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UDC 81`42
https://doi.org/10.20339/PhS.1-21.058
Martianova Irina A.,
Doctor of Philology, Professor, Professor
of the Russian Language Department
Herzen State Pedagogical University of Russia
e-mail: irine.pismo@gmail.com
The paper offers a look at the specifics of genres in the literary V.M. Shukshin’s works. The patterns of scenario transformation of his cinematic prose are analyzed. An original or secondary tales are set in the center of his genre system. They were created mainly for semiotic translation. The tales for theater and cinema reveal the syncretism of these art forms. The stories were the primary texts for the secondary scripts-tales. The main feature of their scenario transformation is the increase in its volume. It’s not so much due to the introduction of new episodes, but rather due to a change in the volume-pragmatic division, compositional and syntactic focusing of the perceptual visual field, and variation of the image plans. The main feature of the novel’s scenario transformation is the reduction of its volume. It’s due to the elimination of optional text fragments and statements and the diverse montage-driven composition technique. Shukshin’s work on scenario self-interpretation of prose was carried out not only at the macrotext level, but also at the statement’s microcomposition. It was associated with the change in their punctuation-graphic arrangement, with the choice of union or non-union syntactic connection and the means of its expression. The genre-communicative specificity of Shukshin’s works was motivated by his goal setting for their semiotic translation for theater or cinema, his deep understanding of the screenplay as a new kind of literature.
Keywords: genre, prose, screenplay, text, transformation, compositional and syntactic organization.
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