The article deals with the problem of imposture as a semiotic code, which is implemented in the artistic space of many works of Russian literature. The author finds connections between the concept of imposture and the meta-genre of self-portrait. This meta-genre embodies the mobility of the border between subjectivity and objectivity. It exists in two semiotic models — as an “icon” and as a “picture”. Pushkin implements in his work many semiotic models of imposture, which is embodied in the creation of masks, hoaxes, portraying himself in the guise of various characters, and is also a tool of introspection in the broad con-text of creativity and history. In “Little Tragedies” imposture is revealed through the theme of sin and talent. All the heroes of “Little Tragedies” have some kind of “talent”, but they act with it at will. Both heroes of the play “Mozart and Salieri” — are impostors of the “Faustian type”. Mozart is an involuntary Mephistopheles in relation to Faust-Salieri, and Mozart is Faust, who got the gift “for nothing”. Salieri feels like an impostor in music against the background of Mozart, but as an envious person he considers Mozart himself an impostor, to whom genius is supposedly given too easily. The images of Mozart and Salieri are largely self-portraits, but the author himself did not oppose work and inspiration. These images are two sides of a whole personality. There is an obvious connection between Pushkin’s penchant for self-portraiture, his attraction to the game, mystification, masks and his commitment to the topic of imposture. Pushkin is also a Russian Faust, but a Faust who did not suc-cumb to Mephistopheles.
Reference to article:
Lukyanova S. M. “Imposture” in the context of self-portraiture: “Mozart and Salieri” by A. S. Pushkin // Ivanovo State University Bulletin. Series «The Humanities». 2021. No.4. P. 29–37.