGEDY EPIC

   American writers of the 19th century E. Poe M. Twain A. Birsa D. London D. Cable S. White D. Lorrimer T. Dreiser

   Russian writers of the 19th century V.A. Zhukovsky A.S. Pushkin M.E. Saltykov-Shchedrin N.V. Gogol M.Yu. Lermontov L.N. Tolstoy I.S. Turgenev F.M. Dostoevsky

   Analyzing the work of D. London and M.Yu. Lermontov, I came to the conclusion that their work contains common themes characteristic of 19th-century literature: the theme of the fate of a generation (denial of existing reality, lack of spirituality of society); the theme of loneliness (motive of incomprehensibility, fatigue and hopelessness); theme of the Motherland (appeal to national history and search for ideals in the past); the theme of nature (nature as spiritualized beauty and as a reflection of the tragic moments in the life of the human soul); the theme of love and friendship (passion and suffering as components of love, the search for spiritual intimacy and understanding); theme of self-knowledge (confrontation between earthly and heavenly forces, motive of spiritual quest)

   Survey questions: 1) What is the name of the naughty boy and bully from the works of Mark Twain? 2) Ukrainian writer of the 19th century who wrote such works as “Taras Bulba”? 3) In what year was A.S. Pushkin born? 4) What is the name of the teenage boy, the wizard from the works of JK Rowling? 5) What is the name of the famous detective from the works of Agatha Christie?

   Results of the survey

   Thank you for your attention

In contact with

Despite the relatively short story, American literature has made an invaluable contribution to world culture. Although already in the 19th century the whole of Europe was reading the dark detective stories of Edgar Allan Poe and the beautiful historical poems of Henry Longfellow, these were only the first steps; It was in the 20th century that American literature flourished. Against the backdrop of the Great Depression, two world wars and the struggle against racial discrimination America produces classics of world literature, Nobel Prize laureates, writers who characterize an entire era with their works.

The radical economic and social changes in American life in the 1920s and 1930s provided the ideal soil for realism, which reflected the desire to capture the new realities of America. Now, along with books whose purpose was to entertain the reader and make him forget about those around him social problems, works appear on the shelves that clearly show the need to change the existing social order. The work of realists was distinguished by great interest in various kinds social conflicts, attacks on socially accepted values ​​and criticism of the American way of life.

Among the most prominent realists were Theodore Dreiser, Francis Scott Fitzgerald, William Faulkner And Ernest Hemingway. In their immortal works, they reflected the true life of America, sympathized with the tragic fate of young Americans who went through the First World War, supported the fight against fascism, openly spoke in defense of workers and without hesitation depicted the depravity and spiritual emptiness of American society.

THEODORE DREISER

(1871-1945)

Theodore Dreiser was born in a small town in Indiana into the family of a bankrupt small businessman. Writer from childhood I knew hunger, poverty and need, which was later reflected in the themes of his works, as well as in his brilliant description of the life of the ordinary working class. His father was a strict Catholic, narrow-minded and despotic, which forced Dreiser hate religion till the end of one's days.

At the age of sixteen, Dreiser had to leave school and work part-time in order to somehow earn a living. Later, he was still enrolled at the university, but was only able to study there for a year, again due to money problems. In 1892, Dreiser began working as a reporter for various newspapers, and eventually moved to New York, where he became a magazine editor.

His first significant work was a novel "Sister Carrie"– published in 1900. Dreiser describes something close to his own life the story of a poor country girl who goes to Chicago in search of work. As soon as the book barely made it into print, it immediately was called against morality and was withdrawn from sale. Seven years later, when it became too difficult to hide the work from the public, the novel finally appeared on store shelves. The writer's second book "Jenny Gerhard" published in 1911 was also trashed by critics.

Then Dreiser begins to write the series of novels “Trilogy of Desires”: "Financier" (1912), "Titanium"(1914) and unfinished novel "Stoic"(1947). His goal was to show how at the end of the 19th century in America "big business".

In 1915, a semi-autobiographical novel was published. "Genius", in which Dreiser describes the tragic fate young artist, whose life was broken by the cruel injustice of American society. Myself the writer considered the novel his best work , but critics and readers greeted the book negatively and it was practically wasn't for sale.

Most famous work Dreiser is an immortal novel "American tragedy"(1925). This is the story of a young American who is corrupted by the false morals of the United States, causing him to become a criminal and a murderer. The novel reflects American way of life, in which the poverty of workers from the outskirts stands out clearly against the background of the wealth of the privileged class.

In 1927, Dreiser visited the USSR and the following year published a book “Dreiser looks at Russia” which became one of the first books about the Soviet Union, published by a writer from America.

Dreiser also supported the movement of the American working class and wrote several journalistic works on this topic - "Tragic America"(1931) and "America is worth saving"(1941). With tireless strength and skill of a true realist, he depicted the social system around him. However, despite how harsh the world appeared before his eyes, the writer never didn't lose faith to the dignity and greatness of man and his beloved country.

In addition to critical realism, Dreiser worked in the genre naturalism. He meticulously depicted seemingly insignificant details Everyday life of his heroes, cited real documents, sometimes very long in size, clearly described actions related to business, etc. Because of this style of writing, critics often accused Dreiser in the absence of style and imagination. By the way, despite such condemnations, Dreiser was a candidate for the Nobel Prize in 1930, so you can judge their veracity for yourself.

I don't argue, maybe sometimes there's an abundance small parts confusing, but it is their ubiquitous presence that allows the reader to most clearly imagine the action and seem to be a direct participant in it. The writer's novels are large in size and can be quite difficult to read, but they are undoubtedly masterpieces American Literature, worth spending time on. It is highly recommended for fans of Dostoevsky's work, who will certainly be able to appreciate Dreiser's talent.

FRANCIS SCOTT FITZGERALD

(1896-1940)

Francis Scott Fitzgerald is one of the most prominent American writers lost generation(these are young people drafted to the front, sometimes not yet graduating from school and starting to kill early; after the war they often could not adapt to peaceful life, they became drunkards, committed suicide, and some went crazy). These were people devastated from within, who had no strength left to fight the corrupt world of wealth. They try to fill their spiritual emptiness with endless pleasures and entertainment.

The writer was born in St. Paul, Minnesota, into a wealthy family, so he had the opportunity to study at prestigious Princeton University. At that time, there was a competitive spirit at the university, which influenced Fitzgerald. He tried with all his might to become a member of the most fashionable and famous clubs, which attracted with their atmosphere of sophistication and aristocracy. For the writer, money was synonymous with independence, privilege, style and beauty, while poverty was associated with stinginess and limitation. Later Fitzgerald I realized the falsity of my views.

He never finished his studies at Princeton, but that was where his literary career(he wrote for the university magazine). In 1917, the writer volunteered for the army, but never took part in real military operations in Europe. At the same time he falls in love with Zelda Sayre who came from a wealthy family. They got married only in 1920, two years later after the resounding success of Fitzgerald's first serious work. "The Other Side of Heaven", because Zelda didn't want to marry a poor unknown man. The fact that beautiful girls are attracted only by wealth made the writer think about social injustice, and Zelda was subsequently often called prototype of heroines his novels.

Fitzgerald's wealth grows in direct proportion to the popularity of his novel, and soon the couple become the epitome of a luxurious lifestyle, they even began to be called the king and queen of their generation. They lived luxuriously and ostentatiously, enjoying fashionable life in Paris, expensive rooms in prestigious hotels, endless parties and receptions. They constantly pulled out various eccentric antics, had scandals and became addicted to alcohol, and Fitzgerald even began writing articles for the glossy magazines of the time. All this is undoubtedly destroyed the writer's talent, although even then he managed to write several serious novels and stories.

His major novels appeared between 1920 and 1934: "The Other Side of Heaven" (1920), "The Beautiful and the Damned" (1922), "The Great Gatsby", which is the writer's most famous work and is considered a masterpiece of American literature, and "Night is tender" (1934).

Fitzgerald's best stories are included in collections "Tales of the Jazz Age"(1922) and "All These Sad Young Men" (1926).

Shortly before his death, in an autobiographical article, Fitzgerald compared himself to a broken plate. He died of a heart attack on December 21, 1940 in Hollywood.

The main theme of almost all of Fitzgerald's works was the corrupting power of money, which leads to spiritual decay. He considered the rich a special class, and only over time began to realize that it was based on inhumanity, his own uselessness and lack of morality. He realized this along with his heroes, who were mostly autobiographical characters.

Fitzgerald's novels are written in beautiful language, understandable and sophisticated at the same time, so the reader can hardly tear himself away from his books. Although after reading Fitzgerald's works, despite the amazing imagination a journey into the luxurious “age of jazz”, there remains a feeling of emptiness and futility of existence, he is rightfully considered one of the most outstanding writers of the 20th century.

WILLIAM FAULKNER

(1897-1962)

William Cuthbert Faulkner is one of the leading novelists of the mid-20th century, set in New Albany, Mississippi, from an impoverished aristocratic family. He studied at Oxford when the First World War began. The writer's experience gained at this time played an important role in the formation of his character. He entered military flight school, but the war ended before he could complete the course. After this Faulkner returned to Oxford and worked postmaster at the University of Mississippi. At the same time, he began taking courses at the university and trying to write.

His first published book, a collection of poems "Marble Faun"(1924), was not successful. In 1925, Faulkner met the writer Sherwood Anderson, which had a great influence on his work. He recommended to Faulkner do not engage in poetry, prose, and gave advice to write about American South, about the place Faulkner grew up in and knows best. It is in Mississippi, namely in a fictional county Yoknapatawpha the events of most of his novels will take place.

In 1926 Faulkner wrote the novel "Soldier's Award" who was close in spirit lost generation. The writer showed tragedy of people who returned to peaceful life crippled both physically and mentally. The novel also did not have big success, but Faulkner was recognized as an inventive writer.

From 1925 to 1929 he works carpenter And painter and successfully combines this with writing.

The novel was published in 1927 "Mosquitoes" and in 1929 – "Sartoris". That same year, Faulkner published the novel "The Sound and the Fury" which brings him fame in literary circles. After this he decides to devote all his time writing activity. His work "Sanctuary"(1931), a story of violence and murder, became a sensation and the author finally found financial independence.

In the 30s, Faulner wrote several Gothic novels: "When I was dying"(1930), "Light in August"(1932) and "Absalom, Absalom!"(1936).

In 1942, the writer published a collection of short stories "Come Down, Moses", which includes one of its famous works- story "Bear".In 1948 Faulkner writes "Defiler of Ashes", one of the most important social novels associated with the problem of racism.

In the 40s and 50s it was published best job- a trilogy of novels "Village", "City" And "Mansion" dedicated to the tragic fate of the aristocracy of the American South. Faulkner's last novel "The Kidnappers" released in 1962, it is also part of the Yoknapatawpha saga and depicts the story of the beautiful but dying South. For this novel, and also for "Parable"(1954), whose themes are humanity and war, Faulkner received Pulitzer Prizes. In 1949, the writer was awarded "for his significant and artistically unique contribution to the development of the modern American novel".

William Faulkner was one of the most important writers of his time. He belonged to Southern School of American Writers. In his works, he turned to the history of the American South, especially the times of the Civil War.

In his books he tried to deal with the problem of racism, knowing full well that it is not so much social as psychological. Faulkner saw African Americans and whites as inextricably bound together by a shared history. He condemned racism and cruelty, but was sure that both whites and African Americans were not ready for legislative measures, so Faulkner mainly criticized the moral side of the issue.

Faulkner was skilled with the pen, although he often claimed to have little interest in writing technique. He was a bold experimenter and had an original style. He wrote psychological novels, in which great attention was paid to the characters' lines, for example, the novel "When I was dying" is built as a chain of monologues of the characters, sometimes long, sometimes in one or two sentences. Faulkner fearlessly combined contradictory epithets to powerful effect, and his works often have ambiguous, uncertain endings. Of course, Faulkner knew how to write in such a way that stir the soul even the most fastidious reader.

ERNEST HEMINGWAY

(1899-1961)

Ernest Hemingway - one of the most widely read writers of the 20th century. He is a classic of American and world literature.

He was born in Oak Park, Illinois, the son of a provincial doctor. His father was fond of hunting and fishing, he taught his son shoot and fish, and also instilled a love for sports and nature. Ernest's mother was a religious woman who was entirely devoted to the affairs of the church. Due to different views on life, quarrels often broke out between the writer’s parents, which is why Hemingway couldn't feel calm at home.

Ernest's favorite place was the house in northern Michigan, where the family usually spent the summer. The boy always accompanied his father on various forays into the forest or fishing.

Was at Ernest's school gifted, energetic, successful student and excellent athlete. He played football, was on the swim team and boxed. Hemingway also loved literature, writing weekly reviews and poetry and prose for school magazines. However, Ernest's school years were not calm. The atmosphere created in the family by his demanding mother put a lot of pressure on the boy, so he ran away from home twice and worked on farms as a laborer.

In 1917, as America entered World War I, Hemingway wanted to join the active army, but due to poor eyesight he was refused. He moved to Kansas to live with his uncle and began working as a reporter for the local newspaper. The Kansas City Star. Journalistic experience clearly visible in distinctive style Hemingway's writing, laconicism, but at the same time clarity and precision of language. In the spring of 1918, he learned that the Red Cross needed volunteers for Italian front. This was his long-awaited chance to be at the center of the battles. After a short stop in France, Hemingway arrived in Italy. Two months later, while rescuing a wounded Italian sniper, the writer came under machine gun and mortar fire and was seriously wounded. He was taken to a hospital in Milan, where after 12 operations, 26 fragments were removed from his body.

Experience Hemingway, received in war, was very important for the young man and influenced not only his life, but also his writing. In 1919, Hemingway returned to America as a hero. Soon he travels to Toronto, where he begins working as a reporter for a newspaper. The Toronto Star. In 1921, Hemingway married young pianist Hadley Richardson, and the couple moves to Paris, a city that the writer has long dreamed of. To collect material for his future stories, Hemingway travels around the world, visiting Germany, Spain, Switzerland and other countries. His first job "Three stories and ten poems"(1923) was not successful, but the next collection of stories "In our time", published in 1925, achieved public recognition.

Hemingway's first novel "And the Sun Rises"(or "Fiesta") published in 1926. "A Farewell to Arms!", a novel depicting the First World War and its aftermath, published in 1929 and brings great popularity to the author. In the late 20s and 30s, Hemingway published two collections of stories: "Men Without Women"(1927) and "Winner takes nothing" (1933).

The most outstanding works, written in the first half of the 30s, are "Death in the Afternoon"(1932) and "Green Hills of Africa" (1935). "Death in the Afternoon" tells about the Spanish bullfight, "Green Hills of Africa" and a well-known collection "Snows of Kilimanjaro"(1936) describe Hemingway's hunting in Africa. Nature lover, the writer masterfully paints African landscapes for readers.

When did it start in 1936? Spanish Civil War, Hemingway rushed to the theater of war, but this time as an anti-fascist correspondent and writer. The next three years of his life are closely connected with the struggle Spanish people against fascism.

He took part in the filming documentary film "Land of Spain". Hemingway wrote the script and read the text himself. The impressions of the war in Spain are reflected in the novel "For whom the Bell Tolls"(1940), which the writer himself considered his best job.

Hemingway's deep hatred of fascism made him active participant in World War II. He organized counterintelligence against Nazi spies and hunted for Germans on his boat. submarines in the Caribbean, after which he served as a war correspondent in Europe. In 1944, Hemingway took part in combat flights over Germany and even, standing at the head of a detachment of French partisans, was one of the first to liberate Paris from German occupation.

After the war Hemingway moved to Cuba, sometimes visited Spain and Africa. He warmly supported the Cuban revolutionaries in their struggle against the dictatorship that had developed in the country. He interacted a lot with ordinary Cubans and worked hard on a new story "The Old Man and the Sea", which is considered the pinnacle of the writer’s creativity. In 1953, Ernest Hemingway received Pulitzer Prize for this brilliant story, and in 1954 Hemingway was awarded Nobel Prize in Literature "for the narrative mastery once again demonstrated in The Old Man and the Sea."

During his trip to Africa in 1953, the writer was involved in a serious plane crash.

In the last years of his life he was seriously ill. In November 1960, Hemingway returned to America to the town of Ketchum, Idaho. Writer suffered from a number of diseases, which is why he was admitted to the clinic. He was in deep depression, because he believed that FBI agents were watching him, listening to telephone conversations, checking mail and bank accounts. The clinic accepted this as a symptom mental illness and treated the great writer with electric shock. After 13 sessions Hemingway I lost my memory and the ability to create. He was depressed, suffered from bouts of paranoia, and increasingly thought about suicide.

Two days after being released from a psychiatric hospital, on July 2, 1961, Ernest Hemingway shot himself with his favorite hunting rifle in his home in Ketchum, leaving no suicide note.

In the early 80s, Hemingway's FBI file was declassified, and the fact of surveillance of the writer in his last years was confirmed.

Ernest Hemingway was certainly greatest writer of his generation, who had an amazing and tragic fate. He was freedom fighter, vehemently opposed wars and fascism, and not only through literary works. He was incredible master of writing. His style is distinguished by laconicism, accuracy, restraint in describing emotional situations, and specificity of details. The technique he developed entered the literature under the name "iceberg principle", because the writer gave the main meaning to the subtext. The main feature of his work was truthfulness, he was always honest and sincere with his readers. While reading his works, confidence in the authenticity of events appears, and the effect of presence is created.

Ernest Hemingway is the writer whose works are recognized as true masterpieces of world literature and whose works, without a doubt, are worth reading for everyone.

MARGARET MITCHELL

(1900-1949)

Margaret Mitchell was born in Atlanta, Georgia. She was the daughter of a lawyer who was the chairman Historical Society Atlanta. The whole family loved and was interested in history, and the girl grew up in atmosphere of stories about the Civil War.

Mitchell first studied at Washington Seminary and then entered the prestigious all-female Smith College in Massachusetts. After studying she started working in The Atlanta Journal. She wrote hundreds of essays, articles and reviews for the newspaper, and in four years of work she grew to reporter, but in 1926 she suffered an ankle injury, which made her work impossible.

The energy and liveliness of the writer’s character could be seen in everything she did or wrote. In 1925 Margaret Mitchell married John Marsh. From that moment on, she began to write down all the stories about the Civil War that she heard as a child. The result was a novel "Gone With the Wind", which was first published in 1936. The writer worked on it for ten years. This is a novel about the American Civil War, told from the point of view of the North. The main character is, of course, a beautiful girl named Scarlett O'Hara, the whole story revolves around her life, family plantation, and love relationships.

After the release of the novel, an American classic bestseller, Margaret Mitchell quickly became a world-famous writer. More than 8 million copies have been sold in 40 countries. The novel has been translated into 18 languages. He won Pulzer Prize in 1937. Later a very successful film was filmed movie with Vivien Leigh, Clark Gable and Leslie Howard.

Despite numerous requests from fans to continue O'Hara's story, Mitchell did not write more not a single novel. But the name of the writer, like her magnificent work, will forever remain in the history of world literature.

6 votes

If anyone in the United States has not heard of the works of Leo Tolstoy, they learned about the giant of Russian literature from the reading club of the famous TV presenter Oprah Winfrey. Five years ago, Oprah called Anna Karenina “the most exciting love story,” immediately making it an absolute bestseller across the country.

For decades, Tolstoy, Dostoevsky, Chekhov, Turgenev and Solzhenitsyn have remained perhaps the most popular Russian writers among American readers. Their works can be found at bookshelves on a par with the world classics of literature.

Why and who is interested in Russian literature?

Famous American literary scholars told Voice of America why Russian writers are so popular among Americans. As it turns out, many people have heard the names of famous Russian writers since school. Knowing names is most often the main reason why American students choose to study Russian literature courses. Moreover, interest in Russian literature is widespread not only among students studying literary studies, but also among historians, anthropologists and political scientists. Often famous names Russian writers are attracted to students who are far from the humanities, for example, those who specialize in international business and the natural sciences.

Many students continue studying Russian literature after their first introduction to it, says Professor Radislav Lapushin of the University of North Carolina at Chapel Hill.
Sharing his experience, the professor admits: “I am always pleased and surprised by the spontaneity and keen interest with which students approach the study of Russian literature. For me, this is the best confirmation of how alive and necessary she is.”

Typically, American students read fiction translated into English. But those who seriously study Russian switch to the originals by the third year of study. The works of Pushkin, Chekhov and Mayakovsky are considered the most accessible for beginners. With interested students, Professor Lapushin continues to study Russian authors less known in the United States, such as Zamyatin, Bulgakov, Bunin and Babel. “Russian literature becomes part of their cultural baggage and inner experience,” the professor says of his students.

According to Professor Richard Tempest of the University of Illinois at Urbana-Champaign, Russian writers, and especially Tolstoy and Dostoevsky, serve as Russian goodwill ambassadors in America. Writers create characters who, although often eccentric, embody the types of people one can meet both in Russia and in the United States. Both authors also describe situations and philosophical positions that resonate with realities in America today. Thus, Russian writers involuntarily attract American reader learn more about the history and culture of Russia.

“A classic example of this is the novel Anna Karenina,” says Tempest. – The suffering of children in a dysfunctional marriage, the varying degrees of closeness of mother and father to children - all this is familiar to readers, both in Russia and in the USA. Karenina's fate is repeated in different cultures ah in different time. The same problems in relationships between a woman and a man from aristocratic Russia The 19th century is still relevant in America today.”

Further, despite the fact that there are huge temporal and geographical spaces between Dostoevsky and the United States, the writer’s characters reflect the realities of different levels of modern culture of society in the United States. In the characters of the novel “Demons,” for example, students of Professor Tempest see the personification of a certain endless image of internal aggression, which is inherent in both the Russian revolution of the last century, and the terrorist organization Al-Qaeda, and serial killers, recluses big city, and rebels of different times.

Same heroes, different readers

According to American literary scholars, many students are initially wary of War and Peace because of its thousand-page length. But after reading, many do not want the story to end. The explanation for this, Tempest believes, is that “Tolstoy’s characters are so beautifully described, so close to reality - they often seem more real than the people who surround us.” But the question arises: does the American reader understand the heroes of Russian writers in the same way as the Russian reader?

According to Professor Lapushin, Russian students become familiar with Pushkin, Gogol, Chekhov and Tolstoy from early childhood, “whereas for many American students this acquaintance occurs at a later age, so they have a fresher view - more open-mindedness, there are no ready-made formulas and cliche". Professor Robin Miller of Brandeis University says, “Reading Anna Karenina, many students find it difficult to understand why divorce was such a complex process in 19th-century Russia. Or, while reading Dostoevsky, students have many questions about the Russian judicial system and why the author condemns the jury. And this is the main difference between Russian writers. Their characters are able to touch the inner world of people from different cultures, they show how history can affect the lives of people everywhere, but despite the trials, these heroes withstand the blows of fate."

The novel Doctor Zhivago is another striking example of how the reader’s perception sometimes differs in Russia and the United States, says Richard Tempest: “For the American reader, the novel describes interesting story the love of a talented doctor who divides his life between two women. Therefore, the reader is more interested in the emotional experiences of the protagonist than in the historical and political context of the novel. Likewise, although Solzhenitsyn’s work reflects the complex Stalinist and Cold War eras, these stories are compelling because of their memorable characters.”

Lisa Knapp from Columbia University believes that most often students are faced with the task of understanding that in Russian culture the rationality of actions is interpreted differently. “If in the West everything should be rational, then Tolstoy and Dostoevsky believe emotional world a person is more important than his rational behavior,” notes Professor Knapp. For example, some of her students found it difficult to understand the reasons for Anna Karenina's suicide at the end of the novel: "Young people in America are accustomed to acting rationally, but Russian literature introduces them to heroes who trust their feelings more than their reason." Further, it is sometimes difficult for students to find an explanation for the concept of “conciliarity” in Russia, since individualism prevails in the West. According to Radislav Lapushin, it is precisely such “incomprehensible” moments that attract American students and help them discover something new in themselves.

With mind and heart...

By reading the works of Russian writers, students discover the extraordinary ingenuity in the works of Russian literature. Professor Miller says that students come to Russian literature classes “with an already formed idea of ​​the “Russian soul.” This idea is formulated among students after reading, for example, the English writer Virginia Woolf, according to whom “the soul is the main character in Russian fiction.”

“Because censorship has almost always been present in Russia, unlike in Europe, words and ideas have special meaning in Russian literature,” notes Robin Miller, “so Russian authors use Aesopian language to show the hidden meanings of their ideas.” As an example, Professor Miller encourages students to read any passage from Gogol's Dead Souls to get a feel for the novel's language. Through such experiments, students understand the depth of emotions of Gogol's heroes, but it is difficult for them to retell their impressions in words.

The great philosophical and metaphysical questions asked by the heroes of Russian literature often remind students of their own experiences. "Crime and Punishment," for example, is associated with the lives of some students from disadvantaged backgrounds, Professor Knapp notes. “I’m not talking about murders, of course,” explains Lisa Knapp, “but episodes similar to family life Marmeladov or Raskolnikov’s dream of a suffering horse that he could not help encourage students to think about broader questions of humanity.” And Professor Miller notes that since her students are about the same age as Arkady from Turgenev's novel Fathers and Sons, young Americans reading the novel are intrigued by the fate of the characters and how their actions resemble modern life.

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Full text of the dissertation abstract on the topic "The literary reputation of F. M. Dostoevsky in the USA"

Karelian State Pedagogical University

As a manuscript

Irina Vilievna

LITERARY REPUTATION OF F.M. DOSTOEVSKY IN THE USA (1940-1960s)

Specialty 10.01.01 - Russian literature

dissertations for competition scientific degree

candidate of philological sciences

Petrozavodsk KSPU, 2000

The dissertation work was completed at the Department of Literature of the Karelian State Pedagogical University.

Scientific supervisor: Doctor of Philology, Professor

Dudkin V.V.

Official opponents: Doctor of Philology, Professor

Smirnov S.B.

Candidate of Philological Sciences, Associate Professor Oshukov M.Yu.

Leading organization: Tverskoy State University

The defense of the dissertation will take place “¿>0” .¿¿¿O 2000 at the meeting of the Dissertation Council D 064. 32.01. on protection master's theses for the academic degree of Candidate of Philological Sciences at the address: 173014, Velikiy Novgorod, Antonov, Novgorod State University, Humanitarian Institute.

The dissertation can be found at scientific library Novgorod State University.

Scientific secretary of the Dissertation Council, candidate of philological sciences,

Associate Professor Berdyaeva O.S.

iMg (H US-)£

general description of work

;. With the intensification of the processes of rapprochement and mutual influence of cultures in the modern world, in particular, with the growing interest in Russian literature in the West and in the USA, the problem of the functioning of Russian literature abroad is becoming one of the pressing aspects of its study.

Creativity F.M. Dostoevsky belongs to world culture to the same extent as to Russian culture, having long ago transcended national and temporal boundaries. Throughout the twentieth century, Dostoevsky was perceived as a contemporary; his spiritual presence in the world culture and literature of our century became an indisputable fact." In the USA, Dostoevsky is the most read and studied Russian writer, representing not only Russian literature, but also Russian culture as a whole. He, like no other Russian artist, influenced American literature.But Dostoevsky’s work itself, living in a different culture and in a different time, acquired new, previously invisible to us facets.

The problem of Dostoevsky's literary reputation in the United States involves consideration of existing ideas about him as an artist and the evolution of these ideas; characteristics of the era and cultural environment in which this reputation developed; characterization of the factors that contributed to the creation of the literary reputation of Dostoevsky the artist; as well as characteristics of the recipients who shaped it. G

The time frame chosen for this study is the 1940-1960s. Firstly, at this time there was a new wave of interest in Dostoevsky in the USA. Secondly, the reputation of Dostoevsky as an artist is being formed: the need to revise the contradictory ideas coming from Vopoe and established during the years of the cult of the writer is realized, that Dostoevsky is a great psychologist, thinker, but a mediocre artist who does not master style and composition. Thirdly, this period can be called properly American, for during these years American Dostoevsky studies emerged, the main feature of which is attention to the artistic side of creativity.

quality of Dostoevsky and, as noted by the famous American literary critic R. Welleck, the desire for objectivity. Fourthly, if three special works are devoted to the previous period of formation of Dostoevsky’s literary reputation in the United States, then there is not a single study of this problem on the period under study.

The relevance of the problem of Dostoevsky's literary reputation in the USA is determined by many factors. Firstly, the significance of Dostoevsky for world culture in general and American culture in particular. Secondly, it is associated with the strengthening of transcultural dialogue at the turn of the century. Thirdly, it is due to the problems of literature perception coming to the fore. Fourthly, the need to revise the ideological approach to American Dostoevsky studies and to American literature, which was established during the Soviet period. Fifth, it is important and relevant to introduce unexplored materials, both literary and literary, into scientific circulation. Sixthly, the problem has been poorly studied. \

The degree of scientific development of the problem; in domestic literary studies, the problem of Dostoevsky’s literary reputation in the USA has not been specifically considered. An idea of ​​the state of American Dostoevsky studies and the nature of research into the work of the writer of this period in the United States is given by the literary works of A.N. Grigorieva, L.Y. Zemlyanova, N.B. Ivanova, T.JI Motyleva. However, the assessments of domestic scientists need to be freed from the ideological approach in the interpretation of American criticism. The history of the acquaintance of American writers with the work of Dostoevsky and his influence on American literature of the first half of the twentieth century is enclosed in the works of AN Nikolyukin and Yu.I. Sokhryakova. In the USA, three works are devoted to the problem of the literary reputation of F. M. Dostoevsky: M. E. Davenporg “Fashion for Dostoevsky, in England and the USA” (1923), X. Machnik “The English Reputation of Dostoevsky” (1939), D. Brewster "East-West Connections" (1054)2. All of these works cover the period from 1880 to the 1930s and give a picture of the history of familiar

1 Wellek R. Introduction //Dostoevsky: Collection of Critical "Essays /Ed. by, Rene Wellek.-New York: Englewood Cliffs, 1962, -P. 14. ■ """" ""

2 Davenport M. A. The; Vogue of F. Dostoevsky in England and the United States. -The University of Oregon, 1923; Muchnic H. Dostoevsky's English reputation (18811936). - Northampton, 1939; Brewster D. East-West Passage: A Study of Literary Relationships. - London, 1954.

ties of the West and America with the works of Dostoevsky. There is an urgent need to continue the study of the writer's literary reputation during the period most significant for its formation in the United States: from the 1940s to the 1960s. _ . . . . ; .

Goals and objectives of the study. The purpose of the dissertation is to use materials from American criticism and American literature to explore the evolution of views on the work of Dostoevsky the artist, based on the specifics of the literary process in the USA in the 1940-1960s.

This goal predetermined a number of specific research objectives:

2. analyze the main trends in American literary criticism and research individuals that determined the formation of Dostoevsky’s literary reputation in the 1940-1960s; .......

3. consider the nature of Dostoevsky’s perception by some American writers and the influence of his work on American literature of this period., .... .........

The scientific novelty of the research results is due, firstly, to the novelty of the very problem of Dostoevsky’s literary reputation in the USA for domestic Dostoevsky studies. Secondly, extensive new or little-known material is introduced into scientific circulation. The research was carried out on the basis of the study and analysis of two hundred works by foreign authors: monographs, articles, and other materials that were translated, analyzed and systematized. Among them, the works of M. Davenport “Fashion for Dostoevsky in England and the USA”, V. Terras “Reading Dostoevsky”, articles by T. Bailey, E. Vaivas E. Wasiolek, E. Wilson, G. Lamier, were translated and presented for the first time. T. Pachmas, R. Podgioli, F. Riva, N. Rosen, D. Frank, M. Friedman, R. Fülep-Miller, L. Furst. For the first time, the works of American writers about Dostoevsky were translated and analyzed, namely: articles by K. McCullers (translation of the article “Russian realism and the literature of the South” is given in the appendix), work by S. Plath “The Magic Mirror: a study of doubles in two novels by Dostoevsky”, K. Rexroth “Dostoevsky. "The Brothers Karamazov".

Thirdly, in terms of content, the author of the dissertation has identified and studied those trends in American literary criticism that turned out to be the most significant for understanding the nature of the literary reputation of Dostoevsky the artist in the USA in the 1940-1960s, and also shows the peculiarities of the perception of Dostoevsky by American writers. The dissertation presents little-known names in Russia

classics of American literature K. McCullers and S. Plath, their perception of Dostoevsky’s work and Dostoevsky’s influence on their own work were analyzed. For the first time, this influence is considered in connection with the development during this period in American literature of a special type of novel - a novel about a teenager. A number of new research problems are posed: including the problem of the relationship between the scientific and artistic creativity of writers, the problem of Dostoevsky’s influence on the American novel about a teenager of the 40-60s, on the literature of the beatniks, on the American literature of the South.

Research methodology. The methodological basis of the dissertation is the principles of comparative literature, i.e., understanding the material in a comparative historical aspect.

Scientific testing of the work took place at the Department of Literature of the Karelian State Pedagogical University during the discussion of the dissertation. The dissertation manuscript was recommended for defense. Some ideas of the dissertation are presented by the author in a speech at a scientific conference and scientific publications. Based on the dissertation project, the author was awarded a scholarship from the President of the Russian Federation, which allowed him to continue scientific research at the University of Oregon in the USA. The problem of Dostoevsky's literary reputation in the USA was discussed with professors at the University of Oregon, famous Dostoevsky scholars D. Rice and N. Rosen.

Structure of the dissertation. The work consists of an introduction, two chapters, a conclusion, a bibliography, and an appendix. The bibliography includes 346 titles.

The introduction substantiates the relevance of the chosen topic, the subject and methodology of the research, characterizes the goals and objectives of the research, determines the degree of scientific development of the problem, and reveals the scientific novelty of the dissertation.

The first chapter analyzes the process of formation of the literary reputation of Dostoevsky the artist by American literary criticism in its originality.

The first section is devoted to the history of the formation of Dostoevskosh’s reputation in the USA. Here we examine the factors that influenced the creation of the literary reputation of Dostoevsky the artist, the reasons for the “inassimilation” of certain aspects of his work, the ideas about Dostoevsky characteristic of this period are examined, the reasons that caused the revaluation of literary reputation in the 1940-4960s are analyzed, which, in turn, determined the direction of the league.

Ratour studies.

The literary reputation of Dostoevsky the artist in the 1940-1960s was formed under the influence of changing political and social factors, as well as changes that took place in the literary process itself, which caused a new wave of interest in Dostoevsky’s work. The main role in rethinking Dostoevsky’s reputation and deepening ideas about him as an artist belong to literary scholars and writers. The emergence of American Dostoevsky studies during this period became a defining event for the formation of the reputation of Dostoevsky as an artist. In the 1950-1960s, many centers for the study of Russian literature and, in particular, the work of Dostoevsky emerged. The most famous schools that study the writer's work are universities in Chicago (E. Wasiolek), New York (E. Simmons, R. Belknap), Yales (R. Jackson, R. Wellek), Illinois (M. Krieger, T. Pachmas, V. Terras), California (D. Gibian).Publication of new translations of Dostoevsky's works, materials for his works, biographies, as well as the expanding cooperation of Dostoevsky scholars of the Soviet Union and the USA in the 1940-1960s - all this contributed to a new, deeper reading of Dostoevsky in the United States.

The second section examines new approaches to the study of the writer’s work, which determined the actual American reading of F. M. Dostoevsky. American Dostoevsky studies at this time recognize the urgent need to rethink and reassess Dostoevsky’s existing literary reputation, primarily its negative, or rather, “unassimilable,” misunderstood sides; overcoming existing myths about the writer, liberation from the influence of religious, positivist ideas about his work, studying the artistic features of Dostoevsky’s works. The reputation of Dostoevsky as an artist, created by the early forties, largely contributed to a distorted perception of the writer’s work. He was seen outside the Western tradition as a chaotic, chaotic, dark, “Asian” writer. The myth1 about the Russian Soul, which Dostoevsky allegedly expressed and presented to the West, caused the greatest damage to the artist’s reputation. The dissertation shows the role of E. Wilson, R. Fülep-Miller, E. Simmons, E. Wasiolek in the revision and revaluation of the literary reputation of Dostoevsky the artist. .............-

One of the trends in American literary criticism in these years was the desire to create an objective picture of Dostoevsky’s work, first of all, by introducing new materials into scientific circulation, choosing objective research methods, and also promoting

the first plan of research problems that are associated with the poetics of the writer’s works. The section provides an overview of the main directions of American Dostoevsky studies and shows how they are reflected in scientific collections published during this period.

The dialogue between “new” and “old criticism” was another feature of the study of Dostoevsky in the USA in the 1940s-1960s. He determined the methods for studying Dostoevsky’s work and the originality of the writer’s literary repugnance.

The development of American literary criticism in the post-war era was largely determined by the “new criticism” that emerged in the forties. It would not be an exaggeration to say that the discovery of Dostoevsky as an artist and the beginning of the study of his work in the United States was made by the “new critics,” primarily by Princeton University professor R.P. Blackmoore (1904 - 1965). The dissertation analyzes his six articles on Dostoevsky, which were included in the book “Eleven Essays on the European Novel”3. The defining principles of the research of Yalekmur, who interpreted the novels of F, M, are highlighted. Dostoevsky’s “Crime and Punishment”, “Idiogg”, “Demons”, “The Brothers Karamazov” in the light of ■ symbolic oppositions.

Blackmoore's essays were the first serious work on Dostoevsky's poetics in the United States of America, which had a significant influence on further American studies of Dostoevsky's work. The interpretation of the text made by Blackmoore marked the beginning of “objective” criticism, seeking to consider the works of Dostoevsky, regardless of his philosophical, religious, political views. The authority of the “new criticism” and Blackmoore himself contributed to a new reading of Dostoevsky, an understanding of his discoveries as an artist Thanks to Blackmoor, the American tradition of such reading was established. The scientist touched on many problems of Dostoevsky’s work, which in the following decades were developed in American literary criticism: problems of method, form, humor, etc.

The peculiar reaction of the “new criticism” is reflected in the works of the “old criticism” that appeared. Both directions had a common task - to critically rethink the established reputation of Dostoevsky as an artist, to understand the meaning of Dostoevsky’s artistic discoveries. But if the “new criticism” sought to take Dostoevsky’s work beyond the boundaries of “subjectivity, to place it above the era and culture that formed it, then the “old criticism” destroyed the myth of Dostoevsky as an exotic

"Blackmur R. Eleven Essays in the European Novel. - New York, 1964.

com, an “Asian” writer, including his work in the context of European literature.

The dissertation analyzes the book by J. Sgainer “Tolstoy or Dostoevsky. An essay in the manner of old criticism."4 Steiner's study is devoted to the peculiarities of the Russian novel and can be reduced to the main thesis: Tolstoy's art revives the epic tradition, and Dostoevsky's art revives the tradition of ancient drama. Drama helped Dostoevsky find structure as well as spiritual focus for his novel. Among the features of the Russian novel, Steiner names the return of the religious feeling lost in the European realistic novel. which motivates the artist. The “high seriousness” that distinguishes Russian and American novels from the European realistic novel is also associated with religious feeling. A special feature of the Russian novel is its unusually “loose” form, which, according to the researcher, reflects the national specificity of Russian literature, because for Tolstoy and Dostoevsky “abundance was an integral part of freedom.”

The value of Steiner’s work lies in the fact that during the period of relativism in criticism, he turns to tradition and studies its development, discovers and affirms the connection between literary movements, literary styles, literatures of different eras and countries, considers a literary work not in isolation, but in close interrelation with history, politics and philosophy. Steiner overcomes the existing stereotypes of perception of Dostoevsky, showing him in the context of the European tradition, offering an explanation for the notorious formlessness of Dostoevsky's novel, defending Dostoevsky from reproaches for the inconsistency of the plot and composition. The scientist advises us to read Dostoevsky in the context of his era, and not ours. Steiner had a “civilizing” influence on the creation of the image of two “uncontrollable” Russian writers; in his book, Dostoevsky no longer appears as an obsessed, sick writer, a man of extremes. .... ......- -

The third section is devoted to the reputation of Dostoevsky as a realist in American literary criticism from the 1940s to the 1960s. In the study of the writer's work by American literary criticism, the problem of Dostoevsky's realism was central. As V. Letherbarrow, the author of a bibliography of Dostoevsky’s works published in 1990, notes, “the question of Dostoevsky’s realism and his problematic relationship with the artistic world and reality was the only constant leitmotif

4 Steiner G. Tolstoy or Dostoevsky: An Essay in the Old Criticism. - New York, 1959.

in the criticism of Dostoevsky, from the 1840s to the present day."5

Most of the leading American scientists spoke out during this period on this issue, among them: D. Frank, R. Poggioli, E. Vaivas, R. Jackson, D. Fanger, T. Pachmas, E. Simmons. The dissertation makes an attempt, based on an analysis of the research of these scientists, to show the evolution of the reputation of Dostoevsky as a realist.

Dostoevsky was introduced in Europe and America as a realist, at a time when realism was still a relatively new term. Over the course of the century, its content changed, so that in the end, as L. Ya Ginzburg noted, “realism” became an extremely flexible concept.”6 Its content largely depended on the author’s point of view on reality. Dostoevsky’s reputation as a realist was formed under the influence of changing ideas about realism and largely depended on these ideas. Thus, throughout their acquaintance with Dostoevsky’s work, his realism was interpreted by American critics as naturalism, as “mystical” realism, then as “romantic” realism.

For American Dostoevsky studies, which originated in the 1940s, the problem of Dostoevsky's realism, its special and complex nature, becomes one of the main subjects of research. Solving it was the key to understanding the uniqueness of the poetics of the writer’s works, resolving the question of his influence on modern literature, as well as overcoming one of the obstacles to the perception of his works, their “indigestibility.” Already in the first articles by R. Fülep-Miller and E. Simmons, devoted to Dostoevsky’s literary reputation, a special role is given to the writer’s reputation as a realist.

The task of American Dostoevsky studies during this period was, firstly, to identify the specifics of Dostoevsky’s realism; secondly, to characterize the reality that is presented in Dostoevsky’s novels and show its relationship with material reality; thirdly, to establish the origins of Dostoevsky’s realistic method and connect them with the traditions of Western and world literature, which, in turn, would make it possible to draw conclusions about the influence of Dostoevsky’s realism on the modern novel.

Significant for understanding the nature of Dostoevsky’s reputation - realism -

5 Leatherbarrow W. J. Fedor Dostoevsky: A Reference Guide. - Boston, 1990. - P.V.

6 Ginzburg L.Ya. Literature in search of reality: Articles, essays, notes. - L.: Soviet writer, 1987. - P. 7.

That is the book by Stanford University professor Donald Fanger “Dostoevsky and Romantic Realism. A Study of Dostoevsky in Relation to Balzac, Dickens and Gauchle"7. The author searches for the features of Dostoevsky's realism in the laws of the genre, when the social context is represented by means of melodrama and the Gothic novel. The researcher's main emphasis is on the romantic origins of Dostoevsky's work. Traditionally for American literary studies, Fanger understands realism as a method associated with the comprehension of some higher “spiritual reality.” Fanger's task is to trace the evolution of Dostoevsky's realism, his transition from the social to the metaphysical level, i.e. to the stage that he calls symbolic realism. Transitivity as a specific feature of Dostoevsky’s work is reflected in the term “romantic realism” that the author uses. The concept of romantic realism, put forward and substantiated by Fanger, helped to identify the specifics of Dostoevsky's realism, historically and artistically conditioned and justified, thus deepening the ideas about realism traditionally established in American literary criticism.

The dissertation shows that the reputation of Dostoevsky as a realist has undergone changes along with a change in the understanding of the term “realism”. If in the 19th century the term implied a truthful depiction of everyday reality, then the concept of reality is gradually expanding. It includes not only the typical, but also the exceptional, not only the immanent, but also the transcendent, not only the material, but also the mental and spiritual. The idea of ​​Dostoevsky's realism is gradually becoming more complicated. American literary criticism of the 1940s-1960s moved towards a more adequate understanding of the nature of the writer’s realism. In the study of the reputation of Dostoevsky the realist, the following trends have emerged: the use of various approaches and methods in the study of the reputation of Dostoevsky the realist; deepening ideas about Dostoevsky's realism, establishing the connection of his realism with the previous tradition, the laws of the genre, as well as with the aesthetic ideas of the writer", consideration of Dostoevsky's novels from the point of view of the phenomenology of fantastic realism; recognition that the implementation of positivist ideas about realism is naive, and also that Dostoevsky’s artistic method is associated with the creation of a special spiritual reality; bringing to the fore in research questions about

7 Fanger D. Dostoevsky and Romantic Realism: A study of Dostoevsky in Relation to Balzac, Dickens, and Gogol. - Cambridge Massachusetts, 1965. "M

the relationship of this reality with material reality and an attempt to determine the nature of the former. Dostoevsky's reputation is being formed as a special realist who established new ways of depicting reality, expanded the boundaries of the realistic, changed ideas about verisimilitude, used new techniques, and thereby influenced the American novel.

The analysis showed that if during the cult of Dostoevsky the attitude towards the writer was rather emotional and his literary reputation depended on the emerging myths about him as an exponent of the Russian mystical Soul, then in the 1940-1960s, emotions and myth-making were replaced by a balanced scientific study of him works. The dissertation emphasizes the enormous role of R. Blackmoore, D. Sgainer, D. Fanger, E. Wasiolek, R. Poggioli in rethinking Dostoevsky's reputation. During this period, a new generation of researchers appeared, whose works determined the face of American Dostoevsky studies over the following decades: V. Terrace, R. Jackson, D. Frank. In the 1940-1960s, thanks to the research of American Dostoevsky scholars, not only the myth of the “mediocrity”, exoticism, and alienness of American culture of the work of Dostoevsky the artist was destroyed, but the task of mastering his artistic discoveries was solved. First of all, those discoveries of Dostoevsky are mastered (“fantastic realism” of Dostoevsky, the use of grotesque techniques, the mixing of the tragic and comic, the theme of duality, the theme of the “underground”, etc.), which are close and consonant with the development of aesthetic and critical thought of this period in the USA.

In the second chapter, an attempt is made to show the nature of Dostoevsky’s literary reputation in the 1940-1960s using the example of the critical and literary activities of K. McCullers, D. Salinger, S. Platt, to identify the nature of Dostoevsky’s influence on the work of these writers, as well as on the formation of a new type novel in American literature - a novel about a teenager. The existing common features in their work, as well as their place in US literature, made it possible to combine these writers in one study. Firstly, all three are classics of American literature. Secondly, the main theme of their work is the theme of a teenager (K. McCullers - 40s years, D. Salinger - 50s, S. Plath - 60s). Thirdly, the influence of Dostoevsky on their work is obvious, although little studied. Reading their works in comparison with the works of Dostoevsky is relevant not only for understanding the nature of Dostoevsky’s literary reputation in the period under study, but also for understanding the creativity of the writers themselves and tendencies.

tions of the development of American literature.

This chapter presents new, unknown material in Russian literary criticism, in particular, essays and literary works of writers. Their appearance added a new feature to the formation of Dostoevsky’s reputation in the United States. These are either student works (for example, S. Platt, D. Updike)8, indicating that Dostoevsky is becoming a mandatory author studied in universities, or essays (K. McCullers, K. Rexroth)4, or scientific research (D. Oates)10.-

The dissertation shows that one of the main features of American literature of the 1940-1960s is the highlighting of problems associated with youth, and analyzes the features of a new type of novel about a teenager.

The image of a teenager in this novel is seen as a symbol of the position of modern man in the world. A novel about a teenager is characterized by: symbolism, philosophical issues and related philosophical symbolism. The action develops from the hero's rebellion, metaphysical, social, through a breakdown to the acquisition of new spiritual knowledge. The hero of the novel is a controversial figure; he often takes on the features of an antihero. His main goal is the search for his own identity, the struggle for authenticity. This hero is an outsider, so the novel is characterized by motives of escape, loneliness, and alienation. This is a nonconformist, an artist who does not accept modern society. He is both a heroic figure in his rebellion and a comic one at the same time. The use of the grotesque, mixing the comic and the tragic is one of the important techniques

8 Plath S. The Magic Mirror: a Study of the, Double in Two Dostoevsky's Novels. -

Smith College, 1955; about D. Updike’s student works, see: Interview with John Updike // Literary newspaper. - 1997. - January 15. s Rexroth Kenneth/Classics Revisited. - New York, 1965; McCullers C. The Russian Realists and Southern Literature. // McCullers C. The Mortgaged Heart. - Houghton Mifflin Company, 1971.

Oates Joy. Tragic and Comic Visions in The Brothers Karamazov // Oates J.C. The Edge ol" Impossibility: Tragic Form in Literature. - Greenwich, 1973; Oates J.C. The Double Vision of the Brothers Karamazov // Journal of Aesthetics-and Art Criticism. - "- Vol. 27, 1968; Oates J.C. Tragic Rites in Dostoevsky's The Possessed// Oates J.C Contraries: Essays" - New York, 1981.

used in a novel about a teenager. As for the content, the presence of a moral center in the work seems to be a distinctive feature of the novel about a teenager of this period.

The first section examines the reception of Dostoevsky's work by Carson McCullers (1917-1967), reflected in her critical articles, and also the influence of Dostoevsky on the creation of her novel about a teenager, The Member of the Wedding.

K. McCullers is an outstanding American prose writer of the 20th century. Her work is usually associated with the southern school and the “southern renaissance” in American literature, but it, like the work of W. Faulkner, goes beyond the scope of this phenomenon and its significance remains to be understood. Among the new promising directions for studying the writer’s work, it is important to read her works in comparison with the great Russian texts, which had a significant influence on the work of K. McCullers. K. McCullers has repeatedly spoken about the influence of F. Dostoevsky and Russian realists on her own work and the work of other writers of the South." In 1941, K. McCullers' article "Russian Realists and the Literature of the South"12 was published, which is the key not only to understanding the creative method of the writer , but also the nature of Dostoevsky's influence on her work. For K. McCullers, the discoveries of Dostoevsky the artist and, above all, his reputation as a realist are of paramount importance. McCullers writes that the literature of the South is a follower of the Russian realistic school and notes the common features of Russian creativity realists and writers of the South, such as “cruelty” and impartiality of the image, a bold combination of the tragic and the comic, the majestic and the trivial, the sublime and the obscene, the human soul and material detail, as well as passion; a moral approach that is the spiritual basis of the works of Russian writers and American ; the desire to resolve universal problems of existence. In the opinion of K. McCullers, the significance of Dostoevsky for modern American literature lies, first of all, in this. that he created new ways for the development of the realistic novel.

McCullers' article suggests three important aspects of studying the influence of

11 She writes about this in the article “A Blooming Dream. Notes on Writing." McCullers S. The Flowering Dream: Notes of Writing // MeCullers C. The Mortgaged Heart.-Boston, 1971.-P. 278. . .

"McCullers C. The Russian Realists and Southern Literature. // McCullers C. The

Mortgaged Heart.

Dostoevsky’s insight into her novel: the method of depiction, the problematic of the work and, finally, the originality of the hero. All these aspects are considered in the dissertation. The main attention is paid to the influence of Dostoevsky on the creative method of K. McCullers. It is noted that one of the features of Dostoevsky’s realism, according to the writer, is that his artistic method is capable of expressing universal metaphysical problems. This is the quality of prose inherent in both the writer herself and... it allows researchers of her work to say that her method is close to symbolism, and her prose has a mystical dimension. Features of McCullers' artistic method. resulting from her understanding of realism - that fantasticality, the confusion of reality with unreality, which she discovered in Dostoevsky. -

Dostoevsky's method opened up new possibilities for the writer to depict modern man. The dissertation analyzes the influence of Dostoevsky on the creation of the novel “The Participant in the Wedding.” The problem-tique of the work, the chosen type of hero, the techniques used, including the grotesque, the mixture of the comic and tragic, the lofty and the trivial, and the symbolism used testify to this influence. In addition, the moral attitude in literature becomes decisive not only for K. McCullers, but also for all the literature of the South. The influence of Dostoevsky allowed the writer to give the novel about a teenager a philosophical sound and give universal meaning to the problems facing the hero.

The second section is devoted to a comparative analysis of the novel by F.M. Dostoevsky's "The Teenager" and D. Salinger's novel (1919 -) "The Catcher in the Rye".

Salinger's Above the Past in Russia (195) is the most famous novel about a teenager written during the period under study.

The problem of Dostoevsky's influence on the creation of the novel was almost immediately raised by researchers as one of the aspects of studying the writer's work. The dissertation analyzes the polemics of researchers L. Fürst, H.-Y. Gerika, D. Fien about what work of a Russian writer can serve as a subject for comparison with the novel “The Catcher in the Rye”. The conclusion is substantiated that F. M. Dostoevsky’s novel “The Teenager” is the most adequate work in which sources of influence and comparison can be found. "The Teenager" is an "edgy modern novel of education" from the life of a young man, """ being formed in the conditions of a big city15, so its problems

13 Friedlander G. Dostoevsky and world literature. - L., 1985. - P.291.

: atics and plot collisions could not help but be reflected in the “novel of education” of the mid-20th century. The following themes can be called common: the theme of school as a symbol of modern civilization, which requires conformity from a person and imposes false knowledge and values; topic of education; family theme; religious theme, or rather, the theme of Christ; the theme of a big city in which heroes wander; theme" of beauty; theme of love. Common are the motives of escape and search for a teacher, motives of loneliness and confrontation, the motive of the lost paradise. Common techniques are: the image of a hero who combines the features of an anti-hero, the narration is told in the first person, the presentation of events is given in chronological order with small temporary disruptions, the past is often described associatively, the style of narration is realistic, mixing farce and tragedy, the use of symbols. General issues: the problem of one’s own identity, the problem of the heroes’ search for the meaning of existence, a connecting idea. It can be argued that it is Arkady Dolgoruky who is Holden’s “literary brother” .

The dissertation traces the named general themes, motives, artistic techniques, and problematics in Salinger’s novel “The Catcher in the Rye” and Dostoevsky’s novel “The Teenager.”

Both Dostoevsky and Salinger are psychological artists. Salinger, following Dostoevsky, builds an image of heroes based on the idea of ​​the human soul as an arena of the struggle between good and evil; he is interested in the irrational in the human psyche. Therefore, the principles of artistic depiction are largely similar for both writers. Salinger points to “broadness” as the main quality of the main character, combines the comic and tragic in the depiction of the hero and the narrator, and in the central character combines the features of a hero, anti-hero, and jester. The religious and moral aspects of the writers’ creativity are close. Salinger embraced the idea of ​​salvation from the lies and lack of spirituality of modern civilization through love and beauty. In his subsequent work, he affirms the need for the unity of people, building life on fundamentally different foundations:

The third section is devoted to the perception of Dostoevsky by S. Plath (1932-1963) and the reflection of this perception in the critical and artistic work of the writer. Little is known to the Russian reader about the work of Sylvia Plath. More than thirty years after her death, we have published translations of only some of her poems in periodicals , later included in an anthology of American poetry, and her novel

“Under the Glass Bell” was translated only in 19941.”1 In Russia, not a single special study has been devoted to the writer’s work / although it is obvious that Plath is the greatest American poet, and her only novel “Under the Glass Bell” is recognized as a classic of American literature of the 20th century . .OYSHSOG"U

Sylvia Plath for a long time perceived *: “Exclusively as a poet, and the novel “The Bell Jar.” was traditionally viewed as an autobiographical document that sheds light not only on her work, but also on the history of her life, the mystery of illness and death. Plath's growing popularity in our time is associated with the popularity of feminism, as well as feminist studies of the writer's work. However, these two most common approaches to reading and interpreting Plath's novel exclude or relegate to the background the main problem - the problem of the peculiarities of the poetics of the work. Therefore, it was very productive for the study to read her novel in the context of Dostoevsky’s work, which had a decisive influence on the creation of the work, as well as in connection with the development of the American novel about a teenager.

This section presents some biographical material, in particular the history of S. Plath’s acquaintance with the work of Dostoevsky. In 1949, she attended a literature class where Dostoevsky was among the writers studied. At Smith College, S. Plath attended lectures by V. Nabokov and E. Simmons’ course “The Works of Dostoevsky and Western Realism.” She was so fascinated by Dostoevsky during these years that in 1954, under the guidance of Professor D. Gibian, she began work on a study devoted to the problem of duality in Dostoevsky. In 1955, S. Plath wrote the work “The Magic Mirror: A Study of Doubles in Two Novels by Dostoevsky”|5, which received high praise during the discussion.

The critical work of S. Plath is of great interest as a source for understanding the nature of the writer’s perception of Dostoevsky and his influence on her own work. The main focus of the work is on duality as an artistic device used by Dostoevsky. Much of her research is devoted to race

14 See, for example: New World. - 1973. 10; Foreign literature. - 1974. - No. 1; Star of the East. 19.91." volume No. 7; American poetry in Russian translations. - M.G Raduga, 1983; Platt S. Under the Glass Bell. - St. Petersburg: North-West, 1994.

15 Plath Sylvia. The Magic Mirror. A study of the Double in Two Dostoevsky's Novels.-Smith College. - 1955. ,

looking at the nature of changes in Dostoevsky’s use of this technique in “The Double” and “The Brothers Karamazov”. It is concluded that Dostoevsky helped^. Dlat not only understand the nature of duality and the nature of his own duality, but also find a literary form for mental duality.

The psychoanalytic analysis of the writer’s works that Plath resorts to, although it limits her view of Dostoevsky, does not obscure the writer’s artistic discoveries for her. The reputation of Dostoevsky as an artist, who took a huge step forward in developing the theme of duality, is no less important for Plath. The works of Dostoevsky suggested S. Plath techniques for depicting this duality in the novel “The Bell Jar.” The dissertation examines two features that testify to the influence of Dostoevsky on the work of S. Plath: the first is associated with the image of the heroine, the other with the structure of the conflict in the novel. The system of doubles is intended, on the one hand, to convey the repressed desires of the main character, her internal instability; on the other hand, to show different sides of her personality, to convey her search for her own Self, to solve the problem of identity. The system of doubles also plays an important role in depicting the heroine’s beginning mental illness:

To resolve the conflict, Plath also resorts to a system of doubles, which was created under the influence of Dostoevsky. “The Brothers Karamazov” opened the way for her to overcome the heroine’s incipient mental illness. The kind of reconciliation that Ivan achieved with himself through his own understanding of guilt and acceptance of responsibility gave Plath a new perspective on her own conflicts. -

Philosophical and social issues, psychologism inherent in Dostoevsky’s work, the complex image of the heroine, the structure of the conflict and the principles of its resolution - all this testifies to Dostoevsky’s influence on the creation of the novel “The Bell Jar.”

The analysis provided an opportunity to draw a conclusion about the character and literary reputation of Dostoevsky among American writers during the period under study.

In conclusion, the results of the study are summed up and prospects for work on the topic of the dissertation are outlined.

The appendix contains a translation of the article by K. McCullers “Russian realists and the literature of the South.”

The main provisions of the work are reflected in the following publication^: : 1. Healing art? (About Dostoevsky’s literary reputation in the USA)//North. - 1998, - No. 11, - S. 136-142.

2. F.M. Dostoevsky in Time magazine // Philological studies: Collection of works of students and graduate students of the philological faculty of KSPU-Petrozavodsk, 2000, p. 32-37.

3. Roman F.M. Dostoevsky’s “Teenager” and D. Salinger’s novel “The Catcher in the Rye” // Dostoevsky and modernity. - Novgorod, 2000. (accepted for publication).

Literary reputation of F.M. Dostoevsky, emerging in American literary criticism

1. The history of the formation of Dostoevsky’s literary reputation

2. New approaches to the study of Dostoevsky’s work. "New" and "old" criticism.

3. The problem of Dostoevsky's realism. The reputation of Dostoevsky as a realist in American literary criticism of the 1940s-1960s.

F.M. Dostoevsky in the perception of American writers (K. McCullers, D. Salinger, S. Plath). Dostoevsky and the American novel about a teenager of the 1940s-1960s

1. F.M. Dostoevsky and K. McCullers

2. Roman F.M. Dostoevsky's "The Teenager" and D. Salinger's novel "The Catcher in the Rye"

3. F.M. Dostoevsky and S. Plath Conclusion Bibliography Appendix

Translation of the article by K. McCullers “Russian realists and the literature of the South”

160-179 180-183 184

Introduction of the dissertation 2000, abstract on philology, Lvova, Irina Vilievna

With the intensification of the processes of rapprochement and mutual influence of cultures in the modern world, in particular, with the growing interest in Russian literature in the West and in the USA (which arose already in the 19th century), the problem of the functioning of Russian literature abroad is becoming one of the relevant aspects of its study.

Creativity F.M. Dostoevsky belongs to world culture to the same extent as to Russian culture, having long ago transcended national and temporal boundaries. Throughout the twentieth century, Dostoevsky was perceived as a contemporary; his spiritual presence in world culture and literature of our century became an indisputable fact. In the USA, Dostoevsky is the most read and studied Russian writer, representing not only Russian literature, but also Russian culture as a whole. He, like no other Russian artist, influenced American literature. But Dostoevsky’s work itself, living in a different culture and in a different time, acquired new, previously invisible to us facets.

What is the reason for the Dostoevsky phenomenon in the USA? How did interest in his work arise and develop? How was Dostoevsky read and perceived during different periods of acquaintance with him? What was learned in his work and what caused rejection and why? What artistic discoveries of Dostoevsky attracted the most attention, and what impact did they have on the development of American literature and literary studies? All these questions are related to the problem of Dostoevsky’s literary reputation in the United States, namely his reputation as an artist.

The problem of Dostoevsky's literary reputation in the United States involves consideration of existing ideas about him as an artist and the evolution of these ideas; characteristics of the era and cultural environment in which this reputation took shape, because it (reputation) represents the foreign language environment and era to the same extent as it is formed by it; / characteristics of the factors that contributed to the creation of the artist’s literary reputation; as well as characteristics of the recipients who formed it.

Literary reputation of F.M. Dostoevsky in the USA is associated with the study of the perception of his work by three main groups of readers: firstly, researchers of the writer’s work; secondly, by writers who form and transform this perception in their own work; thirdly, a mass audience that assimilates judgments, simplifying them into a series of cultural signs that enter the mass consciousness. One more group can be mentioned that contributes to the formation of Dostoevsky’s reputation - these are historians, philosophers, cultural experts - people for whom interest in Dostoevsky’s work is concomitant with the main subject of their research.

It seems important to understand the essence of the literary reputation created by literary scholars and writers, because it determined the direction of literary studies and the nature of the influence of the writer’s work on American literature.

It is possible to distinguish three periods in the formation of Dostoevsky’s literary reputation in the United States. The criteria for them can be, firstly, the intensity of interest in the writer, that is, the number and nature of publications, the strength of the influence of his work on the literary process, the so-called quantitative criterion. Secondly, a qualitative criterion associated with breaking old ones and creating new paradigms of its perception and research. Thirdly, the criterion for identifying a period is the relative homogeneity of both socio-political and ideological trends in a given historical period of time.

The first, the longest, can be divided into a period of acquaintance - from 1881 (the first publication of the translation of “Notes from the House of the Dead” in the USA) to 1912 (the beginning of publication of K. Garnet’s translations) and the period of the so-called cult of Dostoevsky and then a gradual decline in interest to the writer (1912-1920). The years of his cult turn out to be significant for Dostoevsky’s reputation. Numerous publications of translations of Dostoevsky's works, books about him, and responses in the press about these publications appear. At this time, his reputation as a psychologist was formed (caused by the discoveries and growing popularity of psychoanalysis), a prophet (under the influence of the events of the Russian Revolution), the myth of Dostoevsky as an exponent of the Russian Soul was formed, and the myth of him as a weak artist was preserved. The peculiarities of the formation of Dostoevsky’s literary reputation during this period are: firstly, the European nature of the created cult and, secondly, its formation by two groups of readers - (1) writers and (2) scientists, journalists, and public figures.

The second period of a new explosion of interest in Dostoevsky occurred at the end of the Second World War - the beginning of the sixties. For America, these are the years of McCarthyism, the leftist movement and youth riots, the years of the influence of existentialist philosophy. It was at this time that interest in the artistic side of Dostoevsky’s work intensified in the United States, studies of the poetics of his works began, and his reputation as an artist was rethought. New translations of his works, previously unknown to the English-speaking reader of his materials (notebooks, sketches), and new biographies of Dostoevsky appear. The assessment of Dostoevsky's legacy becomes the subject of heated ideological discussions. The cult of the Russian Soul, which was associated with the name of Dostoevsky, is weakening. Literary criticism has a noticeable influence on the formation of Dostoevsky’s literary reputation. New research methods and directions are emerging: “close reading”1, “new criticism”, existentialist criticism. American literature of the 1940s-1960s was strongly influenced by F. M. Dostoevsky. His reputation as the creator of the modern novel is established.

The final period began with the collapse of the socialist camp and the Soviet Union. This is a period of liberation from ideological dogmas, the rapprochement of nations, and the strengthening of the dialogue of cultures. Literary studies in the United States are characterized by a variety of methods and approaches used, and the widespread use of M. Bakhtin’s methodology2.

It should be noted that Dostoevsky was approached during an era of crisis for Europe and the United States, and the crises were one of the reasons for the change in the writer’s reputation.

The time frame chosen for this study is the 1940-1960s. Firstly, at this time there was a new wave of interest in Dostoevsky in the USA. Secondly, the reputation of Dostoevsky as an artist is being formed: the need to revise the contradictory ideas coming from Vogüe and established during the years of the cult is realized, that Dostoevsky is a great psychologist, thinker, but a mediocre artist who does not master style and composition. In the USA, this tradition of perception of Dostoevsky is also associated with the influence of the assessments given by G. James. Thirdly, this period can be called properly American, for during these years American Dostoevsky studies emerged, the main feature of which is attention to

1 Weiman R. defines its essence this way: it is “the requirement for an accurate textual interpretation of a work of art.” See: Weiman R. “New Criticism” and the development of bourgeois literary criticism. - M., 1965. - P. 126.

2 See about this period: Medinskaya N.B. F.M. Dostoevsky in American criticism of the 1980-1990s. - Author's abstract. dis. Ph.D. Philol. Sci. - Tomsk, 1997. the artistic side of Dostoevsky’s work and, as noted by the famous American literary critic R. Welleck, the desire for objectivity3. Fourthly, if three special works in the United States are devoted to the first period of the formation of Dostoevsky’s literary reputation, then there is not a single study of this problem on the second period.

In Russian literary criticism, the problem of Dostoevsky’s literary reputation in the United States has not been specifically considered. Traditionally, there are two aspects of research into the reception of Dostoevsky in the United States: the perception of his creative heritage by American criticism and his influence on American literature. Literary works that provide an overview and analysis of American critical research on F. Dostoevsky were published in the 1960s and 1970s and are not free from a one-sided approach, caused in part by the ideological struggle around Dostoevsky’s legacy during this period. The most significant of them are the works of A.L. Grigoriev, T.L. Motyleva, L. M. Zemlyanova, N. B. Ivanova, Kh. Sh. Nalchieva4. These studies

3 Wellek R. Introduction // Dostoevsky. A collection of Critical Essays / Ed. by Rene Wellek. - N.Y., 1962. - P. 14.

4 See: Grigoriev A.L. Russian literature in foreign literary criticism. - L., 1977; Zemlyanova L.M. Contemporary literary criticism in the USA. Theoretical directions 1920-1980. - M.: MSU, 1990; she is the same. F.M. Dostoevsky and the struggle of trends in post-war literary criticism in the USA // Russian literature and its foreign critics. - Sat. articles. - M., 1974. - P. 87-131; Ivanova N.B. Dostoevsky in the assessment of modern American criticism // Russian literature in the assessment of modern foreign criticism. - M., 1973. - P. 212-266; Motyleva T.L. The heritage of modern realism. Research and observation. - M., 1973; she is the same. Novel - free form: Articles of recent years. - M., 1982; Dostoevsky in modern literary criticism of the USA. - M.: INION AN SSSR, 1980; Despite the overview that was understandable for that time, the small number of quotes presented in them nevertheless gave an idea of ​​​​the state of American Dostoevsky studies and the nature of research in the United States in this period. However, in general, the assessments of Soviet researchers of Dostoevsky’s work made in the 1960-1970s need to be revised and, above all, freed from an ideological approach to the interpretation of the works of American scientists.

Among the studies devoted to the perception of Dostoevsky’s work by American writers, the most thorough is the book by A.N. Nikolyukin “Interrelationships of the literatures of Russia and the USA”5. The chapter “Dostoevsky's Legacy and American Literature” provides an analysis of the perception of Dostoevsky's work by American writers, starting from the time of the publication of the first translation of Notes from the House of the Dead. The book focuses on the influence of Dostoevsky on the work of R. Bourne, T. Dreiser, S. Anderson, E. Hemingway, T. Wolfe, Yu. third of the 20th century, in particular, on the work of T. Dreiser, S. Andersen, F. Scott Fitzgerald, T. Wolfe, D. Steinbeck.6 Other prominent domestic literary scholars also dealt with the problem of Dostoevsky’s influence on American literature: T. L. Motyleva, I. O. T. Mishin, Y. N. Zasursky, V. A.

New foreign studies about Dostoevsky. -M.: INION AN USSR, 1982.

5 Nikolyukin A.N. Relationships between the literatures of Russia and the USA. Turgenev, Tolstoy, Dostoevsky and America. - M.: Nauka, 1987.

6 Sokhryakov Yu.I. Russian classics in the literary process of the USA in the first third of the 20th century // Dissertation. Doctor of Philology Sci. - M., 1982.

Kostyakov, M. Mendelson, B.I. Bursov7. The approach to American literature that emerged in Soviet times “as a certain kind of system, possessing a very clear logic, which discards as unimportant or simply does not notice everything that does not correspond to such logic and consistency,” led, as A. Zverev notes, to sad consequences : “we don’t know American literature.”8 The “banned novels” that existed in those years, such as W. Styron’s “Sophie’s Choice” or R. Warren’s “Refuge”, banned names or names not included in the authorized list - all this led to a distortion of ideas about modern American literature. This study presents some of the "unknown" names of American writers long recognized in their homeland as classics of the twentieth century, and thus contributes to the creation of a more objective picture of American literature of the mid-twentieth century, as well as the influence of Dostoevsky on it.

In the USA, three works are devoted to the problem of F. M. Dostoevsky’s literary reputation: M. E. Davenport - “Fashion for Dostoevsky in

7 Bursov B.I. Dostoevsky and modernism // Modern problems of realism and modernism. - M., 1965. - P.469-506; Zasursky Ya.N. American literature of the 20th century: some aspects of the literary process. - M.: MSU, 1966; Kostyakov V. A. American novel of the mid-20th century: Conceptuality of the genre. - Saratov, 1988; Mendelson M. Modern American Novel. - M., 1964; Mishin I. T. Dostoevsky and foreign writers (Main problems of creativity, tradition and innovation. - Rostov-on-Don, 1974.

8 Zverev A. Collapsed ensemble. Do we know American literature // Foreign literature. - 1992. - No. 10. - P.245.

England and the USA" (1923), X. Machnik - "The English Reputation of Dostoevsky" (1939), D. Brewster - "East-West Connections" (1954)9.

The work of M. Davenport is practically unknown to researchers. It was not published; the manuscript is stored at the University of Oregon. It is significant that it appeared in 1923, 13 years earlier than the famous work of X. Machnik. This indicates that Dostoevsky's reputation early became the subject of special attention among literary scholars. Its author is M. Davenport, a graduate student at the University of Oregon. The researcher analyzed 26 books (from 1889 to 1922) and 65 articles (from 1885 to 1922), which contained reviews, critical articles, and responses to Dostoevsky’s works that appeared in print or to materials about the writer. Davenport's work is an excellent source for analyzing the nature of Dostoevsky's reception and the formation of Dostoevsky's reputation in Britain and the United States. The material collected by the researcher is very varied and eclectic; not only Anglo-American sources are presented, but also references are given to French, German, Russian writers, critics, journalists, and travelers. Davenport's conclusions present Dostoevsky as an epileptic, a neurotic, as well as a psychologist, a prophet of the Russian revolution, and a Christian thinker. The researcher notes Dostoevsky's achievements as a realist, but the material at her disposal did not allow her to make more detailed observations about the uniqueness of Dostoevsky the artist.

The book by X. Machnik covers the period from 1881 to 1936. The researcher identifies four periods in the perception of Dostoevsky in

9 Davenport M. A. The Vogue of F. Dostoevsky in England and the United States. - The University of Oregon, 1923; Muchnic H. Dostoevsky's English reputation (1881-1936). - Northampton, 1939; Brewster D. East-West Passage: A Study of Literary Relationships.-Lnd., 1954.

USA: acquaintance (1881-1888), the intermediate period (1889-1911), the years of the “cult” of Dostoevsky (1912-1921) and the last phase - the cooling phase (1922-1936). Machnik cites various excerpts from responses and reviews of Dostoevsky's emerging books and shows what Dostoevsky's reputation was in a given time period and under the influence of what factors it was formed.

In the book, Machnik Dostoevsky appears before us as a prophet of the revolution, a psychoanalyst exploring the depths of the human subconscious, a mystic who feels a mysterious connection with Russia and is able to foresee its fate, a philosopher who anticipated the ideological quests of the era. Subjectivity, one of the reasons for which is the author’s belonging to his era, does not allow the researcher to separate Dostoevsky himself from the emerging myths about him. The literary reputation of Dostoevsky as an artist fades into the background, although already in these years the writer’s work began to influence the English and American novel.

Brewster's book is a study of the history of cultural Russian-American ties, and, like Machnik's book, Dostoevsky fashion is seen primarily as a cultural phenomenon. This is not so much a literary study as a cultural study, which widely includes historical material and documents recreating the era. The book is polemically sharp, and the journalistic liveliness of the presentation often gives it a journalistic character. Brewster's work is one of the best books written on Russian influence on English and American literature. It also presents extensive material that allows us to judge the nature of interest in Dostoevsky during the period under study.

All of these works cover the period from 1880 to the 1930s and give a picture of the history of the West and America's acquaintance with Dostoevsky's work.

There is an urgent need to continue the study of the writer's literary reputation during the period most significant for its formation in the United States: from the 1940s to the 1960s.

The relevance of the problem of Dostoevsky's literary reputation in the United States is determined by many factors. Firstly, the significance of Dostoevsky for world culture in general and American culture in particular. Secondly, it is associated with the strengthening of transcultural dialogue at the turn of the century. Thirdly, it is also due to the problems of literature perception coming to the fore. B. Meilakh wrote back in 1970 that the problem of artistic perception is the most complex, the most relevant and the most unexplored10. The problem of perception of a work of art abroad is one of the most important in comparative literature. M.P. Alekseev wrote about it, pointing out a number of difficulties that foreign language readers face. They lie in the characteristics of the work itself, its aesthetic nature and in the characteristics of the reader himself. Another obstacle to its perception is the different cultural and linguistic environment. “Difficulties of this kind lead to erroneous assessments, misunderstandings, and contradictions in judgments,” noted M. P. Alekseev11. Fourthly, the need to re-evaluate the ideological approach to American Dostoevsky studies and American literature, which was established during the Soviet period. Fifthly, it is important and relevant to introduce unexplored materials, both literary and literary, into scientific circulation.

Sixthly, the problem has been poorly studied.

10 Meilakh B. Artistic perception (Aspects and methods of study) // Issues of literature. - 1970. - No. 10. - P.38.

11 Alekseev M.P. Russian classical literature and its global significance // Russian literature. - 1976. - No. 1. - P. 7.

The purpose of the dissertation is to use materials from American criticism and literature to explore the evolution of views on the work of Dostoevsky the artist, based on the specifics of the literary process in the United States in the 1940-1960s.

This goal predetermined a number of specific research objectives:

1. identify the essence of the literary reputation of Dostoevsky the artist and reveal the factors influencing its formation;

2. analyze the main trends in American literary criticism and research individuals that determined the formation of Dostoevsky’s literary reputation in the 1940-1960s;

3. consider the nature of Dostoevsky’s perception by some American writers during the period under study and the influence of his work on American literature of this period.

Solving these problems would help clarify what prerequisites in Dostoevsky’s work itself and what features of his perception in the United States determined the unique place in American culture and literature that he occupies. All this, by the way, would help in turn to understand “what Russian literature is in its originality.” The answer to this question, as N. Ya. Berkovsky wrote, can be found “only when a full-scale comparative study of world and Russian literature is carried out, when style is compared with style, aesthetics with aesthetics”12.

The purpose of the first chapter is to show the process of formation of the literary reputation of Dostoevsky, an artist, by American literary criticism in its originality. Dostoevsky studies in America emerged in the post-war period. It determined the actual American reading of Dostoevsky.

Berkovsky N. Ya. On the global significance of Russian literature. - L.: Science, 1975. - P. 18.

This chapter examines the factors in the formation of Dostoevsky's literary reputation and the reasons that necessitated its reassessment in the 1940-1960s, which, in turn, determined the direction of literary studies. The stated goal determines the selection of the studied material. Among the variety of directions, those were chosen that, firstly, expressed its specifically American character and, secondly, turned out to be significant for the formation of the reputation of Dostoevsky the artist.

The development of American literary criticism in the postwar years was largely determined by the “new criticism” that emerged in the forties. In Dostoevsky studies, this direction is represented by the works of R. Blackmoore and R. 1

Welleck, which are analyzed in the dissertation. A peculiar reaction to the “new criticism” is reflected in the works of the “old criticism” that have appeared, of which the classic book is D. Steiner’s book “Tolstoy or Dostoevsky. Essay in the manner of old criticism"14. Both directions had a common task - to critically rethink the established reputation of Dostoevsky as an artist, to understand the meaning of Dostoevsky’s artistic discoveries. If the “new criticism” sought to take Dostoevsky’s work beyond the boundaries of subjectivity, placing it above the era and culture that formed him, then the “old criticism” destroyed the myth of Dostoevsky as an exotic, Asian writer, including his work in the context of European literature. The existence and interaction of “new” and “old” criticism in Dostoevsky studies of the 40-60s is one of the features that influenced the formation of Dostoevsky’s American literary reputation.

13 Blackmur R. Eleven Essays in the European Novel. - N.Y., 1964; Wellek R. A. History of Modern Criticism. 1750-1950. - New Haben, 1965.

14 Steiner G. Tolstoy or Dostoevsky: An Essay in the Old Criticism. - N.Y., 1959.

One of the central problems of Dostoevsky's reputation as an artist was his reputation as a realist. Most of the leading American scientists spoke out during this period on this issue, among them: D. Frank, R. Poggioli, E. Vaivas, R. Jackson, D. Fanger, T. Pachmas, E. Simmons. The work makes an attempt, based on an analysis of the research of these scientists, to show the evolution of the reputation of Dostoevsky as a realist.

Outside the field of research were those trends in literary criticism that examined Dostoevsky’s political, philosophical, and religious views and were less concerned with the artistic side of his works. For the same reason, psychoanalytic and biographical works in which the authors do not deal with issues of poetics are excluded. It must be said that all these directions, except existentialist criticism, already had their own history before the beginning of the period under study. Russian émigré criticism about Dostoevsky in the USA in the years 1940-1960 obviously requires special study, and due to its isolation and the small influence it had on the nature of Dostoevsky's literary reputation in the USA during these years, it is not considered.

The purpose of the second chapter is to show the nature of Dostoevsky’s literary reputation in the 1940-1960s using the example of the critical and literary activities of K. McCullers, D. Salinger, S. Plath, to identify the nature of Dostoevsky’s influence on the work of these writers, as well as on the formation of a new type of novel in American literature - a novel about a teenager. This chapter presents new, unknown material in Russian literary criticism, in particular, essays and literary works of writers. The beginning of literary studies of Dostoevsky's work in the United States added a new feature to the formation of Dostoevsky's reputation: research works by writers devoted to his work appeared. These are either student works (for example, S.

Plath, D. Updike)15, indicating that Dostoevsky is becoming a mandatory author studied in universities, or essays (K. McCullers, K.

Rexroth), or scientific research (D. Oates)

The study of Dostoevsky's literary reputation during this period includes both an analysis of the reception of Dostoevsky's work and the impact on the individual writer, and the identification of more general trends in influence on the modern American novel about a teenager.

The methodological basis of the dissertation is the principles of comparative literature, that is, understanding the material in a comparative historical aspect.

The research was carried out on the basis of the study and analysis of two hundred works by foreign authors: monographs, articles, and other materials. The main work with foreign sources was carried out during my studies at the University of Oregon. Conversations with professors of this university D. Rice and N. Rosen, leading American Dostoevsky scholars, helped clarify some aspects of the study.

15 Plath. The Magic Mirror: a Study of the Double in Two Dostoevsky's Novels. -Smith College, 1955; about D. Updike's student works, see: Interview with John Updike // Literary Gazette. - 1997. - January 15. - C . 12.

16 Rexroth Kenneth. Classics Revisited. - N.Y., 1965. - P. 184-187; McCullers C. The Russian Realists and Southern Literature. // McCullers C. The Mortgaged Heart. - Houghton Mifflin Company., 1971, - P. 252-258.

Oates Joy. Tragic and Comic Visions in The Brothers Karamazov // Oates J.C. The Edge of Impossibility: Tragic Form in Literature. - Greenwich. 1973. - P. 77 -102; Oates J.C. The Double Vision of the Brothers Karamazov // Journal of Aesthetics and Art Criticism. - Vol. 27, 1968. - P. 203-213; Oates J.C. Tragic Rites in Dostoevsky's The Possessed// Oates J.C Contraries: Essays.- N.Y., 1981,-P. 17-50.

First chapter

Literary reputation of F.M. Dostoevsky in 1940-1960, emerging in American literary criticism

Conclusion of scientific work dissertation on the topic "The literary reputation of F. M. Dostoevsky in the USA"

Conclusion

1940-1960 is a new important stage in the formation of Dostoevsky’s literary reputation in the USA. A second wave of interest in his work is emerging, due to the changing political and social conditions of American society.

The intensity of post-war interest in Dostoevsky's work allows us to talk about a new fashion for Dostoevsky. It began to be widely studied in universities, and during these years American Dostoevsky studies were formed. New trends and directions in the study of the writer’s work are emerging, new research individuals are emerging that determined the formation of Dostoevsky’s literary reputation in this period. In the 940-1960s, writers came to universities, their artistic creativity became closer to scientific ones, which was reflected in the perception of Dostoevsky by American writers.

The uniqueness of the formation of Dostoevsky's literary reputation in the United States in the 1940s-1960s lies in the increased interest in the artistic side of the writer's works, an attempt to master Dostoevsky's artistic achievements and include them in one's artistic experience. The development of the writer’s artistic heritage proceeded through national traditions and individual characteristics.

What features in Dostoevsky’s own work influenced the formation of his reputation as an artist? Dostoevsky offered American literature a range of questions that took a leading place in it. The most important thing is to put spiritual issues at the forefront. The post-war world, the post-Holocaust world, is a world that has lost God. Issues of seeking God, faith, and the meaning of life become central in the intellectual and spiritual life of the United States during this period. The spirituality of Dostoevsky's works was opposed to the spirit of conformism and consumption that was establishing itself in American society at that time. The introduction to the moral pathos of Russian literature and the works of Dostoevsky was of great importance.

The spirit of rebellion that was felt in the works of Dostoevsky was close to the spirit of the new generation of Americans. Just as in Russia of the nineteenth century, where everything was just emerging, was in turmoil and formation, so in American society of 1940-1960 the feeling of the catastrophic nature of existence is returning. Dostoevsky's heroes and their quests were close to the self-perception of mid-century Americans. The society into which Dostoevsky's hero entered was unstable, conflict-ridden, a society of extremes, and his hero reflected these extremes. The same hero comes to American literature in the middle of the century. Often this is a hero - a teenager who faced the global problems of human existence and tried to answer them all at once.

Dostoevsky's works turn out to be modern for the 1940-1960s. Dostoevsky’s sense of modernity was noted by Y. Lavrin: “The great writer and seeker of truth Dostoevsky deepened our understanding of man and life to such an extent that his works are a milestone not only for the European novel, but also for European consciousness. .Why do Dostoevsky’s types have such an attractive force for us? Not only because of the state of changeability, fluidity, which constitutes a contrast between the severity of many European forms, but also because in Russia man anticipated the extreme tension characteristic of such a type, which alone is capable of solving the problems of ecumenistic civilization. The European type is too narrow and provincial to cope with this. And therefore, every thinking European unconsciously feels that Russia will have an attractive force.”224

224 Laupp Lapko. - Or. sk. - R. 155.

Dostoevsky’s artistic technique also turned out to be important for the development of American literature in the mid-20th century. For American literature and literary criticism, his discoveries as a realist were significant, expanding the boundaries of the realistic, changing ideas about verisimilitude, and realism was understood as a reflection of a new spiritual reality, thereby often bringing Dostoevsky’s aesthetics closer to the aesthetics of modernism. His technique turned out to be the most adequate for depicting modern man.

In the 1940s-1960s, Dostoevsky came closer to the American reader. He finally ceases to be an exotic artist, and his work becomes part of American culture. The post-war years are the years of assimilation of the writer's discoveries.

Every culture looks for itself in a foreign culture first of all and tries on someone else’s experience. The study of Dostoevsky's literary reputation gives an idea of ​​the important side of the historical and modern existence of Russian literature; it is a way not only of learning about someone else's culture, but also one's own; it is also a way of self-knowledge. As M. Bakhtin noted: “We pose new questions to a foreign culture, which it has not asked itself, we look for answers to these questions of ours, and a foreign culture answers us, revealing to us its new sides, new semantic depths”225.

Studying the creativity of American writers and the research works of American literary scholars allows us to outline a number of problems related to the history of the perception and study of Dostoevsky in the United States, which require further consideration. Among them, as noted, is the question of Dostoevsky’s influence on the creation of a novel about a teenager. It may be productive to consider Dostoevsky's influence on beatnik literature, on American literature of the South, on the work of American Jewish writers, starting with N. West, as well as women's literature of the second half of the twentieth century. Studying the scientific and artistic creativity of writers is useful. The problem of Dostoevsky’s perception by the mass reader has practically not been studied. Further analysis of the study of issues of the poetics of Dostoevsky’s novels by American literary criticism of the 1940-1960s and emigrant criticism could give an idea of ​​the nature of the perception of Dostoevsky in the United States and how Russian literature lives abroad.

Bakhtin M. M. Questions of literature and aesthetics. - M., 1975. - P. 434.

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