Libmonster ID: SE-558
Author(s) of the publication: A.V. NIKOLAEVA

The author's position in the work is expressed in an artistic word. But the word can also be the object of the author's consideration, act as a" stranger", in relation to which the author finds himself in the position of a listener. As you know, narration focused on reproducing a" foreign " word is conducted on behalf of a character or narrator. But such forms of text organization are not uncommon, when the reader is involved in such a speech atmosphere that he himself becomes an eyewitness of what is happening. In this case, the language element that the writer wants to immerse the reader in is perceived as if directly, without intermediaries.

M. A. Bulgakov in his feuilleton "Moscow Krasnokamennaya" (1922) depicts the city and its speech environment. From the very first sentence, the reader will have to tune in to the "auditory" perception of the text:

"Anushka buzzes, calls, cracks, swings" (Bulgakov M. A. Stories. Stories. Feuilletons. M., 1988. p. 39; further - only p.). "Annushka" is a tram, verbs serve the purpose of its characterization. There are no long descriptions, lapidary style, the overall picture is recreated using the world of sounds accompanying a particular scene. Phonetic accentuation affects the course of semantic perception of the message.

"Motorcycles. Auto. Whistling, cawing, like machine guns being fired "(40). The sharpness of the sound is expressed by a chain of verbs: buzzing, ringing, crackling, whistling, cawing.

##29

Verbs that are concentrated within a single sentence perform an expressive function in addition to the descriptive one. Indicate the continuity of the action and its importance. Thanks to this, the sound design becomes the very bridge through which the reader passes into a new quality of listener for him.

"Red special. Serves not in Khmu, not in Tsus. (...) Every day he goes to the giant Empeo store on Tverskaya Street (in legendary times it was called Eliseev) and pokes his finger at the glass behind which the treasures lie.

"Uh-huh.".. two pounds...

A clerk in a white apron:

"Listen ... s-s..." (39).

And already the speech of people is superimposed on the general noise of the city. It is not the semantic, but the phonetic organization of the text that dominates. The interjection "e-e" and the clerk's "s-s" tell the reader much more than all this short dialogue. The absurdity and absurdity of the clash between the Plebeian "e-e" and the old-regime "s-s" is emphasized by the absurd abbreviations "Hmu"and " Tsus". They complement the set of disparate sounds that drag the mind into the chaos of dissected, half-formed words: "red special", "auto", "nepman", "bagel", "Tsupvoz", "Tsustran", "Mosselprom", "Unitorg", "Mostorg", "Tsentrobumtrest", etc.

There is no place for normal speech in the discord of sounds that are monstrous to the ear. Familiar words and expressions look ugly and distorted.

"- Today's Izvestia-ya ... Patriarch Tikhhhh-a-a-ana!.. Social Revolutionaries ... "Nakanu-u-ne" ... from Birlin only shto pa-a-luchen " (41). Again, it is not the meaning that matters, but the sound, the utterance. The main thing is to let you hear the hubbub, the dialect of Moscow.

Among the screams of the renewed Moscow, the obsequious cab driver looks out of place:

"I drove you, sir" (40). And there are no masters, there are no specific people at all, there is a certain average "bagel".

The jumble of sounds is necessary only to show their soundlessness, when a single word "g-o-l-o-d"is pronounced softly, but fearfully-separately:

"And in a motley mess of words, letters on a black background, a white skeleton figure pulls its hands to the sky. Help me! G-o-l-o-D. In a crown of thorns, framed by a braid, the girl's face covered with mortal shadows and her eyes burned out in hunger torture. In the photos, swollen children, skeletons of adults covered with skin, are lying on the ground. Take a closer look. Imagine - and the day will turn gray in your eyes "(42).

In this fragment, the writer no longer hears the noise of the city, but perceives everything differently, through color visual images: "a white figure on a black background", "faded eyes", "the day will turn gray".

The writer not only tells, he calls, that is, becomes

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an active participant in events. Personal verb forms - look closely, imagine-help the reader to understand that we are talking about the attitude of a real person to what he sees. It is interesting that when the author appears before the reader as the subject of the story, the noise of the city immediately stops. We only hear the author's voice. Special forms of description sequence play an important role in such text organization. In a text made by subjectivating the author's "I", objects are described as they come into the narrator's field of vision. A typical formula is: I saw it in front of me, behind me, and to the right... Building an image takes place by starting from a certain detail, a fact. But the writer needs to prove that he is objective, that there is nothing private or biased in his position. Therefore, when we talk about the life of the city, we do not see the author - narrator, he goes by the wayside. The text focuses on different vocabulary, changes the syntactic design and even phonetic sound.

The linguistic atmosphere of post-revolutionary Moscow is alien to the writer. He doesn't see himself in it, he wants to shut himself off from it. The description of the city looks, at first glance, free of any estimated characteristics. A different level of perception is activated. Both the author and the reader find themselves in the role of direct witnesses. This creates the illusion that the reader is involved in what is being discussed, as if it equates him with the author, giving rise to a sense of co-creation. Therefore, when the author directly addresses the reader with a request to help, the reader is already fully involved in what is happening, shares the author's point of view, and cannot stay away.


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A.V. NIKOLAEVA, About Krasnokamennaya's Moscow of M. A. Bulgakov // Stockholm: Swedish Digital Library (LIBRARY.SE). Updated: 27.07.2024. URL: https://library.se/m/articles/view/About-Krasnokamennaya-s-Moscow-of-M-A-Bulgakov (date of access: 03.11.2024).

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