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UDC 82-3
https://doi.org/10.20339/PhS.2-21.039
Abasheva Marina P.,
Doctor of Philology, Professor of the Cultural Studies and Social
and Humanitarian Technologies Department, of the Journalism
and Mass Communication Department
Perm State National Research University
e-mail: m.abasheva@gmail.com
The article is devoted to the study of the evolution and transformation of the Slavic fantasy genre on Russian soil: from its inception in the 1990s to the present day. Fantasy on the material of the events of the time of the pro-Slavic unity in Russia gained popularity and special significance. They solved the compensatory tasks of re-identification for the mass consciousness: with the collapse of the Soviet empire, the post-Soviet man needed a positive identity, which manifested itself in turning to the “great past” in predominantly heroic images. The subsequent historization and contextualization of the genre, its transformation from a fairy tale to a quasi-historical narrative was largely due to the influence of the ideologies spread by folk history. In the 2000s, Slavonic fantasy employs the mechanisms of routine, serialization, reduction, and convergence. In the 2010s, Slavic fantasy continues to be part of the national myth, gaining new genre forms — a film, a computer game, etc. However, new examples of the genre (in particular, Andrei Rubanov’s novel “Finist the Clear Falcon” of 2019) broadcast nostalgic moods in the aesthetic spirit retroutopia. If at the turn of the 1990–2000s Slavic fantasies became close to a historical adventure novel, now their rapprochement with a fairy tale is indicative.
Keywords: mass literature, Slavic fantasy, national identity, retroutopia, Andrey Rubanov.
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