The motivic complexes of "deception" and "lies" in E. Jelinek's novel "The Pianist"

The object of the presented work is the novel "The Pianist" (1983) by Nobel laureate Austrian writer Elfrida Jelinek, which is rightfully considered one of the author's best and resonant creations. The subject is the motif-figurative structure of the novel. Special attention is paid to the realization of the motives of "deception" and "lies", which are repeatedly found on the pages of the work, which is not surprising, since it has a social orientation, reveals initially insincere human relationships built on attempts to please a partner. The central characters involved in the lie are the pianist Erika Kohut herself and her student Walter Klemmer, whose relationship is the semantic center of the work. The author examines in detail the transition of the above-mentioned motives from the plot to the plot through the implementation in certain events of the novel, which becomes the starting point for changing the value-semantic nature of the heroine's image. In this work, the method of motivic analysis was used, which made it possible to identify key motives, as well as to consider their implementation in the text, in addition to the main motives, secondary ones were also identified. Structural analysis made it possible to comprehensively analyze the literary text under consideration and contributed to the definition of a motif-shaped structure. The scientific novelty of the research lies in the use of B.F. Egorov's theory of deception and lies in literature ("Deception in Russian Culture", 2012) in relation to the novel by E. Jelinek. The main contribution of the authors to the research of the topic is the fact that for the first time the problem of the realization of the motives of deception and lies was considered, a comparative analysis of these motives was carried out, taking into account their different functioning in the artistic space of the work (toposes and loci). The main conclusions of the study are the following: the motives of deception and lies are plot-forming for the motional complexes existing in the toposes "home" and "the outside world", as they change the value-semantic nature of the heroine's image, and also cause the realization of an acute social conflict of the work.