Game neological discourse and the problem of the writer's crisis diagnostics

The work continues the authors' previous publication "Game Text as a Form of Author's Artistic World Modeling", and analyses neological discourse, which is a tool for diagnosing the artistic crisis in the writer's work. This problem is considered on the material of Sigizmund Krzhizhanovsky's works, whose idiostyle is experimental and expresses itself in different vectors of the language game. The artistic crisis is treated as the reverse side of a rise: one can not exist without the other. The starting point for understanding the artistic crisis is Krzhizhanovsky's early works. For the analysis, one of the writer's latest stories, "V ocheredi" [In a Queue], was selected, in which his self-reflection about the impossibility and inability to write as before (easily, elegantly, wittily) was particularly clearly reflected. Krzhizhanovsky defines the story as a feuille-ton, despite the fact that it does not contain an appeal to the social and political problems contemporary to the writer. The genre definition acquires the character of self-objectification; the author's intention is directed towards himself and implicitly conveys his self-irony and critical self-esteem. The protagonist of the story is a writer whose image forms the framework of the work. The content of the story is a conversation of many plots, themes, ideas and genres that are personified and humanised characters. The following characters enter into the dialogue: the old plot, the young plot, the thick novel, feuilletons, the artistic story, the article, the puny story, the lyrical miniature, the sketch, the play, the fairy tale. Neological discourse manifests itself in the imposition and interference of two codes of writing: artistic-philological and ordinary, colloquial. With the help of the iconic realities of the Soviet era, Krzhizhanovsky describes, first of all, the beginning of the creative process: the period of the birth of the idea and the moment of its readiness to become a text. Summarising what has been said about the language game and the neologic discourse associated with it, the authors of the article note that the world-modelling function of this game in the story "V ocheredi" is significantly weakened. Its semantic potential has changed. The paradoxicality of the plot construction and the richness of wit give way to simple wittiness, the game in many respects acquires a self-worth character. The thoroughness of the text processing is not the same, the integrity of the work is weakened, the "seams" between compositional parts are visible, the "made" nature of the work is more pronounced. The subtle form of the creative crisis, reflected in the later works of Krzhizhanovsky, is due to the writer's attempt to compromise with himself, with the dramatic conditions of his life, with the lack of contact with the reader.

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