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Sorokin Vladimir Gergievich

( Russian writer)

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Biography Sorokin Vladimir Gergievich
SOROKIN, Vladimir, a Russian writer - postmodernist, playwright, screenwriter.
Born August 7, 1955 in the suburban Bykovo. After studying at the Moscow Institute of oil and gas industry and Gubkin Moscow Institute of Inorganic Chemistry to book graphics, printing, participated in exhibitions. Communicate with the terms of the Moscow conceptualists became an impulse to literary creation.

Vladimir Sorokin - the leading representative of Conceptualism and Sots Art in prose genres. Discussions around the glow of his works achieve a high level and have a wide public resonance.

Formation in Russia of postmodernism, which was developed in line with the work of Sorokin in the 80-90's, was a reaction to the impact of the Soviet ideological system. It makes no sense and monotone playing with the images that constitute the cultural debris of the Soviet ideology, not investing anything in them, by casting off the remnants of traumatic experiences, who had gone into the subconscious. This position is characteristic of the followers of postmodernism, who believe that cultural history is over and all that can be invented - has long been invented, so to create better of 'the great wreckage' existing. This eclecticism creativity Sorokina, stressed aloof, unfeeling, mechanized, devoid of any kind was estimated orientation. Until the hearts of his images do not reach and should not get, the more so because of this category by essentially trying to distance itself.

"Queue" - a novel-sketch in the genre of the replicas and dialogues in the queue. In his first attracted the attention of the work, published in 1985 in the Parisian publishing house 'Syntax', Sorokin finds interest in the realities of 'scoop' that the mother of his topics with the dissident writer. However, the theme of the Cultural sovdepovskih research becomes his constant creativity. Queue - one of the fundamental social concepts and realities of the Soviet system, understood as a kind of path to happiness, and as a sort of test of patience and fortitude (will stand or not stand it and runs away). In the fragmentary phrases traced the realities of Soviet life, the type of relationship between people included in the 'eternal place', and the transformation of the way to the absurd.

"Norma" - a collection of stylistically confined to his texts, representing all sorts of textual Studies on 'rule': the notion of games or versions of interpretation category 'rule'. The first text - sketches of the Soviet way of life, telling about the consumption of citizens of the same product, conventionally called 'normal', produced, as subsequently found, from human faeces. The image of 'rules of shit', it seems, can be seen as a metaphor of mandatory ideological brainwashing at all levels of society. This procedure, customary for the Soviet people, has become a kind of ritual, evasion of which was perceived as undermining the foundations and severely punished. They elaborated on the theme of hierarchy of Soviet society, where everyone got their 'portion of shit' in accordance with the place in the ranking, which held. In another part of the novel, composed of letters, we study the opposition 'rule - pathology' - as a messenger from the message there is a gradual transition to the exposition and half-senseless ravings. The story of the atrocities of the Cheka in the countryside during collectivization, apparently, can be interpreted as a reflection on the rules allowed authorities - at which point it turns into violence and bullying. Another text - a poem about the seasons (rate of natural-social), . another - is presented as a manor of prose about the search of the national idea (norm patriotic), . and last - the anecdotes in the spirit of black humor, . beat a cliche of Soviet movies and songs 30-ies,
. No cross-cutting theme or character, combining the product into an organic whole.

"Roman" - cliche Russian 'detached' novel, the 19 th century the volume. As this reality as the 'Russian novel, the 19 th century', exists in the minds of researchers and readers, the writer undertook to create a text - to materialize this concept, articulated the general properties of many Russian novels. Sorokin's novel reads like a piece of language that exists regardless of the reality that this language was described in the 19 century. Captures the reader's consciousness, as described nature, farm, face ladies, etc.. But this impression turns out completely different than reading the real Tolstoy or Turgenev. Sloughed from the content of their own bare skeleton novelistic form gives strange collateral effect of the devaluation and the Russian novel as a literary and cultural phenomenon.

"Marina's Thirtieth Love" - women's history in the spirit of the production of the novel. As a result, 'the beneficial effects of the collective' in the person of Secretary of the Party Committee completed egocentric, selfish and lesbian prone to religion and dissidence, it becomes a cheerful member of the 'healthy' production unit. Sorokin shows how the quagmire of the collective unconscious absorbs the individual forms of existence until their complete disappearance. Dissolution of the collective life was a kind of virtue, under socialism. In fact, the fate of Marina, as the life of Soviet people, was negligible in the particular case of enchanting and powerful movement of ideological constructions. History ends characteristic Sorokina ending - leaving in the absurd, into nothing incoherent and senseless ideological rhetoric.

"Four Hearts" - a novel about how some mystical reason, inherent in the seemingly random combination of numbers - 6, 2, 5, 5 - can become an excuse to create a kind of totalitarian organization. And its members will have the capacity, like a knife through butter, pass through the surrounding people, inexorably approaching an unknown purpose of his life. This may hint that any nonsense, received the status of mystical reason, can realistically become a source of strength, unknown to their mysterious properties. However, unconsciously begs the question as to what this force is related in the first place - with some advantages of what they believe, or the transformative possibilities of human imagination and faith.

"Blue lard" - this novel phantasmagoria caused the greatest interest and public response. Paintings paintings, according to the author, 'Russia's collective unconscious' sample of the twentieth century. As a character's actions represented an almost complete iconostasis archetypal figures of Soviet mythology - Stalin, Khrushchev, Hitler, and religious figures - symbols of Russia's Culture and Literature - Akhmatova, Brodsky and others. However, Sorokin images of celebrities have little to do with the actual prototypes - the author continues to 'play' with the stereotypes of mass culture.

According to the plot of the novel, the clones of the Russian classics, writing some great texts, before falling into suspended animation (nothingness) is extracted from a substance - the 'blue bacon' - the creative, creativity, creative source in pure form. Next comes the division and fight for possession, which includes both the representatives of the hierarchy of power, and members of some secret sects and societies of the future, and parallel to this. Against this background of the plot heroes characters enter into relations of intercourse, I mean the 'name' each other. This type of relationship, as the struggle for the possession of certain miraculous objects or substances included in a typical plot, cliches of traditional myths. Primary deep levels of the psyche - the abode of the unconscious - also have the archaic structure of the myth. But here Sorokin remains true to itself - the underlying archaic attitudes vzaimoprityagivaniya and interpenetration he brings down to pornosyuzhetov from the life of famous personalities, making fun of both sacred history, and psychoanalysis.

"Feast" - the action of different style of 13 short stories happening in many countries in the past, present and future. The idea of the book took shape after an acquaintance with a very special culture of food in Japan, where the writer went to teach Russian language. In general, there is a huge symbol of food, which has many dialects, while the universal language of communication of people. Despite the fact that the author mainly considers eating a narrowly utilitarian 'food' process, one might wonder and a wider image - consumption in the broad sense. In t.ch. and consumption 'under way or another sauce' of a loved one - a typical family psychoanalytic story (short story "Anastasia").

"Ice" - in this book the author has already drawn to the realities of modern 'capitalism' in Russia and some hints at the need for people 'to reach the hearts'. However, this appeal is somewhat formal - as a rational decision or a sad necessity, and not as a call of the soul. However, to complete a lot of postmodernist and. In any case, such a call is intriguing. Perhaps this is an allusion to the need to 'unfreeze feelings' and move to another quality of his being. Signs of a better existence, unfortunately, given the writer more than a vague - is that nagging pain in polurazmorozhennom heart and from nowhere who had taken bundles of banknotes in their pockets

. As Vladimir Sorokin scenarios were filmed feature films: "Moscow" (2000, . directed by Alexander Zeldovich) - family history of quasi-'chehovskih 'the three heroines of Olga, . Masha, . Irina, . seeking to leave Moscow, . filed through the prism of scrapping values 'timeless' 90 - x,
. Stylishly shot beautiful pictures of moral decay 'cream' of the former Soviet aristocracy imbued with the mood of decadence. Against this backdrop unfolding criminal brawl former childhood friends. Question the possibility of the revival of Moscow as a cultural center on money, blood, and the complexes of the layer 'new Russian'. The film received a national award "Golden Aries" for camera work and music critics as fantastic provoked criticism from cynical sayings and deeds of heroes, in sharp contrast to the glorification of poetry evening in Moscow;

. "Kopek" (2002, directed by Ivan Dykhovichniy) - a satirical comedy solved as an epic story of things, namely motor vehicles 'kopek', which was spreading on the hands for a quarter century
. Owners 'penny', the heroes of his time, accurately and succinctly express your own philosophy of life in various life situations. Their comments and remarks and asking to go to the category commonplaces of folk sayings and quotations. 'Unsinkable' simple and necessary thing in all modes - an example to follow a man who wants to survive in the face of rapidly changing social relations

. Vladimir Sorokin also the author of the novel A Month in Dachau ", . collections of short stories "The First subbotnik", . "In the depths of Russia", . play "Strawberry", . Jubilee ", . "Dumplings" ( 'Art cinema'? 6, . 1990), . "Russian grandmother", . "Trust", . "Happy New Year", . "Disformomaniya", . "Hochzeitsreise", . "Cabbage soup", . "Dostoevsky-trip", . screenplay Mad Fritz ",

Vladimir Sorokin - the famous cult writer extreme. However, able to fully read his works a few. Detached, impersonal authorial position in combination with pornoepizodami and black humor are perceived by many as an extreme degree of cynicism and cause instinctive rejection and protest. What is it - a provocation or a creative method? And then, and another provocation - as a creative method. The abundance of scenes of rough sex and violence in the works of Sorokin cause permanent criticism. It seems that the writer is constantly compressed by the click stimulation 'pleasure centers'. Perhaps it is not only a reflection of 'pornographic' consciousness of modern man - a simplified and low tendency to interpret any relationship between people. Yellow sensibility fills the vacuum of emotion, characteristic of the castrated schizoid position that lies at the basis of Sorokin's creative method

. Sorokin accidental called modern Marquis de Sade: 'I have no concept of culturally acceptable and unacceptable as the people of traditional culture, . a sharply delineated cultural code, . outside which begins culturally unacceptable ',
. The result - a public organization 'Walking Together' 20 0 2 arranged a series of actions directed against the writer's work, and sued for recognition of a number of places in the works of Sorokin's pornographic

. Playing with dead, . rigid forms - shells ideological clichцLs of socialist realism and classical Russian literature, . he, . As an experienced patalogoanatom with the makings of Dr. Frankenstein, . trying to create original literary monsters from more or less solidly sewn together pieces of cloned texts,
. However, to overcome the repulsive impression of them can not every.

Cloned code very similar to the present literature, repeating it in detail, but still do not have a life and therefore cause simultaneous admiration for the skill of the writer and quiet horror. On the other hand, . Is this a kind of harbinger of the direction of, . anticipation of the factory approach to literature in general? Really, . Detectives and women's novels on the stream has long been a riveting forged blanks - blanks plot moves, . love scenes or scenes of violence, . changing only the names but the names of heroes,
. But sophisticated Sorokin experiments suggest that masterly ability to produce individual, even if it 'is already stirring' pieces of the whole, can not replace the ability to create something organically integral and viable.

The main body of Sorokin's works collected in two volumes, issued by Moscow publishing house 'Ad Marginem' in 1998. The same publisher in 1999 was a novel blue fat, and since then has published new books Sorokina ( "Feast", "First subbotnik", "Moscow", "Ice"), and reissued previously published works ( "Heart of four" "Norma"). Sorokin's books have been translated into major European languages, as well as Japanese and Korean.

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  • Read it very difficult. But Sorokin in line 80, we are one generation, almost mutants from one medium led to a completely different, as those who survived will know only you and ya.Ego is true not only ruthless, it is prohibitive, but in which our civilization rests, he in the images gives. We do not like gentlemen, and if you mug so broken that even in the mirror, never at a loss?
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    Sorokin Vladimir Gergievich, photo, biography
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