Linguistic Features Of The Novel "New Moscow Philosophy" By V. Pyetsuh

Abstract

In modern Russian literature, the so-called conceptualism, one of the many currents of the Western avant-garde of the 70s, received a special meaning: instructive, ideologically rich literature is easily translated into the language of antiartistic schemes - concepts[1]. Concept debunks the "ideal", showing through laughter its authenticity. Conceptualism sometimes gravitates towards negative forms of expression: apparent "oblique linguistics", "zumi", and sometimes even to silence, to liberation from signification. Criticism claims that "stylistic and compositional unconventionality" is habitually associated with the "underground", the "new wave". This prose is a phenomenon of language [2], a kind of fusion of academic, scientific and artificially primitive language. In its perception of literature exclusively as a linguistic phenomenon of "another prose" is clearly close to the well-known point of view of V.Nabokov, in the prose of which the main thing is filigree language. However, "in contrast to Nabokov's writing, the 'other prose' is not arrogant: it is in a fundamentally different position towards the reader - not above, but near"[3]. Hence the originality of the author's speech, which is sometimes confused with oral, household and colloquial, with its characteristic features - illogicality, jumps from one subject to another, jargon, etc.