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Библиогр.: 20 назв.

Проводится сравнительное исследование поэтики прозы Н.В. Гоголя и Ф. Ницше в рецепции А. Белого. Предметом исследования выступает работа А. Белого «Мастерство Гоголя» (1934). Показывается, что проза Гоголя предвосхищает многие стилистические приемы прозы Ницше. В статье обосновывается тезис, что общие черты стиля прозы Гоголя и Ницше имеют своим основанием общность онтологических воззрений. В результате проведенного исследования достигается углубление в понимании проблемы влияния Ницше на русскую литературу. The article presents a comparative study of the poetics of prose by Nikolai Gogol and Friedrich Nietzsche in the reception of Andrei Bely. The subject of research is Bely’s Gogol’s Artistry (1934). The aim of the article is to show how philosophical ideas reveal themselves directly in the verbal fabric of the works of Gogol and Nietzsche. Bely’s philological research on the method and material is rich in philosophical implications; the present work is devoted to its disclosure. The author substantiates the thesis that the style of Gogol’s prose is transgressive, since it is focused on breaking borders. The article shows that Nietzsche’s style in many fundamental aspects reveals a closeness to the style of Gogol’s prose. Nietzsche’s texts also have a powerful explosive potential, capable of causing a whirlwind and imbalance in the sphere of language, thought and representation. Thus, the poetics of Gogol and Nietzsche is the subtlest instrument, tuned to express the prose of the Heraclitian attitude. The article analyzes the features of the poetics of Gogol’s prose in the ontological perspective of the study. Gogol’s style of prose unfolds a certain way of understanding the existence of the world. The ontology, which is affirmed in the writer’s works, can be described as transgressive. Being here is understood as a permanent formation, the transition of limits and violation of established boundaries. Gogol does not reveal such an understanding of being through philosophical constructions, but through the movement of style. The merit of studying the style of Gogol’s prose from this point of view belongs to Bely. In accordance with the trends in the culture and literary criticism of post-revolutionary Russia, Bely’s book received accusations of formalism and neglect of materialistic dialectics. Now we can already say that in his study Bely was largely oriented towards Nietzsche. Moreover, he relied not on the popular set of stamps of vulgar Nietzscheanism about the superman and the will to power, but on the particular style of Nietzsche’s philosophical prose. In this area, Gogol is ahead and anticipates much of what will subsequently become the hallmark of one of the masters of German literature. The present study substantiates the thesis that the stylistic relationship between the prose of Gogol and Nietzsche revealed by Bely is based on a community of ontological views. The philosophy of Gogol and Nietzsche is not rooted in abstract reasoning, which turns out to be primarily only rhetoric. Their true philosophy is immanent in style, which is in details and shades. This style is transgressive and requires an understanding of being as transgression. With respect to Nietzsche, as well as with respect to Gogol, the reader is required to learn philosophy from the peculiarities of poetics.