UDC 821.161.1.0. Rumyantseva L.I., associate professor of Russian literature and literary theory, Ph. D. of philological sciences. The State Autonomous Educational Institution of Higher Professional Education "North-Eastern Federal University named after M.K. Ammosov " 677000 The Republic of Sakha (Yakutia), Yakutsk, 58 Belinsky Str. TO THE QUESTION OF THE POETICS OF SPACE IN RUSSIAN PROSE of 1920s (based on the material of I. Kataev’s pieces of writing) Annotation In the article based on the material of I. Kataev’s pieces of writing the author considers a special way that was used to visualize the world in the prose of the 1920s. This process was driven by the perception of a new reality with the help of complex structured spatio-temporal phenomena correlated with the methods of art. The search for the tone of the era lies in the synthesis of the arts, which is a particular manifestation of the profoundly traditional technique of ekphrastic description. Different types of ekphrasis can be found in Kataev's stories and novels. They differ in structural and functional features and can be attribute, direct, detailed, and poetic. As a result, it is stated that the pictorial beginning is the organizing principle of spatio-temporal structure of the writer's prose. This helps to analyze Kataev's creative quest as the new experimental post symbolic paradigm. In particular, it points to the importance of the panoramic painting narrative techniques. Keywords: art space, the spatio-temporal phenomenon, visualization, post symbolism, post symbolic paradigm, ekphrasis, space mythologization.   Generally the pattern of literary development of the 1920s was associated with the search for new forms of poetic language. Many writers revealed their perception of the new contradictory reality with the help of complex structured spatio-temporal phenomena correlated with the methods of art. Many aspects of the individual author's space can actually be included in the context of Soviet’s paintings and cinema of 1920-1930's and can also be considered as a manifestation of the "language of the era", deep cultural mythology of the Soviet period. Tyupa considers all the art phenomena of this period as post symbolic artistic paradigm. He fairly pointed out that while this phenomenon is "discordant" the "discovery and development of a communicative nature of art" [1, p.120] is a major point. The author plays the role of the organizer of the communicative event and connects it to the stage direction prime in the twentieth century. The effectiveness of the artistic impact of art on the reader, viewer or listener becomes the decisive criterion. The idea of the potential exhaustion of the known genera of art is actualized in these conditions. He sees a future in the new field of synthetic art. E.I. Zamyatin in his article "On synthetism" (1922) proclaimed synthetism as the unbiased quality of the new art: "When Einstein caused geometrically philosophical earthquake the former understanding of space and time were finally diminished. Synthetism uses integral offset of plans "[2, p. 414, 415]. The most important feature of the new art is fragmentarity because "the world bursted into a thousand rambling pieces" [2, p. 415]. However these fragments in the artistic practice of the Futurists sought to introduce the fourth dimension - time into painting, three-dimensional art. Thus conceived EI Zamyatin synthesis of various art forms - verbal art and painting. The previous literary epoch associated with the development of symbolism, appealed to the synthesis of music and poetry. Postsimvolizm also shows a pronounced tendency to merging of literature and art (the Futurists), later in the artistic practice constructivists 1920 updated appeal for cinema. This is how Zamyatin imagines synthesis of various art forms - verbal art and painting. The previous literary epoch associated with the development of symbolism, appealed to the synthesis of music and poetry. However post symbolism also shows a pronounced tendency to merge literature and art (as seen in works of the Futurists), later in the artistic practice of constructivists 1920 the temdency updated appeal for cinema. Consequently, the creative evolution of post symbolic era representatives as a whole can be interpreted either as a gradual replacement of the music (symbolic) line or as a strengthening of the graphic (post symbolic), or as a complex intertangling of both lines. An interesting example of a fundamental "music / arts" opposition implementation presents artistic practice of prose literary association “Pereval” members in 1920. Thus the prose of I.I. Kataev, N.N. Zarudin, and P.V. Sletov captures the desire of writers to fuse the art forms and understand the need for a broader view on realism. This is also supported by the ideas of the critic and theorist of "Pereval" A.K. Voronsky in the works of "Art as knowledge of life and the present (the question of our differences)" (1923) and "The Art of seeing the world (the new realism)" (1928). According to Voronsky the artist's desire to open a "genuine images of the world" is the basis of a unique vision. Defending the subjective and intuitive creative possibilities, the Voronsky’s concept approves the objective nature of the true art. The comprehension of authentic images of the world is available to direct the fresh look that sees the world "in a new light, where the most ordinary familiar things suddenly find the properties and qualities, which he never saw before" [3, p. 540, 568]. The aesthetic concept of Voronsky is close and consonant with the Kataev’s search and it finds the expression in the author's position activity, forming a recognizable stylistic manner, refracting reality with a special "naive" consciousness. In Kataev’s fictional prose of the 1920s the "music / painting “opposition develops at the beginning of the graphic dominance. However, the original idea that led to this dominance is, in our opinion, the idea that symbolist Blok developed primarily in his article "Words and colors" which discusses the proximity of the art of colors and lines nature without giving the writer to plunge into the scheme, leaving the feeling of being "alive and intact," the feeling that children are differentiated by [4]. The immediacy and freshness of the world perception peculiar to Kataev embodied in the mask of "deliberate naivety", which is a characteristic feature of the narrative style of the writer. The aesthetic concept of the literary group "Pereval" of which Kataev was active participant, focused on the setting of creativity‘s "organic nature" and "sincerity". Within the individual poetics of the writer, this property was manifested with a attention to detail, to the objective, "embodied" (Blok) world. The literary criticism of the 1920s wrote about Kataev’s mastery to depict the image "of still lifes and interiors" [5, s.302]. This helped to correlate the writer’s spatial organization with the methods of art. Thus, some of the essential aspects of Kataev’s prose were the weakening of the plot, the giving up the active eventfulness, the accentuating focus on the everyday life phenomena and the strengthening of non-narrative aspects of the story. The result of this gain becomes the fact that the plot is driven by the introduction of the stock motives (themes) of the title. The predominance of the lyric, subjective beginning in Kataev's prose also manifested in an effort to show the reality of the objective world through the emotional descriptions and the consequent attention to the objective details. The origins of Kataev's verbal art can be found in the Impressionist tradition of symbolism, perceived in the 1920s as a certain artistic principle. For example the author uses an interesting description to reproduce a special refraction of light and shadow, directed to the respective genres of painting: "And on the edge of the sidewalk were stalls of fruits. Blue frosted plums, heavy bunches of grapes, where thickened morning turned into mist and if you bite, it will flow right into the blood stream. A pile of saffron grows yellow, as if it is lit by the sunset "[6, p. 92]; "I see a piece of satin bright sky. Large quiet stars. Golden dome of the church is poorly lit if not by the stars, then by the moon, but the moon is behind the houses ... Somehow this glowing dome in the night sky always brings me a happy spring uneasiness" [6, p. 106] ("Heart"). As we can see in these descriptions purely decorative color images are combined with poetic metaphors, thus emphasizing their distinct individuality. In this regard, Kataev's work should be considered in line with the problems of synthesis of verbal and graphic art, which many researchers recognized as the most important feature of the post simbolic paradigm. Thus, a particular expression of the synthesis of arts is ekphrasis understood as a verbal description of the work of art, especially pictorial and graphic arts. The first third of the twentieth century saw ekphrasis tradition in Russian literature as a deep-seated tradition in the works of many different writers. Thereafter, ekphrasis was introduced into the literary text by V. Bryusov, A. Beliy, A. Blok, Anna Akhmatova, and Osip Mandelschtam, who gave special attention to ekphrasis as a more "material" and "heavy" type of text. This method as much as significant in a creative practice of realists Maxim Gorky, Ivan Bunin and A. Tolstoy. In the 1920s prose of I.E. Babel, A.P. Platonov, E.I. Zamyatin, and Nabokov the changes in the visual realm force significant upgrade of the ekphrasis tradition. The nature of the relationship between literature and fine arts changes, in particular, the avant-garde artists, as well as Impressionists a few decades earlier, vigorously rebel against the "literariness". Visual culture is staking a claim to dominance, or at least an independent position. This causes the expansion of photography and film, as well as the overall democratization of culture after the revolution. Arts consciously focus on the mass reader / viewer that in the ideological sense of agitation leads to the revivification of the medieval view on the arts as the Bible for the illiterate. In the 1920s, works of visual art, sculpture, architecture, films, theater, and photography all notionally guided into a literary work, which results in the movement of the plot. Kataev’s prose of 1920s presents various aspects of ekphrastic description that can be classified not only by structural but also by functional parameters. They point out three different types of ekphrasis: 1) direct, attribute ekphrasis, which is a direct description or identification of visual artifacts in the text, given as part of the interior, realistic detail, or a cultural symbol ("Heart," 1927); 2) negative non- attribute ekphrasis in which there is neither reference to the author nor the title of the work, and which serves as the caricature description of works that lack the artistic merit ("The Poet," 1928); 3) musical ekphrasis ("Milk" 1930). The great interest in this regard lies in the distinctive writer‘s narrative manner, that introduces the various levels of "foreign text" into the text, including the names of works of fine art as the signs of cited culture. For example, the references of painting by Swiss artist Arnold Bocklin in the novel "Heart" cause the certain visual images in the minds, appealing to the symbolist tradition. Popularity of this association is described by O.D. Burenina that considers the aspects of V.V. Nabokov's symbolism controversy in the novel "Despair" [6, p.222]. The remarkable fact is that in Kataev’s story the references to Bocklin’s painting occur as part of hero's internal intellectual space, whose past connects with the symbolism art, becoming the substitute sign of this era. The scenic and musical associations act as equal and inseparable. The narrator conjures up the image of a cute girl's room as the hero’s daydream: "There's light wallpaper with wide panels, with raging crimson roses on them. Bёklinsk’s "Forest Fairy Tale" on a small table and a shaggy Beethoven "[7, p.122]. Thus, the quotational introduction of the painting name becomes the part of a phased development of a bygone era image that premised the deployed detailed picture of the house which symbolizes the lost world, the values of which are still alive and, according to the author, should be familiar in the present. More complex interpenetration of the scenic and verbal art can be seen in the short story "The granular snow," which intertwined history and modern, lyrical and philosophical pathos together with essay-like eventfulness. Surikov’s painting "Boyar’s wife Morozova", embodying artist’s deep understanding of the history’s contradictory movement, is perceived in Kataev’s short story as a symbol of "sacrificial deserted snow-covered path of a Russian woman" [7, p.190]. The destinies of boyar’s wife Morozova and Soviet party school student Tanya Cherenkova came together in the context of the short story and this sets off by a common spatial detail: the idea of the path is visually embodied in the description of granular snow that is “running out” of the sledge runners. The sledge trail stretches from Surikov’s painting into Kataev’s short story and becomes some sort of a theme tune organizing the plot integrity of the work. It awakens still indistinct visual association at the beginning of the story and enhances by the support of a number of other spatial details. Objective background of Surikov’s picturesque painting and Kataev’s short story is composed by the following descriptions: "blind dark log walls", "paunchy carriage", "squat churches", and "granular snow" [7 s.181-182]. In the story finale picturesque association destroys the boundaries between painting space and the reality: "With flying gate I stepped out on the vast snowy bounds of the painting, and following the sledge runners started to walk towards my house" [7, p.190]. Another aspect of Kataev’s prose spatial organization is strongly connected to the traditional technique of space depiction – a panoramic painting that is differentiated by exaggerated realism, and which uses special methods of creating perspectives and light effects. The purpose of these methods was to create a sense of a cityscape, that is visible as if from above the ground and in full view [4, p.67]. The distinctive features of the panorama were the spectator’s central position, the view from above, and the cohesiveness of "circular" picture. Moscow scenery of Kataev’s panoramic landscapes can be found in the novels "Heart", "Meeting", short story "Leningrad highway," and in the introduction to the novel "Khamovniki". An interesting example of combining realistic panoramic and mythological plans can be found in the novel "Heart." The panoramic view of Moscow at night in the beginning is marked by undifferentiated up and bottom. This indistinguishability results in a fading city that dissolves in the infinite space. Then, the picture gradually becomes more detailed, receiving a definite shape that is accompanied by the tune of recognition of "their own" lived-in space. Holistic vision of the panorama involves the perception of the city as a single and continuous. In Kataev’s work Moscow is regarded as the center of a single entity - the country: "This city is the courageous heart of the country ..." [7, p.144]. Panoramic view leads to a combination of the city’s visual image with the author's understanding of the country’s and city’s fate, that can be seen by the inner, spiritual vision. Thus, in Kataev’s prose a special mythological space appears along with the painting’s space. The examples of I. Kataev’s prose spatial organization discussed above helps to emphasize a scenic beginning not only as the organizing method of the writer’s narrative structure that appears as a part of the objective detalization in the form of quotations that substitute the complete image, but also as generalized mythological image. In general the focus on pictorial art represents a new quality of Kataev’s prose that allows us to consider writer’s artistic quest in line with experimental prose of the 1920s. References 1. Tyupa V.I. Post symbolism. Theoretical essays on the Russian poetry of the twentieth century. - Samara, 1998. 16-17. 2. Zamyatin E.I. Selected Works. M., 1990.- 544 p. 3. Voronsky A.K. The art of seeing the world. M., 1987. 4. Blok A.A. 5. Lezhnyov A.Z. Skill and creativity // Lezhnyov A. On Literature. Moscow, Union of Writers, 1987. 6. Burenina O.D. Symbolist absurdity and its traditions in Russian literature and culture of the first half of the twentieth century. St. Petersburg: 2005.-327s. 7. I. Kataev. Under clear stars. Novels, short stories, essays.- M., 1969.- 511 p....