Antony Pogorelsky's novel Monastyrka: the poetics of Biedermeier (Article 2)

The article presents the poetics of Biedermeier in the novel Monastyrka by A. Pogorelsky as viewed through the outer and inner plot, through the system of characters and various common motifs. The correlation of the limited world of Biedermeier with the being requires a mediating "scary" experience as a condition for the development of a "small story". Elements of the Gothic genre associated with the "scary" travesty not only through the national household realities, but also through the expression of the theatricality of Rococo. The effect of pastiche is created at all levels of the poetics of Bied-ermeier from the direct correlation of the empirical and the literary ironically explicated in the plot to the elusive atmosphere of eclecticism that comes seriously as an element of the elementary. Adventure-linear, really historic and epic beginnings are brought together in the theme of family that defines the unity of all levels of the community life. The linear-forward development of the plot is constantly neutralized by reducing it to the circle. The artistic world is exposed to the opposite, balancing each other ("pendulum") procedures of unification and diversification, i.e. it follows the principles of uniformity and diversity affecting both the correlation of the depicted reality (empiricism) and its literary nature (cultural-character code) and the complexity of each of them. The cultural coding diversification is in saving the genre and stylistic originality of the individual (with implicit or explicit mosaic elements belonging to different traditions, genres, styles, and so forth.). At a higher level of the contradiction at this stage of the "break" in the culture a separate image bears the doublet reflection of belonging to the "culture of the finished word" and opposes the realistic canon of reflection deriving from the fullness of the meaning of the reality itself (rather than the ideal that defines the reflection). Biedermeier art anthropology is based on the specific ratio of the two trends - anthropocentrism and assimilation of the individual with the collective and the corporeal world. I like the inner person and I like the outer personality in its collective position are related not psychologically, but through the characters, through various motives and common elements. Unification is created synchronically at a higher level of the artistic structure (not the plot) through a mosaic of convergence of motives. Mirror direct or indirect similarities in various sections, essential and nonessential, explicit and implicit, necessary and arbitrary are dominating, but they create a harmonious balance of values of this world. The outer surface of the narration as a diachronic distinction hides synchronic collation which is a fine configuration of elements. Each element is marked as belonging to a subjective singularity, which is not so essentially, it is woven into the general human-material, motif and mirror chains.

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