Semiotics of transgression: Yu.M. Lotman as a literary critic and philosopher

The purpose of this article is to study the question of the interpenetration of literary criticism and philosophy on the basis of the analysis of the heritage of Yu.M. Lotman. The author justifies the position that the conceptual development and research of fiction by Lotman plays a significant role in the development of the post-metaphysical cultural-philosophical paradigm. The article shows that one of the central points of Lotman's works is the phenomenon of violation of boundaries, that is, transgression. Lotman's research allows to explicate various aspects of the phenomenon of transgression. The author proceeds from the premise that modern nonclas-sical philosophy arises from the crisis of the metaphysical paradigm and is characterized by the search for non-metaphysical methods of philosophizing. One of the options for post-metaphysical organization of philosophical discourse is the paradigm of transgression. This paradigm extends not only to philosophy, but also penetrates into literary criticism. Although Lotman himself did not use the term "transgression", the problem of the boundary and ways of breaking it (transgression) receives such careful elaboration in his books and articles and takes such a significant place that one can speak that it is transgressive phenomena in literature and culture that Lotman studied. Moreover, his study has both literary and philosophical significance. The article shows that M.M. Bakhtin revealed the multiplicity, not reducible to unity, as the main feature of the poetics of F.M. Dostoevsky. Lotman made a similar discovery on the material of the poetics of A.S. Pushkin's works. Lotman pays much attention to the analysis of the phenomena of violation of the border in artistic texts. Studies on the legacy of A.S. Pushkin are not exceptions in this regard. Works on Pushkin studies are taken by the author as one of the most striking examples. Already in the first Russian novel, according to Lotman, we do not find a single author's position that subordinates all the content of the author's work. Instead, in Eugene Onegin we can observe a transgression of the author's position as a bearer of higher consciousness. Pushkin's novel in verse has no single and universal point of view. The author concludes that in Gogol's prose transgression is both the basis of poetics, and expression of the main content of the writer's artistic worldview, which in its nature is related to the philosophy of life. Such is the artistic world of Gogol in Lotman's interpretation. It is shown that the semiosphere includes a multitude of mobile centers struggling and interacting with each other, and diverse boundaries not only separate one from another, but also cross the internal space of the semiosphere in different directions. On the basis of the conducted research, it is concluded that the semiotics of Lotman is the product of the cultural and philosophical paradigm that was formed as a response to the crisis of metaphysics. The author of the article has tried to show that Lotman plays a significant role in the formation and development of this paradigm, that Lotman is not only a literary critic and an expert in semiotics, but also a major philosopher of the 20th century.

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