Журнал «История: факты и символы»

Выпуск №3 (28) (2021)

УДК 82(091)
DOI 10.24888/2410-4205-2021-28-3-94-107

“SHADOW AND BONE”: NEGATIVE SPACES OF MEANING

Автор(ы): Губинская А. А.

Дебютный роман Ли Бардуго «Тень и кость» обещает волшебное путешествие по миру вымышленной страны Равка, вдохновленной Российской Империей 1800-х годов. В этой статье обсуждаются отрицательные моменты этого произведения, связанные с Россией. Это крайне негативные описания русской культуры, политики и истории, связанные отчасти с долгим отсутствием русского перевода романа. Имея в виду эту возможную интерпретацию, автор статьи предполагает, что Бардуго намеренно позволила основной части своей работы очертить и сформировать негативные черты России, рассматриваемые в этой статье. Возможности восприятия романа должны быть шире и разнообразнее, чем, возможно, предполагала сама Бардуго. Она пытается вернуть его к форме своих первоначальных намерений, вмешиваясь в процесс идейного наполнения текста для читателя. Навязывая свои идеи, писательница определенным образом реализует понятие «смерть автора». Используя этот дихотомический процесс, автор этой статьи предлагает отойти от искусственных намерений автора и проследить тонкие тенденции рынка, которые способствовали популярности Бардуго. Дискуссия, которую автор хочет начать в этой статье, заключается в той идее, что Бардуго создала книгу, которая целенаправленно эксплуатирует русскую культуру, не отдавая ей должного, намекая на новую холодную войну и разделяя мир на знакомые полюса Запада и Востока.

“SHADOW AND BONE”: NEGATIVE SPACES OF MEANING

Author: Gobinskaya A. A.

The debut novel Shadow and Bone by Leigh Bardugo promises the magical journey through the world of fictional country Ravka, which was inspired by the Russian Empire of the 1800s. In this article, I discuss three negative spaces outlined by Bardugo’s text. These are negative spaces of Russian culture, politics and dynamics revealed by the long absence of Russian translation of the novel. Having this possible interpretation in mind, I cannot speculate that Bardugo deliberately chose to let the body of her work outline and shape the negative spaces discussed in this article. The reception potential of her work is wider and more diverse than the author intended. She tries to prune it back to the shape of her original intentions, interfering with the process of the reader’s meaning-making. Thus, in a certain way, she pushes back against the concept of the “death of the author”. With this dichotomic process, I suggest stepping away from the author’s intentions and tracing the subtle trends of the market, that contributed to Bardugo’s popularity. The discussion I want to open is not whether Bardugo intended to create a book that exploits Russian culture without doing justice to it, hinting towards a New Cold War, and separating the world to the familiar poles of the West and East.

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