THE ICON IN WAR STORIES BY A. PLATONOV

The article deals with the role of icon in the world of war stories by Andrei Platonov (Nikodim Maksimov, Recovery of the Fallen) as compared with his early prose of the 1920s-30s (The Homeland of Electricity) on the basis of archival research and the texts of Platonov's wartime works. In his e...

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Main Author: Irina Aleksandrovna Spiridonova
Format: Article
Language:Russian
Published: Petrozavodsk State University 2012-11-01
Series:Проблемы исторической поэтики
Subjects:
Online Access:http://poetica.pro/files/redaktor_pdf/1458030820.pdf
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author Irina Aleksandrovna Spiridonova
author_facet Irina Aleksandrovna Spiridonova
author_sort Irina Aleksandrovna Spiridonova
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description The article deals with the role of icon in the world of war stories by Andrei Platonov (Nikodim Maksimov, Recovery of the Fallen) as compared with his early prose of the 1920s-30s (The Homeland of Electricity) on the basis of archival research and the texts of Platonov's wartime works. In his early texts the icon, while described at length, is re-coded into the anti-icon both visually and semantically. Our analysis has shown that in his stories written in 1941-1945 Platonov moves away from lengthy descriptions of icons and also from their artistic re-coding and destruction. In the poetics of his war stories, the icon appears at strategically important narrative positions (title, buildup, main plot focus) and acts as a sacral sign witnessing the renewal of religious memory, the profundity and power of people's faith. During the Second World War addressing the spiritual experience of the past, including its religious dimension, was vitally important for the Russian people and the Russian writer Andrei Platonov.
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spelling doaj.art-c7a0809e2bd14c4dad33e0c0389dcce72022-12-21T23:19:27ZrusPetrozavodsk State UniversityПроблемы исторической поэтики1026-94791026-94792012-11-0110734335010.15393/j9.art.2012.364THE ICON IN WAR STORIES BY A. PLATONOVIrina Aleksandrovna SpiridonovaThe article deals with the role of icon in the world of war stories by Andrei Platonov (Nikodim Maksimov, Recovery of the Fallen) as compared with his early prose of the 1920s-30s (The Homeland of Electricity) on the basis of archival research and the texts of Platonov's wartime works. In his early texts the icon, while described at length, is re-coded into the anti-icon both visually and semantically. Our analysis has shown that in his stories written in 1941-1945 Platonov moves away from lengthy descriptions of icons and also from their artistic re-coding and destruction. In the poetics of his war stories, the icon appears at strategically important narrative positions (title, buildup, main plot focus) and acts as a sacral sign witnessing the renewal of religious memory, the profundity and power of people's faith. During the Second World War addressing the spiritual experience of the past, including its religious dimension, was vitally important for the Russian people and the Russian writer Andrei Platonov.http://poetica.pro/files/redaktor_pdf/1458030820.pdficonstorypoetics of genreA. PlatonovWorld War II literature
spellingShingle Irina Aleksandrovna Spiridonova
THE ICON IN WAR STORIES BY A. PLATONOV
Проблемы исторической поэтики
icon
story
poetics of genre
A. Platonov
World War II literature
title THE ICON IN WAR STORIES BY A. PLATONOV
title_full THE ICON IN WAR STORIES BY A. PLATONOV
title_fullStr THE ICON IN WAR STORIES BY A. PLATONOV
title_full_unstemmed THE ICON IN WAR STORIES BY A. PLATONOV
title_short THE ICON IN WAR STORIES BY A. PLATONOV
title_sort icon in war stories by a platonov
topic icon
story
poetics of genre
A. Platonov
World War II literature
url http://poetica.pro/files/redaktor_pdf/1458030820.pdf
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