{"id":1792,"date":"2023-08-10T18:56:25","date_gmt":"2023-08-11T01:56:25","guid":{"rendered":"https:\/\/live-usc-dornsife.pantheonsite.io\/alexander-zholkovsky\/?page_id=1792"},"modified":"2023-10-13T17:59:50","modified_gmt":"2023-10-14T00:59:50","slug":"listomania","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/listomania\/","title":{"rendered":"LISTOMANIA, OR CATALOG AS TECHNIQUE (WITH EXAMPLES FROM POETRY AND PROSE, CLASSICAL AND MODERN, WESTERN AND RUSSIAN)"},"content":{"rendered":"\n\n \n \n\n\n\n\n\n\n\n
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0.<\/b>\u00a0A disclaimer:<\/p>\n

(2)\u00a0Lisztomania<\/a><\/i><\/b>, a 1975 film by Ken Russell, drawn from a biography of Franz Liszt, has nothing whatsoever to do with this paper and is brought up solely to justify my stupidly catchy punning title, in order to give Professor Eric Naiman, is allegedly working on a monograph tentatively titled\u00a0Zholkovsky, Perversely<\/i>, something to chew on and hopefully make profound sense of.<\/p>\n

 <\/p>\n

1.\u00a0<\/b>One of the staple quotables from Vasilii Aksenov\u2019s\u00a0The Island of Crimea<\/i>\u00a0(Ostrov Krym<\/i>, written in 1979, published 1981, English translation by Michel Heim, 1983; very much in the news as we speak in 2014) is the list of goods the protagonist Andrei Luchnikov failed to bring along to the 1970s\u2019 Moscow from Paris.<\/p>\n

\u00ab\u041d\u0435 \u043a\u0443\u043f\u0438\u043b: \u0434\u0432\u043e\u0439\u043d\u044b\u0445 \u0431\u0440\u0438\u0442\u0432\u0435\u043d\u043d\u044b\u0445 \u043b\u0435\u0437\u0432\u0438\u0439, \u0446\u0432\u0435\u0442\u043d\u043e\u0439 \u043f\u043b\u0435\u043d\u043a\u0438 \u0434\u043b\u044f \u043c\u0438\u043d\u0438-\u0444\u043e\u0442\u043e, \u043a\u0443\u0431\u0438\u043a\u043e\u0432 \u0441\u043e \u0432\u0441\u043f\u044b\u0448\u043a\u0430\u043c\u0438, \u0434\u0436\u0430\u0437\u043e\u0432\u044b\u0445 \u043f\u043b\u0430\u0441\u0442\u0438\u043d\u043e\u043a, \u043f\u0435\u043d\u044b \u0434\u043b\u044f \u0431\u0440\u0438\u0442\u044c\u044f, \u0434\u043b\u0438\u043d\u043d\u044b\u0445 \u043d\u043e\u0441\u043a\u043e\u0432, \u0434\u0436\u0438\u043d\u0441\u043e\u0432 \u2013 \u043e, \u0411\u043e\u0436\u0435! \u2013 \u0432\u0435\u0447\u043d\u043e\u0435 \u0441\u043e\u0432\u0435\u0442\u0441\u043a\u043e\u0435 \u0437\u0430\u043a\u043b\u044f\u0442\u044c\u0435 \u2013 \u0434\u0436\u0438\u043d\u0441\u044b! \u2013 \u043c\u0430\u0435\u043a \u0441 \u043d\u0430\u0434\u043f\u0438\u0441\u044f\u043c\u0438, \u0431\u0435\u0433\u043e\u0432\u044b\u0445 \u0442\u0443\u0444\u0435\u043b\u044c, \u0436\u0435\u043d\u0441\u043a\u0438\u0445 \u0441\u0430\u043f\u043e\u0433, \u0433\u043e\u0440\u043d\u044b\u0445 \u043b\u044b\u0436, \u0441\u043b\u0443\u0445\u043e\u0432\u044b\u0445 \u0430\u043f\u043f\u0430\u0440\u0430\u0442\u043e\u0432, \u201c\u0432\u043e\u0434\u043e\u043b\u0430\u0437\u043e\u043a\u201d, \u043b\u0438\u0444\u0447\u0438\u043a\u043e\u0432 \u0441 \u0442\u0440\u0443\u0441\u0438\u043a\u0430\u043c\u0438, \u0448\u0435\u0440\u0441\u0442\u044f\u043d\u044b\u0445 \u043a\u043e\u043b\u0433\u043e\u0442\u043e\u043a, \u043a\u043e\u0441\u0442\u044f\u043d\u044b\u0445 \u0448\u043f\u0438\u043b\u0435\u043a, \u0441\u0432\u0438\u0442\u0435\u0440\u043e\u0432 \u0438\u0437 \u0430\u043d\u0433\u043e\u0440\u044b \u0438 \u043a\u0430\u0448\u043c\u0438\u0440\u0430, \u0442\u0430\u0431\u043b\u0435\u0442\u043e\u043a \u0430\u043b\u043a\u0430 \u0437\u0435\u043b\u044c\u0446\u0435\u0440, \u043f\u0435\u0440\u0435\u0445\u043e\u0434\u043d\u0438\u043a\u043e\u0432 \u0434\u043b\u044f \u043c\u0430\u0433\u043d\u0438\u0442\u043e\u0444\u043e\u043d\u043e\u0432, \u0431\u0443\u043c\u0430\u0436\u043d\u044b\u0445 \u0441\u0430\u043b\u0444\u0435\u0442\u043e\u043a, \u0442\u0430\u043b\u044c\u043a\u0430 \u0434\u043b\u044f \u043f\u0440\u0438\u043f\u0443\u0434\u0440\u0438\u0432\u0430\u043d\u0438\u044f \u0443\u043a\u0440\u043e\u043c\u043d\u044b\u0445 \u043c\u0435\u0441\u0442\u0435\u0447\u0435\u043a, \u043b\u0438\u043f\u043a\u043e\u0439 \u043b\u0435\u043d\u0442\u044b \u201c\u0441\u043a\u043e\u0447\u201d, \u0434\u0430 \u0438 \u0432\u0438\u0441\u043a\u0438 \u201c\u0441\u043a\u043e\u0447\u201d, \u0442\u043e\u043d\u0438\u043a\u0430, \u0434\u0436\u0438\u043d\u0430, \u0432\u0435\u0440\u043c\u0443\u0442\u0430, \u0447\u0435\u0440\u043d\u0438\u043b \u0434\u043b\u044f \u0440\u0443\u0447\u0435\u043a \u201c\u043f\u0430\u0440\u043a\u0435\u0440\u201d \u0438 \u201c\u043c\u043e\u043d\u0431\u043b\u0430\u043d\u201d, \u043a\u043e\u0436\u0430\u043d\u044b\u0445 \u043a\u0443\u0440\u0442\u043e\u043a, \u043a\u0430\u0441\u0441\u0435\u0442 \u0434\u043b\u044f \u0434\u0438\u043a\u0442\u043e\u0444\u043e\u043d\u043e\u0432, \u0448\u0435\u0440\u0441\u0442\u044f\u043d\u043e\u0433\u043e \u0431\u0435\u043b\u044c\u044f, \u0434\u0443\u0431\u043b\u0435\u043d\u043e\u043a, \u0437\u0438\u043c\u043d\u0438\u0445 \u0431\u043e\u0442\u0438\u043d\u043e\u043a, \u0437\u043e\u043d\u0442\u0438\u043a\u043e\u0432 \u0441 \u043a\u043d\u043e\u043f\u043a\u0430\u043c\u0438, \u043f\u0435\u0440\u0447\u0430\u0442\u043e\u043a, \u0441\u0443\u0445\u0438\u0445 \u0441\u043f\u0435\u0446\u0438\u0439, \u043a\u0443\u0445\u043e\u043d\u043d\u044b\u0445 \u043a\u0430\u043b\u0435\u043d\u0434\u0430\u0440\u0435\u0439, \u0442\u0430\u043c\u043f\u0435\u043a\u0441\u0430 \u0434\u043b\u044f \u043c\u0435\u043d\u0441\u0442\u0440\u0443\u0430\u0446\u0438\u0439, \u0444\u043b\u043e\u043c\u0430\u0441\u0442\u0435\u0440\u043e\u0432, \u0446\u0432\u0435\u0442\u043d\u044b\u0445 \u043d\u0438\u0442\u043e\u043a, \u0433\u0443\u0431\u043d\u043e\u0439 \u043f\u043e\u043c\u0430\u0434\u044b, \u0430\u043f\u043f\u0430\u0440\u0430\u0442\u043e\u0432 hi-fi, \u043b\u0430\u043a\u0430 \u0434\u043b\u044f \u043d\u043e\u0433\u0442\u0435\u0439 \u0438 \u0441\u043c\u044b\u0432\u043a\u0438, \u0441\u043c\u044b\u0432\u043a\u0438 \u0434\u043b\u044f \u043b\u0430\u043a\u0430 \u2013\u0432\u0435\u0434\u044c \u0441\u043a\u043e\u043b\u044c\u043a\u043e \u0443\u0436\u0435 \u043f\u043e\u0434\u0447\u0435\u0440\u043a\u0438\u0432\u0430\u043b\u043e\u0441\u044c \u043d\u0430\u0441\u0447\u0435\u0442 \u0441\u043c\u044b\u0432\u043a\u0438! \u2013 \u043e\u0431\u0440\u0443\u0447\u0430 \u0434\u043b\u044f \u0432\u043e\u043b\u043e\u0441, \u043f\u0440\u043e\u0442\u0438\u0432\u043e\u0437\u0430\u0447\u0430\u0442\u043e\u0447\u043d\u044b\u0445 \u043f\u0438\u043b\u044e\u043b\u044c \u0438 \u0434\u0435\u0442\u0441\u043a\u043e\u0433\u043e \u043f\u0438\u0442\u0430\u043d\u0438\u044f, \u043f\u0440\u0435\u0437\u0435\u0440\u0432\u0430\u0442\u0438\u0432\u043e\u0432 \u0438 \u0441\u043e\u0441\u043e\u043a \u0434\u043b\u044f \u0433\u0440\u0443\u0434\u043d\u044b\u0445, \u0442\u0440\u043e\u0439\u043d\u043e\u0439 \u0432\u0430\u043a\u0446\u0438\u043d\u044b \u0434\u043b\u044f \u0441\u043e\u0431\u0430\u043a\u0438, \u043f\u0440\u043e\u0442\u0438\u0432\u043e\u0431\u043b\u043e\u0448\u0438\u043d\u043e\u0433\u043e \u043e\u0448\u0435\u0439\u043d\u0438\u043a\u0430, \u0433\u0430\u0437\u043e\u0432\u044b\u0445 \u043f\u0438\u0441\u0442\u043e\u043b\u0435\u0442\u043e\u0432, \u0438\u0433\u0440\u044b \u201c\u041c\u043e\u043d\u043e\u043f\u043e\u043b\u044c\u201d, \u0432\u044b\u043a\u043b\u044e\u0447\u0430\u0442\u0435\u043b\u0435\u0439 \u0441 \u0440\u0435\u043e\u0441\u0442\u0430\u0442\u0430\u043c\u0438, \u043a\u043e\u0444\u0435\u043c\u043e\u043b\u043e\u043a, \u043a\u043e\u0444\u0435\u0432\u0430\u0440\u043e\u043a, \u0437\u0430\u0434\u044b\u043c\u043b\u0435\u043d\u043d\u044b\u0445 \u043e\u0447\u043a\u043e\u0432, \u043d\u0430\u0441\u0442\u0435\u043d\u043d\u044b\u0445 \u043e\u0442\u043a\u0440\u044b\u0432\u0430\u043b\u043e\u043a \u0434\u043b\u044f \u043a\u043e\u043d\u0441\u0435\u0440\u0432\u043e\u0432, \u0446\u0432\u0435\u0442\u043d\u044b\u0445 \u043f\u043b\u0435\u043d\u043e\u043a \u043d\u0430 \u0441\u0442\u043e\u043b, \u0444\u043e\u0442\u043e\u0430\u043f\u043f\u0430\u0440\u0430\u0442\u043e\u0432 \u201c\u043f\u043e\u043b\u044f\u0440\u043e\u0438\u0434\u201d, \u043e\u0433\u043d\u0435\u0442\u0443\u0448\u0438\u0442\u0435\u043b\u0435\u0439 \u0434\u043b\u044f \u043c\u0430\u0448\u0438\u043d\u044b, \u043a\u0430\u0441\u0441\u0435\u0442\u043d\u0438\u043a\u0430 \u0434\u043b\u044f \u043c\u0430\u0448\u0438\u043d\u044b, \u043d\u0430\u0441\u0430\u0434\u043a\u0438 STR \u0434\u043b\u044f \u043c\u043e\u0442\u043e\u0440\u043d\u043e\u0433\u043e \u043c\u0430\u0441\u043b\u0430, \u0433\u0430\u0437\u043e\u0432\u044b\u0445 \u0431\u0430\u043b\u043b\u043e\u043d\u043e\u0432 \u0434\u043b\u044f \u0437\u0430\u0436\u0438\u0433\u0430\u043b\u043e\u043a \u0438 \u0441\u0430\u043c\u0438\u0445 \u0437\u0430\u0436\u0438\u0433\u0430\u043b\u043e\u043a \u0441 \u043f\u044c\u0435\u0437\u043e\u043a\u0440\u0438\u0441\u0442\u0430\u043b\u043b\u043e\u043c, \u043a\u043b\u0435\u0435\u043d\u043a\u0438 \u0434\u043b\u044f \u0432\u0430\u043d\u043d\u044b \u2013 \u0441 \u043a\u043e\u043b\u0435\u0447\u043a\u0430\u043c\u0438! \u2013 \u0447\u0430\u0441\u043e\u0432 \u201c\u043a\u0432\u0430\u0440\u0446\u201d, \u0433\u0430\u043b\u043e\u0433\u0435\u043d\u043d\u044b\u0445 \u0444\u0430\u0440, \u0432\u044f\u0437\u0430\u043d\u044b\u0445 \u0433\u0430\u043b\u0441\u0442\u0443\u043a\u043e\u0432, \u0436\u0443\u0440\u043d\u0430\u043b\u043e\u0432 \u201cVogue\u201d, \u201cPlayboy\u201d, \u201cDownbeat\u201d, \u0437\u0430\u043c\u0448\u0438, \u0437\u0430\u043c\u0448\u0438 \u0438 \u0447\u0435\u0433\u043e-\u043d\u0438\u0431\u0443\u0434\u044c \u0438\u0437 \u0436\u0440\u0430\u0442\u0432\u044b\u2026\u00bb<\/p>\n

\u201cFailed to buy double razor blades, color film for mini-photos, flash-bulbs, jazz records, shaving cream, long socks, jeans – Oh, God! The eternal Soviet swear word jeans! \u2013 T-shirts with logos, running shoes, women\u2019s boots, downhill skis, sound systems, skivvies, bras and panties, woolen pantyhose, ivory hairpins, angora and cashmere sweaters, Alka-Seltzer tablets, power cab1es for tape- recorders, pa per napkins, talcum powder for secluded spots, Scotch tape and Scotch whisky, tonic, gin, vermouth, ink for Parker and Mont Blanc pens, leather jackets, Dictaphone cassettes, woolen underwear, sheepskin coats, winter boots, foldaway umbrellas, gloves, dried spices, kitchen calendars, tampons, flow-masters, colored thread, lipstick, hi-fi apparatus, nail polish and nail polish remover \u2013 how this was underlined! \u2013 hair-bands, contraceptive pills and children\u2019s food, condoms and teats for babies\u2019 bottles, triple vaccines for dogs, a flea collar, air pistols, Monopoly games, electric switches and rheostats, coffee grinders, coffee urns, dark glasses, wall-mounted can openers, colored stick-on veneers for tables, Polaroid cameras, car fire extinguishers, car cassette players, STP nozzles for auto grease, gas cylinders for cigarette lighters and piezo-electric lighters, shower curtains with rings, quartz watches, halogen headlamps, knitted ties, Vogue, Playboy, Downbeat, suede leather, and any kind of food he could lay his hands on.\u201d<\/p>\n

The list is of historical and ethnographic interest but rather long, deploying as it does about 200 words and over 70 items. It is hard to read through the end, — which, of course, is not necessarily bad. The progenitor of all such catalogs, the list of Achaean ships in Canto II of the Iliad, is way longer (around 300 hexameter verses). Small wonder Osip Mandel\u2019shtam confessed reaching only its middle.<\/p>\n

There exists a respectable set of studies of Homeric and similar catalogs and, most recently, an impressive piece on Russian literary catalogs with special reference to the poetry of Mikhail Kuzmin by Stanislav Shvabrin (Svabrin<\/i>\u00a02011). In light of this scholarship, I was enticed to look at the traditional roots of Aksyonov\u2019s list of\u00a0desirabilia<\/i>.<\/p>\n

Homer\u2019s catalog is not just a list but a list of lists, and it inventories not so much ships as the names of the commanders from different areas of Greece and the nameless soldiers led by them, whose numbers are suggested by the number of vessels.<\/p>\n

The readability of this catalog has been debated since Aristotle, the argument hinging on the role it can be shown to play in the narrative design of the entire epic (and I\u2019ll skip this).<\/p>\n

Be that as it may, the catalog remains a huge chunk of static, un-emplotted material, — unlike the portrayal of Achilles\u2019 shield in Canto XVII, which was glorified by Lessing for presenting not merely a picturesque list of ornaments but rather the story of its manufacture by Hephaestus.<\/p>\n

A history of creating — rather than a list of the created — opens the Bible (postdating the Iliad by only a couple of centuries). Heaven, earth, day, night, land, water, grass, trees and so on — all the way to man, are shown emerging in a six-stage narrative of their creation.<\/p>\n

In Homer, unlike Mandel\u2019shtam\u2019s very dynamic picture:<\/p>\n

\u2026\u0421\u0435\u0439 \u0434\u043b\u0438\u043d\u043d\u044b\u0439 \u0432\u044b\u0432\u043e\u0434\u043e\u043a, \u0441\u0435\u0439\u00a0\u043f\u043e\u0435\u0437\u0434<\/b>\u00a0\u0436\u0443\u0440\u0430\u0432\u043b\u0438\u043d\u044b\u0439, \u0427\u0442\u043e \u043d\u0430\u0434 \u042d\u043b\u043b\u0430\u0434\u043e\u044e\u00a0\u043a\u043e\u0433\u0434\u0430-\u0442\u043e \u043f\u043e\u0434\u043d\u044f\u043b\u0441\u044f<\/b>, \u041a\u0430\u043a\u00a0\u0436\u0443\u0440\u0430\u0432\u043b\u0438\u043d\u044b\u0439 \u043a\u043b\u0438\u043d \u0432 \u0447\u0443\u0436\u0438\u0435 \u0440\u0443\u0431\u0435\u0436\u0438<\/b>\u00a0— \u041d\u0430 \u0433\u043e\u043b\u043e\u0432\u0430\u0445 \u0446\u0430\u0440\u0435\u0439 \u0431\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u0430\u044f \u043f\u0435\u043d\u0430 —\u00a0\u041a\u0443\u0434\u0430 \u043f\u043b\u044b\u0432\u0435\u0442\u0435<\/b>\u00a0\u0432\u044b? <\u2026> \u0418 \u043c\u043e\u0440\u0435, \u0438 \u0413\u043e\u043c\u0435\u0440 \u2013 \u0432\u0441\u0435\u00a0\u0434\u0432\u0438\u0436\u0435\u0442\u0441\u044f<\/b>\u00a0\u043b\u044e\u0431\u043e\u0432\u044c\u044e <\u2026> (\u041c\u0430\u043d\u0434\u0435\u043b\u044c\u0448\u0442\u0430\u043c, \u00ab\u0411\u0435\u0441\u0441\u043e\u043d\u043d\u0438\u0446\u0430. \u0413\u043e\u043c\u0435\u0440. \u0422\u0443\u0433\u0438\u0435 \u043f\u0430\u0440\u0443\u0441\u0430\u2026\u00bb),
\nthe ships do not fly or sail, but are simply listed as having arrived.<\/a><\/p>\n

2.\u00a0<\/b>To be sure, the literary value of a catalog cannot be confines to its dynamism. Inserting a catalog into a literary text is a special case of the splicing \u201cOperation Intertext.\u201d It involves an interaction of the main, literary, text with an “alien” object: a quote from the classics, description of a painting (ekphrasis<\/i>), a philosophical paradigm, a fragment of non-fiction\u00a0[1]<\/a>. The mechanism of such transplantation includes a range of options: from a mere copying of the inserted piece to its radical reformatting.<\/p>\n

Literary appropriation of a catalog (= a specimen of nonliterary, everyday, business prose) creates tension between loyalty (naive or deliberate) to its extant parameters and their purposeful transformation. The length, order and uniformity of practical inventories are welcome in their literary versions, as they help create a semantic halo of memory and authenticity, but as a rule, they need further, fictional, “fine-tuning.”<\/p>\n

The \u201cmemory<\/b>\u201d element is well served by the very principle of itemizing, preferably exhaustive: the longer the list, the more convincing it is. In texts designed for oral performance, the mnemonic aspect plays a special role. As human memory prefers storing narratives, rather than inventories, delivering catalogical passages is much harder than retelling even complicated plots; as a result, these passages become a sort of high-wire act. They require the use of special mnemonic techniques, thus enriching the text with additional artistic patterns — semantic, narrative, spatial, phonetic etc. (Minchin 1996).<\/p>\n

As for the aura of\u00a0authenticity<\/b>, literary catalogs owe it to the same diligent enumeration, claiming, as it were, no artistic boldness or narrative interest. However, such a lack may conflict with the desirability of entertainment value, — a contradiction that generates a variety of artistic solutions. The linear order inherent in catalogs is quite welcome in poetic texts, as it fits naturally their \u201csuccessive\u201d format, to use Iurii Tynianov\u2019s signature formula (suktsessivnost\u2019 stikhovogo riada<\/i>); it also helps with verse\u2019s mnemonic function. It is more of a problem for prose and other storytelling genres, which have had to develop multiple techniques of narrativizing their lists.<\/a><\/p>\n

In turn, the uniformity, that is, the initial\u00a0equality<\/b>\u00a0of listed items, potentially contradicts the task of promoting the catalog\u2019s “sponsor.” There are various gradations of\u00a0hierarchical orientation<\/b>\u00a0toward the top. For instance, Homer\u2019s ships are, of course, geared to the victory over Troy, but their list is quite extensive and thus horizontal. On the other hand, each verse of Ezekiel\u2019s biblical “Lament over Tyre\u201d either glorifies Tyre\u2019s greatness or prophesies its fall\u00a0[2]<\/a>.<\/p>\n

Verticality reaches its maximum in those texts where the listed items are not simply subordinated to the one at the top (as its possessions, tools or other attributes), but are its inalienable characteristics, manifestations, names. Such are the multiple names of gods and titles of monarchs, e.g.:<\/p>\n

\u0422\u0438\u0442\u0443\u043b\u0430\u0442\u0443\u0440\u0430 \u041d\u0438\u043a\u043e\u043b\u0430\u044f II:<\/p>\n

\u00ab\u0418\u043c\u043f\u0435\u0440\u0430\u0442\u043e\u0440 \u0438 \u0421\u0430\u043c\u043e\u0434\u0435\u0440\u0436\u0435\u0446 \u0412\u0441\u0435\u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0439, \u041c\u043e\u0441\u043a\u043e\u0432\u0441\u043a\u0438\u0439, \u041a\u0438\u0435\u0432\u0441\u043a\u0438\u0439, \u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440\u0441\u043a\u0438\u0439, \u041d\u043e\u0432\u0433\u043e\u0440\u043e\u0434\u0441\u043a\u0438\u0439, \u0426\u0430\u0440\u044c \u041a\u0430\u0437\u0430\u043d\u0441\u043a\u0438\u0439, \u0426\u0430\u0440\u044c \u0410\u0441\u0442\u0440\u0430\u0445\u0430\u043d\u0441\u043a\u0438\u0439, \u0426\u0430\u0440\u044c \u041f\u043e\u043b\u044c\u0441\u043a\u0438\u0439, \u0426\u0430\u0440\u044c \u0421\u0438\u0431\u0438\u0440\u0441\u043a\u0438\u0439, \u0426\u0430\u0440\u044c \u0425\u0435\u0440\u0441\u043e\u043d\u0438\u0441\u0430 \u0422\u0430\u0432\u0440\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e, \u0426\u0430\u0440\u044c \u0413\u0440\u0443\u0437\u0438\u043d\u0441\u043a\u0438\u0439, \u0412\u0435\u043b\u0438\u043a\u0438\u0439 \u041a\u043d\u044f\u0437\u044c \u0424\u0438\u043d\u043b\u044f\u043d\u0434\u0441\u043a\u0438\u0439 \u0438 \u043f\u0440\u043e\u0447\u0430\u044f, \u0438 \u043f\u0440\u043e\u0447\u0430\u044f, \u0438 \u043f\u0440\u043e\u0447\u0430\u044f\u00bb.<\/p>\n

(Nicolas II, Emperor and Autocrat of all the Russias, of Moscow, Kiev\u2026)<\/p>\n

Scholars distinguish between simple\u00a0lists<\/b>\u00a0and more detailed, so to speak, annotated\u00a0catalogs<\/b>\u00a0proper. I would also separate \u201creal” lists\/catalogs from other enumerative constructions widely used in literature. The ones I\u2019ll be focusing on are characterized by:<\/p>\n

– countability, that is, a clear tendency to exhaust the entire set;<\/p>\n

– use of numerals and proper names;<\/p>\n

– mention of a written or otherwise compiled and physically existing inventory;<\/p>\n

– foregrounding of its textuality, verbal nature, i. e. its role as “a text inside a text”;<\/p>\n

– and dialogic presentation, emphasizing the status of a list as a social document.<\/p>\n

 <\/p>\n

As we proceed to consider samples of literary catalogs, we will be paying attention to the\u00a0paradoxical reconfiguration<\/b>\u00a0of their main parameters, that is, the way<\/p>\n

– enumeration mutates into narrative;<\/p>\n

– factography turns virtual and fictional;<\/p>\n

– the horizontal becomes vertical;<\/p>\n

– and the purely informational is textualised, so that matter-of-fact data about persons and objects begin to look like a collection of exotic appellations.<\/p>\n

 <\/p>\n

3.\u00a0<\/b>Among Russian classics, Gogol is known for having styled himself as a Homer.\u00a0Taras Bulba<\/i>, his attempt at a national epic, abounds in catalog sequences, whose memorial character is often emphasized by the motif of\u00a0death in battle<\/b>.<\/p>\n

In\u00a0Dead Souls<\/i>, some catalog passages sound quasi-Homeric, for instance the list of Sobakevich\u2019s dead serfs in Chapter V.<\/p>\n

\u00ab- \u0412\u043e\u0442, \u043d\u0430\u043f\u0440\u0438\u043c\u0435\u0440, \u043a\u0430\u0440\u0435\u0442\u043d\u0438\u043a\u00a0\u041c\u0438\u0445\u0435\u0435\u0432<\/b>! \u0432\u0435\u0434\u044c \u0431\u043e\u043b\u044c\u0448\u0435 \u043d\u0438\u043a\u0430\u043a\u0438\u0445 \u044d\u043a\u0438\u043f\u0430\u0436\u0435\u0439 \u0438 \u043d\u0435 \u0434\u0435\u043b\u0430\u043b, \u043a\u0430\u043a \u0442\u043e\u043b\u044c\u043a\u043e \u0440\u0435\u0441\u0441\u043e\u0440\u043d\u044b\u0435 <\u2026> [\u041f]\u0440\u043e\u0447\u043d\u043e\u0441\u0442\u044c \u0442\u0430\u043a\u0430\u044f, \u0441\u0430\u043c \u0438 \u043e\u0431\u043e\u0431\u044c\u0435\u0442, \u0438 \u043b\u0430\u043a\u043e\u043c \u043f\u043e\u043a\u0440\u043e\u0435\u0442! <\u2026> \u0410\u00a0\u041f\u0440\u043e\u0431\u043a\u0430 \u0421\u0442\u0435\u043f\u0430\u043d<\/b>, \u043f\u043b\u043e\u0442\u043d\u0438\u043a? \u044f \u0433\u043e\u043b\u043e\u0432\u0443 \u043f\u0440\u043e\u0437\u0430\u043a\u043b\u0430\u0434\u0443\u044e, \u0435\u0441\u043b\u0438 \u0432\u044b \u0433\u0434\u0435 \u0441\u044b\u0449\u0435\u0442\u0435 \u0442\u0430\u043a\u043e\u0433\u043e \u043c\u0443\u0436\u0438\u043a\u0430 <\u2026> \u0421\u043b\u0443\u0436\u0438 \u043e\u043d \u0432 \u0433\u0432\u0430\u0440\u0434\u0438\u0438, \u0435\u043c\u0443 \u0431\u044b \u0411\u043e\u0433 \u0437\u043d\u0430\u0435\u0442 \u0447\u0442\u043e \u0434\u0430\u043b\u0438, \u0442\u0440\u0435\u0445 \u0430\u0440\u0448\u0438\u043d \u0441 \u0432\u0435\u0440\u0448\u043a\u043e\u043c \u0440\u043e\u0441\u0442\u043e\u043c! <\u2026>\u00a0\u041c\u0438\u043b\u0443\u0448\u043a\u0438\u043d<\/b>, \u043a\u0438\u0440\u043f\u0438\u0447\u043d\u0438\u043a! \u043c\u043e\u0433 \u043f\u043e\u0441\u0442\u0430\u0432\u0438\u0442\u044c \u043f\u0435\u0447\u044c \u0432 \u043a\u0430\u043a\u043e\u043c \u0443\u0433\u043e\u0434\u043d\u043e \u0434\u043e\u043c\u0435.\u00a0\u041c\u0430\u043a\u0441\u0438\u043c \u0422\u0435\u043b\u044f\u0442\u043d\u0438\u043a\u043e\u0432<\/b>, \u0441\u0430\u043f\u043e\u0436\u043d\u0438\u043a: \u0447\u0442\u043e \u0448\u0438\u043b\u043e\u043c \u043a\u043e\u043b\u044c\u043d\u0435\u0442, \u0442\u043e \u0438 \u0441\u0430\u043f\u043e\u0433\u0438, \u0447\u0442\u043e \u0441\u0430\u043f\u043e\u0433\u0438, \u0442\u043e \u0438 \u0441\u043f\u0430\u0441\u0438\u0431\u043e <\u2026> \u0414\u0430, \u043a\u043e\u043d\u0435\u0447\u043d\u043e, \u043c\u0435\u0440\u0442\u0432\u044b\u0435 <\u2026> \u0412\u043f\u0440\u043e\u0447\u0435\u043c, \u0438 \u0442\u043e \u0441\u043a\u0430\u0437\u0430\u0442\u044c: \u0447\u0442\u043e \u0438\u0437 \u044d\u0442\u0438\u0445 \u043b\u044e\u0434\u0435\u0439, \u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u0447\u0438\u0441\u043b\u044f\u0442\u0441\u044f \u0442\u0435\u043f\u0435\u0440\u044c \u0436\u0438\u0432\u0443\u0449\u0438\u043c\u0438? \u0427\u0442\u043e \u044d\u0442\u043e \u0437\u0430 \u043b\u044e\u0434\u0438? \u043c\u0443\u0445\u0438, \u0430 \u043d\u0435 \u043b\u044e\u0434\u0438 <\u2026><\/p>\n

\u0427\u0438\u0447\u0438\u043a\u043e\u0432 \u043f\u043e\u043f\u0440\u043e\u0441\u0438\u043b\u00a0\u0441\u043f\u0438\u0441\u043e\u0447\u043a\u0430 \u043a\u0440\u0435\u0441\u0442\u044c\u044f\u043d<\/b>. \u0421\u043e\u0431\u0430\u043a\u0435\u0432\u0438\u0447 <\u2026> \u0441\u043e\u0431\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0440\u0443\u0447\u043d\u043e \u043f\u0440\u0438\u043d\u044f\u043b\u0441\u044f\u00a0\u0432\u044b\u043f\u0438\u0441\u044b\u0432\u0430\u0442\u044c<\/b>\u00a0\u0432\u0441\u0435\u0445 \u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e\u00a0\u043f\u043e\u0438\u043c\u0435\u043d\u043d\u043e<\/b>, \u043d\u043e \u0434\u0430\u0436\u0435 \u0441 \u043e\u0437\u043d\u0430\u0447\u0435\u043d\u0438\u0435\u043c \u043f\u043e\u0445\u0432\u0430\u043b\u044c\u043d\u044b\u0445 \u043a\u0430\u0447\u0435\u0441\u0442\u0432 <\u2026> [\u0427\u0438\u0447\u0438\u043a\u043e\u0432] <\u2026> \u043f\u043e\u0434\u0438\u0432\u0438\u043b\u0441\u044f \u0430\u043a\u043a\u0443\u0440\u0430\u0442\u043d\u043e\u0441\u0442\u0438 \u0438 \u0442\u043e\u0447\u043d\u043e\u0441\u0442\u0438: \u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u0431\u044b\u043b\u043e \u043e\u0431\u0441\u0442\u043e\u044f\u0442\u0435\u043b\u044c\u043d\u043e\u00a0\u043f\u0440\u043e\u043f\u0438\u0441\u0430\u043d\u043e<\/b>\u00a0\u0440\u0435\u043c\u0435\u0441\u043b\u043e, \u0437\u0432\u0430\u043d\u0438\u0435, \u043b\u0435\u0442\u0430 \u0438 \u0441\u0435\u043c\u0435\u0439\u043d\u043e\u0435 \u0441\u043e\u0441\u0442\u043e\u044f\u043d\u0438\u0435, \u043d\u043e \u0434\u0430\u0436\u0435\u00a0\u043d\u0430 \u043f\u043e\u043b\u044f\u0445<\/b>\u00a0\u043d\u0430\u0445\u043e\u0434\u0438\u043b\u0438\u0441\u044c \u043e\u0441\u043e\u0431\u0435\u043d\u043d\u044b\u0435\u00a0\u043e\u0442\u043c\u0435\u0442\u043a\u0438<\/b>\u00a0\u043d\u0430\u0441\u0447\u0435\u0442 \u043f\u043e\u0432\u0435\u0434\u0435\u043d\u0438\u044f, \u0442\u0440\u0435\u0437\u0432\u043e\u0441\u0442\u0438, — \u0441\u043b\u043e\u0432\u043e\u043c, \u043b\u044e\u0431\u043e \u0431\u044b\u043b\u043e \u0433\u043b\u044f\u0434\u0435\u0442\u044c\u00bb.<\/p>\n

The nostalgic memorial note is trumpeted ironically as Sobakevich, trying to inflate the price, extolls their virtues. Eventually it comes to the actual writing out of the list and commenting on its physical and textual characteristics. Haggling over the dead\u2019s professional merits and monetary value transforms a mere list onto a protracted comic scene.<\/p>\n

 <\/p>\n

4.\u00a0<\/b>A famous, strictly female list is “The Ballad of the Ladies of Yore” by Francois Villon.
\n 
\nFran\u00e7ois Villon<\/b>, \u201cBallade des dames du temps jadis\u201d:
\n <\/p>\n

\nDictes moy ou, n\u2019en quel pays,
\nEst Flora, la belle Romaine;
\nArchipiada, ne Tha\u00efs
\nQui fut sa cousine germaine;
\nEcho, parlant quand bruyt on maine
\nDessus riviere ou sus estan,
\nQui beault\u00e9 ot trop plus qu’umaine?
\nMais ou sont les neiges d’antan?<\/p>\n

 <\/p>\n

\nOu est la tres sage Helo\u00ffs,
\nPour qui fut chastr\u00e9 et puis moyne
\nPierre Esbaillart a Saint Denis?
\nPour son amour ot ceste essoyne.<\/p>\n

 <\/p>\n

Semblablement, o\u00f9 est la royne
\nQui commanda que Buridan
\nFust gect\u00e9 en ung sac en Saine?<\/p>\n

 <\/p>\n

Mais ou sont les neiges d’antan?
\nLa royne Blanche comme lis,
\nQui chantoit a voix de seraine;
\nBerte au grant pi\u00e9, Bietris, Allis;
\nHaremburgis qui tint le Maine,
\nEt Jehanne, la bonne Lorraine,
\nQu’Englois brulerent a Rouan;
\nOu sont ilz, ou, Vierge souveraine?
\nMais ou sont les neiges d’antan?<\/p>\n

 <\/p>\n

\nPrince, n’enquerrez de sepmaine
\nOu elles sont, ne de cest an,
\nQu’a ce reffrain ne vous remaine:
\nMais ou sont les neiges d’antan?<\/p>\n

 
\nFran\u00e7ois Villon<\/b>, “The Ballad of Dead Ladies” (transl. D.G. Rossetti):
\n <\/p>\n

\nTell me now in what hidden way is
\nLady Flora the lovely Roman?
\nWhere’s Hipparchia, and where is Thais,
\nNeither of them the fairer woman?
\nWhere is Echo, beheld of no man,
\nOnly heard on river and mere,–
\nShe whose beauty was more than human? . . .
\nBut where are the snows of yester-year?<\/p>\n

 <\/p>\n

\nWhere’s H\u00e9loise, the learned nun,
\nFor whose sake Abeillard, I ween,
\nLost manhood and put priesthood on?
\n(From Love he won such dule and teen!)
\nAnd where, I pray you, is the Queen
\nWho willed that Buridan should steer
\nSewed in a sack’s mouth down the Seine? . . .
\nBut where are the snows of yester-year?<\/p>\n

 <\/p>\n

\nWhite Queen Blanche, like a queen of lilies,
\nWith a voice like any mermaiden,–
\nBertha Broadfoot, Beatrice, Alice,
\nAnd Ermengarde the lady of Maine,–
\nAnd that good Joan whom Englishmen
\nAt Rouen doomed and burned her there,–
\nMother of God, where are they then? . . .
\nBut where are the snows of yester-year?<\/p>\n

 <\/p>\n

\nNay, never ask this week, fair lord,
\nWhere they are gone, nor yet this year,
\nSave with this much for an overword,–
\nBut where are the snows of yester-year?<\/p>\n

 
\nThis catalog of names associated with legendary stories about love and death basically sticks to the enumerative pattern. To narrativise it at least in part, the poet introduces a series of refrains — rhetorical questions he asks and answers himself (Where…? — Alas, where …?\u00a0<\/i>), simulating a sort of a roll call. This involves the reader in interactive participation and enhances the credibility of the discourse, which is delivered in the modest format of shared sorrowful meditation.<\/p>\n

The credibility of the list is also certified by the indisputable cultural status of the stories\/legends and the social prestige of their heroines (goddesses and queens). As for the note of memorial nostalgia, it naturally emanates from the temporal gap in dealing with figures of a distant past plus the cruelty of the fate that befell them even then. This central theme of martyrdom clearly dominates the rather diverse list.<\/p>\n

 <\/p>\n

5.\u00a0<\/b>A quite different catalog of women is the so-called\u00a0Don Juan list<\/b>\u00a0that appears in Mozart’s\u00a0Don Giovanni<\/i>\u00a0(libretto by Lorenzo da Ponte).
\n 
\nLorenzo da Ponte<\/b>, Leporello’s “Catalog Aria” from Mozart’s Don Giovanni
\n <\/p>\n

\nMadamina, il catalogo \u00e8 questo
\ndelle belle che am\u00f2 il padron mio;
\nun catalogo egli \u00e8 che ho fatt’io.
\nOsservate, leggete con me.
\nIn Italia seicento e quaranta,
\nin Allmagna duecento e trentuna,
\ncento in Francia, in Turchia novantuna,
\nma in Espagna son gi\u00e0 mille e tre!
\nV\u2019han fra queste contadine,
\ncameriere e cittadine,
\nv’han contesse, baronesse,
\nmarchesane, principesse,
\ne v’han donne d’ogni grado,
\nd’ogni forma, d’ogni et\u00e0.
\nNella bionda egli ha l’usanza
\ndi lodar la gentilezza,
\nnella bruna la costanza,
\nnella bianca la dolcezza.
\nVuol d’inverno la grassotta,
\nvuol d’estate la magrotta;
\n\u00e8 la grande maestosa,
\nla piccina \u00e8 ognor vezzosa…
\nDelle vecchie fa conquista
\nper piacer di porle in lista;
\nma passion predominante
\n\u00e8 la giovin principiante.
\nNon si picca se sia ricca,
\nse sia brutta, se sia bella;
\npurch\u00e9 porti la gonnella,
\nvoi sapete quel che fa!<\/p>\n

 
\n“Catalog Aria”<\/b>, transl. from New York City Opera Project: Don Giovanni:
\n <\/p>\n

\nMy dear lady, this is a list
\nOf the beauties my master has loved,
\nA list which I have compiled.
\nObserve, read along with me.
\nIn Italy, six hundred and forty;
\nIn Germany, two hundred and thirty-one;
\nA hundred in France; in Turkey, ninety-one;
\nIn Spain already one thousand and three.
\nAmong these are peasant girls,
\nMaidservants, city girls,
\nCountesses, baronesses,
\nMarchionesses, princesses,
\nWomen of every rank,
\nEvery shape, every age.
\nWith blondes it is his habit
\nTo praise their kindness;
\nIn brunettes, their faithfulness;
\nIn the very blond, their sweetness.
\nIn winter, he likes fat ones.
\nIn summer, he likes thin ones.
\nHe calls the tall ones majestic.
\nThe little ones are always charming.
\nHe seduces the old ones
\nFor the pleasure of adding to the list.
\nHis greatest favorite
\nIs the young beginner.
\nIt doesn’t matter if she’s rich,
\nUgly or beautiful;
\nIf she wears a petticoat,
\nYou know what he does.<\/p>\n

 <\/p>\n

The catalog of the protagonist\u2019s amorous conquests is sung by his trusted valet Leporello and addressed to one of the abandoned women, Elvira. In many ways the catalog is quite traditional: it features 5 toponyms and 5 respective numerals, totaling 1865 females, 16 types (peasant girls… a blonde … a plump one… a debutante), and 11 additional features crowned with the most generic twelfth (skirt wearing).<\/p>\n

The list is clearly vertical and remarkably includes no proper names (of women) — only categories. This plays into the image of Don Juan, who is after sheer numbers and variety as tokens of his power, and lends the structure of the catalog an innovatively\u00a0impersonal, anonymous<\/b>\u00a0character.<\/p>\n

The catalog is physically embodied in an impressive text object (questo non picciol libro<\/i>\u00a0[this not minuscule book]), compiled by Leporello and shown to Elvira in response to her reproaches. As a result, it is not so much declaimed monologically as enacted dialogically, which is particularly appropriate in a work for the stage.<\/p>\n

The list is also animated by its gradually increasing structural complexity. It begins with impersonal numbers, proceeds to social categories of women, then to the types of their assets (like the wintertime advantages of fatties); also mentioned is the protagonist\u2019s metatextual care for constantly increasing the length of the list.<\/p>\n

The structural development is accompanied by a sequence of three different musical sections of the aria. Joseph Losey, in the film-opera \u00abDon Giovanni\u00bb he directed (1979), found a felicitous spatial counterpart to these effects. The mise-en-scene features Leporello and his assistants carrying heavy scrolls which they gradually roll down the steps of castle\u2019s wide external staircase. Elvira follows the scrolls, now reading the text, now covering her face in despair.<\/p>\n

In this way, the dramatic and musical dynamisation of the list is supported by its graphic spatialization.<\/p>\n

The Don Juan list has a Homeric prototype: the catalog of the former lovers of Zeus which he includes in his declaration of love for Hera (Iliad<\/i>, Canto XIV). Her acceptance of this strange courtship is skilfully naturalized — not so much by the list\u2019s being strictly virtual (all the affairs are in the past), but above all by the fact that it is Hera that is slyly seducing her husband in order to distract him while Poseidon assists the Achaeans.<\/p>\n

 <\/p>\n

6.\u00a0<\/b>A Don Juan list narrativized into a short story format underlies the plot of Nabokov’s \u201cSkazka\u201d (1930; “Nursery Tale,” 1975).<\/p>\n

The protagonist, Erwin, encounters the Devil in the shape of a middle-aged German woman who tells him he can have all the women he can \u201ccollect\u201d in a day, provided the number is odd. By midnight he has exactly a dozen, then makes the point of adding the thirteenth only to discover that she is the same as the very first one and so has to admit defeat.<\/p>\n

The catalogical skeleton of the story is obvious. It comprises:<\/p>\n

– formation of a virtual harem with numeric parameters;<\/p>\n

– abundance of numeric objects (a dial with four hands; a street and a streetcar, both involving numbers);<\/p>\n

– fixation on other numbers, in particular archetypal ones (a dozen and a baker’s\/devil\u2019s (chertova) dozen.<\/p>\n

Plots based on a gradual unfolding of a list are a common type of narrative. The list can be a set of similar characters (Ten Little Indians<\/i>\u00a0by Agatha Christie, “The Darling” by Chekhov) or of similar inanimate objects (“Six Napoleons” by Conan Doyle,”\u00a0The Twelve Chairs<\/i>\u00a0by Ilf and Petrov).<\/p>\n

 <\/p>\n

7.<\/b>\u00a0Next come lists of\u00a0role models<\/b>. We can begin with the genre of\u00a0genealogy<\/b>, dating back all the way to the epic and biblical tradition, in particular, the Gospel genealogies of Jesus. Pushkin authored two specimens of the genre,\u00a0Moia rodoslovnaia<\/i>\u00a0(My genealogy) and\u00a0Ezerskii<\/i>, both saturated with toponyms and names of the protagonist\u2019s ancestors and other historical figures.<\/p>\n

Then there are the lists of\u00a0cultural heroes<\/b>\u00a0or their\u00a0works<\/b>, mostly\u00a0books<\/b>, which influenced a literary character.<\/p>\n

Pushkin, in his meta sonnet,
\n <\/p>\n

\n\u0421\u0443\u0440\u043e\u0432\u044b\u0439\u00a0\u0414\u0430\u043d\u0442<\/b>\u00a0\u043d\u0435 \u043f\u0440\u0435\u0437\u0438\u0440\u0430\u043b \u0441\u043e\u043d\u0435\u0442\u0430;
\n\u0412 \u043d\u0435\u043c \u0436\u0430\u0440 \u043b\u044e\u0431\u0432\u0438\u00a0\u041f\u0435\u0442\u0440\u0430\u0440\u043a\u0430<\/b>\u00a0\u0438\u0437\u043b\u0438\u0432\u0430\u043b;
\n\u0418\u0433\u0440\u0443 \u0435\u0433\u043e \u043b\u044e\u0431\u0438\u043b\u00a0\u0442\u0432\u043e\u0440\u0435\u0446 \u041c\u0430\u043a\u0431\u0435\u0442\u0430<\/b>;
\n\u0418\u043c \u0441\u043a\u043e\u0440\u0431\u043d\u0443 \u043c\u044b\u0441\u043b\u044c\u00a0\u041a\u0430\u043c\u043e\u044d\u043d\u0441<\/b>\u00a0\u043e\u0431\u043b\u0435\u043a\u0430\u043b.<\/p>\n

 <\/p>\n

\n\u0418 \u0432 \u043d\u0430\u0448\u0438 \u0434\u043d\u0438 \u043f\u043b\u0435\u043d\u044f\u0435\u0442 \u043e\u043d \u043f\u043e\u044d\u0442\u0430:
\n\u0412\u043e\u0440\u0434\u0441\u0432\u043e\u0440\u0442<\/b>\u00a0\u0435\u0433\u043e \u043e\u0440\u0443\u0434\u0438\u0435\u043c \u0438\u0437\u0431\u0440\u0430\u043b,
\n\u041a\u043e\u0433\u0434\u0430 \u0432\u0434\u0430\u043b\u0438 \u043e\u0442 \u0441\u0443\u0435\u0442\u043d\u043e\u0433\u043e \u0441\u0432\u0435\u0442\u0430
\n\u041f\u0440\u0438\u0440\u043e\u0434\u044b \u043e\u043d \u0440\u0438\u0441\u0443\u0435\u0442 \u0438\u0434\u0435\u0430\u043b.<\/p>\n

 <\/p>\n

\n\u041f\u043e\u0434 \u0441\u0435\u043d\u044c\u044e \u0433\u043e\u0440\u00a0\u0422\u0430\u0432\u0440\u0438\u0434\u044b<\/b>\u00a0\u043e\u0442\u0434\u0430\u043b\u0435\u043d\u043d\u043e\u0439
\n\u041f\u0435\u0432\u0435\u0446 \u041b\u0438\u0442\u0432\u044b<\/b>\u00a0\u0432 \u0440\u0430\u0437\u043c\u0435\u0440 \u0435\u0433\u043e \u0441\u0442\u0435\u0441\u043d\u0435\u043d\u043d\u044b\u0439
\n\u0421\u0432\u043e\u0438 \u043c\u0435\u0447\u0442\u044b \u043c\u0433\u043d\u043e\u0432\u0435\u043d\u043d\u043e \u0437\u0430\u043a\u043b\u044e\u0447\u0430\u043b.<\/p>\n

 <\/p>\n

\n\u0423 \u043d\u0430\u0441 \u0435\u0449\u0435 \u0435\u0433\u043e \u043d\u0435 \u0437\u043d\u0430\u043b\u0438 \u0434\u0435\u0432\u044b,
\n\u041a\u0430\u043a \u0434\u043b\u044f \u043d\u0435\u0433\u043e \u0443\u0436\u00a0\u0414\u0435\u043b\u044c\u0432\u0438\u0433<\/b>\u00a0\u0437\u0430\u0431\u044b\u0432\u0430\u043b
\n\u0413\u0435\u043a\u0437\u0430\u043c\u0435\u0442\u0440\u0430 \u0441\u0432\u044f\u0449\u0435\u043d\u043d\u044b\u0435 \u043d\u0430\u043f\u0435\u0432\u044b.<\/p>\n

 <\/p>\n

annotated and narrativised a gallery of the genre\u2019s classics. Such parading of role models and their key properties\/attributes was later parodied in Kozma Prutkov\u2019s \u201c\u0427\u0435\u0441\u0442\u043e\u043b\u044e\u0431\u0438\u0435\u201d (\u0414\u0430\u0439\u0442\u0435 \u0441\u0438\u043b\u0443 \u043c\u043d\u0435 \u0421\u0430\u043c\u0441\u043e\u043d\u0430<\/i>\u2026 [\u201cAmbition\u201d:\u00a0Give me the strength of Samson<\/i>…]).<\/p>\n

In the 20th century, the tradition of playing with poets\u2019 attributes bore, among others:<\/p>\n

Mandel\u2019shtam\u2019s \u00ab\u0421\u0442\u0438\u0445\u0438 \u043e \u0440\u0443\u0441\u0441\u043a\u043e\u0439 \u043f\u043e\u044d\u0437\u0438\u0438\u00bb (\u201cVerses about Russian poetry\u201d)
\n\u00ab\u0414\u0430\u0439\u0442\u0435 \u0422\u044e\u0442\u0447\u0435\u0432\u0443 \u0441\u0442\u0440\u0435\u043a\u043e\u0437\u0443\u2026\u00bb (\u201cGive Tiutchev a Dragonfly…\u201d)
\nand Kushner\u2019s:
\n\u00ab\u041d\u0430\u0448\u0438 \u043f\u043e\u044d\u0442\u044b\u00bb (\u041a\u043e\u043d\u0435\u0447\u043d\u043e, \u0411\u0430\u0440\u0430\u0442\u044b\u043d\u0441\u043a\u0438\u0439 \u0441\u0445\u0435\u043c\u0430\u0442\u0438\u0447\u0435\u043d<\/i>\u2026 [\u201cOur Poets\u201d:\u00a0Of course, Baratynsky is schematic<\/i>…) \u00ab\u041a\u0442\u043e \u0441 \u0447\u0435\u043c\u00bb (\u041c\u0430\u043d\u0434\u0435\u043b\u044c\u0448\u0442\u0430\u043c \u043f\u0440\u0438\u0435\u0434\u0435\u0442 \u0441 \u0448\u0443\u0431\u043e\u0439<\/i>\u2026 [\u2018Who [Comes] with What\u201d:\u00a0Mandelstam will come with a fur coat<\/i>\u2026])<\/p>\n

In such catalogs of role models, the poet often reserves a place for him\/herself. The motif of\u00a0joining<\/b>\u00a0a coveted\u00a0circle of greats<\/b>\u00a0can be quite modest, as in Kushner\u2019s \u00ab\u041c\u043d\u0435 \u043f\u0440\u0438\u0441\u043d\u0438\u043b\u043e\u0441\u044c, \u0447\u0442\u043e \u0432\u0441\u0435 \u043c\u044b \u0441\u0438\u0434\u0438\u043c \u0437\u0430 \u0441\u0442\u043e\u043b\u043e\u043c\u2026\u00bb (I Dreamed that We All Sat at the Table…). But it can also be defiantly laid bare, as in<\/p>\n

Dmitrii Prigov\u2019s \u00ab\u0412 \u042f\u043f\u043e\u043d\u0438\u0438 \u044f \u0431 \u0431\u044b\u043b \u041a\u0430\u0442\u0443\u043b\u043b\u2026\u00bb (In Japan, I Would be a Catullus\u2026) and \u00ab\u0422\u0430\u043c, \u0433\u0434\u0435 \u0441 \u043f\u0442\u0435\u043d\u0446\u043e\u043c \u041a\u0430\u0442\u0443\u043b\u043b, \u0441\u043e \u0441\u043d\u0435\u0433\u0438\u0440\u0435\u043c \u0414\u0435\u0440\u0436\u0430\u0432\u0438\u043d\u2026\u00bb (“Where Catullus is with a Chick and Derzhavin with a Bullfinch…) \u2013 in the footsteps of Khodasevich\u2019s \u00ab\u041f\u0430\u043c\u044f\u0442\u0438 \u043a\u043e\u0442\u0430 \u041c\u0443\u0440\u0440\u0430\u00bb (In Memory of Cat Murr).<\/p>\n

A classical prototype of such self-promotional catalog poems was of course the episode in Canto IV of the \u201cInferno\u201d where Dante is accepted as \u201cthe sixth among the wise ones,\u201d that is, acknowledged as one of their own by Homer, Horace, Ovid, Lucan and Virgil.<\/p>\n

A modernist variation on this Dantesque theme yielded, on Russian soil, the format of\u00a0\u201cThere-are-so-many-of-us\u201d (\u041d\u0430\u0441 \u0431\u044b\u043b\u043e \u0441\u0442\u043e\u043b\u044c\u043a\u043e-\u0442\u043e)\u00a0<\/b>poems.<\/p>\n

It was originated by Pasternak\u2019s \u00ab\u041d\u0430\u0441 \u043c\u0430\u043b\u043e. \u041d\u0430\u0441, \u043c\u043e\u0436\u0435\u0442 \u0431\u044b\u0442\u044c, \u0442\u0440\u043e\u0435\u2026\u00bb (We Are Few. There Are Perhaps Three of Us…). The title line goes back to the words of Pushkin’s Mozart:\u00a0\u041d\u0430\u0441 \u043c\u0430\u043b\u043e \u0438\u0437\u0431\u0440\u0430\u043d\u043d\u044b\u0445, \u0441\u0447\u0430\u0441\u0442\u043b\u0438\u0432\u0446\u0435\u0432 \u043f\u0440\u0430\u0437\u0434\u043d\u044b\u0445<\/i>\u00a0(We are few, the chosen lucky idlers), which inaugurated focusing\u00a0not on the dead classics but on the author\u2019s living fellow poets<\/b>\u00a0(Pasternak implies the three are himself, Mayakovsky and Aseev). Later Akhmatova came up with a variation: \u00ab\u041d\u0430\u0441 \u0447\u0435\u0442\u0432\u0435\u0440\u043e.\u00a0\u041a\u043e\u043c\u0430\u0440\u043e\u0432\u0441\u043a\u0438\u0435 \u043d\u0430\u0431\u0440\u043e\u0441\u043a\u0438<\/i>\u00bb (We Are Four.\u00a0Komarovo sketches<\/i>), where the other three are Mandel\u2019shtam, Pasternak and Tsvetaeva. This was followed up by Andrei Voznesensky\u2019s \u00ab\u041d\u0430\u0441 \u043c\u043d\u043e\u0433\u043e. \u041d\u0430\u0441 \u043c\u043e\u0436\u0435\u0442 \u0431\u044b\u0442\u044c \u0447\u0435\u0442\u0432\u0435\u0440\u043e…\u00bb (“We Are Many. There Are Perhaps Four of Us…), referring to Akhmadulina, Yevtushenko and Robert Rozhdestvensky.<\/p>\n

The above poems share a characteristic lack of direct naming of the \u2013 unlisted — names: readers are invited to figure out on their own who belongs to the in-group. Thus, the list is not spelled out but pointedly implied, offering one more variation on the theme of catalog\u2019s virtualness. On the contrary, Mayakovsky\u2019s \u00ab\u042e\u0431\u0438\u043b\u0435\u0439\u043d\u043e\u0435\u00bb (The Anniversary Poem), which parodies the most authoritative type of catalog, the encyclopedia, is quite explicit on the subject of naming.
\n 
\n\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0421\u0435\u0440\u0433\u0435\u0435\u0432\u0438\u0447<\/b>,\/ \u0440\u0430\u0437\u0440\u0435\u0448\u0438\u0442\u0435 \u043f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u0438\u0442\u044c\u0441\u044f.\/\u00a0\u041c\u0430\u044f\u043a\u043e\u0432\u0441\u043a\u0438\u0439<\/b>\u00a0<…>
\n\u0434\u0430 \u0438 \u0440\u0430\u0437\u0433\u043e\u0432\u0430\u0440\u0438\u0432\u0430\u0442\u044c \u043d\u0435 \u0445\u043e\u0447\u0435\u0442\u0441\u044f\/\u00a0\u043d\u0438 \u0441 \u043a\u0435\u043c<\/b>.<…>
\n\u0422\u043e\u043b\u044c\u043a\u043e\/ \u0436\u0430\u0431\u0440\u044b \u0440\u0438\u0444\u043c\/ \u0442\u043e\u043f\u044b\u0440\u0438\u0442 \u0443\u0447\u0430\u0449\u0435\u043d\u043d\u043e\/
\n\u0443 \u0442\u0430\u043a\u0438\u0445, \u043a\u0430\u043a \u043c\u044b,\/\u00a0<\/b>\u043d\u0430 \u043f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u043c \u043f\u0435\u0441\u043a\u0435.\/
\n\u041c\u043d\u0435 \u043f\u0440\u0438\u044f\u0442\u043d\u043e \u0441 \u0432\u0430\u043c\u0438, –\/ \u0440\u0430\u0434,<\/b>\/ \u0447\u0442\u043e \u0432\u044b \u0443 \u0441\u0442\u043e\u043b\u0438\u043a\u0430.
\n\u041c\u0443\u0437\u0430 \u044d\u0442\u043e\/ \u043b\u043e\u0432\u043a\u043e\/ \u0437\u0430 \u044f\u0437\u044b\u043a \u0432\u0430\u0441 \u0442\u044f\u043d\u0435\u0442<\/b>\u00a0<…>
\n\u041c\u043d\u0435\/\u00a0\u043f\u0440\u0438 \u0436\u0438\u0437\u043d\u0438<\/b>\/ \u0441 \u0432\u0430\u043c\u0438\/ \u0441\u0433\u043e\u0432\u043e\u0440\u0438\u0442\u044c\u0441\u044f \u0431 \u043d\u0430\u0434\u043e <\u2026>
\n\u041f\u043e\u0441\u043b\u0435 \u0441\u043c\u0435\u0440\u0442\u0438\/ \u041d\u0430\u043c\/ \u0441\u0442\u043e\u044f\u0442\u044c \u043f\u043e\u0447\u0442\u0438 \u0447\u0442\u043e \u0440\u044f\u0434\u043e\u043c:\/
\n\u0432\u044b \u043d\u0430\u00a0\u041f\u0435<\/b>,\/ \u0430 \u044f\/ \u043d\u0430\u00a0\u044d\u041c<\/b>.
\n\u041a\u0442\u043e\u00a0\u043c\u0435\u0436 \u043d\u0430\u043c\u0438?<\/b>\/ \u0441 \u043a\u0435\u043c \u0432\u0435\u043b\u0438\u0442\u0435\u00a0\u0437\u043d\u0430\u0442\u044c\u0441\u044f<\/b>?! <\u2026>
\n\u0427\u0435\u0440\u0435\u0441\u0447\u0443\u0440\/ \u0421\u0442\u0440\u0430\u043d\u0430 \u043c\u043e\u044f\/ \u043f\u043e\u044d\u0442\u0430\u043c\u0438 \u043d\u0438\u0449\u0430.
\n\u041c\u0435\u0436\u0434\u0443 \u043d\u0430\u043c\u0438\/ — \u0432\u043e\u0442 \u0431\u0435\u0434\u0430 \u2013\/\u00a0\u043f\u043e\u0437\u0430\u0442\u0435\u0441\u0430\u043b\u0441\u044f \u041d\u0430\u0434\u0441\u043e\u043d<\/b>.
\n\u041c\u044b \u043f\u043e\u043f\u0440\u043e\u0441\u0438\u043c,\/ \u0447\u0442\u043e\u0431 \u0435\u0433\u043e\/\u00a0\u043a\u0443\u0434\u0430-\u043d\u0438\u0431\u0443\u0434\u044c\/ \u043d\u0430 \u0429\u0430!<\/b>
\n\u0410 \u041d\u0435\u043a\u0440\u0430\u0441\u043e\u0432\/ \u041a\u043e\u043b\u044f,\/ \u0441\u044b\u043d \u043f\u043e\u043a\u043e\u0439\u043d\u043e\u0433\u043e \u0410\u043b\u0435\u0448\u0438<\/b>, —
\n\u043e\u043d \u0438 \u0432 \u043a\u0430\u0440\u0442\u044b,\/ \u043e\u043d \u0438 \u0432 \u0441\u0442\u0438\u0445,\/ \u0438 \u0442\u0430\u043a\/ \u043d\u0435\u043f\u043b\u043e\u0445 \u043d\u0430 \u0432\u0438\u0434.
\n\u0417\u043d\u0430\u0435\u0442\u0435 \u0435\u0433\u043e?\/ \u0432\u043e\u0442 \u043e\u043d\/ \u043c\u0443\u0436\u0438\u043a \u0445\u043e\u0440\u043e\u0448\u0438\u0439.
\n\u042d\u0442\u043e\u0442\/ \u043d\u0430\u043c \u043a\u043e\u043c\u043f\u0430\u043d\u0438\u044f –\/ \u043f\u0443\u0441\u043a\u0430\u0439 \u0441\u0442\u043e\u0438\u0442.<\/b>
\n\u0427\u0442\u043e \u0436 \u043e\u00a0\u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u0438\u043a\u0430\u0445<\/b>?!
\n\u041d\u0435 \u043f\u0440\u043e\u0441\u0447\u0438\u0442\u0430\u043b\u0438\u0441\u044c \u0431\u044b,\/ \u0437\u0430 \u0432\u0430\u0441\/ \u043f\u043e\u043b\u0441\u043e\u0442\u043d\u0438 \u043e\u0442\u0434\u0430\u0432.
\n\u041e\u0442 \u0437\u0435\u0432\u043e\u0442\u044b\/ \u0421\u043a\u0443\u043b\u044b\/ \u0440\u0430\u0437\u0432\u043e\u0440\u0430\u0447\u0438\u0432\u0430\u0435\u0442 \u0430\u0436!
\n\u0414\u043e\u0440\u043e\u0433\u043e\u0439\u0447\u0435\u043d\u043a\u043e,\/ \u0413\u0435\u0440\u0430\u0441\u0438\u043c\u043e\u0432,\/ \u041a\u0438\u0440\u0438\u043b\u043b\u043e\u0432,\/ \u0420\u043e\u0434\u043e\u0432<\/b>\u00a0—
\n\u041a\u0430\u043a\u043e\u0439\/ \u043e\u0434\u043d\u0430\u0440\u043e\u0431\u0440\u0430\u0437\u043d\u044b\u0439 \u043f\u0435\u0439\u0437\u0430\u0436!
\n\u041d\u0443\u00a0\u0415\u0441\u0435\u043d\u0438\u043d,\/ \u043c\u0443\u0436\u0438\u043a\u043e\u0432\u0441\u0442\u0432\u0443\u044e\u0449\u0438\u0445 \u0441\u0432\u043e\u0440\u0430<\/b>.
\n\u0421\u043c\u0435\u0445!\/\u00a0\u041a\u043e\u0440\u043e\u0432\u043e\u044e\/ \u0432 \u043f\u0435\u0440\u0447\u0430\u0442\u043a\u0430\u0445 \u043b\u0430\u0435\u0447\u043d\u044b\u0445<\/b>.
\n\u0420\u0430\u0437 \u043f\u043e\u0441\u043b\u0443\u0448\u0430\u0435\u0448\u044c…\/ \u043d\u043e \u044d\u0442\u043e \u0432\u0435\u0434\u044c \u0438\u0437 \u0445\u043e\u0440\u0430!
\n\u0411\u0430\u043b\u0430\u043b\u0430\u0435\u0447\u043d\u0438\u043a<\/b>! <\u2026>
\n\u041d\u0443, \u0430 \u0447\u0442\u043e \u0432\u043e\u0442\u00a0\u0411\u0435\u0437\u044b\u043c\u0435\u043d\u0441\u043a\u0438\u0439<\/b>?!\/ \u0422\u0430\u043a…
\n\u043d\u0438\u0447\u0435\u0433\u043e…\/\u00a0\u043c\u043e\u0440\u043a\u043e\u0432\u043d\u044b\u0439 \u043a\u043e\u0444\u0435<\/b>.
\n\u041f\u0440\u0430\u0432\u0434\u0430,\/ \u0435\u0441\u0442\u044c\/ \u0443 \u043d\u0430\u0441\/\u00a0\u0410\u0441\u0435\u0435\u0432\/ \u041a\u043e\u043b\u044c\u043a\u0430<\/b>.
\n\u042d\u0442\u043e\u0442 \u043c\u043e\u0436\u0435\u0442.\/ \u0425\u0432\u0430\u0442\u043a\u0430 \u0443 \u043d\u0435\u0433\u043e\/ \u041c\u043e\u044f <…>
\n\u0411\u044b\u043b\u0438 \u0431 \u0436\u0438\u0432\u044b –\/ \u0441\u0442\u0430\u043b\u0438 \u0431\u044b\/ \u043f\u043e \u041b\u0435\u0444\u0443 \u0441\u043e\u0440\u0435\u0434\u0430\u043a\u0442\u043e\u0440 <…>.
\n\u0412\u044b \u0431 \u0441\u043c\u043e\u0433\u043b\u0438 \u2014\/ \u0443 \u0432\u0430\u0441\/ \u0445\u043e\u0440\u043e\u0448\u0438\u0439 \u0441\u043b\u043e\u0433\u00a0<\/b><…>
\n <\/p>\n

Mayakovsky turns Dante’s formula inside out — — futurist-style: the poet does not seek approval from the elect, but on the contrary, condescendingly accepts classics such as Pushkin and Nekrasov into the inner circle of his LEF buddies. At the same time, a number of “outsiders” are blatantly deleted from the encyclopedia. Thus, Mayakovsky, who started out by tampering with the encyclopedia\u2019s alphabetical order, i. e. its verbal aspect, proceeds to revising its backbone \u2013 the list of entries (\u0441\u043b\u043e\u0432\u043d\u0438\u043a).<\/p>\n

 <\/p>\n

8.\u00a0<\/b>From metaliterary<\/b>\u00a0catalogs, let us now move to metalinguistic<\/b>\u00a0ones, those that foreground the verbal aspect of the inventory.<\/p>\n

Chekhov\u2019s \u00ab\u0421\u0432\u0430\u0434\u044c\u0431\u0430 \u0441 \u0433\u0435\u043d\u0435\u0440\u0430\u043b\u043e\u043c\u00bb (“Wedding with a General\u201d) reads like a naval phrasebook.<\/p>\n

\u00ab- \u0414\u0430-\u0441 <\u2026>\u00a0\u0412 \u0441\u0442\u0430\u0440\u0438\u043d\u0443 \u0432\u0441\u0451 \u043f\u0440\u043e\u0441\u0442\u043e \u0431\u044b\u043b\u043e<\/b>\u00a0<\u2026><\/p>\n

\u0410\u0434\u043c\u0438\u0440\u0430\u043b <\u2026> \u0443\u0432\u0438\u0434\u0435\u043b \u043c\u043e\u043b\u043e\u0434\u043e\u0433\u043e \u0433\u0430\u0440\u0434\u0435\u043c\u0430\u0440\u0438\u043d\u0430 <\u2026><\/p>\n

– \u0427\u0430\u0439,\u00a0\u0442\u0435\u043f\u0435\u0440\u044c \u0432\u0441\u0451<\/b>\u00a0<\u2026>\u00a0\u043d\u0435 \u0442\u0430\u043a, \u043a\u0430\u043a \u043f\u0440\u0438 \u043d\u0430\u0441 \u0431\u044b\u043b\u043e<\/b>\u00a0<\u2026> \u0412\u0441\u044f\u043a\u043e\u0435 \u043d\u0435\u0437\u043d\u0430\u0447\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0435\u00a0\u0441\u043b\u043e\u0432\u043e<\/b>\u00a0\u0438\u043c\u0435\u0435\u0442 <\u2026> \u0441\u0432\u043e\u0435 \u0442\u0430\u0438\u043d\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0435… \u044d\u044d… \u043d\u0435\u0434\u043e\u0443\u043c\u0435\u043d\u0438\u0435. \u041d\u0430\u043f\u0440\u0438\u043c\u0435\u0440,\u00a0\u043c\u0430\u0440\u0441\u043e\u0432\u044b\u0435 \u043a \u0432\u0430\u043d\u0442\u0430\u043c, \u043d\u0430 \u0444\u043e\u043a \u0438 \u0433\u0440\u043e\u0442<\/b>. \u0427\u0442\u043e \u044d\u0442\u043e\u00a0\u0437\u043d\u0430\u0447\u0438\u0442<\/b>? \u042d\u0442\u043e\u00a0\u0437\u043d\u0430\u0447\u0438\u0442<\/b>, \u0447\u0442\u043e <\u2026> \u0418\u043d\u0430\u0447\u0435 \u043d\u0430\u0434\u043e\u00a0\u043a\u043e\u043c\u0430\u043d\u0434\u043e\u0432\u0430\u0442\u044c: \u0441\u0430\u043b\u0435\u043d\u0433\u043e\u0432\u044b\u0435 \u043a \u0432\u0430\u043d\u0442\u0430\u043c<\/b>! \u0422\u0443\u0442 \u0443\u0436\u00a0\u0434\u0440\u0443\u0433\u043e\u0439 \u0441\u043c\u044b\u0441\u043b<\/b>\u00a0<\u2026> \u0410 \u0432\u043e\u0442 \u0435\u0436\u0435\u043b\u0438:\u00a0\u043d\u0430 \u0431\u0440\u0430\u043c\u0441\u0435\u043b\u0438 \u0438 \u0431\u043e\u043c-\u0431\u0440\u0430\u043c\u0441\u0435\u043b\u0438<\/b>! \u0422\u0443\u0442\u00a0\u043c\u0430\u0440\u0441\u043e\u0432\u044b\u0435<\/b>, \u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u043d\u0430\u0437\u043d\u0430\u0447\u0435\u043d\u044b \u0434\u043b\u044f \u043e\u0442\u0434\u0430\u0447\u0438\u00a0\u043c\u0430\u0440\u0441\u0435\u043b\u0435\u0439<\/b>\u00a0\u0438\u00a0\u0431\u043e\u043c-\u0431\u0440\u0430\u043c\u0441\u0435\u043b\u0435\u0439<\/b>, \u0447\u0442\u043e \u0435\u0441\u0442\u044c \u0434\u0443\u0445\u0443\u00a0\u0431\u0435\u0433\u0443\u0442 \u0441 \u043c\u0430\u0440\u0441\u043e\u0432 \u043d\u0430 \u0441\u0430\u043b\u0438\u043d\u0433\u0438 \u0438 \u0431\u043e\u043c-\u0441\u0430\u043b\u0438\u043d\u0433\u0438<\/b>, \u043f\u043e\u0442\u043e\u043c…\u00a0\u0434\u0430\u0439 \u0431\u043e\u0433 \u043f\u0430\u043c\u044f\u0442\u044c<\/b>…\u00a0\u0440\u0430\u0441\u0445\u043e\u0434\u044f\u0442\u0441\u044f \u043f\u043e \u0440\u0435\u044f\u043c \u0438 \u0440\u0430\u0441\u043a\u0440\u0435\u043f\u043b\u044f\u044e\u0442<\/b>\u00a0\u043e\u0437\u043d\u0430\u0447\u0435\u043d\u043d\u044b\u0435\u00a0\u043f\u0430\u0440\u0443\u0441\u0430<\/b>, \u0430 <\u2026> \u043b\u044e\u0434\u0438, \u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u0432\u043d\u0438\u0437\u0443, \u0441\u0442\u0430\u043d\u043e\u0432\u044f\u0442\u0441\u044f \u043d\u0430\u00a0\u0431\u0440\u0430\u043c \u0438 \u0431\u043e\u043c-\u0431\u0440\u0430\u043c-\u0448\u043a\u043e\u0442\u044b, \u0444\u0430\u043b\u044b \u0438 \u0431\u0440\u0430\u0441\u044b<\/b>\u00a0<\u2026>\u00a0\u041c\u0430\u043b\u043e \u043b\u0438 \u0440\u0430\u0437\u043d\u044b\u0445 \u043a\u043e\u043c\u0430\u043d\u0434<\/b>\u00a0<\u2026>\u00a0\u0411\u0440\u0430\u043c \u0438 \u0431\u043e\u043c-\u0431\u0440\u0430\u043c-\u0448\u043a\u043e\u0442\u044b \u0442\u044f\u043d\u0443\u0442\u044c, \u0444\u0430\u043b\u044b \u043f\u043e\u0434\u043d\u0438\u043c\u0430\u0430\u0430\u0439!\u00a0<\/b><\u2026>\u00a0\u041f\u043e\u0442\u0440\u0430\u0432\u043b\u0438\u0432\u0430\u044e\u0442 \u0431\u0440\u0430\u0441\u044b<\/b>\u00a0<\u2026> \u0430 \u043a\u043e\u0433\u0434\u0430 \u0443\u0436 <\u2026>\u00a0\u0448\u043a\u043e\u0442\u044b \u043d\u0430\u0442\u044f\u043d\u0443\u0442\u044b<\/b>\u00a0\u0438\u00a0\u0444\u0430\u043b\u044b<\/b>\u00a0\u0432\u0441\u0435 \u0434\u043e \u043c\u0435\u0441\u0442\u0430\u00a0\u043f\u043e\u0434\u043d\u044f\u0442\u044b<\/b>, \u0442\u043e\u00a0\u0431\u0440\u0430\u043c \u0438 \u0431\u043e\u043c-\u0431\u0440\u0430\u043c-\u0431\u0440\u0430\u0441\u044b \u0432\u044b\u0442\u044f\u0433\u0438\u0432\u0430\u044e\u0442\u0441\u044f \u0438 \u0440\u0435\u0438 \u0431\u0440\u0430\u0441\u043e\u043f\u044f\u0442\u0441\u044f<\/b>\u00a0\u0441\u043e\u043e\u0442\u0432\u0435\u0442\u0441\u0442\u0432\u0435\u043d\u043d\u043e \u043d\u0430\u043f\u0440\u0430\u0432\u043b\u0435\u043d\u0438\u044e \u0432\u0435\u0442\u0440\u0430…<\/p>\n

– \u0414\u044f\u0434\u044e\u0448\u043a\u0430! <\u2026> \u042d\u0442\u043e\u00a0\u043d\u0435\u043f\u043e\u043d\u044f\u0442\u043d\u043e<\/b>\u00a0\u0433\u043e\u0441\u0442\u044f\u043c \u0438….\u00a0\u0441\u043a\u0443\u0447\u043d\u043e<\/b>.<\/p>\n

[\u0414]\u044f\u0434\u044e\u0448\u043a\u0430 \u043d\u0435 \u0443\u043d\u0438\u043c\u0430\u043b\u0441\u044f. \u041e\u043d\u00a0\u0432\u044b\u043a\u0440\u0438\u043a\u0438\u0432\u0430\u043b \u043a\u043e\u043c\u0430\u043d\u0434\u0443 \u0437\u0430 \u043a\u043e\u043c\u0430\u043d\u0434\u043e\u0439<\/b>\u00a0\u0438 <\u2026>\u00a0\u043f\u043e\u044f\u0441\u043d\u044f\u043b \u0434\u043b\u0438\u043d\u043d\u044b\u043c \u043a\u043e\u043c\u043c\u0435\u043d\u0442\u0430\u0440\u0438\u0435\u043c<\/b>\u00a0<\u2026><\/p>\n

– \u0418 \u0432\u0435\u0434\u044c \u0432\u0441\u0451 \u044d\u0442\u043e\u00a0\u043d\u0430\u0434\u043e \u043f\u043e\u043c\u043d\u0438\u0442\u044c<\/b>! <\u2026> \u0412\u044b\u00a0\u043d\u0435 \u043f\u043e\u043d\u0438\u043c\u0430\u0435\u0442\u0435<\/b>, \u043f\u043e\u0442\u043e\u043c\u0443 \u0447\u0442\u043e…\u00a0\u0442\u0435\u0440\u043c\u0438\u043d\u044b<\/b>! <\u2026> \u0410\u00a0\u043c\u043e\u043b\u043e\u0434\u043e\u0439 \u0447\u0435\u043b\u043e\u0432\u0435\u043a \u043f\u043e\u043d\u0438\u043c\u0430\u0435\u0442<\/b>… \u0414\u0430.\u00a0\u0421\u0442\u0430\u0440\u0438\u043d\u0443 \u0441 \u043d\u0438\u043c \u0432\u0441\u043f\u043e\u043c\u043d\u0438\u043b<\/b>\u00a0<\u2026>\u00a0\u041f\u043b\u0430… \u043f\u043b\u0430\u0447\u0443… \u0420\u0430\u0434…\u00a0<\/b>\u00bb.<\/p>\n

The focus is once again on ships, however, this time not on\u00a0realia<\/i>, but on verbal formulas. The text is saturated with terms for sailors\u2019 specialized functions, parts of the rigging and respective actions. The sheer quantity of these items is complemented by the density of the professional lexicon, which calls for\u00a0commentaries<\/i>, which in turn lead to nonsensical repetitions of the exotic terms. This makes the pile-up of barbarisms even more comic and concentrates attention on the mnemonic and meta-verbal motifs: the ex-admiral emphasizes the need to understand every minor term and remember every command verbatim.<\/p>\n

In a sense, we are exposed live to one of those feats of memory that are characteristic of the oral performance of ancient catalog passages. Enhancing the effect is the puzzling — tongue twisting — phonetic similarity of many of the borrowed terms (\u043c\u0430\u0440\u0441\u044b, \u043c\u0430\u0440\u0441\u043e\u0432\u044b\u0435, \u043c\u0430\u0440\u0441\u0435\u043b\u0438, \u0431\u0440\u0430\u043c\u0441\u0435\u043b\u0438, \u0431\u043e\u043c-\u0431\u0440\u0430\u043c\u0441\u0435\u043b\u0438, \u0431\u043e\u043c-\u0431\u0440\u0430\u043c-\u0431\u0440\u0430\u0441\u044b, \u0431\u0440\u0430\u0441\u043e\u043f\u044f\u0442\u0441\u044f<\/i>). The theme of memory is treated both comically (as the forgetful old man keeps saying\u00a0\u0434\u0430\u0439 \u0411\u043e\u0433 \u043f\u0430\u043c\u044f\u0442\u044c<\/i>\u00a0[God grant me memory]), and with touching nostalgia (as he longs for the past:\u00a0\u0412 \u0441\u0442\u0430\u0440\u0438\u043d\u0443 \u0432\u0441\u0435 \u043f\u0440\u043e\u0441\u0442\u043e \u0431\u044b\u043b\u043e; \u041f\u043b\u0430… \u041f\u043b\u0430\u0447\u0443… \u0420\u0430\u0434<\/i>\u00a0[In olden times it was all simple; Cry\u2026crying… Glad]).<\/p>\n

 <\/p>\n

9.\u00a0<\/b>A plethora of verbal lists is found in Ilf and Petrov, whose interest in catalogs lies at the intersection of their two recurrent motifs: mocking Soviet bureaucratic culture and parodying linguistic clich\u00e9s.<\/p>\n

The two are often combined, for example, in Polykhayev\u2019s universal stamp, which is a materialized set of directives cast in stone \u2013 typographic ink, and in the parodic lessons Ostap Bender gives the foreign specialist:<\/p>\n

\u00ab-\u0428\u0440\u0430\u0439\u0431\u0435\u043d, \u0448\u0440\u0438\u0431, \u0433\u0435\u0448\u0440\u0438\u0431\u0435\u043d. \u041f\u0438\u0441\u0430\u0442\u044c<\/i>. \u041f\u043e\u043d\u0438\u043c\u0430\u0435\u0442\u0435? <\u2026>\u00a0\u041c\u044b, \u0432\u044b, \u043e\u043d\u0438, \u043e\u043d\u0435 \u043f\u0438\u0448\u0443\u0442<\/i>\u00a0\u0436\u0430\u043b\u043e\u0431\u044b \u0438 \u043a\u043b\u0430\u0434\u0443\u0442 \u0432 \u0441\u0435\u0439 \u044f\u0449\u0438\u043a <\u2026> \u0418 \u043d\u0438\u043a\u0442\u043e \u0438\u0445 \u043d\u0435 \u0432\u044b\u043d\u0438\u043c\u0430\u0435\u0442.\u00a0\u0412\u044b\u043d\u0438\u043c\u0430\u0442\u044c! \u042f \u043d\u0435 \u0432\u044b\u043d\u0438\u043c\u0430\u044e, \u0442\u044b \u043d\u0435 \u0432\u044b\u043d\u0438\u043c\u0430\u0435\u0448\u044c<\/i>…\u00bb [The verb\u00a0to write<\/i>, see? <…>\u00a0We, you, they write<\/i>\u00a0complaints and put in this box <…> And nobody takes them out.\u00a0To take out. I do not take out, you do not take out<\/i>…).<\/p>\n

But a metalinguistic list can also be indifferent to the theme of bureaucracy, as, for instance, the 30-word long vocabulary of Ellochka Shchukina.<\/p>\n

 <\/p>\n

10.\u00a0<\/b>To return to lists of real items, so far we have discussed only lists of persons \u2013 military men, lovers, poets. But along with those, texts often feature the heroes\u2019 geographical — toponymical — coordinates and surrounding objects: in Homer, ships, horses, fields; in Gogol, coaches, stoves, boots and other products of Sobakevich\u2019s dead serfs; in Prutkov, the symbolic attributes of the greats.<\/p>\n

A major group of listable objects comprises\u00a0accessories of everyday human use<\/b>. A hilarious case is the\u00a0list of anus-wipers<\/b>\u00a0in Rabelais\u2019\u00a0Gargantua and Pantagruel<\/i>\u00a0(Book One, Chapter 13). It features 64 kinds, some just listed, some developed into annotations or even mini-plots, and topped off at the end by the utensil Gargantua finds to be the best: a fluffy gosling. The comic effect is achieved, of course, by a carnivalesque parody of epic catalogs.<\/p>\n

A widespread type are\u00a0loading lists<\/b>\u00a0for various transportation vehicles, predominantly ships, of course.<\/p>\n

Each of the four parts of\u00a0Gulliver’s Travels<\/i>\u00a0begins with the protagonist leaving England and ends with his return, so that, overall, he goes through at least eight major departures. But Jonathan Swift indulges in a loading protocol only once, when Gulliver is to sail home from Blefuscu.<\/p>\n

\u00abI stored the boat with the carcasses of a\u00a0hundred oxen<\/b>, and\u00a0three hundred sheep<\/b>, with\u00a0bread<\/b>\u00a0and\u00a0drink<\/b>\u00a0proportionable, and as much\u00a0meat<\/b>\u00a0ready dressed as\u00a0four hundred cooks<\/b>\u00a0could provide. I took with me\u00a0six cows<\/b>\u00a0and\u00a0two bulls<\/b>\u00a0alive, with\u00a0as many ewes and rams<\/b>, intending to carry them into my own country, and propagate the breed. And to feed them on board, I had a good\u00a0bundle of hay, and a bag of corn<\/b>. I would gladly have taken a\u00a0dozen of the natives<\/b>, but this was a thing the emperor would by no means permit; and, besides a diligent search into my pockets, his majesty engaged my honor \u201cnot to carry away any of his subjects, although with their own consent and desire.\u201dJonathan Swift,\u00a0Gulliver\u2019s Travels into Several Remote Nations of the World<\/i>\u00a0(Chapter VIII)<\/p>\n

The scale of the list (one hundred\u2026 three hundred\u2026 four hundred\u2026<\/i>) is justified by the miniscule size of the cattle (which will help Gulliver to convince his compatriots of the veracity of his story).<\/p>\n

A long delay also precedes the appearance of a loading list in Daniel Defoe\u2019s\u00a0Robinson Crusoe<\/i>. Prior to his main shipwreck, Robinson undertakes several voyages, which are not inventoried. It is only in Chapter 6 that a catalog appears, unfolding gradually as Robinson looks for and finds various useful items on board the semi-sunken ship and transfers them onto his raft to take to the island.<\/p>\n

\u00abMy raft was now strong enough <\u2026> My next care was\u00a0what to load it with<\/b>\u00a0<\u2026> I got\u00a0three of the seamen\u2019s chests<\/b>, which I <\u2026> lowered <\u2026> down upon my raft; the first of these I filled with\u00a0provisions — viz. bread, rice, three Dutch cheeses, five pieces of dried goat\u2019s flesh<\/b>\u00a0<\u2026> and a little\u00a0remainder of European corn<\/b>\u00a0<\u2026> some\u00a0barley and wheat<\/b>\u00a0<\u2026> As for\u00a0liquors<\/b>, I found\u00a0several cases of bottles<\/b>\u00a0<\u2026> and, in all,\u00a0about five or six gallons of rack<\/b>\u00a0<\u2026> The tide beg[a]n to flow <\u2026> and I had the mortification to see\u00a0my coat, shirt, and waistcoat<\/b>\u00a0<\u2026> swim away. As for my\u00a0breeches<\/b>\u00a0<\u2026> I swam on board in them and my\u00a0stockings<\/b>\u00a0<\u2026> I had others things which my eye was more upon — as, first,\u00a0tools<\/b>\u00a0to work with <\u2026> After long searching <\u2026> I found out the\u00a0carpenter\u2019s chest<\/b>\u00a0<\u2026> My next care was for some\u00a0ammunition and arms<\/b>. There were\u00a0two<\/b>\u00a0very good\u00a0fowling-pieces<\/b>\u00a0in the great cabin, and\u00a0two pistols<\/b>. These I secured first, with\u00a0some powder-horns<\/b>\u00a0and a\u00a0small bag of shot<\/b>, and\u00a0two old rusty swords<\/b>\u00a0<\u2026> There were\u00a0three barrels of powder<\/b>\u00a0<\u2026>\u00a0two of them<\/b>\u00a0dry <\u2026> the\u00a0third<\/b>\u00a0had taken water <\u2026> And now I thought myself pretty well\u00a0freighted<\/b><\u2026> and began to think how I should get to shore with them\u00bb.<\/p>\n

Both ship lists are pointedly borderline — and thus smack of virtuality \u2013 as they hover between the worlds of the Lilliputians and Robinson\u2019s compatriots, the ship and the uninhabited island, presence and absence, life and death, reality and fiction.<\/p>\n

A list of items to be transported by train appears \u2013 as a refrain with variations \u2013 in Samuil Marshak’s poem \u00ab\u0411\u0430\u0433\u0430\u0436\u00bb (Baggage):
\n 
\n\u0414\u0430\u043c\u0430 \u0441\u0434\u0430\u0432\u0430\u043b\u0430 \u0432 \u0431\u0430\u0433\u0430\u0436
\n\u0414\u0438\u0432\u0430\u043d,
\n\u0427\u0435\u043c\u043e\u0434\u0430\u043d,
\n\u0421\u0430\u043a\u0432\u043e\u044f\u0436,
\n\u041a\u0430\u0440\u0442\u0438\u043d\u0443,
\n\u041a\u043e\u0440\u0437\u0438\u043d\u0443,
\n\u041a\u0430\u0440\u0442\u043e\u043d\u043a\u0443
\n\u0418 \u043c\u0430\u043b\u0435\u043d\u044c\u043a\u0443\u044e\u00a0\u0441\u043e\u0431\u0430\u0447\u043e\u043d\u043a\u0443<\/b>.
\n 
\n\u0412\u044b\u0434\u0430\u043b\u0438 \u0434\u0430\u043c\u0435 \u043d\u0430 \u0441\u0442\u0430\u043d\u0446\u0438\u0438
\n\u0427\u0435\u0442\u044b\u0440\u0435<\/b>\u00a0\u0437\u0435\u043b\u0435\u043d\u044b\u0445\u00a0\u043a\u0432\u0438\u0442\u0430\u043d\u0446\u0438\u0438<\/b>
\n\u041e \u0442\u043e\u043c, \u0447\u0442\u043e \u043f\u043e\u043b\u0443\u0447\u0435\u043d \u0431\u0430\u0433\u0430\u0436:
\n\u0414\u0438\u0432\u0430\u043d,
\n\u0427\u0435\u043c\u043e\u0434\u0430\u043d,
\n\u0421\u0430\u043a\u0432\u043e\u044f\u0436,
\n\u041a\u0430\u0440\u0442\u0438\u043d\u0430,
\n\u041a\u043e\u0440\u0437\u0438\u043d\u0430,
\n\u041a\u0430\u0440\u0442\u043e\u043d\u043a\u0430<\/b>
\n\u0418 \u043c\u0430\u043b\u0435\u043d\u044c\u043a\u0430\u044f\u00a0\u0441\u043e\u0431\u0430\u0447\u043e\u043d\u043a\u0430<\/b>.
\n 
\n\u0412\u0435\u0449\u0438 \u0432\u0435\u0437\u0443\u0442 \u043d\u0430 \u043f\u0435\u0440\u0440\u043e\u043d.
\n\u041a\u0438\u0434\u0430\u044e\u0442 \u0432 \u043e\u0442\u043a\u0440\u044b\u0442\u044b\u0439 \u0432\u0430\u0433\u043e\u043d.
\n\u0413\u043e\u0442\u043e\u0432\u043e. \u0423\u043b\u043e\u0436\u0435\u043d \u0431\u0430\u0433\u0430\u0436:
\n\u0414\u0438\u0432\u0430\u043d,
\n\u0427\u0435\u043c\u043e\u0434\u0430\u043d,
\n\u0421\u0430\u043a\u0432\u043e\u044f\u0436,
\n\u041a\u0430\u0440\u0442\u0438\u043d\u0430,
\n\u041a\u043e\u0440\u0437\u0438\u043d\u0430,
\n\u041a\u0430\u0440\u0442\u043e\u043d\u043a\u0430<\/b>
\n\u0418 \u043c\u0430\u043b\u0435\u043d\u044c\u043a\u0430\u044f\u00a0\u0441\u043e\u0431\u0430\u0447\u043e\u043d\u043a\u0430<\/b>.
\n 
\n\u041d\u043e \u0442\u043e\u043b\u044c\u043a\u043e \u0440\u0430\u0437\u0434\u0430\u043b\u0441\u044f \u0437\u0432\u043e\u043d\u043e\u043a,
\n\u0423\u0434\u0440\u0430\u043b \u0438\u0437 \u0432\u0430\u0433\u043e\u043d\u0430 \u0449\u0435\u043d\u043e\u043a.
\n\u0425\u0432\u0430\u0442\u0438\u043b\u0438\u0441\u044c \u043d\u0430 \u0441\u0442\u0430\u043d\u0446\u0438\u0438 \u0414\u043d\u043e:
\n\u041f\u043e\u0442\u0435\u0440\u044f\u043d\u043e \u043c\u0435\u0441\u0442\u043e\u00a0\u043e\u0434\u043d\u043e<\/b>.
\n\u0412 \u0438\u0441\u043f\u0443\u0433\u0435 \u0441\u0447\u0438\u0442\u0430\u044e\u0442 \u0431\u0430\u0433\u0430\u0436:
\n\u0414\u0438\u0432\u0430\u043d,
\n\u0427\u0435\u043c\u043e\u0434\u0430\u043d,
\n\u0421\u0430\u043a\u0432\u043e\u044f\u0436,
\n\u041a\u0430\u0440\u0442\u0438\u043d\u0430,
\n\u041a\u043e\u0440\u0437\u0438\u043d\u0430,
\n\u041a\u0430\u0440\u0442\u043e\u043d\u043a\u0430<\/b>\u2026
\n– \u0422\u043e\u0432\u0430\u0440\u0438\u0449\u0438!\u00a0\u0413\u0434\u0435 \u0441\u043e\u0431\u0430\u0447\u043e\u043d\u043a\u0430<\/b>?
\n 
\n\u0412\u0434\u0440\u0443\u0433 \u0432\u0438\u0434\u044f\u0442: \u0441\u0442\u043e\u0438\u0442 \u0443 \u043a\u043e\u043b\u0435\u0441
\n\u041e\u0433\u0440\u043e\u043c\u043d\u044b\u0439 \u0432\u0437\u044a\u0435\u0440\u043e\u0448\u0435\u043d\u043d\u044b\u0439 \u043f\u0435\u0441.
\n\u041f\u043e\u0439\u043c\u0430\u043b\u0438 \u0435\u0433\u043e \u2013 \u0438 \u0432 \u0431\u0430\u0433\u0430\u0436,
\n\u0422\u0443\u0434\u0430, \u0433\u0434\u0435 \u043b\u0435\u0436\u0430\u043b\u00a0\u0441\u0430\u043a\u0432\u043e\u044f\u0436,
\n\u041a\u0430\u0440\u0442\u0438\u043d\u0430,
\n\u041a\u043e\u0440\u0437\u0438\u043d\u0430,
\n\u041a\u0430\u0440\u0442\u043e\u043d\u043a\u0430,
\n\u0413\u0434\u0435 \u043f\u0440\u0435\u0436\u0434\u0435 \u0431\u044b\u043b\u0430 \u0441\u043e\u0431\u0430\u0447\u043e\u043d\u043a\u0430<\/b>.
\n 
\n\u041f\u0440\u0438\u0435\u0445\u0430\u043b\u0438 \u0432 \u0433\u043e\u0440\u043e\u0434 \u0416\u0438\u0442\u043e\u043c\u0438\u0440.
\n\u041d\u043e\u0441\u0438\u043b\u044c\u0449\u0438\u043a\u00a0\u043f\u044f\u0442\u043d\u0430\u0434\u0446\u0430\u0442\u044b\u0439<\/b>\u00a0\u043d\u043e\u043c\u0435\u0440
\n\u0412\u0435\u0437\u0435\u0442 \u043d\u0430 \u0442\u0435\u043b\u0435\u0436\u043a\u0435 \u0431\u0430\u0433\u0430\u0436:
\n\u0414\u0438\u0432\u0430\u043d,
\n\u0427\u0435\u043c\u043e\u0434\u0430\u043d,
\n\u0421\u0430\u043a\u0432\u043e\u044f\u0436,
\n\u041a\u0430\u0440\u0442\u0438\u043d\u0443,
\n\u041a\u043e\u0440\u0437\u0438\u043d\u0443,
\n\u041a\u0430\u0440\u0442\u043e\u043d\u043a\u0443,<\/b>
\n\u0410 \u0441\u0437\u0430\u0434\u0438 \u0432\u0435\u0434\u0443\u0442\u00a0\u0441\u043e\u0431\u0430\u0447\u043e\u043d\u043a\u0443<\/b>.
\n 
\n\u0421\u043e\u0431\u0430\u043a\u0430-\u0442\u043e \u043a\u0430\u043a \u0437\u0430\u0440\u044b\u0447\u0438\u0442,
\n\u0410 \u0431\u0430\u0440\u044b\u043d\u044f \u043a\u0430\u043a \u0437\u0430\u043a\u0440\u0438\u0447\u0438\u0442:
\n– \u0420\u0430\u0437\u0431\u043e\u0439\u043d\u0438\u043a\u0438! \u0412\u043e\u0440\u044b! \u0423\u0440\u043e\u0434\u044b!
\n\u0421\u043e\u0431\u0430\u043a\u0430 — \u043d\u0435 \u0442\u043e\u0439 \u043f\u043e\u0440\u043e\u0434\u044b!
\n\u0428\u0432\u044b\u0440\u043d\u0443\u043b\u0430 \u043e\u043d\u0430\u00a0\u0447\u0435\u043c\u043e\u0434\u0430\u043d<\/b>,
\n\u041d\u043e\u0433\u043e\u0439 \u043e\u0442\u043f\u0438\u0445\u043d\u0443\u043b\u0430\u00a0\u0434\u0438\u0432\u0430\u043d,
\n\u041a\u0430\u0440\u0442\u0438\u043d\u0443,
\n\u041a\u043e\u0440\u0437\u0438\u043d\u0443,
\n\u041a\u0430\u0440\u0442\u043e\u043d\u043a\u0443\u2026
\n– \u041e\u0442\u0434\u0430\u0439\u0442\u0435 \u043c\u043e\u044e \u0441\u043e\u0431\u0430\u0447\u043e\u043d\u043a\u0443!
\n 
\n– \u041f\u043e\u0437\u0432\u043e\u043b\u044c\u0442\u0435, \u043c\u0430\u043c\u0430\u0448\u0430! \u041d\u0430 \u0441\u0442\u0430\u043d\u0446\u0438\u0438,
\n\u0421\u043e\u0433\u043b\u0430\u0441\u043d\u043e \u0431\u0430\u0433\u0430\u0436\u043d\u043e\u0439\u00a0\u043a\u0432\u0438\u0442\u0430\u043d\u0446\u0438\u0438,
\n\u041e\u0442 \u0432\u0430\u0441 \u043f\u043e\u043b\u0443\u0447\u0438\u043b\u0438 \u0431\u0430\u0433\u0430\u0436:
\n\u0414\u0438\u0432\u0430\u043d,
\n\u0427\u0435\u043c\u043e\u0434\u0430\u043d,
\n\u0421\u0430\u043a\u0432\u043e\u044f\u0436,
\n\u041a\u0430\u0440\u0442\u0438\u043d\u0443,
\n\u041a\u043e\u0440\u0437\u0438\u043d\u0443,
\n\u041a\u0430\u0440\u0442\u043e\u043d\u043a\u0443
\n\u0418<\/b>\u00a0\u043c\u0430\u043b\u0435\u043d\u044c\u043a\u0443\u044e\u00a0\u0441\u043e\u0431\u0430\u0447\u043e\u043d\u043a\u0443<\/b>.
\n\u041e\u0434\u043d\u0430\u043a\u043e
\n\u0417\u0430 \u0432\u0440\u0435\u043c\u044f \u043f\u0443\u0442\u0438
\n\u0421\u043e\u0431\u0430\u043a\u0430
\n\u041c\u043e\u0433\u043b\u0430 \u043f\u043e\u0434\u0440\u0430\u0441\u0442\u0438!
\n 
\nOne item \u2013 the only animate one, a little doggie concluding the list, — disappears in the course of the voyage and is replaced with a different one. This enlivens the narrative and prompts the introduction of a nostalgic, Villon-like rhetorical question: –\u00a0\u0422\u043e\u0432\u0430\u0440\u0438\u0449\u0438! \u0413\u0434\u0435 \u0441\u043e\u0431\u0430\u0447\u043e\u043d\u043a\u0430?\u00a0<\/i>(- Comrades, where is the doggie?).<\/p>\n

One of the earliest loading catalogs was, of course, the list of persons and animals to be saved on Noah’s ark, which recurs six times, with variations, in the Book of Genesis, chapters 6-8, as God formulates and repeats his instructions to Noah, who then is reported to carry them out (6. 18-20, 7: 1-3, 7-9, 13-16, 8: 15-17, 18-19). Here is the first of these fragments, but the next time the list appears (in the beginning of Chapter 7) the numbers are modified.<\/p>\n

Genesis<\/i>, 6. 18-20<\/b>:18. \u2026and thou shalt come into the ark,\u00a0thou, and thy sons, and thy wife, and thy sons’ wives<\/b>\u00a0with thee.<\/i><\/p>\n

19.\u00a0And of every\u00a0living thing<\/b>\u00a0of all flesh,\u00a0two<\/b>\u00a0of every sort shalt thou bring into the ark, to keep them alive with thee; they shall be\u00a0male and female<\/b>.<\/i><\/p>\n

20.\u00a0Of\u00a0fowls<\/b>\u00a0after their kind, and of\u00a0cattle<\/b>\u00a0after their kind, of every\u00a0creeping thing<\/b>\u00a0of the earth after his kind,\u00a0two<\/b>\u00a0of every sort shall come unto thee, to keep them alive.<\/i><\/p>\n

Genesis<\/i>, 7: 2-3:<\/b><\/p>\n

2.\u00a0Of every\u00a0clean beast thou shalt take to thee by sevens, the male and his female<\/b>: and\u00a0of beasts that are not clean by two, the male and his female.<\/b><\/i><\/p>\n

3.\u00a0Of\u00a0fowls<\/b>\u00a0also\u00a0of the air by sevens, the male and the female<\/b>; to keep seed alive upon the face of all the earth<\/i>.<\/p>\n

Overall, the list is rather abstract: even the members of Noah’s family are not named personally, but referred to by their terms of kinship. And the animals are mentioned only at the level of classes, not particular species; most prominent are numerals (twos and sevens).<\/p>\n

 <\/p>\n

11.<\/b>\u00a0Another traditional type of catalog is a\u00a0list of goods offered\/ordered as a purchase, gift, ransom<\/b>. Such lists are usually presented and repeated only to be rejected.<\/p>\n

Sometimes the order itself begins with a formulaic rejection, as, for instance, in Sergei Aksakov\u2019s \u00ab\u0410\u043b\u0435\u043d\u044c\u043a\u0438\u0439 \u0446\u0432\u0435\u0442\u043e\u0447\u0435\u043a\u00bb (The Scarlet Flower), where, incidentally, the coveted objects are\u00a0\u0437\u0430\u043c\u043e\u0440\u0441\u043a\u0438\u0435, from overseas<\/b>. First, the oldest sister rejects a standard set of gifts, and then each of the younger ones in succession rejects the previous sister\u2019s list and offers her own.<\/p>\n

The motif of a gift\/ransom list also goes back to the\u00a0Iliad<\/i>, Canto IX, where Agamemnon decides to appease Achilles with gifts. He sends him a list of them with Odysseus, but Achilles rejects it. Agamemnon\u2019s list boasts many of the typical parameters of a catalog: the verb \u201cto count, enumerate\u201d, and several numerals; toponyms and other proper names; a ship to carry the stuff. Compared to most later gift lists, this one dazzles by including women (among them not only the future Trojan captives but also some of Agamemnon\u2019s own daughters) and entire cities.<\/p>\n

Literary catalogs can also use as their sources\u00a0other types of registers<\/b>: train schedules, passenger lists, library catalogs, restaurant menus, class registers etc.<\/p>\n

 <\/p>\n

12.\u00a0<\/b>As far as\u00a0menus<\/b>\u00a0are concerned, worth mentioning are:
\n 
\nEugene Onegin\u2019s<\/i>\u00a0Chapter One, stanza XIV, flaunting chic barbarisms:
\n 
\n\u041a\u00a0Talon4<\/i><\/b>\u00a0\u043f\u043e\u043c\u0447\u0430\u043b\u0441\u044f: \u043e\u043d \u0443\u0432\u0435\u0440\u0435\u043d,
\n\u0427\u0442\u043e \u0442\u0430\u043c \u0443\u0436 \u0436\u0434\u0435\u0442 \u0435\u0433\u043e\u00a0\u041a\u0430\u0432\u0435\u0440\u0438\u043d<\/b>.
\n\u0412\u043e\u0448\u0435\u043b: \u0438 \u043f\u0440\u043e\u0431\u043a\u0430 \u0432 \u043f\u043e\u0442\u043e\u043b\u043e\u043a,
\n\u0412\u0438\u043d\u0430<\/b>\u00a0\u043a\u043e\u043c\u0435\u0442\u044b \u0431\u0440\u044b\u0437\u043d\u0443\u043b \u0442\u043e\u043a,
\n\u041f\u0440\u0435\u0434 \u043d\u0438\u043c\u00a0roast-beef<\/b>\u043e\u043a\u0440\u043e\u0432\u0430\u0432\u043b\u0435\u043d\u043d\u044b\u0439,
\n\u0418\u00a0\u0442\u0440\u044e\u0444\u043b\u0438<\/b>, \u0440\u043e\u0441\u043a\u043e\u0448\u044c \u044e\u043d\u044b\u0445 \u043b\u0435\u0442,
\n\u0424\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u043e\u0439<\/b>\u00a0\u043a\u0443\u0445\u043d\u0438 \u043b\u0443\u0447\u0448\u0438\u0439 \u0446\u0432\u0435\u0442,
\n\u0418\u00a0\u0421\u0442\u0440\u0430\u0437\u0431\u0443\u0440\u0433\u0430 \u043f\u0438\u0440\u043e\u0433<\/b>\u00a0\u043d\u0435\u0442\u043b\u0435\u043d\u043d\u044b\u0439
\n\u041c\u0435\u0436\u00a0\u0441\u044b\u0440\u043e\u043c \u041b\u0438\u043c\u0431\u0443\u0440\u0433\u0441\u043a\u0438\u043c<\/b>\u00a0\u0436\u0438\u0432\u044b\u043c
\n\u0418\u00a0\u0430\u043d\u0430\u043d\u0430\u0441\u043e\u043c<\/b>\u00a0\u0437\u043e\u043b\u043e\u0442\u044b\u043c.
\n 
\nand the episode of Sasha Sokolov\u2019s\u00a0Palisandria\/Astrophobia<\/i>\u00a0where the title narrator-protagonist reports having had dinner with Samuel Beckett and pastes into the text a full menu in Danish, without translation or comments, — in an in-your-face laying bare of the catalog technique.<\/p>\n

MENU<\/h3>\n

Forretter:<\/p>\n

Klar Suppe med K\u00f8d og Melboller \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..12.50 kr.<\/p>\n

H\u00f8nsesuppe med Aspares \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026 13.75 kr.<\/p>\n

Hovedretter:<\/p>\n

Medisterp\u00f8lse med Kartofler, sovs og R\u00f8dbeder\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026..18.50 kr.<\/p>\n

Frikadeller med sovs, Kartofler og R\u00f8dkal \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.. 20.50 kr.<\/p>\n

Boller i Karry med Ris \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.\u2026\u2026 16.50 kr.<\/p>\n

Wienerschnitzel med sovs, Kartofler og Gr\u00f8ntsager \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.22.50 kr.<\/p>\n

Dansk B\u00f8f med Kartofler, sovs, B\u00f8nner og Bl\u00f8de L\u00f8g \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.25.00 kr.<\/p>\n

Efterretter:<\/p>\n

Vanilleis med Chokoladecreme \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.. 8.50 kr.<\/p>\n

Fromage med Karamelsauce og Sukater \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026 12.50 kr.<\/p>\n

2 Pandekager med Hjemmelavet Syltet\u00f8j \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.. 10.50 kr.<\/p>\n

 <\/p>\n

The\u00a0class list<\/b>\u00a0format was used by Nabokov in\u00a0Lolita<\/i>\u00a0(I, 11). Humbert Humbert discovers Lolita\u2019s class list on the back of a USA map (a bow to the geographical motif) and engages in a close reading of this\u00a0poem<\/i>, its\u00a0semitranslucent<\/i>\u00a0mystery and the semantic and onomastic connotations of a dozen of the forty names. Nabokov succeeded in provoking a prolific industry of scholarly commentaries to the list, impressive, but of course not authorized, thus creating an additional\u00a0virtual<\/b>\u00a0counterpoint to the\u00a0quasi<\/b>-documentary register.<\/p>\n

 <\/p>\n

13.\u00a0<\/b>In Soviet literature, the virtual aspect of catalogs gained a new poignancy owing to a sweeping loss of cultural wealth and creature comforts in the course and aftermath of the Bolshevik revolution. An early example of a\u00a0list of losses<\/b>\u00a0was Mikhail Kuzmin’s 1922 poem \u00ab\u201d\u0410 \u044d\u0442\u043e — \u0445\u0443\u043b\u0438\u0433\u0430\u043d\u0441\u043a\u0430\u044f\u201d, — \u0441\u043a\u0430\u0437\u0430\u043b\u0430…\u00bb (And this one is a hooligan\u2019s, – she said…). In it, the poet recalls with bittersweet nostalgia a number of pre-revolutionary realities. The poem features: a set of Russian imperial toponyms; memories of the past; a collector\u2019s taste for the names of objects; and an embodied catalog (\u0421\u0442\u0440\u0430\u043d\u0438\u0446\u044b \u0438\u0437 \u00ab\u0412\u0441\u0435\u0433\u043e \u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433\u0430\u00bb<\/i>\u00a0… \u0437\u0430 1913 \u0433\u043e\u0434 [Pages from \u2018All of Petersburg\u2019 [a phone directory]… for the year 1913]).<\/p>\n

A similar case is the inventory of Vorobianinov\u2019s chairs and other such lists which are physically there in the form of\u00a0\u043e\u0440\u0434\u0435\u0440\u0430<\/i>\u00a0(orders) accumulated by the registrar Korobeinikov in Ilf and Petrov\u2019s\u00a0Twelve Chairs<\/i>\u00a0(1927). Prominent is also the element of meta-verbal attention to exotic names, naturalized by the alphabetical structure of the archive:<\/p>\n

\u00ab- \u0415\u0441\u0442\u044c \u0431\u0443\u043a\u0432\u0430 \u0412, — \u043e\u0445\u043e\u0442\u043d\u043e \u043e\u0442\u043e\u0437\u0432\u0430\u043b\u0441\u044f \u041a\u043e\u0440\u043e\u0431\u0435\u0439\u043d\u0438\u043a\u043e\u0432. — \u0421\u0435\u0439\u0447\u0430\u0441.\u00a0\u0412\u043c, \u0412\u043d, \u0412\u043e\u0440\u0438\u0446\u043a\u0438\u0439<\/i>\u00a0<\u2026>\u00a0\u0412\u043e\u0440\u043e\u0431\u044c\u044f\u043d\u0438\u043d\u043e\u0432, \u0418\u043f\u043f\u043e\u043b\u0438\u0442 \u041c\u0430\u0442\u0432\u0435\u0435\u0432\u0438\u0447<\/i>\u00bb (- Here is letter V, — willingly responded Korobeinikov. —\u00a0V\u043c, Vn, Voritsky\u2026 Vorobyaninov, Ippolit Matveevich<\/i>).<\/p>\n

Four years later a list of vanished, scarce,\u00a0defitsitnyi<\/i>\u00a0values informs Mandel\u2019shtam poem
\n 
\n\u042f \u043f\u044c\u044e \u0437\u0430\u00a0\u0432\u043e\u0435\u043d\u043d\u044b\u0435 \u0430\u0441\u0442\u0440\u044b<\/b>, \u0437\u0430\u00a0\u0432\u0441\u0435<\/b>, \u0447\u0435\u043c\u00a0\u043a\u043e\u0440\u0438\u043b\u0438<\/b>\u00a0\u043c\u0435\u043d\u044f:
\n\u0417\u0430\u00a0\u0431\u0430\u0440\u0441\u043a\u0443\u044e \u0448\u0443\u0431\u0443<\/b>, \u0437\u0430\u00a0\u0430\u0441\u0442\u043c\u0443<\/b>, \u0437\u0430\u00a0\u0436\u0435\u043b\u0447\u044c \u043f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433\u0441\u043a\u043e\u0433\u043e \u0434\u043d\u044f<\/b>.
\n\u0417\u0430\u00a0\u043c\u0443\u0437\u044b\u043a\u0443 \u0441\u043e\u0441\u0435\u043d \u0441\u0430\u0432\u043e\u0439\u0441\u043a\u0438\u0445, \u041f\u043e\u043b\u0435\u0439 \u0415\u043b\u0438\u0441\u0435\u0439\u0441\u043a\u0438\u0445 \u0431\u0435\u043d\u0437\u0438\u043d,<\/b>
\n\u0417\u0430\u00a0\u0440\u043e\u0437\u044b<\/b>\u00a0\u0432\u00a0\u043a\u0430\u0431\u0438\u043d\u0435 \u0440\u043e\u043b\u044c\u0441-\u0440\u043e\u0439\u0441\u0430<\/b>\u00a0\u0438\u00a0\u043c\u0430\u0441\u043b\u043e \u043f\u0430\u0440\u0438\u0436\u0441\u043a\u0438\u0445 \u043a\u0430\u0440\u0442\u0438\u043d<\/b>.
\n\u042f \u043f\u044c\u044e \u0437\u0430\u00a0\u0431\u0438\u0441\u043a\u0430\u0439\u0441\u043a\u0438\u0435 \u0432\u043e\u043b\u043d\u044b<\/b>, \u0437\u0430\u00a0\u0441\u043b\u0438\u0432\u043e\u043a \u0430\u043b\u044c\u043f\u0438\u0439\u0441\u043a\u0438\u0445 \u043a\u0443\u0432\u0448\u0438\u043d<\/b>,
\n\u0417\u0430 \u0440\u044b\u0436\u0443\u044e\u00a0\u0441\u043f\u0435\u0441\u044c \u0430\u043d\u0433\u043b\u0438\u0447\u0430\u043d\u043e\u043a<\/b>\u00a0\u0438\u00a0\u0434\u0430\u043b\u044c\u043d\u0438\u0445 \u043a\u043e\u043b\u043e\u043d\u0438\u0439 \u0445\u0438\u043d\u0438\u043d<\/b>,
\n\u042f \u043f\u044c\u044e, \u043d\u043e \u0435\u0449\u0435 \u043d\u0435 \u043f\u0440\u0438\u0434\u0443\u043c\u0430\u043b — \u0438\u0437\u00a0\u0434\u0432\u0443\u0445<\/b>\u00a0\u0432\u044b\u0431\u0438\u0440\u0430\u044e\u00a0\u043e\u0434\u043d\u043e<\/b>\u00a0—
\n\u0414\u0443\u0448\u0438\u0441\u0442\u043e\u0435\u00a0\u0430\u0441\u0442\u0438-\u0441\u043f\u0443\u043c\u0430\u043d\u0442\u0435<\/b>\u00a0\u0438\u043b\u044c\u00a0\u043f\u0430\u043f\u0441\u043a\u043e\u0433\u043e \u0437\u0430\u043c\u043a\u0430 \u0432\u0438\u043d\u043e<\/b>…
\n 
\nCataloging is prompted by the poet\u2019s invariant motifs of separation\u00a0from<\/b>\u00a0and longing\u00a0for<\/b>\u00a0world values, their obsessive contemplation and mental leafing through. The nostalgic theme finds an ingenious expression in a pointed demarcation of borders: historical (as at first, in the footsteps of Kuzmin, the values listed are pre-revolutionary) and then geographical (the list that follows is of foreign values).<\/p>\n

Nostalgic collectors of pre-revolutionary artefacts are at the center of the novels of Konstantin Vaginov, beginning with his 1928\u00a0Kozlinaia pesn\u2019<\/i>\u00a0(The Goat Song). Their collections and catalogs are desperately virtual, as the men are bent on preserving such evanescent values as old-time culinary recipes or completely ephemeral objects like dreams or scraps of human nails; sometimes the men themselves disdain their bizarre collections.<\/p>\n

A likely classic prototype of such catalogs of losses was the list of Peter Grinev\u2019s stolen belongings submitted to Pugachev by Savel\u2019ich.<\/p>\n

\u00ab\u0412 \u044d\u0442\u043e \u0432\u0440\u0435\u043c\u044f <\u2026> \u0432\u0438\u0436\u0443 <\u2026> \u043c\u043e\u0439 \u0421\u0430\u0432\u0435\u043b\u044c\u0438\u0447 \u043f\u043e\u0434\u0445\u043e\u0434\u0438\u0442 \u043a \u041f\u0443\u0433\u0430\u0447\u0435\u0432\u0443 \u0438 \u043f\u043e\u0434\u0430\u0435\u0442 \u0435\u043c\u0443\u00a0\u043b\u0438\u0441\u0442 \u0431\u0443\u043c\u0430\u0433\u0438<\/b>\u00a0<\u2026> — \u042d\u0442\u043e \u0447\u0442\u043e? — \u0441\u043f\u0440\u043e\u0441\u0438\u043b \u0432\u0430\u0436\u043d\u043e \u041f\u0443\u0433\u0430\u0447\u0435\u0432. —\u00a0\u041f\u0440\u043e\u0447\u0438\u0442\u0430\u0439<\/b>, \u0442\u0430\u043a \u0438\u0437\u0432\u043e\u0434\u0438\u0448\u044c \u0443\u0432\u0438\u0434\u0435\u0442\u044c <\u2026><\/p>\n

\u041f\u0443\u0433\u0430\u0447\u0435\u0432 \u043f\u0440\u0438\u043d\u044f\u043b \u0431\u0443\u043c\u0430\u0433\u0443 \u0438 \u0434\u043e\u043b\u0433\u043e \u0440\u0430\u0441\u0441\u043c\u0430\u0442\u0440\u0438\u0432\u0430\u043b \u0441 \u0432\u0438\u0434\u043e\u043c \u0437\u043d\u0430\u0447\u0438\u0442\u0435\u043b\u044c\u043d\u044b\u043c. — \u0427\u0442\u043e \u0442\u044b \u0442\u0430\u043a\u00a0\u043c\u0443\u0434\u0440\u0435\u043d\u043e \u043f\u0438\u0448\u0435\u0448\u044c<\/b>? <\u2026> \u041d\u0430\u0448\u0438 \u0441\u0432\u0435\u0442\u043b\u044b\u0435 \u043e\u0447\u0438 \u043d\u0435 \u043c\u043e\u0433\u0443\u0442 \u0442\u0443\u0442 \u043d\u0438\u0447\u0435\u0433\u043e\u00a0\u0440\u0430\u0437\u043e\u0431\u0440\u0430\u0442\u044c<\/b>. \u0413\u0434\u0435 \u043c\u043e\u0439 \u043e\u0431\u0435\u0440-\u0441\u0435\u043a\u0440\u0435\u0442\u0430\u0440\u044c? <\u2026>\u00a0\u0427\u0438\u0442\u0430\u0439 \u0432\u0441\u043b\u0443\u0445<\/b>\u00a0<\u2026><\/p>\n

\u042f \u0447\u0440\u0435\u0437\u0432\u044b\u0447\u0430\u0439\u043d\u043e \u043b\u044e\u0431\u043e\u043f\u044b\u0442\u0441\u0442\u0432\u043e\u0432\u0430\u043b \u0443\u0437\u043d\u0430\u0442\u044c, \u043e \u0447\u0435\u043c \u0434\u044f\u0434\u044c\u043a\u0430 \u043c\u043e\u0439 \u0432\u0437\u0434\u0443\u043c\u0430\u043b \u043f\u0438\u0441\u0430\u0442\u044c \u041f\u0443\u0433\u0430\u0447\u0435\u0432\u0443<\/b>. \u041e\u0431\u0435\u0440-\u0441\u0435\u043a\u0440\u0435\u0442\u0430\u0440\u044c <\u2026> \u0441\u0442\u0430\u043b\u00a0\u043f\u043e \u0441\u043a\u043b\u0430\u0434\u0430\u043c \u0447\u0438\u0442\u0430\u0442\u044c<\/b>\u00a0\u0441\u043b\u0435\u0434\u0443\u044e\u0449\u0435\u0435: —\u00a0\u0414\u0432\u0430 \u0445\u0430\u043b\u0430\u0442\u0430, \u043c\u0438\u0442\u043a\u0430\u043b\u0435\u0432\u044b\u0439 \u0438 \u0448\u0435\u043b\u043a\u043e\u0432\u044b\u0439 \u043f\u043e\u043b\u043e\u0441\u0430\u0442\u044b\u0439, \u043d\u0430 \u0448\u0435\u0441\u0442\u044c \u0440\u0443\u0431\u043b\u0435\u0439<\/b>. — \u042d\u0442\u043e \u0447\u0442\u043e \u0437\u043d\u0430\u0447\u0438\u0442? — \u0441\u043a\u0430\u0437\u0430\u043b, \u043d\u0430\u0445\u043c\u0443\u0440\u044f\u0441\u044c, \u041f\u0443\u0433\u0430\u0447\u0435\u0432. — \u041f\u0440\u0438\u043a\u0430\u0436\u0438\u00a0\u0447\u0438\u0442\u0430\u0442\u044c<\/b>\u00a0\u0434\u0430\u043b\u0435\u0435, — \u043e\u0442\u0432\u0435\u0447\u0430\u043b \u0441\u043f\u043e\u043a\u043e\u0439\u043d\u043e \u0421\u0430\u0432\u0435\u043b\u044c\u0438\u0447 <\u2026> —\u00a0\u041c\u0443\u043d\u0434\u0438\u0440 \u0438\u0437 \u0442\u043e\u043d\u043a\u043e\u0433\u043e \u0437\u0435\u043b\u0435\u043d\u043e\u0433\u043e \u0441\u0443\u043a\u043d\u0430 \u043d\u0430 \u0441\u0435\u043c\u044c \u0440\u0443\u0431\u043b\u0435\u0439. \u0428\u0442\u0430\u043d\u044b \u0431\u0435\u043b\u044b\u0435 \u0441\u0443\u043a\u043e\u043d\u043d\u044b\u0435 \u043d\u0430 \u043f\u044f\u0442\u044c \u0440\u0443\u0431\u043b\u0435\u0439. \u0414\u0432\u0435\u043d\u0430\u0434\u0446\u0430\u0442\u044c \u0440\u0443\u0431\u0430\u0445 \u043f\u043e\u043b\u043e\u0442\u043d\u044f\u043d\u044b\u0445 \u0433\u043e\u043b\u043b\u0430\u043d\u0434\u0441\u043a\u0438\u0445 \u0441 \u043c\u0430\u043d\u0436\u0435\u0442\u0430\u043c\u0438<\/b>\u00a0<\u2026>\u00a0\u041f\u043e\u0433\u0440\u0435\u0431\u0435\u0446 \u0441 \u0447\u0430\u0439\u043d\u043e\u044e \u043f\u043e\u0441\u0443\u0434\u043e\u044e<\/b>\u00a0<\u2026><\/p>\n

– \u042d\u0442\u043e, \u0431\u0430\u0442\u044e\u0448\u043a\u0430 <\u2026>\u00a0\u0440\u0435\u0435\u0441\u0442\u0440<\/b>\u00a0\u0431\u0430\u0440\u0441\u043a\u043e\u043c\u0443 \u0434\u043e\u0431\u0440\u0443,\u00a0\u0440\u0430\u0441\u043a\u0440\u0430\u0434\u0435\u043d\u043d\u043e\u043c\u0443<\/b>\u00a0\u0437\u043b\u043e\u0434\u0435\u044f\u043c\u0438… — \u041a\u0430\u043a\u0438\u043c\u0438 \u0437\u043b\u043e\u0434\u0435\u044f\u043c\u0438? — \u0441\u043f\u0440\u043e\u0441\u0438\u043b \u0433\u0440\u043e\u0437\u043d\u043e \u041f\u0443\u0433\u0430\u0447\u0435\u0432. \u2013 \u0412\u0438\u043d\u043e\u0432\u0430\u0442 <\u2026> \u0417\u043b\u043e\u0434\u0435\u0438 \u043d\u0435 \u0437\u043b\u043e\u0434\u0435\u0438, \u0430 \u0442\u0432\u043e\u0438 \u0440\u0435\u0431\u044f\u0442\u0430 <\u2026> \u043f\u043e\u0440\u0430\u0441\u0442\u0430\u0441\u043a\u0430\u043b\u0438 <\u2026> \u041f\u0440\u0438\u043a\u0430\u0436\u0438 \u0443\u0436\u00a0\u0434\u043e\u0447\u0438\u0442\u0430\u0442\u044c<\/b>. —\u00a0\u0414\u043e\u0447\u0438\u0442\u044b\u0432\u0430\u0439<\/b>\u00a0<\u2026> —\u00a0\u041e\u0434\u0435\u044f\u043b\u043e \u0441\u0438\u0442\u0446\u0435\u0432\u043e\u0435, \u0434\u0440\u0443\u0433\u043e\u0435 \u0442\u0430\u0444\u0442\u044f\u043d\u043e\u0435 \u043d\u0430 \u0445\u043b\u043e\u043f\u0447\u0430\u0442\u043e\u0439 \u0431\u0443\u043c\u0430\u0433\u0435 \u0447\u0435\u0442\u044b\u0440\u0435 \u0440\u0443\u0431\u043b\u044f. \u0428\u0443\u0431\u0430 \u043b\u0438\u0441\u044c\u044f, \u043a\u0440\u044b\u0442\u0430\u044f \u0430\u043b\u044b\u043c \u0440\u0430\u0442\u0438\u043d\u043e\u043c, 40 \u0440\u0443\u0431\u043b\u0435\u0439. \u0415\u0449\u0435 \u0437\u0430\u044f\u0447\u0438\u0439 \u0442\u0443\u043b\u0443\u043f\u0447\u0438\u043a, \u043f\u043e\u0436\u0430\u043b\u043e\u0432\u0430\u043d\u043d\u044b\u0439 \u0442\u0432\u043e\u0435\u0439 \u043c\u0438\u043b\u043e\u0441\u0442\u0438<\/b>\u00a0<\u2026>\u00a015 \u0440\u0443\u0431\u043b\u0435\u0439<\/b>.<\/p>\n

– \u042d\u0442\u043e \u0447\u0442\u043e \u0435\u0449\u0435! <\u2026> — \u0432\u0441\u043a\u0440\u0438\u0447\u0430\u043b [\u041f\u0443\u0433\u0430\u0447\u0435\u0432],\u00a0\u0432\u044b\u0445\u0432\u0430\u0442\u044f \u0431\u0443\u043c\u0430\u0433\u0443<\/b>\u00a0\u0438\u0437 \u0440\u0443\u043a \u0441\u0435\u043a\u0440\u0435\u0442\u0430\u0440\u044f \u0438\u00a0\u0431\u0440\u043e\u0441\u0438\u0432 \u0435\u0435 \u0432 \u043b\u0438\u0446\u043e<\/b>\u00a0\u0421\u0430\u0432\u0435\u043b\u044c\u0438\u0447\u0443 <\u2026> \u0417\u0430\u044f\u0447\u0438\u0439 \u0442\u0443\u043b\u0443\u043f! <\u2026> \u0414\u0430 <\u2026> \u044f \u0441 \u0442\u0435\u0431\u044f \u0436\u0438\u0432\u043e\u0433\u043e \u043a\u043e\u0436\u0443 \u0432\u0435\u043b\u044e \u0441\u043e\u0434\u0440\u0430\u0442\u044c \u043d\u0430 \u0442\u0443\u043b\u0443\u043f\u044b <\u2026><\/p>\n

[\u041d\u043e] \u041f\u0443\u0433\u0430\u0447\u0435\u0432 \u0431\u044b\u043b, \u0432\u0438\u0434\u043d\u043e, \u0432 \u043f\u0440\u0438\u043f\u0430\u0434\u043a\u0435 \u0432\u0435\u043b\u0438\u043a\u043e\u0434\u0443\u0448\u0438\u044f <\u2026> \u042f \u043e\u0441\u0442\u0430\u043b\u0441\u044f \u043d\u0430 \u043f\u043b\u043e\u0449\u0430\u0434\u0438 \u043e\u0434\u0438\u043d \u0441 \u0421\u0430\u0432\u0435\u043b\u044c\u0438\u0447\u0435\u043c. \u0414\u044f\u0434\u044c\u043a\u0430 \u043c\u043e\u0439\u00a0\u0434\u0435\u0440\u0436\u0430\u043b \u0432 \u0440\u0443\u043a\u0430\u0445 \u0441\u0432\u043e\u0439 \u0440\u0435\u0435\u0441\u0442\u0440<\/b>\u00a0<\u2026> — \u0421\u043c\u0435\u0439\u0441\u044f, \u0441\u0443\u0434\u0430\u0440\u044c, <\u2026> \u0441\u043c\u0435\u0439\u0441\u044f;\u00a0\u0430 \u043a\u0430\u043a \u043f\u0440\u0438\u0434\u0435\u0442\u0441\u044f \u043d\u0430\u043c \u0441\u044b\u0437\u043d\u043e\u0432\u0430 \u0437\u0430\u0432\u043e\u0434\u0438\u0442\u044c\u0441\u044f \u0432\u0441\u0435\u043c \u0445\u043e\u0437\u044f\u0439\u0441\u0442\u0432\u043e\u043c, \u0442\u0430\u043a \u043f\u043e\u0441\u043c\u043e\u0442\u0440\u0438\u043c, \u0441\u043c\u0435\u0448\u043d\u043e \u043b\u0438 \u0431\u0443\u0434\u0435\u0442<\/b>\u00bb.<\/p>\n

The episode boasts a number of rhetorical effects: a defamiliarized perception of its unfolding by Grinev the narrator; the handing over of an actual list; the twists and turns of its reading (featuring manifestations of Pugachev\u2019s thinly disguised illiteracy); and, to top it off, the inclusion of the famous hare skin coat, which was given to Pugachev, not stolen by his underlings, thus firmly rooting Savel\u2019ich\u2019s petition in the core plot of\u00a0The Captain’s Daughter<\/i>. Its ironic invoice style —<\/p>\n

“Two dressing gowns, one cotton, the other striped silk, six roubles\u2026 One uniform of fine green cloth, seven roubles; one pair trousers, white cloth, five roubles; twelve shirts of Holland shirting, with cuffs, ten roubles; one box with tea service, two-and-a-half roubles\u2026” (Pushkin,\u00a0The Daughter of the Commandant<\/i>, transl. Mrs. Milne Home)<\/p>\n

— is pressed in the service of portraying irrevocable losses in the midst of a social upheaval.<\/p>\n

14.\u00a0<\/b>The theme of\u00a0defitsit<\/i>, or manmade scarcity, flourished in the dissident literature of the so-called period of Soviet stagnation. By combining two extant catalog formats, the nostalgic and the trade\/gift ones, often with an “overseas” flavor, the popular motif of\u00a0an order for a supply of imported goods (\u0441\u043f\u0438\u0441\u043a\u0430-\u0437\u0430\u043a\u0430\u0437\u0430 \u043d\u0430 \u043f\u0440\u0438\u0432\u043e\u0437 \u0434\u0435\u0444\u0438\u0446\u0438\u0442\u043d\u044b\u0445 \u0442\u043e\u0432\u0430\u0440\u043e\u0432)\u00a0<\/b>was created.<\/p>\n

Vladimir Vysotsky, the dissident bard, has a song titled \u201cA Trip to the City\u201d (\u00ab\u041f\u043e\u0435\u0437\u0434\u043a\u0430 \u0432 \u0433\u043e\u0440\u043e\u0434\u00bb, 1969; listen on-line\u00a0here<\/a>):
\n 
\n\u042f \u0441\u0430\u043c\u044b\u0439 \u043d\u0435\u043f\u044c\u044e\u0449\u0438\u0439 \u0438\u0437 \u0432\u0441\u0435\u0445 \u043c\u0443\u0436\u0438\u043a\u043e\u0432,
\n\u0412\u043e \u043c\u043d\u0435 \u0435\u0441\u0442\u044c \u043c\u043e\u0440\u0430\u043b\u044c\u043d\u0430\u044f \u0441\u0438\u043b\u0430.
\n\u0418 \u043d\u0430\u0448\u0430 \u0441\u0435\u043c\u044c\u044f \u0431\u043e\u043b\u044c\u0448\u0438\u043d\u0441\u0442\u0432\u043e\u043c \u0433\u043e\u043b\u043e\u0441\u043e\u0432
\n\u0421\u043d\u0430\u0431\u0434\u0438\u0432 \u043c\u0435\u043d\u044f\u00a0\u0441\u043f\u0438\u0441\u043a\u043e\u043c \u043d\u0430 \u0432\u043e\u0441\u0435\u043c\u044c \u043b\u0438\u0441\u0442\u043e\u0432<\/b>,
\n\u0412 \u0441\u0442\u043e\u043b\u0438\u0446\u0443 \u043c\u0435\u043d\u044f \u0441\u043d\u0430\u0440\u044f\u0434\u0438\u043b\u0430,<\/p>\n

\u0427\u0442\u043e\u0431\u044b \u044f \u043f\u0440\u0438\u0432\u0435\u0437\u00a0\u0441\u043d\u043e\u0445\u0435<\/b>
\n\u0421 \u0435\u0439\u043d\u044b\u043c\u00a0\u043c\u0443\u0436\u0435\u043c \u043f\u043e \u0434\u043e\u0445\u0435<\/b>,
\n\u0427\u0442\u043e\u0431\u044b\u00a0\u0431\u0440\u0430\u0442\u0443 \u0441 \u0431\u0430\u0431\u043e\u0439 — \u043a\u043e\u0444\u0435 \u0440\u0430\u0441\u0442\u0432\u043e\u0440\u0438\u043c\u044b\u0439,
\n\u0414\u0432\u0443\u043c \u043d\u0435\u0432\u0435\u0441\u0442\u043a\u0430\u043c \u043f\u043e \u043a\u043e\u0432\u0440\u0443,
\n\u0417\u044f\u0442\u044e<\/b>\u00a0\u0447\u0435\u0440\u043d\u0443\u044e\u00a0\u0438\u043a\u0440\u0443<\/b>,
\n\u0422\u0435\u0441\u0442\u044e<\/b>\u00a0– \u0447\u0442\u043e-\u043d\u0438\u0431\u0443\u0434\u044c\u00a0\u0430\u0440\u043c\u044f\u043d\u0441\u043a\u043e\u0433\u043e \u0440\u0430\u0437\u043b\u0438\u0432\u0430<\/b>.<\/p>\n

\u042f \u0440\u0430\u043d\u0435\u043d, \u043a\u043e\u043d\u0442\u0443\u0436\u0435\u043d<\/b>, \u044f \u043c\u0430\u043b\u043e\u0441\u0442\u044c \u0431\u043e\u044e\u0441\u044c
\n\u0417\u0430\u0431\u044b\u0442\u044c<\/b>, \u0447\u0442\u043e \u043a\u043e\u043c\u0443 \u043f\u043e \u043f\u043e\u0440\u044f\u0434\u043a\u0443.
\n\u042f\u00a0\u0441\u043f\u0438\u0441\u043e\u043a \u0432\u0435\u0449\u0435\u0439 \u0437\u0430\u0443\u0447\u0438\u043b \u043d\u0430\u0438\u0437\u0443\u0441\u0442\u044c<\/b>,
\n\u0410 \u0434\u0435\u043d\u044c\u0433\u0438 \u0437\u0430\u0448\u0438\u043b \u0437\u0430 \u043f\u043e\u0434\u043a\u043b\u0430\u0434\u043a\u0443.<\/p>\n

\u041d\u0443, \u0437\u043d\u0430\u0447\u0438\u0442,\u00a0\u0431\u0440\u0430\u0442\u0443 – \u0434\u0432\u0435 \u0434\u043e\u0445\u0438<\/b>,
\n\u0421\u0435\u0441\u0442\u0440\u0438\u043d\u00a0\u043c\u0443\u0436<\/b>, — \u0435\u043c\u0443\u00a0\u0434\u0443\u0445\u0438<\/b>,
\n\u0422\u0435\u0441\u0442\u044c<\/b>\u00a0\u0441\u043a\u0430\u0437\u0430\u043b: – \u0414\u0430\u0432\u0430\u0439 \u0431\u0435\u0440\u0438,\u00a0\u0447\u0442\u043e \u043f\u043e\u043f\u0430\u0434\u0435\u0442\u0441\u044f!<\/b>
\n\u0414\u0432\u0443\u043c \u043d\u0435\u0432\u0435\u0441\u0442\u043a\u0430\u043c \u043f\u043e \u043a\u043e\u0432\u0440\u0443,
\n\u0417\u044f\u0442\u044e \u0431\u0435\u043b\u0438\u0447\u044c\u044e \u0438\u043a\u0440\u0443,
\n\u041a\u0443\u043c\u0443<\/b>\u00a0\u0432\u043e\u0434\u043a\u0438\u00a0\u043b\u0438\u0442\u0440\u0430 \u0434\u0432\u0430<\/b>, — \u043f\u0443\u0441\u043a\u0430\u0439 \u0437\u0430\u043b\u044c\u0435\u0442\u0441\u044f.<\/p>\n

\u042f \u0442\u044b\u043a\u0430\u043b\u0441\u044f \u0432 \u0441\u043f\u0438\u043d\u044b, \u0431\u043b\u0443\u0436\u0434\u0430\u043b \u043f\u043e \u043d\u043e\u0433\u0430\u043c,
\n\u0428\u0435\u043b \u0433\u0440\u0443\u0434\u044c\u044e \u043a \u043f\u043b\u0430\u0449\u0430\u043c \u0438 \u0440\u0443\u0431\u0430\u0445\u0430\u043c,
\n\u0427\u0442\u043e\u0431\u00a0\u0441\u043f\u0438\u0441\u043e\u043a \u0432\u0435\u0449\u0435\u0439<\/b>\u00a0\u043d\u0435 \u0434\u043e\u0441\u0442\u0430\u043b\u0441\u044f \u0432\u0440\u0430\u0433\u0430\u043c,
\n\u0415\u0433\u043e\u00a0\u043f\u0440\u043e\u0433\u043b\u043e\u0442\u0438\u043b<\/b>\u00a0\u044f \u0431\u0435\u0437 \u0441\u0442\u0440\u0430\u0445\u0430.
\n\u041d\u043e \u043f\u043e\u043c\u043d\u044e:\u00a0\u0448\u0443\u0431\u0443<\/b>\u00a0\u043f\u0440\u043e\u0441\u0438\u0442 \u0431\u0440\u0430\u0442,
\n\u041a\u0443\u043c\u0443 \u0441 \u0431\u0430\u0431\u043e\u0439 — \u0432\u0441\u0435 \u043f\u043e\u0434\u0440\u044f\u0434,
\n\u0422\u0435\u0441\u0442\u044e — \u0432\u043e\u0434\u043a\u0438<\/b>\u00a0\u0435\u0440\u0435\u0432\u0430\u043d\u0441\u043a\u043e\u0433\u043e \u0440\u0430\u0437\u043b\u0438\u0432\u0430,
\n\u0414\u0432\u0443\u043c \u043d\u0435\u0432\u0435\u0441\u0442\u043a\u0430\u043c<\/b>\u00a0\u0432\u0437\u044f\u0442\u044c\u00a0\u043c\u0430\u0445\u0440\u0443<\/b>,
\n\u0417\u044f\u0442\u044e<\/b>\u00a0\u0437\u0430\u044f\u0447\u044c\u044e\u00a0\u043d\u043e\u0440\u0443<\/b>,
\n\u0410\u00a0\u0441\u0435\u0441\u0442\u0440\u0435 — \u043f\u043b\u0435\u0432\u0430\u0442\u044c \u0447\u0435\u0433\u043e<\/b>, \u043d\u043e \u0447\u0442\u043e\u0431 \u043a\u0440\u0430\u0441\u0438\u0432\u043e..<\/p>\n

\u0414\u0430 \u0447\u0442\u043e \u0436 \u043c\u043d\u0435, \u043f\u0443\u0441\u0442\u044b\u043c \u0432\u043e\u0437\u0432\u0440\u0430\u0449\u0430\u0442\u044c\u0441\u044f \u043d\u0430\u0437\u0430\u0434?
\n\u041d\u043e \u0432\u043e\u0442 \u044f \u043d\u0430\u0431\u0440\u0435\u043b \u043d\u0430 \u0442\u043e\u0432\u0430\u0440\u044b.
\n– \u041a\u0430\u043a\u0430\u044f \u0432\u0430\u043b\u044e\u0442\u0430 \u0443 \u0432\u0430\u0441? — \u0433\u043e\u0432\u043e\u0440\u044f\u0442.
\n– \u041d\u0435 \u0431\u043e\u0439\u0441\u044c, — \u0433\u043e\u0432\u043e\u0440\u044e, —\u00a0\u043d\u0435 \u0434\u043e\u043b\u043b\u0430\u0440\u044b<\/b>!
\n\u0422\u0430\u043a \u0447\u0442\u043e, \u043e\u0442\u0432\u0430\u043b\u0438 \u043c\u043d\u0435 \u0442\u044b\u00a0\u043c\u0430\u0445\u0440\u044b<\/b>,
\n\u0417\u044f\u0442\u044c<\/b>\u00a0\u043f\u043e\u0434\u043e\u0445\u043d\u0435\u0442 \u0431\u0435\u0437\u00a0\u0438\u043a\u0440\u044b<\/b>,
\n\u0422\u0435\u0441\u0442\u044e<\/b>, \u043c\u043e\u043b, \u0434\u0430\u0435\u0448\u044c\u00a0\u0434\u0443\u0445\u0438 \u0434\u043b\u044f \u043e\u043f\u043e\u0445\u043c\u0435\u043b\u043a\u0438<\/b>,
\n\u0414\u0432\u0443\u043c \u043d\u0435\u0432\u0435\u0441\u0442\u043a\u0430\u043c — \u0432\u0441\u0435 \u0440\u0430\u0432\u043d\u043e,
\n\u041c\u0443\u0436\u0443 \u0441\u0435\u0441\u0442\u0440\u0438\u043d\u0443 — \u0432\u0438\u043d\u043e<\/b>,
\n\u041d\u0443, \u0430\u00a0\u043c\u043d\u0435<\/b>, — \u0432\u043e\u0442 \u044d\u0442\u043e\u00a0\u0436\u0435\u043b\u0442\u043e\u0435 \u0432 \u0442\u0430\u0440\u0435\u043b\u043a\u0435<\/b>.<\/p>\n

\u041d\u0435 \u043f\u043e\u043c\u043d\u044e \u043f\u0440\u043e \u0444\u0443\u043d\u0442\u044b, \u043f\u0440\u043e \u0441\u0442\u0435\u0440\u043b\u0438\u043d\u0433\u0438 \u0441\u043b\u043e\u0432,
\n\u0421\u0440\u0430\u0436\u0435\u043d\u043d\u044b\u0439 \u0443\u0436\u0430\u0441\u043d\u043e\u0439 \u0434\u043e\u0433\u0430\u0434\u043a\u043e\u0439.
\n\u0417\u0430\u0447\u0435\u043c \u044f \u0442\u043e\u0433\u0434\u0430 \u043f\u0440\u043e\u043b\u0438\u0432\u0430\u043b \u0441\u0432\u043e\u044e \u043a\u0440\u043e\u0432\u044c,
\n\u0417\u0430\u0447\u0435\u043c \u0435\u043b \u0442\u043e\u0442\u00a0\u0441\u043f\u0438\u0441\u043e\u043a \u043d\u0430 \u0432\u043e\u0441\u0435\u043c\u044c \u043b\u0438\u0441\u0442\u043e\u0432<\/b>,
\n\u0417\u0430\u0447\u0435\u043c \u043c\u043d\u0435 \u0440\u0443\u0431\u043b\u0438 \u0437\u0430 \u043f\u043e\u0434\u043a\u043b\u0430\u0434\u043a\u043e\u0439?<\/p>\n

\u0412\u0441\u0435 \u0436\u0435 \u043d\u0430\u0434\u043e \u0432\u0437\u044f\u0442\u044c\u00a0\u0434\u043e\u0445\u0443,
\n\u0417\u044f\u0442\u044e \u043a\u043e\u0444\u0435 \u043d\u0430 \u043c\u0435\u0445\u0443,
\n\u041a\u0443\u043c\u0443 — \u0445\u0440\u0435\u043d<\/b>, \u0430\u00a0\u0442\u0435\u0441\u0442\u044c \u0438 \u043f\u0438\u0432\u043e\u043c \u043e\u0431\u043e\u0439\u0434\u0435\u0442\u0441\u044f<\/b>,
\n\u0422\u0430\u043a\u0436\u0435 \u0432\u0437\u044f\u0442\u044c\u00a0\u043a\u043e\u043d\u044c\u044f\u043a \u0432 \u043f\u0443\u0445\u0443<\/b>,
\n\u0420\u0430\u0441\u0442\u0432\u043e\u0440\u0438\u043c\u0443\u044e\u00a0\u0441\u043d\u043e\u0445\u0443<\/b>,
\n\u041d\u0443 \u0430\u00a0\u0431\u0440\u0430\u0442 \u0438 \u0441\u0430\u043c\u043e\u0433\u043e\u043d\u043e\u043c<\/b>\u00a0\u043f\u0435\u0440\u0435\u0431\u044c\u0435\u0442\u0441\u044f.
\n <\/p>\n

It tells the story of a redneck whose extended family entrusts him with buying all possible kinds of scarce goods while on his trip to the city. The list is physically there, on paper, he memorizes it by heart and later on swallows it “guerrilla”-style in order to avoid detection by the imaginary enemy, and is soon forgotten — in a variation on the themes of memory, virtualness, and nostalgia. Structurally, the text recalls Marshak\u2019s “Baggage,” especially as the variations in the refrain lead to a gradual garbling of the list.<\/p>\n

In fact, Vysotsky goes much further, as he keeps slightly rearranging the items. Instrumental in this is the tripartite structure of the item descriptions (“what kind of object” \u2013 “with what specific properties” \u2013 \u201cfor which family member”); the three positions have only to be scrambled. As a result, superimposing, for instance, item:\u00a0\u0437\u044f\u0442\u044e \u0447\u0435\u0440\u043d\u0443\u044e \u0438\u043a\u0440\u0443<\/i>\u00a0(for the son-in-law black caviar) onto:\u00a0\u0431\u0440\u0430\u0442\u0443 \u0441 \u0431\u0430\u0431\u043e\u0439 — \u043a\u043e\u0444\u0435 \u0440\u0430\u0441\u0442\u0432\u043e\u0440\u0438\u043c\u044b\u0439<\/i>\u00a0(for the brother and his woman instant coffee) and onto:\u00a0\u0441\u043d\u043e\u0445\u0435 \u0421 \u0435\u0439\u043d\u044b\u043c \u043c\u0443\u0436\u0435\u043c \u043f\u043e \u0434\u043e\u0445\u0435<\/i>\u00a0(to the daughter-in-law and her husband each a deer fur-coat) yields the completely absurd:\u00a0\u0437\u044f\u0442\u044e \u043a\u043e\u0444\u0435 \u043d\u0430 \u043c\u0435\u0445\u0443<\/i>\u00a0(to the son-in-law coffee with fur lining).<\/p>\n

Indeed, the phonetic similarity of many of the keywords predisposes to such confusion, which is reminiscent of the tongue-twisting pile-up of naval terms in Chekhov\u2019s “Wedding with a General.” In a sense, Vysotsky\u2019s move is doubly innovative: the nostalgic yearning for the scarce values is exacerbated by the destruction and forgetting of the list itself. Meanwhile the rearrangement of the list\u2019s components pushes the play with textuality to the point of absurdity, in a nod to the mnemonic challenges faced by the ancient bards. But then, Vysotsky is a modern-day bard.<\/p>\n

Chronologically even closer to Luchnikov\u2019s list was the\u00a0defitsitnyi<\/i>\u00a0list in Evgeny Yevtushenko’s 1977 narrative poem\u00a0\u0421\u0435\u0432\u0435\u0440\u043d\u0430\u044f \u043d\u0430\u0434\u0431\u0430\u0432\u043a\u0430<\/i>\u00a0(The Northern Mark-Up). It has a list of orders that the protagonist in the end refuses to fulfill, deciding to give the whole pile of easy money to his struggling sister and her husband who need a better apartment. His decision is inspired by exclusively noble motives, and dubious Western references (such as the \u201cBeryozka\u201d hard-currency store, the dollars and pounds sterling in the Vysotsky song) are completely absent from the text.<\/p>\n

 <\/p>\n

15.\u00a0<\/b>It is time to return to Aksenov — and start with his general love of catalogs.<\/p>\n

In\u00a0\u0417\u0430\u0442\u043e\u0432\u0430\u0440\u0435\u043d\u043d\u0430\u044f \u0431\u043e\u0447\u043a\u043e\u0442\u0430\u0440\u0430<\/i>\u00a0(1968; Surplussed Barrelware), there is first and foremost the list of all the places, persons and things Haligaliyan that Vadim Drozhzhinin the expert knows only from afar. And then, of course, there is also a ship being loaded with humanitarian assistance for Haligaliya, prompting a register of goods:
\n <\/p>\n

\u00ab- \u041a\u043e\u0440\u043e\u0447\u0435, \u0412\u0430\u0434\u0438\u043a, \u0431\u044b\u043b \u044f \u0442\u0430\u043c <\u2026> \u0412 \u0448\u0435\u0441\u0442\u044c\u0434\u0435\u0441\u044f\u0442 \u0447\u0435\u0442\u0432\u0435\u0440\u0442\u043e\u043c \u0433\u043e\u0434\u0443 <\u2026> \u043e\u0444\u043e\u0440\u043c\u0438\u043b\u0441\u044f \u043f\u043b\u043e\u0442\u043d\u0438\u043a\u043e\u043c \u043d\u0430\u00a0\u0442\u0435\u043f\u043b\u043e\u0445\u043e\u0434 “\u0411\u0430\u0441\u043a\u0443\u043d\u0447\u0430\u043a”<\/b>, \u0430 \u0435\u0433\u043e \u0432 \u0425\u0430\u043b\u0438\u0433\u0430\u043b\u0438\u044e \u043f\u043e\u0433\u043d\u0430\u043b\u0438, \u043f\u043e\u043d\u044f\u043b?<\/p>\n

– \u042d\u0442\u043e \u0431\u044b\u043b\u043e \u0435\u0434\u0438\u043d\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0435 \u0435\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u043a\u043e\u0435\u00a0\u0441\u0443\u0434\u043d\u043e<\/b>, \u043f\u043e\u0441\u0435\u0442\u0438\u0432\u0448\u0435\u0435 \u0425\u0430\u043b\u0438\u0433\u0430\u043b\u0438\u044e \u0437\u0430 \u043f\u043e\u0441\u043b\u0435\u0434\u043d\u0438\u0435\u00a0\u0441\u043e\u0440\u043e\u043a<\/b>\u00a0\u043b\u0435\u0442, — \u043f\u0440\u043e\u0448\u0435\u043f\u0442\u0430\u043b \u0412\u0430\u0434\u0438\u043c \u0410\u0444\u0430\u043d\u0430\u0441\u044c\u0435\u0432\u0438\u0447.<\/p>\n

– \u0422\u043e\u0447\u043d\u043e, — \u043f\u043e\u0434\u0442\u0432\u0435\u0440\u0434\u0438\u043b \u0412\u043e\u043b\u043e\u0434\u044f. — \u041c\u044b \u0438\u043c\u00a0\u043f\u043e\u043c\u043e\u0449\u044c \u0432\u0435\u0437\u043b\u0438<\/b>\u00a0\u043f\u043e \u0441\u043b\u0443\u0447\u0430\u044e \u0437\u0435\u043c\u043b\u0435\u0442\u0440\u044f\u0441\u0435\u043d\u0438\u044f.<\/p>\n

– \u041f\u0440\u0430\u0432\u0438\u043b\u044c\u043d\u043e, — \u0435\u043b\u0435 \u0441\u043b\u044b\u0448\u043d\u043e \u043f\u0440\u043e\u0448\u0435\u043f\u0442\u0430\u043b \u0412\u0430\u0434\u0438\u043c \u0410\u0444\u0430\u043d\u0430\u0441\u044c\u0435\u0432\u0438\u0447, \u0435\u0433\u043e \u043d\u0430\u0447\u0438\u043d\u0430\u043b\u043e \u043a\u043e\u043b\u043e\u0442\u0438\u0442\u044c \u043d\u0435\u0441\u043b\u044b\u0445\u0430\u043d\u043d\u043e\u0435 \u0432\u043e\u0437\u0431\u0443\u0436\u0434\u0435\u043d\u0438\u0435. – \u0410 \u043d\u0435 \u043f\u043e\u043c\u043d\u0438\u0442\u0435 \u043b\u0438,\u00a0\u0447\u0442\u043e \u043a\u043e\u043d\u043a\u0440\u0435\u0442\u043d\u043e<\/b>\u00a0\u0432\u044b\u00a0\u0432\u0435\u0437\u043b\u0438<\/b>?<\/p>\n

– \u0414\u0430 \u0442\u0430\u043c\u00a0\u043c\u043d\u043e\u0433\u043e \u0447\u0435\u0433\u043e<\/b>\u00a0\u0431\u044b\u043b\u043e –\u00a0\u043c\u0435\u0434\u0438\u043a\u0430\u043c\u0435\u043d\u0442, \u0431\u0438\u043d\u0442\u044b, \u0434\u0435\u0442\u0441\u043a\u0438\u0435 \u0438\u0433\u0440\u0443\u0448\u043a\u0438, \u0441\u0433\u0443\u0449\u0435\u043d\u043a\u0438<\/b>, \u0445\u043e\u0442\u044c \u0437\u0430\u043b\u0435\u0439\u0441\u044f, \u0432\u0441\u044f\u043a\u043e\u0433\u043e\u00a0\u0434\u043e\u0431\u0440\u0430<\/b>\u00a0\u0432\u043f\u0440\u043e\u043a \u043d\u0430\u00a0\u0442\u0440\u0438 \u0437\u0435\u043c\u043b\u0435\u0442\u0440\u044f\u0441\u0435\u043d\u0438\u044f<\/b>\u00a0\u0438\u00a0\u0447\u0435\u0442\u044b\u0440\u0435 \u043a\u0430\u0440\u0442\u0438\u043d\u044b\u00a0<\/b>\u0445\u0443\u0434\u043e\u0436\u043d\u0438\u043a\u0430\u00a0\u041a\u0430\u043b\u0435\u043d\u043a\u0438\u043d\u0430<\/b>\u00a0\u0434\u043b\u044f \u0431\u043e\u043b\u044c\u043d\u0438\u0446.<\/p>\n

\u0412\u0430\u0434\u0438\u043c \u0410\u0444\u0430\u043d\u0430\u0441\u044c\u0435\u0432\u0438\u0447 \u0441 \u0443\u0434\u0438\u0432\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0439 \u044f\u0440\u043a\u043e\u0441\u0442\u044c\u044e \u0432\u0441\u043f\u043e\u043c\u043d\u0438\u043b \u0441\u0447\u0430\u0441\u0442\u043b\u0438\u0432\u044b\u0435 \u043c\u0438\u043d\u0443\u0442\u044b\u00a0\u043f\u043e\u0433\u0440\u0443\u0437\u043a\u0438<\/b>\u00a0\u044d\u0442\u0438\u0445 \u043e\u0433\u0440\u043e\u043c\u043d\u044b\u0445, \u0434\u043e\u0431\u0440\u043e\u0442\u043d\u043e \u0441\u043a\u043e\u043b\u043e\u0447\u0435\u043d\u043d\u044b\u0445\u00a0\u043a\u0430\u0440\u0442\u0438\u043d<\/b>, \u0432\u0441\u043f\u043e\u043c\u043d\u0438\u043b \u043c\u0430\u0441\u0441\u043e\u0432\u043e\u0435 \u043b\u0438\u043a\u043e\u0432\u0430\u043d\u0438\u0435 \u043d\u0430 \u043f\u0440\u0438\u0447\u0430\u043b\u0435 \u043f\u043e \u043c\u0435\u0440\u0435\u00a0\u0438\u0441\u0447\u0435\u0437\u043d\u043e\u0432\u0435\u043d\u0438\u044f \u044d\u0442\u0438\u0445 \u043a\u0430\u0440\u0442\u0438\u043d \u0432 \u0442\u0440\u044e\u043c\u0430\u0445 “\u0411\u0430\u0441\u043a\u0443\u043d\u0447\u0430\u043a\u0430”<\/b>\u00bb.<\/p>\n

The most dramatic turn of events in that plotline is the coming true of Drozhzhinin\u2019s platonic dream-lists in the real life of Volod’ka Teleskopov, who actually lands in Haligaliya, personally meets all of Drozhzhinin\u2019s pen pals and even gets to have sex with Sylvia Chesterton, inaccessible to Drozhzhinin.
\n <\/p>\n

\u00ab- \u0414\u0430 \u043d\u0438\u0447\u0435\u0433\u043e \u043e\u0441\u043e\u0431\u0435\u043d\u043d\u043e\u0433\u043e, — \u043c\u0430\u0445\u043d\u0443\u043b \u0440\u0443\u0447\u043a\u043e\u0439 \u0412\u043e\u043b\u043e\u0434\u044f. — \u0421\u0442\u043e\u044e \u044f \u0440\u0430\u0437 \u0432\u00a0\u041f\u0443\u044d\u0440\u0442\u043e<\/b>, \u043e\u0447\u0435\u043d\u044c \u0441\u043a\u0443\u0447\u0430\u044e <\u2026>. \u0421\u043c\u043e\u0442\u0440\u044e, \u0441\u0438\u043c\u043f\u0430\u0442\u0438\u0447\u043d\u044b\u0439\u00a0\u0433\u0440\u0430\u0436\u0434\u0430\u043d\u0438\u043d<\/b>\u00a0\u0438\u0434\u0435\u0442, \u043f\u043e\u0437\u043d\u0430\u043a\u043e\u043c\u0438\u043b\u0438\u0441\u044c —\u00a0\u041c\u0438\u0433\u0435\u043b\u044c \u041c\u0430\u0440\u0438\u043d\u0430\u0434\u043e<\/b>. \u041f\u043e\u0442\u043e\u043c \u0435\u0449\u0435 \u043e\u0434\u0438\u043d\u00a0\u0440\u0430\u0431\u043e\u0442\u044f\u0433\u0430<\/b>\u00a0\u043f\u043e\u044f\u0432\u043b\u044f\u0435\u0442\u0441\u044f,\u00a0\u0425\u043e\u0441\u0435-\u041b\u0443\u0438\u0441<\/b>…<\/p>\n

–\u00a0\u0412\u0435\u043b\u043e\u0441\u0438\u043f\u0435\u0434\u0447\u0438\u043a<\/b>? — \u0437\u0430\u0434\u043e\u0445\u043d\u0443\u043b\u0441\u044f \u0414\u0440\u043e\u0436\u0436\u0438\u043d\u0438\u043d,<\/p>\n

– \u041e\u043d. \u0417\u0430\u0432\u044f\u0437\u0430\u043b\u0438 \u0434\u0440\u0443\u0436\u0431\u0443\u00a0\u043d\u0430 \u0442\u0440\u043e\u0438\u0445<\/b>, \u043f\u043e\u0442\u043e\u043c\u00a0\u043f\u043e\u0432\u0442\u043e\u0440\u0438\u043b\u0438<\/b>. \u041f\u043e\u0448\u043b\u0438 \u043a\u00a0\u041c\u0438\u0433\u0435\u043b\u044e<\/b>\u00a0\u0432 \u0433\u043e\u0441\u0442\u0438, \u0438 \u0441\u0440\u0430\u0437\u0443\u00a0\u0434\u0435\u0432\u0447\u043e\u043d\u043e\u043a \u0441\u0431\u0435\u0436\u0430\u043b\u0430\u0441\u044c \u043a\u0443\u0447\u0430<\/b>\u00a0\u043f\u043e\u0433\u043b\u0430\u0437\u0435\u0442\u044c \u043d\u0430 \u043c\u0435\u043d\u044f, \u043a\u0430\u043a \u0431\u0443\u0434\u0442\u043e \u044f \u043f\u0430\u0432\u043b\u0438\u043d\u00a0\u043a\u0430\u0432\u043a\u0430\u0437\u0441\u043a\u0438\u0439<\/b>\u00a0\u0438\u0437\u00a0\u041c\u0443\u0440\u043c\u0430\u043d\u0441\u043a\u043e\u0433\u043e<\/b>\u00a0\u0437\u043e\u043e\u043f\u0430\u0440\u043a\u0430 <\u2026><\/p>\n

– \u041a\u0442\u043e \u0436\u0435 \u0442\u0430\u043c \u0431\u044b\u043b \u0438\u0437 \u0434\u0435\u0432\u0443\u0448\u0435\u043a? — \u0442\u0440\u0435\u043f\u0435\u0442\u0430\u043b \u0412\u0430\u0434\u0438\u043c \u0410\u0444\u0430\u043d\u0430\u0441\u044c\u0435\u0432\u0438\u0447.<\/p>\n

–\u00a0\u0421\u043e\u043d\u044c\u043a\u0430 \u041c\u0430\u0440\u0438\u043d\u0430\u0434\u043e\u0432\u0430<\/b>\u00a0\u0431\u044b\u043b\u0430,\u00a0\u0434\u043e\u0447\u043a\u0430 \u041c\u0438\u0433\u0435\u043b\u044f<\/b>\u00a0<\u2026>, \u0437\u0430\u0442\u0435\u043c, \u0437\u043d\u0430\u0447\u0438\u0442,\u00a0\u041c\u0430\u0440\u0438\u0448\u043a\u0430 \u0420\u043e\u0445\u043e<\/b>\u00a0\u0438\u00a0\u0421\u0438\u043b\u044c\u0432\u0438\u044f<\/b>, \u0444\u0430\u043c\u0438\u043b\u0438\u0438 \u043d\u0435 \u043f\u043e\u043c\u043d\u044e, \u043d\u0443 \u0430 \u043f\u043e\u0442\u043e\u043c\u00a0\u0425\u043e\u0441\u0435-\u041b\u0443\u0438\u0441<\/b>\u00a0\u043d\u0430 \u0432\u0435\u043b\u043e\u0441\u0438\u043f\u0435\u0434\u0435 \u0437\u0430 \u0441\u0432\u043e\u0435\u0439\u00a0\u043d\u0435\u0432\u0435\u0441\u0442\u043e\u0439<\/b>\u00a0\u0441\u044a\u0435\u0437\u0434\u0438\u043b, \u0437\u0430\u00a0\u0420\u043e\u0441\u0438\u0442\u043e\u0439<\/b>. <\u2026> \u041d\u0443,\u00a0\u0412\u0430\u0434\u0438\u043a<\/b>, \u0442\u044b \u043f\u043e\u0439\u043c\u0438 <\u2026> \u044f \u0436\u0435 \u043d\u0435 \u0436\u0435\u043b\u0435\u0437\u043d\u044b\u0439, \u0432\u0435\u0440\u043d\u043e? \u0412\u043b\u044e\u0431\u0438\u043b\u0441\u044f \u043d\u0430\u0447\u0438\u0441\u0442\u043e \u0432\u00a0\u0421\u0438\u043b\u044c\u0432\u0438\u044e<\/b>, \u0430 \u043e\u043d\u0430 \u0432 \u043c\u0435\u043d\u044f\u00bb.<\/p>\n

 
\nThus, a spectacular narrativization is combined with the nostalgic component of the catalog discourse — in its Soviet version.<\/p>\n

The fantastic \u201cisland\u201d of Crimea never conquered by the Bolsheviks is, in terms of Mandel\u2019shtam\u2019s demarcation contours, a two-in-one package: a place that is both pre-revolutionary and foreign. Luchnikov\u2019s list comes up as he realizes, in Paris and about to fly to Moscow, that he has bought none of the things unavailable over there (\u043d\u0438\u0447\u0435\u0433\u043e \u043d\u0435 \u043a\u0443\u043f\u0438\u043b \u0438\u0437 \u0442\u043e\u0433\u043e, \u0447\u0435\u0433\u043e \u0442\u0430\u043c \u043d\u0435\u0442!\u00a0<\/i>), thus articulating precisely an\u00a0order for overseas\u00a0defitsit<\/i><\/b>\u00a0(\u0437\u0430\u043a\u0430\u0437 \u043d\u0430 \u0437\u0430\u043c\u043e\u0440\u0441\u043a\u0438\u0439 \u0434\u0435\u0444\u0438\u0446\u0438\u0442), and a still-born one, because of his forgetfulness, as well.<\/p>\n

The list that follows (see in the beginning of the paper) is pointedly long, syntactically monotonous, strictly matter-of-fact, as it were, rhetorically modest; Aksenov clearly refrains from the playful relishing of details overdone by Yevtushenko. But he saturates his list with borrowed, markedly foreign words, such as:
\n 
\n\u043c\u0438\u043d\u0438-\u0444\u043e\u0442\u043e, \u0434\u0436\u0438\u043d\u0441\u044b, \u0430\u043d\u0433\u043e\u0440\u0430, \u043a\u0430\u0448\u043c\u0438\u0440, \u0430\u043b\u043a\u0430 \u0437\u0435\u043b\u044c\u0446\u0435\u0440, \u00ab\u0441\u043a\u043e\u0447\u00bb, \u0432\u0438\u0441\u043a\u0438, \u0442\u043e\u043d\u0438\u043a, \u0434\u0436\u0438\u043d\u0430, \u0432\u0435\u0440\u043c\u0443\u0442\u0430, \u00ab\u043f\u0430\u0440\u043a\u0435\u0440, \u00ab\u043c\u043e\u043d\u0431\u043b\u0430\u043d\u00bb, \u043a\u0430\u0441\u0441\u0435\u0442\u0430, \u0434\u0438\u043a\u0442\u043e\u0444\u043e\u043d, \u0441\u043f\u0435\u0446\u0438\u0438, \u0442\u0430\u043c\u043f\u0435\u043a\u0441, \u043c\u0435\u043d\u0441\u0442\u0440\u0443\u0430\u0446\u0438\u0438, \u0444\u043b\u043e\u043c\u0430\u0441\u0442\u0435\u0440\u044b, hi-fi, \u043f\u0440\u0435\u0437\u0435\u0440\u0432\u0430\u0442\u0438\u0432\u044b, \u0432\u0430\u043a\u0446\u0438\u043d\u0430, \u00ab\u041c\u043e\u043d\u043e\u043f\u043e\u043b\u044c\u00bb, \u0440\u0435\u043e\u0441\u0442\u0430\u0442\u044b, \u00ab\u043f\u043e\u043b\u044f\u0440\u043e\u0438\u0434\u00bb, \u043a\u0430\u0441\u0441\u0435\u0442\u043d\u0438\u043a, STR, \u0431\u0430\u043b\u043b\u043e\u043d\u044b, \u043f\u044c\u0435\u0437\u043e\u043a\u0440\u0438\u0441\u0442\u0430\u043b\u043b, \u00ab\u043a\u0432\u0430\u0440\u0446\u00bb, \u0433\u0430\u043b\u043e\u0433\u0435\u043d\u043d\u044b\u0439, \u00abVogue\u00bb, \u00abPlayboy\u00bb, \u00abDownbeat\u00bb,<\/a>
\n 
\nshowning how little has changed since Pushkin\u2019s complaint:\u00a0\u041d\u043e \u043f\u0430\u043d\u0442\u0430\u043b\u043e\u043d\u044b, \u0444\u0440\u0430\u043a, \u0436\u0438\u043b\u0435\u0442 — \u0412\u0441\u0435\u0445 \u044d\u0442\u0438\u0445 \u0441\u043b\u043e\u0432 \u043d\u0430 \u0440\u0443\u0441\u0441\u043a\u043e\u043c \u043d\u0435\u0442<\/i>\u00a0(\u2026 none of these words exist in Russian).<\/p>\n

Only occasionally does he interrupt his enumeration with emotional outbursts and repetitions of especially endearing denominations or punctuates it with dry humor:
\n <\/p>\n

–\u00a0\u0434\u0436\u0438\u043d\u0441\u043e\u0432<\/b>\u00a0\u2013 \u043e, \u0411\u043e\u0436\u0435! \u2013 \u0432\u0435\u0447\u043d\u043e\u0435 \u0441\u043e\u0432\u0435\u0442\u0441\u043a\u043e\u0435 \u0437\u0430\u043a\u043b\u044f\u0442\u044c\u0435 \u2013\u00a0\u0434\u0436\u0438\u043d\u0441\u044b<\/b>!<\/p>\n

–\u00a0\u043b\u0430\u043a\u0430<\/b>\u00a0\u0434\u043b\u044f \u043d\u043e\u0433\u0442\u0435\u0439 \u0438\u00a0\u0441\u043c\u044b\u0432\u043a\u0438<\/b>,\u00a0\u0441\u043c\u044b\u0432\u043a\u0438<\/b>\u00a0\u0434\u043b\u044f\u00a0\u043b\u0430\u043a\u0430<\/b>\u00a0\u2013 \u0432\u0435\u0434\u044c \u0441\u043a\u043e\u043b\u044c\u043a\u043e \u0443\u0436\u0435 \u043f\u043e\u0434\u0447\u0435\u0440\u043a\u0438\u0432\u0430\u043b\u043e\u0441\u044c \u043d\u0430\u0441\u0447\u0435\u0442\u00a0\u0441\u043c\u044b\u0432\u043a\u0438<\/b>!<\/p>\n

–\u00a0\u043a\u043b\u0435\u0435\u043d\u043a\u0438<\/b>\u00a0\u0434\u043b\u044f \u0432\u0430\u043d\u043d\u044b \u2013 \u0441\u00a0\u043a\u043e\u043b\u0435\u0447\u043a\u0430\u043c\u0438<\/b>!<\/p>\n

–\u00a0\u0437\u0430\u043c\u0448\u0438, \u0437\u0430\u043c\u0448\u0438<\/b>\u2026<\/p>\n

– \u043b\u0438\u043f\u043a\u043e\u0439 \u043b\u0435\u043d\u0442\u044b \u00ab\u0441\u043a\u043e\u0447<\/b>\u00bb, \u0434\u0430 \u0438 \u0432\u0438\u0441\u043a\u0438 \u00ab\u0441\u043a\u043e\u0447<\/b>\u00bb;<\/p>\n

–\u00a0\u043f\u0440\u043e\u0442\u0438\u0432\u043e\u0437\u0430\u0447\u0430\u0442\u043e\u0447\u043d\u044b\u0445<\/b>\u00a0\u043f\u0438\u043b\u044e\u043b\u044c \u0438\u00a0\u0434\u0435\u0442\u0441\u043a\u043e\u0433\u043e<\/b>\u00a0\u043f\u0438\u0442\u0430\u043d\u0438\u044f,\u00a0\u043f\u0440\u0435\u0437\u0435\u0440\u0432\u0430\u0442\u0438\u0432\u043e\u0432<\/b>\u00a0\u0438\u00a0\u0441\u043e\u0441\u043e\u043a<\/b>\u00a0\u0434\u043b\u044f \u0433\u0440\u0443\u0434\u043d\u044b\u0445.
\n 
\nThe list does not pretend to narrativity, but on the contrary sticks to factual itemizing, and in this way it lays bare its textuality, being, as it is, a list of words as much as a list of objects. All the same, the overriding theme of\u00a0defitsit<\/i>\u00a0is omnipresent.<\/p>\n

To conclude<\/b>, Luchnikov’s list, as ostensibly matter-of-fact as Lolita\u2019s class register, feigns imitating serious catalogs like Homer\u2019s or Robinson Crusoe\u2019s, but does so playfully, \u00e0 la Gargantua, lovingly threading exotic barbarisms in the spirit of Chekhov\u2019s ex-admiral and Onegin\u2019s and Palisander\u2019s menus, Ilf and Petrov’s meta-textuality and mock bureaucratese, of Kuzmin and Mandel\u2019shtam\u2019s poignant nostalgia and Vysotsky\u2019s and Yevtushenko\u2019s orders for\u00a0zamorskii defitsit<\/i>.
\n <\/p>\n

REFERENCES<\/h3>\n

\u0410\u043a\u0441\u0435\u043d\u043e\u0432 \u0412. 1981.\u00a0<\/i>\u041e\u0441\u0442\u0440\u043e\u0432 \u041a\u0440\u044b\u043c. Ann Arbor, Michigan: Ardis.<\/p>\n

\u042f\u043c\u043f\u043e\u043b\u044c\u0441\u043a\u0438\u0439, \u041c\u0438\u0445\u0430\u0438\u043b. 2013.\u00a0<\/i>\u041f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0441\u0442\u0432\u0435\u043d\u043d\u0430\u044f \u0438\u0441\u0442\u043e\u0440\u0438\u044f. \u0422\u0440\u0438 \u0442\u0435\u043a\u0441\u0442\u0430 \u043e\u0431 \u0438\u0441\u0442\u043e\u0440\u0438\u0438. \u0421\u041f\u0431: \u0421\u0435\u0430\u043d\u0441.<\/p>\n

Minchin, Elizabeth 1996.\u00a0<\/i>The Performance of Lists and Catalogs in the Homeric Epics \/\/ Voice into Text: Orality and Literacy in Ancient Greece \/ Ed. Ian Worthington. Leiden: E.J. Brill. P. 3-20.<\/p>\n

Shvabrin, Stanislav 2011.\u00a0<\/i>\u00abThe Burden of Memory\u00bb: Mikhail Kuzmin as Catalog Poet \/\/ The Many Facets of Mikhail Kuzmin: A Miscellany \/ Ed. Lada Panova. Bloomington, IN: Slavica. P. 3-25.<\/p>\n

NOTES<\/h3>\n

[1].<\/a>\u00a0To be sure, in actual literary practice, the catalog that is to be \u201cinserted\u201d in the text is quite often not brought in \u201cfrom the outside\u201d but rather, like everything else there, is created by the author and thus is also a literary artefact. But for the sake of presentation I allow myself this oversimplification \u2013 similar to the way in narrative studies the \u201cstory\u201d <\/a>(the Russian Formalists\u2019\u00a0fabula<\/i>\u00a0) is often considered as \u201craw material\u201d subject to compositional reworking that turns it into \u201cdiscourse\u201d ( siuzhet), whereas in fact it is also a product of certain creative devices.<\/p>\n

[2].<\/a>See Ch. 27 of the Biblical Book of Ezekiel (6th c. BCE), another early and influential specimen of catalogical (cum naval) discourse.<\/p>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":355,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1792","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nLISTOMANIA, OR CATALOG AS TECHNIQUE (WITH EXAMPLES FROM POETRY AND PROSE, CLASSICAL AND MODERN, WESTERN AND RUSSIAN) - Alexander Zholkovsky<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/listomania\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"LISTOMANIA, OR CATALOG AS TECHNIQUE (WITH EXAMPLES FROM POETRY AND PROSE, CLASSICAL AND MODERN, WESTERN AND RUSSIAN) - 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