Russian-German Chanson as a Product of Emigration

The theory of chanson as a creative direction has not been sufficiently developed, although the study of chanson has undoubtedly been strengthening its positions recently. Researchers perceive chanson broadly (songs of the direction of urban song folklore) and narrowly (“thieves” lyrics). The purpose of the research is to study the Russian-German chanson, the tasks are to observe the works of Vadim Kuzema and Viktor Gagin, a multifaceted analysis of the lyric cycle of Sonya Jahnke “From a Song Notebook”. The legitimacy of the allocation of the Russian-German chanson is confirmed by the attempt of the “national-geographical division” of the Russian-speaking chanson, proposed by M. Dyukov. Russian-German chanson is a phenomenon that formed during the third stage of mass migration, that is, it fully takes into account all the genetic layers of the subcultural ethnos. S. Janke, in her stylization as a “thug” chanson song, concerns various aspects of the life and life of Russian Germans in Germany. The author of the article applies structural-descriptive, historical-typological and comparative-historical research methods. The research results can be applied to the entire RussianGerman chanson. The lyrical hero suffers from marginality and seeks to “grow” into a new and still alien society for him. The clear difference between Russian-German chanson and Russian is in a special collective subject (a type of Russian German) striving to become related to the world that alienates him (as opposed to the hero of the Russian “thug” chanson cultivating the world of outcasts). The asocial character of the hero of the Russian-German chanson is fundamentally different from the asocial character of the hero of the Russian chanson. Comprehension of the Russian-German chanson reveals a paradox: the appeal of Russian Germans to a marginal “thug” song is nothing more than an attempt to free themselves from the marginality of their ethnic group. Russian-German stylization under the “thieves” song is not distinguished by romance: the ethnic picture of Russian Germans is not characterized by the typically Russian opposition of “high” and “low”.