The appearance in fiction of the image of a noble estate was a consequence of the decree of Catherine II ("Charter to the nobility", 1785) on the release of the nobility from military service, after which the role and significance of the nobility's local life in Russian culture began to strengthen. At the end of the 18th - beginning of the 19th centuries, the noble estate experienced its heyday, after which its gradual, until 1917, began to fade away.

During the first half of the 19th century, the noble estate was included in works of art, mainly as a person's habitat, a certain way of life that characterizes the owner of the estate (nobleman), his moral and spiritual foundations, way of life and culture, although already during this period the process begins symbolizing the image of a noble estate, which, in particular, finds expression in the work of A.S. Pushkin. In the second half of the 19th century, when the crisis of this way of life becomes most noticeable, the noble estate declares itself as a special cultural phenomenon, which they begin to actively study, describe, and strive to preserve. In the 80-90s of the XIX century, they began to speak of estates as cultural monuments, from 1909 to 1915 in St. Petersburg there was a Society for the Protection and Preservation of Art and Antiquity Monuments in Russia.

In the fiction of the second half of the 19th century, manor masterpieces by S.T.Aksakov, I.S. Turgenev, I.A.Goncharov, and L.N. Tolstoy were created. The concept of a generic noble nest, introduced into culture by the Slavophiles (Shchukin, 1994: 41), is gaining more and more power and significance and by the end of the 19th century is perceived as one of the central symbols of Russian culture.

At the turn of the 19th and 20th centuries, writers of a wide variety of views, belonging to different literary trends and associations, paid increased attention to the image of a noble estate. Among them are the names of such artists of the word as A.P. Chekhov, I.A. Bunin, B.K. Zaitsev, A.N. Tolstoy, M.A. Kuzmin, N.G. Garin-Mikhailovsky, A. Bely, F. K. Sologub, G. I. Chulkov, S. N. Sergeev-Tsenskiy, B. A. Sadovskoy, S. A. Auslender, P.S. Romanov,

S.M. Gorodetsky and many others. As a result, a huge layer of fiction was created, where the image of a noble estate received detailed elaboration and multifaceted lighting.

The relevance of the study is due to the active growth of interest in the lost values ​​of the national culture and attempts to revive them. An appeal to the image of a noble estate is necessary, in our opinion, to solve the problem of self-identification of Russian culture. Comprehending the image of a noble estate as one of the fundamental symbols of Russia is a way of national self-knowledge and self-preservation and provides an opportunity to restore a vast complex of moral and aesthetic norms, largely lost in the vicissitudes of recent centuries.

The object of research in the dissertation is images of a noble estate in Russian prose of the late 19th - early 20th centuries. The subject of the dissertation is a noble estate as a phenomenon of the Russian literary process at the turn of the XIX-XX centuries. The research material consists of works of art by such writers as A.P. Chekhov, I.A. Bunin, B.K. Zaitsev, A.N. Tolstoy, M.A. Kuzmin, N.G. Garin-Mikhailovsky, D.V. Grigorovich, A. Bely, F. K. Sologub, G. I. Chulkov, I. A. Novikov, S. N. Sergeev-Tsenskiy, B. A. Sadovskoy, S. A. Auslender, P.S. Romanov , I.I.Yasinsky, S.M. Gorodetsky, A.V. Amfitheatrov, M.P.Artsybashev, A.N.Budishchev, V.V. Muizhel. Prose and poetic works of other writers and poets of the 19th - first third of the 20th centuries are also used as material for a comparative analysis.

The degree of study of the issue. The noble estate in pre-revolutionary and modern science has been studied and is being studied to a greater extent from the standpoint of historical and cultural studies. Since the 70s of the XIX century, as G. Zlochevsky notes, guidebooks around Moscow have appeared, which necessarily include a section on estates (for example, N.K. Outskirts of Moscow. "(" 2nd ed., 1880)). From 1913 to 1917, the journal Stolitsa i Usadba (Stolitsa i Usadba) was published (the title of this journal reflected the opposition in Russian culture between the manor and the capital worlds); publications about estates are also published in a number of other journals. Before the revolution, monographs also appeared on the history and architecture of individual estates. In particular, in 1912, the book was published. MM Golitsyn about the estate Petrovskoe of the Zvenigorod district of the Moscow province ("Russian estates. Issue 2. Petrovskoe"), in 1916 - the work of P.S. Sheremetev "Vyazema". There are published memoirs of both individual representatives of the nobility, and collections, including the memoirs of a number of authors. So in 1911, under the editorship of NN Rusov, the book "Landowners' Russia according to the notes of contemporaries" was published, which contains memoirs of representatives of the nobility of the late 18th - early 19th centuries. But in pre-revolutionary science, according to G. Zlochevsky, there was no comprehensive study of manor culture; publications about estates were mostly descriptive; the authors of articles and monographs acted more as historians and chroniclers (Zlochevsky, 1993, p. 85).

During the Soviet period, the study of the noble estate practically ceased, or was carried out from an ideological standpoint. In 1926, for example, E.S. Kots's book "Serf Intelligentsia" was published, in which local life is presented from a negative side (in particular, the author examines in detail the issue of serf harems). Memoirs written during the Soviet era become available to readers, as a rule, only after many years. For example, in 2000, the memoirs of LD Dukhovskaya (nee Voyekova) were published, the author of which is trying to rehabilitate the manor culture in the eyes of his contemporaries: them and self-justification. " (Dukhovskaya, 2000, p. 345).

An active revival of interest in the noble estate begins in the last decade of the 20th century. There are many historical and cultural works devoted to the study of everyday life, culture, architecture, and the history of noble estates. Among them is the work of YM Lotman “Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX centuries) "(St. Petersburg, 1997), as well as collections of the Society for the Study of the Russian Estate, which include the works of many researchers (G.Yu. Sternin, O.S. Evangulova, T. P. Kazhdan, M. V. Nashchokina, L. P. Sokolova, L. V. Rasskazova, E. N. Savinova,

V.I. Novikova, A.A. Shmeleva, A.V. Razina, E.G. Safonova, M.Yu. Korobka, T.N. Golovina and others). It is also necessary to note the fundamental collective work "Noble and merchant rural estate in Russia in the 16th - 20th centuries." (M., 2001); collections "The World of the Russian Estate" (Moscow, 1995) and "Noble Nests of Russia. History, culture, architecture "(M., 2000); works by L.V. Ershova (Ershov, 1998), V. Kuchenkova (Kuchenkova, 2001), E.M. Lazareva (Lazareva, 1999),

S. D. Okhlyabinina (Okhlyabinin, 2006), E. V. Lavrentyeva (Lavrent'eva, 2006).

In recent years, in addition, several dissertations have been defended, considering the estate as a phenomenon of Russian culture, economics, politics (Popova M.S. Russian noble estate in the context of the mentality of Russian culture (M., 2004); Kuznetsova Yu.M. Russian noble The estate: Economic, political and socio-cultural aspects (Samara, 2005); Ponomareva MV Noble estate in the cultural and artistic life of Russia (Moscow, 2005)).

The authors of these works seek to substantiate the importance of the noble estate for the history of Russia, to show the organic connection of the noble estate with Russian culture, to prove that the estate was not something alien in relation to the latter, but was its integral part. In the noted historical and cultural works, the Russian noble estate is considered as a special microcosm, the whole Universe (O.S.Evangulova, T.P.Kazhdan, M.V. Nashchokina), which is a universal symbol of Russian life (G.Yu. Sternin) , the quintessence of the Russian state (M.V. Nashchokina, Kuznetsova Yu.M.), the center for the formation, development and preservation of the dominant features of Russian culture, an indicator of the state of Russian culture (Popova M.S.). Scientists especially emphasize the value of the personal, individual beginning in a noble estate (each estate, "both literally and figuratively, is" handwork "" (Kuznetsova, 2005, p. 146); "self-portrait of the owner" (Evangulova, 1996, p.49); even “parts of the garden [.] became, as it were, parts [.] of the inner world” of the owners (Nashchokina, 2001, p. 12)), as well as the metaphorical correlation in Russian culture of the estate with the image of the Garden of Eden.

However, as we have already noted, the subject of research of these works is the noble estate as a phenomenon of Russian history, economy, and culture. The appeal of scientists to Russian literature in these cases is limited to the task of a simple illustration of certain features of its history, economic and everyday life.

A broader and multidimensional illumination of the image of a noble estate in Russian literature of the 18th - 20th centuries is given in the book by E.E.Dmitrieva, O.N. Kuptsova "The Life of the Manor Myth: Lost and Found Paradise" (Moscow, 2003). The authors refer to a huge number of literary sources, including little or absolutely unknown. However, this work is more art history than literary criticism. Works of art are often used as illustrative material for cultural aspects, showing how a real estate influenced Russian literature, or, conversely, how literature formed "the estate's life, and the real estate space, and the very way of living in the estate" (Dmitrieva, Kuptsova, 2003, p. 5).

Until now, a comprehensive literary study of the image of a noble estate in the prose of the turn of the 19th and 20th centuries has not been created as a phenomenon of the Russian literary process.

The image of a noble estate has been studied most fully in Russian literature of the second half of the 19th century, in the works of S.T. Aksakov, I.S. Turgenev, I.A. Goncharov, L.N. Tolstoy (see, for example, the works of V.M. Markovich "IS Turgenev and the Russian realistic novel of the XIX century" (L., 1982), VG Shchukin "The myth of the noble nest. Geocultural research on Russian classical literature" (Krakow, 1997); VB Legonkova " The image of a noble estate in the works of S. T. Aksakov, I. S. Turgenev and L. Tolstoy "(Magnitogorsk, 1991); G. N. Popova" The world of the Russian province in the novels of I. A. Goncharov "(Yelets, 2002 )).

In Russian prose of the late 19th - early 20th centuries, the image of a noble estate is considered based on the works of a limited circle of authors. Thus, critics of the beginning of the 20th century focused on depicting local life in the works of I.A. Bunin and A.N. Tolstoy, as well as A.V. Amfiteatrov and S.N. Sergeev-Tsensky. However, in the critical works of the early 20th century, there is no consideration of the image of a noble estate as a phenomenon of Russian culture in the literature of a certain period as a whole. Such critics as K. Chukovsky (Chukovsky, 1914, p. 73-88), V. Lvov-Rogachevsky (Lvov-Rogachevsky, 1911, p. 240-265), G. Chulkov (Chulkov, 1998, p. 392- 395), N. Korobka (Korobka, 1912, p. 1263-1268), E. Koltonovskaya (Koltonovskaya, 1916, p. 70-84), V. Cheshikhin-Vetrinsky (Cheshikhin-Vetrinsky, 1915, p. 70-84 ), E. Lundberg (Lundberg, 1914, p. 51), A. Gvozdev (Gvozdev, 1915, p. 241-242), characterizing the image of local life in the works of the above-named writers, limit themselves to one or two phrases, only mention the conversion authors to the depiction of local life. So, for example, G. Chulkov, analyzing the story of IA Bunin "New Year", speaks of the miraculous power of the estate, awakening the feeling of love in the heroes (Chulkov, 1998: 394). V. Cheshikhin-Vetrinsky, considering such works of A.N. Tolstoy as "The Lame Master" and "Gullies", emphasize the "warm, sincere attitude of the author" to the provincial noble life and "people of this life" (Cheshikhin-Vetrinsky, 1915, p. 438). E. Koltonovskaya writes about the attempt of the writer in the cycle "Trans-Volga" by means of the image of the local nobility "to look into the elemental depths of the Russian man, his nature, his soul" (Koltonovskaya, 1916, p. 72).

Being noticed in the works of I.A. Bunin, A.N. Tolstoy, A.V. Amfiteatrov and S.N. Sergeev-Tsensky, but not having received sufficient development here, the image of a noble estate in the works of other writers of the late XIX we are considering - at the beginning of the 20th century, it turned out to be completely unexplored by the critics of the "Silver Age".

In modern literary science, the image of a noble estate in the work of many authors at the turn of the 19th and 20th centuries still remains unexplored. Such scientists as N.V. Barkovskaya (Barkovskaya, 1996), L.A. Kolobaeva (Kolobaeva, 1990), Yu.V. Maltsev (Maltsev, 1994), M.V. Mikhailova (Mikhailova, 2004), O. V. Slivitskaya (Slivitskaya, 2004), R.S. Spivak (Spivak, 1997), refer to the image of a noble estate in the works of I. A. Bunin, A. Bely, F. K. Sologub, I. A. Novikov. But in the works of these scientists, the image of a noble estate is not an object of special, detailed analysis.

The subject of a separate study is the image of a noble estate in the works of N.S. Avilova (Avilova, 2001), U.K. Abisheva (Abisheva, 2002). G.A. Golotina (Golotina, 1985), L.V. Ershova (Ershova, 1998, 1999, 2002), N.V. Zaitseva (Zaitseva, 1999), L.P. Solomakhina (Solomakhina, 2000), dedicated to the works of I.A. Bunin and A.N. Tolstoy.

Literary science reveals the reasons for the destruction and decline of the noble estate in the work of I.A. Bunin, notes the dialectic nature of the Bunin concept of the estate, as well as the idealization of estate life in the writer's emigre work.

L. V. Ershova in the article "Images-symbols of the estate world in the prose of I. A. Bunin" speaks of the writer's ambivalent attitude to the world of the noble estate and divides the symbols in the works of I. A. Bunin into two rows: negative, "reflecting desolation and the death of the former "gold mine" of the Russian province ", and positive," associated with deep and sincere nostalgia, with memory, which tends to idealize the past, uplift and romanticize it "(Ershova, 2002, p. 105). In the emigre period, from the point of view of the researcher, opposed to each other positive and negative series of images-symbols come to dialectical unity - "the estate culture is presented in them as part of the all-Russian history" (Ershova, 2002, p. 107). In the article "Lyrics of Bunin and Russian estate culture" L.V. Ershova notes the simultaneous depiction of the extinction of a noble estate and its poeticization in the poetry of I.A.Bunin. As the researcher writes, in the lyrics of IA Bunin, the antithesis "estate-capital" is reflected; the figurative system external to the estate opposes the warmth of the house for the artist, which is a protection and amulet for the lyrical hero.

A different point of view on the image of the house of I.A. Bunin is presented in the work of G.A. Golotina. Considering the theme of the house in the lyrics of I.A. Bunin, the author speaks of the doom of the family nest to destruction and death and believes that if in the early verses the house is a reliable protection in all the vicissitudes of life, then since the beginning of the 1890s I. A. Bunina has never been a prosperous family nest.

N.V. Zaitseva traces the evolution of the image of a noble estate in the prose of I.A. Bunin in 1890 - early 1910s, concludes that the estate in the writer's works is small-scale.

In A.N. Tolstoy's prose, the image of a noble estate is considered in the works of L.V. Ershova (Ershova, 1998), N.S. Avilova (Avilova, 2001), U.K. Abisheva (Abisheva, 2002). But the range of the writer's works, to which the named researchers refer, is limited ("Nikita's Childhood", "The Dreamer (Aggay Korovin)"). Many aspects of the artistic representation of a noble estate in the work of A.N. Tolstoy remain unexplored.

L.V. Ershova in the article "The World of the Russian Estate in the Artistic Interpretation of the Writers of the First Wave of Russian Emigration" notes a strong tendency to idealize the image of a noble estate in AN Tolstoy's Childhood, which is explained, according to the researcher, by the image in the work of the world of childhood ... NS Avilova writes about the opposition in "Nikita's Childhood" of the image of the estate as a reliable guard and protection of the heroes to the image of the surrounding steppe. U.K. Abisheva in his article "Artistic Reception of Russian Estate Prose in the Novel" The Dreamer (Aggay Korovin) "by A. Tolstoy" reveals the traditional and innovative in Tolstoy's understanding of estate life.

The scientific novelty of the dissertation work is determined by the research material (for the analysis, a large amount of works of the late XIX - early XX centuries are involved, in which the image of a noble estate was not previously an object of study); an integrated approach to the study of the image of a noble estate as a phenomenon of Russian culture in the literature of the late 19th - early 20th centuries in general; a historical and typological approach to its study; aspects of consideration of the image of a noble estate, new for literary criticism.

The purpose of the dissertation is to consider the image of a noble estate as one of the central symbols of Russian culture, representative for the modernization of Russian artistic consciousness at the turn of the 19th and 20th centuries.

Achievement of this goal presupposes the solution of the following tasks: - to identify and describe the general system of universals, in which the image of the Russian noble estate in the prose of the late XIX - early XX centuries is interpreted and evaluated;

Create a typology of the image of a noble estate in the fiction of the designated period, revealing the main trends in the artistic interpretation of the historical path of Russia in prose at the turn of the 19th and 20th centuries; - to analyze the features of the artistic image of a noble estate by the leading directions of the Russian literary process of the late XIX - early XX centuries;

To trace the fate of the moral code of a noble estate in the literature of the first wave of Russian emigration, as well as its influence on the formation of both the oppositional line of Soviet literature and literature biased by the official ideology. The main provisions for the defense:

1. In Russian prose of the late XIX - early XX centuries, there were three concepts of a noble estate: idealizing, critical, dialectical, which together capture the dynamics of the historical process in Russian public consciousness at the turn of the XIX-XX centuries.

2. Each concept forms its own image of the artistic world. Three artistic models of a noble estate are created through the interpretation and assessment by writers of the way of life of the estate in the general system of universals, which are childhood, love, family memory.

3. The image of a noble estate in works with a predominantly idealizing concept is depicted as the embodiment of moral and aesthetic norms that are of decisive importance for Russian culture: stability, the value of the personal principle, a sense of the connection between times, reverence for traditions, life in unity with the earthly and heavenly world.

4. The critical concept destroys the idyllic-mythologized image of the noble estate, debunks the moral foundations of the estate culture. The childhood and love of noble heroes are portrayed by the authors as "distorted"; the burden of consciousness of the inhabitants of a noble estate with family memory is thought to be the cause of its death.

5. The works of the dialectical concept are characterized by a synthesis of an idealizing and critical view of the phenomenon of a noble estate in the history and culture of Russia. In the image of a noble estate, the same spiritual values ​​and foundations are affirmed as in the works of the idealizing concept. However, the world of the estate in the works of this group is no longer ideal, it includes an element of disharmony.

6. In the artistic interpretation of the image of a noble estate by representatives of various literary trends, the main features of the Russian literary process of the late 19th - early 20th centuries were reflected.

7. The moral code of the noble estate left a big mark on the Russian culture of subsequent periods: it had a noticeable influence on the literature of the Russian diaspora, as well as on the formation of both the oppositional line of Soviet literature and literature biased by the official ideology.

The methodological basis of the work is an integrated approach to the study of literary heritage, focused on combining several methods of literary analysis: historical-typological, cultural-contextual, structural-semiotic, mythopoetic. The solution of the research tasks formulated above led to the appeal to the works

M.M. Bakhtin, V.A. Keldysh, B.O. Korman, D.S. Likhachev, A.F. Losev, Yu.M. Lotman, E.M. Meletinsky, V.N. Toporov, V.A. I. Tyupa. The theoretical categories used in the dissertation (artistic image, artistic world, mode of artistry, chronotope, symbol, myth) are interpreted by us in accordance with the developments of the named scientists.

The theoretical significance of the thesis. The thesis enriches the toolkit of literary analysis 1) with new models of chronotopes; 2) a system of new universals, productive for the transitional periods of cultural development; 3) confirms and concretizes the multidirectionality of artistic searches of the literary process of transitional periods using new material as a general pattern.

The practical significance of the work is associated with the possibility of using its materials and results in general lecture courses on the history of Russian literature and special courses on the history of Russian prose, Russian culture of the 19th-20th centuries.

Approbation of work. The main provisions of the dissertation are reflected in 16 publications (7 theses, 9 articles), including in a peer-reviewed printed publication recommended by the Higher Attestation Commission of the Russian Federation for the publication of works of applicants for scientific degrees, as well as in reports at international, all-Russian, interuniversity conferences in years. Perm, Solikamsk, Izhevsk, St. Petersburg, Moscow.

The structure of the thesis. The work consists of an introduction, three chapters, a conclusion and a bibliography of 220 titles. The first chapter, "The Idealizing Concept of the Noble Estate", examines the principles of idealizing the image of the estate through the approval of moral and aesthetic norms that make up the code of estate life. The second chapter "The Critical Concept of the Noble Estate" is devoted to the consideration of the opposite idealization of the phenomenon: criticism of the noble estate, the debunking of the moral foundations of the estate culture. The third chapter, "The Dialectical Concept of a Noble Estate", analyzes the process of synthesis of idealization and criticism that forms such

Conclusion

The noble estate is one of the most mysterious phenomena of Russian culture, which is associated with many unresolved issues. In Russian literature of the 18th - 20th centuries, the image of a noble estate was repeatedly recreated, comprehended and rethought. At the end of the 19th - beginning of the 20th centuries, this image becomes one of the central in Russian literature, representative for the modernization of Russian artistic consciousness at the turn of the century: the appeal to the image of a noble estate is accompanied by a rethinking by writers of many questions posed by Russian literature and culture of the 18th - 19th centuries, as well as the statement new problems associated with the further development of Russia.

The assessment of the role and place of the noble estate in the history and culture of Russia in prose at the turn of the 19th and 20th centuries, as we have seen, is far from the same. Its range ranges from absolute idealization to the same absolute criticism, the complete overthrow and debunking of the life foundations of a noble estate. However, to a greater extent, the writers of this period were characterized by an ambivalent attitude towards the noble estate, the simultaneous recognition of its merits and mistakes.

In Russian literature of the late XIX - early XX centuries, as it was shown in our work, three concepts of a noble estate, three views on one of the deepest and most multifaceted, in our opinion, symbols of Russian culture took shape. Idealization and mythologization of the image of a noble estate prevails in the works of the idealizing concept. This concept forms a special image of the artistic world, which is based on the idyllic chronotope of "Home" - as a national form of paradise, the original heavenly abode of the soul. The time of this chronotope is the original time of creation, of heavenly existence, characterized by uniformity and cyclicality. The space of the noble estate in the works of the idealizing concept simultaneously possesses such properties as introversion and extroversion, harmoniously combining a certain isolation and self-sufficiency with openness and boundlessness. In the works of representatives of the idealizing concept, those foundations of the local way of life are highlighted and symbolized, the essence of which is associated with eternal existential principles (B.K. Zaitsev, I.A.Novikov, P.S.Romanov, A.N. Tolstoy). The image of a noble estate in the works of the idealizing concept is accompanied by the motives of childhood as a heavenly, legendary existence, memory, mystery and inviolability of the past, deep kinship with the past. The very idealization of a noble estate in this group of works becomes a guarantee of the preservation of the personal principle, of one's individuality in a rapidly changing world - through the assertion of enduring, from the point of view of writers, life values ​​and foundations: childhood, love, memory, relationship with nature.

A completely different view of the image we are considering is presented in the works of the critical concept, the purpose of which is to destroy the idyllic-mythologized image of a noble estate, to debunk its moral and aesthetic norms. The critical concept, as well as the idealizing one, forms a special image of the artistic world of the estate, which in this case is based on the chronotope of the “dacha”. This chronotope is characterized by temporality and limitedness. The space of the chronotope "dacha" is characterized by extreme isolation, artificiality, impenetrability. In this chronotope, such modes of artistry as comedy, humor, irony find expression. The works of the critical concept emphasize the extinction of life, the economic and spiritual degeneration of the noble manor culture. The nobility is characterized by a tendency towards extreme tyranny, towards intolerable exploitation of the peasantry; noble heroes are overly exalted, incapable of actively transforming reality (A.N. Tolstoy, S.N. Sergeev-Tsensky, S.M. Gorodetsky, A.N.Budishchev, A.V. Amfitheatrov, B.A. Sadovskaya). In the works of a number of representatives of the critical concept, when the myth of the estate as the promised land is destroyed, another myth is created, a kind of anti-myth of a noble estate, in which the estate world appears as a terrible and mysterious, seized by the forces of fate, depriving the heroes of vital energy, leading them to death, often to suicide (B.A. Sadovskaya, S.M. Gorodetsky, S.N. Sergeev-Tsensky).

A peculiar synthesis of idyllic and critical views on the image of a noble estate takes place in the dialectical concept (I.A. Bunin, A.P. Chekhov, N.G. Garin-Mikhailovsky, A. Bely, G.I. Chulkov, S.A. Auslender and etc.). In the works of this concept, such modes of artistry as tragic and dramatic find expression. The artistic world of the estate in the works of this concept is based on the dramatic chronotope "crossroads". The works of the dialectical concept reflect the complexity and contradictoriness of the estate world; the attitude of writers to the estate can be described as "attraction-repulsion". Along with the poeticization of the life of the estate and the recognition of the basic values ​​of the noble culture, the authors show the departure of the estate into the past. In the works of the dialectical concept, the life of a noble estate is included in the broad context of Russian and world culture. The writers introduce into their works many reminiscences and allusions to Russian and Western European art. The rethinking of cultural traditions leads to the understanding that the golden past of the noble estate has outlived itself, but with it the moral and aesthetic values ​​of the noble culture, which have no substitute, also die. This view of the noble estate is marked by the stamp of tragedy.

It would be wrong, in our opinion, to speak of the limitations of any of the concepts presented above. Each concept reveals its own sides of the noble estate, makes its own accents, carries its own truth. In the work of the same writer, different views on the image of a noble estate can be combined, forming a multifaceted view of the author on the problem we are considering (A.P. Chekhov, A.N. Tolstoy, G.I. Chulkov, S.A. Auslender). In the image of the noble estate as a whole, as a phenomenon of the Russian historical reality of the 18th - early 20th centuries, from our point of view, the general feature of the Russian soul was reflected: Russia is “contradictory, antinomical,” and one can learn its secret, as N.A. Berdyaev, only immediately recognizing its “eerie inconsistency” (Berdyaev, 1997, p. 228).

At the turn of the 19th and 20th centuries, as we have shown, writers of a wide variety of views, belonging to different literary trends and associations, paid increased attention to the image of a noble estate. An analysis of all the main options for depicting the estate allows us to raise the question of the peculiarities of the embodiment of this image within the framework of various artistic trends of the late 19th - early 20th centuries: naturalistic tradition, realistic, directions of symbolism, acmeism, writers of the "intermediate type" (Keldysh).

The naturalistic tradition is characterized by a critical attitude to the image of the Russian noble estate and to noble heroes. We refer to the naturalistic tradition as such works considered in our work as "Heat-color" by A.V. Amfitheatrov and "Breaks of Love" by A.N. Budishchev. novel

A.V. Amfiteatrova, we rank among the designated tradition, in particular, following

B.L. Lvov-Rogachevsky, who noted in the article "A Writer Without Invention" (1911) the excessive naturalism of the writer's artistic manner. The depiction of a noble estate in the above-mentioned works by A.V. Amfiteatrov and A.N. Budishchev is not individualized; in the center of the work is not so much the personal collision, the inner world of the hero, as the imprinting of a certain social (noble) environment, society as such. The purpose of these works is to study this social group (nobility) using the achievements of advanced science, using scientific terminology (novel by A.V. Amfiteatrov). By the end of the works of these writers, a certain mental illness characteristic of a given social group is revealed and its diagnosis is made. According to A.V. Amfiteatrov and A.N.Budishchev, the root of the mental deviations of the nobility lies not in socio-historical or existential areas (as it happens in the works of realism or modernism), but in the natural laws of nature and human physiology.

The most multifaceted image of a Russian noble estate in the literature of the turn of the 19th and 20th centuries was embodied in the works of the realistic tradition. In the works of realist writers, all the concepts of a noble estate that we have considered are reflected: idealizing, critical, dialectical. The attitude of writers to the image of a noble estate is determined, in our opinion, both by the problems sharpened in the work, the tasks that the author sets for himself, the time and place of writing the work, and the creative personality of the author. The artistic interpretation of the image of a noble estate by the writers of the realistic tradition reflected the main features of realism at the beginning of the 20th century. The sharpening in the image of a noble estate of socio-historical problems is combined with problems of a universal, substantial nature (D.V. Grigorovich, N.G. Garin-Mikhailovsky, I.A. Bunin, A.N. Tolstoy, S.N. Sergeev-Tsensky ). The widespread use of subject details, a certain determinism of character by the historical setting is complemented by an appeal to the poetics of other directions (the use of symbolism, impressionistic imagery, strengthening of the lyrical principle).

A new, although prepared largely by Russian culture and literature of past centuries, the understanding of the noble estate takes place in the works of the Symbolist writers. In their works, the image of a noble estate is largely devoid of concrete historical content and becomes a deep philosophically loaded symbol. So in the novels of A. Bely "The Silver Dove" and "Petersburg" the image of a noble estate is considered by the author in connection with the problem of the collision of the West and the East in Russia, as well as with the problem of opposition in the culture of the Dionysian and Apollonian principles. In the works of the mystical symbolist G.I. Chulkov, the noble estate becomes a special model of the universe, which has its own internal laws and has its own life, different from other worlds. The main essence of this world is, from the point of view of G.I. Chulkov, the indissoluble unity in it of the life of the past and the present - not only of the noble culture, but of the entire human race.

The image of a noble estate as a model of the Universe is also vividly presented in the works of such a symbolist as I.A. Novikov. In contrast to the works of A. Bely and G. I. Chulkov, in which the spirit of destruction and gradual fading blows over the image of a noble estate, the idea of ​​a noble estate as a special harmoniously arranged world is characteristic of I. A. Novikov's work. In the noble estate of I.A. Novikov, the fullness of being is embodied with its joys and sufferings, dreams and reality, gains and losses, meetings and partings, where the human soul can develop harmoniously and holistically. It is in such a world, which is the image of a noble estate in the writer's works, that the basic essential laws of the world order can be fully embodied.

The artistic interpretation of the image of a noble estate also acquires its own peculiarities in the work of acmeists. The principles of Acmeism find expression, in our opinion, in such works considered in our work as The Dreamers (1912), The Dead Woman in the House (1913) by MA Kuzmin and The Terrible Estate (1913) by S.М. Gorodetsky. In comprehending the image of a noble estate for M.A. Kuzmin and S.M. Gorodetsky, as well as for the Symbolists, socio-historical issues, which are important for realists, are insignificant. Unlike the works of Symbolists and Realists, in the above-mentioned works of MA Kuzmin and SM Gorodetsky there is no symbolization of the image of a noble estate ("A = A"). As acmeists, M.A. Kuzmin and S.M. Gorodetsky are more interested in the aesthetic and cultural content of the image we are considering. Descriptions of the manor park, halls and furnishings of the manor house serve as aesthetic signs of the outgoing era of "noble nests".

M.A.Kuzmin and S.M. Gorodetsky are united by a negative attitude towards the image of a noble estate. In the images of noble heroes, writers, as negative, emphasize detachment from real life reality, illusion, addiction to dreams, passion for theosophy, occult sciences, magic. All this, from the point of view of M.A. Kuzmin and S.M. Gorodetsky, takes the heroes away from real life and deprives them of the joy of being. This is the position of M.A. Kuzmin and

S.M. Gorodetsky differs from the opinion of the Symbolists, who see the possession of noble heroes with secret spiritual knowledge and skills as the only opportunity for their harmonious existence in the world (F.K. Sologub, G.I. Chulkov). In the works of M.A. Kuzmin and S.M. Gorodetsky, the image of a noble estate, saturated with an atmosphere of mystery, fatal predetermination, the relationship between the world of the dead and the world of the living, is contrasted with real life with its freedom, beauty, joy. The exit (more precisely, the escape) of the heroes from the estate (or the estate-dacha) is equated in the works of writers with the return from death to life ("The Deceased in the House" by MA Kuzmin, "The Terrible Estate" by SM Gorodetsky).

The image of a noble estate is also embodied in the works of writers of the "intermediate type" (Keldysh), namely in the prose of BK Zaitsev. In various works of the writer, both the idyllic ("Dawn") and the dialectical ("Far Land") view of the Russian noble estate were reflected. The works of B.K. Zaitsev are characterized by the symbolization and mythologization of the image of a noble estate, which in the writer's artistic system is associated with the image of Eden, the Garden of Eden, the Promised Land, the original womb of the human soul. The category of culture plays a significant role in the formation of the image of a noble estate in the prose of B.K. Zaitsev. The world of the noble estate of B.K. Zaitsev reflects the spiritual potential of Russian and world culture, the relationship with which is constantly felt in the way of thinking and behavior of the noble heroes of the writer.

In the image of a noble estate in Russian prose of the late 19th - early 20th centuries, in our opinion, the main processes characteristic of the historical and philosophical life of Russia in the era of changes are reflected. A change in the way of life, paradigms of thinking, a change in the traditional role of classes in the history of Russia, attitudes towards tradition, a change in the code of values ​​- all this is reflected in the image of a noble estate. The analysis of the concepts of the estate highlighted in the dissertation testifies to the actualization for Russian society at the turn of the 19th - 20th centuries, along with the socio-historical problems of issues of the complex inner nature of man, the role of the irrational in man, the relationship between social and metaphysical principles, personality and collective, the problem of cosmism. Being in many respects correlated with the literary tradition of the 19th century, the image of a noble estate at the turn of the century significantly changes its nature: the specific historical content of this image is complemented by the universal one.

In Russian prose of the late 19th - early 20th centuries, in the works of the idealizing and dialectical concept of a noble estate, moral and aesthetic values ​​inherent in both Russian culture as a whole and unique ones characteristic only of a noble estate were concentrated. The ideas of the House as the eternal abode of the human soul, the unity of earthly and heavenly existence, freedom and value of the individual, harmony with the universe, deep interconnection with all living things, continuity and memory - ancestral and cultural - were correlated with the image of a noble estate. But the irreversible vector of the historical path of Russia is also fixed, which enters into dialectical relations with these values.

After the 1917 revolution, the moral and aesthetic foundations of the life of a noble estate fell into disgrace. The fate of a noble estate in the Soviet era is well known: evictions, arrests and murders of former estate owners, destruction of estates, their use as resting places for the new government elite, and the like. Debunking the noble estate and its moral and aesthetic norms became a form of class struggle, a way of establishing a new ideology. However, the comprehension of the estate in Russian prose at the turn of the 19th and 20th centuries had, in our opinion, a significant impact on the further development of both Soviet literature and, of course, the literature of the Russian diaspora.

In the literature of the first wave of Russian emigration, the idealizing concept of a noble estate is most developed. Away from Russia, the myth of the estate as the promised land, the primordial source of being (I.A.Bunin, B.K.Zaitsev, V.V. Nabokov, P.N. Krasnov) is finally formed. The organizing motives of this myth are the motives of childhood as the childhood of being, morning as the morning of being, creativity (through creativity, connection and connection with the Creator of the world), clan continuity, the lost paradise, which are partly characteristic of the works of the idealizing concept in prose of the early 20th century. In the manor myth, the theme of creativity manifests itself brighter than before. Creativity is associated by its nature with the primordial source of being, in which it receives its beginning and vital impulse; through creativity the Creator reveals Himself to the artist (I.A.Bunin, B.K. Zaitsev). The image of a noble estate is similar in its semantics to the image of Russia. The estate and Russia are equally associated with the feeling of silence, with the images of mother and birch, and most importantly, they merge in the image of a lost and desecrated Motherland. Russia and the estate remain in the past, they live only in the soul; and since the soul breathes with eternity, the past acquires immortality (I.A. Bunin, B.K. Zaitsev, I.S.Shmelev).

As for Russian literature of the XX century proper, it was left, first of all, by the artistic model of the critical concept of a noble estate. A critical look at the values ​​of a noble estate contributed to the emergence of a new positive hero in literature, which was formed according to the logic of direct repulsion from the hero of a noble estate, in a direct dispute with him. This dispute constantly reminds us of the old hero, does not let us forget about him. A noble hero, possessing internal complexity, inconsistency, striving to resolve many everyday issues (which was shown by us when considering the works of the idealizing and dialectical concept), is perceived as a class enemy and is emphatically supplanted by a hero of proletarian origin, devoid of mental reflection and possessing such qualities as immutability , certainty, straightforwardness (Sinyavsky, 1990: 59-60). In the image of the new hero, blind devotion to the idea of ​​a complete rejection of the past, selflessness, readiness to “lay down one's life” for the working class are poeticized; such a hero appreciates the idea more than the person, prefers the general to the individual (D. Furmanov, A. Serafimovich, A. Fadeev, N. Ostrovsky). Personal values ​​in the literature of socialist realism are replaced by collective values. The main criterion for evaluating a hero is not his spiritual essence, but his ideological position (F. Gladkov, V. Kochetov). There is a rejection of such important categories for the noble estate as family memory and love as the main meaning of life. The entire existence of the heroes is aimed at building a bright future, comprehended in the doctrine of Soviet ideology. In the 1930s, this feature finds vivid expression in the development of the so-called "production prose"; instead of a secluded "corner" of a noble estate, the world space, united by revolution and the construction of a new life, bursts into fiction (F. Gladkov, F. Panferov, M. Shaginyan, V. Kataev, N. Ostrovsky).

However, the model of the idealizing concept of a noble estate did not remain unperceived by Russian literature of the 20th century. Moral and aesthetic criteria for assessing personality and lifestyle, marked with an idealizing concept, are especially recognizable in the works of M. Bulgakov "The White Guard", "Days of the Turbins" and B. Pasternak "Doctor Zhivago" (the value of the family, personality, a certain cultural and psychological makeup) ... But, paradoxically, traces of the named concept of a noble estate can be found, in our opinion, in the literature of socialist realism. We see them in the actualization of the spiritual aspect of love, the ideals of friendship, loyalty and devotion to the person, the word, the Motherland (F. Gladkov, A. Kaverin, B. Lavrenev, A. Arbuzov, A. Fadeev, A. Tvardovsky, B. Polevoy, etc. .). The values ​​of the idealizing concept of a noble estate are manifested, in addition, in the importance of childhood in the life of a person (albeit different from the childhood of noble heroes), the phenomenon of the family, which, although polemic to the ideal of the noble family and has completely different social roots (working dynasties), plays an important role in the artistic systems of a number of writers (V. Kochetov). The moral and aesthetic aspects, marked by the idealizing concept of a noble estate, are also recognizable in sharpening the problem of the relationship between man and nature, preserving the beauty and harmony of the world order (L. Leonov).

In addition, a third tendency existed in Russian literature of the 20th century, genetically related, in our opinion, to the dialectical concept of a noble estate. This tendency is characterized by a certain synthetism, which finds expression, in particular, in the prose of A. Platonov. A. Platonov, on the one hand, repels himself from the culture of the nobility. His hero is a man from the people who accepts the revolution, who, in comparison with the hero of a noble estate, has a completely different social experience, different ideals. But, on the other hand, for A. Platonov, understanding the complexity of the inner world of a person, rejection of the herd, and the search for beauty are very important. For all the aspiration of the Platonic hero to the new world, he cannot go to it without recourse to memory. It is the recollections of childhood, albeit different from childhood in a noble estate, that become for the protagonist of Plato's "Chevengur" the key to comprehending the world.

In the Russian literature of the 1960s-1970s, the moral code of the noble estate, its values ​​and priorities is revived - only in the life of people of a different social status: the intelligentsia, the peasantry. The writers sharpen the problem of human degradation, the loss of life values ​​and foundations; there is a desire to preserve, remember, restore, return the insulted, forgotten, lost, lost (M. Prishvin, "lieutenant prose", K. Paustovsky, V. Shukshin, S. Zalygin, Y. Trifonov, A. G. Bitov).

In fiction, in particular, the motive of the lost home appears (Y. Trifonov), the problem of preserving the personality, individuality in the world of collectivism and socialist transformations (V. Tendryakov) is emphasized. Often the reason for the loss of one's own “I” is associated in the literature of the 1960s-1970s with the loss of memory, without which, from the point of view of writers, there can be no real, real life (Yu. Trifonov).

During this period in Russian literature, the view on such concepts as the nobility and aristocracy is changing. The nobility is interpreted by writers and poets not as a social status, but as spirituality, intelligence; It is in the sphere of the spiritual (love, friendship) that the priorities of the poets of the 60s lie (B. Okudzhava, B. Akhmadulina, N. Matveeva, Y. Moritz). The theme of the intelligentsia in fiction is associated with the problem of a person's moral choice, preserving memory, relationships between fathers and children, loyalty, purity of friendship and love (Y. Trifonov, A. Bitov, D. Granin, B. Okudzhava, B. Akhmadulina).

In Russian prose of the 1970-1990s, the problems of deformation of society, disrespect for man, the cruelty of the modern world and the loneliness of man in it are sharpened; writers oppose the moral, spiritual impoverishment of the individual, stand up for the revival of his inner wealth, for the restoration of the system of moral values, which, in our opinion, are directly related to the moral and aesthetic code of the noble estate (L. Petrushevskaya, V. Tokareva, T. Tolstaya, Dombrovsky, V. Makanin).

In the literature of the 1990s-2000s, the motive of childhood, characteristic of the works of the dialectical concept of a noble estate, reappears as a paradise, legendary existence - irretrievably lost, however (V. Lorchenkov).

The departure after the revolution from Russian literature and culture of the image of a noble estate as the main symbol of the Promised Land led to the need to form a replacement for it. On the one hand, as the image of paradise was seen in the literature of the Soviet period, a kind of vague future, towards which all the positive heroes of "socialist realism" were directed. On the other hand, in the 1970s the image of a village takes over the functions of the Promised Land, which is reflected in “village prose” (V. Rasputin, V. Astafiev, V. Belov, F. Abramov).

The images of a noble estate and a village are brought together by the priority of memory in the lives of heroes, their unity with nature, and their relationship to time. In the works of the idealizing concept, we noted such a feature of the estate time as regularity, slowness, cyclicality, which, according to the writers, was a way of confronting a rapidly changing world and preserving one's individuality and a trace in it. A similar attitude to time is also characteristic of the heroes of “village prose”, in which a measured, calm, thoughtful rural existence, allowing to preserve his soul, is opposed to the accelerated, subordinate to the technique of city life, where a person has no time to think about his spiritual basis in a hurry.

However, there are significant differences between the images of a noble estate and a village. If, as we noted in the first chapter, the space of a noble estate in Russian prose at the turn of the 19th and 20th centuries is characterized by simultaneous introversion and extroversion, self-directedness and, at the same time, a deep relationship with the whole universe, which makes the estate a repository of not only the ancestral, but also common cultural memory, the idyllic space of the village turns out to be self-sufficient, separated from the surrounding world, essentially not connected with it ("Farewell to Matera" by V. Rasputin).

The difference between the image of a village and a noble estate testifies to the fact that an equivalent replacement in Russian literature and culture of one symbol of the promised land with another still did not occur. According to V.G. Shchukin, the dacha finally takes over the functions of a noble estate in Russian fiction of the 20th century (Shchukin, 1997: 212). However, we take the liberty of disagreeing with this opinion. In our opinion, between a noble estate and a dacha in the fiction of both the 19th and 20th centuries, there were and there are many differences, the main of which is again the connection between the image of the estate, in contrast to the dacha, with the ancestral and cultural memory, which makes the human personality protected from all the vicissitudes and cataclysms of world history.

Today, the life of a noble estate is moving further and further away from us, and along with it, the moral and aesthetic values ​​that it kept in itself disappear and are forgotten. However, these values ​​are necessary for the further full-fledged existence of each of us individually, and for the revival and development of the entire Russian culture. The problem of loss of memory, one's own self, one's roots and life foundations has not weakened in recent decades, but has become even more acute and urgent. And, apparently, in order to somehow solve the problems facing us, we need to turn our face to history, remember, look at it, see its true undistorted image and only in deep interconnection with it move on, because, according to M. .Gefter, “it's still a delusion that the future is always ahead. In fact, people, nations, civilizations have long been moving forward with their backs, facing the same without return and without oblivion. And now, especially now, the future has a memory in the demiurges ”(Gefter, 1996: 80).

And the Russian estate in the literature of the late XIX - early XX centuries reminds us of this.

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