The article analyses actualization of religious problematic in Russian
literature in the beginning of 21st century. This phenomenon is genetically
connected with philosophic search of Russian art culture of 20th century, especially
its beginning. The Actualization of religious problematic is also conditioned
by traditional priorities in Russian literature of 19th century manifested
in Gogol and Dostoyevsky’s works. The place of E. Vodolazkin’s novel “Laure”
in corpus of this literary tradition is shown. The textual facture of the novel is
analyzed, as well as its role in realizing the main task of work – deconstruction
of time. Important principle of this facture is subject syncretism. Differentiation
of sole subjects reveals its relativity in context of their implication to allengulfing
higher consciousness. This consciousness is interpreted in religious
spirit.
Such constructive principle generates a number of difficulties in description
of novel in the language of plot and narrative theory. Key narratologic category
of event reveals its conditional character in the face of being. Technique of point
of view systematization also operates with difficulties. Straight causality here
leaves its function to ground construction of plot links in fiction. Happening
things bent for loose their attachment to locus, moment and cause. Hereto, the
integrity of central hero’s person is doubted by himself among other things because
of three-time name changing.
The functional domination of mentative text in the novel is related to a rule
of Russian literature development. The newest contemporary is interpreted as
the stage of script thematization in this development. But if in Middle Age on
analogical stage, the themes were actualized in relation to events in empiric
reality, now they are related to event in mental sphere, the events of thought.
Proceeding intellectualization of literature is manifested obliquely by the
fact that the word creation is more often practiced by men with scientific experience.
The novel stylistics demonstrates a bilingual principle; the high style is reproduced
by means of church-slavic language, the low one – by means of modern
intellectual slang. Formal similarity of “Laurel” to postmodern prose doesn’t
abolish their world-vision difference. Postmodern is the manifestation of skepticism, E. Vodolazkin’s novel is action of faith. It is supported by conviction
in endless potential of revelation containing in word.
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