Pub Date : 2020-12-28DOI: 10.31861/pytlit2020.102.112
Kateryna Kalynych
The realization of the paradigm “teacher-writer” in the interpretation of American professor and writer John Williams has been researched. The comparison of the author’s biography with the image of the protagonist of the novel – Stoner – revealed that the latter is the prototype of the writer. Along with the evolution development of the main character William Stoner, we have followed the improvement of his teaching methods which was reflected on the pages of the novel. The reader’s attention is logically focused on the main issues, such as the war theme and the mission of the university. It was shown how political events (World Wars I and II) consistently influenced the functioning of the educational institution having direct impact on the behavior of the studenthood. The author puts forward his own concept of the real nature of an academic institution thus defining three university models. The first model – “the Stoner model” – renders a closed institution which cluster the chosen ones in order to implement ideal concepts of scientific activity; the second – “the Finch model” – demonstrates an open institution which realizes its educational and spiritual activities for an appropriate reward; the third model, knows as “Masters model”, sees a university as a shelter for incompetent people and elderly unfulfilled personalities. The conclusions lies in the notion of “perfect education” witch should be specific for any given epoch. For instance, according to J. William’s novel, new realia demand of university to renew its concepts and priorities, the lack of which, in its turn, reasons the logic of the conflict between the past and the present, and this is what the character of William Stoner systematically faces, apparently reflecting the experience of the author himself.
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Pub Date : 2020-12-28DOI: 10.31861/pytlit2020.102.088
Olya Hrecheshnyuk
The article deals with the problem of the form-bilding factors of the generational novel by the example of the most popular novels of the modern German literature (“Heavenly bodies” by T. Dückers and “In my brother’s shadow” by U. Timm). At the beginning of 21th century the question about the nature of a generational novel, as a specific kind of the family novel, is the most discussed among the specialists in literature. The work is based on research of the important works of famous scientists (A. Assmann, A. Eichenberg, M. Neuschäfer and other). The research demonstrates, that the most significant poetical details of this genre variety apply to its composition. The results of the research show that all generational novels have special structural elements, which are its form-bilding factors (specific composition form, position of the narrator, characters and other). The paper is based on structurally-typological and comparative approaches, which help to reveal the specificity of the generational novel as a genre variety. Scientific novelty contains the try to describe the features of the poetics of the generational novel in the modern German literary process. Despite the actuality of such problem of the generational novel and the existing works this theme is analyzed only a little. That is the reason for research on this topic.
本文以德国现代文学中最受欢迎的小说(T. d克斯的《天体》和U.蒂姆的《在我哥哥的影子里》)为例，探讨代际小说的形式塑造因素问题。作为家庭小说的一种特殊类型，代际小说的性质问题在21世纪初成为文学学界讨论最多的问题。本书以研究著名科学家(A. Assmann, A. Eichenberg, M. Neuschäfer等)的重要著作为基础。研究表明，这种体裁变体最重要的诗歌细节体现在其构成上。研究结果表明，代际小说都有其特殊的结构要素，即代际小说的形式构成因素(具体的构成形式、叙述者的位置、人物等)。本文采用结构类型学和比较的研究方法，揭示了代际小说作为一种体裁的特殊性。科学新颖性包含着对现代德国文学进程中代际小说诗学特征的描述。尽管代际小说和已有的作品都存在这一问题，但对这一主题的分析却很少。这就是研究本课题的原因。
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Pub Date : 2020-12-28DOI: 10.31861/pytlit2020.102.134
S. Varetska
The article considers a problem of the arts interaction, which is a characteristic feature of German expressionism. It analyzes works of gifted expressionists, which are fulfilling themselves not only as writers, but as painters too and vice versa. All attention is paid to such figures of expressionism as Oscar Kokoschka, Franz Kafka, Alfred Kubin. The article argues that the power of talent of such artists is so great that self-realization in one of the arts is not enough for them, and therefore they actively use the opportunity to reveal the facets of their giftedness not only verbally, but also visually, alternately changing brushes to pen. Such a synthesis is quite productive because these works are enriched by narrative thematic motifs, genre varieties, a figurative vision of reality, compositional figures of the material organization, etc. It is proved that the expressionists did not follow the modernist concept “Art for the sake of art”, yet for them a human is with his fears, complexes and visions in the center. Thus, the main aim of an artist is using various artistic means to show a sacred inner world where in contrast to the real philistine life a spiritual unity and harmony do exist. In a combination of text, drawing or music, or, like Kokoschka’s light and paint, expressionists try to convey through multimedia the sensual and sacred that arises for them as the purpose of existence.
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Pub Date : 2020-12-28DOI: 10.31861/pytlit2020.102.055
F. Shteinbuk
Oles Ulianenko, one of the most talented and controversial modern Ukrainian writers, has been dead for ten years. However, during his life O. Ulianenko’s works were not given any appropriate professional interpretation as the literary scholars and critics applied either the wrong or inefficient method because of the numerous objective or, very often, subjective reasons. The goal of this article is to suggest an alternative variant, in comparison to the traditional literary ones, of theoretical literary analysis which is grounded on the principles of the corporal-mimetic method to interpret fiction, and which is an example of literary analysis of the writer’s novel “Syn Tini” (The Shadow Son). Consequently, the conclusion has been drawn that the meaning of the analyzed novel is not determined by moral-ethical rigorism but by an anthropological correlate of desire aimed to overcome death, hence, to accept life because the exact realization of the corresponding correlate connected with ontological categories “life” and “death” can “explain people’s existence. Not as a flock, but human beings…” (J. Lucan). Moreover, relations between a man and a woman can be considered in the same ontological-anthropological plane. Thus, Oles Ulianenko’s novel “Syn Tini” does not depict a “zoo”, albeit “human” one, not a parade of sadistic deviations which are “idiologized” or “aestheticized”, not to speak about “demonism of criminal actions” of any kind – it depicts exactly people. People who are madly driven by their desire to become someone in life, to be at least “shadow son”, since they are obviously not able to claim the status of those who can count on having their own shadow.
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Pub Date : 2020-07-09DOI: 10.31861/pytlit2020.101.047
B. Ivanyuk
In this case, metaphor is regarded in a receptive aspect, as a place of author’s and reader’s dialogic encounter. It is also considered as a subject of reflection that acquires some features of literary being. The article deals with a selective nature of such a structural component of a metaphor as the predicate, as well as emphasizes semantic relativity of a metaphor. Metaphor is viewed as linguistic co-being in relation to being. The paper suggests a description of a conventional algorithm of dialogic perception of a metaphor. It also sets forward an assumption that the immanent assimilation of the text is possible provided it is assigned with the features of a self-sufficient and unconditional reality, which unites both of its basic characteristics (the content and the form) into a single form-content unity, whereas the text sources acquire additional meaning of the context, with which they are interrelated. As for professional reading of the text, the article under studies regards the two interconnected procedures: analysis and interpretation, which may be compared to a dual perception of the object of metaphoric reflection: internal (usage) and external (in a predicative edition). The essence of analysis (reproduction) lies, above all, in its empathic usage in the text, that is in questioning the structural-semantic unity of the text as a peculiar form-content reality, created by demiurgic author’s will and intention. The major point of interpretation is closely associated with reflecting metaphoric codes of the text in recipient’s individual consciousness. In particular, in the circumstances, proposed by the postmodernist image of the world, there take place structural changes in the text itself. Consequently, it leads to a growing role of play rhetoric in the text formation. The figures of this type of rhetoric aim at persuading the reader in text reality as in a mimetic simulacrum, devoid of referential connections.
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Pub Date : 2020-07-09DOI: 10.31861/pytlit2020.101.126
O. Tabachnikova
The first part of the article examines the phenomenon of metaphor in its ontological sense – as an integral part of the poetic worldview. Using the example of the famous extended metaphor in describing the ball in Nikolai Gogol’s novel “Dead Souls”, we discuss the extension of meanings that occurs at the level of aesthetics as a direct effect of the metaphor. In the second part of the article, the metaphor is considered as a supporting element of the poetic construction, which in a certain sense plays the role of an invariant in the process of poetic translation. Using my own translation activities as an example, I am trying to trace the transplantation of a poetic metaphor from English into Russian. Moreover, the metaphor, that terminologically means movement, a certain flow (and extension) of meaning, is analysed as a scientific model. In constructing this model, the author’s goal is not identification, but approximation, not blind similarity, not far-fetched comparison of the two phenomena (even if formally suitable), but the discovery of deep kinship. Moreover, as stated in the article, this kinship does not have to be conveyed by the totality of qualities – instead, it aesthetically follows from the main features. Using translations from 20th-century English poetry (Robert Frost and Wilfred Owen), specific poetic decisions made by me as a translator are discussed. At the same time, general issues that inevitably arise in translation are also addressed, in particular, on the choice of a poetic form depending on the cultural context and on both poetic traditions. In this case, our goal is to trace what happens with a metaphor in the process of translation, what transformations it undergoes.
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Pub Date : 2020-07-09DOI: 10.31861/pytlit2020.101.256
A. Tychinina
The narrative specifics of Umberto Eco’s novel “The Island of the Day Before is regarded through a basic idea of the narrative metaphor “The Orange Dove”. The methodological basis of the study is a summary concept of the relationship between narrative and metaphor. These are O. Freidenberg’s hypothesis of metaphor as a future narrative form of plots and genres; F. Ankersmit’s narrative logic of metaphor’s transformation into a plot through a “point of view”; P. Recoeur’s “common innovative nucleus” in narrative and metaphor designed for productive imagination; G. Genette’s “narrative modality” and regulation of narrative information through metalepsis; R. Barthes’ dichotomy of “functions and indices” as an analogy of metonymic and metaphorical relations. In the article under discussion, we consider metaphor as a narrative principle that ensures its own presentation, generates its rhythm, creates personosphere, and involves a reader in an intellectual game. Such a way of metaphor formation marks U. Eco’s literary style. In his novel “The Island of the day Before”, the following distinctive range of metaphors play a very constructive role: metaphor of sleep, metaphor of love as a source of creative activities, metaphor of duality, metaphor of hatred. Above all, it is worth pointing out author’s epistemological metaphor, which is closely related to the search of truth: in the latter sense, the “Orange Dove” is associated with a post-modernist analogue of the “Blue Rose”, borrowed from the epoch of Romanticism. Due to the technique of metalepsis (“the figure of speech denoting author’s intrusion”), offered by G. Genette, the narrator demonstrates his metaphoric intentions through the discourse of a character-narrator. In conclusion, narrative metaphor of the novel directs the narrative strategy to a variety of its numerous versions, which may be implemented owing to reader’s competence.
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Pub Date : 2020-07-09DOI: 10.31861/pytlit2020.101.146
N. Astrakhan
The article deals with the functions of metaphor in the artistic world of M. Proust. In the context of the novel sequence In Search of Lost Time, metaphor becomes a mechanism to implement involuntary memory, which allows to combine the present (impressions) and the past (memories). Metaphor, given by the associative connection between impressions and memories, becomes the main constructive law of the artistic model of reality created by the French writer. The multifunctionality of metaphor correlates with the three forms of the subject of consciousness that appears in the context of the artistic whole of the novel sequence as an author, a narrator and a character. The author organizes the work of involuntary memory, based on the metaphor; the narrator balances what has been fished out of the past against the present with the help of experience associations; the character experiences the impressions by going through discoveries and disappointments. Proust’s lyrical epos gives the subject the ability to move beyond the hellish circle of the present into timeless dimensions. The novels created by the author and the character, intersect creating the effect of full being, allowing the subject of creative consciousness to recover its identity by overcoming painful contradictions of individual existence in the artistic creativity as in the dialogical interaction with the other. By using the formal and the hermeneutical methods with the emphasis on the philosophy of dialogue, the article explores the peculiarities of metaphor functioning at the macro- and microlevels. The former allows to construct the experimental picture of the world at the intersection of different time-space spheres that correlate with each other due to the spiritual and intellectual efforts of the subject. The latter allows us to consider the artistic image based on metaphor the core of the modernist writer’s artistic style and the way to the new concept of artist and art.
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Pub Date : 2020-07-09DOI: 10.31861/pytlit2020.101.109
L. Oliander
The article deals with the relationship between metaphor and discourse. The metaphor is characterized as the main element of discourse. In the analysis, the emphasis is on its understanding by Bakhtin, when the discourse appears as a “whole utterance”, as a “unit of verbal communication”, which has not meaning, but “meaning related to value – truth, beauty, etc. – and requires a reciprocal understanding which includes an assessment.” According to these positions, on the material of Pushkin’s “The Bronze Horseman”, the works of S. Dovlatov, the works of P. Florensky and others it is proved that the metaphor is a living phenomenon, that “metaphor is a paradigm,” it, “like rapids on a river, makes the recipient's mind boil” (P. Ricoeur). A metaphor is examined as a means of enriching the productivity of philosophical thinking, and it can be a “body of philosophy” (T. Adorno).
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Pub Date : 2020-07-09DOI: 10.31861/pytlit2020.101.239
Elina Sventsitsky
The aim of this article is to show that metaphorical and symbolic word in the symbolist poetics are the interdependent phenomena, and to reveal how a poem becomes symbolic through the realization of a certain metaphorical structure, based on the analysis of V. Ivanov's poems. The study of Ivanov's work “Dve stihii v russkom simvolisme” (“Two Elements in the Russian Symbolism”) has led to the conclusion that the author’s thinking is personalized and creates entities; in the numerous phenomena of existence, he sees a single personal entity. Thus arises the semantic perspective of defining a single essence through a series of comparisons. This is why a number of Ivanov's poems are based on multiple metaphor, a framework of definitions expressed in metaphors. In each of the analyzed works (“Ulov” – “The catch”, “Alpiyskiy rog” – “Alpine horn”, the cycle “Lira i os’” – “Lyre and axis”), the poet establishes several levels of metaphorization, where the real and the ideal planes are constantly exchanging places. The metaphorical comparison of different objects builds transitions from one level to another. Thus, a kind of synthesis emerges, things become transparent, flexible, and they are permeated by upward currents. It is this dynamic symbol of existence that makes it possible to accumulate and revive the past content, and interact with the world cultural context. It has a certain structure – a crystal, whose facets are separate and intrinsically valuable, but deep down they are united, and this unity lives in each of the facets. The detected structure also expresses the main tendency of Ivanov's creative work: the contemplation of an immediate feeling, an instinct, i.e. a heroic attempt to break through to a sense of the unity of everything with everything through rational comprehension and analysis.
本文旨在通过对伊万诺夫诗歌的分析，揭示象征主义诗学中的隐喻词和象征词是相互依存的现象，并揭示诗歌是如何通过某种隐喻结构的实现而成为象征的。通过对伊万诺夫作品《俄罗斯象征主义的两个要素》的研究，可以得出作者的思维是个性化的、创造实体的;在众多的存在现象中，他看到了一个单一的个人实体。由此产生了通过一系列比较来定义单一本质的语义视角。这就是为什么伊万诺夫的许多诗歌都是基于多重隐喻，一个用隐喻表达的定义框架。在每一个被分析的作品中(“乌洛夫”-“catch”，“alpiysky rog”-“阿尔卑斯号角”，循环“Lira i os”-“Lyre和axis”)，诗人建立了几个层次的隐喻，现实和理想的层面不断交换位置。不同对象的隐喻性比较建立了从一个层次到另一个层次的过渡。于是，一种合成出现了，事物变得透明、灵活，它们被向上的水流渗透。正是这种动态的存在符号，使它有可能积累和复兴过去的内容，并与世界文化语境互动。它有一个特定的结构——一个水晶，它的面是分开的，本质上是有价值的，但在深处它们是统一的，这种统一存在于每一个面中。这种被察觉的结构也表达了伊万诺夫创作的主要倾向:对一种直接感觉的沉思，一种本能，即通过理性的理解和分析，英勇地试图突破到一种万物合一的感觉。
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