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Smak życia — smak śmierci. Uczta Władimira Sorokina

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Zywert A.
Slavica Wratislaviensia
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2014
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vol. 158
337 - 347
EN
The Feast (Пир, 2001) by Vladimir Sorokin is considered to be the culmination of the second period of the author’s literary work, and the one that presages his break up with the fundamental principles of postmodernism and conceptualism. The Feast consists of thirteen novels, all of which more or less literally revolve around the theme of eating. Sorokin’s search for the taste of life based on the opposition body/flesh–the disincarnate, culture–pseudoculture, manifests his critique of the superficiality of modern societies, in which the collective pursuit of sensuality together with widespread accessibility of all sorts of material goods are signs of inner self-destruction. Sorokin’s “taste of death,” expressed principally in the display of various forms of cannibalism, prefigures the advent of afuture “taste of life” — free from taboo, illusion and prejudice.
2

„Ciało śmierci” (na podstawie wybranych utworów Władimira Sorokina)

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Zywert A.
Slavica Wratislaviensia
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2018
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vol. 166
441-453
EN
“The body of death” (on the basis of selected worksby Vladimir Sorokin) One of the outstanding characteristics of Vladimir Sorokin’s works is the permanent presence of Thanatos motifs. The structure of Sorokin’s pictures of death (both executed and experienced) is subordinated to the logic of the process of going beyond the word-body opposition. Consequently, death in Sorokin’s prose is always deprived of its proper dignity. Moreover, it is shown as a senseless and absurd. The conscious emphasis on physicality, understood as the expression of the desire to overcome the word-body opposition, causes the necessary presence of means which are typical of horror films. This strategy can be observed within the whole oeuvre of the author, however with varied intensity as in the recent works Sorokin places much lesser emphasis on the display of human physicality in the face of death.
RU
„Тело смерти” (на примере избранных произведений Владимира Сорокина) Одной из опознавательных черт творчества Владимира Сорокона является постоянное присутствие танатологических мотивов. Структура сорокинских образов смерти (как причиняемой, так и испытываемой) подчинена процессу преодоления. В результате смерть у Сорокина всегда лишена должного достоинства и показана как бессмысленная и абсурдная. Сознательный нажим на телесность как способ преодоления оппозиции слово–тело генерирует между другими присутствие приемов присущих формуле фильма ужасов. Эту стратегию можно заметить в целом творчестве автора, хотя с разной интенсивностью, так как в последний период творчества Сорокин сравнительно меньше внимания посвящает описанию физиологических процессов перед смертью.
3
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Размытость досуга и службы в рамках тоталитарного строя. О Дне опричника Владимира Сорокина

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Jaworski M.
Studia Wschodniosłowiańskie
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2020
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vol. 20
23-30
EN
The present paper aims at presenting the ambiguity of spare time and service in Vladimir Sorokin’s Day of the Oprichnik in the context of the fictional totalitarian system of the New Middle Ages and the historical atrocity of the Nazi and Soviet history. The proposed interpretation has been based on Giorgio Agamben’s reflections on the individual’s status under the exceptional circumstances of an extremely oppressive regime. The analysis has led the author to conclude the imminent and omnipresent blurring and overlapping of the intimate and the public in Sorokin’s book. Moreover, Day of the Oprichnik may be seen as a rich universe of intertextual references interweaving into a complex picture of a human being disappearing in the uniform crowd of state officers.
4
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Чтение в мире без книг. О литературе в Манараге Владимира Сорокина

100%
Jaworski M.
Studia Wschodniosłowiańskie
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2022
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vol. 22
23-32
EN
The paper is an attempt to interpret the metaliterary aspect of Vladimir Sorokin’s novel titled Manaraga. Thorough analysis of the text has revealed the postmodern understanding of literary activity as the pivotal element of Sorokin’s narration. Thus, the narrator along with his words do not represent reality but create it in an almost divine manner. The interpretation also suggests that the novel has an underlying message seeping from its every page – cognition and reading are inextricably connected. Moreover, deep cognition needs a plurality of ideas/views/points of view, which is present only in a world in which books are read and not consumed.
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