At that owl retorts: ‘I certainly do not rule out that he is not partisan, but simply a vulgar thief, but you know somehow, I prefer to believe. Interestingly, the history of the Owl in a certain way rhyme with memories of Gali and the plot of the story in whole. If all the memories Ghali somehow vary the impossibility of overcoming the boundary between the peripheral margins of the mythological and sacred center of culture, all the stories Owl, on the contrary, show comic conventionality of any kind was hierarchical boundaries of culture as such: Pushkin was killed in a duel because of binge confectioner Kuzma, rustic peasant makes the milk in a cup of this Wedgwood, ballerina Doltseva- at the actually turns out to Sobakina-Cat-Myshkino (which is important in the context of images’ Fakir ‘), Olympian Goethe-boorish as a Soviet shop, bark of the vents (‘ The old saying, and there too. Faust turn up. more fish to eat – it phosphorus, to head cooked. But the owl is absolutely immune from these disasters. Because he lives outside of myth.
His area – the game with a myth, that is (in this case) is a fairy tale. That is why in the final Galya finds Owl at how he without an audience to the music of Brahms and the table with white carnations eats regular cod, triumphantly terming it ‘eagles perch’, and Galina reproaches, had no qualms responsible incredible tales’, have fallen about the ears and the polar resentful about Goethe. He was true to himself, true to its strategy. And unlike those novels Filin from the rest of his writings is that they are right here as improvised reaction to a particular situation (Polar explorer – the landlord, fish meal, the failure of the marriage). In this episode reveals another essential, but above inconspicuous feature Filinova ‘theater for himself’, he created his fantastic tales from the ruins of their own life, this very probably is not too lucky, life is turning into a context for the tales. In essence, the author here, firstly, it inherits the artistic and philosophical strategy Filin, secondly, it reveals the internal mechanism. Briefly speaking, in the last three paragraphs of ‘Fakir’, as in all the story as a whole, has consistently performed demythologize myth Culture its fragments. The new myth is born as a result of this operation, knows about its conditionality and not necessarily on its creation (“Let us sing ‘) – and hence fragility. This is not a myth but a fairy tale: the harmony of the mythological world order is relativized and replaced by a purely aesthetic attitude towards that in the context of the myth seemed a denial order, minus harmony. At the forefront ‘creative chronotope’ Author, absorbing the antithesis of chronotope ‘Dalmatian Palace’ and ‘ring road’, blur their boundaries, turn them into invertible elements of a single process magical metamorphoses.