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4GENRE PECULIARITY OF THE FANTASTIC NOVEL BY ELENA KRASNOSELSKAYA
"DIGITAL RAINS OF TIME"
Abstract
Fantasy, "fantastic" is one of the oldest and permanent components in world culture. Fantastic genre today has become an extraordinary phenomenon of public life: the demand for fantastic works is increasing every year, the reader strives every time to gain new impressions, and the writer tries to "see" something still unprecedented, to "dream" about extraordinary. Fantastic fiction does not just grab its readers, but it influences the formation of their philosophical, political, social, psychological principles and guidelines. In addition, fantastic fiction created a certain subculture -"fandom", which also has a unique impact on society as a whole (Sikovskaya, 2015).
Keywords
fantastic fiction, genre, fantastic fiction as a concept, poetry of a novel, science fiction, genre hybridization, genre universality
AUTHORS
Gennady Anatolyevich Senkevich
PhD, Associate Professor, Oles Honchar Dnipropetrovsk National University. 72, Gagarina Avenue, Dnipropetrovsk, 49010, Ukraine. E-mail: gen.senkevich@mail.ru
Valentina Botner, Ph.D. in Philology, Associate Professor, Zaporozhye National University. 66, Zhukovsky Str., Zaporozhye, 69063, Ukraine. E-mail: botnerzp@gmail.com
Every national literature has gone its own way of developing a fantastic genre and has features and patterns that are inherent and indicative only for it. According to scientists, the insufficient interest of modern literary critics to the problems of Ukrainian fantastic fiction, its theoretical and practical aspects, periods of recovery or decline in specific decades of the XX-XXI centuries is explained by socio-historical and cultural conditions in which Ukraine has been for centuries. Fantastic fiction was considered irrelevant for a long time, it was considered mainly as light, entertaining reading, unable to model deep and serious problems, images, concepts. With the attainment of independence, the process of creating national fantastic fiction, as well as its scientific interpretation, revived in Ukraine.
The end of the XX and the beginning of the XXI century is a bright period of different genre structures functioning in modern Ukrainian literary and fantastic fiction. At this time, the works of famous Ukrainian writers appear (A. Berdnik, V. Berezhnoi, M. Rudenko, Valery Shevchuk, Yu. Shcherbak, Marina and Sergey Dyachenko, N. Scherba and others). It is during this period that interest in such types of fantastic fiction as fantasy, science fiction, utopia, anti-utopia and the like grows. You can rightfully include among such novels with a "multi-genre structure" a new
49 Modern European Researches No 1 / 2018 fantastic novel by Elena Krasnoselskaya "Digital rains of time", published last year and sounded loudly at literary forums in Lviv and Zaporozhye.
Elena Krasnoselskaya (Zaporozhye, 1970), a mechanical engineer by profession and a creative nature "in life" with "a unique fantastic vision", is a member of the Zaporozhye Literary Association, the author of a number of fantastic fiction works: "Singing Stones", "Bitterness of Loss", "Trace", "Lokhmokoty", "A Trap for Mary", "Catch up the past", "This Amazing Dubhe", etc. Her works were published in magazines: "Technology of Youth", "The Universe. Space. Time"; in anthologies: "Khortytsya", "True Fantastic Fiction" (2011, 2012, 2014, 2015), "The Price of a Dream"; in the anthology "Phantom". She is a co-author of the science fiction novel "Fimbulwinter" (2013) and the novel in short stories "The Theory of the Wild Field. Sofia "(2016). In 2013 she was awarded the National Prize of Ukraine for Science Fiction for the novel "Point of reference". Plots of her fantastic works are permeated with the belief that "somewhere out there, among the flickering lights of distant stars, other worlds and other civilizations are lost ... and humanity in its development will someday reach stellar heights, conquer space and time."
The science fiction novel by E. Krasnoselskaya "Digital rains of time" (in the original «Цифровi дощi часу», 2017) is an unconditional "proof of a new way of thinking and a new attitude to the world in which there is depth, to the world with blurred boundaries where spatial layers intersected with hidden currents of other realities "(Lupinos, 2017). The philosophical-existential category of time, through the prism of which the author reproduces the possible tragedy of the future, is its genre dominant, which the writer confirms: "My novel is only one attempt by one person to understand what Time is ... each of us is only a man, only an attempt , only a transition, only one attempt of one person to understand what Time is ... "(Krasnoselskaya, 2017).
In the second decade of the 21st century, Ukrainian fantastic fiction literary criticism was enriched by theoretical considerations and new approaches to the classification of fantastic fiction genres. They payed attention to the tendencies of interpenetration of certain forms in the overall structure of the work, highlighted the concept of meta-genre and mega-genre of fantastic fiction as a kind of "parallel literature in which there exist all genres and all directions, but only with an additional element of invariance".
In postmodern aesthetics, this process has touched not only the "canonical" genres, but also genres of popular literature, to which fantastic fiction traditionally belongs. The problem of using established genres acquires a new meaning, the postmodern genre theory is based on hybrid organization, in which specific features of one or another genre " are combined according to the principle of nonselection and thus reflect a typical sense of chaos and epistemological uncertainty". The genre of the work in the usual sense of the term is excluded; instead, we can talk about the "matrix" of the work, the constructive basis of which would be cemented by other genre layers (Markova, 2003).
Genology points to the diversity of genres and varieties in the middle of fantastic literature as a genre system: fantastic fiction concerns any genres. On the basis of various approaches to the genre classification and literary practice, scientists distinguish three main genres - actual fantastic fiction, science fiction and fantasy (taking into account the tendency to genres interpenetration) (Horob, 2014).
These circumstances should be taken into account when analyzing the genre nature of such a complicated work as Elena Krasnoselskaya's fantastic novel "Digital rains of time".
1. Introduction.
1.1 Relevance of the problem
The continuing relevance of the genre theory issue is stimulated by the potential of the genre itself, its flexibility against the background of preserving genre matrix, functions of genre and genre evolution, the ability to modify. The genres of fantastic fiction are undoubtedly the most mobile and changeable.
Identification of genres is still a subject of discussion among domestic and foreign scientists, therefore the change of the genre registers requires a more careful scientific description. Postmodern paradigm of the late XX - early XXI centuries reinterprets the place and role of genres in fantastic fiction, actualizes the need for a comprehensive analysis of the works of writers who experiment, actively using the techniques of "hybrid" poetics.
Scientists quite reasonably believe that for today it is possible to state with certainty the absence of stable criteria for a unified classification of genres. According to the Ukrainian scientist I. Zimorya, "Genre is a mobile, dynamic and historically variable structure. It transforms, falls under the influence, acquires changes depending on the cultural and historical context "(Zimomrya, 2010). The genre matrix of fantastic fiction also reflects the general tendency of modern literature to blur the genre boundaries. The genre of a work in the usual sense of the term is excluded; but we can talk about the "matrix" of the work, the constructive basis of which would be cemented by other genre layers. As A. Aksenova notes, "... in the literature of the late XX century, occurs not so much of a genre synthesis but synaesthesia - hybridization and diffusion of genres, an exit beyond the genre boundaries of the work with the acquisition of adjacent forms features that are not inherent to it in nature "(Aksenova, 2010). However, changing, experiencing diffusion with other genres, the genre matrix of fantastic fiction preserves in the depth of the structure constant canonical features, thereby providing a link between tradition and innovation.
Some researchers call the destruction of the usual genre classification - creative anarchy, a process that does not obey any laws at all. In particular, N. Alexandrov believes that " genre remained only as an object of aesthetic reflection, that is, the memory of the genre is preserved, and the return to the restrictive genre norm is possible only with an emphatic stylization "(Aleksandrov, 1995). Maurice Blanchot wrote: "The book is important in itself, as it is, without any genres, beyond any rubric ... the book does not allow itself to be placed under these rubrics and denies them the right to determine its place and form; it does not belong any more to any genre, any book belongs to literature in general, as if the latter in advance contains secrets and formulas in their universality, that only allow the book to give a reality to what is written "(Blanchot, 1959). The English scientist N. Cornwell comes to the conclusion that the concept of "fantastic" actually contradicts many literary theories of genre, although it is also evident that a detailed study of "fantastic" is possible only in the system of literary genres (cited in: Sikovskaya, 2015).
Writers have their own opinion. For example, in the correspondence of this article author with one of the most interesting Russian-language writers, Vladimir Voinovich, it turned out that the classic disapproves the confusion of genres, believing that in this case, one genre is replaced by another. He strongly opposed the mixture of traditional stylistic literary means with elements of journalism and statistics, considering this method as "camouflage for an anti-utopia" (Senkevich, 2017). Writer Michael Weller suggests establishing in literature a gradation in low and high genres: "one must either recognize the ancient gradation in low and high genres
51 Modern European Researches No 1 / 2018 or measure each one according to its laws ..." (Weller, 1994), that is low ones can not be measured according to high criteria. Thus, there arises a kind of literary hierarchy, where a fantasy fiction novel is prepared for the role not even of mass but of second-rate literature (read, low-standard - the author), which can not rise to a more significant position in this hierarchy and is solely a product of time, fashion and changing reader's demand.
The relevance of this work is also due to the fact that modern literary context positions the flowering of Ukrainian literary fantastic fiction, which appears to be an equal genre along with fantasy and science fiction.
The absence of a comprehensive scientific analysis of one of E. Krasnoselskaya's novels "Digital rains of time" in the context of genre peculiarity remains an urgent task that will help to understand the vector of the fantastic genre movement in the context of the particular writer poetics.
Thus, the growing interest in the newest tendencies in the genre formation of fantastic fiction makes us have a fresh look at the indicated problem, generalize the results of literary discussions and make a holistic analysis of the novel, reveal the components of the panoramic creation of fantastic reality in the novel.
1.2 Research hypothesis
The authors of the article intend to prove that the novel by E. Krasnoselskaya "Digital rains of time" is an author's experiment in its own way - with a clear unconventional genre shade; the phenomenon of genres hybridization in the novel positions a unique organic alloy from inorganic to each other substances; the novel presents all the basic elements of hard science fiction: the scientific idea, parallel worlds, time travel, impossible transformations, personal metamorphoses, robotics, which according to the author's plan is woven into rigid "scientific and technical" frameworks. The genre specificity of E. Krasnoselskaya's novel lies in the co-existence of its various modifications in the framework of one work. The features of these genre varieties penetrate each other, genre boundaries are erased. As a complex of stable elements, the matrix sets certain parameters of the text architectonics, determines the specifics of the author's narrative.
2. Materials and Methods
2.1. Theoretical and empirical methods.
To solve the problems set in the study and to test the hypothesis, a set of general scientific and empirical methods was used: theoretical method (the study of methodological and critical literature on the problem under study); comparative method (the detection of similarities and differences in literary categories), psychological method (understanding the inner state of the heroes of the work), and receptive method that allows better understanding of the author's idea in the context of existing literary traditions, historical processes and scientific theories.
2.2 Methodological Framework.
The main ideas of the fundamental works of famous fantastic fiction literary critics, representatives of the foreign school Ts. Todorov, S. Lem, A. Zubov, E. Bratuit, M. Blanchot and others, scientific works of Ukrainian scientists S. Horob, O. Saykovskoy, O. Stuzhuk, I. Kiyak, M. Nazarenko, I. Zimorya are the methodological basis of the analytical discourse.
Modern scientific discourse positions several aspects of "fantastic fiction" concept -everyday, receptive and aesthetic. The aesthetic aspect produces new discussions
52 Modern European Researches No 1 / 2018 of scientists: different approaches are found when determining the affiliation of fantastic fiction to genre categories, literary / creative method, narrative technique, a specific method of literary conditional character.
Literary criticism offers several options for understanding fantastic fiction: it is interpreted as a "type of creative work", "trend", "genre", "artistic (creative) method", "variety of literature", "meta-genre", "method of literary conditional character". Scientists somehow define fantastic fiction as a certain type of literary creative work (Sikovskaya, 2015).
In the context of the problem under consideration, the following methodological concepts are fundamental in our view: the connection of genre affiliation with the level of generalization on which a particular genre is considered (Todorov, 1999); fantastic fiction as a literary concept - is a dynamic meta-genre with a clear dominant of "fantastic" (unusual, irreal, mysterious, wonderful, conditional) that reflects human and social problems through interaction of content and form, which are interdependent with the means and methods of the unusual world modeling and the components of idiostyle (Horob, 2017); the fantastic idea can be an end in itself, with this approach, the fantastic thing can be the "ultimate goal" (Lem, 2007), a genre-forming factor of such subgroups of fantastic fiction as "actual fantastic fiction, science fiction and fantasy" (Stuzhuk, 2006), where fantastic things are manifested at all levels: compositional, stylistic, thematic (Sikovskaya, 2015); a meta-genre is understood as structurally expressed, neutral with respect to the literary genus, the established invariant of many historically concrete means of artistic modeling of the world, which are united by the common object of the artistic image "(Stuzhuk, 2006); fantastic fiction is "an image of the world in which an element of miraculous(unusual, extremely improbable)" is introduced; " fantastic fiction as a genre represent reader's expectations and playing with them; fantastic fiction as a method (or device) does not cause, does not describe and does not refute such expectations. The main genre features of fantastic fiction, according to this concept, are "recognizability", "repeatability" and "a special way of seeing the world" (Nazarenko); science fiction is a "set of genre expectations" (Rieder, 2008).
2.3 Research base.
The basis for the study of this problem is the fantastic novel by Elena Krasnoselskaya "Digital rains of time" in the context of clarifying its genre identity.
3. Results and Discussion.
Investigating fantastic literature, it is necessary to find out its nature first of all. In classical and modern literary criticism, there are various approaches to the definition of literary fantastic fiction. Despite the variety of scientific discussions about the term "fantastic fiction", its unambiguous interpretation does not exsist.
Fantastic, according to the modern philosopher E. Tsvetkov, appears as a kind of "human assessment of individual phenomena of being, perceived by a human from the standpoint of worldview as something wonderful, unusual, supernatural, fundamentally impossible in reality." The category "fantastic" of a literary work is manifested in the complex combination of "fantasy", "imagination", "desire" as factors of literary conditional character. Fantasy always accompanies art fiction and often helps to present scientific hypotheses, and often even predicts scientific discoveries. The fantasy that underlies the fantastic fiction is artistic, for it expresses a certain worldview of the author, realized in creative activity (Sikovskaya, 2015).
Only small number of Ukrainian literary critics are engaged in the problems of this genre. Among them should be noted S. Horob, O. Sikovskaya, O. Stuzhuk,
53 Modern European Researches No 1 / 2018 I. Kiyak, M. Nazarenko, I. Zimomrya. As S. Horobi rightly points out, it is appropriate to begin the history of fantastic fiction scientific research with the works by Ts. Todorov and S. Lem, since figures of the such level as Ts. Todorov and S. Lem, influence the development of both world and European, in particular Ukrainian, Polish, Russian, Croatian literary criticism concerning fantastic fiction, and the literary process (Horob, 2017). In addition, it was precisely from the work of Ts. Todorov, "Introduction to Fantastic Literature," that a scientific discussion began on the nature of fantastic fiction, its weighty research, the revision of genres theory. S. Lem was, as we know, an opponent to Ts. Todorov. He criticized the narrowness of fantastic works division from "unusual" to "miraculous" and ignoring such factors as "allegory", "irony" and others.
French researcher Ts. Todorov, in particular, considers the concept of "fantastic" (as a type of artistic thinking) central, emphasizing the connection between imaginary and real and proposing a genre classification. The main feature of this "intermediate" genre, according to his conception, is ambiguity, constant fluctuations in choice: reality or imagination, truth or illusion. According to Ts. Todorov, the "fantastic" effect exists as long as this question remains, this uncertainty in the interpretation of events. The scientist notes that fantastic literature may be regarded as a "genre", demanding the fulfillment of three conditions: 1) the literary text should make the reader to view the world of characters as the world of living people and to vacillate between a realistic and extreme interpretation of events; 2) the same vacillations can be felt by the character, in case of naive reading the reader can identify himself with the character; 3) the reader must have a definite position on the text: he must reject both allegorical and poetic interpretation of the text "(Todorov, 1999). Ts. Todorov explains that the "genre" of the fantastic fiction borders on the fantastic and unusual, on the one hand, and fantastic and miraculous, on the other, which leads to the emergence of new genre subdivisions: unusual (in pure form) fantastic (unusual), fantastic miraculous, miraculous in its pure form (Todorov, 1999). It is problematic to accept this concept absolutely, according to modern fantastic fiction experts, because there are also such fantastic genres, where no one doubts in the unreality of narration, for example, fantasy. It is proved that it should not be rejected either, because it concerns a certain group of fantastic works - let us say, actual fantastic fiction (Sikovskaya, 2015).
In modern science about the nature of genres, including literary fantastic fiction, they more and often pay attention to the tendencies of interpenetration of certain forms in the overall structure of the work. From this perspective, it is right to look at the selected genres. Utopia / dystopia was comprehended by literary critics, on the one hand, as closely related to the actual fantastic fiction or science fiction, and on the other - as completely self-sufficient phenomena. These genres are types of fantastic fiction as a meta-genre (Horob, 2017).
Thus, fantastic fiction as a literary concept is a dynamic meta-genre with a clear dominant of "fantastic" (unusual, irreal, mysterious, miraculous, conditional) that reflects human and social problems through the interaction of content and form, no matter what time and space writers describe, interdependent by means and methods of unusual world modeling and components of idiostyle (Horob, 2017). A feature of the actual fantastic fiction genre or the so-called "pure fantastic fiction", is its function to violate the norms of reality, causing vacillations in the reader and in the characters of the work. Literary conditional character, that is, fantasy is their main feature. Despite this, hesitating between real / unreal, possible / incredible, finally the reader / character accepts the authors' "rules of the game". Such extraliterary feature is one of the genres defining in this variety of fantastic fiction. In modern science fiction, the basis is a rational-fantastic concept, the harmonization of scientific and artistic discourse. An important component
54 Modern European Researches No 1 / 2018 is the subject-plot collisions, psychologicality and reflections of the main characters, the desire for intellectual analysis and illusions of the modeled reality authenticity (Horob, 2017).
Modern Ukrainian fantastic fiction, in the context of which the creative work of E. Krasnoselskaya is developing, is the part of Golden Age literary traditions with an unconditional reference to A. Azimov (in the fantastic world of Azimov, foreigners also searched long and hard the planet in our world. Since the Universe is rather big, it's very difficult to get from one space to another); as well as the traditions of great utopians and fantastic fiction writers who developed this genre. (Thomas More and Francis Bacon, Francis Godwin, Mary Shelley and Gothic novelists Hugh Walpole, William Beckford and Matthew Lewis, Herbert Wells, Aldous Huxley and Olaf Stapledon).
Fantastic fiction as a concept of the writer's artistic thinking is, as A. Lupinos notes, "the desire to comprehend the greatness of the Universe and Human co-creation, choosing for the achievement of this goal the sphere of science fiction ... The times of pulsation in the development of modern human civilization are passing, the vortex of permanent changes is gaining momentum, each person, so as not to perish, "must turn over consciousness," look at the world and at oneself from the other side of the Depths. It is the category of Depth that is the most important object of attention for the writer "(Lupinos, 2017).
"This is strong science fiction. I would even say that it belongs to hard science fiction. But what can distinguish my book from others belonging to this genre? Probably, the fact that I write about things that I understand well, which I am vividly interested in. I'm an expert in robotics, it's such a very interesting modern profession, which involves dealing with industrial robots every day, so I understand very well what I'm writing about. At the same time, I would call this fantastic fiction a reality, we will inevitably see it in future. I believe: everything that I write about will be sure to come true. The main idea of the book is an attempt to understand what time is. An attempt to imagine it, touch it. In addition, my new novel is poetic, it continues the tradition of the Zaporozhye poetic school ", - writes Elena Krasnoselskaya (Krasnoselskaya, 2017) about her work.
The novel "Digital rains of time" is a vivid example of creative genre hybridization and represents a tangle of classic novel, fantasy and science fiction elements. It, as the author herself noted, is realistic, since it traces the veracity of details in specific conditions. Industrial city - the city-forming enterprise - tough business -competitive struggle, there are elements of life-affirmation (saving a lost child at the cost of changing a commercial project), a description of reality, which is considered in dynamics.
The heroes of the novel are bright, exceptional personalities in unusual circumstances, which is inherent in Romanticism. The duality and depth of human individuality are visible to the reader from the first pages of the work. Penetration into the depths of consciousness and subconsciousness of a person, the movement of thoughts, impressions, feelings brings him to the representatives of the modernist school, and special attention to the spiritual world of a man, the experiences of heroes are elements of sentimentalism. "The writer immerses herself in semantic depths, turns to the primary lexical soup to convey to the reader the scale of the universal matrix of the Spirit, where a new formation of ideas develops -ideas at the intersection of science and art, that are born in the system of images -ideas in a voluminous (not flat ) projection on art, "- writes about the perculiarity of Elena Krasnoselskaya's style (Lupinos, 2017).
The novel of E. Krasnoselskaya is a vivid example of genre modifications. Flexibility, the absence of rigid canons and predetermined motives broaden its
55 Modern European Researches No 1 / 2018 boundaries, make it possible to synthesize various genre features. In this work, genre models of fantastic realism and the description of scientific experiments are modified in the process of interaction and gravitate in their final synthetic version towards the birth of a new genre form of a fantastic novel. The possibility of their unification is conditioned by the similarity of the genre dominant, which is characterized in all these genres by the epic type of artistic thinking, genre content with a common range of problems.
The future in the novel is multidimensional: here there is Ukraine, the World, scientists, oligarchs, politics. Here there is Another World, not parallel and not perpendicular - another. There is a Contact, although not complete, but really alien. There is a man who fights destiny, runs races with time (Selirva, 2017).
In the opinion of the author of the article, the very concept of Time is presented in a completely different perspective than we are accustomed to feel and measure it in everyday life. It is akin to a living organism in the novel, the author "shapes" a story from it, forcing us to move in a multidimensional space. On the cover of the book, Igor Sokolsky's drawing symbolizes the inextricable link between Time and Life; a tree holds on its branches clockworks that blur, almost like those by Salvador Dali. But with the only difference that with such a semi-amorphous state they erase the boundaries between present and future, anticipating the author's message "Life itself creates Time and weaves it into the fabric of Space."
One can even say that Elena Krasnoselskaya in her well-founded reasoning stepped to some extent beyond the ideas of the recognized genius of Einstein. Vernadsky - that's who is close to her both in spirit and in the manner of thinking. "Time has seeped through us like water through sponge. And tiny particles of energy - that common, that united Time and Space. Bridges, through which you can understand the essence, teach energy to think "(Krasnoselkaya, 2017). - such a thought opens wide prospects for mankind, and the author believes that this hour will inevitably come, and an attempt to look into the future will only bring it closer.
Can the novel be entirely refered to hard science fiction? On the one hand, technical issues in the novel are described to the maximum degree professionally, because E. Krasnoselskaya was engaged for a long time abroad with practical developments related to welding technologies. An electric arc as a clot of energy and a mirage camera from which one observes the process are reflected in her text. Creative imagination and the ability to extrapolate the situation allowed her to wrap the acquired experience and knowledge in a readable literary shell with a dynamically developing plot. But, on the other hand, poetry is intertwined, which is not typical to usual fantastic works of the chosen genre.
Author of illustrations and graphics for the novel, famous Zaporozhye artist Igor Sokolsky partly explains this phenomenon by the influence of image creating art on the writer. In particular, we are talking about the author's deep ideological attachment to the work of Austrian artist Gustav Klimt, the founder of modernity in Austrian painting, one of the brightest and mysterious masters of the fine art of the past. He greatly influenced the poetry of the novel, determined its imagery and sensuality. As it is acknowledged by the writer herself, "Pear Gardens" by Klimt are full of emotional energy, natural force, prompting to action, to create fantastic images and extraordinary, bright and life-affirming plots.
In the novel, the image of one of the main characters - billionaire Berentovich -is impeccable from the external point of view: exquisite clothing, aristocratic habits, perfumes, office entourage, etc. But the deadly disease devalues his outward gloss and wealth, makes him vulnerable and "lands" him, returning to the realization of the social destiny of a man, for example, to responsibility to his own son. The billionaire understands that in pursuit of profit, super-fortune, he does not have
56 Modern European Researches No 1 / 2018 time to enjoy life on earth, not subjected to crispy notes. He did not have time to bring-up, give what social science calls emotional warmth and parental care. He regrets. And - as a result - inevitable inner remorse. Belated. Confrontation of social categories "business - morality" is, of course, resolved in favor of the latter.
In the novel, emotions and feelings are intertwined with modern scientific and technical terminology, aesthetics - with pragmatism. Is it possible then to refer "sentimental" or lyrical-epistolary fantastic fiction of E. Krasnoselskaya ("prosepoetry") to purely science fiction? No, it is not. This genre is often identified with "technical fiction", which is nothing more than its sub-section ("Rama's Appointment" by A. Clark). We are talking about the possibility of a "quasi-scientific explanation", since reliable and actual scientific justifications are encountered in science fiction rather rarely. Even the classic novels of J. Verne (From the Gun to the Moon) and G. Wells (The Time Machine, The Isle of Dr. Moreau, The Invisible Man, The War of the Worlds) were wrong from the scientific point of view (important scientific theories were distorted in them), and the authors understood this perfectly. Likelihood in science fiction is always more important than scientific truth.
The work becomes science fiction if it has at least one, but a subject-forming science-fiction element. M. Bulgakov's "Heart of a Dog" is similar in genre with "The Island of Dr. Moreau" by G. Wells; "Lord of the Flies" by William Golding - science fiction with a touch of mysticism and part of religious fiction, says researcher M. Nazarenko (Nazarenko).
4. Conclusion
Elena Krasnoselskaya's novel is a kind of author's experiment - with a clear, unconventional genre shade. On the one hand, it presents all the basic elements of hard science fiction: a scientific idea, parallel universes, time travel, impossible transformations, personal metamorphosis, robotics, etc. According to the author's intention, all this is woven into rigid "scientific and technical" frameworks.
The novel "Digital rains of time" is an attempt to understand the structure of mind existence Sphere (Vernadsky's noosphere), to discard any warnings, not to cross - but destroy - the boundary between virtuality and objective, spatial reality. Then the City of Time appears, then it becomes clear how it is possible for the "geometrical network of emotional waves to cover the school and illuminate the slopes of the hills that pulsate within the perception limits", so that "there is a digital rain" and "every digit ... is a projection of the form in the image. "
Peculiarity lies, first of all, in the very idea - the author considers and represents TIME as a form of physical and psychological processes, the condition for the possibility of changing the world. The assumption comes to the fore: energy is something common that unites all processes-phenomena-objects in the Universe.
As an expert in the field of industrial welding processes robotization, the author suggests the idea of space-time robotization: if pure energy (this is an energy cluster "flock-bot" in the novel) is given a certain algorithm, it can carry information through TIME.
The author considers TIME from different angles, unfolds time in front of the reader as an object of cosmic scale, showing the architectonics of its structure, the ratio of all the tiniest facets of its forms.
And a digit also - as an image; as a construction method, the projection of any dimension spaces. Possible impact of the digital world on terrestrial and space processes.
The elements of the new aesthetics are a view on the world through the prism of art: the assertion that the same basic laws of harmony, symmetry, proportion,
57 Modern European Researches No 1 / 2018 rhythm, etc. act at the basis of all micro- and macro processes occurring in the universe. These laws are reflected in music, painting, architecture and other forms of art. Through art we show our inner world. Art can become that universal means of communication with any form of life in the universe.
The peculiarity lies in the unusual for ascience fiction author's style - poetic prose, elements of art.
At the same time, the author of the novel, guided by the postmodern code, did not remain indifferent to the traditional ways of depicting a man and social relations inherent in classical literature. Elena Krasnoselskaya masterfully outlined the main category that permeates the novel - the existential consciousness that models the type of relationship between a person and his environment. It is connected, first of all, with the objectification of the surrounding world through the prism of a personal worldview.
The actualization of this type of consciousness is connected with the experiences of the "boundary situation", which reveals the fragility, catastrophism and dramatic nature of human existence. The novel is existential in its essence, and the combination of two principles in the plot - sci-fi and existential elements - makes it vivid and interesting.
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THE STUDY OF UNIVERSITY STUDENTS' SOCIAL IDEAS ABOUT MEDIATION
Abstract
The urgency of the research presented in the article on the formation of ideas about mediation among modern students is due to the sensitivity of the student period for the development of communicative competencies that allow to establish and maintain a system of social relations and interpersonal relationships, to resolve situations of conflict interaction optimally. These goals are achieved by the application of the mediative approach in communication, based on the idea of mediation as a procedure and technology. The purpose of the article is to present the basic results of theoretical substantiation of the importance of the optimal formation of the students' perception of mediation as a phenomenon, the main results of empirical verification of the proposed assumption about the features of students' ideas about mediation and to identify ways of further research and application of the data.
Keywords
conflict, alternative ways of conflict resolution, mediation, types of mediation, social ideas about mediation
AUTHOR
Ekaterina Shakhtorina
Candidate of Pedagogical Sciences, Associate Professor, Humanities Institute, Baltic Federal University named after Immanuel Kant, Kaliningrad 14, A. A.Nevsky Str., Kaliningrad, 236016, Russia E-mail: EShakhtorina@kantiana.ru
Since January 2011, the Federal Law "About an Alternative Procedure for Settlement of Disputes with the Participation of an Intermediary (Mediation Procedure)" dated 27.07.2010 No. 193-FL has entered into force in the Russian
