REFLECTION OF MOVEMENT IN ARCHITECTURE AND MECHANICS IN THE LANGUAGE OF PROSE OF ART NOUVEAU

Abstract

The article covers novels of the 1920s–1930s. At the beginning of the XX century, the movement in fine arts and in literature particularly became not only subject-thematic and energetic phenomenon, but forms a free “non-classical paradigm” of creativity. Researchers of the literature of the beginning of the XX century pay much more attention to movement outside of architecture, in an open space (and, accordingly, “topos”), rather than inside a building. For example, in the works of A.Vaganova, Yu.Shantalina, the concept of “movement” corresponds primarily with the topos “road, path”. If we turn specifically to the “locus” of stairs, pipes and elevators in modern prose, it becomes obvious that they contribute to the understanding of not only movement in space, but also the ideological and artistic originality of works that are often mentioned (the novels “Moscow” by A. Bely, “Mashenka” by V.Nabokov, “We” by E.I. Zamyatin, “The Great Gatsby” by F.S. Fitzgerald). Thus, the masters of prose of the modern era, distinguished by “the fluidity” of forms in the arts, used not only the “unreal” dynamism of architectural loci (stairs, pipes, shafts, elevators), but also the factual one associated with mechanical movement. At the same time, the values of predicates that define actants associated with architectural locus depend on referential references (specific objects are reproduced – in Bely’s novel, the staircase in the Mandro mansion on Petrovka; the Long island mansion in Fitzgerald’s novel), and from suggestive connotations – intentionally or spontaneously actualized by writers: the staircase “scares”/ “frighten”, which is especially scary with the agentive meaning of the verb, and “lifts’. The elevator can not only “get stuck”, but also “knock down”, “buzz down” (although buzz isn’t a verb of movement, but moves to an unreal space where you can see the sound), “slam”, groan (“groaned”). “The optimistic idea of movement, activity as the norm of human life” (A.K. Vaganova) tries, although unsuccessfully, to refute the idea of entropy, as it has been shown by the literature of the first third of the XX century.