[000:00:00;00] you know, what a fantastic story i have, it was cut off. it made a big difference, when he came to watch our parody of the office romance, dima and burunov, i was friends with him, he was myagkov , and he said, and i know this girl. she also parodied it, not begging him in the garage. if i had known this artist before, i would have cast her in all my films. and my mother and i are already watching tv. we didn't see this. it's all editing. when my mother and i watched the program, we started crying during lunch. just imagine the screen, you showed me great. i just remember how i was hiding from you, met with mark why they explained at the swallow between passes and he comes running there , ultrasound him, you are hiding, hiding, because i think that you will scold me. i came to see you. do you remember what i told you baby? you

are so beautiful, it just relieved my heart that this is a talented person. how is it possible that you are such a clown actress? uh, i’ll say it again, with such an appearance, it’s rare that anyone can afford it, when ugly girls play in comedies, because well, what else do you want? remains? say thank you to fate and play yourself. what did you want? well, tell me, thank you, it so happens that your legs are 15 cm, our nobel , your ears stick out instead of a nose, and so on. well, well, yes, then the gifted one is good, but you will never play in your life, he threatened katerina, well, never well, because, well, that’s how it happened. and you weren’t scared when you moved to this side, but in the company. eh no. i was never afraid of being ugly. i spoiled myself at the shchukin school. so that the department did not recognize me. i played with the box. that is, i substitute cotton wool like this, you know. i always got a kick out of it, because

the character of the heroine lasts a long time. you see, when you rush around with yourself, like a hen with an egg , this beauty of yours, in any way, you understand 35 and you will no longer play. well, unless you have some kind of connections, as they say, like cinderella. well, i can’t play you anymore , and the fact that you’ve extended yourself so much is really cool . thank you rarely, who would dare, and especially a woman to read zhvanetsky. well, because zhvanetsky’s text and voice women are somehow incomparable. and he blessed you, we talked, and we were friends , we talked and it was absolutely happiness, and during his lifetime he allowed me to read himself. he said, you are our girl, odessa, you know how to do it, and i absolutely just felt happiness when summer was in august every year. he gathered us, and a chair was covered in his house. he went out onto

the balcony in odessa. yes, he went out onto the balcony, took out his briefcase and opened it. and he checked what he had just written for us, and he gave you, or something, something from his own. well, than if you worked and earned money, maybe there is a program. i have a program , a book was recently published. natasha zhvanetskaya released hmm a new book. yes, i wanted to read you. the most delicious and harmful the most pleasant amolal the most spicy illegal hence such thoughtfulness in the eyes of many, what can you do for 8 hours in a row just sleep and work eat drink love dance is impossible. and you will really like this. how to distinguish real diamonds from

fake ones. in the face what are your plans for the summer? and i’m going with my family to the sea to relax. it turned out in filming schedule to carve out three whole weeks. this is incredible. in short, i was just lucky and my children and my husband are with me and this is happiness and friends will come to us there from odessa so that everything will be fine. i want you to do well because you are an artist. ahh. you didn't suffer. you just got it. it is a gift that you use. you have the right and you are happy about it, you make people happier, and i can’t help but say this. in our theater, we begin rehearsing without traditions in september. here is the director, my husband alexander nesterov you

don't you play kharito ignatievna? no, i'm not playing, i'm helping. this will be a musical performance , i keep my fingers crossed. it was a writing podcast and my guest was an award-winning artist. nonna grishaeva thank you. you are wonderful. this podcast is a must read. i'm looking at batnikov. my guest today is natalya usha, musician, lead singer of the group melnitsa, and we are discussing the argentine writer jorgelu and suborchis and his image of the world as a library, hello natasha. please tell me, this is how

she is associated with the chilavis group melnitsa, probably still. eh, with some fantasy games, maybe with the lord of the rings , bio wulf, irish sagas, then suddenly you choose the theme of borhis and it seems that this is unexpected. yes, but if you know you well , you are a candidate of human sciences, a linguist and, in general, the worlds of borhis. they contain all possible plots and please tell us what you have in common with this writer. why do you love him? i'll tell you, yes, i'll tell you why. i chose this particular writer for our meeting, you know, if if i had chosen some kind of scandinavian or celtic studies, i would have spoken here as a professional on this topic. i would include a lecturer like natalya andreevna, a professor at the department. and now we’ll talk about registers, irish sagas, blah blah blah. well , this is probably not very interesting for

a literature podcast, so i decided that, perhaps, i want to stay. in this case, not specialists, not a teacher, but a professional reader. that is, this is what i personally find interesting to read, what makes me happy, like readers in literature, especially since somehow noted absolutely correctly. i'm not a literary critic. moreover, i am not a spanish scholar. i'm a linguist. and therefore, it’s exactly the same as in all medical systems. i say, hello, i'm natasha. i'm a professional patient. here. today i want to be a professional reader of borja, i myself was a professional reader. he somehow emphasizes e in his own. this is exactly what i think and his main role is the reader. yes, this is exactly what is close to me, because until the end of his life he is absolutely in love with the process of reading. this is very visible, even in the essays that he read, when he is already completely blind, it is very clear how much he is interested, in general, in principle, in the very creation of the text and the relationship between the text

and language, since uborhis was a polyglot. he is terribly interested in precisely this babylonian confusion of languages, which can be ordered in the notorious hexagons of the babylonian library, somehow organized or disorganized. do you remember he has it? eh, an absolutely wonderful moment in one of the short stories. he remembers when he was a boy, when the books were closed for the night. he thought that the letters in them scattered and mixed were you surprised that they were? yes yes yes yes yes yes yes yes yes let's tell the viewer a little. who is borscht from generally speaking, this is a writer who lived in argentina and wrote in spanish, although he knew many other languages. yes, he worked somewhere from the thirties to the eighties of the 20th century ; it was a very long, fruitful life for the writer, despite the fact that he became blind during his life. and in general, it would seem that this should have complicated his work, but no,

he continued to work and created such wonderful worlds and images of labyrinths or the world, like libraries, well, it’s interesting that he worked with a small form. this man , who has not written a single novel, was at least nominated, and i understand him, because i am also regularly asked natalya why don’t you write? i'm not my topic big form big form. this is not my topic. that is , even if i take on such a thing, i will express everything that i want to say within the first two issues there. and the characters will continue to bore me. i'll give it all up because borhis's prose is so rich in every the story contains some terribly fascinating detective plot. even a charade puzzle. they are terribly complex. these are his short stories, and here we must definitely remember whose writer borhisa was extremely fond of and respected,

of course, by the edgaralls. well, yes, that is, it largely relies on the floor and also charades. yes , like the stolen letter and similar things, that is, borhis relies heavily on but he continues. this work continues to bring this story to the absolute, as in the story about uh, about ebenhakan, who died in his own labyrinth, when it turns out that the killer is actually this murdered one, who is very often his uh, well, these charades and puzzles. eh, the images are repeated. i even wanted to talk to you about this story from the diverging pipes. yes, yes, yes, which is dedicated to the labyrinth and is probably the most powerful of his stories. it's also a kind of detective story, because we don't understand until the very last moment that murder is murder, and it happens all the time, that is, uh, murder is not what it seems, and for him this plot often goes away. it seems to be a detective story and is connected with a labyrinth and

mirrors. yes, with finding yourself. here it is interesting that i read this garden of forking paths. it worked out for me, finally. why borkhiz works with a small form. i realized that he himself created this labyrinth from the text, and here from short, repeating plots similar to each other, he created such a countless recursion. yes, he has his labyrinth of mirrors, which ultimately make him endless. this is such a beautiful image. and it is so applicable to absolutely everything. here in our screensaver there was a picture of the sea of ​​the usa, well, this one is exactly the same, just escher. naturally, the visual is happening in his graphics, and the cleaning lady is happening. yes, it is cher. yes, he is really similar to the figurative world of borhis, so we took him. yes , this is this, this is the tape, this is exactly this mobius motif of recursion, repeating and so on . borhis was a man of encyclopedic memory. i think i know what he was in

secret. that's right, judging by the fact that he uses this labyrinth in the labyrinth. he places some hooks so that he himself does not get lost in this labyrinth. yes, he scatters crumbs, yes, yes, yes, yes, yes, yes, that is, he uses classical technology and renaissance philosophy. this is a nosiological technique, a technique for ordering consciousness, which is called the palace of the mind; it was invented by such a cool thinker of english origin, and he came up with such a system of ordering. knowledge, ordering of memory, ordering of those facts that are kept not like in sherlock holmes's trash attic, but rather like a cleaning lady in an endless labyrinth, where we see each cleaning task dedicated specifically to this raimondulus. eh, raymond's logic machine this is called i tried to figure it out, but i honestly couldn't

understand the circuits - it's difficult. it requires a certain habit. just get straight into this thing, that is, but when you really, really suddenly begin to understand, you understand how simple it is, how simple it is, that is, i use the palace mind. i have it. he's quite strange. eh, but there are also hooks and clues, they are mostly visual, that is, a certain image that refers to another image to another image and to another image, just like uh hmm hmm in the concept of borhis cabbella, why was he interested at all ? yes, this is a very important topic, kabbalah constantly appears in his mind and he studied it himself. yes, and she is interesting to him. again , also as an ordering tool, as a tool for studying language cognition, that is exactly. this is the concept. eh, the pentateuch of the torah, like one gigantic god and

tree stretched out and deployed in all variants. yes, uh, tree mouth. yes, the tree of sephiroth, which i generally really love this concept, because it can be applied to any spiral or well, spiral structure from dante’s circles of hell to the dna spiral it seems to me, uh, how right it came with the ring in the form of the torah. the ring is beautiful magical, that is, here it is the book of books, that is, the architect of the book, uh, enclosed in a ring, the game is present and to me it seems that play is also important for you and this can be seen in your work, but this is a kind of play of meaning, a play of symbols. a play on words and a very , uh, important image, when the whole is no more than its component parts. that is, when in one e, there is a multitude in a certain unity. yes, but this unity is no greater than each of its constituent parts. that is, they need to be connected

precisely with his love for small things. exactly what all these components are. it should fit it into a very laconic form, and you know what’s interesting, this concept games, which he has, of course, is constantly present; we see how he enjoys it. this is exactly how he takes one and turns his labyrinth upside down. yes, here's the wrong side, and he's so oops. how cool everything is, and we know writers who continue to follow the behests of jorge our luis, and who succeed, for example, this is umberteca, of course, and what kind of relationship did they have in general, that is, were they somehow connected in real life, since there is , i don’t know if they were connected in real life, but they knew each other without a doubt, that is without a doubt. they knew and you see, it turns out to be an absolutely wonderful piece of writing. hello, i adore albert eco because in the name of the rose he has this monstrous blind villain library monk

jorge who denies the existence and right to exist of aristotle’s book of comedy. what is the origin of the character clear hint? yes, recorder, but if we dig further, we understand that in this way bert eco takes off his beautiful italian hat and says hello to borgis, because here, of course, behind borgis is his character, oros, who is medieval cordoba, writes a treatise, and he faces. well, yes, an arab doctor, teacher, philosopher, he is faced with the aristotelian concepts of tragedy and comedy, and he does not understand them. poor guy uh-huh, that is, in general, everyone is looking for that borhis has no sense of humor. no, i think that he just showed in such a crooked way that he really appreciates borhis’s game and that in this way, in general, from which borhis sees in the mirror, in which he continues to believe, he will at some point understand that such

comedy, but in the monastery near the coast, the library burns down and the manuscript burns down, the monarchy burns down. well, this is already separate. history is a library. this is our work there, probably these are manuscripts, how do we not know whether this book will become and be included in the world library? yes, but these manuscripts are burning, natasha, as a convinced neoplatonist, i believe that the manuscripts are burning, but , of course, shadows remain on the walls of the cave, that is, our work is for eternity, and the manuscripts are burning, no matter what woland bulgakov says. well , let's listen to the song of the manuscript mill. now is the time of fire, don’t let me in, i’m like

rusting poetry, but here the invisible one is waiting. be careful as it doesn't touch much. my midnight double he comes to you padi frigih and doctors walk along my lines and through my veins. for you, i keep this sacrifice to the fire until the door closes. suddenly they didn’t tell you to bring you to grief, but they really mean it and a step back won’t change. he is my friends. oh my enemies, how beautifully

they burn. we have overcome this. rukovesina didn’t tell you, but they’re telling the truth. and don’t take a step back, my friends. oh my enemies, how beautiful, they burn in the hand, it infuriates whoever is loved , he is not up to the glory. as if ripe , my friends are cracking, oh my dears, what a beautiful

scoundrel. hand pissed off this podcast is a must read. i am aglaya naobodnikova. my guest is natalya usha , musician, lead singer of the melnitsa group, candidate of philological sciences. we are talking about horcheluis in orchis. you know, he’s a borkhiz, in my opinion, he works no matter what. that is , he takes some of these short- shaped scraps. he has an excellent knowledge of mythology, an excellent knowledge of various subjects, it’s clear that the person spent his whole life reading,

yes, uh, he didn’t have an active life. my whole life was spent in books. yes, but he was actually the director of the national library. yes, that is, he is a professional librarian of the great libraries. here it is, you see, it’s my archetypal library. and it seems to me that he gave birth to many. here are some waves of culture in pop culture. it would seem that there are a lot of it in writers and literature too. yes, we mentioned it again. artek, who succeeds, yes, he has this game it turns out, because you can fold a patchwork quilt until you lose your pulse, but until you have some kind of magic thread. it will not become magical; it will not become a flying carpet. that is, let’s say, paulo coelho, who can be considered an epigone of borgis, he doesn’t succeed, let’s listen at all. here he even took the title of the stories of the very famous halleluev and wrote a novel that develops yes, yes, but this and

peony. i’ll be honest in the worst sense, but you know, i read this novel, in my opinion or aliyev because my friend mentioned him there and on a general trip to russia i met a girl as a prototype who was my friend, so i had to read it. although i don't really like it. in general, in general, i paid attention and it turned out that this is the aleph that he describes as a state in which he falls into the past. i was the one who disappeared when yes, yes and then i read. the original source is actually borhis's story, where everything is much more complicated, that is, this man who, uh, finds himself at the point where all time lines converge. it's much this kabbalistic juice is more complicated here too, you know? we can say that borhis is a writer who exists in a four-dimensional world. you see, there are four of him, not only our three dimensions, but he also has time, that is, he operates

with time back and forth. that’s why he has this al- what asia is the crossroads of time trails, it is mentioned there, there is this chinese one, then approx. yes, he comes. here's to this sinologist doctor who studies the heritage of his great-grandfathers to find out that the book and the labyrinths are one and the same thing. yes, that is if he created, uh, labyrinths and created a book and it turned out that they were one and the same thing. and uh, it’s very interesting there, uh , this doctor asks him a question, and he asks, what about this chinese man and this descendant. mm. what word in a charade should not be mentioned in a charade in a charade, about chess the word chess should not change, yes, and he says, i found the key to your great-grandfather’s labyrinth, that the word time is not mentioned there, this means that the entire labyrinth is dedicated to time and different its layers. that is, it is there. eh, actually this one

the key, of course, to that self-propelled gun, yes, that is, it’s just like the tetragrammaton on the golem’s forehead, so that the golem can work. and he’s just talking about this. vsaak were in the lecture about the cable so that the golem would work. he must have the right word, and if, accordingly, hmm, the kindergarten erases one of the letters of this word from the golem’s forehead, and it will turn into another. like the word emmet, truth turns into honey, that is, death and the golem crumbles to dust, that is, control over the golem also in the right word and the right letters, and it’s precisely this opportunity. work with letters back and forth, that is, write. erase write. erase this absolutely amazing unlimited control over dead matter that the jewish acquires, which for borhis text is living matter. yes, of course, of course, and uh, in no case is it static , constant, changing, because

the interpretation of the text. even though its letter form may be fixed, the interpretation of the text will be different in different centuries. for us now there is a superstructure that we are from the height of our here are the educated chords, the arabs, yes, from the heights of postmodernity. that is, we get, third, fourth, sixth, superstructures, all these additional meanings, additional emotions that we put not only in relation to the text, but also in relation to the author who wrote and this is right here in modern style. once you go toe-too-too-too-too and it just happens, the next steps, in one of the stairs of the labyrinth there is a borchist. i think it also influenced castaneda. it seems to me, yes, because in general the form itself, you know, i want to mention that that um, when borkhiz started working. it was an innovative form of what in cinema is called makyu mantri, that is, it is a documentary film, but it is completely imitated, that is, in fact, it is an artistically created space that

imitates documentary and this documentary, uh, which borhis imitates. eh, absolutely great. yes, that is, we don’t understand. was it for real? did all these people who talk really exist, maybe they are philosophers who talk or is it a product of his consciousness, we don’t understand it, but it’s magnificent. yes, and there are comments. here's from these comments. you don't understand, really. here he is. or yes, or he really is telling the story of his own life. lightly flavored with this. yes, yes, yes, yes, well, castaneda has this form of documentary. yes, conversations, actually with the magician. yes, this is the form he is clearly. it seems to me that it was taken from orchis, and i, too, you know, i recently considered warhol. mm, philosophy, endiorchla, and there, uh, a lot is mentioned, such as an image, like a mirror, which, uh, orhal loves a space in which there are many

mirrors, and a mirror is a very important theme for borhis, that is, even in his labyrinth there is a person. finally he comes to the mirror. that is, if he goes through the labyrinth, he comes to the mirror and meets someone who looks in the mirror and disappears, and maybe even now vir’s duty is all that, as it were, when he begins to understand the essence of things, he disappears the mirror. tell natasha what do you think, that borhi blindly throughout his life is clear that he read a lot, and he he even writes about the fact that i didn’t actually live. yes, i don’t know what happened there in my country, because i spent all the time in the library. i spent all my time in books. but tell e this fact that a person becomes blind, yes, and finds himself in this world of darkness. that is, this is some kind of forced disability. so what do you think, uh, did this set have an impact? sherry because i have the feeling that his works , which he wrote already in the seventies there, remained stronger , so they became more lyrical and precisely

some kind of interversive, honed directly he works in short form. but it has very deep details. that is, for example, he writes that a man who is still approaching the sea. he has not yet seen this sea, but this sea is already splashing in his blood. this is very accurate behavior. yes from the sea. yes, the notorious platonic shadow. that is, you understand, a blind man, he has a straight line. to plato's cave with shadows. yes, it doesn’t work with visuals. he already works with archetypes, ideas, eidos, and images of things and understand, he works directly. let's talk more about this babylonian library. how do you imagine it? and in this world is he a librarian, is he a systematizer, or is he a reader, or how do you see it? that is, this world of hexagonal shelves. describe it as you understand nothing, hexagon, hexagon - this is the hundredth. that is, it is such a hive. that's why i have bees in my ears today. this is also not without reason. you're all about

signs. i'm all about signs. well, of course, if we talk about the arch, then we need to operate with its tools, that is , to operate with signs, so, of course, i’m all in signs, essentially babylon, he has this babylonian library. these are truly gigantic hives. that is, i can imagine that, just as bees have an extremely complex hierarchy of creatures, that is, in the world of a library. there must also be a phantasmagoric hierarchy in the office. and i think that he is, first of all, a reader, an enthusiastic reader who rushes through these honeycombs, hexagon to hexagon, and finds something interesting for himself, and it seems to me that in order to become a librarian of the babylonian library. you have to go a long way , you have to go through initiation. yes, you need to enter some kind of luminal phase, yes, go through the association, that is, find this notorious tetragrammaton, or at least its

semblance, that is, jump to another step. yeah, development, and then in front of you these hexagons will be ordered, will open up and become permeable in the uh story. well, i don't even know. eh, probably these are isa, and maybe the story e four cycles. he's just trying to systematize, maybe he brings all his endless knowledge the theory that there are only four plots in world literature, and we all endlessly repeat this plot. uh, taking the fortress. well, for example, uh, the iliad, and homecoming. well, the example is also the classic odysseus who returns to the stage and e search is probably a broader concept, but he gives examples of timurka’s bird, which is simultaneously a multitude of birds and one bird, which contains this multitude, and in general,

this also the image of god yes, to which, well, any ancient plots, well, the ancient epic literature travel - this is all just the search and suicide of god yes, the sacrifice of the sacrifice of tradition is what we can see in the bible and in narnia there, well, in the general set in european myths, yes, that is, like a horse sacrifice, then there is, uh , the omedha ritual, which accompanies the ascension of a king to the throne, that is, the sacrifice of a divine being is just the most initiatory thing. it’s out of all these wandering stories that remind us of a leap to a new level. this is god's sacrifice uh-huh this is it again this, as he is called, the hokan in his small labyrinth is that the killer of abkhan khakan himself becomes abkhan khakan, yes, that is , he is the one who is killed in this state. in fact, he was the creator, in general, of all this murder and an imitator. that is, his

plot is repeated very often. this is like an initiation, thought out and influenced by the agent himself. that is, he sacrifices himself - it’s such a lonely thing, too, yes, it’s like hanging yourself on an ash tree. here. well, again this is a wandering plot. here you go wanted to stay away from scandinavian studies. no it worked. this podcast is a must read. i'm looking at batnikov. my guest is natalya usha, musician, lead singer of the melnitsa group, candidate of philological sciences. we are talking about jorge borgis natasha, but as for borgis’s personal life, i was very touched by the story of ulrik e from the book of sand from the collection the book of sand, where he meets a woman. they spend only one night together. eh, there is clearly this blindness to mythology. there the hero's name is sigurty. and in general the language, that is, it all relates to scandinavian

mythology and the heroine's name is ulrika, but it looks from one side. just like people who met in a hotel and spent the night together, they separated forever in the morning. yes, this is the bathroom stand. and and but in borhis this represents such failures into some other world, as if this meeting was very important. and it seems very romantic to me. there, too, plays a role in the mirrors she looks at. now we say, now we still couldn’t resist scandinavian studies, because exactly what its heroes are siegfrit-sigut - this is very important, because, of course, borhiz with his, uh, amazing erudition. he knew what a certain irresistible, not predetermined meeting with a woman meant for a scandinavian hero, because a woman is for the scandinavians. that's basically mythology. this is fate, a woman who is capable of changing fate, so this is the mysterious ulrika who is dating

sigurd. she makes him look. it's just a completely different level. this is esenitsa, yes meetings, if another name, then there is this kind of anamka, you know, which is through a tiny death, because initiation is always a small death , an imitation of death. she forces him to take it to another level. that is right here. i love borhis so much in such aspects as an indo-europeanist, because, of course , they harmed european culture. yes, he is english, yes, yes, yes, and he feels these indo-european mythological clichés very subtly, maybe not even always consciously, of course, because you understand this directly from me? that's when i see, this is it the king's sacrifice is precisely this woman's fate. i think, well, my good one. how nice it is for me to normikirin. let's talk about his personal life. he's been around all his life. you can say lonely, that is, there are some women there. i see dedications of women in different stories of different women, women were, they

inspired, but mostly. yes, he lived his life rather with his family there with his mother. moreover, she is bread. well, at the end of my life , after my mother died, when my mother let me go. yes, this is a freudian story. he married his secretary or literary secretary of some beautiful girl. here. eh, do you think his relationships with women are so strange , they are somehow reflected in his prose, how can i tell you, huh? not a love author at all, he is not a love author at all, that is, for him , rather, these are all women in prose. well, and there in the same alpha yes, this is his beloved. she's already dead by the start. yes, beatrice of this viterbo. that is, in principle, in his stories, women appear as ideas rather, oh, this is very interesting, that is, exactly. this one here, the archetype of the dead beloved. this is beatrice with some of her countless past lovers , or this is evidence, yes, a woman, fate, who guides the hero through initiation, that