Трансфикциональная мировость произведений Бориса Виана

Новые российские гуманитарные исследования. 2025. Т. 20. № 3.

Kirichenko V.

The current article is devoted to the problem of worldness in the work of Boris Vian. In the study we consider three of the most significant works of the writer: “L’Écume des jours” (1946), “L’Automne à Pékin” (1947), “L’Arrache-coeur” (1953). We assume that the inner space of these texts by Boris Vian has a common worldliness, i.e. a set of qualitatively significant characteristics and properties that are repeated in the worlds of these works, forming not a sequential trilogy, but a certain common universe. The poetics of space in Vian's novels is formed under the influence of surrealism and pataphysics. Vian's space is not a neutral background, but actively participates in the development of the plot and the formation of characters. The space of his works is often deformed, irrational and subject to change, reflecting the inner world of the characters and the absurdity of what is happening. The house, the city, nature and even the human body become the arena of tragedies and comedies. Deformation and anthropomorphization of space, use of grotesque details and violation of logic create the feeling of a surreal dream in which reality is mixed with fiction. The main principles of worldliness of all three texts include: 1) absurdity, surrealism, pataphysics; 2) anthropomorphism / living spaces; 3) functioning as reflections of the inner world of the characters; 4) color, light, dynamic changes of space; 5) deconstruction, its scale and degree of deformation; 6) an initially different world that illusorily resembles our actual one.

Keywords: space, пространство, Борис Виан, трансфикциональность, Boris Vian, characters, персонажи, Worldness, transfictionality, storyworld, мировость, storyworld