Genre forms of S. Zalygin's, V. Astafyev's and V. Shukshin's publicism: problems of typology

Genre classification of S. Zalygin's, V. Astafyev's and V. Shukshin's publicism is made on the basis of genre-forming dominant: the subject of the statements and the position of the narrator. The way of narrative action, the type of the author's behavior is revealed, on the one hand, in connection with the subject of the statements (purpose and method of treatment of the subject), on the other hand, in connection with the addressee (the communicative intention). Specific genre forms define the method for treatment of the subject and the intention of the statements. The basis of the article is the method of objective analysis, the procedure of sequential analysis (decomposition) of the subject. The author's position in the essay, explicitly subjective, on the contrary, is disclosed in the act of reflection: the object is given as a fact of individual consciousness, its objective content mediated through the subjective attitude. The sketch is a border genre, it embodies both the rhetorical signs of publicism and the signs of artistic literature. The structure of the communicative intentions of a publicistic work defines the image of destination. On the one hand, the statement is addressed to some Other subject, external to the author. On the other hand, in the forms of essays the addressee is the author him-/herself, addressed to him-/herself-as-another in philosophical reflection. As the analysis shows, in case of coincidence of the subject dominants and discourses formed on their basis (socio-analytical, aesthetic and philosophical, and literary-critical), genre forms of publicistic statements used by S. Zalygin, V. Astafyev and V. Shukshin are different. Their choice is deeply individual, it reflects the evolution of the authors' ways of addressing the reality. The rational and conceptual approach of S. Zalygin to the comprehension of the subject, defining the predominance of the genre of the article, coexists with the reflection thus justifying the use of essay formats. The vector genre evolution of V. Astafyev, in contrast, defines the evolution from essay with its subjective, intuitive beginning to the problem feature story involving the objective analysis. The same vector genre evolution is planned in the essays of the V. Shukshin, gradually extending the substantive field of reflection at the expense of full comprehension of the objective contradictions of the social reality.

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