Закон трех отрицаний

Naste Kamenskoĭ ne povezlo - ona popala v avarii͡u. Skoro ee vypishut iz gospitali͡a, no slomannai͡a noga vse bolit i bolit, tak chto Nasti͡a peredvigaetsi͡a s bolʹshim trudom. Ona reshaet obratitʹsi͡a k spet͡sialistu, ispolʹzui͡ushchemu netradit͡sionnye metody lechenii͡a. No kogda Nasti͡a zvonit po nuzhnomu telefonu, vyi͡asni͡aetsi͡a, chto ėtot spet͡sialist ubit. A tut eshche odna neprii͡atnostʹ. Posle gospitali͡a Naste negde zhitʹ: ee kvartira zani͡ata neozhidanno nagri͡anuvshimi rodstvennikami. Tak Nasti͡a okazyvaetsi͡a na dache u znakomogo, gde sovershaet lechebnye progulki i razvlekaet sebi͡a obsuzhdeniem s kollegami podrobnosteĭ ocherednogo gromkogo ubiĭstva molodoĭ kinozvezdy. I vdrug ona s uzhasom obnaruzhivaet, chto za neĭ kto-to sledit…--------------------------------------------------"Marinina ne tolʹko pishet detektivnye romany, no i otvechaet na vechnye voprosy. Avtor otnositsi͡a k svoim chitateli͡am kak dobryĭ i opytnyĭ uchitelʹ k uchenikam, kotorye nuzhdai͡utsi͡a v podderzhke, podskazke i napravlenii na vernyĭ putʹ. Optimistichnai͡a i praktichnai͡a v svoeĭ didaktike, Marinina stavit pered soboĭ vopros "kak zhitʹ" i staraetsi͡a pomochʹ chitateli͡u naĭti svoĭ putʹ k luchsheĭ zhizni v segodni͡ashnem mire. Svoimi detektivami Marinina pishet sovremennyĭ roman "vospitanii͡a chuvstv": osnovnai͡a t͡selʹ avtora - vospitanie posredstvom razvlechenii͡a". - Anatoliĭ Vishevskiĭ, Grinellʹskiĭ kolledzh, SShA"Mnogie romany Aleksandry Marininoĭ v Rossii ėkranizirovany, a v Germanii pererabotany v radiopʹesy. Iskhodi͡a iz togo, chto t͡selʹ ėtikh obrabotok - zakhvatyvatʹ zriteleĭ i slushateleĭ takim zhe obrazom, kak zakhvacheny chitateli, to filʹm i radiopʹesa i͡avli͡ai͡utsi͡a ne tolʹko dopolnitelʹnymi khudozhestvennymi proizvedenii͡ami, no i interesnymi interpretat͡sii͡ami, kotorye pronikli v taĭnu uspekha Aleksandry Marininoĭ". - Sara Khėgi, Kelʹnskiĭ universitet, Germanii͡a"V dialogakh khudozhestvennoĭ i trivialʹnoĭ literatury mozhno obnaruzhitʹ raznye sposoby stilizat͡sii "ustnosti", chtoby dostichʹ vpechatlenii͡a spontannogo razgovora. Obikhodnai͡a rechʹ v romanakh A. Marininoĭ otlichaetsi͡a neobyknovenno vysokoĭ stepenʹi͡u ozhivlennosti, chto vyrazhaetsi͡a, mezhdu prochim, v raznykh formakh obrashchenii͡a sobesednikov, v razlichnykh ottenkakh vezhlivosti i v ėmot͡sionalʹnosti ispolʹzuemoĭ leksiki". - Volʹfgang Shtadler, Universitet imeni Leopolʹda Frant͡sena, Insbruk, Avstrii͡a.

Nastya Kamenskaya was unlucky — she got into an accident. She will be discharged from the hospital soon, but her broken leg keeps hurting and hurting, so Nastya moves with great difficulty. She decides to consult a specialist who uses non-traditional methods of treatment. But when Nastya calls the right phone, it turns out that this specialist has been killed. And then there's another problem. After the hospital, Nastya has nowhere to live: her apartment is occupied by unexpected relatives. So Nastya finds herself at a friend's dacha, where she takes therapeutic walks and entertains herself by discussing with colleagues the details of another high-profile murder of a young movie star. And suddenly, she is horrified to discover that someone is following her....---------------------------------------------"Marinina not only writes detective novels, but also answers eternal questions. The author treats his readers like a kind and experienced teacher to students who need support, guidance and guidance on the right path. Optimistic and practical in her didactics, Marinina poses the question “how to live" and tries to help the reader find his way to a better life in today's world. Marinina writes a modern novel "education of feelings" with her detective stories: the author's main goal is education through entertainment." — Anatoly Vishevsky, Grenell College, USA"Many of Alexandra Marinina's novels have been adapted into films in Russia and reworked into radio plays in Germany. Based on the fact that the purpose of these treatments is to capture viewers and listeners in the same way that readers are captured, the film and the radio play are not only additional works of fiction, but also interesting interpretations that have penetrated into the secret of Alexandra Marinina's success." — Sarah Hagi, University of Cologne, Germany"In the dialogues of fiction and trivial literature, one can find different ways of stylizing "verbality" in order to achieve the impression of spontaneous conversation. Everyday speech in A. Marinina's novels is characterized by an unusually high degree of animation, which is expressed, among other things, in the different forms of address of the interlocutors, in various shades of politeness and in the emotionality of the vocabulary used." — Wolfgang Stadler, Leopold Franzen University, Innsbruck, Austria.