The principles of N. V. Gogol’s grotesque composition in Y.N. Tynyanov’s script and film «The Overcoat»

The paper is devoted to the realization of the formalistic conception of grotesque in the script «The Overcoat» by Y. N. Tynyanov and the film, that was shot on its basis. Account has been taken of the composition aspect of the grotesque, reconstructed on the basis of the formalists’ investigations on Gogol. In these works the absence of theological preconditions makes it possible to endow the composition with grotesque properties. Such a composition represents a contrast non-semantic text fragment comparison, which from the positions of perception aesthetics is oriented to a sensitizing effect. In the script and film this manifested itself as the «doubling» of Bashmachkin’s story with the contrast comparison of different events, characters, things and as the recombination of Gogol’s motives. Included in these correlations, the grotesque acquired got an evolutionary meaning. With the aim of analysis we consider it as a code, which is necessary for understanding of the script and film.

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