MARKERS OF THE AUTHOR’S POSITION IN WOMEN’S DOCUMENTARY PROSE OF THE RUSSIAN MODERN

Abstract

Shifters, presuppositions, logical definitions, diminutives, exoticism, archaism, unusual grammatical constructions and other elements that are quite acceptable for non-fiction prose, implicitly or purposefully give out the author’s position in women’s documentary prose of the Russian modern. The components indicated the narrator’s point of view more precisely than the artistic visual and expressive means that the language of the modern is overwhelmed (epithets, metaphors, double focusing, inversion / polyphonic / other refined composition, exploitation of speech defects, etc.). There often is a compassion, even to the enemy, despite а pride fueled by their nobility, a social status, a financial position or brilliant education, though if it belongs to different women — writers (V. Zhukovskaya, A. Damanskaya), and nurses (V. Shelepina), officers’ wives and daughters (M. Slivinskaya, N. Shcherbacheva, A. Linden), a twenty-year-old pianist, the daughter of an actress.