Traditions of N.V. Gogol in the prose of S.A. Klychkov

The article deals with the traditions of N.V. Gogol in the prose of S.A. Klychkov. The absence of generalizing works that examine the work of Novokrestyansk writers in the context of the traditions of Russian classics, determines the relevance of the topic. The purpose of the work is to identify and analyze common images and motifs in the prose of Gogol and Klychkov. The task of the research is to find out what caused the creative interchange of these writers. In the works of both writers presented the motive of Russian heroism and Russian force. But in S. Klychkov's novel “Sugar German”, the events of which take place in the First World War, the motive of heroism is transformed into the motive of the death of the Russian people. The iron “German civilization” not only destroys the natural utopia, but also morally cripples the person, makes him the servant of the devil. The image of the “the deceptive city”, which is ruled by the devil, in prose of S.A. Klychkov is projected onto the “Saint Petersburg stories” by N.V. Gogol. In “Sugar German” there are plot rolls with “Nevsky Prospect”. Material for comparison is the theme of the relationship between man and the devil in the works of Gogol and Klychkov. The results of the research show that in S.A. Klychkov's prose there are typological convergences with the works of N.V. Gogol, conditioned by conceptual ideas about the Russian national character, the fate of the people and Russia, as well as a conscious orientation to Gogol's poetics.

Introduction

Ligeti’s belief that “technique and imagination influence one another in a constant interchange” guided his development through the 1950s and 60s. The introduction explains the book’s methodology, which uses sketch study to look at this creative interchange, placing analytical observations alongside Ligeti’s written statements in their historical context. Rather than aiming for “definitive” analyses, this book aims for parallel discoveries in the composer’s prose, sketches, and finished scores, which augment one another and lead to an enriched appreciation of these already multifaceted works. The introduction also previews many of the historical developments discussed in the following chapters, including the influences of modernist and postmodernist trends in composition on the developments in rhythm, pitch, and timbre that became characteristic of Ligeti during these years.