Травма как привыкание к новой катастрофической реальности в романе «Брисбен» Е. Водолазкина

Abstract

The study is devoted to the motif of trauma in the novel “Brisbane” by E. Vodolazkin. The article provides an analysis of the realization of the trauma motif as a creative crisis in which the protagonist is gradually immersed. The novel represents the hero’s habituation to his new traumatic condition. Two temporal layers – past and present – run simultaneously in the novel. Soon the gap between them becomes hardly recognizable, eventually merging into the unity of the existence experienced in the present and colored by the past. Balancing on the edge of past and present, where the echoes of each period resonate in the hero’s soul, constitutes the polyphony of the novel “Brisbane”. It is realized at two levels: temporal-spatial and narrative-musical setting of the work.The study is devoted to the motif of trauma in the novel “Brisbane” by E. Vodolazkin. The article provides an analysis of the realization of the trauma motif as a creative crisis in which the protagonist is gradually immersed. The novel represents the hero’s habituation to his new traumatic condition. Two temporal layers – past and present – run simultaneously in the novel. Soon the gap between them becomes hardly recognizable, eventually merging into the unity of the existence experienced in the present and colored by the past. Balancing on the edge of past and present, where the echoes of each period resonate in the hero’s soul, constitutes the polyphony of the novel “Brisbane”. It is realized at two levels: temporal-spatial and narrative-musical setting of the work.Данное исследование посвящено мотиву травмы в романе «Брисбен» Е. Водолазкина. В работе предложен анализ реализации мотива травмы как творческого кризиса, в который постепенно погружается главный герой. Роман представляет собой привыкание героя к новому травматическому состоянию. Два временных пласта – прошлое и настоящее – протекают одновременно. Постепенно разрыв между ними становится все меньше, в итоге сливаясь в единство переживаемой в настоящем реальности, окрашенной прошлым. Балансирование на грани прошлого и настоящего, где отзвуки каждого периода резонируют в душе героя, составляет полифонизм романа «Брисбен», который реализуется на двух уровнях: временно-пространственной и повествовательно-музыкальной организации произведения