CINEMATIC MEANING OF THE POEM BY V. KRIVULIN “ON DOSTOEVSKY'S MOTIF” IN THE CONTEXT OF THE DEVELOPMENT OF DOSTOEVSKOLOGY
V. Krivulin's poem “On Dostoevsky's Motif” translates the impression of Dostoevsky's prose and his biography into the language of visual experience, creating a series of deep and mysterious symbols. The article proves that these symbols are not reduced either to a generalization of the figurativeness of Dostoevsky's prose, nor to the primary or most profound reader's impressions, but represent a slice of exploration of Dostoevsky in Russian intellectual culture. It is substantiated that the main sources of the poem were the works of G. Chulkov and V. Shklovsky about both Dostoevsky and Russian culture in the 19th century in general: these works were widely read in Krivulin's circle and formed a common framework for talking about the cultural achievements of that era. The interpretation by Shklovsky of lighting during filming turned out to be especially important, which was interpreted by Krivulin within the framework of the neo-Marxist theories of visuality and understanding of historical processes that he guessed. Thus, the poem explores not so much the world of Dostoevsky in itself, as the ability of philology and other humanities to perceive Dostoevsky's achievements and to generalize them as a fact of any private consciousness. For Krivulin, it is not Dostoevsky who is important as a prose reformer or thinker, but Dostoevsky as a creator of a new type of imagery, paradoxical and always historical. Krivulin's position turns out to be close to the position of those Symbolists who most intimately perceived Dostoevsky's legacy, as I. Annensky, and turns out to be part of his understanding of history. Thus, the establishment of sources of figurative poems and the study of the natural transformation of these sources makes it possible to clarify those strategies for visualizing history, its visual media presentation, which was developed in the independent Russian poetry.