May 2016, № 5 (193)

Dubrovskikh T.S. THE PROSIMETRICAL COMPOSITION OF N.ASEEV'S TRAVELOGUE "THE EXPOSED BEAUTY"The book of travel notes "The Exposed Beauty"by NikholaiAseev, which accumulates the Soviet writer's diverse experience of visiting the bourgeois European countries in 1927, is built on the principle of prosimetrum. Regular introduction of verse components in the prose significantly expands the artistic possibilities of the journalistic work. Continuing the series of prosimetrical literary experiments of the 1920-ies, the author integrates elements of poetic reflection and typical for the genre of travel ethnographic details, sporadic documentary evidence, background information of a guide book, fragments of propaganda rhetoric in the heterogeneous unity. Different poetic inclusions, functioning as semantic parallels of the prose and forming a kind of "internal travelogue" within the text, may perform in various contextual roles: they emphasize the ideological orientation of the book, strengthen the public voice, serve as a conductor of "external" observations or, on the contrary, neutralize the pathos of social procurement, actualizelyrical modus, translate subjective feelings. Verse expansion is also clearly detected at the level of the prose parts: sporadically occurring fragments of metric prose, techniques of phonetic stylistics, lexical and grammatical symmetry mark the orientation to the poetic culture. The strategy of combining traditionally opposedkinds of speech allows the writer to achieve the effect of heterogeneous integrity of the book. Heuristically open, semantically and stylistically free structure of a travel narrative becomes a convenient platform forAseev's creative research. The complex polymorphic model of the travelogue demonstrates the author's objectiveto convey a system of impressions of the foreign travel in the most expressive and accurate way.Key words: Nikolai Aseev, travelogue, prosimetrum, artistic unity, "the prose of the poet".

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About this article

Author: Dubrovskih T.S.

Year: 2016

Editor-in-chief

Sergey Aleksandrovich
MIROSHNIKOV

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