| Annotation |
Roman Senchin, a winner of prestigious literary awards and a recognized master of social prose, is one
of the most brilliant representatives of the \"new realism\". The main character of the author’s works is a little
man who survives the cataclysms of the late 20th century, losing himself in the historical and social chaos. The
author develops this type of character in the novels The Eltyshevs (2009), Flood Zone (2015), Rain in Paris
(2018), the anthologies Day Without Number (2006), Moscow Shadows (2009), etc. However, the peculiarities
of R. Senchin’s interpretation of the image of the little man were formed in the writer’s early stories.The article
offers a classification of the variants of the image of the little man, depending on the author’s goals, based on the
material of the stories published in the magazines Znamya, Novy Mir, and Oktyabr in the late 1990s and early
2000s. It reveals the characteristics of the \"portrait of the transitional period\" created by R. Senchin. The aim of
the study is to identify the typical features of the author’s description of the image of the little man in the short
prose of this period. The poetics of four representative stories of the author were analyzed by means of motive
analysis, compositional analysis, intertextual and narrative methods. The principles of the representation of the
little man in connection with the domestic and foreign paradigm of marginal heroes, the trend of \"new realism\"
and its focus on the treatment of traditional images not only of the little man, but also of the superfluous and
underground hero are revealed. Specific characteristics of R. Senchin’s artistic world are revealed. A complex
descriptive analysis of the stories shows that the author, referring to the classic type of the little man, mercilessly
destroys the illusions of his characters, accusing them of passivity and their need for escape from themselves.
Senchin’s Little Man is a product of the post-perestroika era, having missed his former opportunities and failed to
acquire new ones. However, deprived of the author’s compassion, this type still appeals to the reader’s empathy:
behind each, even the most repulsive hero, one can see a human being in general and oneself in particular. |
| References |
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