Patriarch and completely, completely different

In an antique store near the "Belarusian", a painted wooden artifact with a label "Patriarchal egg" is sold ... Why am I? Ah yes: the week began with a presentation in the Cathedral of Christ the Savior of the album "Overcoming the Rest of this world" released by the Patriarch's 75th anniversary of the Patriarch. A luxurious book, 500 pages of photo chronicle of Alexy II trips to the dioceses and parishes of the Russian Orthodox Church. The paper, of course, coated, the seal of excellent. The hero of the day at the presentation was present: he said that he answered questions and blessed the meal.

And I knew that albums did not exist to read them, but in order to consider the pictures. But it pulled to look into the preface signed by the Metropolitan of Tashkent and Central Asian Vladimir, and I immediately recalled something like that - either university lectures on the hagiographic tradition in medieval literature, or the definition of socialist realism proposed by V.Vanovich as "the rover of the authorities in the form accessible to him." "The very appearance of the patriarch: a white puppet, a warm smile, a hand blessing the flock, often lingering on the head of the child, - unusually acting on people. Participation in the service performed by the Highlight, the general prayer with him remained in his memory forever." Having described the appearance of Alexy II, Metropolitan Vladimir did not fail to note the originality of his vocabulary: "The subject of the special love and concern of the Holy Patriarch is the Central Russia, the Russian outback, as the Holiness Lord affectionately calls it."

However, this is all nit -picking, nit -picking. The book actually turned out to be excellent, the pictures are bright, spiritual faces. And most importantly - the publication is a gift, not released for me. And those who will be presented will not notice anything-firstly, because they will not read, secondly, they themselves are accustomed to communicate in such a tone with the authorities, and thirdly, they need such Orthodoxy-ceremonial, solemn, with an abundance of capital letters and words like “halt” and “donkeage”. "The patriarch came out and said a well -set spiritual voice ..." - as one friend of mine said.

Analysis of the language of Central Asian bishops, Russian officials, poets-postmodernists and all-all-all are busy Hasan Huseynov . His "Materials to the Russian dictionary of the socio-political language of the twentieth century" "D.S.P." were published last year , and recently the author released the application to the vocabulary of his work itself - the monograph "Soviet ideologems in the Russian discourse of the 1990s" (publishing house "Three Squares").

The famous book of V. Klemere “Language of the Third Reich” became a model for the sociolinguistic studies of Guseynov. Based on that quite obvious thought that our today's language, not only political, but also everyday, is rooted in the recent past, the author of the “Soviet ideologies ...” traces the history of the formation of official discourse. Its foundations were laid in the 1920-30s, when the interests of the ideological elite closed with the aspirations of the least formed segments of the population: "The ideology of the Soviet type, extended to the whole society and denying private law, inevitably creates a strongly reduced version of the manipulator, a verbal tool suitable for consumption at all levels of linguistic competence."

The post-Soviet era repeats the linguistic processes of seventy to eighty years ago, changing signs, but repeating the essence. At one time, the seizure of the ERA was frankly ideological gesture - it was just as filled with political meanings and the triumphal return of the solid sign to the name of the newspapers and street signs in the early 90s (the third element of comparison - the deliberately archaized language of Russian emigration, defiantly preserved pre -revolutionary orthographic and orthoepic norms. But G. Guseynov practically does not turn to this layer).

As usual in studies of this kind, empirical material is more interesting (for the author, it seems to me, too) final conclusions. The language practice of the Soviet period, analyzed by G. Guseynov, including on the example of numerous jokes, is often quite anecdotal. One of the most funny examples cited by G. Guseynov concerns the word "refuser", who in oral everyday life designated a person who tried to emigrate from the Soviet Union, but was refused. In the reference books of the series "New in Russian vocabulary", this word was listed for several years in the section "List of words without description", and then its meaning was with reference to "conversational speech" as follows: "The one who refuses to register for registration in the United States."

At the end of G. Guseynov, he himself turns from a researcher into an ideologist, accusing fighters with obscene vocabulary (and language codifiers in general) of an attempt to "dictate the direction to the wind." It turns out that the author loves the term "discourse" and does not like the concepts of "norm" and "common sense". The adherent of liberalism in his postmodern version, he proposes to replace the "totalitarian" question "how to speak correctly?" Political correct "How to find a common language with those who speak the same as we say?" . In theory, all this looks very beautiful, but in practice a person, preoccupied with the search for a common language with a cannibal, usually completes his linguistic thoughts in the stomach of the interlocutor.

However, there is a relatively safe option - you can love cannibals at a distance or communicate with old and toothless cannibals. So, for example, Frida Kalo , whose biography, written by Hayden Herrera, came to the publishing house Eksmo. At his first personal exhibition in his native Mexico, a deadly sick artist was reclining in a bed decorated with photographs of Malenkov and Stalin. The detail is all the more piquant, given that the sixteen years earlier, Kalo was the mistress of Leo Trotsky.

Frida Kalo was 18 years old when the bus in which she was driving collided with a trolleybus. “The metal bar pierced her through, crushing the spine, a basin and breaking her leg, ” the artist’s biographer describes the details of the incident. “ From that day, until her death, she lived with constant pain and continuous torment for 29 years.”

At the end of 1977, more than 20 years after the death of Kalo, the Mexican government staged a retrospective of her work, but small in size of the picture occupied a relatively modest place in the halls of the Palace of Extra, and at the center of the exhibition were huge photographs of the accident that distorted her life. H. Errera is outraged by this fact, and the decision of the organizers of the exhibition seems just quite justified - the most mediocre of the legendary paintings of the twentieth century, Kalo with the help of rock and will achieved what she could not reach with a brush and colors, turning her life into a finished artifact. "M.A. Durnov, an artist who created a poem from his personality," dedicated K. Balmont a book of poems "We will be like the sun." These words are quite applied to Kalo.

Children's polio, youthful trauma, childlessness, endless operations, gypsum corset, bisexuality, leftist political beliefs, bohemian lifestyle, lovers, mistresses, diseases, scandals, probable suicide - this is far from a complete list of ingredients of the Frida myth. But the main thing, of course, is a teenage love in a monumental artist Diego River, who followed a few years a marriage with him, a divorce, a second marriage.

Today, the work of the Rivera (as, say, the stylistically close to him by D. Sykeeros or A. Deineki) are more likely historical than aesthetic. However, in the 1920s - the time of the beginning of Roman Diego and Frida - he was considered an outstanding master the most refined connoisseurs. The sustainable reputation of the "companion of the genius" burdened the proud calo; Actually, she did not take painting seriously not least in order to change it.

This dream did not come true during his lifetime, but today, after the release of the Hollywood biopic , where the main role was played by the Selma Hayek, which is surprisingly similar to Kalo, it becomes a reality. Frida has long become the object of worship of feminists and lesbians around the world, now interest in it arose among the mainstream public. It is no accident that the book about Kalo circulation of 5 thousand copies published one of the largest Russian publishers. The numerous biographies of Rivers seem to attract the monsters of the domestic book market much smaller.

However, it is not necessary to be a cult figure to earn a thorough monograph. In the end, in addition to monsters and sharks, there are small publishers specializing in a literature printed by 500 copies.

It was precisely such a circulation that the Aquarius Publishers published the book of Ekaterina Orlova "Literary fate of N.V. Nedobrovo" . If the publications of Tomsk "Aquarius" of the level of scientific training caused many complaints from the philological public, then after moving to Moscow and a small increase in the name, the publishing house earned a reputation as a solid enterprise in order not to say a fundamental one. The new book is another confirmation of this.

It has been a steady interest in the unbearable of the largest philologists for many years - it is enough to say that M. Gasparov and R. Timenchik wrote about him - however, there is still no monographic study dedicated to him. That the “literary fate of N.V. Nedobrovo” is the study by the author himself: “This book is not a biography. In any case, I am interested in not so much personal biography unknown as its internal biography, the history of ideas, primarily literary and aesthetic, as it was reflected in the poetic, literary, critical and scientific creativity of Nice.”

In the minds of most lovers of poetry, the name is unknown primarily with the name of A. Akhmatova. Of course, the researcher does not refuse to talk about the most advantageous side of the “external” biography, however, maintaining fidelity to his method, practically replaces the discussion of the details of the relations of the two poets with an analysis of their poetic dialogue, primarily Unobrovo’s poems dedicated to Akhmatova.

The intonation found by E. Orlova seems not just successful, but to some extent exemplary for researchers of the creativity of those who are customary not very successfully called the writers of the second (third, fourth, fifth) series. The author’s desire to tell about the greatness and underestimation of his hero ruined more than one similar monograph, and certainly few risk the forerunner on the first page of the preface to state: “His poetic heritage is small, during his lifetime, not a single collection of poems was published, and they collected in our time, they showed that he did not become a major poet,” and offer to consider the name “only” as “only” as “only” as “only” figure of literary and aesthetic life. "

However, unknown as if specially created for such a look. A regular of numerous circles, a poettant poet, critic, poet, he was one of those people of the 1910s who, regardless of how much they wrote and what the scale of their work, became symbols of the era. The above, of course, does not belittle the significance of the unbearable in the literature - it is known how A. Akhmatov appreciated his article about his poetry, and the theory of rhythm and meter developed by the unknown to some extent anticipated the works of morphologists.

In 1914, Unobrovrovo feels the first signs of a serious disease, two years later a diagnosis will be made: tuberculosis. Unobrovo leaves Petersburg, departs from literary life, lives in Sochi, then in Yalta. He died at the turn of the two eras, in 1919, at the age of 37, and "in the very tragic end of Unobro", E. Orlov also sees "a sign of the fate of his generation."