СЕМАНТИ ЧЕСКИЕ ПРОЦЕСЫ В СТРУКТУРЕ ПОЭТИКИ ВАСИЛИЯ ШУКШИНА
SEMANTIC PROCESSES IN THE STRUCTURE OF VASILY SHUKSHIN’S POETICS

Summary/Abstract: Shukshin’s working notes present a peculiar example of intensification of semantic links; used material in them, at first sight, is very simple: the short notes could hardly be shorter, but being included into more complicated texts, they demonstrate a huge potential, both in diachronic and synchronic interpretation. Working notes come out beyond the aphoristic frame building their innertextual poetic system and developing it. The notes signal about some search and philosophical changes of a word which is included into cross contexts: contexts of set phrases, and sentences. The article investigates semantics of the writer’s poetics. Complications of search involve complications of structural elements. The word and language, according to Shukshin, are the ethical phenomena. The person expresses himself or herself and signals the relation to the validity by means of a word. The word is not a spoken phenomenon but already experienced, for the author uses expression “expecting people” i.e. those people who want to express themselves. Thanks to truthful ones, the voices of these people, track the way to other people. The dialogue is not bookish, but alive; dialogue of people, who have something what must be said, to the people who are still reading, but are interested in what was said, they “will start speaking” in the short run as well. As it is possible to understand, the person for Shukshin is alive, verbal, dialogical speech. In contact with “another” the true sees the light. At the same time, the artist, the writer is as if eliminated from a narration. But the writer as though “stands next” to his heroes. It can be understood in the following way: he virtually outgrows some “frameworks of authorship”, he himself becomes a hero of his own creation, speaks with heroes of his creation, argues with them participating in dialogues “on the rights” of one of the parties. Apparently, not accidently Shukshin aspired to overcome this “accuracy and predefiniteness” of his authorship in films, played roles in his own films (roles of improvisation in his films are very far from the written screenplay).

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