(!LANG: Plot and plot: what is it and how do they differ? Fiction What is a plot

you have me 💡

Fuck, but the problem is that even the children themselves understand this.

When it is necessary to analyze this or that book, film or performance, they talk about the plot and plot. If the first is clearer for readers, then the situation is more complicated with the plot. These two concepts are very similar, but each contains its own characteristics. Let's try to figure out how the plot differs from the plot? Both are aspects of the content of a work of art. Many people confuse these two terms and take them as synonyms.

The concept of plot

Book lovers do not need to know all the professional literary subtleties, learn complex terminology by heart. You can admire the masterpieces of many writers without this knowledge. But it does not hurt every reader to have an idea of ​​​​simple literary concepts. This will allow you to consider yourself a cultured person. Many of you have heard the word "plot", but not everyone knows its meaning. This word is very melodic and sounds almost the same in several European languages.

Any legend, story, fable, novel, poem, story has a set of events, actions and circumstances. This means that they have a plot. Imagine that you have an idea for a piece. Simply put, you know what you're talking about. This means that you own the plot.

The plot is the turn of events that take place in a literary work, built in a natural chronological order, as if it could happen in reality. Simply put, the plot is your story, presented in a simple way, in one or more phrases. It reproduces events only in chronological order and is the core of a work of any genre. The plot is the creative basis for the compositions, their material.

Types of plots

So, before creating a creation, the artist conceives a plot. With the help of various artistic methods, he reveals its depth and truthfulness. Depending on the nature of the depicted reality, the plot can be of the following types:

• romantic;
• fabulous;
• utopian;
• mythological;
• realistic.

The plot may consist of several elements. One of them is collision. The writer uses her to collide with the opposites of the characters. The author can make events complex and confusing with intrigue. For unexpected changes in the fate of the characters, peripeteia. Before deploying any events must be exposition or prologue. Followed by ending, climax, denouement. The final part of the plot and any work is epilogue.

Examples of plots

A talented author does not need much effort to turn a successful plot into a real masterpiece of art. Many people know the story of A. S. Pushkin writing the story "Dubrovsky". The plot for writing it was the story that Pushkin was told by his friend P. Nashchokin. He told him the true story of a nobleman named Ostrovsky.

Some writers take the plot from other works. So, Gogol told the story of a petty official, who was accepted in society as an important person, in the comedy The Inspector General. There have been stories like this before.

Shakespeare's tragedy "Hamlet" can be used as an example of a simplified plot. It begins with the murder of the king, which is committed by his brother. He sits on the throne and takes the wife of the murdered king as his wife. The late king had a son, Hamlet, to whom a ghost appeared and told the truth about his father's death. In an attempt to take revenge on the murderer, Hamlet dies in a duel. This is the sequence of events in the plot. And in the work itself, events unfold according to a different plan. If you retell the author's sequence, it means - to use plot.

What is a plot?

The plot is a set of events that the author depicts in such artistic forms and techniques that are most suitable for his creative idea. If the plot reproduces events in chronological order, then the plot may be out of order. Any chain of events built by a writer is called plot. Sometimes the plot can exactly resemble the plot, but more often it "straightens" it. Under the plot is meant the chain of events, through which the characters and relationships of the characters are revealed.

Types of plot by the nature of events and structure

Plots are classified according to the nature of the events depicted in the book. This makes it possible to distinguish among them:

• fantastic or fabulous;
• historical;
• biblical;
• detective;
• adventurous;
• military;
• adventure;
• love.

There is a lyrical plot in the lyrics. It unfolds in the mental square. It refers to the memories of the lyrical hero, the inner world. The reader sees these events in his experiences, emotions, feelings. Among the many plots, there are those that are suitable for different countries, eras and peoples. They are called "wanderers".

As components of works of art, plots differ in structure. The first type is chronicle in which the reader sees the events in chronological order. In it, the author shows the spiritual growth of the personality of the main character. This can be seen in autobiographies, memoirs. To show the contradictions in the soul of the protagonist, the writer turns to concentric plot . It shows a chain of events, each of which is a consequence of the previous one and the cause of subsequent ones. A similar plot can be observed in Lermontov's novel "A Hero of Our Time".

Conflict is the engine of the plot

In order for the plot and plot of the work to develop, it is necessary conflict. It is he who drives the events in the books. Plot, plot, conflict - concepts are very interconnected. Conflict means confrontation that arises on the principles of contradictions. One can observe the confrontation of various characters, the hero and society, characters and circumstances. Such a conflict is called external. And if it unfolds in the soul of a hero, then it is called internal.

Differences between plot and plot

Modern literary critics call the plot the main artistic content and conflict in the essay. Plot refers to the specific sequence of events in a book. The plot and plot determine the theme and content of the work. Here are their main differences:

1. In the plot, the reader sees the events that have occurred, in the plot - their exact description of the content.
2. The plot depicts the conflicting side of events. The plot gives the outline of the plot, giving the presentation the form and sequence of what is happening.
3. The plot has a strict temporal sequence. The plot has a free chronological presentation.
4. The plot may be shorter than the plot.

The plot and plot of the "Hero of Our Time" by M. Yu. Lermontov

The novel "A Hero of Our Time" consists of several stories. By this, Lermontov unfolds the story of Pechorin's soul. The author arranged all the chapters so that everything came out of the main idea and returned to it. To do this, Lermontov violated the chronological sequence of events. "Bela", "Maxim Maksimych" and all subsequent stories give a clear idea of ​​Pechorin's inner world, his thoughts, feelings and aspirations. The author consistently revealed the complex character of the hero, all his contradictions and unpredictability. It is this idea that the plot of the novel obeys, the sequence of events of which differs from the order of the parts. The plot requires a completely different arrangement of the stories from the work: "Taman", "Princess Mary", "Fatalist", "Bela", "Maxim Maksimych", a preface to Pechorin's Journal. The plot and plot of Lermontov's novel do not coincide.

I am not a poet, I am a compiler, I am a manipulator, I am a secret agent.
At the moment, the feeling is as if you were taken by laboratory assistants as a reagent.
A couple of colleks are barking, I thought an aviary with lions, and then a flock of hyenas.
I'm an introvert who convinced myself that I'm an extrovert in order to get to the top!
My righteous anger, stop, there are no true and correct.
In addition to the victories proven in the fire.
And you, boy, burned out and faded over the years.
She has pearls in her neckline, an ermine and a necklace.
Fuck it, I call your missus "Pas de Calais" wide strait.
Like this? You slipped down in two years, gave a blunder, a depressive plot of fate.
Your sakuras have faded, the garden has crumbled, and the pagoda has squinted. Fuck right?
All your rap is the crap of a drunken crap - it's detrimental.
I'm from the ship to the ball shaved bald.
You are not my brother, like Balabanov's. I "m not a poet, I am the compiler I arm, I" m a secret agent.
Currently, the feeling as if you are taken by laboratory as a reagent.
Barks pair of collective thought the lions cage, and then a pack of hyenas.
I "m an introvert, to convince myself that I am an extrovert, to climb up!
My righteous anger, simple, true and correct no.
Also tested in the burning victories.
And you, man, burned and faded with the years.
She pearls at the neckline, ermine and necklaces.
Poh * First, I call your pious wide strait "Pas de Calais".
Like this? You rolled over two years, gave a blunder, depressing story of fate.
Faded your cherry, he strode down the garden, and glanced Pagoda. Nah*nd it?
All your rap is crap drunk labuha - is harmful.
I ship to the ball shaved head.
You "re not my brother, not like a Balabanov.

142.

Fatum ceases to be an abstraction when it materializes in the plot.

In this case, we write the concept as follows:

Fabula (lat.) - story, plot, play

Actor (lat.) - Actors

Topos - Topos is a place.

Uniformitas - Unifier

Modificatio - Modifier

In this case, the Unifier correlates the plot with the class (type) of plots to which this plot belongs. For example, we can read two completely different books, one of which is a fairy tale, and the other is a non-fiction story. And there, and there - in narratives completely different in genre, we can see the same action - for example, in a fairy tale the hero runs away from the monster, and in a realistic essay - another, not fictional hero, runs away from the robber. In both cases, for all their dissimilarity, there is a plot to "run away".

The modifier sets individualized characteristics for characters - appearance, character traits, etc.

Expanding the content of the concept of "plot" by the CAB method, we get:

Fatum

Actor - a participant in the plot that performs an action (on an actant)

Basis (ancient Greek) - 1) basis, base, 2) move, step, 3) rhythm, beat

Uniformitas

Lingua (lat.) - language.

Actant (fr. - "acting") - a participant in the plot, on which the action is performed

It is easy to see that fate and plot have a function as a starting semantic point.

But, if in fate the function is defined (given) as a certain rule, then in the plot it acquires its visible, directly materialized embodiment.

Traditionally, the plot is defined as the factual side of the story, built in chronological order. The wording is intuitive, but does not reveal the essence of the concept to the end.

To a greater extent, the presented definition falls under the concept of a sequence - a sequence of events.

After our decomposition, we see the concept of the plot more clearly and by analogy with fate - also as a holistic unity.

So the definition is:

The plot is the unity of a predetermined function given to the participants of the action on a certain basis (basis), in a certain place (topos) by the participants themselves, producing (actors) or undergoing (actants) an action, represented through language and having a given rhythm (basis).

Let us now clarify some concepts encountered in the definition.

The difference between an actor and an actant can be clearly seen in the following examples:

Ivan kisses Mary.

Ivan performs an action, and he is an actor. Marya undergoes an action (she does not kiss, but is kissed), Marya is an actant.

If in the next second Marya slaps Ivan, then the Act-Roles of the characters change accordingly. Now Marya becomes an actor (beats), and Ivan becomes an actant (gets hit - undergoes an action).

Act-Role Inversion is the main mechanism of story and stories.

In the "big" history, such an inversion was considered by Hegel in the theme of a slave and a master, who change places over time. algebra, take "nothing" as 0, and "everything" as 1, then the line of the song just describes the change in the polarity of the function: 0 → 1. Wilfredo Pareto, in his theory of elite rotation, said almost the same thing.

In "small" stories, the plot is well known, when the pursuer himself becomes persecuted for a while (a policeman who is chasing the villain, at some point and for some time is forced to run away from the villain - a well-established outline of many action films and detectives).

Act-role inversion, despite what seems to be a kind of leap, at its microstructural level, goes through a number of stages.

First, a certain Transitional State arises in the system (actor-actant), which is elusive for the viewer's eye, but capable of being captured by the trained gaze of an experienced observer.

Let's borrow from kinetic chemistry the icon indicating the transition state: ‡ (Dagger) .

Then we get a visual diagram:

(Actor*Aktant) ‡ ((Actor (Actant) *(Aktant) (Actor) ) † ((Actant (Actor) *Actor (Actant) )

Here:

An asterisk * means interaction,

The sign † (Dagger) is the operator of the transition of the system to a different state (in the formulas of quantum mechanics, this sign is put when transposing matrices with complex conjugation. In simple terms, matrix transposition is an operation when the rows become columns, and the columns of the matrix become rows. When act -role inversions, something similar happens - the "horizontal" position of the actant becomes the "vertical" of the actor and vice versa).

On this, with actors, actants and the change of their roles, we will finish for now, because this is the topic of a separate gnomon.

And let's move on to the language.

Any plot is told or shown. It is obvious. It cannot be perceived by us outside the language. It's just as obvious.

In this case, language should be understood as any sign manifestation. Thus, we can talk, for example, about the language of images, or figurative representation (L-image) and verbal language (L-word) - that is, expressed through speech.

Languages ​​are able to pass one into another: L-image ↔ L-word.

For example, the pictured itemΔ is an image expressed in the L-image language, which, passing into the L-word language, forms a number of meanings: "triangle", "Greek letter delta", "symbol of the element of fire in alchemy", "symmetric difference symbol in set theory", "a symbol of change, increment in mathematical analysis".

We tell our stories in the language of words.

In 2017, hip-hop finally established itself in the status of, if not folk, then at least the most discussed music. We listened to Husky and Mushrooms, chose who to root for in the battle between Purulent and Oksimiron, watched Face clips and parodies of Pharaoh clips on federal TV. The Village met with music journalist and HSE School of Cultural Studies lecturer Artem Rondarev to talk about the new role of hip-hop, the disappearance of important pop music, and Russians' love for sad songs.

- Somehow it finally became clear that hip-hop has become the main national music in Russia.

Of course not. Our main music is still chanson. He, of course, has already penetrated the stage, integrated: Leps and Mikhailov sing in large halls. But this is still the same Russian chanson, as it was once called. Of course, he is the main music. Hip-hop is not up to the mark.

We can probably talk about some kind of generational difference. Probably, after all, for conditional Russian millennials, this is still hip-hop.

They probably have, although I don't know how all these A.U.E. will listen to hip-hop. Yes, and in hip-hop, after all, chanson is fully integrated. I recently listened to some of the latest records of the group "25/17", absolutely enchanting. They used to be stubborn nationalists, but on the 2015 record there is such a chanson, everything is fine, they have "I, you, our child."

To say that hip-hop took and conquered everyone is meaningless. Even in the generation of the 1990s, ten years from now, half will be office managers, get a sting of cross hip-hop and chanson, and be terribly happy with it. It’s good to listen to Face when you are very young, and then you are an adult, respectable person, and it seems like nothing. This is where the chanson-blatnyak comes to the rescue, which, I think, will only develop with us. He didn't go anywhere. Previously, he was so politicized - Misha Mavashi - but now it is a normal chanson with a tear.

But in our country it seems to be just the opposite: about 10-12 years ago, hip-hop in Russian was listened to mainly by yard boys, and then it somehow evolved into a completely different topic.

Yes, there was a time in the late 1990s when hip-hop mostly came from boys and cops cars. It is clear that in the 1990s, when hip-hop was only trying to get on its feet, it connected all the necessary topics, criminal ones, transplanted them onto our soil, and gopnic, sometimes ironic, sometimes outright thug chanson rap began. Now all this aesthetics of boys is not discursively relevant. You can hear it less, but it's still there.

In the late 90s, the guys read how much they cut. And now it is a chanson with a tear. Even people like Husky, as a matter of fact, press the same chanson tear: their small districts, orphaned houses - affective sentimentality over this.

But Husky has completely individual lyrics, there is no talk about some kind of street code of honor and so on. And he has it with some rather suffering associated.

This is such a reflection. It's subjective that, in my opinion, hip-hop is very confusing because hip-hop is a communal form of expression. Suffering is an ontological quality, it is able to disavow all external social conditions. And this is the most vicious thing that has happened to hip-hop lately. Because hip-hop has abandoned two themes that are immanent to it: the communal utterance and the correlation of oneself with social conditions. If you are a kid from Oxford, then you should reflect on the situation differently, and not that you live in hell. This discrepancy between the statement and the conditions, indeed the subjectification of the statement - these are serious problems that will come back to haunt us. Although it has a solvent audience - university students.

Many imagine what social marginality really looks like, they understand that they do not belong to those groups that legitimately have social drama. And here comes Oksimiron

You are talking about Oksimiron already. How, in your opinion, can one explain his such wide popularity under declarative intellectualism? After all, this is only the third rapper who managed to sell out the "Olympic".

- Olimpiyskiy is located in Moscow, and Moscow is capable of scoring 10–20 Olimpiyskiys in the middle class. Oksimiron obviously appealed to an audience previously less embraced by hip-hop, to students of metropolitan universities who also need their own inner drama. It's unavoidable. I also needed drama at the institute. Many imagine what social marginality really looks like, they understand that they do not belong to those groups that legitimately have social drama. And here comes Oksimiron. The man who lived abroad studied at a prestigious Western university. It doesn’t matter how all this actually happened in detail, Oksimiron, according to our estimates, is a major. And at the same time, the person sings, in this case without reflection at all, that he lives in hell. In this case, it is easy for students of metropolitan universities to relate themselves to Oksimiron, plus the intellectual filling that they read.

This is the famous story when a girl read a piece of Oksimiron's text under the guise of a poem by Mandelstam. What is the symbolic gesture? There is a hierarchical view of culture, and poets and musicians occupy top places in it. And when in a lesson where another great poet is being taught, maybe not at the blackboard, but in the eyes of the teacher for sure, Oksimiron is taken for this great poet, he is equalized in symbolic rights with them. Our great poet is Oksimiron. At the same time, everything in his life is good, but he allows suffering, gives drama.

Plus, I must say, Gorgorod, which came out a few years ago, somehow quite successfully fit into the narrative of self-awareness of the critically minded middle class.

In fact, his self-representation does not carry any liberal political message, he just correctly appropriated it on this album.

This year, Glory to the CPSU broke into the air. Why did everyone so joyfully accept a person who is all a complete denial of Oksimiron?

Here everything is just obvious from the battle between Oksimiron and Slava. This intelligent packaging is completely uncharacteristic of hip-hop, it’s not for nothing that everyone called “Gorgorod” a concept album, this is a game - hip-hop and a concept album. This is frivolity, and it hit the right moment well. But when the expiration date of the freak prank ended, a person who works in natural poetics and hip-hop problems came and removed the freak.

- But he also has five nods to such a conditionally “intelligent” audience in each track.

But at the same time, he is an open anti-Semite, homophobe, sexist. He reproduces all the properties of hip-hop, I don’t know how consciously, but quite openly. Here, just from under the building, which is Oksimiron, as a result, a mainstream, straight-line jet crawled back out. Many rejoiced, because intellectualism wavered, and now a normal person has come.

- In moderation.

No, normal in the sense that it takes Kafka and packs it into a wild amount of cursing. Oksimiron also uses all this mechanics. But he swears like the intelligentsia, and Purulent, if you look especially at disses, there is just such a five-story swearing that the intelligentsia does not swear at, for it it is over the edge. It is not a form of poetic utterance, but a natural form.

- And then a person takes and releases an absolutely formalist album (“The Sun of the Dead.” - Approx. ed.).

He shouldn't have done this, the record, of course, is a failure. But he's a trickster, a punk. He does not have his own topic - he picks up what is bad. And then he picked it up completely wrong.

In general, Slava is not the first. This combination of fiery love for Mamleev, Letov and other counterculture and right-wing habits is sewn into the whole tradition of abstract hip-hop. Well, where he doesn’t go into the fan subculture at all. Where does this enbepishness of Russian rap come from?

The fact is that the NBP is an art workshop, it's not a party. As for the anti-Semitism and homophobia of Purulent, this is just a typical hip-hop theme. He just understands that it belongs to the aesthetic in which he works. I doubt that all this is taken from local political-artistic games. Rather, from Western hip-hop, which everyone is guided by anyway.

- Yes, but here he is obsessively constantly representing himself as "red".

We have the Soviet Left, which in fact, according to all views, except economic ones, are absolutely right. And to be right, but curtseying towards the Soviet, red theme of the NBP is not difficult at all. Soviet left-wing problems are absolutely right-wing, there is a place for homophobia and everything else.

But in the US, hip-hop is now becoming almost the music of social protest: manifesto albums by Kendrick Lamar, Black Lives Matter, and even Kanye West, in a good way, a quarter of any album is scolded by the haves.

Those who write something about the Black Panthers have always had such a problem - how to put the words "national" and "social" so that they do not add up to a well-known combination. They are always trying to smash them with pretexts. But there was the National Socialist Party. And "national" in this situation will always outweigh. You can conduct economic rhetoric as you like. But as long as you don't have the idea that the individual is important and not party loyalty, sooner or later you will appear in the right corner. I don’t want to say anything else about our black brethren, but we know what the roots of this are.

With the current disposition, they still very clearly fall into the conventionally left flank of the Democratic Party.

Yes, left-liberal - minorities. But the whole point is that they fall into such a common agenda. There is a metastructure that incorporates the issues of minorities. But for the minorities themselves, the issue can be very far from the universalist left agenda, it can be quite nationalistic. If the metastructure declares that it is for everyone who was previously oppressed, then it sounds left-liberal. But if you start to sort out who makes up this structure, you can find absolutely amazing things there, except perhaps without neo-fascism, which is simply completely unrespectable.

- So you think that hip-hop can't get away from the machismo DNA anyway?

Yes. He has a genealogy, this genealogy has a rigidly structured form of utterance. Either you just refuse this genealogy, but then you move away from what made hip-hop. There is, for example, rapcore, really ultra-left and mostly white. But it's a stretch to call it hip-hop.

What happened to guitar music? There is a feeling that she will never get back into the status of something important. Now it is something so frozen, almost subcultural, not influential at all.

It is not frozen. It’s just that what we called the “new Russian wave” is initially a completely subcultural form - people have created a loyal fan base for themselves. From the very beginning they could not influence anything. Even a few years ago they were not popular. It's just that some journalist needed to find something like that, come up with a term, and he did it and created some kind of mini-hype out of it. In this case, the word hype is perfect. Now this mini-hype has subsided.

In the 1990s, everything was a little different, because the frame for a serious protest was about the same. With all my absolutely negative attitude towards Limonov and others, we must pay tribute - they had a global theoretical framework. Now this theoretical framework does not exist. Then life was not very good. One could say that the Russians were humiliated, unfurl the red flag, stand up for them. And now what?

It’s just that what we called the “new Russian wave” is initially a completely subcultural form - people have created a loyal fan base for themselves.

From the very beginning they could not influence anything

- Now there is no discourse that could be reflected in guitar music?

Then there was the ideology. In fact, it was defective bikes that it was not in the 1990s. Now there is no official ideology. Some was born in the last five years, but it is so amorphous that even if you want to resist it, it will not work very well. Roskomnadzor bans absolutely radical things. In fact, for all its amorphousness, our current ideology is much better at dealing with what it perceives as a threat to itself. This threat is marginalized instantly. About five years ago, they did this with stubborn nationalists, when they were redrawn as complete freaks.

In the 1990s, we were told that we were building capitalism, we had a liberal economy, freedom of speech, and so on. From this path, no one particularly turned off. Now you can't find direct statements. They just said that we have a conservative turn, and then bam, and there is no conservative turn. That is why many are nostalgic for the NBP, which was a well-formed modernist statement.

- Why does all shameless pop music now come to us from Ukraine and Belarus?

Because in Ukraine there is superficial political mobility, while we have stagnation. But we are walking around a more global problem. Now it is already very difficult to appear something that will have a total value, due to the fact that the means of delivery and consumption have changed. You have playlists on the Internet, besides, you didn’t make them yourself just now, but the DJ advised them to you, you have a dispersion of taste preferences.

When I come to my students' party, they start with Face and Oksimiron and end with the VIA Gra group. There is no more that would be zapadlo. Usually, taste preferences are formed through finding out what is impossible in a given social stratum, subculture. Now what is impossible does not exist. The new structure of consumption removed the function of experts, people who created the ideology. Back in the 1990s, you had to buy a CD, re-record the cassette. Naturally, those with whom you rewrote the cassette had their own taste. When you went to the store, you did not have an infinite amount of money, you still went to a certain counter. Now, when they ask me if I listened to such and such a group, I don’t even ask how it is in general, I go and download it. These music journalists, taste experts, value and numbering experts, they're all blown away. The advice of some dude you know is trendy, smart, is much more important than the advice of a dude you only know works for a big, beautiful magazine. Nobody reads these big beautiful magazines anymore.

- Well, in the case of "VIA Gra" at the party, it's more about irony.

Not really, I think. I also watched the reaction of people who start dancing to hardcore punk and end up with VIA Gra. There used to be a trash taste, which the same Afisha actively promoted. In the early 2000s, listening to Mikhail Krug, for example, was fashionable, I remember very well. There was irony, which, however, if a person drank three more glasses, turned into tears of happiness. But basically it was an ironic approach, because no one was trying to say that the Circle is great music.

Now under "VIA Gra" they really thump. About three years ago I turned on the Combination group, I realized that I could listen to it quite calmly. Now this is not ironic. This is an emancipatory moment, if earlier you had to make an effort to break the hierarchy, now you don’t need any breaking. If now a person comes forward with some kind of hierarchy, then they will look at him as an idiot. Therefore, what is the meaning of music in general, if all music exists on the same plane? ..

Beyoncé appropriated the themes of several groups of the oppressed at once - here both race and gender. And now, when she makes these statements, all people are trained that this is actually the voice of a progressive authority.

For example, about the meaning of global pop music: the Beyoncé album is massively deconstructed as an important statement, and the New York Times releases a huge interview with Jay-Z with a bunch of questions about all the most important things.

Beyoncé is such a Pugacheva as Madonna once was. There are several Pugachevs in America. Beyoncé appropriated the themes of several groups of the oppressed at once - here both race and gender. And now, when she makes these statements, all people are trained that this is actually the voice of a progressive authority that reports important things, she actually acts like a president. If you go down to the level below, where there is no Alla Pugacheva, to the level of Taylor Swift, there is none of this.

- Taylor Swift is called a fascist!

Well, yes, she already has much lower bulletproofness. What is the point of pop culture? In socialization, which has certain norms. Beyonce in this case is a translator of norms. She informs you of new norms, from which you simply cannot deviate when speaking in society, you will immediately fall out of it. But this right to broadcast socializing norms is assigned to a very small number of people.

It cannot be said that pop music as a whole has somehow been incorporated into a larger structure. A large structure at some point, let's not talk about capitalism, realized that this is a powerful lever of socialization. In the 1990s, the main voice was Madonna, who broke stereotypes. You can always look at these top figures, whose records everyone listens to. They may be different stylistically, but everyone buys and listens to them, simply because it is a special choice of the industry. No wonder Zizek calls Hollywood the American military-industrial complex.

It was with us too. Pugacheva was an official singer for us for a long time, she also did this. In the 1980s, the gap between Pugacheva and some Rotaru was simply insurmountable. There was no one near her. It was such a divine voice. Everything she did, even songs like “Madame Broshkina,” everyone rushed to listen to: God has grown old, but we must go and listen to it urgently. It happens everywhere.

- But now there are no such figures in Russia.

In Russia, this has disappeared, because there is nothing to broadcast.

- Although there is Timati, for example.

Timati is very characteristic. Timati is such a good example of how a person was chosen in the most dumb musical field, and he is still some kind of repeater of certain norms. I was once asked about Timati about two months ago. I specifically listened to a certain number of his songs before that, and found that Timati as a performer is not as bad as his reputation. By and large, the project is done correctly.

Only it seems to be constantly lagging behind in time, because this ultra-hedonism of the 2000s in the biggest hip-hop is somehow not very noticeable, but degenerates. Lamar, whom we already mentioned today, has an entire album one way or another devoted to frustration and disappointment, Kanye West and Jay-Z also regularly report on the existential hardships of the life of rap millionaires.

Yes, but this frustration is now in general in everything, not only in hip-hop. I do not want to make political statements, it is clear that the 1990s, with their end of history, the golden age of prosperity and so on, are hopelessly over. By the way, the same thing happened in the Western Hemisphere in the last century, when in the 1950s a series of progressive achievements and a healthy economic situation led to talk of a golden age, and already in the 1960s, children raise their heads at their parents and show them: “ You didn't give us something. They said that we have total freedom, but for some reason it is not total. Here we are in the 1960s. Culture is the voice of the dominant narrative. And now she frustrates along with everyone.

- We have no chances for a new punk?

New punk is not possible at all. The beauty of punk is that he has taken the agenda, which comes very easily to the singularity. He took a nihilistic agenda, cooler and more radical than which it is simply impossible to come up with anything, took it and completely worked it out. When Johnny Rotten said: “Do you like it when they spit in your face for your money? Well, sit down then! - it is impossible to say anything worse, more destructive, more radical. Coming up with a second punk is purely ideologically unrealistic.

There is another important mystery. Why do Russians like sad music so much? Here is Lil Peep, who tragically died recently, but he had a fan base here almost more than in the USA. I'm not talking about Witch House, whose corpse was resurrected in Russia almost ten years after its almost imperceptible birth in the West and so successfully exploited for several years.

It's a long story. In the 19th century, our nationalism was created everywhere, and the very legitimation of good art was folk roots, everywhere the educated class sought them. When Balakirev compiled the first collection of folk songs, which he traveled and collected for a long time, it turned out that in folk music there is a craving for minor modes. Balakirev singled out the Russian minor.

Then comes the Soviet government, which takes the completely created idea that the right art is always drawn from the source of the people, and transfers it absolutely mechanically. You can just listen to all the songs of the Soviet stage, Soviet times - there is this folk mode everywhere. There will be major things only when you need to call for an attack on the enemy.

We have a historical inclination towards the minor, now we won’t help to explain why. Unlike America with its country based on some fun things. We are still pulling this minor mode, because aesthetically we inherit the Soviet ideas about what the right music looks like. It is not for nothing that in many books of people who dealt with Soviet, post-Soviet culture, an atypical number of minor deviations in pop music is necessarily noted in percentage terms. I'm not even talking about rock. These are things, they dissolve in the blood most strongly, it is very long. In a couple of generations, this will go away, because we live in a fleeting world. And now people still remember that mom and dad listened.

We have a historical inclination towards the minor, now we won’t help to explain why. Unlike America with its country based on some fun things

- That is, Russians almost genetically love sad music?

Oh sure. Not only Russian, there are some Mediterranean Neapolitan songs. They are not all funny. The prevalence of major over minor in the world is explained only by the fact that one culture has captured pop music - American. The blues is also prone to a minor sound, but then the Americans finished it. If you look at European folk music, there are also a lot of minor scales. The fact is that American culture crushed all European pop culture, but we don’t, because there was an iron curtain. If the curtain had fallen in our country in the 1960s, then there would have been major modes.

Perhaps then we would never have received the chanson. Are you sure that it will still be listened to in a few generations?

Not in the traditional way, of course. It integrates into the stage. It mimics a lot of styles. Nostalgic whining isn't going anywhere. Sooner or later, in half the cases, people, even those who listen to the Sex Pistols, by the age of 30-40 come to songs about their daughter, mother, to topics that are unusual for a large number of musical styles. And who will serve all this? Transformed chanson.