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P.A. Sharova1, E.A. Aleshugina2

1Liceum №87 by L.I. Novikova, Nizhny Novgorod, Russia 2Nizhny Novgorod State University of Architecture and Civil Engineering,

Nizhny Novgorod, Russia

MAXIM GORKY'S PLACES IN NIZHNY NOVGOROD IN HIS ADULT

PERIOD

The names of many cities are associated in our minds with the names of famous writers whom these cities stimulated for literary creativity. For example, St. Petersburg is the streets and houses associated with the heroes of novels and stories by F. Dostoevsky. Kostroma - merchant Russia from the plays of A. Ostrovsky. Pyatigorsk is a city that has preserved many places associated with M. Lermontov, who loved the Caucasus and wrote about it. Boldino is Pushkin at his best. However, Nizhny Novgorod is the city of M. Gorky, his childhood and growing up. The city, which gave the writer a lot of plots and prototypes for creating plays and stories. The city remembers its famous fellow countryman and keeps the memory of him in the museums created, in the erected monuments, in the names of streets, squares and theaters.

A.M. Gorky or Maxim Gorky is a famous Russian writer whose life and work is closely connected with my native city Nizhny Novgorod.

The relevance of the topic is due to the increased interest in the life of the writer in Nizhny Novgorod in connection with the 800th anniversary of Nizhny Novgorod.

The object of the research are the writer's places of residence in Nizhny Novgorod. The subject of the study is the life and work of our countryman in these cities. The goals of the research is to explore Maxim Gorky’s places in Nizhny Novgorod.

The task of the research work is:

1.To identify the places of the writer's stay in the cities of Nizhny Novgorod in his adult period.

2.Determine the type of activity of M. Gorky, linking it with his location in these cities.

3.To reveal, with what works the stay of the writer in our regional and regional centers is connected.

The results of the research work can be used in teaching the work of M. Gorky at school, preparing special courses on literary local history or in creating an excursion route “M. Gorky’s places in Nizhny Novgorod. Adult period”.

In March 1898, M. Gorky and his family rented an apartment on the first floor of the two-story Bolshakova house, located in the back of the courtyard in Ilyinskaya [Fig.1]. Significant events are connected with the life of the writer in

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this house. This is, first of all, the appearance of his first book – the two-volume Essays and Stories, and work on the long story Foma Gordeev. But the creative activity of the writer was unexpectedly interrupted. In May 1898, he had to urgently leave the city. In August 1898 he returned to Nizhny Novgorod, but removed to another apartment.

Figure1. The House in Ilyinskaya Street

In the house in Polevaya Street A.M. Gorky settled with his wife Ekaterina Pavlovna and son Maxim on November 4, 1898 and lived here until March 1900 [Fig.2].

Figure 2. Kurepin's house in Polevaya Street

The apartment was large, occupied the entire second floor, but even here it soon became crowded. The popularity of the author of three books by that time, Essays and Stories, and the story Foma Gordeev, which began to be published in 1899 by the magazine Life, are growing. Numerous and interesting acquaintances are made with writers, artists, actors in Moscow, St. Petersburg, Crimea, where they already know the name of Gorky. I. Bunin, V. Gilyarovsky visited the house in Polevaya; publicist, editor-publisher V. Posse; editor of the "Journal for All" V. Mirolyubov and other prominent representatives of cultural Russia. Young writers from the people begin to reach out to Gorky. Maxim Gorky becomes a kind of center for the unification of cultural forces in Nizhny Novgorod - an active figure in local cultural, educational and other societies, an organizer of all kinds of events. He provided assistance to students exiled to the city for revolutionary activities, collected educational and visual aids for elementary schools. The energy of the writer aroused social thought, exposed the shady sides of the social life of the old city. At the beginning of March 1900,

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A. M. Gorky parted with an apartment in the Kurepin house, and left for the Crimea until September.

M. Gorky lived in this house from September 1900 to October 1901 [Figure 3]. But how eventful these months were in the life of a young, but already widely known writer. Here he wrote his first play, "The Petty Bourgeoises", which marked the beginning of a new stage in the development of Russian dramaturgy, many novels, articles, and reviews were written. Finally, the words of the famous "Song of the Petrel" were heard here. Her summoning cry "Let the storm blow harder!" was perceived in the democratic circles of Russian society as an anthem, as a harbinger of a revolution brewing in Russia.

Figure 3. House of V. M. Lemke in Kanatnaya Street

The growing popularity of M. Gorky is increasingly attracting attention to him in literary, artistic and public circles. Revolutionary youth are grouped around him: Chaliapin, V. I. Nemirovich-Danchenko, A. P. Chekhov, I. A. Bunin, N. G. Garin-Mikhailovsky, L. N. Andreev, S. G. Skitalets, artist M. V. Nesterov, who painted a sketch of the portrait of M. Gorky. He approaches the local Social Democrats, members of the first Nizhny Novgorod Committee of the RSDLP - I. P. Ladyzhnikov, V. A. Desnitsky, A. V. Yarovitsky. M. Gorky helps the committee with money, organizes help for the exiles, arranges Christmas trees for the children of the urban poor. On the night of April 17, 1901, gendarmes raided the writer's apartment. Gorky was arrested. He was to be deported from Nizhny Novgorod to Arzamas. But beforehand, under pressure from the public, the writer was allowed to go to the Crimea for treatment.

In 1880, merchant N.A. Bugrov is building an asylum for the homeless down Rozhdestvenskaya Street [Fig.4].

Figure 4. The asylum in Rozhdestvenskaya Street

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The writer then played the entire organizational role in this event (organization of people, search for funds, premises). “..We rented a room where people could sit warm, gave them a portion of tea for two kopecks, a pound of bread, organized a small library, set up a piano and organized concerts, literary readings on holidays ... Our shelter was located in a house with columns, its called "pillars". (M. Gorky. "N.A. Bugrov").

Friends of the writer doctors N.I. Dolgopolov, V.P. Zolotnitsky arranged a free dispensary in the tea room. The tea house "Pillars" was opened on November 21, 1901, but M. Gorky was not present at the opening of the "daytime shelter for tramps", he was in the Crimea. Later, and until his departure in 1904 from Nizhny Novgorod, the writer constantly followed the work of the "club".

Nizhny Novgorod residents love and appreciate their countryman: the central square and two streets (Maxim Gorky and Alyosha Peshkov) are named after him, monuments, busts and memorials have been erected (there are eight monuments in the city itself, the rest are located in the suburbs and the region).

Thus, it is possible to create an excursion route “M. Corky’s places in Nizhny Novgorod. Adult period” that will of great interest to all people who admire the creative works and books by this outstanding Russian writer.

References

1.Tolmacheva N. Yu. "Nizhny Novgorod in Maxim Gorky's short prose" Proceedings of the International Conference of Gorky Readings, Nizhny Novgorod, UNN Publishing House, 2006.

2.Gorkovskye mesta v Nizhnem Novgorode. Text. [Electronic resource].

-URL access mode: http://21vu.ru/russia/nn/36012-gorkovskie-mesta-v- nizhnem-novgorode. (Access on: 26.02.2022)

3.Portret Gorkovo Maksima. Valentin Serov. Picture. [Electronic resource]. - URL access mode: http://fb.ru/article/188660/portret-gorkogo- maksima-valentin-serov. (Access on: 01.03.2022)

E. S. Yagodova, E. V. Vasileva

St. Petersburg State Forest Technical University,

St. Petersburg, Russia

THE GOTHIC DOPPELGÄNGER MOTIF IN P. LARRAÍN’S “SPENCER”

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It seems, there have always been two Dianas. Even during her own lifetime, Princess Diana (née Spencer) was more often than not viewed as a symbolic figure rather than a real person. Biographers, journalists, as well as ordinary people sought to define her by inscribing her story into multiple conventional narratives, such as those of a modern-day Cinderella or a new reincarnation of the Roman Goddess Diana. C. Paglia addressed this phenomenon in her 1992 essay “Diana Regina,” five years prior to Diana’s death [4].

Diana’s untimely demise in 1997 made these attempts to ‘explain’ the late princess through another image even more obvious. As early as 1998, D. Harris would disapprovingly discuss the “kitschification” of Princess Diana: “The entire tragedy was seen through the vaseline lens of a ready-made narrative: the fairy tale, an illustrated children’s story in which Disney meets Grimm. Buckingham Palace was transformed into an enchanted castle and Diana into an imprisoned Rapunzel, a persecuted virgin cloistered in a tower…” [2, pp. 279— 280]. A year later, J. Caputi, a feminist scholar at Florida Atlantic University, would study the phenomenon of the “sanctification of Diana” [1].

Twenty-five years later, Lady Diana’s story is still being reimagined and retold so as to make it a part of a bigger discourse and to draw a parallel between Diana and another historical, mythical or fictional character. A new take on her biography has been proposed in a critically acclaimed film “Spencer” (2021) by a Chilean director P. Larraín from S. Knight’s original screenplay. Larraín and Knight have tried to present Diana as a typical gothic heroine – tormented, losing her sanity, isolated and controlled by a patriarchal tyrant, personified by the late Queen Elizabeth II.

Gothic novel was a prominent genre within British Sentimental and early Romantic fiction (the most famous representatives of the tradition being H. Walpole, A. Radcliffe, M.G. Lewis, M. Shelley, C.R. Maturin, et al.), – extremely popular at first, – but which came out of literary vogue around the end of the 1820s and subsequently broke up into a number of subgenres, such as ghost story, sensation novel, horror novel, science fiction novel, crime fiction, etc. All of these subgenres bear significant resemblance to the original gothic novel, borrowing from it the most characteristic tropes, such as the gothic chronotope, a typically gothic set of characters, and the overall daunting atmosphere of utter helplessness and predetermination.

Larraín’s “Spencer” is essentially claustrophobic: kept under custody in a palace-turned-prison locus horribilis, with heavy curtains sewn together as if for her own safety and comfort, surveilled and intercepted 24/7, Diana seems to be a perfect portrayal of a character experiencing “a psychological dread of confinement, dungeons and prisons, insane asylums, premature burial, patriarchal marriage, and emotional repression,” – the recurring motifs in Gothic

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literature, according to M.E. Snodgrass [5, p. 59]. Deprived of even the slightest illusion of freedom, Diana becomes mentally unstable, although her condition is exposed in the film even before she arrives at Sandringham House through a symbolic line which ironically becomes the first she utters: “Where the f**k am I?” Diana is obviously lost, but this has nothing to do with finding her way to the Queen’s Norfolk residence.

At Sandringham her condition worsens: the Royal family expect Diana to follow a certain code, and the more she protests against their control, the harsher sanctions they impose upon her. At some point, her husband explains the state of affairs to her: “There has to be two of you. There’s the real you. And the one they take pictures of.” This frightening fragmentation of the self seems to be the only way out: the real Diana has to be concealed behind closed doors and sealed curtains, while the ‘acceptable,’ yet completely fake Diana can be presented to the public with no harm to the reputation of the House of Windsor.

Being initially troubled, Diana, upon learning this, begins to display graver symptoms: her bulimia is followed by alarming fits of self-harm and ultimately by hallucinations, presented in the film as ghostly apparitions of Anne Boleyn’s spectral figure.

Anne Boleyn (c. 1501—1536) was the second wife of King Henry VIII of England, wrongly accused by her royal spouse of high treason and adultery and subsequently beheaded. In the late 1550s under the rule of her daughter Elizabeth I, Anne was completely rehabilitated and even began to be venerated as a true martyr. In Larraín’s film Anne becomes Diana’s obsessive idea for a number of reasons. In the first place, the Boleyns and the Spencers are believed to be related by blood through Anne’s sister Mary. Secondly, their life stories share a lot of details in common, although some critics have found this comparison inappropriate and the historical parallels, drawn by Larraín and Knight, not convincing enough to justify Anne Boleyn’s appearance as Diana’s alter ego [3]. But for Diana-the protagonist of Larraín’s film, the connection between herself and her ancestor is obvious. The more she reads about Boleyn’s life, the more attached she becomes to this pale spectre, the easier it is for her to project her concerns onto the woman who was going through similar hardships five hundred years ago.

In the gothic and post-gothic novels of the 19th—20th centuries, doppelgängers usually appear for a complex reason: they serve as a ‘demon double’ of the protagonist, at the same time exposing the protagonist’s hidden passion or secret desire (compare Medardus and the Count, Victor Frankenstein and the Monster, Jane Eyre and Bertha Rochester, Dr Jekyll and Mr Hyde, etc.).

In the film, Anne Boleyn’s spectre however seems to serve a different purpose: she is an embodiment of Diana’s fears and of her pain. The ghost shows itself in critical situations when Diana needs warning or moral support –

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when she is forced to eat Christmas dinner in the presence of the Queen and her guests despite suffocation and utter disgust, when she is expected to join the Royal family on the Boxing Day evening, when she is pondering suicide in the devastated Althorp. Anne Boleyn’s tragic story helps Diana realize she has been lied to: the only way out of the horror of her life is to leave the fake Princess Diana behind and finally own her life as the real Diana, which she eventually does, taking the children with her away from Sandringham into the ‘outer world,’ where she can be just herself – Diana Spencer.

Thus, on the one hand, the doppelgänger motif is used by Larraín as a purely gothic literary device. Yet, on the other hand, by using this device, the director manages to reimagine Diana’s story: he inscribes her in a broader historical context as a way of ‘explaining’ her fate and still shows her as a unique figure, who has rightly become a symbol of resilience and independence.

References

1.Caputi, J. The Second Coming of Diana / J. Caputi // NWSA Journal. – 1999. – No. 2, Woman Created, Woman Transfigured, Woman Consumed. – P.103—123.

2.Harris, D. The Kitschification of Princess Diana / D. Harris // Salmagundi. – 1998. – No. 118/119. – P. 279—291.

3.Mitchell, M. Why ‘Spencer’s’ Anne Boleyn Comparison to Princess Diana Was Tenuous at Best / M. Mitchell // Newsweek. [Electronic resource]. - URL access mode: https://www.newsweek.com/spencer-princess-diana-anne- boleyn-reference-explained-1646363 (Access on: 01.10.2022)

4.Paglia, C. Vamps and Tramps: New Essays / C.Paglia. – New York: Vintage Books, 1994. – 560 p.

5.Snodgrass, M.E. Encyclopedia of Gothic Literature / M. E. Snodgrass.

–New York: Facts on File, 2005. – 480 p.

T.I. Volkova, E.E.Migunova

Nizhny Novgorod State University of Architecture and Civil Engineering,

Nizhny Novgorod, Russia

PHYLOSOPHY OF SMOOTH LINES IN ZAHA HADID'S

ARCHITECTURE

Architecture requires courage and determination from the author, an unconventional view of the world,of the position of a person in this world. This view was possessed by the great architect of modernity, Zaha Hadid. Its

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futuristic architecture is full of dynamics, boldness and cosmic images. The author's style is unique and inimitable: she was rightfully called Mozart in the world of architecture. Zaha Hadid's architectural objects have been built in 45 countries, including Russia, and paintings and drawings are in many museum collections. Plunging into the analysis and comprehension of Zaha Hadid's works, among the publications about her, one can find enthusiastic epithets addressed to her: "legendary", "ahead of time", "superstar", "unique", "queen of the curve" and others.

The purpose of the scientific work: to identify the aesthetic expressiveness of smooth lines in the architecture of Zaha Hadid.

The object of the study is the architecture of Zaha Hadid.

The subject of the study is the philosophy of smooth lines in the architecture of Zaha Hadid.

To achieve the goal, the following tasks were formulated:

1.To study the features of Zaha Hadid's architectural work.

2.To reveal philosophical ideas in her works and to determine the meaning of smooth lines in her work.

Zaha Hadid has been interested in architecture since childhood: she often went on excursions to ancient Sumerian cities, and became even more interested during the construction boom in the state of Iraq. When she was just starting to follow the path of creativity, many criticized her for the impracticality expressed in her works, as well as for the fantasticism – it seemed to people that it was impossible to realize Zaha's work.

However, after some time, other architects recognized Zaha Hadi after the creation of the fire station project at the Vitra furniture factory [Fig. 1]. This project cannot be considered unsuccessful, because, as the architect intended, it is multifunctional – after the fire station ceased to function, it was converted into a museum of chairs.

Zaha’s architectural style was different from the others: it lacked regular geometric shapes. Zaha compared her style with natural landscapes: in it, a

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large-scale object is harmonious, which is manifested in a small number of angles and a large number of smooth lines. Her works "move" and coincide with objects in nature. An example is the Messner Korones Mountain Museum [Fig.2]. The interior and exterior contrast with the shades. The main color inside is deep anthracite, and the outer part is in light colors, emphasizing the similarity with stones. Concrete blocks create the illusion of the continuation of the mountains.

Zaha Hadid created her objects related to the environment, added the exterior, and then continued in the interior. That is, the exterior and interior in her works are an inseparable whole. For example, the Me Dubai Hotel continues its futuristic, "alien" and "cosmic" exterior style [Fig. 3.1] in the interior [Fig. 3.2].

Abstract perception, broken geometry and distorted perspective are the features that transfer her inner soul to the viewer. They are united by weightlessness, lightness and, first of all, cause heightened emotions.

According to Zaha Hadid, the Russian avant-garde had a huge influence on her work. Her projects have always been more like abstraction than drawings. At the same time, the names of these works directly refer to the works of Russian avant-gardists, for example, the work "Tectonics of Malevich" 1977. Vasily Kandinsky influences it with his abstractionism, Kazemir Malevich with his suprematism, and El Lisitsin, Vladimir Tatlin and Ivan Leonidov played a role in its formation.

This influence led to the fact that in the early period of Hadid's work, deconstructivism became her main style, in which a significant difference is the visual violation of the laws of the art of construction – architectonics.

All buildings in her style seem to be falling, smooth and soft, as if they are very unstable and will now tilt or spread out on the sides. V. Kandinsky in the book "Point and line on the plane" wrote: "A geometric line is an invisible object. It is the trace of a moving point, that is, its product. It arose out of movement – namely, as a result of the destruction of the highest, self-contained rest of the point. Here there was a leap from statics to dynamics" [3, p.109]. All

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of Zaha Hadid's works have a futuristic look, and all the facets seem to flow into each other ("from static to dynamic"). The implementation of these projects in our time has become possible thanks to technological computer modeling.

The philosophy of smooth lines is directly related to the harmony of a person, with his perception of life and the environment. Harmony is a balance between the perception of the spiritual and material worlds, and if one of the sides changes, then the second one changes in direct proportion.

As for the lines, the dull, "dead" and rough architecture with straight lines rarely evokes positive emotions in a person. The architecture of countries with a predominance of strict geometric forms, houses -"boxes" often causes even psychological problems. Bad mood, "gray" and an empty view of the world can be caused by such aesthetics of architecture.

It is human nature to feel aesthetically beautiful, to enjoy nature, in which strict lines exist only at the macro level. We are only available to "live", smooth lines that pass from one natural object to another. This is where we feel comfort and harmony.

The aesthetics of smooth lines increases the level of sensory perception of the material world, which in turn provokes spiritual growth – a person feels harmony, reconnects with his beginning and nature.

With the help of smooth lines in her architectural style, Zaha Hadid did not just "enliven" buildings, she gave them the temperament peculiar to the people of the country where the project was being implemented, she adjusted them to the environment: colors, shapes, lighting – everything fits into it and seems natural. At the same time, this style exists in harmony with straight and strict lines, creating incredible architectural ensembles. Zaha's projects carry ideas, adapt to temporary and social changes.

Thus, the philosophy of straight lines in Zaha Hadid's architecture lies in the harmonious development of a person, in his perception of the environment. It is comfortable and functional, its plasticity eliminates unnecessary thoughts, while forcing you to strive for the "movements" of the lines of the building. This architecture influences a person's worldview, leaving a mark on the sensory perception of the material world.

References

1.Zaha Hadid. Architecture of modern times / Z. Hadid. // Bombora. - 2019. – 284 p.

2.Zaha Hadid. Great architects vol. 34 / N. Getashvili // Komsomolskaya Pravda. – 2016. – 72 p.

3.Kandinsky V. A point and a line on a plane / Vasily Kandinsky ; trans. with German E. Kozina. –St. Petersburg: Azbuka, Azbuka-Atticus, 2017. – 240 p.

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