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UDC 81`42
https://doi.org/10.20339/PhS.5-22.028
Shestakova Elena Yu.,
Candidate of Philology, Associate Professor of the
Literature and Russian Language Department
Humanitarian Institute of the Branch of the
Northern (Arctic) Federal University
e-mail: shestackova.lena2013@yandex.ru
This article reveals the peculiarity of the embodiment of the artistic model of the House in the novel “The Summer of the Lord” by the writer of the Russian diaspora Ivan Sergeevich Shmelev against the background of the established literary tradition of the XIX century. In the concept of “happy childhood”, reflected in the novels “Childhood” by L.N. Tolstoy, “The Childhood Years of Bagrov-grandson” by S.T. Aksakov and chapter IX “Oblomov’s Dream” by I.A. Goncharov “Oblomov”, the image of the house is comprehended by the main spatial characteristic, actualizing the motives of security, love and warmth associated with the images of the family and surrounding people. The idyllic space and the cyclical nature of time determine the state of the world of childhood, which is doomed to destruction due to the loss of the child’s view of people’s actions and events. Following the established tradition, I.S. Shmelev in the novel “The Summer of the Lord” fills the stable motifs and images built by Russian literature of the XIX century with new content. In the author’s view, the happy childhood of the child is inscribed in the space of the native home, which acquires the sacred meaning of the Temple, consecrated by the presence of the living Christ. The model of the House in the work of the emigrant writer includes an image-a symbol of Russia — the gracious world of God, uniting all the inhabitants with the infinite and boundless love of Christ, forever lost in social cataclysms.
Кeywords: Ivan Sergeevich Shmelev, the image of the child, the model of the house, the theme of childhood, works about childhood, the novel “The Summer of the Lord”.
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