Олдос Хаксли: эволюция творчества

В.С. Рабинович 

ОЛДОС ХАКСЛИ: 
ЭВОЛЮЦИЯ ТВОРЧЕСТВА 

Монография 

3-е издание, стереотипное

Москва 
Издательство «ФЛИНТА» 
2017 

УДК 82-3 
ББК  83.3(0)6 
 Р12 

РЕЦЕНЗЕНТЫ: 
д-р филол. наук, профессор В.Г. Бабенко; 
д-р филол. наук, профессор В.М. Паверман 

Рабинович В.С. 

Р12
Олдос Хаксли: эволюция творчества [Электронный ресурс] : 
монография / В.С. Рабинович. — 3-е изд., стер. — М. : ФЛИНТА, 2017. —
448 с.

ISBN 978-5-9765-3009-6 

Учебно-методический 
комплекс 
предназначен 
для 
студентов, 
обучающихся по специальности «Дошкольная педагогика и психология» 
дневного и заочного отделений; относится к циклу общепрофессиональных 
дисциплин, является дисциплиной федерального компонента учебного плана. 
Учебно-методический комплекс соответствует требованиям ГОС ВПО по 
специальности, 
а 
также 
представляет 
авторское 
видение 
курса 
в 
структурировании разделов и тем, понимании ряда управленческих 
категорий. Учебно-методический комплекс учитывает междисциплинарные 
связи курса с дисциплиной национально-регионального компонента учебного 
плана «Организация методической работы в ДОУ» и дисциплинами 
специализации «Управление дошкольным образованием». По ряду тем 
учебно-методический 
комплекс 
может 
использоваться 
студентами, 
обучающимися по направлению «Педагогика». 
УДК 82-3 
ББК  83.3(0)6 

ISBN 978-5-9765-3009-6            © Рабинович В.С., 2017 
     © Издательство «ФЛИНТА», 2017 

orJIABJIEHHE 

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CONTENTS 

Introduction ....................................................................... 9 
Chapter I. Interpretations of A.Huxley"s 

creative activities in literary criticism in 
our country and abroad .......................................... 22 
I. Ihe basic tendencies of A.Huxley"s interpretations 
in the world literary criticism .................................. 22 
2. Ihe development A.Huxley"s creative 
activities interpretation in the literary 
criticism in our country ............................................. 50 

Chapter II. lhe basic tendencies of the European 
literature development in the first 
half of the XX century as the cultural 
context of A.Huxley"s creative activities ................ 67 
Chapter III. A.Huxley"s creative activities 
in the 1920-ieth the beginning 
of the 1930-ieth in the context of his 
ethical and aesthetic strivings of this period ......... I 04 

I. Huxley"s weltanschauung in the 1920-ieth --the beginning of 1930-ieth ..................................... I 04 

2. Huxley"s artistic world in the 1920-ieth: 
the problem of the image realization .................... 133 
3. Huxley"s creative activities of the 1920-ieth -the beginning of 1930-ieth 
in the cultural context.. .......................................... 162 

4. Ihe anti-utopian motifs in A.Huxley"s 

creative activities of the 1920-ieth the beginning of 1930-ieth in the context 
of utopian and anti-utopian traditions ............... 202 

Chapter IV. Some versions of the positive program 

A.Huxley"s ethical and aestetic searchings 
in the second half of the 1930-1940-ieth 
in the context of their reflection in the 
artistic world of his texts ...................................... 253 
Chapter V. On the way to synthesis. 

A.Huxley"s creative activities 
of the 1950-1960-ieth ..................................... 326 
Chapter VI. A.Huxley"s letters as a literary source ............. 385 
Conclusion ..................................................................... 414 
Ihe list of the literature used ................................................. .421 

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CTe H,LleHHoro H co6CTBeHHO xy.n;o:lKeCTBeHHoro 3JieMeH
TOB, c 6a30BhIMH .n;oMHHaHTaMH pa3BHTH}1 yrom-rqecKoli 11 

12 

aHTHYTOn11qecKOH JIHTepaTyphI, HaKOHeu c «Y.llBOeHHeM» 

aBTOpCKoro «R» B xy;:i;o:>KeCTBeHHOM TeKCTe ( CKB03h npH3MY 

nom1nu1 «aBTo6lwrpaqmqecKHH repoii» ). 
IlpH Bh16ope IlO)l;XO,llOB K HCCJie,llOBaHHIO TBOpqecTBa 

XaKCJIH Heo6XO)l;HMO yqHThIBaTb CBoeo6pa3He ero TBopqec
KOH HH,llHBH.UyanhHOCTH H, TaKHM o6pa3oM, ouemrnaTh 

ero xy.uo)l(eCTBCHHbIH MHp B COOTBCTCTBHH c ero co6CTBeH
HhlMH BHYTPeHHHMH 3aKoHaMH. B :noii casi:311 oco6oro BHH
MaHHSI 3acny:>KHBaeT cooTHOIIIeHHe B npo1.nae;:i;eH1u1x XaKc
JIH uoeu H 60rl.llOUJeHUJl. 

Boo6me 6a3oBoH: oco6eHHOCThIO TBop11ecrna XaKCJIH S1B
JIS1eTcS1 ero SlpKO Bbipa:>KeHHaSI <«lmnocoqm11HOCTb», ,llOMHHH
poBaHHe co.uep)l(aTeJibHOH «Harpy3KH» Ha.n: o6pa3HOH CHC
TeMOH, B pe3yJihTaTe qero B OT,lleJibHbIX crryqaSIX ero npOH3
Be,llCHHSI HecyT B ce6e qepTbl O,llHOBpeMCHHO H xy,Uo:>KCCTBCH
HbIX npOH3Be;:i;eHHH (Harru:1rne o6pa3HOH CHCTeMbl, CIO:>KeTa H 

.up.), H qmrroco<t>cKHX HJIH ,lla)l(e COUHaJihHO-IlOJIHTHqecKHX 

TpaKTaTOB ( OTCIO)l;a OTqeTJIHBO 6poca10maS1CSI B rrra3a 

no.uqu:HeHHOCTb MHOrHx :rneMeHTOB xy;:i;o:>KeCTBeHHOH cpop
Mbl Henocpe,n;CTBCHHOMY Bbipa:>KeHHIO 632JlR006 nu:caTeJISI, 

«HJIJIIOCTPaTHBHOCTh» MHor11x ero repoes, o6mrne (oco6eH
HO B Il03,ll;HHX poMaHax XaKCJIH) OTHOCHTeJibHO aBTOHOM
HbIX MHOrOCTPaHHlJHbIX paccy)l(,lleHHH repoeB XaKCJIH 0 Tex 

HJIH HHbIX CTOpOHaX 6bITHSI, HaKOHeU oco6aSI porrh B xy
)l;O:>KCCTBeHHOM MHpe ero npOH3Be,UeHHH «repoeB-H,Ueorro
rOB», qbSI pOJib B pa3BHTHH .n;eHCTBHSI MO:>KeT 6bITb noqTH 

He3aMeTHOH (KaK, HanpHMep, pOJib MHCTepa IlponTepa B xy
)l;O)l(CCTBeHHOM )J,CHCTBHH poMaHa «Ilocne MHOrHX JieT yMH
paeT ne6e.n:h» ), HO lJMI MHCCHSI 3aKJIIOqaeTCSI B Bbipa:>KeHHH 

«npaBHJihHOH» .n:m1 XaKCJIH T01IKH ~peHHSI Ha Te HJIH HHhie 

cymHOCTHhie npo6JICMhl 6bITH51). 

Henocpe.n:cTBCHHOMY Bbipa)l(eHHIO B3rJISl)l;OB mi:caTeJISI Ha 

6bJTHe B 
3HalJHTeJihHOH CTeneHH OKa3aJiaCb IlO)l;lJHHeHHOH 

11 CTPYKTypa ero poMaHOB (B 11acTHOCTH, Ts1roTeHHe K «KOH
13 

rpanyHKTOBoMy» nocrpoemno ). 3To .ua)l{e .uaaano psi:.uy 11ccrre.uoaaTerrei1 ocHoBaHHSI rosopHTh o cxeMaTHqHOCTH o6pa3HOH CHCTeMhI npOH3Be,n:eHHH XaKcm1. TaK, q.-,n;)I{. Porro 
B '.HOH CBSl3H nmneT: «n10.uH, KOTOpbie cnoco6Hbl BbmarrHBaTh TIUaTeJibHO cc}JopMyrrHpOBaHHble H,UeH, He MoryT cyrueCTBOBaTb B peaJihHOCTH. 0HH acer.ua HeCKOJlbKO MOHCTJ>Y03Hbl. .. A «noJIO)KHTeJihHbIH repoih> B poMaHax XaKCJIH acer.ua HeCKOJibKO MOHCrpyo3eH. ITocKOJibKY ero .uo6po.ueTeJih 

npOSIBJI.!leTC.!I rrraBHbIM o6pa30M qepe3 ero H,UeH, OH BOBJle
KaeTC.!I B .ueH:cTBHe JIHIIIb no6oqHo» (212, p. XV). 

,n;)I{. Y3i1H ou.eHHBaeT XaKCJIH KaK «ncea.n:opoMaHHCTa», 
KOTOpbIH «HCTIOJih3yeT c}JopMy poMaHa ,llJISI KaKHX-TO qy)l(e
pO.D:HblX QeJieH» (210, p. 59), a HMeHHO .D:JI.!I Henocpe,llCTBeHHOro Bbipa)l{eHH.!I onpe.neneHHOH COBOKYTIHOCTH H,UeH. 

A 
,n;. ,L(3iiqec He orpaHHq11aaeTc.11 H onpe.uerreHHeM 
«nceB.uopoMaHHCT»; no ero y6e)l(,UeHHIO, «c}laKT 3aKrr10qaeT
C.S1 B TOM, qTo XaKcrrH aoo6rue He poMaHHCT. OH HHKor.ua He 

C03.D:aBaJI .n:a H He HHTepecoBaJIC.!I 3THM .ua)l{e KaKHX-TO 
3JieMeHTOB c}JopMbI H CTPYKTYPhI xy.n:o)l{eCTBeHHoro npomse.ueHHsi:. MbI MO)f(eM 3aMeTHTh, KaK qacTo OH JacTaan.11eT 

CBOHX repoeB IlHCaTb ,llJIHHHble ,UHeBHHKH HJIH aBT061rnrpac}JHqecKHe .n:oKyMeHTbl HJIH 3aCTaBJUleT HX npoH3HOCHTb 

.D:JIHHHbie ¢1rnococ}JcKHe MoHorrorH. Ero poMaHbI - no rrH6o 
Ha6opbI oqepKoB xapaKTepoa, nu6o )Ke npoHJBe;::i;eHH.!I 

6aceHH-Oro THna HJIH TpaKTaTbl» (263, p. 209). B CBOeM OTpHQaHHH co6cTBeHHO xy.n:o)l{eCTBeHHoro .n:apa XaKcJIH 
,n:. ,l1;3ifqec yTBep)l{.D:aeT, qTo H Te xy.n:o)l{eCTBCHHbie HOBaQHH 
XaKCJIH, KOTOpb1e npHJHaIOTC.!I TaKOBhIMH a6corrIOTHhIM 
60JiblIIHHCTBOM HCCJle,UOBaTerreH:, Ha caMOM .nerre crryqaHHbl, 
«COBeprneHHO 6ecnone3Hbl» H «BOo6rue He HecyT HHKaKOH 

cpyHKU.HH npH nocrpoeHHH TeKCTa» (263, p. 209). 

Psi:.z:i; 11ccne.z:i;osaTeneH: Boo6rue paccMarp11BanH XaKCJIH He 
KaK poManucma B co6CTBeHHOM CMbICJie :noro CJIOBa HO 

KaK, no CJIOBaM r.-A. HaHKe, «TIHIIIYIUero qeJlOBeKa KaKoro
14