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Official Representation of the Works by Alexander Grin in the USSR: Constructing and Consuming Ideological Myths

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Official Representation of the Works by Alexander Grin in the USSR: Constructing and Consuming Ideological Myths Official Representation of the Works by Alexander Grin in the USSR: Constructing and Consuming Ideological Myths A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in the University of Canterbury by Nataliya Oryshchuk University of Canterbury 2006 Official Representation of the Works by Alexander Grin in the USSR: Constructing and Consuming Ideological Myths Официальная репрезентация творчества Александра Грина в СССР: Идеологические мифы, их творцы и потребители ACKNOWLEDGEMENTS ............................................................................................i ABSTRACT ....................................................................................................................ii OUTLINE.......................................................................................................................iii ВСТУПЛЕНИЕ: «Тот самый Грин» ........................................................................ 1 1. Краткие биографические сведения...........................................................................2 2. Литературный контекст: Учителя и ученики ..........................................................8 3. Грин и философская мысль его времени ...............................................................16 4. Обзор критической литературы .............................................................................19 4.1. Краткая библиография русскоязычных литературоведческих Работ ..................................................................................................................... 20 4.2. Краткая библиография литературоведческих работ, опубликованных за пределами бывшего СССР ................................................24 5. Методологическая основа данной работы .............................................................28 ЧАСТЬ I: Критическая репрезентация творчества Грина в СССР Вступление ...................................................................................................................34 Глава 1. Критическая репрезентация Грина в сталинское время ...........................36 1.1. «Критическая репрессия» Грина .........................................................................37 1.2. СССР и Гринландия: Конфликт парадигм..........................................................41 Глава 2. «Культ Грина» в эпоху «оттепели»: Репрезентация Грина как советского писателя .....................................................................................................53 2.1. Формирование «культа Грина»........................................................................... 54 2.2. Идеологическая мифологизация творчества Грина ...........................................57 Миф первый: «Революционное просветление...........................................................59 Миф второй: ранняя проза Грина как политическая декларация............................62 Миф третий: «Переход к реализму».......................................................................... 63 Миф четвертый: Репрезентация Грина как детского писателя................................65 Глава 3. Интерпретация творчества Грина в контексте советской модели фантастической литературы .........................................................................70 3.1. Статус фантастической литературы в СССР ......................................................72 3.1.1. Апологетика научной фантастики ....................................................................72 3.1.2. Советская литературная критика о Грине: поиск жанра ................................81 3.1.3 Сказочная фантастика в русской/советской литературе: идеологический приговор............................................................................................87 ЧАСТЬ II: Художественная репрезентация образа Грина в советской литературе: Грин как литературный персонаж. Вступление...................................................................................................94 Глава 4. Константин Паустовский. Черное море .....................................................98 Глава 5. Леонид Борисов. Волшебник из Гель-Гью ...............................................106 Глава 6. Валентин Зорин. Повелитель случайностей............................................113 ЧАСТЬ III: Кинематографическая репрезентация творчества Грина в СССР Вступление.................................................................................................123 Глава 7. Случай Алых парусов..................................................................................135 7.1 Сказочники сталинской эпохи ............................................................................136 7.2. Революция в Каперне..........................................................................................140 7.3. Алые паруса и реакция в советской прессе.......................................................146 Глава 8. Случай Бегущей по волнам ........................................................................153 8.1 «Дитя эпохи»: Судьба картины и ее создателей................................................154 8.2. «Дети эпохи»: Персонажи фильма ...................................................................157 8.3. Радикальное изменение финала: Конец эпохи «оттепели».............................165 Глава 9. Случай Блистающего мира .......................................................................173 9.1. Гринландия: Фантастическое пространство тоталитаризма ...........................174 9.2. Религиозный дискурс Блистающего мира........................................................185 9.3. Кинематографическая разгадка загадки гриновского финала ........................202 Глава 10. Случай Золотой цепи ...............................................................................209 10.1. Александр Муратов: Дорога к Золотой цепи .................................................209 10.2 Золотая цепь как приключенческий фильм ....................................................212 10.3. Депрессивное пространство дворца Ганувера................................................219 10.4. Герои Золотой цепи: стереотипный подход ...................................................223 Глава 11. Случай Господина оформителя..............................................................232 11.1. Господа оформители .........................................................................................232 11.2. Действие фильма: Эпоха, эстетика, стиль.......................................................236 11.3. Художник и его творение .................................................................................241 11.4. Ужас прозрения: «Первый советский фильм ужасов» ..................................256 ВМЕСТО ЗАКЛЮЧЕНИЯ: Советский миф о Грине в XXI веке ...................267 1. Пример современной критической репрезентации: Жизнь замечательных людей ....................................................................................269 2. Виртуальный Грин: Grinlandia. Ru........................................................................274 3. Роман о Гринландии: Отпуск в Зурбагане...........................................................279 4. Послесловие ............................................................................................................282 БИБЛИОГРАФИЯ ...................................................................................................285 ФИЛЬМОГРАФИЯ..................................................................................................298 i Acknowledgements Many people helped me with work on this dissertation. First of all, I would like to thank them all for their attention and support without which this thesis would never have come into existence. I would like to express my sincere gratitude to my Senior supervisor Dr. Alexandra Smith. Her broad outlook and extensive knowledge of Russian literature and culture were very impressive. Dr. Smith’s inexhaustible academic drive was an excellent example to me as a young scholar. My warm thanks go to the members of Russian Programme at the University of Canterbury: my Associate supervisor Dr. Evgeny Pavlov and Professor Henrietta Mondry, who generously shared with me their knowledge, demonstrating their support and kindness. I would like to thank Associate Professor Kenneth Henshall (School of Languages and Cultures, University of Canterbury) for his constant encouragement, support and helpful advice. Also, my special thanks to Dr. Adam Lam (Cultural Studies Programme, University of Canterbury), who provided me with the opportunity to discuss my research, and lent not only his friendly support, but also some valuable ideas. My sincere thanks to Dr. Lyndall Morgan (University of Queensland) and Dr. Tadeusz Olszanski (Center for Eastern European Studies, Poland), who on various occasions provided important references and additional information related to my research. I am very grateful to my friends Pip Manley, Carl Layton and David-James McKenzie for their help in proof-reading my conference papers and journal articles during my years of research. Their efforts and kindness are most appreciated. Finally, my greatest thanks to my family: my parents Yuriy and Galina Shirshov, my husband Vadim Oryshchuk, my sister Marina Dyachenko and her family for their help in locating and providing video-recordings of the film-versions of Grin’s works. They constantly helped me with proof-reading, editing and general comments, and to them I would like to dedicate my dissertation. ii Abstract
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