366:(it seems) created it, but as he grows up, he realizes that gradually the colors of the world around him fade. Pelevin's reflections on the meaning and truth of existence lead him to the idea that the measure of happiness does not depend on man, it is inherent in being. Thus, and in this story, Pelevin actually arrives at a Buddhist understanding of the meaning of existence to the absence of all rational meaning: life for the sake of life.
213:, the beginning of true and real life. It is noteworthy that in this case Pelevin's hero is an inanimate object - a shed. If in the first story children asked eternal questions, here the object is inanimate, far from poetic, but the author gives it the possibility not only to think, but also to dream, the father-in-law not simply spiritualizes, but creates a model of a thinking and deep being.
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vessels, those two entities that are inseparable from each other. Despite the author's ironic stance, the underlying meaning of
Pelevin's story turns out to be far from humorous. The popular phrase about the duality of light and darkness, right and left, life and death finds its philosophical realization in the author's text.
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The interchangeability of sleep and wakefulness, life and death, birth and death in
Pelevin's stories loses its tragic intensity and becomes an objective component of human existence as a whole: to understand what is more real than life or sleep, death or sleep, day or night (dream time) in the world
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throughout the narrative continues to develop the folklore components of the
Pelevin cycle, and again unobtrusively but insistently meets folklore images and motifs. First of all, the hero named Sasha, drawn by an unconscious desire, goes on a long journey in search of a certain vision (the view from
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the characters playfully pose serious philosophical questions: what is death, who is called a dead man and who really is a dead man? However, the expected denouement at the end of the story does not happen: neither the heroes nor the author receive answers to the questions posed. But in the tradition
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Pelevin continues his search for answers to the eternal questions stated in most of the stories in the collection. The adult protagonist in this work is vividly alive those childhood impressions, when as a child he enthusiastically perceived reality, and the overwhelming thirst for comprehension of
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and flesh, the living and the dead in the universe. According to
Pelevin's Antonov, from the moment of birth every living person begins to nurture death, a corpse, because continuation of life leads to inevitable approach to death. Life and death in Pelevin's philosophy turn out to be communicating
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The interchangeability of sleep and wakefulness, life and death, birth and death in
Pelevin's stories loses its tragic intensity and becomes an objective component of human existence as a whole: it is impossible to understand whether life or dream, death or dream, day or night (dream time) is more
329:
In most of the stories in this collection the protagonists' perception of the world is ambiguous; familiar, objective reality is represented as a dream or death, a dream/death replaces reality, and reality, in turn, is deprived of its usual contours. For some of the stories in the collection, in
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The author's mystical-fantastical two-world is realized in the stories of the collection not only in the recognition of the heroes false and finding true reality, or awareness of the illusory edges between realities. The author forces the reader through the contradictions and searches of his
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the main character at a certain point realizes the meaninglessness and emptiness of the world around him. And he must come to terms with it. But to come to terms with it not because he is a victim of the Soviet system, but because for
Pelevin and his hero, who accepts the world in all its
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the life story of the main character serves in part as an answer to the questions posed about the meaning of existence. The main character in the story is the shed who undergoes an inner evolution that leads him to the spiritual freedom that allows him to realize his cherished dream of
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manifestations (life = death, life = dream, dream = death, day = night, dream = reality), there is no other way out. The exit in the usual sense is impossible because at any outcome
Pelevin's hero will find himself only in the same world, only with a different name.
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somewhat transform the fairy tale in terms of genre and give the text a parable rather than a fairy tale proper. Moreover, inanimate objects exist in this parable-fairytale space along with people, whose lives run parallel and independent of the life of the shed.
209:, natural giftedness, subtle inner organization of the protagonist in the perception and understanding of the world around him leads him to the realization of the long-awaited dream. Thus, death in the story is understood as a peculiar step in achieving spiritual
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characters to doubt the present, which is based on materialism and pragmatism, he reminds the reader of the true purpose of man, who can exist in harmony with himself only in the awareness of its inseparable connection with the forces of
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220:: the heroes are inanimate beings who are endowed with the ability to think and reason like humans, and in the finale there is a long-awaited transformation into fairy magic. Along with this, however, the
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are the means of transition into an otherworldly state; in his post-Soviet space this role can also be played by television, the speech of a lecturer, the media, and a whole slew of other media.
795:"2011. 02. 028. Щучкина Т. В. Рассказовое творчество Виктора Пелевина. - СПб. : фак-т филологии и искусств СПбГУ, 2010. - 60 с. - (Сер. "лит. Направления и течения"; Вып. 37)"
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The unity of the texts of
Pelevin's cycle "Blue Lantern", his mystical worldview are supported not only at the level of fairy tale character system, but also with the help of
276:, a werewolf hero. The magical transformation of Sasha into a werewolf is described as a process of the hero's comprehension of the truth, previously unknown to him.
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of the netherworld, or rather the illusory border between the two worlds. The image of the blue lantern is found in most of the stories in the cycle.
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Antonov about the nurturing of the inner dead by each living person continues to implement
Pelevin's idea of eternity and the single essence of the
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theme that unites the majority of the stories in the cycle is the understanding of death as the beginning of a new life. In the story
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462:(was printed only in an English collection of short stories, in Russian it was first printed in another collection of short stories)
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456:(was printed only in an English collection of short stories, in Russian it was first printed in another collection of short stories)
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272:: to go there without knowing where, to see that without knowing what. In Pelevin's story, the hero is destined to become a chosen
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orientation common to all the stories. The title of
Pelevin's first collection was given by the story of the same name
799:Социальные и гуманитарные науки. Отечественная и зарубежная литература. Сер. 7, Литературоведение: Реферативный журнал
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for Pelevin is more important not to get an answer to the question, but the formulation of the question itself.
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the names of the main characters Yuri Popovich and Nikolai Muromtsev refer to the names of the heroes of
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Nikita Sonechkin is not aware of the boundary (or gradually loses the idea of the boundary) between
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are in a similar state of sleep-forgetfulness, ruled by some demonic force and equated with hell.
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the author leaves these questions open, in essence only poses these questions, then in the story
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707:"Ксения Макеева "Творчество Виктора Пелевина" / Статьи / Виктор Пелевин :: сайт творчества"
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843:Творчество В. Пелевина 90-х годов XX века в контексте русского литературного постмодернизма
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586:"Blurring the Real and the Fantastic: Victor Pelevin's The Blue Lantern and Other Stories"
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The composition and plot of the story are built in the tradition of a magical or domestic
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For Victor Pelevin's short prose the main cycle-forming principle is the subjective
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268:). And this desire correlates with the actions of the fairy-tale-folklore hero of
741:"Циклическое единство малой прозы В. Пелевина (сборник рассказов "Синий фонарь")"
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770:"Пелевин. Как волшебный Синий фонарь превратился в (Вадим Векслер) / Проза.ру"
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the world around him seized him. For the hero, the resurrection of the
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745:Вестник Санкт-Петербургского университета. Язык и литература
826:Взаимодействие эпических жанров в прозе Виктора Пелевина
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As in most of the works in the collection, in the story
559:"The Blue Lantern: And Other Stories by Victor Pelevin"
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318:In the writer's stories not only sleep, delirium,
205:transformation. His dream of becoming a bicycle.
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859:"ФОЛЬКЛОРНЫЙ ИНТЕРТЕКСТ РУССКОЙ ФАНТАСТИКИ"
248:, who are the patrons of the Russian land,
202:"The Life and Adventure of Shed Number XII"
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660:"Виктор Пелевин "Синий фонарь", 1993 год"
384:The Life and Adventure of Shed Number XII
311:real in the world of Pelevin's stories.
16:Short story collection by Viktor Pelevin
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315:of Pelevin's stories is not possible.
261:"A Werewolf Problem in Central Russia"
157:which was included in the collection.
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535:"The Blue Lantern and Other Stories"
394:A Werewolf Problem in Central Russia
613:The Blue Lantern and Other Stories
460:The Tambourine of the Upper World
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823:Пальчик, Юлия Викторовна (2003).
141:) is a short story collection by
865:from the original on 2019-11-13.
283:through the theory of a certain
909:Russian short story collections
846:(Thesis) (in Russian). Москва.
829:(Thesis) (in Russian). Самара.
330:which the author ironizes the
147:Blue Lantern and Other Stories
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878:Виктор Пелевин "Синий фонарь"
639:Виктор Пелевин "Синий фонарь"
616:. New Directions Publishing.
904:1991 short story collections
191:Russian classical literature
658:Inc, TV Rain (2017-10-21).
414:Vera Pavlovna's Ninth Dream
351:"The Ontology of Childhood"
240:motifs. Thus, in the story
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399:Prince of Central Planning
439:The Ontology of Childhood
358:of childhood is his only
153:. Named after the story
151:New Directions Publishing
24:
899:Novels by Victor Pelevin
610:Pelevin, Victor (1997).
31:First edition (Russian)
793:Е.е, Сергеева (2011).
739:В, Щучкина Т. (2009).
590:World Literature Today
434:Bulldozer Driver's Day
295:The hero of the story
167:mystical-philosophical
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481:Music from the Pillar
471:Weapon of Retaliation
207:Spiritual improvement
486:Kreger’s Revelation
857:Е.М.Неёлов (2002).
515:archive.nytimes.com
424:Tai Shou Chuan USSR
389:Hermit and Six-Toes
332:Soviet state system
228:orientation of the
47:Original title
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688:has generic name (
563:Worlds Without End
511:"The Blue Lantern"
270:Russian folk tales
186:"The Blue Lantern"
623:978-0-8112-1434-6
539:www.goodreads.com
491:The Reconstructor
444:Built-in Reminder
378:Collected Stories
336:"News from Nepal"
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180:The common
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596:2021-02-13
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497:References
281:"Mardongi"
259:The story
218:fairy tale
807:2219-8784
753:2541-9358
664:tvrain.ru
360:happiness
230:narrative
73:Publisher
863:Archived
774:proza.ru
678:cite web
449:Mid-Game
429:Mardongi
356:emotions
343:"Uhryab"
274:werewolf
238:folklore
110:320 pp
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305:reality
297:"Sleep"
211:freedom
135:Russian
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404:Sleep
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