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1

MAGIC FAIRY TALES IN ANDREI PLATONOV'S WORK

100%
Chudzinska-Patkosadze A.
Slavia Orientalis
|
2006
|
vol. 55
|
issue 4
557-5
EN
The subject of this article concerns the elaboration of the fable by Andrei Platonov, a genre which engaged his literary interest in his late works. Exploration of the genre gave him the opportunity to convey the ontological ideas in fabulous and symbolic images on the one hand, and enrich the folk genre with the philosophical reflection on the other. Platonov managed to take the exception to the Lotman's rule: he introduced the genre model of magic fable worked out by V. Propp into the novel. Platonov adapted all the functions of the magic fable to the novel 'Chevengur' retaining the poetic of the genre and adding philosophical essence to its motifs. The writer replaced the typical folk images and motifs with more universal ones. Platonov's philosophical attitude towards the fable is revealed especially in his collections of folk fables written in the last period of his activity. The magic circle is one of the best examples of his ontological approach to national folk stories, in which peasants turn into philosophers.
2

A. PLATONOV AND HIS POETICS OF DEATH (OBSERVATIONS ON 'CHEVENGUR', 'KOTLOVAN' AND 'JUVENILE SEA')

88%
Proskurina E.
Slavia Orientalis
|
2006
|
vol. 55
|
issue 4
529-540
EN
In this article the authoress reveals the main semantic aspects of death poetics within the three most famous works of A. Platonov dating to late 1920s and early 1930s, namely the novel 'Chevengur' and the stories 'Kotlovan' and 'Juvenile Sea'. The main semantic aspects of death poetics represent the following: (1) 'mystery aspect' - death with an intention of resurrection; (2) 'aspect of the absolute nonexistence' - death deprived of the intention for resurrection; (3) 'aspect of life illusion' - death represented in expositions of life. In the three texts mentioned above, a certain strategy for an artistic view on death can be observed. It displays dynamics of the author's attitude to the historical reality of Russia of the time. Special attention is given to poetics of gesture in Platonov's descriptions of death, to semantic differences of death with face down which is always charged with the idea of resurrection, and death with face up lacking a positive intention. Analysing the sense of the strategy for portraying death in Platonov's works leads to a seemingly unexpected conclusion: from the ontological point of view, the 'Juvenile Sea' seems to lack prospects to the strongest degree. This story was completed by the author in 1932, which means that it is chronologically the completion of Platonov's trilogy. The work has the smallest number of deaths, yet at the same time it absolutely lacks the mystery component in poetic representation of those deaths.
3

WORK IN THE SOVIET UNION. LITERARY REMINISCENCES

75%
Halewska M.
Slavia Orientalis
|
2007
|
vol. 56
|
issue 2
213-228
EN
The authoress uses literature in its capacity of testimony to the truth to show how people's work was distorted in the Soviet Union. She refers to works about labour-camp life including 'One Day in the Life of Ivan Denisovich' by Aleksandr Solzhenitsyn or 'The Kolyma Tales' by Varlam Shalamov. The loss of work ethics was present also in other spheres of life: journalism ('Angels on the Head of a Pin' by Yuri Druzhnikov), medicine and especially psychiatry ('And the Wind Returns' by Vladimir Bukovski). The authoress refers also to collectivization, which to a considerable degree influenced the attitude of Soviet people towards work. An example is 'The Foundation Pit' by Andrei Platonov, and the effects of a reputedly successful collectivization show in the Involuntary 'Journey to Siberia' by Andrei Amalrik. Recapitulating her deliberations, the authoress states that work was never of great value to Soviet people but rather the way of exploitation towards indignity and degradation. Work in the Soviet Union lost its fundamental meaning, was neither a value in or of itself and became a repulsive and arduous enthrallment.
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