The literary cinematicity of Viktor Nekrasov's In the Trenches of Stalingrad

This article examines the war novel In the Trenches of Stalingrad by Viktor Nekrasov, focusing on its literary cinematicity as a code for interpreting its narrative strategy. The study establishes that Nekrasov's use of audiovisual and kinesthetic imagery is a method for shifting the narrative point ofview, a technique known as subjectivation. It identifiesthe primary means used to create this cinematic effect, analyzing them across lexical-stylistic and communicative-syntactic levels. These techniques are categorized into three groups: 1) Lexical (perceptual vocabulary, including words with kineticsemantics, specific nouns, colorative lexis, and vocabulary related to vision, sound, quantity, and space); 2) Stylistic (comparisons generating visual, tactile, and kinetic images, as well as metaphor); and 3) Syntactic (parcellation, nominative sentences, incomplete sentences, and sentences with homogeneous parts). The article demonstrates that these cinematographic techniques serve key artistic functions: they subjectivize the narrative, construct the author's image, deepen the ideological stance, highlight conflict, engage the reader's intellect and emotions, materialize imagery, dynamize the description, and create a vivid, tangible, and natural depiction of reality. This research engages in an indirect dialogue with the perspective of world cinema classic Sergei Eisenstein: the director and theorist analyzed an excerpt from Nekrasov's story in a lecture at the VGIK [Gerasimov Institute of Cinematography] directing department on December 25, 1946, later published in his theoretical work Directing: The Art of Mise-en-Sc & egrave;ne (1966).