THE MARI STORY OF THE FIRST THIRD OF THE XXTH CENTURY: THE FACTORS OF THE ART TEXT'S ORGANIZATION

Raisia A. Kudryavtseva¹, Tatiana N. Belyeva²*, Marianna V. Ryabinina³, Elena G. Lastochkina⁴, Elena M. Andrianova⁵, Vitaliy T. Mikhaylov⁶ and Tatiana V. Kolesova⁷

¹ Prof., Mari State University, Russia, kudsebs@rambler.ru
² Asst. Prof., Mari State University, Russia, sokolova_beljaeva@mail.ru
³ Asst. Prof., Mari State University, Russia, mari.riabinina@yandex.ru
⁴  Senior Lecturer, Mari State University, Russia, antrolea@mail.ru
⁵ Asst. Prof., Mari State University, Russia, andrilea@rambler.ru
⁶ Asst. Prof., Mari State University, Russia, vitatim@yandex.ru
⁷ Asst. Prof., Mari State University, Russia, tatcos@yandex.ru
*Corresponding author

Abstract
The article reveals the problem of formation of artistry in the genre structure of the Mari story of the first third of the XX twentieth century. Various methods of the subjektivization of the narration, subject-matter, composite forms of the monological and dialogical speech, framework components are considered in it as the factors of the art organization of the text.

The first Mari writers (P. Eruslanov, S. Chavayn, F. Egorov, T. Efremov, etc.) actively addressed to the literary devices of the art description and dialogues.
The role function of the narrator took place in S. Chavayn’s stories. The writer sympathized and empathized to personages. This subjectivity was transmitted by using lexical and rhythmic repetitions, direct form of addresses of the author-narrator to personages with the using of their names in a possessive form (The story «In the Wood»).

S. Chavayn’s story « Springlet» is an illustration of the symbolization of images and enrichment of the composite structure of the work.

T. Efremov’s works are noted by well-marked subject-matter. They have a single story-line plot, which is typical for short novel. The story «Big Shigac-Sola» is built as a «chain» of logically connected episodes and it is based on purposeful alternation of monologues and dialogues, also there are central characters (generalized «village people» and a character of the plot – narrator, who is organized the narrative) which is formed the plot.

The frame components are at most created the art integrity. The S. Chavayn’s creative experience is showed that the writers gave the greatest value to the title and subtitle. The evolution of the story’s poetics is connected with the decrease of secondary titles and increase the ideological and conceptual titles. Genre subtitles are testified that to the traditional architectonics of the story writers went from lyrical miniatures, sketches, folk genre forms. They pointed at the same time to the specifics of genre forms of early Mari literature.

In 1920-ies there is a noticeable expansion of the frame components due to use of dedication and internal titles that demonstrate the increase of the esthetic importance of works, as well as the development of genre poetics.

Keywords: The Mari literature of the first third of the twentieth century, genre, narrative, poetics, the genre structure.