Образ героя в рассказах Захара Прилепина (на примере сборника «Грех»)

Аннотация

Ключевые слова: Статья посвящена осмыслению образа героя в рассказах рассказ, Захара Прилепина. С помощью типологического и герой, целостного методов анализа литературного произведения тип, установлены важнейшие свойства, характеризующие одиночество, анализ. «нового героя» в произведениях писателя: маргинальность, отсутствие четких жизненных ориентиров, склонность к рефлексии. При «разности» судеб – главных героев в сборнике «Грех»: переживает трагический военный опыт – Захар («Сержант»), который становится спасителем своих солдат. Герои изображены подлинными, ищущими собственное место в новых социокультурных реалиях, объединяющим звеном в рассказах сборника «Грех» является имена главных героев – Захар. In the modern literary process in Russian prose, authors for the most part agree on the consolidation of the presence of polyphony and multidirectional aesthetic searches for words by contemporary artists. These topical areas will be examined by analyzing the relationship between “author and hero” in the context of the stories of Zakhar Prilepin, which, we believe, will not only show the originality of the genre.In addition, the typology of the hero of the late XX – early XXI century, reflecting the true picture of the life of a person of this period [1–6]. Since the publication of the first works of Zakhar Prilepin, his characters perceived as “new heroes”, “heroes of our time”. All of them are strong personalities, often tough in making decisions and actions, but at the same time endowed with the ability to total reflection, not hardened even after the hardships of life or tragic experience, who have learned the true value of being, trying to find their own place in the world. The collection of stories by Zakhar Prilepin “Sin” is very indicative in this respect [7–12]. Prilepin’s heroes are sentimental and at the same time ruthless, and their behavior is most often determine by circumstances: they find themselves in difficult conditions, where the line between life and death erased, and decisions must be make immediately. For example, in the story “Carlson” throughout the entire story, the hero’s terrible loneliness and mental fatigue are conveyed: “That spring I quit my pub, where I worked as a bouncer. Tenderness for the world overwhelmed me so much that I decided to get a job in a foreign legion, as a mercenary. I had to somehow calm myself, in any way. “Without a doubt, this “tenderness for the world” was expressed in the hero’s anger and loneliness. His selfishness comes largely not from selfishness, but from the surrounding spiritual emptiness and inner spiritual emptiness, which he gradually tries to fill with reading, now drinking, now fighting. From the first lines of the work, we learn that his property is a small box with letters from his brother who is in prison. Thus, Zakhar wants to escape from such an innocent world, and ends up in an empty world of “worthless offices” and a half-drunk wandering life, but he also does not find himself there. It is difficult for him to fill the void that gradually fills him, and at the end of the story he “The next day I got a call from the legion’s office. I told them that I would not go anywhere”, abandons his dream, realizing that all this was not important, unnecessary [13–16]. 158 Жамият ва инновациялар – Общество и инновации – Society and innovations Special Issue – 7 (2021) / ISSN 2181-1415 In the story “Carlson” throughout the entire story, the hero’s terrible loneliness and mental fatigue are conveyed: “That spring I quit my pub, where I worked as a bouncer. Tenderness for the world overwhelmed me so much that I decided to get a job in a foreign legion, as a mercenary. I had to somehow calm myself, in any way. Without a doubt, this “tenderness for the world” expressed in the hero‘s anger and loneliness. His selfishness comes largely not from selfishness, but from the surrounding spiritual emptiness and inner spiritual emptiness, which he gradually tries to fill with reading, now drinking, now fighting. From the first lines of the work, we learn that his property is a small box with letters from his brother who is in prison. Thus, Zakhar wants to escape from such an innocent world, and ends up in an empty world of “worthless offices” and a half-drunk wandering life, but he also does not find himself there. It is difficult for him to fill the void that gradually fills him, and at the end of the story he “The next day I got a call from the legion’s office. I told them that I would not go anywhere”, abandons his dream, realizing that all this was not important, unnecessary [17–20]. In the story “Wheels” – “loneliness”, “emptiness”, “melancholy”, “hopelessness” – is the “circle of life” of the protagonist, his inability to go beyond this circle, to break it does – this is the main idea of the story. The fact that the hero does not have a name is a sign of the generalization of the image, in other words, it is a typical modern hero [21–25]. Depersonalizati