Opción, Año 33, No. 85 (2018): 63-86 ISSN
1012-1587 / ISSNe: 2477-9385
The author in esthetic activity and the
functional text (on the basis of V. Mikhaylov’s narrative (“The chronicle of
the great jute”)
Gulzhan Ainabekova gulzhan.aynabekova@gmail.com
Zhadyra Bayanbayeva bayanbayeva.zhadyra@kaznu.kz
Bayan Joldasbekova baiyan.zholdasbekova@kaznu.kz
Aslan Zhaksylykov aslanj54@gmail.com
Al-Farabi Kazakh National University,71, Al-Farabi
str., Almaty, 050040, the Republic of
Kazakhstan
Abstract Author‘s esthetic activity in
the belletristic literature affects all aspects of the textual sphererevealing
and shading the author's discourse, setting the direction and tonality,
interacting with conceptual domain of all architectonics creation. The documentary
narrative «The Chronicle of Great Jute» by V. Mikhaylov reveals the features
where vigorous author‘s esthetic activity and the directional author‘s
discourse embedded in the cascade of functional texts. The analysis of the
well-known work shows that functionally significant quotes, hidden intertexts,
illustrations, documents, allusions, reminiscences, references to memoirs and
retrospections play an important role in designing of the work‘s stratagem for
the organization of a wide polylogue in a historical and political context.
Keywords: intertext, esthetic
activity, author‘s discourse, allusions, quotes, reminiscences, euphemisms and
stratagem.
Recibido: 10-01-2018 Aceptado: 09-03-2018
Opción, Año 3 85 (2018
El autor en la actividad estética y el texto funcional
(sobre la base de la narrativa de V. Mikhaylov ("La
cronica del gran jute")
Resumen
La actividad estética del autor en la literatura belletrista afecta todos
los aspectos de la esfera textual revelando y sombreando el discurso del autor,
estableciendo la dirección y la tonalidad, interactuando con el dominio
conceptual de toda la creación arquitectónica. La narrativa documental «The
Chronicle of Great Jute» de V. Mikhaylov revela las características en las que
la vigorosa actividad estética del autor y el discurso direccional del autor
están integrados en la cascada de textos funcionales. El análisis del conocido
trabajo muestra que citas funcionalmente significativas, intertextos ocultos,
ilustraciones, documentos, alusiones, reminiscencias, referencias a memorias y
retrospecciones juegan un papel importante en el diseño de la estratagema de la
obra para la organización de un amplio polílogo en un contexto político e
histórico.
Palabras clave: intertexto, actividad
estética, discurso del autor, alusiones, citas, reminiscencias, eufemismos y
estratagemas.
1. INTRODUCTION
The perestroika of
90th of the XX century in the Post-Soviet society deeply affected
all aspects of spiritual and cultural life of organizations and individuals.
Using unprecedented forms, perestroika stimulated the development of the
personality in the former Soviet society, inducing to search the novelty, to
create, to deny ideological stereotypes of consciousness. The intensification
of the personal, psychological and spiritual spheres in terms of freethinking,
searching the novelty and
is of V. Mikhaylov’s narrative (“The
chronicle of the great jute”)
reconsiderations of previous
stereotypes touches those writers who were condemned to self-reliance in their
inner life and potency of active thought. The dominating ideology of the Soviet
regime, imposing rigid, sometimes repressive dictatorship, suppressed many
years the free will of the writers, their natural aspiration to originality and
freedom of consciousness, imagination, social, historical and psychological
truth. The hero of the sign novel by Yu. Dombrovsky ―Faculty of Unnecessary
Things‖ precisely and vividly says about this time: ―There is a great fear in
the world now. All are afraid of everything. It is very important for everyone
to seat and wait. There are times when a word is a crime. We must reconcile
ourselves to such fate‖ (DOMBROVSKIĬ, 1969). It is interesting to note that Yu.
Dombrovsky compares Stalin to the mythological Gardener, ―who weeded millions
of human destinies‖.
2. METHODOLOGY
In the 90s of
the XX centuries, this political and ideological regime has failed, and the
majority of the writers started to analyze the subjects, which considerably
were in a prohibited zone during the Soviet power.
There were the secret pages of World War II, Stalin‘s
authentic and largescale repressions, cult of personality in the Soviet Union,
ethnic question, the background of great socialist buildings works, human
destinies in the Soviet prisons and camps. There were national liberation
movements in different regions of the USSR and their consequences, the seamy
side of collectivization and industrialization in the USSR, the victims of
expropriation of the cattle and grain during revolutionary surplusappropriation
system. The results of civil war and a real picture of Famine-Genocide in
1919-21 and 1930-32, the fate of the victims of political repression and other
tormented people. The list of these themes 85
(2018 can be continued and it varies, as in each national republic
there were forefront topical issues and problems, which first occupied the
imagination of the writers of a particular region. The constraint and unfreedom
of writer‘s way of thinking during the Soviet era inevitably affected the
author of the belletristic style. The author of the belletristic style belongs
to esthetic category, to text phenomenon, not to society. The writer and the
author of the work of art are in the same relation as the creative person and
the text. SUDAKOV and BADIKOV (1991) wrote:
―The author as manifestation of
creative energy and meaning is not identical to this or that real writer though
his spiritual and biographic psychological shape leaves the personal mark on
the work and creativity in general‖. No doubt, that perestroika of the 90th
with new horizons of free thinking affected not only personal psychological and
spiritual qualities of the authors in Kazakhstan, but also the their works‘
parameters expanding the zones of their esthetic manifestation and activity. As
a result in Kazakhstani literature from the point of view of social and esthetic
communication, authentic representative texts have appeared. The technique and
methodology of the comparative, typological and textual analysis with
allocation of the most characteristic signs of the leading discourse in the
book by V. Mikhaylovis applied for the disclosure of the specified problems in
article (SUDAKOV and BADIKOV, 1991).
3. RESULTS
Taking into
consideration the historical peculiarities and specifics of Kazakhstan
development in the XX century, the forefront themes during perestroika were the
issues of Famine-Genocide 1919-21, 1930-32 and Stalin‘s repressions, the fate
of Alash Party members and the national liberation movement in different years.
On September 15, 1925,
is of V. Mikhaylov’s narrative (“The
chronicle of the great jute”)
Goloshchekin arrived to Kzyl-Orda, which was Kazakhstan
principal of that time. All his undesirable traits had manifested on our land.
Valery
Mikhaylov, an author of the book ‗Chronicle of Great Jute'
said that ‗He did not treat Kazakhs as human. Immediately after his arrival to
Kazakhstan, Goloshchekin specified that Soviet did not rule here and it was
necessary to arrange new Red October. During 7 years, which he spent in
Kazakhstan, Goloshchekin did not leave the capital even once, and did not
inquire about life of people.
There are
habilitations of the repressed persons and publicizing the activity of atomic
and other grounds, unknown pages of World War II, environmental disaster in
different regions and situation with Kazakh language. (Altybayeva, 2012)
writes: ―The XXI century has come, a century of radical changes in all spheres
of life of the state, society and individual‖. The deep transformational
processes connected with search and creative development of new esthetic-world
outlook horizons are observed in modern Kazakh literature, art and culture in
general‖. It is important to note that each of these themes was scaled,
versatile and socially important. The analysis and presentation of these themes
seriously influenced the public consciousness. The equivalent day the National
Library of the Republic of Kazakhstan hosted a performance of a novel Kazakh
translation of the Chronicle of the Great Jute, a book through MIKHAYLOV
(2003). The book expresses about two million Kazakhs and almost 0.5 million people
of other ethnicities who died during the famine of the 1930s. The new edition
publishers printed 10,000 copies. All these books were donated to libraries of
Kazakhstan, primarily to schools and universities. It was young entrepreneur
Shyngys Kulzhanov who initiated and sponsored the book publication (Altybayeva,
2011).
85 (2018
The investigation of such difficult and
multidimensional subjects demanded from writers the courage, work in archives,
search of the materials often hidden in the special depositories and such work
could just change the consciousness of the authors, aggravating political,
mental and spiritual aspects of the attitude towards reality, forming responsibility
for their own position. Obviously, Mikhaylov (2003) is such a writer, who has
published the biggest work of the topical issue – the documentary story ―The
Chronicle of Great Jute (Famine-Genocide)‖ in 1996. As a result, the
publication of the book by Mikhaylov (2003) ―The Chronicle of Great Jute‖
attracted the attention of world community, including scientists, politicians,
journalists, writers, historians, to tragic Famine-Genocide in Kazakhstan in
1919-21 and 1931-32. The result of this research is the comprehensive textual
analysis of the story by Mikhaylov (2003), the allocation of characteristic
style and structural signs, the definition of poetics and the usage by the
writer of various documents, the identification of author‘s strategy and dominating
discourse in his book (Murdick et al., 2013).
4. DISCUSSION
―The Chronicle of
the Great Jute", which was published in May, 1990, Mikhaylov (2003) denounces the perpetrators
provoking the famine in Kazakhstan, cites rare documents, letters of both
ordinary people and the powerful of this world.. These three works are the
largest and multidimensional creations devoted to a hunger subject in the
postrevolutionary Kazakhstan. Mikhaylov (2003)writes that it was hard to
collect and study the materials on Famine-Genocide, especially in state
archive; he did not get access to Committee of National Security archives.
Meanwhile a great number of materials were in hands of ordinary people.
is of V. Mikhaylov’s narrative (“The
chronicle of the great jute”)
Some of them the writer got. Well-known archival worker
M.Zh. Hasanayev reported that in 1980 the materials from T.G. Nevadovskaya,
which has been issued poetically, had come to archives, it was a poetic requiem
about dead for hunger created in 1933 (Aminov, Jensen et al., 2010). Moreover,
1980 year is a period of the USSR power. There were the materials of the
thirtieth years, the years of the disaster, basically the letters of Party and
public members to the administration, which were not published in the press of
that time, for example, the letter of G. Musrepov and his comrades to
Goloshchekin, T. Ryskulov‘sletter to Stalin. V. Mikhaylov has expressed regret
that the directive generalizing Party documents of that time did not contain
the truthful analysis of FamineGenocide on the basis of numbers, statistics and
results of the commissions. The consideration of such theme, which was
confidentially forbidden even in the 60th and 70th of the
XX century for what many people in the 30th and 40th have
paid with freedom, confirms spontaneous awakening of V. Mikhaylov‘s intellectual
and political consciousness, who has decided to be involved into the context of
the difficult and unknown socio-political material, similar to the concealed
fire. Probably, this step has matured many years ago due to biographic factors
as the poet comes from the ancient Russian peasant community, which was
dispossessed and banished to Kazakhstan after civil war. During the hunger,
only few members of the community survived. Nevertheless, it is clear that
preparation for the development of this subject lasted many years by means of
collecting archival and documentary material and interviewing people who
remembered the years of Famine-Genocide and were the witnesses of this tragedy
.Arguing with some authors a Famine-
Genocide in
Kazakhstan, V. Mikhaylov summarizes: ―I think that English historian was
mistaken, considering that hunger in Kazakhstan, unlike
85 (2018):
hunger in Ukraine, has not been organized purposely. In both
republics, the collectivization was held according to the similar scheme and
carried out at the same period. Moreover, Kazakh nomads and semi-nomads were
forced –by accelerated tempo! – to become settled. For Kazakhstan, they have
planned more cruel tests. That is why in Ukraine they exterminated 1/5–1/6 part
of the population and in Kazakhstan 1/3 part of the indigenous population has
died from hunger – the Kazakhs who terribly suffered and lost a half of their
number‖ (Aminov et al., 2010).
V. Mikhaylov‘s
appeal to a disaster of Kazakhstan in the 30thwas probably dictated
firstly by moral motives and sincere impulse of the conscientious person
stricken with the scale of national disaster of
Kazakhs.
Then, judging by author‘s notes, this impulse during the work was transformed
into the deep interest of the demanding and intellectual person, who decided to
investigate independently the most difficult problem of the February and
October revolutions in Russia of 1917. He wanted to understand the reason,
multistage process of revolutions, which had begun with the attacks of
terrorists in the XIX century against monarchs and dignitaries, ended with
civil war. He wanted to understand the tragic consequences of it, which lasted
until the end of the XX century. The Russian person with the positions of
Orthodox spirituality has decided to shovel and analyze the event, which has
become the basic one in world collisions of the XX century and defined the fate
of hundred millions of people in different countries. The results of this
intellectual, ontological work showed the growth of the creative and linguistic
potential of the author, demonstrating catholicity, effectiveness and
activeness influencing on consciousness of all society. Numerous responses to
V. Mikhaylov‘s book from Kazakhstan and abroad testify it.
is of V. Mikhaylov’s narrative (“The
chronicle of the great jute”)
The solution of such problem that cannot be sometimes done
by groups of people could not but affect the identity of the writer. It
definitely affected the author and identified the development of his historical
consciousness, aggravated his moral position, crystallized the feeling of
personal responsibility of the Russian man for the Russian revolution, for
multimillion victims in the different countries. It escalated an intuition and
feeling of the social analyst, skillful publicist and master of a word, who
structurally and tactically organized the effective reception of archival and
documentary materials. The initial sincere motive in the course of longterm
work was transformed into strategic direction of purposeful ontology aimed at
analysis of the reasons of socio-political and ideological chimeras – doctrines
leading to excessive consequences as revolutions and world war. It is logical
that author reaches the philosophical leitmotif of F.M. Dostoyevsky, the key
note of demons, the incited ideologists obsessed with a dream to lead humanity
to bright future be all means. The word ―demons‖ also becomes a keynote of V.
Mikhaylov‘s book.V. Mikhailov criticizes Lenin‘s doctrine about socialist
revolution developed by the founder of Marxism and Leninism, on the basis of K.
Marx and F.
Engels‘s
propositions, and pretended to be firm scientific truth. The doctrine is
characterized as a complicated controversial theory with a spirit of
freemasonry, a texture of the anticlerical, materialistic, positivistic and
utopian ideas, in fact – an ideological chimera, antisystem. ―The philosophical
belief‖ – negative ideology, absorbs ethnic group in which it has found a
shelter, just as the spirochete eats a human body and dies together with it‖ –
L.N. Gumilev acutely characterizes the doctrine as an anti-system. The
socialist and communistic doctrine was an anti-system in relation to all
traditional institutes, theories and customs of the society‘s life. V.Mikhaylov
also reveals a personal Lenin‘s role in
Gulzhan
Ainabekova 4, No. 85 (2018):
unprecedented catastrophe –
Famine-Genocide, which has captured all
Soviet people: ―Thus, if in 1891, being the assistant of
juryman, Vladimir Ilyich only welcomed and propagandized national hunger, then
after 1917, when he became the chairman of Council of People‘s Commissars, he
gave all concealed opportunities of this ―progressive phenomenon‖ and brought
Russia to the most terrible hunger in her thousand-year history‖.
Hunger according to Lenin‘s
positivistic, immoral representations, ruthlessly transferred the peasants to
the category of the hungry proletariat, who in every possible way eager for
revolution. Therefore, it was good for business of revolution.
F.I.
Goloshchekin – the Bolshevik, the Leninist, the Stalin‘s colleague, the head of
Kazakhstan in days of cruel and terrible Famine-
Genocide is an object of the strictest and consecutive V.
Mikhaylov‘s criticism. It is not
enough for the writer to depict by artistic means an image of the Bolshevik,
the head, one of the organizers and participants of tsar‘s family
assassination. He sets the most important task – to describe Goloshchekin as
the specific social phenomenon of time – the type of the marginal person,
political and spiritual degenerate in a form of the
Bolshevik –
the hidden superman, who rules peoples‘ destinies according to cannibal
principle – the end justifies the means. To the turn of the XIX and XX
centuries, this type of cosmopolitan, ruthless and prudent rationalist,
conscious provoker and political dealer and cold-blooded practitioner of cruel
affairs was quite formed. Now it is absolutely clear that without such people
the radical reorganization of the former Russian Empire was impossible, which
has brought to destruction of the whole classes and social layers, the
aristocracy and the nobility, the Cossacks and the kulaks, the peasantry and
the merchants, old military
is of V. Mikhaylov’s narrative (“The
chronicle of the great jute”)
administration, the pre-revolutionary intellectuals and
clergy ended with death of several tens of millions of people. Nevertheless,
among Bolsheviks there were a lot of honest people who sincerely believed in
ideals of the Marxist-Leninist doctrine. However, such people disappeared by
1945 due to Stalin‘s repressions and war. Mainly the nimble type of opportunist
who kept his nose to the wind had a chance to survive. It is known that the
principle ―the end justifies the means‖ adopted by the leaders of revolution,
civil war and socialist reorganization of society. Such type represents the
endless gallery of faces from the first Petrashevists to Lenin and Stalin and
those who realized this principle with rolled up sleeves in blood. F.
Nietzsche‘s words are relevant here:
―Perhaps, the future survey of human needs will admit that
the equality of people‘s deeds is not a good idea; on the contrary, for the benefit
of the universal purpose it is necessary to set specific tasks for different
stages of humanity development, perhaps, sometimes evil tasks‖. V.D. Zhukotsky
writes about the connections between Nietzsche‘s philosophy and
Marxism: ―There was one more peculiar
current of thought where the Nietzsche‘s discourse has revealed its
definiteness. This current – the Russian Marxism‖ (USKEMBAEVA et al., 2016).
The delineation and disclosure of such
social type as F.
Goloshchekin,
– is one of the main tasks of the V. Mikhaylov‘s book, which explains the work
composition, the main line – dethronement of an image of the Bolshevik, Party
figure poeticized in the Soviet literature with the status of a romantic hero
during a number of decades. The statement of the problem, which runs through
the book and peculiarities of solving these problems characterize the writer as
a mature and well-armed artist revealing the reasons of such significant
phenomena as emergence
4
of political party with aggressive ideology and showing the
process of formation of the leaders, managers and performers, military cohorts
and ordinary mass of people. The transformation of Party ideology into the
global material force capable to remake the world map is one of the concomitant
tasks of this book. In Goloshchekin‘sportrait specific types of persons
including Lenin, Sverdlov, Trotsky, Dzerzhinsky, Bukharin, Kaganovich, and
Stalin are recognized. It is logical that punctual Goloshchekin got an
instruction to kill the tsar‘s family. The Center did not doubt at all that he
would execute and ―exceed‖ the assignment of top leaders and clean a zone of
act without consequences. Goloshchekinwas checked in many actions of Bolsheviks,
his accuracy in special actions and punctual execution showed that he was –
―the faithful Leninist‖ (USKEMBAEVA et al., 2016).
The activity of the author-storyteller
in the belletristic literature is an esthetic activity mainly with – maximum
expressiveness, receptive completeness and – communication in all spheres of
existing texts. The activity of the writer is a set of social, esthetic,
psychological, mental and spiritual acts, which finally affect the
sociohistorical plan of life or society. It is creativity or a creative
continuum where the principle of the author has a significant value. It is
known that philologically and philosophically developed the author‘s concept of
freedom in the text. V. Badikov comments: ―M. Bakhtin is not teaching how methodologically
precisely and fully to find the ―image of the author‖, it is more important for
him to identify the ontological aspect of a problem, the philosophical life –
interaction of ―one‘s own‖ and ―somebody else‘s‖, the voices in eternal
dialogue of life‖. Bakhtin's theory helps to interpret the authentic freedom of
author's consciousness: when the author is only the serviceable The author in esthetic activity and the
functional text (on the bas is of V. Mikhaylov’s
narrative (“The chronicle of the great jute”) slave of his
professional competence, social order or a momentary literary conjuncture and
when he is a true artist, a ―supremecourt‖ for himself .Therefore, within M.
Bakhtin‘s representations, the work is a difficult texture ―one‘s own‖ and
―somebody else‘s‖ voices where the one‘s own is a litmus piece of paper,
precisely reveals and shades others voice, somebody else‘s statement,
estimating and judging him in a certain focus of moral knowledge. From this
point of view, the work acts as a difficult polylogue where the dialogue of
one‘s own and somebody else‘s voices is a leading semantic and constructive
line. The author of the work of art can be morally and ontologically free only
in such polylogue where there is a basic dialogue (dispute) on the background
of historical and eternal semantic instances, the highest judge – the Truth
(God). The sincerity of the author, the depth and interpretation of his super
task, his stratagem are very important in such polylogue (Mikhaylov, 2003). As
it was mentioned before, such stratagem in the book by V. Mikhaylov exists and
shows active functional character. For the organization of such polylogue V.
Mikhaylov chooses a form of the documentary work, the verbal texture of which
contains quotes, inter text, documents, notes, remarks, hints, allusions,
euphemisms, reminiscences penetrated by the author‘s comment organizing all
architectonics.
In order to
depict a great hunger of the millennium the author selected the documentary
form. It is identified on the title of the page as
―the documentary story‖. The
composition of the first hundred-pages of (Mikhaylov, 2003) story describes an
execution of tsar‘s family, the hunger of the 1920th, the period
after civil war, peripetias of Turkestan civil war and F.I. Goloshchekin‘s
appearance in Kazakhstan. The following hundred pages depict the comparative
analysis of the Masonic
4
movement in Russia and abroad,
the initiation of social-democratic Party in Russia, the comparative analysis
between English revolution of the XVI century, French revolution at the turn of
the 18th and 19th centuries and
Russian revolution of the XX
century and Goloshchekin‘s activity in Kazakhstan. Moreover, the pages show the
procedure of expropriation of the cattle and collectivization in the republic,
the beginning of hunger in Kazakhstan and repressions against the national
intellectuals. The following hundred pages are devoted to the description of
kulak‘s dispossession in the USSR during 1920th-30th,
repressions against clergy of different religions – Orthodoxy mainly,
expropriation of property of churches and mosques and insurgent movements in
Central Asia and Kazakhstan. Final seventy pages represent picturesque
testimony of eyewitnesses of Famine-Genocide in Kazakhstan – the short stories,
scenes, memoirs and letters with the author‘s comment. In fact the author's
comment is a discourse, which estimates, characterizes, organizes and directs
an inter textual frame, steadily leading the reader to the logical deduction
clearing up with details a true picture of not only a great hunger, but the
revolution, which has nearly become the world one. In this documentary book,
the author‘s discourse represents the main narrative dominant outlining the
main zone of search and exposure – notably – the disclosure of the
socio-historical, genetic background and the content of such destructive
phenomenon for traditional culture as Bolshevism, the socio-political
anti-system. Attempting to provide a literary definition for the discourse
concept, B. Dzholdasbekova and N. Sarsekeeva formulate:
―Nowadays the discourse includes such linguistic concepts
as word, speech, the speech inserted into
life, the speech of the talking person, relevantly pronounced text, utterances and
etc.… (our discharge – A.Zh.). The
functional style was connected first with special type of texts – The author in esthetic activity and the
functional text (on the bas is of V. Mikhaylov’s
narrative (“The chronicle of the great jute”) newspaper, colloquial,
belletristic etc. … Now it is possible to draw a conclusion that the problem of
correlation between functional style and discourse concept is unsolved‖ (Gray
et al., 1982).
If we proceed
from this definition, the documentary inserts and different types of the inter
text should be considered as a functional text. The author's discourse should
be defined as a special type of speech,
which is externally issued with signs of individual style and the internal
conceptualplan reflects the signs of steadily formed stratagem, expanding the
author‘s implicit knowledge about the main theme of narration. Actually, the
author knows the result - the grandiose socio-political experiment of
Bolsheviks on creation of socialism and communism on Earth has cost some people
of the USSR nearly a half of the population. There is another official
information concerning the number of the victims during repressions and hunger:
―According to international organization ―Memorial‖ the number of victims of
the terror during Soviet period was from 11 - 12 to 38 - 39 million people
(146) … (our discharge – A.Zh.) From
them: 6 - 7 million have died from hunger of 1932 - 1933 years‖.
The allocation of signs of a dynamic
author‘s discourse is important for the overall analysis of the structure of
the V. Mikhaylov‘s texts. It includes such elements as emotive, author‘s
modality, intonation, expression, remarks, notes and other forms. The main form
is an objective commenting of the described phenomena or events according to the
chronicle, or according to the logic of the illustrated documentary material.
Researches show that a substantial framework of the text can be wider, than a
documentary material: ―Any data — historical, ethnic, cultural, geographical
and sociological are significant for the writers
Opción, Año 34
building a certain place in
their center of the creative world view. These data can be factual and
modified‖.
The author
begins the narration with restraint, which is typical for belletristic style,
commenting G. Kairbekova‘s story about
hunger in Kazakhstan: ―The poet GafuKairbekov goes on with his usual
hard-ofhearing voice, softly, as if with astonishment‖. The G. Kairbekov‘s
narration is transferred in a muffled intonation. Describing
Goloshchekin‘s acts, the author
continually chooses hidden ironical tone:
―Magnificent work‖ was done for Ural people by Goloshchekin
the member of the Central Committee who arrived to Yekaterinburg in
February. Sometimes the irony turns into sharp sarcasm: ―Did
he, Goloshchekin remember, receiving data from everywhere about hunger and
cannibalism, how he made meat dumplings on the eve of new 1916, in the far
Siberian village Monastic?‖ Investigating the documentary data, the author
shows activity, assuming, guessing, and drawing far-reaching conclusions:
―Yakov Mikhaylovich (Sverdlov –
A.Zh.) looked himself after the tsar and regulated the actions of the regional
commissioner Goloschekin, and not vice versa. Probably, he called Philip Isayevich, his ―George‖ to Moscow to
receive information and to give further instructions‖. (Our italics – A.Zh.). The author uses on the page 35 an interesting
form of the inter text - the verbal description of V.N. Pchelin
―The Romanovs‘ transferring to
the Ural Council‖, this scene is full of caustic sarcasm: ―Pchelin executed an
assignment with all socialistrealistic diligence. He represented two small
groups of people, on the background of the soldier‘s chain and the train
shrouded in smoke, who are tensely peering each other. In the faces of Nicholas
II, queen and great princess Maria we see the confusion and alarm, but opposite
to them real The author in
esthetic activity and the functional text (on the bas is of V. Mikhaylov’s
narrative (“The chronicle of the great jute”) heroes stand‖ (GRAY et
al., 1982). Representing the savage reprisal of the tsar‘s family, murder of
children, women, including innocent women, the author quotes the well-known
Pushkin lines:
―Absolute villain!
I hate you, your throne.
Your death, the death of children
I see with cruel gladness‖
However, the
background of the represented cruel execution of tsar‘s family reflects
Pushkin‘s lines differently, than it is depicted in the famous Soviet textbooks
about Pushkin, – in such semantic contrast organized by the author his hidden
anger is perceived. We see in the different fragments of the text sometimes
explicit or implicit quotes from the Scripture of Christians, through such
inter text the author actualizes absolute moral criterion, organizing the
special point of view where the trial with eternal, religious position is
accented. Therefore, the shape of demons is revealed in the book. For example,
the killed ―Sister of the queen, Elizabeth Fiodorovna, the famous devotee of
mercy, according to the eyewitness, ―crossed herself and prayed loudly: ―My
God, forgive them, they don‘t know what they do‖. Three months later their
bodies were retrieved, on a mine ledge near Elizabeth Fiodorovna the body of
one of the victims was found with the tied-up hand. She tried to alleviate the
suffering of the neighbor with the broken body and severe bruises of the head‖.
This scene is represented through the significant semantic
Opción, Año 3
contrast: the cruelty of
executioners and mildness of the killed women.
The author‘s intonation demonstrates the undisguised grief,
compassion to the victims and anger to monsters. ―My God, forgive them, they
don‘t know what they do‖ it is, of course, a periphrasis of the known
evangelical expression ―Father! Forgive them for they do not know what they are
doing‖. Forms of sarcasm and irony, used by author, are various, estimating the
leaders of revolution, for example, V.I. Lenin. In one of scenes he is
assimilated to the axiomatic grandfather Mazay (the allusion is used here -
according to function it is an allegory - the hidden citation from the poetic
fairy tale by N.A. Nekrasov). As opposed to compassionate Mazay, who saved
hares from a high water and put them in the boat, Lenin in the same situation
hit the hares by oar: ―Ilyich in Shushensk on hunting found himself on the land
area full of the frightened hares flooded from all directions. He did not show
the features of Mazay.
Quickly being active with oar,
he hit so many ―dumb animals‖ that the boat bottom because of weight was caved
in‖. This scene is semantically more significant, than it seems at first sight.
There is no doubt that Lenin‘s hares on the internal plan are associated with
the victims of hunger in Russia, Ukraine and Kazakhstan of 1919-21. On this
background, the author‘s detail – he hit so many ―dumb animals‖- looks as a
gloomy symbol.
An objective
author‘s commentary according to the form looks like a meticulous research of
circumstances of tsar‘s family execution by Bolsheviks, - an event, which has
imposed a fate shadow on further activities of communists. From the mental
point of view of the book - murder of the Lord‘s Anointed - is the inexcusable
blasphemy doomed in the history to a damnation and inevitable crash. The
research, analysis,
The author in esthetic activity and the
functional text (on the bas is of V. Mikhaylov’s
narrative (“The chronicle of the great jute”)
understanding of the details of
execution preparation and implementation, comparison of events, facts and documents,
intuitive guessing - all this signs of a dominating author‘s discourse. When
the author understands that, he was right, he cannot but keep from the sharp
and condemning invectives. The telegram of the Ural Bolsheviks for the Center
reported that only the tsar was executed, but the family was evacuated to the
safe place. Here the author exposes a lie because he and the reader know that
within three days all members of Romanov‘s clan were killed: ―It is
occasionally or not, but the text contains a mistake in date. However, about
―the evacuated family‖ of the executed tsar, the members of the Ural regional
council lied, consciously deceiving the population of ―the red capital of the
Ural‖. The word lied is often used relating to Bolsheviks in different episodes
and leaders of revolution of different ranks (MIKHAYLOV, 2003).
Against the
background of the sarcastic or objective-analytical or reserved-irate
description of repressive acts of Plenipotentiary Representatives of the
Bolshevism the sympathetic or sincere attitude to the figures of the Russian
orthodox clergy looks differently. These are the
Tikhon‘s words the Patriarch of Moscow and all Russia during
a sermon: ―So, awful deeds were made recently: the former Tsar Nikolay
Aleksandrovich is killed … Following the doctrine of our God‘s Word, we have to
condemn these deeds, otherwise the blood will touch us, and not just those who
have made it… They will call us as the counterrevolutionaries for it, they will
imprison or shoot us. We are ready to undergo all this, hoping that our
Redeemer‘s words will be about us:
―Blessed
rather are those who hear the Word of God and obey it‖. No doubts, that the
word of the Scripture, its Spirit and figures pronouncing
Opción, Año 3 85 (2018
and realizing it patriarchs
and churchmen, are authoritative for the author. Their piety sets the immutable
moral criterion allowing placing all semantic accents and judging the evil
geniuses of history or demons according to the logic of the book. The author‘s
intention convinces the reader that repression against church, as well as other
religions of Russia, extermination of priests, mullahs and lamas, destruction
of temples, expropriation of property of church, prohibition of religious
activity, - is an infringement on a spiritual body of the people, an attempt to
transform a matrix of thousand-year national life according to new curves to
create new people on the basis of aggressive atheism.
The prolonged author‘s comment analyzing
historical acts of Bolsheviks, such as execution of tsar‘s family or
Famine-Genocide in Kazakhstan and in Ukraine, disclosing scales of national
catastrophe with figures, picturesque scenes and fragments of separate events
quite often come to the end with an author‘s capacious conclusion. This
emotional summary, in fact, is the biting note with pejorative assessment:
―Only in the mid-twenties Bolsheviks recognized that together with Nicholas II
all his family was executed. There are no testimonies that the conscience
exasperated executioners. In deed! They were proud of their ―revolutionary
feat‖. Such words in the text as ―executioners‖, ―proud‖ are semantically
painted by moral assessment of the author; they brightly illustrate his
position, which consists in unconditional condemnation of Bolsheviks‘ crime.
Goloshchekin - is a
subject of intent look and analysis of the author. Irony, sarcasm, distancing,
the portrait characteristic, hints, allusion disclosure and grotesque are very
often used to describe such a
The author in esthetic activity and the
functional text (on the bas is of V. Mikhaylov’s
narrative (“The chronicle of the great jute”)
hero. When the author
characterizes the image of the iron Plenipotentiary Representative
Goloshchekin, he often applies sarcasm and irony – euphemisms and allusions:
―He repeatedly, not just once or twice, uses the word ―source‖, concerning
people… (our discharge – A.Zh.) and
says that it is necessary ―to drink from this source.‖
How he drunk from this source by the name
of the Kazakh people, became clear recently, - the number of the victims for
the researchers varies: whether one million two hundred thousand people, who
have died from hunger or one million seven hundred thousand…‖.
For the
detailed disclosure of Goloshchekin‘s image, the author applies the most
various means of delineation, specification, the additional characteristic,
including vision from outside, the other person. Pages 97 and 98 show the
documentary evidence, the description of how he, the writer, thumbing through
bound files of newspapers of 1927, found
Goloshchekin‘s portrait in a profile, which was crossed out
by the unknown reader: ―Below a shaggy Mephistophelean small beard the
inscription stretched obliquely with printing capital letters:
―MURDERER‖. It was the issue of ―The Soviet steppe‖ May 30,
1927…One more person was crossed out, but with other ink, Philip Isayevich‘s
portrait was found in the newspaper of November 7, 1932.
There was
another definition –―The Nit!‖ We used the statistical textual analysis of the
(Mikhaylov, 2003) story taking into consideration the rate of documentary
materials and quotes. The first 100 pages of the text were taken for the
analysis, and then the revealed statistics were extended to all other parts of
the book. Observations show that the rate of citation and illustration of the
text by documents, testimonies or functional inter text is
Opción, Año 3 85 (2018
not falling until the end of the work. The first 100 pages
are densely equipped with memoirs of eyewitnesses of history, documentary
inserts, letters, telegrams, quotes from pages of party and state documents,
researches, author‘s comments, notes and remarks where either emotional, or
political assessment of the author is shown. Besides, there are hidden quotes
from the Scripture, the known Party documents and works of leaders, poetic
classics, allusions, reminiscence, euphemisms, metaphors and phraseological
units. These inter texts are intended for the creation of a reliable image of
the prompt, critically terrible era, which did not know a respite, which
constantly forged cohorts of ironmen – builders of new society, and doomed to
death millions of people. The analysis shows that eyewitnesses‘ memoirs of
hunger are involved on p. 5, 12, telegrams are quoted on p. 12, 42, 46, 47, 48,
quotes are used on p. 15 (3), 16 (3), 20-21, 22 (3), 23 (3), 24 (2), documents
are attached (Goloshchekin‘s biography) on p. 16-19, protocols are on p. 47,
57. Memoirs are quoted on p. 25 (4), 26 (4), 28, 29 (2), 30, 67, reminiscences
are found on p. 27 (3), 28, 31, 32, 33 (2), 36, 38, 39, 40; quotes from written
memoirs are on p. 31, 32 (2), 33 (2), 34 (3), 35 (3), 36 (2), 37 (3), 38 (2),
39 (2), 40 (3), 41 (2), 42, 44, 45 (4), 47 (3), 48, 49 (2), 50 (2), 51 (2), 52
(2), 54, 55 (4), 57, 59, 60, 61. Poems are cited on p. 38, 51, 56 (2), 85, 86.
Euphemisms are on p. 41 (2), 43 (2), 46, 49, 51, 52, 53, 55, 59, 60, 74, 76
(3), 77, 78; reminiscences from the Bible are on p. 43 (2), 51, 54, 55. Party
and government documents are quoted or illustrated on p. 58 (3), 60, 67, 68, 71
(3), 72, 73
(2), 74 (2),
80 (2), 81 (2), 82, 83, 84, 85, 87, 88, 90 (2), 91, 93 (2), 94, 95 (2), 96. The
memoirs published in the press are quoted on p: 61, 62 (2), 75, 76, 77, 78 (2),
86, 88, 92, 98. Materials from the official press on p. 62, 63 (2), 65, 66, 89,
97, 98, 100 are quoted. Euphemisms with political
The author in esthetic activity and the
functional text (on the bas is of V. Mikhaylov’s
narrative (“The chronicle of the great jute”)
contents on p. 78 (4), 79, 85,
89, 94, 96 (3), 97 (3), 98 are used. There is an allusion on p. 79, 100
(MIKHAYLOV, 2003).
All this statistical material
demonstrates the richness of art and documentary means of V. Mikhaylov‘s story
for creation of extremely expressional and functional context designed from
various components. Among other types of quotes, printing, oral memoirs of
eyewitnesses, the published testimonies prevail. The writer widely used Party
and government documents that speaks about a huge work, which was done by him
in archives. Various inter texts, including verbal illustrations of pictures;
reminiscences from the Scripture, citation of poems show a wide palette of art
and publicist means of the author, his activity, his public and moral position.
5. CONCLUSION
Functional texts and inter texts of
(MIKHAYLOV, 2003) story ―The Chronicle of Great Jute‖ testifies the relevance
of the theme of the work and the genre form of this creation. It testifies the
efficiency of structure and architectonics for optimal organization of the
material, its convincing disclosure and maximal use of all evidential devices
and attracted documentary illustrations.
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