SVITLANA ALEKSIEVICH. THE MEDIUM OF THE APOCALYPSE

The research analyzes Svitlana Aleksievich’s original work, for which the writer received the Nobel Prize in Literature in 2015. It considers the case of creative technologies that determined the specificity of her books. All the works of Svitlana Aleksievich, published over several decades — from the mid-1980s to the mid-2010s — are observed. Attention is focused on the fact that through her activities, Svitlana Aleksievich consistently develops and presents a purely “voice” portal of liter ature, in which the participants and witnesses of events, which have a unique socio-significant resonance, are the main participants and narrators. It is high­lighted that the “voice” / “voices” of the participants and witnesses of signif­icant events become the architectural basis of her books. It is noted that the “voice” narration contains the content of not only individual but also uniquely individualized memories of complex, often dramatic events in the history and consciousness of society. It is noted that in Svitlana Aleksievich’s prose, the “voice” usually has features of an essay form and is characterized by stylistic refinement, intonation, and verbal perfection. Emphasis is placed on the fact that “voice” / “voices” appear in Svitlana Aleksievich’s books as a rather com­plex phenomenon. It is preconditioned by the fact that in the “voices” of Svit­lana Aleksievich, there is usually an interviewer who passes through herself, through her system of values, the experience of every living “voice” heard and recorded on a technical medium. Therefore, the interviewer appears not only as a reflective subject but also as a co-creator of the “voice”. The interviewer performs the “second author” function in all books, giving everyone a “voice”, conceptual sound and direction. It is noted that Svitlana Aleksievich practic­es a two-component “voice” in which the original narrative intersects the wit­ness-narrator’s story and the “second author.” The research analyzes in detail six books by Svitlana Aleksievich: “War Does Not Have a Woman’s Face,” “Last Witnesses,” “Zinky Boys,” “Enchanted by Death,” “Chernobyl Prayer: A Chronicle of the Future,” “Second-Hand Time (The End of the Red Man)”. It should be noted that the books “Enchanted by Death” and “Second-Hand Time (The End of the Red Man)” will be interpreted as completely independent and self-sufficient works despite their certain fac­tual similarities. The vector of the writer’s socio-mental evolution, manifested in six books, is determined. The dynamics of Svitlana Aleksievich’s conceptu­al priorities, which (dynamics) are directly related to the mainstreams of her time, are considered. The development and improvement of the writer’s archi tectonic culture are represented in detail.