THE AESTHETIC FUNCTION OF THE GROTESQUE IN THE FIGURATIVE CONCEPT OF V. NABOKOV

Resumen

This article discusses the aesthetic functions of the grotesque in the work of V. Nabokov as a highly
artistic and metaphysical meaning in a comparative view; consideration is carried out from the
provisions of philosophical, structural and general chemical scientific methods. The importance and
relevance of the study of such a complex technique helps to establish a connection in the work of the
author of the "subject" grotesque and grotesque consciousness. The disclosure of semantic methods
allows you to view in them the actualization of the motives of the absurdity of existence, the
combination in author-individual comparisons of zoomorphic and anthropomorphic series. In addition,
to present the historical connection between the methods of modeling "other" reality and the
description of characters with a distorted mind in the work of Nabokov-Sirin and classics of fiction.
Nabokov considered naming literary methods one of the important compositional elements of artistic
analysis, therefore, our approach corresponds to the object of cognition. The study highlights some
of the fundamental details of grotesque expressiveness in the author's prose in the critical and artistic
styles of depicting reality. In particular, both from the position of postmodern game poetics, on the
one hand, and subjective-mythological ideas - on the other. The task of the article is to show how the
originality of the meta-description of reception in the author goes into the definition of the canons of
grotesque unity and the comparison of picturesque nature with the aesthetic functions of literature as
a type of art. This meaning shows how V. Nabokov's terminological and conceptual system with its
features of ambivalence and distortion (concepts of "pattern," "arabesque," "prism") is consistent with
the artistic nature of the grotesque.