Open AccessDEPORTATION OF THE SOVIET GERMANS THROUGH THE EYES OF A CHILD IN THE NOVELETTE: EXPERIENCE OF REFLECTION AND AUTOREFLECTION
Author(s) -
E.I. Zeyfert
Publication year - 2020
Publication title -
keruen
Language(s) - English
Resource type - Journals
eISSN - 2790-7066
pISSN - 2078-8134
DOI - 10.53871/2078-8134.2020.1-02
Subject(s) - character (mathematics) , deportation , subject (documents) , history , poetics , german , literature , art , poetry , immigration , archaeology , geometry , mathematics , library science , computer science
Data for study in the present article is the anthology of literature of the Russian Germans «The rumble of sounds is in the air» having been issued following the anthology of the Russian Germans literature of the second half of the XX – early XXI century «Towards the mistrustful sun». A genre palette of the new edition is the following: a novel, a novelette, a story, a miniature and a schwank. The book has been prepared for printing by the Institute of Ethnocultural Education in cooperation with the International Union of the German Culture. Due to the announced subject, i.e. deportation of the Soviet Germans through the eyes of a child, such works as «Our Yard» by Gugo Vorsmbekher, «The Nonfictional Landscape» by Olegа Klingа, «The Nonwoven of Fate» by Nellie Kossko and «The Melting Boat. The Karaganda novelet» by Elena Zeyfert, giving the experience of an autoreflection, are analyzed. Deportation of the Russian Germans through the child's eyes is shown at the Russian Germans mainly in the novelette; the subject is the character or the story-teller character. «The Nonfictional Landscape» by O. Klinga flickers between the novel and the story. Its poetics gravitates toward the specific for the novelette historical sight and two spheres of «friend or for». The genre of the novelette is interesting to the authors not only with the tendency to one main plot, the central character which is easy for attaching to the child. Constant is the historical sight of the novelette. The child can’t realize the originality of the situation which he is in. He just lives, noticing singularity of adults’ behavior remaining at that in the children’s world. He experiences recurrence of time altogether with the cycles of his own life. Such is Sasha of Klinga, Fritz of Vormsbekher, Emma of Kossko and Mariyka of Zeyfert. The other reason lies in the sphere of the internal movement of the plot and chronotope: the hero leaves from one valuable (and an existential point) in another and then comes back.