Character conflicts in the work of Dina Rubina

Syui YUMIN Postgraduate student, Department of Russian and Foreign Literature, Peoples' Friendship University of Russia named after Patrice Lumumba; 125252, Russia, Moscow, Miklukho-Maklaya str., 5k2 1042238002@rudn.ru

Introduction

The works of the modern Russian writer Dina Rubina are of great importance in the context of the development of Russian literature from the end of the twentieth century to the beginning of the XXI century. In her works, the author touched on various topics and issues that resonated in the hearts of readers and aroused genuine interest in her works.

The conflict between the characters in the process of interacting with each other is one of the key elements of Dina Rubina's work. In her stories, the writer skillfully reveals the characters of the characters, immersing the reader in their inner world and experiences^[1]. The study of personal conflicts in the works of Dina Rubina makes it possible to understand the author's thoughts more deeply in order to determine the features of the author's style and self-expression.

The purpose of this study is to analyze the conflicts of characters in the writer's work using the example of the stories "Lyubka" and "On the Upper Maslovka". To achieve this goal, it is necessary to solve the following tasks:

1. To study the motives and causes of conflicts in these stories.

2. To identify the main types of conflicts and their features in each story.

3. Analyze the interaction of the characters with each other and with the world around them.

4. To determine the impact of conflicts on the development of the plot and the dynamics of the narrative.

5. Establish a connection between the conflicts of the characters and the author's position in relation to them.

The subject of the study is the conflicts between the characters in the works of Dina Rubina – "Lubka", "On the Upper Maslovka", and the object is the work of Dina Rubina as a whole.

Research methods include the analysis of scientific literature on the research topic, critical analysis of texts, comparative analysis and generalization of the data obtained.

The scientific novelty of this study lies in the fact that it is aimed at identifying and systematizing character conflicts in Rubina's stories and represents the first experience of a comprehensive analysis of this issue.

A brief biography of Dina Rubina. Writer, playwright and translator Dina Rubina was born in 1953 in Tashkent. Her parents were both Ukrainian Jews and moved to Uzbekistan after World War II. His father was a graphic designer, and his mother was a history teacher [Shrayer 2018: p.567]^[2]. From 1972 to 1977, Rubina studied piano at the local music conservatory. Then, from 1977 to 1979, she taught at the Institute of Local Culture [Vashukova 2010]^[3]. Dina's literary debut took place in 1971, when her humorous article "Restless Nature" was published in the magazine Yunost (see Fig.1). Her work continues to be published in this publication.

Figure 1. The first humorous story by D. Rubina

in the magazine "Youth"

In 1979, she became a member of the Union of Soviet Writers. Her first book– "When will it Snow ...?", published in the same year, formed the basis of a drama that was staged more than once on stage. This was followed by two collections of short stories "The House behind the Green Gate" and other works.

Dina Rubina is one of the most famous authors of our time. She is known for her iconic novels and short stories, and is the author of numerous essays and short stories. Dina Rubina won the prestigious Big Book Award in 2007 and many other Russian and Israeli awards^[4]. Dina Rubina's works have been translated into many languages, including English, German, Italian, French and others. Films such as "Lyubka" (2009), "Double Surname" (2006) and "On Verkhnyaya Maslovka" (2006) were made based on her books.

Analysis of the short story "Lyubka" (1987). Dina Rubina wrote the story "Lyubka" in the early days of perestroika and published it in the Ogonyok magazine. A young doctor, Irina Zaltsman, the daughter of a candidate of sciences, was sent to a remote Ural town. She moved there with her mother Faina Semyonovna and daughter Sonechka. They lived together for a while, Irina worked, and her mother helped her with her daughter and was engaged in cooking, but the mother suddenly dies, and Irina is forced to find a nanny for her daughter.

This narrative is based on the story of the relationship between Irina Mikhailovna, a young and intelligent doctor, and Lubka, her child's nanny, who previously served a sentence for criminal acts. In an unexpected moment, Lubka turns out to be more decent and honest than the so-called "decent" people. The writer Dina Rubina did not invent this story, she heard it from her Tashkent friend, in whose family a similar woman lived after World War II. Rubina, with her unique ability to create vivid and saturated details, added new circumstances and transferred the action to the period of the "doctors' case".

Thus, the story became imbued with a piercing atmosphere, demonstrating that the human spirit and its moral qualities do not depend on the level of education, position or profession. In the Stalin era, people were raised to do the lowest and most terrible things, inciting betrayal, reports and perjury, regardless of their origin. However, as reflected in the story "Lyubka", even in such conditions there were people who did not lose the concepts of honor and conscience. They were able to preserve human dignity even in the most ruthless circumstances [Field 2010]^[5].

Destitute parents, after dispossession, sold Lubka to the thief Katka "for a loaf of bread and a jar of juice." When she was a teenager, she took over the entire "family" criminal business. At some point, she realized that she wanted a simple, honest life with her beloved Kostya, so that "everything would be like people", because she became pregnant. It was only after another police raid that Kostya was killed, and she was taken to prison and forcibly forced to have an abortion.

The leader of a group of thieves shows unexpected kindness to a young Jewish doctor during a secret conspiracy of medical specialists. In search of a babysitter, Irina hires Lubka, a thief and a criminal who is the leader of a small gang of thieves. Lubka, rejected by society, does not receive greetings from decent people, and the district police officer strongly discourages Irina from communicating with the bandit. Nevertheless, the heroine resolutely rejects conventions, stating: "To hell with stereotypes!".

The portrait of Love in the story is presented as follows^[6]: "Lubka's legs were smooth, expressive and seemingly tireless, although on each foot along the fingers there was a blue tattoo "They are tired...". Wow – the cheeks are sunken, the shoulders are bony, the stomach is frozen to the back, and the legs – it's even strange – that your Psyche is there!" [Rubina 2011]^[7]. The reader begins to sympathize with Lubka, realizing that the heroine's life was full of difficulties. Lyubka is a broken soul, she wants to avenge her twisted life, find her way, live "like people". Lyubka has a sense of self-sacrifice, she is true to her principles, self-confident, knows how to sincerely thank and love those who see in her something more than just a "former prisoner".

The portrait of Irina Mikhailovna is a romantic female image, beloved by Russian classical literature; an insecure, modest, withdrawn girl who has no experience in overcoming life difficulties, because she is used to her mother helping her in everything: "The doctor looked like a well-mannered girl from a learned family. Ugly, freckled. The nose is not that big, but somehow it jumps forward: "Me, me, me first!" And the whole face is cut as if it is reaching out to a person with great attention. Her lips are soft, plump, and her eyes are guilty in front of everyone. The pocket of the whitest robe is comfortably embroidered with blue silk thread: "I. M. 3." [Rubina 2011]^[8]. Dreamy Irina, who barely graduated from school, was the mistress of a married graduate student, and after her father was arrested, it was he who took his place, an dishonest, lying careerist.

So these women live in the same apartment and together they try to cope with difficulties, with all the nonsense in their lives. They "survive" for Sonechka's sake. After all, Lubka herself once lost her child, and now she will not let her "pupil" be offended. Lubka is responsible for financial expenses in the "family", runs the household, shamelessly put in place an impudent neighbor who tried to sell Irina a tattered fur coat, and gave her a new coat. One day Irina came home and was surprised that it smelled like borscht – the way it once did when Faina Semyonovna, it reminded her of her mother's care.

Lyuba and Irina Mikhailovna immediately became friends, because from the very beginning they were sincere with each other. Lyuba respected Irina Mikhailovna, and Irina Mikhailovna never doubted Lubka.

In Dina Rubina's story "Lubka", the following key conflicts can be identified, which give the plot depth and emotional saturation:

Table 1. Conflicts in the story "Lyubka" by Dina Rubina

These conflicts interact, creating a complex plot fabric and allowing the author to explore various aspects of human relationships and moral dilemmas. This story is a mirror for two souls, young and mature, each struggling with their own demons and flaws. A young girl, Lyuba, symbolizes unrealized potential, inability to get on the right path and find her place in the world. The doctor, Irina, embodies the inability to overcome difficulties and find happiness in her personal life, despite her professional achievements. Their fates are intertwined, and together they witness a tragedy that becomes their common misfortune^[9].

Irina Mikhailovna and Lyuba became close friends thanks to their shared love for Sonechka. They both wanted to provide the girl with a happy and carefree childhood, and this became the basis of their friendship.

Analysis of the story "On the Upper Maslovka" (2006). The story "On the Upper Maslovka" – this story tells about the difficult and sometimes not very clear to the reader relationship between an elderly woman sculptor named Anna Borisovna and a young theater critic named Peter. These relationships are full of support, friendship and love, but at the same time conflicts, hatred and misunderstandings.

The main characters of the book "On the Upper Maslovka" are a lonely forty–year-old theater critic Peter Avdeich and an eighty-year-old sculptor, Anna Borisovna: "Fifteen years ago you picked up and warmed a hungry dorm puppy. You gave him a roof over his head, instilled in him a taste for painting, literature, theater – for art! You trained him, you developed his soul, and most importantly, most importantly, you often simply fed him..." [Rubina 2008]^[10]. The relationship between the characters is similar to that of a mother and a wayward mentally ill son. In general, the story itself seems very strange and not very plausible.

Anna Borisovna has a terrible character, she knows all Petya's weaknesses, and sometimes in her provocation you can catch an important idea: Anna Borisovna "encouraged" Petya to become a creator, and not a "secondary" person in the art world, which is a theater critic. Once upon a time, Petya showed great hopes, but in an instant his fate was destroyed. He was genuinely in love with one girl, but did not know that she was pregnant by another. Therefore, he had to decide on a fictitious marriage so that the girl would avoid shame, because her fiance ran away.

Pitlyar in the article "Ridiculously sorry..."^[11] writes about the similarity of Anna Borisovna with famous personalities of the past (Maria Yudina, Anna Akhmatova), associates her with the "great old ladies" [Pitlyar 1995]^[12] of our history. As for Anna Borisovna herself, her personal characteristics leave much to be desired: egocentrism, arrogance, disrespect for general norms, bullying people, a tendency to conflict and provocation, negligence and other negative traits that cause pain and humiliation to others. Anna Borisovna is a model of how not to behave. Her character reflects qualities that lead to anxiety and irritation of others. She is completely self-absorbed, arrogant and dismissive of generally accepted norms of behavior. Bullying and tormenting other people is a real pleasure for her, and conflicts become the main source of her passion. Carelessness and sloppiness only add pain and humiliation to the lives of those who are nearby.

The closest person to the old woman turns out to be Petya, who has to listen to her opinion on every occasion, as well as unpleasant things addressed to him. He becomes hysterical and pours rude curses at her: "everyday idiocy", "she craves blood", "loves to eat human flesh", etc. Their relationship is full of resentment and misunderstanding for Petya. Sometimes the reader cannot understand which of them is right and which is to blame. In fact, the whole story is a long scandal between two people of different generations. The author describes in detail all the subtleties and nuances of the endless psychological struggle between Petya and the old woman, but at the same time implies another, more important discussion – an eternal discussion between rational, honest and straightforward thinking on the one hand, and Talent on the other. Anna Borisovna reflects: "... to whom and when, since the creation of the world, has intelligence replaced talent? Yes, talent, talent... God-given ability to give birth, an eternal miracle on an eternally living earth... And barren clever women hover around the blessed women in labor, and interpret, and judge, and weigh the child, twist it and rock it; it is probably a bitter occupation to nurse someone else's child..." [Rubina 2008]^[13].

So, what connects him firmly with Anna Borisovna? It is terrifying and seems wild... After all, Petya, even though he had nowhere to go in the capital, could have found another way. However, apparently, he was so helpless that he was ready to live with an old senile woman. Although Anna Borisovna continues to touch on the past, she passionately loves her real life. It was only after the death of the elderly woman that Peter realized that all this time she had been feeding him with her priceless love of being. He existed at the expense of her energy, talent and courage.

Pyotr Avdeich is a director of an amateur theater, and his thoughts are conveyed between the lines, as a director he is far from mediocre. The story of his past, when he became a famous theater director not only in the Soviet Union, but also abroad, is in a sense his creative characteristic.

Anna Borisovna not only ruffled Petya's nerves, but still took care of him, because after her death he still "settled" in a Moscow apartment and received her "residence permit", although it turned out to be unnecessary for him. Petya often behaved provocatively, was scared and angry, but deep down he was in awe of Anna Borisovna's talent and personality, a kind of complex emotional cocktail. It also turns out that not only the whole life (cooking, cleaning, other housework) is based on Pet, but in a sense, Anna Borisovna's life itself. Petya borrowed money to order special orthopedic shoes for the old woman, gives her injections himself, and also once "pulled" her out of the world when she fell ill with croup pneumonia: "Today I saw him washing her. – And... I told you, Petya performs a difficult and unpleasant ... – You don't understand, – Nina cut him off dryly. – And I know this well, our mother lay before her death for a year and a half ... I ... I did not imagine that he was doing everything by himself" [Rubina 2008]^[14].

Increasingly, the text claims that the main character "does not belong to this world", and he was twice called an "idiot". Once Peter was called an idiot by his former friend Semyon, and once again Anna Borisovna – they played an important role in the fate of the hero. The most important thing that the reader finally learns is that Petya is completely penniless. After Anna Borisovna's death, he immediately left the apartment and left Moscow. The author vividly shows how Peter remained unfamiliar and incomprehensible surrounded by Anna Borisovna.

The last scene on the train completes the composition of the novel. The main character, in general, selflessly gave fifteen years of his life to a weak person and after the death of Anna Borisovna, like a bird, left the capital's light. It makes perfect sense for him to leave his homeland and go to the very heart of Russia.

In the story "On the Upper Maslovka" by Dina Rubina, several external and internal conflicts can be noted.

Table 2. Conflicts in the story "On the Upper Maslovka"

Dina Rubina

All these conflicts interact and influence the development of the plot and characters in the story "On the Upper Maslovka".

Conclusion

In Dina Rubina's works, including the short story "Lyubka" and the novella "On Verkhnyaya Maslovka", conflict plays an important role in the overall structure and development of the plot.

In the story "Lubka", the main character is faced with an internal conflict between her desires and public expectations. She dreams of a more free life, but at the same time feels attached to her family and obligations. As a result of this internal conflict, Lubka began to doubt her decision and experienced emotional stress. The conflict helps to show the complexity of the choice and the specifics of the situation faced by women in modern society.

In the story "On the Upper Maslovka", the main conflict of generations is "fathers and children". The characters in this story are trying to find a balance between their own desires and the expectations of society. Their desire for self-realization and independence causes disagreements and dissatisfaction among the adult generation, which leads to conflicts. Such conflicts are overcome by overcoming various difficulties and recognizing the importance of mutual acceptance and understanding.

In these two works, conflict plays a key role in the structure of the plot and helps the development of characters. They help to show the complexity of reality and the problems that the characters face. The conflict not only adds drama to the work, but also helps readers to better understand the characters and empathize with them.

Summing up the impact of conflicts on the artistic value of Dina Rubina's works, we can say that they create realism and depth of works. The conflict allows us to reveal the complexity of the inner world of the characters and put them in front of a serious moral choice. They help to show conflicts in social issues and family relationships, as well as promote understanding and acceptance of different points of view. In general, the conflicts in Dina Rubina's works contribute to their deep content and reflect the complex reality of modern society.