Put in a Word for the Poor Symbol

A. Arkhangel'skii
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引用次数: 0

Abstract

In Solzhenitsyn's prose, time has a tendency to be compressed. So many people have written about this!—from Mariia Shneerson in her little book (published by Possev in 1984) to Petr Palamarchuk in his Guide to Solzhenitsyn [Putevoditel' po Solzhenitsynu] (published for the first time in Kuban', 1989, 1-4, and then everywhere, from Moscow to the outermost limits). Thanks to this "compression," events in the larger works of Solzhenitsyn are grouped around one, two, and three days, followed by a time lapse of a year or two or three, followed again by a one-, two-, or three-day narrative space, followed, again, by a lapse. Readers of The First Circle, The Red Wheel, and Cancer Ward have seen this for themselves.
为可怜的象征说句话
在索尔仁尼琴的散文中,时间往往被压缩。很多人都写过这个!——从maria Shneerson的小书(1984年由Possev出版)到peter Palamarchuk的《索尔仁尼琴指南》(1989年在库班首次出版,第1-4页),然后从莫斯科到最外围的地方。由于这种“压缩”,索尔仁尼琴的大型作品中的事件被分组在1、2和3天左右,然后是一年或两三年的时间间隔,然后是1、2或3天的叙事空间,再接着是1、2或3天的时间间隔。《第一圈》、《红轮》和《癌症病房》的读者已经亲眼看到了这一点。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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