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General theory of signs in relation to linguistics. Semiology. Semiotics (UDC 8Г22)
DOI: https://dx.doi.org/10.18454/RULB.9.10 Карпухина В.Н.
Профессор, доктор филологических наук, Алтайский государственный университет СЕМИОТИЧЕСКИЕ КОДЫ ПРОСТРАНСТВА В ТЕКСТАХ М.А. БУЛГАКОВА: АНАЛИТИЧЕСКИЙ
ОБЗОР
Аннотация
В аналитическом обзоре рассматриваются разные подходы к исследованию категории пространства в текстах М.А. Булгакова: историко-культурологический, структурно-семиотический, коммуникативный, интертекстуальный. В качестве основного избран структурно-семиотический аспект изучения данной категории. Материал исследования - романы М.А. Булгакова «Белая гвардия», «Мастер и Маргарита», «Собачье сердце», пьеса «Зойкина квартира», в которых категория пространства является сюжетообразующей. Объект исследования - семиотическая категория пространства в художественном мире текста. Предмет - семиотические коды, маркирующие аксиологические характеристики разных областей данного пространства в текстах М.А. Булгакова. В результате исследования было показано, что тема «своего», освоенного культурного пространства (Дома) задана биографическим кодом булгаковских текстов. В текстах романов и пьес Булгакова пространство часто структурировано по принципу ярмарочного «вертепа», при этом границу между «верхним» и «нижним» уровнями маркируют аудиальный (в частности, музыкальный) и литературный коды. Данные коды (вне зависимости от упоминаемых музыкальных и литературных шедевров, относящихся к классическим текстам или популяризированным их версиям) аксиологически маркируют «верхнюю» область пространства как положительную. Еще одним релевантным для Булгакова семиотическим кодом пространства является визуальный театральный код. Он практически всегда оказывается маркером «нижнего», профанируемого уровня пространства, изображаемого сатирически. В статье делается вывод, что положительно маркированное пространство в текстах М.А. Булгакова - это не всемирное и вселенское пространство, как у его современника С.Д. Кржижановского, а очерченная границей Дома территория культурного пространства, где персонажи обретают свою целостность и антропоцентричность.
Ключевые слова: художественный мир, пространство, семиотический код, Михаил Булгаков.
Karpukhina V.N.
Professor, PhD in Philology, Altai State University SEMIOTIC CODES OF SPACE IN THE TEXTS BY MIKHAIL BULGAKOV: AN ANALYTICAL REVIEW
Abstract
The analytical review gives different aspects of the category of space in the texts by Mikhail Bulgakov: historical and cultural, structural and semiotic, communicative, intertextual. The main aspect of the review is the structural and semiotic aspect. The texts by Mikhail Bulgakov under consideration are his novels of The White Guard, The Master and Margarita, The Dog's Heart, and the play of Zoika's Flat, in which the semiotic category of space is the key one in plot-making. The object under consideration is the semiotic category of space in the text fictional world. The subject of the issue is the semiotic codes, which show the axiological characteristics of different parts in space structure in Bulgakov's texts. The research presents the biographical codes, which cause the key motif of the "self", inhabited cultural space (Home) in the texts by Mikhail Bulgakov. The space is often structured in Bulgakov's novels and plays according to the principle of the "Nativity play". The border between the "upper" and the "lower" levels show the audial (in particular, musical) and the literary codes. These codes (irrespectively of the classical or popular versions of musical and literary masterpieces mentioned) represent axiologically the "upper" part of the space as the positive one. Besides these codes, there is one more relevant semiotic code of space for Bulgakov - the theatricalized, the visual one. It is almost always a marker of the "lower", profane level of space, which is shown satirically. The article concludes that the positively marked space in Bulgakov's texts is not an all-world and cosmic space, as it was for his contemporary Sigizmund Krzhizhanovsky, but marked by the border of Home cultural space, in which the characters get their wholeness and anthropocentricity.
Keywords: fictional world, space, semiotic code, Mikhail Bulgakov.
Почта авторов / Author Email: [email protected]
The analytical review considers the semiotic ca tegory of space in the text fictional world. The subject of the review is the semiotic codes, which show the axiological characteristics of different parts in space structure of Mikhail Bulgakov's texts. The category of space in the texts by Bulgakov was analyzed in different aspects: historical and cultural [12]; [13]; [19]; [20]; [22]; [23]; [25]; [26]; [29], structural and semiotic [1]; [6]; [10]; [14]; [17]; [27]; [30], communicative [7]; [8]; [15], intertextual [7]; [11]; [18]; [21]; [24]; [28], etc. This category is especially important in the fictional worlds of Bulgakov's texts. Firstly, the biographical
code gives us the key to it: the notions of an apartment, a house were extremely relevant to the writer in any of his lifetime periods. "The lamp with a green lamp-shade", which becomes to Bulgakov a symbol of Home, on the one side, and the symbol of Pushkin's tradition in Russian culture, on the other side, seemed to get lost in Kiev, in his memories of childhood and youth. But modeling of Home space with diverse semiotic codes was one of the most relevant characteristics of Bulgakov's poetics.
The key motif of Home [10, P. 313-320]; [17, P. 369-370]; [30]; [26, P. 78-80] is the key motif to structure the space of Bulgakov's fictional world. It is
divided into chaotic, antihuman space and human, inhabited and harmonized (see the novel of The White Guard). But the so called "negative poetics" [17, 26] of Bulgakov's fictional world, the things, which are not shown by Bulgakov intentionally, is connected to the theatricalization of the space in any to this principle: "The connection between the novel and the puppet-show of the Nativity play is seen, firstly, in the author's idea of putting in a line episodes of religious and secular history, which are not, as in the Nativity play, mixed up, but are divided with the precise caesuras of ethic and stylistic types" [6, P. 323]).
The cultural context supports the importance of this theatrical code of space, well-known for the Bulgakov's family from the time he was young [12, P. 142]. The same principle of the "Nativity play", with its clear distinction between "upper" and "lower" levels, structures the space of the novel of The White Guard. We suppose that the history of the Turbin is marked as the events which happen in between the "upper", spiritual space and the "lower", profane space. The markers of this type of space are the main toponym Alexeevsky spusk The Slope of St. Alexei', on which there is the house No. 13 (...Над двухэтажным домом № 13, постройки изумительной (на улицу квартира Турбиных была на втором этаже, а в маленький, покатый, уютный дворик - в первом), в саду, что лепился под крутейшей горой... [3, P. 9]), and key images of falls or slips of the main characters, and the City's symbol - поднимающийся в черную, мрачную высь полночный крест Владимира [3, P. 244], which appears in the ending of the novel as a final element of the miraculous Nativity play "upper" part spatial image. The theatricalized perception of two-leveled City's space is emphasized by the description of this space-and-time pinpoint from the point of view of the "all-seeing" narrator: Последняя ночь отцвела. Во второй половине ее вся тяжелая синева, занавес бога, облекающий мир, покрылась звездами. Похоже было, что в неизмеримой высоте за этим синим пологом у царских врат служили всенощную [3, P. 244].
Such a space perception through the ear, or the sound compounds, is one of the constant motifs in Bulgakov's texts: «Ночь под рождество» - снег и огонечки. Дрожат и мерцают. Николка прильнул к окошку. Из глаз исчез зной и училище, в глазах -напряженнейший слух. Где? [3, P. 12]. The metaphor of hearing by the eyes appears in the situations, when the novel characters do not believe in their visual impressions. In such cases they choose the most familiar from the childhood audial cultural code as a main axiological code. It is this code that opens them The Captain's Daughter and Saardam
of Bulgakov's texts. This latently or openly theatricalized space is almost always structured according to the principle of "a folk theater", or a fair Nativity play (see Rita Giuliani's note about the structure of The Master and Margarita, made according
Shipwright, the operas The Night before Christmas and Faust, marked the familiar, inhabited cultural space, which the space of their House in No. 13 Alexeevsky spusk belongs to. This audial code, well-known from their young years as a code of the fairy-tales reading aloud, leads them to their safe Home with the help of the City's space magical contraction. Moreover, the audial (musical) code is the marker of the "safe" cultural space: "The most intangible and therefore most indestructible vessel of culture is music, which fills the Turbin house" [26, P. 81]. Lucky escapes of Alexei Turbin and Nikolka Turbin, with intended Bulgakov's playing with City's space "made obvious non-Euclidean geometry of the City" [12, P. 254]: their ways in flight show " a wonder-tale triad: three yards and three wickets for Alexei - and three yards for Nikolka, too". But Miron Petrovsky considers this wonderful escape, "this obvious taste of wonder in both escapes ...to be connected more to Mephisto-Shpolyanskii than to the will of God" [12, P. 258]. For Alexei Turbin this escape is also the "fall" (his race along the Malo-Proval'naya Street, "fall" into the wicket and into the door to Julia Reiss, left at the moment by Shpolyanskii [26, P. 92-93]; [12, P. 254255]). Going through this "lower" part of City's space lets Turbin come back to his own native "upper" space of his House, where his relatives live: Второго февраля по турбинской квартире прошла черная фигура, с обритой головой, прикрытой черной шелковой шапочкой. Это был сам воскресший Турбин [3, P. 230].
This border of two spaces ("upper" and "lower" ones) in their theatricalized version is even more obvious in the play of Zoika's Flat (1926) by Bulgakov. Musical, sound border of different space parts is one of the basic motifs for this text, too. The "culture space" border is marked not only with classical music masterpieces. The markers are often popular classical music pieces, which are the precedent ones for an educated person. "The key image of Bulgakov's poetics is closed, "magic" space, which can be transformed. Such an image emerges in Zoika's Flat, where the Moscow yard plays like an awful musical snuffbox" [5, P. 110]. The clash between "upper" and profane types of space collides in comic mixture of the Shalyapin's voice "On the Earth all people." from Charles Gounod's Faust and the voices at Zoya Pelts's window "We would buy your primus!" [4, P. 78]. The "ex-count" Obolyaninov appears in the space of Zoya's flat with the sounds of
the 2nd Rhapsody by Ferencz Liszt and poem "Don't sing, my beauty, next to me..." by Pushkin set to music by Sergei Rakhmaninov [4, P. 83]. This music will be the leitmotif following Obolyaninov through the text. The entrance of Ametistov (in one of the first play's versions he was called Fioletov (cf. the color semantics, which marks the devil and his team in Bulgakov's texts: the purple color correlates to the devil [9]. На месте того, кто в драной цирковой одежде покинул Воробьевы горы под именем Коровьева—Фагота, теперь скакал, тихо звеня золотою цепью повода, темно—фиолетовый рыцарь с мрачнейшим и никогда не улыбающимся лицом [2, P. 335])) is followed by a stupid and thin voice, singing off stage, being accompanied by a mistuned piano: "It was a night, the stars were bright, It was frosty in the yard." [4, P. 90-91]. Taking "their" tunes as the markers of their own space, the characters of Zoika's Flat catch up and sing to the end the lines of musical pieces sounded. Musical markers, coming from the comments into the main text of the play, show the transformations of the space in Zoya's flat: a house - an atelier - a house of ill fame. Seducing of Alla to get much money in the "atelier" and get out of the country borders (К Рождеству вы свободны, как птица, в кармане у Preobrazhenskii is indecent metaphorically, but the flat of Zoya in the play gets the literal meaning of the word [26, P. 226]. The climax of transformation of an atelier into a "bad flat" comes at the marked by indecent chastushkas night time when the flat is "lit up brightly" [4, P. 130]. At that time there take place the murder, the burglary and taking criminals "in the act". The fact of devilish deformation of the Zoika's flat space and the prospective of a murder, which would happen in the flat, is being predicted by the cast before the play, where there is A Dead Body of Ivan Vasilyevich. According to the satirical tradition of Nikolai Gogol' and Mikhail Saltykov-Shchedrin, this Dead Body appears to be dead-drunk Ivan Vasilyevich, who flows up to the stage singing "Из—за острова на стрежень..." and dancing with a tailor's dummy in the key moment of the space transformation of the flat [4, P. 133]. But the deformed space works against the characters now, and comic play with the revived Dead Body finishes with a real murder of Gus'-Remontnyi. All the steps of the space deformation are marked with the musical codes, which express "lowering" of the space through the whole play of Zoika's Flat.
The positively marked space for Mikhail Bulgakov is not the cosmic space as for his contemporary Sigizmund Krzhizhanovsky (see also: [16, P. 477]), but the space of a Home, apartment, personal inhabited house. This reversible perspective of Bulgakov is closer not to the modernist version of space,
вас виза и не пятьдесят червонцев, а втрое, вчетверо больше... Весной вы увидите Большие бульвары. На небе над Парижем весною сиреневый отсвет, точь-в-точь такой (Выбрасывает из шкафа сиреневую материю) [4, P. 109]) is followed by the romantic song "Let's leave the place where we suffered much.". At the same moment Zoya seduces Alla to step over the other borders, the moral ones [4, P. 109]). It seems natural that Alliluya, the Head of the House Committee, when speaking of rubles he got as a bribe, told her, «Вы, Зоя Денисовна, с нечистой силой знаетесь, я уж давно заметил» [4, P. 81]. The deformation of the "atelier" space is followed by the monotonous declamation of Ametistov, who inaccurately pronounces the romantic verse by Alexander Vertinsky of A Cocaine Addict [4, P. 117-118]. The stage comments and the "off-stage" dialog emphasize the deliberateness of a tragic space, the perception of it as a profanation of symbolist's tragedy show.
When Edythe C. Haber compares transformations, which happen in the situation of "stuffing-in" the flats of Professor Preobrazhenskii in The Dog's Heart and Zoya Pelts in Zoika's Flat, she remarks that the apartment of
principally antihuman, but to the realistic one, Tolstoy-like: the outer space is perceived here as a strange and hostile space, and the inner space, inhabited and dwelled-in, is his "self", harmonized and opposed to the chaos (see in such a case the idea of Yurii M. Lotman about a border, which connects and divides at one and the same time [10, P. 262]). The border in this case is a human being - "a subject and an object" [16, P. 476] of this space.
So, the positively marked space in Bulgakov's texts is not an all-world and cosmic space, but marked by the border of Home cultural space, in which the characters get their wholeness and anthropocentricity. This territory of "plus"-space is marked with musical codes from well-known to Bulgakov operas and Russian romantic songs and with literary codes of Russian classics (Pushkin, Gogol', Tolstoy). In general, this positively marked space in Bulgakov's texts is built in the specific "Nativity play" structure of the fictional world. The "upper" level of this structure shows the events according to the Biblical plot schemes (either Apocalypse of The White Guard in the "upper" space of the City, or the reconstruction of the events of the Holy Week in the "Yershalaim" chapters of The Master and Margarita). The "lower" level is taken by comic and tragically comic characters and situations, described satirically and formed negatively appreciated part of the social theatricalized space,
which borders with burlesque and deliberately ironical detective narration.
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Список литературы на английском языке / References in English
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