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Abstract:

This article depicts and analyses the specifics of Maxim Gorky’s creative parlance, which is expressed through his pioneered way of depicting a person. The uniqueness of Maxim Gorky’s individual creative mannerisms, among other things, in a new approach to the depiction of man. The writer focuses on a certain set of political and partly philosophical sententials captured by a character from the set of “flows” — the ideas of social thought that are appropriated as an individual worldview dogma. The acquired “system of phrases” becomes Gorky’s characterological feature of the depicted person. The writer most consecutively used this method in the novel “The Life of Klim Samgin” (1925–1936). In most of the scenes of the Gorky work, the characters appear mainly as bearers of some ideological “text”: portly, decadent, Marxist-Bolshevik, Marxist-economic, etc. The “texts” — “phrase systems” produced in the process of polylines recreate the intertext of its time, consisting of ideas about the reality of people in the forty-years pre-revolution. Thus, the artistic embodiment in the novel received not only the reality that was modern to Gorky, but also ideological and political irreality (the “second reality”), which, in our opinion, allows us to establish typological parallels with the postmodern discourse by interpreting the work.

Keywords: ideological consciousness, modernist aesthetics, postmodernism, “system of phrases”, character, portrait, text, intertext, reality, irreality.