V. IVANAINEN

«AZ» OF CHRONICLER, HIS VERSIONS AND FUNCTIONS IN «RUSSIAN PRIMARY CHRONICLE (POVEST VREMENNYKH LET)»

In the article is based literary approach to the study of the problem of author– chronicler and are classified the standard cases of author’s explications in the text «Russian Primary Chronicle (Povest Vremennykh Let)».

Key words: «Russian Primary Chronicle (Povest Vremennykh Let)», the author, chronicler, author’s position, the author’s explication.

Ì.Ì. ÊÀÒÊÎÂÀ, Ì.Ì. ÊÀÒÊÎÂÀ, Ì.Ì. ÊÀÒÊÎÂÀ, Ì.Ì. ÊÀÒÊÎÂÀ,

Ì.Ì. ÊÀÒÊÎÂÀ, àñïèðàíò êàôåäðû ðóññêîé ëèòåðàòóðû ÕÕ–ÕÕI âåêîâ è æóðíàëèñòèêè ÌÏÃÓ

Òåë. 8-919-761-20-43; [email protected]

ÒÂÎÐ×ÅÑÒÂÎ À. ÏËÀÒÎÍÎÂÀ  ÎÖÅÍÊÅ ÀÍÃËÎßÇÛ×ÍÎÉ ÊÐÈÒÈÊÈ ÕÕ ÂÅÊÀ

 ñòàòüå ðàññìàòðèâàþòñÿ äèíàìèêà è îñîáåííîñòè âîñïðèÿòèÿ òâîð÷åñòâà À. Ïëàòîíîâà àíãëîÿçû÷íîé êðèòèêîé ÕÕ âåêà. Îáðàùàÿñü ê èñòîðèè âîçíèêíî-âåíèÿ èíòåðåñà ê òâîð÷åñòâó ïèñàòåëÿ íà Çàïàäå, àâòîð ñòàòüè ïðåäïðèíèìàåò ïîïûòêó îñîçíàíèÿ ïðè÷èí âîçíèêíîâåíèÿ ñëîæèâøåãîñÿ ñòåðåîòèïà ïèñàòåëÿ ó ñîâðåìåííîé àíãëîÿçû÷íîé àóäèòîðèè.

Êëþ÷åâûå ñëîâà: Àíäðåé Ïëàòîíîâ, ñòåðåîòèï, âîñïðèÿòèå, àíãëîÿçû÷íàÿ êðèòèêà ÕÕ âåêà.

 àíãëîÿçû÷íûõ èññëåäîâàíèÿõ ðóññêîé ëèòåðàòóðû ÕÕ âåêà çà ïîñëåäíèå äåñÿòè-ëåòèÿ çàìåòíî âîçðîñ èíòåðåñ ê ëè÷íîñòè è òâîð÷åñòâó À. Ïëàòîíîâà. Ñâèäåòåëüñòâîì òîìó ñëóæèò ìíîæåñòâî íàó÷íûõ ïóáëèêàöèé, ñáîðíèêîâ íàó÷íûõ êîíôåðåíöèé è ìî-íîãðàôèé, íîâûõ ïåðåâîäîâ åãî ïðîèçâåäåíèé, èíòåðíåò-ñàéòîâ, ïîñâÿùåííûõ åãî òâîð÷åñòâó.

 ðàçíîîáðàçíûõ è íåðåäêî î÷åíü èíòåðåñíûõ èíòåðïðåòàöèÿõ îùóùàåòñÿ îáùàÿ òåíäåíöèÿ, êîòîðàÿ çàòðóäíÿåò ñáëèæåíèå àâòîðîâ ñ òâîð÷åñòâîì Ïëàòîíîâà è íåðåä-êî ïðåïÿòñòâóåò âîñïðèÿòèþ åãî êàê ÿâëåíèÿ öåëîñòíîãî è àáñîëþòíî îðãàíè÷íîãî æèçíåòâîð÷åñêèì èñêàíèÿì ðóññêîé ëèòåðàòóðû ÕÕ âåêà. Âî-ïåðâûõ, ðå÷ü èäåò î âîëü-íîé èëè íåâîëüâîëü-íîé ïîëèòè÷åñêîé àíãàæèðîâàííîñòè â îöåíêàõ êàê Ïëàòîíîâà, òàê è âñåé ñîâåòñêîé ëèòåðàòóðû â öåëîì. Èçó÷àÿ ïîñëåäíþþ, èññëåäîâàòåëè, êàê ïðàâèëî, àêöåíòèðîâàëè åå ñîöèàëüíî-ïîëèòè÷åñêèé êîíòåêñò, â ñîãëàñèè èëè â

ïðîòèâîðå-÷èè ñ êîòîðûì òâîðèë ñîâåòñêèé ïèñàòåëü. Âî-âòîðûõ, â îòëè÷èå îò äðóãèõ ñîâåòñêèõ ïèñàòåëåé, Ïëàòîíîâ áûë íåîäíîçíà÷åí è òðóäåí äëÿ èõ âîñïðèÿòèÿ â ñèëó ñâîåé èí-äèâèäóàëüíîñòè. Äîìèíèðîâàíèå ñîöèàëüíî-ïîëèòè÷åñêîãî êîíòåêñòà â àíãëîÿçû÷-íîé êðèòèêå 60–80-õ ãã. ÕÕ âåêà ïðèâåëî ê òîìó, ÷òî èíòåðïðåòàöèÿ ïðàêòè÷åñêè âñåõ ñîâåòñêèõ ïðîèçâåäåíèé 20–30-õ ãã. ÕÕ âåêà çàâèñåëà îò èäåîëîãè÷åñêîãî ñòàòóñà ïèñàòåëÿ. Ïî ñëîâàì Í. Áåòåëëà: «Â Ñîâåòñêîì Ñîþçå íåëåãêî îòäåëèòü ëèòåðàòóðó îò ïîëèòèêè. Ñîâåòñêèé ïèñàòåëü áûë èíñòðóìåíòîì ãîñóäàðñòâåííîé ïîëèòèêè…»

[2, ñ. 6]. Ê. Ïðîôôåð ïîëàãàë, ÷òî íå òîëüêî çàðóáåæíûå ãàçåòû è æóðíàëû, íî è èçâå-ñòíûå ëèòåðàòóðîâåäû «ñäåëàëè ñåáå êàðüåðó íà ñîâåòñêîì èíàêîìûñëèè, äåëàÿ âèä, áóäòî èõ èíòåðåñóåò èñêóññòâî ñî÷èíåíèÿ» [11, ð. 81–86]. Äàííûé ñòåðåîòèï ðóññêîé ñîâåòñêîé ëèòåðàòóðû 20–30-õ ãã., ïðåäñòàâëÿþùèé ñîáîé, ñîãëàñíî Ì.Â. Ìàíóêîâ-ñêîìó, «óïðîùåííûé, ýìîöèîíàëüíî íàñûùåííûé è öåííîñòíî-îïðåäåëåííûé îáðàç»

[3, ñ. 12], ïîâëèÿë íà âîñïðèÿòèå òâîð÷åñòâà Ïëàòîíîâà ýòèìè èññëåäîâàòåëÿìè.

Ïèñàòåëÿ èçó÷àþò, èñõîäÿ èç ïîëèòè÷åñêîãî êîíòåêñòà, ïðåäñòàâëåíèé, ïîâëèÿâøèõ íà òâîð÷åñêóþ èíäèâèäóàëüíîñòü, è âçàèìîîòíîøåíèé ïèñàòåëÿ ñ ýòèì êîíòåêñòîì.

 1978 ãîäó âî âñòóïëåíèè ê ïåðåâîäó «×åâåíãóðà» Ý. Îëêîòò ïðîòèâîïîñòàâëÿåò Ïëàòîíîâà ñîâåòñêîé ëèòåðàòóðå è êðèòèêå, ññûëàÿñü íà ñîòðóäíè÷åñòâî ïèñàòåëÿ ñ «îïàëüíûì» Ïèëüíÿêîì è íà ðóãàòåëüíûå ñòàòüè ñîâåòñêèõ îôèöèîçíûõ êðèòèêîâ À. Ôàäååâà, Ë. Àâåðáàõà, À. Ãóðâè÷à, Â. Åðìèëîâà, ãîâîðèâøèõ î íèãèëèçìå Ïëàòîíî-âà, íàïðàâëåííîì ïðîòèâ ðåâîëþöèè è ñîöèàëèçìà â öåëîì: «In 1929 Platonov moved out from Pilnyak’s shadow to demonstrate that he could be called “anti-Soviet” in his own right<…> The reaction of the critics was savage». (Ïåðåâîä çäåñü è äàëåå – Ì.Ê.). («Â 1929 Ïëàòîíîâ âûøåë èç òåíè Ïèëüíÿêà, ÷òîáû ïðîäåìîíñòðèðîâàòü, ÷òî îí òàêæå ìîæåò ïî ïðàâó íàçûâàòüñÿ “àíòèñîâåò÷èêîì”<…> Ðåàêöèÿ êðèòèêîâ áûëà áåñïîùàäíîé») [10, P. xii]. «In the 1930s there was another noted prose ironist A. Platonov, escaped the

severer forms of persecution, contributing both short stories and novels that were either never published in the USSR, or were suppressed in the 1930s after earlier publication…». («Â 30-õ ãã. áûë äðóãîé

çàìå-÷àòåëüíûé ïèñàòåëü-ñàòèðèê À. Ïëàòîíîâ, ïèñàâ-øèé êàê ðàññêàçû, òàê è ðîìàíû, êîòîðûå íèêîãäà íå áûëè íàïå÷àòàíû â ÑÑÑÐ èëè áûëè çàïðåùåíû â 30-å ãã. ïîñëå âûõîäà â ñâåò ðàííèõ ïóáëèêàöèé åãî ðàññêàçîâ…») [8, ð. 79]. «He was an eccentric writer and both his style and his substance disturbed wary readers and outraged literary authorities in the late twenties. He was apparently never jailed or exiled, but he lived under a cloud of disapproval and was frequently under attack» ( «Ïëàòîíîâ áûë ñàìîáûò-íûì ïèñàòåëåì, è åãî ñòèëü ñáèâàë ñ òîëêó ðàññó-äèòåëüíûõ ÷èòàòåëåé è âîçìóùàë ëèòåðàòóðíûõ àâòîðèòåòîâ êîíöà äâàäöàòûõ ãîäîâ. Îí íå áûë èçãíàííèêîì, íî ïîñòîÿííî íàõîäèëñÿ â àòìîñôå-ðå íåîäîáàòìîñôå-ðåíèÿ è êðèòèêè») [6, ð. 233–239].

Çà ïîñëåäíèå ïÿòíàäöàòü ëåò ïîä âëèÿíèåì ïî-ëèòè÷åñêèõ, ñîöèàëüíûõ èçìåíåíèé äàííûé ñòåðåî-òèï âîñïðèÿòèÿ òâîð÷åñòâà Ïëàòîíîâà àíãëîÿçû÷-íîé àóäèòîðèåé íåñêîëüêî äåôîðìèðîâàëñÿ.

Ð. ×àíäëåð, ïðèçíàâàÿ ïîëèòè÷åñêóþ ïîäîïëåêó ïëàòîíîâñêèõ ïðîèçâåäåíèé, íå ñ÷èòàåò ïîëèòè÷å-ñêóþ òåìó ãëàâíîé â òâîð÷åñòâå ïèñàòåëÿ: «Also, I wouldn’t say that Platonov’s work is «fundamentally political». He certainly had a fine political awareness, but I don’t think that politics was the deepest of his concerns». («Òàêæå ÿ áû íå ñêàçàë, ÷òî ðàáîòû Ïëà-òîíîâà ãëóáîêî ïîëèòèçèðîâàíû. Îí îïðåäåëåííî èìåë ïîëèòè÷åñêóþ îñâåäîìëåííîñòü, íî ÿ íå äó-ìàþ, ÷òî ïîëèòèêà áûëà ñàìûì ãëàâíûì åãî èíòå-ðåñîì…») [7]. Íåñìîòðÿ íà ýòî, ïîïûòêà ðàçîáðàòü-ñÿ â äðàìàòè÷åñêèõ âçàèìîîòíîøåíèÿõ ïèñàòåëÿ ñ ïîëèòè÷åñêèì êîíòåêñòîì âûçûâàåò ó àíãëîÿçû÷-íûõ èññëåäîâàòåëåé Ïëàòîíîâà íàèáîëüøóþ ñëîæ-íîñòü, ïîòîìó ÷òî, â îòëè÷èå îò äðóãèõ ïèñàòåëåé, åãî î÷åíü òðóäíî îòäåëèòü îò ðåâîëþöèîííîãî òâîð÷åñòâà æèçíè, â òî âðåìÿ êàê ìíîãèå èññëåäî-âàòåëè èäóò îò âëèÿíèÿ êîíòåêñòà íà Ïëàòîíîâà è åãî ãåðîåâ. Ýòó ñëîæíîñòü âîñïðèÿòèÿ Ïëàòîíîâà îòìå÷àëè ðóññêèå ïèñàòåëè-ýìèãðàíòû, êîòîðûå, ïóáëèêóÿ ñâîè çàìåòêè è ñòàòüè î Ïëàòîíîâå çà ðó-áåæîì, ïðåäîñòåðåãàëè îò îäíîçíà÷íûõ, óïðîùåí-íûõ îöåíîê âîñïðèÿòèÿ ôèãóðû ïèñàòåëÿ è åãî

òâîð-÷åñòâà. Ã. Àäàìîâè÷ â ñâîåé ñòàòüå «Øèíåëü» (1939) ïðèçûâàë ÷èòàòåëåé Ïëàòîíîâà âîçäåðæàòüñÿ îò ñîáëàçíà óâèäåòü â Ïëàòîíîâå «ïðîòèâíèêà ðåâîëþ-öèè»: «Ïîâòîðÿþ, âî èçáåæàíèå íåäîðàçóìåíèé, ÷òî îí îòíþäü íå âåäåò áîðüáû ñ ðåâîëþöèåé, ñ áîëü-øåâèçìîì: áóäü ýòî òàê, åãî íå ïå÷àòàëè áû <…>.

Íåò, Ïëàòîíîâ<…> ñòðåìèòñÿ ê óãëóáëåíèþ, ê î÷è-ùåíèþ òîãî äåëà, êîòîðîå ìîãëî áû îêàçàòüñÿ

äå-ëîì ðåâîëþöèè…» [1, ñ. 298].  1973 ãîäó È. Áðîä-ñêèé, ÷üå ìíåíèå î ïèñàòåëå äî ñèõ ïîð ÿâëÿåòñÿ

«íåîöåíèìûì îñåëêîì» äëÿ ïðîôåññèîíàëüíûõ ÷è-òàòåëåé Ïëàòîíîâà, â ïðåäèñëîâèè ê áèëèíãâàëü-íîìó èçäàíèþ «Êîòëîâàíà», îáõîäÿ ñòîðîíîé «àí-òèñîâåòèçì» ïèñàòåëÿ, ïîä÷åðêíóë ñëîæíîñòü è íåîäíîçíà÷íîñòü åãî âçàèìîîòíîøåíèÿ ñ ñîöè-àëüíûì êîíòåêñòîì è ãîâîðèë î òîì, ÷òî «áûëî áû íåâåðíî è íåíóæíî ïûòàòüñÿ îòîðâàòü Ïëàòîíîâà îò åãî ýïîõè» [5, 164].

Ñëåäóåò ïîä÷åðêíóòü, ÷òî è Àäàìîâè÷, è Áðîä-ñêèé, îñîçíàâàÿ âñþ íåîäíîçíà÷íîñòü ñîâåòñêîãî ïèñàòåëÿ, íå õîòåëè, ÷òîáû òâîð÷åñòâî Ïëàòîíîâà ðàññìàòðèâàëîñü èñêàæåííî, ÷åðåç ñóùåñòâóþ-ùèé íà Çàïàäå ñòåðåîòèï î ñîâåòñêîé ëèòåðàòó-ðå. Áåçóñëîâíî, èõ ïîçèöèÿ îêàçàëà âëèÿíèå êàê íà ôîðìèðîâàíèå èíòåðåñà ê Ïëàòîíîâó ñðåäè àí-ãëîÿçû÷íîé àóäèòîðèè, òàê è íà «ïîëèòè÷åñêóþ»

íàïðàâëåííîñòü ýòîãî èíòåðåñà. Ðóãàòåëüíûå êðè-òè÷åñêèå ñòàòüè À. Ôàäååâà, Ë. Àâåðáàõà, À. Ãóð-âè÷à è îöåíêè ýìèãðàíòîâ Ã. ÀäàìîÃóð-âè÷à, È. Áðîä-ñêîãî íåâîëüíî ñôîðìèðîâàëè íà Çàïàäå íåòî÷-íîå è ïðåäåëüíî óïðîùåííåòî÷-íîå ïðåäñòàâëåíèå î Ïëàòîíîâå êàê î òàëàíòëèâîì ïèñàòåëå, íàõîäÿ-ùåìñÿ â îïïîçèöèè ê ñîâåòñêîìó ñòðîþ.

Íà÷èíàÿ ñ êîíöà 80 – íà÷àëà 90-õ ãã. ÕÕ âåêà àí-ãëîÿçû÷íûå èññëåäîâàòåëè îáðàùàþòñÿ ê èçó÷å-íèþ õóäîæåñòâåííîãî ÿçûêà (Ò. Ñåéôðèä) è ôèëî-ñîôñêèõ ñâÿçåé Ïëàòîíîâà ñ ìèðîâîé ëèòåðàòóðîé (Ý. Òåñêè, À. Ëèâèíãñòîí), ê èññëåäîâàíèþ æàíðî-âîé ïðèðîäû åãî ïðîèçâåäåíèé (À. Ëèâèíãñòîí, Ä. Áåòåà, Ô. Áóëëîê , Ê. Óîêåð). Îäíàêî è çäåñü ìîæíî ãîâîðèòü î òîì, ÷òî ñòàðûé ñòåðåîòèï ïðåæíå-ìó ðàáîòàåò â îòíîøåíèè Ïëàòîíîâà. Èññëåäóÿ ïî-ýòè÷åñêèé ÿçûê ïðîèçâåäåíèé Ïëàòîíîâà, èññëåäî-âàòåëè íåèçáåæíî ïûòàþòñÿ äîêàçàòü, êàê ýòîò «ïî-ëèôîíè÷íûé è äèçúþíêòèâíûé» ÿçûê ðàáîòàåò

«ïðîòèâ» Ñîâåòñêîãî ãîñóäàðñòâà, ãîâîðÿ î òîì, ÷òî

«… and the narrator stands on unidentifiable distance from events» («…ïëàòîíîâñêèé ïîâåñòâîâàòåëü ñòî-èò íà íåîáîçðèìîé äèñòàíöèè îò îïèñûâàåìûõ èì ñîáûòèé») [12, ð. 154]. Òàê, â ñòàòüå ñïåöèàëèñòà ïî ðóññêîé ëèòåðàòóðå Êåìáðèäæñêîãî óíèâåðñè-òåòà Ð. Ïîëîíñêè ìîæíî ïðî÷èòàòü î òîì, ÷òî Ïëà-òîíîâ, áóäó÷è «âåëèêèì ïîýòîì», íî «ñëàáûì ôè-ëîñîôîì», «âïèòàë íàáîð ëîæíûõ è îïàñíûõ èäåé åâðîïåéñêèõ ìûñëèòåëåé êîíöà XIX âåêà, ñìåøàë èõ ñ ìàðêñèñòñêèì ìàòåðèàëèçìîì è ñ ïîìîùüþ êàêîé-òî íåïîñòèæèìîé àëõèìèè ïðåòâîðèë èõ â ñâîè âåëèêèå ïðîèçâåäåíèÿ <…>» [4, ñ. 89].

Íåâîçìîæíîñòü îñîçíàòü èñòîðè÷åñêîå è êóëü-òóðíîå åäèíñòâî Ïëàòîíîâà ñ îêðóæàþùåé åãî äåé-ñòâèòåëüíîñòüþ, ñ îäíîé ñòîðîíû, ïîäòàëêèâàåò àíãëîÿçû÷íûõ èññëåäîâàòåëåé íà ïîèñêè íîâûõ òåì

â åãî òâîð÷åñòâå, âîîðóæàÿñü ðàçëè÷íûìè òåîðè-ÿìè (ïñèõîàíàëèç – Ý. Íàéìàí; ãåíäåðíàÿ òåîðèÿ – Ô. Áàëëîê, Ý. Áîðåíøòåéí), ñ äðóãîé – ïðèâîäèò ê áîëåå «äðîáíîìó» âîñïðèÿòèþ òåêñòîâ Ïëàòîíîâà,

÷òî äî ñèõ ïîð ïîáóæäàåò çàðóáåæíûõ èññëåäîâà-òåëåé èíòåðïðåòèðîâàòü ïðîèçâåäåíèÿ ïèñàòåëÿ, îïèðàÿñü íà îäèí èç ýòèõ êîíòåêñòîâ.

Òðóäíîñòü îñâîåíèÿ òâîð÷åñòâà ïèñàòåëÿ âûðà-çèë àíãëèéñêèé èññëåäîâàòåëü è ïåðåâîä÷èê Ð. ×àíäëåð â ñâîåì óñòíîì äîêëàäå íà ïðîøåäøåé â ñåíòÿáðå 2009 ã. VII Ìåæäóíàðîäíîé íàó÷íîé êîí-ôåðåíöèè, ïîñâÿùåííîé 110-ëåòèþ ïèñàòåëÿ.

«Ïëàòîíîâ, – ãîâîðèë îí, – ÷ðåçâû÷àéíî,

÷ðåçâû-÷àéíî ñëîæíûé è òàëàíòëèâûé ïèñàòåëü.  åãî ïðîèçâåäåíèÿõ ìû íàõîäèì ìíîæåñòâî àëëþçèé èç ðóññêîé êëàññèêè, ôèëîñîôèè, ïîëèòè÷åñêèõ äîêëàäîâ, ñîâåòñêèõ ëîçóíãîâ, âûñòóïëåíèé Ñòà-ëèíà… Åãî òåêñòû “ðàáîòàþò íà ìíîãèõ óðîâíÿõ”».

 ïðèâåäåííîé öèòàòå ïðèâëåêàþò âíèìàíèå òðè ñèìïòîìàòè÷íûõ àêöåíòà. Âî-ïåðâûõ, ýòî èñêðåí-íåå ïðèçíàíèå òðóäíîñòè è èçâåñòíîé íåäîñòóïíî-ñòè ôåíîìåíà Ïëàòîíîâà äëÿ àíãëîÿçû÷íîãî èñ-ñëåäîâàòåëÿ (ñòåïåíü «÷ðåçâû÷àéíî» óñèëåíà

äâàæ-äû); âî-âòîðûõ, îáðàùàåò íà ñåáÿ âíèìàíèå íåñïî-ñîáíîñòü ñîîòíåñòè ìåæäó ñîáîé ðàçëè÷íûå èñòî÷-íèêè òâîð÷åñòâà ïèñàòåëÿ (êëàññè÷åñêàÿ ëèòåðàòó-ðà, ôèëîñîôèÿ, ïîëèòèêà); â-òðåòüèõ, ñóäÿ ïî ïå-ðå÷èñëåííûì ôîðìàì ñîâåòñêîé ïîëèòè÷åñêîé æèçíè ðóáåæà 20–30-õ ãîäîâ, ïðåèìóùåñòâåííûé àêöåíò äåëàåòñÿ íà ïîëèòè÷åñêîì è ïðîïàãàíäèñò-ñêîì êîíòåêñòå òâîð÷åñòâà ïèñàòåëÿ. Ïîäîáíàÿ

«äðîáíîñòü» âîñïðèÿòèÿ òåêñòîâ Ïëàòîíîâà ÿâëÿ-åòñÿ îäíèì èç îáùèõ ïðèçíàêîâ, ïðèñóùèõ âèäå-íèþ Ïëàòîíîâà àíãëîÿçû÷íûìè êðèòèêàìè.

Ïðè ýòîì íåèçìåííî ïîä÷åðêèâàåòñÿ âàæíîñòü ïîëèòè÷åñêîãî êîíòåêñòà, äîêàçàòåëüñòâîì ÷åìó ñëóæèò çàãîëîâîê îäíîãî èç ïîñëåäíèõ èíòåðâüþ ñ Ð. ×àíëåðîì â àíãëèéñêîé îíëàéí ãàçåòå

«Guardian.co.uk»: «Andrei Platonov: Russia’s greatest 20th-century prose stylist?» An anti-Stalinist author who died in obscurity in 1951 may be the greatest Russian writer of the last century» («Àíäðåé Ïëàòî-íîâ: âåëè÷àéøèé ðóññêèé ïèñàòåëü ÕÕ âåêà? Ïèñà-òåëü-àíòèñòàëèíèñò, óìåðøèé â 1951 ãîäó, ÿâëÿ-åòñÿ, âîçìîæíî, ñàìûì âåëèêèì ðóññêèì ïèñàòå-ëåì ïðîøëîãî ñòîëåòèÿ…») [9].

Áèáëèîãðàôè÷åñêèé ñïèñîê

1. Àäàìîâè÷ Ã. Øèíåëü / Ã. Àäàìîâè÷ // Ñ òîãî áåðåãà: êðèòèêè ðóññêîãî çàðóáåæüÿ î ëèòåðàòóðå ñîâåòñêîé ýïîõè. Êðèòè÷åñêàÿ ïðîçà. – Ì., 1996. – 384 ñ.

2. Áåòåëë Í. «Ïóòåøåñòâèÿ àíãëè÷àíèíà â ïîèñêàõ Ðîññèè». – Ì., 2002. – 480 ñ.

3. Ìàíóêîâñêèé Ì.Â. Ñòåðåîòèïû ñîçíàíèÿ â ìåæêóëüòóðíîé êîììóíèêàöèè: Ó÷åáíîå ïîñîáèå. – Âîðîíåæ, 2005. – 100 ñ.

4. Ïîëîíñêè Ð. Ê.À. Áàðøò. Ïîýòèêà ïðîçû Àíäðåÿ Ïëàòîíîâà. Õóäîæåñòâåííàÿ àíòðîïîëîãèÿ Àíäðåÿ Ïëàòî-íîâà // Çíàìÿ. – ¹ 8. – 2002. – Ñ. 89– 90.

5. Brodsky J. Preface // Platonov, Andrei The foundation pit. A bilingual edition. – Ann Arbour: Ardis, 1973. – 284 p.

6. Brown E. J., Buried Treasure: Platonov and Bulgakov // Russian literature since the Revolution. – Cambridge:

Harvard University Press, 1982. – 413 c.

7. Chandler Robert. Weights and measures. The New Yorker [Ýëåêòðîííûé ðåñóðñ]. – October 22, 2007. – Ðåæèì äîñòóïà: http://www.newyorker.com/online/2007/10/22/071022on_onlineonly_platonov, ñâîáîäíûé. – Çàãë.

ñ ýêðàíà

8. Hingley R. Russian writers and Soviet society: 1917-1978 / Ronald Hingley. – L. : Weidenfeld and Nicolson, 1979. – 157 ñ.

9. Kalder Daniel. Andrei Platonov: Russia’s greatest 20th-century prose stylist? An anti-Stalinist author who died in obscurity in 1951 may be the greatest Russian writer of the last century. Guardian.co.uk [Ýëåêòðîííûé ðåñóðñ]. – February 18, 2010. – Ðåæèì äîñòóïà: http://www.guardian.co.uk/books/2010/feb/18/andrei-platonov-robert-chandler, ñâîáîäíûé. – Çàãë. ñ ýêðàíà.

10. Olcott A. Foreword// Andrei Platonov, Chevengur /translated by A. Olcott. – Ann Arbour: Ardis, 1978. – 333 p.

11. Proffer C.R. The remarkable decade that destroyed Russian émigré literature / Carl R. Proffer // The Third wave. – Ann Arbor: Ardis, 1984. – P. 81– 86.

12. Seifrid T. Andrei Platonov. Uncertainties of Spirit. – Cambridge, 1992. – 288 p.