Salinger Catcher in the Rye problematic. Analysis of the figurative composition of the work D
Distance Education Center "Eidos"
Search for the meaning of life in the story "The Catcher in the Rye" by Jerome Salinger
Subject, type of work: Literature, research
Leaders:
After living in Vienna for ten months, Salinger returned to America, to Ursinus College. But already in the middle of the year, having lost interest in studying, he moved to Columbia University. During this time, Salinger continued to write.
The first story saw the light of day when Salinger was twenty-one years old. For two years he wrote for the Saturday Evening Post, Esquire, Mademoiselle, and many other publications. Then he sailed to the West Indies on the Kungsholm liner, where he organized leisure activities for tourists, without stopping writing for magazines and university collections. At twenty-three, he joined the army and served two years. The writer did not like army life, as he wanted to devote himself entirely to literature.
Salinger began work on his most famous story, The Catcher in the Rye, in 1941 and finished in the summer of 1951. The story was marked by the "Book of the Month" club even before it was published as a separate edition.
This work reveals the inner world of a nervous, vulnerable teenager. Asked if the book was to some extent autobiographical, Mr. Salinger replied: “In a sense, yes, I was very relieved when I finished it. My childhood was very similar to the childhood of the hero of the book, and it was a great relief to tell these people."
In 1997, Salinger moved to New England and even bought a house in the Corniche. He planned to travel to Europe and Indonesia. In London, he wanted to do cinema. One of his stories in Connecticut was made into the movie "My Stupid Heart".
About seventy-five percent of his works are written about young people under the age of twenty-one, of which forty percent are about children under twelve years of age.
Almost every one of Salinger's stories is devoted to the problem of transition from the child's world, the world of authenticity, sincere feelings - to the adult world - the world of rigid limits imposed on the style of behavior, thoughts, inner world; or a comparison of the two worlds. It is very difficult to get used to the frames, they cripple and kill everything natural and alive. Children, condensers of happiness of naturalness and confusion, in each of the stories question the “necessity” and once and for all certain, stereotyped correctness of adult behavior. It is quite natural for an adult to write about the adult world that he understands, whose certainty, sealed once and for all by wax seals of time and experience, he has studied so well. Can an adult who has forgotten how to do it right, how everything should be, be considered normal? He either pretends, imitates a child with an incomprehensible purpose - but it is impossible not to notice the falsehood - or he is unhealthy, wrong, inadequate to the world around him, which established its own laws of reality.
According to Salinger's poetics, the mysterious person who does not understand the relativity of everything in the world, does not understand the precariousness of what is called unshakable. This is exactly what the hero of the story "The Catcher in the Rye" - Holden Caulfield says. All his actions, manners, the course of his thoughts betray a child in him. And, at the same time, he became, as it were, a stereotype of a teenager, who absorbed the disgusting and vulgar qualities of an adult. Holden is not stupid and selfless, strives for independence, sees a picture of his future in front of him. His unwillingness to return home and think about what is connected with him is very noticeable. He fears excessive parental control, moralizing. Therefore, after another expulsion from school, this time from Pansy High School for poor academic performance, he sets off in search of adventure in the world of adults, categorically rejecting the idea of returning to his native land.
Adults, in his understanding, are hopeless vulgarities and fools, he makes fun of them, criticizes them in every possible way, but he himself does not disdain the so-called adult games. He irresistibly attracts attention and sympathy, matured, but not an adult. An unquenchable desire to experience everything burns in him, he is passionate about the search for new experiences, but this search all the time stumbles upon an obstacle, almost insurmountable, from the adults around him. It is difficult for Holden Caulfield to step over himself and through all that he calls personal nomes of morality, but he is not particularly worried about this, because this is the only thing that distinguishes him from the faceless gray crowd in the harsh world of materialism.
Holden does not take his friends seriously, they are another object of ridicule for him. He likes to piss them off, offend, because he realizes all their worthlessness in his life. However, you should not imagine him as a pompous, cold-blooded snob, after all, in his life there are people for whom he has warm, bright and sublime feelings. This is Jane Gallagher, a childhood friend. He imagined her as a completely different girl, different from everyone else, perhaps her peculiarity in Holden's eyes was due to the fact that Jane was that bright ray, stretching from the world of genuine sincerity, goodness - from the world of childhood. Holden desperately defended her honor, not allowing anyone to destroy her image, which had remained with him since childhood. Throughout his time in New York, after he left Pansy's school, Holden never got the courage to call her...
The second main person in Caulfield's life was his younger sister Phoebe, whom he admired in his hearts, loving her to the point of violent fanaticism. She was the only one who understood the complex soul of Holden Caulfield, she could explain even the most complex things so simply that it became funny from the fact that you yourself puzzled over it for so long before turning to Phoebe. And oddly enough, it was Phoebe who made Holden take, perhaps, one of the most important steps in his life. A step towards reconciliation with parents. She opened his eyes to what is really valuable in life, pointed out the path that he was looking for, but for some reason he always avoided the right one ...
Holden simply could not disobey the person he trusted, as himself...
One of the most controversial authors, Salinger masks his feelings, which gives his works a huge rampant fantasy. Any detail is significant, to miss it means not to understand. After all, the main thing is not to analyze the actions of the hero, not to see some indicative trait in his character, the main thing is to understand why the author rewarded his hero with everything he has.
This especially affects Salinger's work, and the most important advantage of any of his works is not his innovation, not the language in which it is written, not ideals and not artistic expressiveness, the main thing is that they contain a part of the author himself. And if this is indeed the case, then all of the above makes no sense. It makes sense to think about it!
The name of this work is inextricably linked in the minds of modern society with the theme of growing up, becoming a person, finding oneself. The analysis of "The Catcher in the Rye" means a return to youth for the sake of understanding the protagonist, his psychology, the subtleties and versatility of a maturing, just emerging nature.
During his career, although not as long as one would like, Salinger managed to recommend not only as a very mysterious, wayward and freedom-loving personality. The fact that the author of The Catcher in the Rye (an analysis of the work will be presented in this article) was a real psychologist, subtly feeling every facet of the human soul, does not require any additional explanation.
What does romance mean to the world
The twentieth century, so rich in literary masterpieces in general, managed to give the world this amazing novel about growing up in the world of American reality. The analysis of The Catcher in the Rye, perhaps, should begin with a definition of its significance for world culture.
Only having appeared on the shelves of bookstores, the novel managed to cause a real sensation among readers of all ages due to its deep psychological content, relevance and complete compliance with the spirit of the times. The work has been translated into almost all languages of the world and even now does not lose its popularity, remaining a bestseller in various parts of the globe. The analysis of The Catcher in the Rye as one of the greatest works of American literature of the twentieth century is included in the required curriculum of schools and universities.
Through the prism of an accomplished personality
The story in this work is conducted on behalf of a seventeen-year-old boy - Holden Caulfield, before whom the world opens up to a new future, adulthood. The reader sees the surrounding reality through the prism of his developing, maturing personality, which is just getting on the road to the future, saying goodbye to childhood. The world embodied in this book is unstable, multifaceted and kaleidoscopic, like the very consciousness of Holden, constantly falling from one extreme to another. This is a story told on behalf of a person who does not accept lies in any of its manifestations, but at the same time tries it on himself, like a mask of an adult who sometimes wants to seem like a young man.
The analysis of "The Catcher in the Rye" is, in fact, the reader's journey into the most hidden, deepest human experiences, shown through the eyes of no longer a child, but not yet an adult.
Maximalism in the novel
Since the protagonist is only seventeen years old, the book is narrated accordingly. It either slows down, representing an unprotected contemplation, then accelerates - one picture is replaced by another, emotions crowd out each other, absorbing not only Holden Caulfield, but the reader along with him. In general, the novel is characterized by an amazing unity of the hero and the person who picked up the book.
Like any young man of his age, Holden tends to exaggerate reality - the Pansy school, from which he is expelled for academic failure, seems to him the real embodiment of injustice, pomposity and lies, and the desire of adults to seem like they are not - a real crime of honor, deserving only disgust.
Who is Holden Caulfield
In the novel The Catcher in the Rye, the analysis of the protagonist requires a particularly careful and painstaking approach, because it is through his eyes that the reader sees the world. Holden can hardly be called an example of morality - he is quick-tempered and sometimes lazy, fickle and somewhat rude - he brings his girlfriend Sally to tears, which he later regrets, and his other actions very often cause disapproval of the reader. This is due to his borderline state - the young man is already leaving childhood, but is not yet ready for the transition to adult, independent life.
Hearing by chance an excerpt from a popular song, he finds, as it seems to him, his destiny, deciding to become a catcher in the rye.
The meaning of the name
The original title of the novel is "Catcher in the rye". Breaking into the text of the novel in the words of a popular song, this image repeatedly pops up in the mind of the young Holden Caulfield, who identifies himself with the catcher. According to the hero, his mission in life is to protect children from an adult, cruel world full of lies and pretense. Holden himself does not seek to grow up and does not want to allow this process to be completed for anyone.
What did Salinger want to say with such a title to the reader? "The Catcher in the Rye", the analysis of which requires a comprehensive, broad approach, is a novel full of amazing symbolism and secret meanings. The image of a rye field over the abyss embodies the very process of growing up a person, the final, most decisive step towards a new future. Perhaps this image was chosen by the author because, as a rule, young American boys and girls went to the fields for secret dates.
Another image-symbol
Ducks, it is not clear where they go in winter, is another equally important component of The Catcher in the Rye. An analysis of the novel without considering it would be simply inferior. In fact, such a naive, even a little stupid question that torments the hero throughout the story is another symbol of his belonging to childhood, because not a single adult asks this question and cannot answer it. This is another powerful symbol of loss, an irrevocable change that awaits the protagonist.
Resolution of internal conflict
Despite Holden's very obvious inclination towards some escapism, at the end of the novel he has to make a choice in favor of the transition to an adult life full of responsibility, determination and readiness for a variety of situations. The reason for this is his younger sister Phoebe, who is ready to take such a decisive step for her brother, becoming an adult before the time comes. While admiring a wise girl on a carousel beyond her years, Holden realizes how important the choice he faces and how great is the need to accept a new world, a completely different reality.
This is what Salinger, The Catcher in the Rye, the analysis of the work and its artistic originality tell the reader about. This is a life-long journey of becoming, placed in the three days experienced by the protagonist. This is a boundless love for literature, purity and sincerity, faced with such a multifaceted, versatile and complex world around. This is a novel about all of humanity and about each person individually. A work that is destined to become a reflection of the soul of many more generations.
Comparison of the life of the author and the fate of the hero allows us to talk about the autobiography of this work of art. Like the hero of the novel, Salinger did not study well and often changed schools, and then universities, without having received a higher education. As a result, Jerome had a tense relationship with his parents, seriously quarreled with his father. The hero Holden Caulfield also fails to build his relationship with his parents. Holden dreamed of a solitary life; this dream was realized by Salinger himself after the publication of the novel.
The very beginning of the story contains a reference to the traditions of the autobiographical and educational novel, which the narrator seems to refuse to follow: he is "reluctant ... to dig" into "David Copperfield's dregs". However, the mention of the novel by C. Dickens is not accidental and at the author's level actualizes the English literary tradition, with which Salinger's novel correlates not only in terms of narrative strategy, but also in the organization of artistic time and space.
The plot specifies that Holden is expelled from another prestigious school (Pansy) on the very eve of Christmas, associated with miracles, magic, renewal. There are allusions to Christmas prose (which includes the prose of Ch. Dickens, who is considered the founder of the Christmas story genre). In keeping with the genre of the Christmas story, miracles await, updates and Holden.
The semantics of the plot time of the novel was noted by University of Chicago professor J. Miller, Jr., author of the monograph “J. D. Salinger" (1965): Christmas Eve symbolizes "death and resurrection". Indeed, the motif pair of "death-resurrection", synonymous with departure and return, disappearance and reappearance, oblivion and remembrance, can be traced in the narrative. Already in the outset, talking with the teacher on the eve of leaving the next school, the hero reacts with hostility to the moralizing remark: “Why did he say that - like I'm already dead? Terribly unpleasant” (our italics – E.B., E.P.).
It is interesting that all prestigious schools and colleges are perceived by the hero as something feigned, untrue, where real existence is impossible. The deceitfulness of directors, the discrepancy between advertisements and real life in these educational institutions, a system of values not accepted by a teenager, in the paradigm of which the younger generation is brought up (social well-being and prosperity come first) - all this determines Holden's perception of the world of prestigious schools as a space of inauthentic existence, pseudo -life: “... I swear, you won’t lure me into these aristocratic colleges by any means, it's better to die, honestly” (our italics - E.B., E.P.). The young man wants to get out of the false social world and live in solitude, only at Christmas and Easter receiving guests - his relatives (sister, brother). However, the departure is not carried out: the sorrow of his sister due to a possible separation keeps him.
In general, the time of events preceding the placement of the hero in the hospital is three days (Saturday, Sunday and Monday). You can see a certain symbolism in the days of the week: Saturday, filled with memories, accumulates a past life, on Sunday he confesses to his sister Phoebe and is given a chance to be resurrected, and Monday is perceived by him as a new stage in his life: it is on Monday that he wants to go far, far away and to begin a new life. Retrospection expands the chronological boundaries of the narrative, and the horizon of Holden's view (the social world of America from the highest officials to the very bottom) allows you to go beyond the boundaries of only a psychological novel, to pose the problems of moral orientations of the post-war society of the late 1940s - early 1950s. Nevertheless, the focus of the image is the fate and inner world of one teenager.
The chronotope of the road is especially significant in the novel. MM. Bakhtin wrote: “The road is the predominant place for chance meetings.<…>Here the spatial and temporal series of human destinies and lives are uniquely combined ... This is the point of tying and the place where events take place. The hero of Salinger's novel is the hero of the road, who is in motion both spatially and mentally. The very process of writing-remembrance is a metaphor for the road. His behavior on the road (a place of accidents and chance meetings) serves as a significant characteristic of the character: on the way to fencing competitions, he forgets his sword in the train car (which indicates the low value of this kind of occupation and the very competition for Holden); going home from Pansy's school, in the carriage he meets the mother of one of the students of the school, and tells her about her son as a good person, while despising him (this indicates the ability to lie to support another person).
Caulfield does not want to fit into a society whose values he despises, but at the same time he is not asocial: evaluating people's behavior as false, he makes contact, which turns out to be uncomfortable and even traumatic. Therefore, he leaves places and people without regret, but at the same time he does not have any clear plans for the future. This is evidenced by the dialogue with the sister; she asks him who he would like to be. The hero cannot decide on a profession: “Probably not bad as a lawyer, but I still don’t like it ...”. And the words of a song come to his mind in which he replaces one word, saying "If you caught someone in the evening in the rye ... ". Phoebe, his sister, corrects her by quoting Burns: “Not like that! It should be “If someone called someone in the evening in the rye.”
The poem by R. Burns is a love sketch, ending with a quatrain: “And what a concern for us, // If at the boundary // Someone kissed someone // In the evening in the rye! ..”. In Holden's mind, the lyrical plot of a love meeting associated with approaching the violation of the border (boundary) is not actualized, but a spatial image of a rye field appears, hiding the danger - the abyss. He confesses to his sister: “You see, I imagined how little children play in the evening in a huge field, in rye.<…>And I'm standing on the very edge of the cliff, over the abyss, you understand? And my job is to catch the kids so that they don’t fall into the abyss.”
The motive of catching, semantically associated with goal setting and hunting, deserves a separate study. It is interesting to note such a detail as red hunting Holden hat. She distinguishes him from the crowd (by his hat he immediately recognizes his sister who put it on), respectively, emphasizes his individuality, which he emphasizes with a headdress. But hunting hat and contrasts with the inner world of a teenager: the hunter is clearly focused on some goal, and Holden does not know what he wants until the thought arises of saving children with whom there is no desire to communicate, but there is a goal to protect them from falling (“call” in Burns's poem it is replaced by the verb "to catch"). Orientation to save children is an important characteristic of the character. Holden almost does not intersect with children (more often he watches them from the side), however, it is children's games in the bosom of nature (in rye) that seem to him a symbol of something real, opposite to the falsity of the social world of adults, but potentially dangerous.
Not accepting the social life of megacities, Holden (the semantics of his name is important - “living in a deep valley”, containing the meanings of depth and isolation) sees only one way to break ties with the outside world - escape. He fantasizes that he could pretend to be deaf and mute so as not to communicate with people (again, the motive of dumbness, set in the episode of the substitution of the verb "call" for "catch" is supported); retire away from everyone and live a natural life, where there will be no lies. But Holden fails to escape from New York. On the one hand, he is held by love for his younger sister Phoebe, who decided to go on a journey with him; on the other hand, he lacks determination, experience, and maturity. As noted by I.L. Galinskaya, "Holden Caulfield is on the 'flight' and on the 'search', although he has nowhere to run, and the search for the hero brings him back home" .
The motive of flight / desire to escape from the circumstances of one's life is supported by episodes about "ducks". Thinking about “where the ducks go” from the pond in Central Park does not give the hero peace of mind. With this question, Holden twice turns to random people - taxi drivers, who are annoyed by the seeming senselessness of the question.
But the flight of ducks is a question of an alternative that Holden cannot see, cannot define. It is noteworthy that the hero remembers this at a time when he does not know where to go. The first time I left school, out of habit I gave the taxi driver my home address, but on the way I remembered that I couldn’t go home and found myself at a crossroads: where to go. The second time, moving from a hotel to a bar. The hero seems to be running from himself, from his problems, questions that haunt him. The seemingly meaningless question about where the ducks go from the pond in Central Park takes on existential meaning: for the hero, it seems that his own life depends on the answer.
The third time, not knowing where to spend the night, Holden makes it to this duck pond, overcoming his fear of the dark. He sees a half-frozen pond and does not find any ducks there. “He is half cold and half not. But there were no ducks there.” This half-frozen pond evokes associations with Holden himself: he, too, seems to be half frozen, disappointed in the world around him, where lies and hypocrisy reign, but for some part he is ready for warmth, for life. Near this pond, he reflects on life and death, imagines what the world will be like without him. The realization comes to him that Phoebe's sister really loves him, and he goes home, no longer remembering the ducks.
Holden has complicated feelings for the adults around him. Many demonstrate greed and self-interest (headmaster), inability to understand behavior that does not correspond to their ideas of what should be (history teacher Spencer, father). Relations with peers are also complex, since schoolchildren are a product of the same social system, where cruelty, venality, ranking is not personal (courage, kindness, responsiveness, etc.), but external (attractiveness, grooming), including social ( clothing, wealth) qualities. The upbringing of a teenager in the novel comes down to the imposition of educational and life goals, for the achievement of which you need to study successfully, so the concern of parents is expressed in the transfer of Holden from one prestigious school to another. But social self-realization does not motivate Holden, as it seems to him to be something external, not reflecting true existence, true goals: “If you become a lawyer, you will just drive money ... and walk around like a dandy ..., in a word, like in a movie, in trashy films ". Therefore, he formulates not a social, but an existential goal - to become a “catcher of children” playing near the abyss: “... I run up and catch them so that they do not break.<…>I know this is nonsense, but this is the only thing I really want, ”he admits.
Holden reproaches others for falsehood, but he also repeatedly says about himself that he is a liar. The false / false parallel provokes to understand how Holden differs from others. And it turns out that his lies are humane, aimed at supporting another person, and most importantly, devoid of self-interest, profit: this is how he composes a heroic story about his cruel classmate for his mother: “It’s always like this with mothers - just tell them what magnificent sons they have” . Other situations of lying are related to self-defense, are a way to get out of unpleasant circumstances: he lies to a history teacher in order to free himself from a moralizing conversation; lies to a prostitute, not wanting to enter into a relationship with her. The episode with the latter shows that, firstly, he cannot defend himself, and secondly, in a borderline situation, he demands justice, is dangerously honest. So, he is ready to pay a prostitute for services not rendered, but is not going to overpay (this despite the fact that he is not greedy, he easily parted with money, giving it to charity, for example). The fact that they still take away the extra five dollars from him brings tears, Holden cries. Crying as a sign of the hero's immaturity, his sensitivity and at the same time inability to cope with emotions, cope with circumstances, is repeated at least twice.
The genre canon of the Christmas story "assumes the moral transformation of the hero", which, as a rule, is reflected both in the narrative and in the specifics of the artistic chronotope. The hero talks about the events that happened to him a year later, being in a sanatorium, where psychoanalysts talk to him: “... I will tell that crazy story that happened last christmas. And then I'm a little did not give up, and they sent me here to rest and be treated” (our italics - E.B., E.P.). He seemed to have experienced a symbolic death, "falling into the abyss", and now has a chance for rebirth. However, in leaving the ending open, Salinger is following not the Dickensian but the later tradition of the Christmas story, where the possibility of a miracle is questioned. The desire for a happy (Christmas, miraculous) ending is understandable, but in the novel, along with the motive of Christmas and Easter, the motive of the carousel is realized.
In the final lines of his notes, the hero describes how Phoebe rode the carousel: “And then it began to pour like a hundred devils. Shaped downpour, I swear to God. All the mothers and grandmothers - in a word, everyone who was there, stood under the very roof of the carousel so as not to get wet through, and I remained sitting on the bench.<…>The hunting cap still somehow protected me, but still I got wet to the skin. And I didn't care." There is an association of the carousel with life, with the rotating earth. The carousel is opposed to the road as a closed route, the certainty of the unknown of an individual path; as a collective movement to a personal one. In addition, the carousel contains the semantics of entertainment, something that is not connected with the serious. Holden watches the carousel spin from the side, not escaping with everyone under the ride's roof, even when it started to rain. He remains alone, moving away from the crowd, from those around him, watching them from the side (even his beloved Phoebe, which, it is worth noting, he refuses to take with him to his “new life”, realizing that this is no way out, but an escape and a dead end). The image of the carousel is ambivalent: on the one hand, it is associated with a return, dizzying joy, on the other hand, it also has the semantics of eternal repetition, an uncontested movement in a vicious circle. Persistent questions to Holden - whether he will study diligently in the new (repeating all the previous ones) school, are left unanswered: “... they ask me if I will try when I go to school in the fall. I think this is a surprisingly stupid question. How does a person know in advance what he will do?<…>I think I will, but how do I know?
The treatment did not change the consciousness of a teenager who painfully perceives collisions in social life and is unable to come to terms with falsehood and injustice, with the total imperfection of the world. However, the process of writing, in which he restored the lost (for various reasons) connections in his memory, contributed to a revision of the attitude towards others: people are imperfect, but still valuable. Writing becomes a means of overcoming alienation. This teenager understands only at the end, completing the story. Through a confessional letter, he not only understood more about himself, but also realized the value of relationships: “... somehow I miss those whom I talked about.<…>Sometimes it seems that this scoundrel Maurice is not enough. Strange thing. And you<…>Tell us about everyone - and you will be bored without them.
Writing reconciles a teenager with the reality around him, allows him to search for himself. The final downpour is symbolic: on the one hand, it is a wall that separates it from people, and a sign of sadness, and on the other, it is a symbol of a possible purification or at least reconciliation. Immersion into the past is Holden's path to himself, at the end of which he still continues to oppose himself to the world, but does not exclude rapprochement with it.
It is interesting to note that the attention of teenagers to the novel in Russia was also stable during the Soviet era. Yu.O. Chernyavskaya and S. Kolmakov revealed that "The Catcher in the Rye" is a significant literary context in the novel "And it's all about him" by V. Lipatov, which has an educational pathos / Chernyavskaya Yu.O., Kolmakov S.Yu. Literary context in V. Lipatov's novel "And it's all about him" // Russian literature in modern cultural space. Sat. articles on mat. VII All-Russian scientific. conf. October 30-31, 2015. / Ed. M. A. Khatyamova. Tomsk: TSPU Publishing House, 2015-2016. pp. 164 - 172.
This is confirmed by research data: Lipovka V. O., Poleva E. A. Study of the reader's interests and needs of seventh graders based on the results of the survey // Scientific and methodological electronic journal "Concept". - 2014. - No. 7 (July). – S. 81–85. – URL: .; Bryakotnina E.B., Poleva E.A. Studying the reading circle of teenagers as a pedagogical problem // Scientific and Pedagogical Review. 2016. No. 2.
Borisenko A. J. D. Salinger: classic and contemporary // Salinger J. D. Catcher in the Rye: A Novel. Tales. Stories. M.: Eksmo, 2007. S. 16.
Salinger J. Catcher in the Rye. [Electronic resource].URL: http:// readbooks. me/ books/? name= above- propastiy- vo- rji(date of visit 04/27/2016). The following text is cited from this source.
Kozlova G.A. The moral paradigm of Ch. Dickens in "Christmas stories" (problems of studying the work of Ch. Dickens at school) // Kozlova G.A. Foreign Literature in the Context of Christian Thought: Sat. scientific articles. Armavir, ASPA, 2011. [Electronic resource].URL: (date arr.12.05.2016).
Quoted from:Galinskaya I.L. Philosophical and aesthetic foundations of JD Salinger's poetics. [Electronic resource].URL: http:// liters. en/ read/ en/% D0%93/ galinskaya- irina- ljvovna/ philosophical- i- aesthetic- foundations- poetiki- j- d- selingera (date of access: 04.05.2016).
