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Novate the science of literature" (Ginzburg In search of reality. --M., 1987. P. 169). It is possible to understand how certain vectorsthe creative potential. Although for us more important is the followingher statement: "Shklovsky argues that every decent literary criticshould, if necessary, to be able to write a novel. Let bad, buttechnically competent. Otherwise, he CIT. Each formalistsitting a failed writer -- told me someone. And it's nothistorical misunderstanding, is a history of high disease" (ibid.P.170). We would like to draw attention to the field of communication literatureto the real creators of other semiotic languages, not only to theorists. Andbe interested we will be joining OBERIU-the Association of realart, which arose in 1926, the Most well-known names in it - NicholasZ, Constantine Lived, Alexander Vvedensky, Daniil Kharms.Andits predecessor -- the informal literary and philosophical Association,whose members called themselves the "Chinar", going from the word "chin",understand as spiritual level. Here, including part of the above,included Jacob Ruskin, Leonid Lipavsky, Nikolay Oleynikov. About the periodthis creative communication Yakov Druskin writes the following: "In 1922-1923years Studio almost every day came to me -- and we walked together toLipscomb or both came to me" (Druskin Ya. "Chinari" // Aurora.- 1989. - No 6. P. 105). What was typical of this approach? A few featuresdeserve our mention and consideration. First, literature and life were not separated they have a sharp facefrom each other. As a consequence, many texts represent phenomena purelyhousehold plan. On the one hand, life became literature, in thisthe case of the standard approach, it should have been glorified. But life is notvery capable be glorified, and then there are the historicalnarrative.
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