Game text as a form of author's artistic world modeling. Part 1

The work is devoted to the analysis of the game text parameters in the light of the author's artistic world-modeling strategies. This problem is considered on the material of S.D. Krzhizhanovsky's creative work, whose idiostyle is distinguished by an experimental origin, expressed by different vectors of the language game. The game text is understood as a special form of creating a conditional artistic reality, in which the codes of the language game are a plot-forming axis. The exclusion of game units from such text entails its annihilation. Thereafter, the game palette used by the writer mirrors the changes in his worldview and world outlook. The article characterizes the plot-story line of "The Paper Loses Patience": the symbolic meaning of this name is revealed against the background of the prototypical phraseologism "paper will endure all". The exposition itself gives the motive which is cross-cutting for Krzizhanovsky: a conflict (contradiction) between appearance and essence. Brilliantly modeled effects of associative imposition, associative derivability, associative provocation and so on are manifested in various kinds of phraseological allusions, oxymorons, metaphorical transformations, figurative grotesque symbolization, deep etymological reflection and ironic discredit of the official pathos of "paper lies". The language game is the key principle of Krzhizhanovsky's idiostyle and a bright indicator of the originality and refinement of the author's design: it reflects the crisis changes in the artistic consciousness of the writer. In the late period of creativity, the playful writing of the author acquires the character of a certain non-originality, fragmentation in the organization of the plot, as well as some didacticality, and the toolkit of the language game becomes more obvious, losing the depth of implicit meanings. Such phenomena, however, do not abolish the uniqueness of the writer's manner and are found not in the whole work, but in some parts or details only, particularities of the form, in simplification of the composition structure, reduction of the game principle and in some banal conclusions and generalizations. Thus, the final fragment of the analyzed story is predictable to a certain extent, set by the "moralizing" doctrine of eradicating the general lie and reviving the trust in the word. The miracle of ending the paper revolt is presented as an embodied implementation of a dream about the repentance of letters and figures and their new mission to bring truth to people. Taking into account the circumstances of S. Krzhizhanovsky's life: unrecognized, unpublished, bound by the totalitarian state falsity, which was completely alien to him like any dictatorship over personality, the speculative and utopian nature of the proposed final is obvious. In general, the game text in the case of S.D. Krzhizhanovsky appears as an instrument of communication with the reader in a conditionally real manner, leaving an open interpretation zone for the artistic worlds modeled by the language game.

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