讽刺Ηryhir tiutiunnyk(一些观察)

L. Moroz
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摘要

作为20世纪下半叶最具戏剧性的作家之一,Hryhir Tiutiunnyk被所有在文化界工作的同时代人铭记为具有敏锐的幽默感,罕见的智慧和独特的艺术(在各种类型,戏剧和喜剧中)。本文是对1980年被极权主义制度杀害的Hryhir Tiutiunnyk的作品中,“爱与痛苦”这一众所周知的主导思想是如何被讽刺所深化的反思,在其所有的阴影和意义上都是无限的。作者没有使用任何政治词汇,而是通过描绘(主要是通过恰当的表达和细节)被极权主义压迫或摧毁的人们的行为和命运,揭开了极权主义制度的面纱。他的讽刺是温和的、宽容的,甚至有些同情。在本文所回顾的《螺丝》、《牛郎》、《纪念马尔基安的盛宴》、《儿子来了》等故事中,所提到的反讽手法的细微差别被运用在相当复杂、有时甚至怪异的组合中(《有文化的人》、《笑》),揭示了作者的热情冷漠,他试图(有时成功地)假装成一个局外人——一个不担心甚至更优秀的叙述者。在《纪念马尔基安的盛宴》、《奖章》等作品中,死亡本身或其明显的方式导致了悲喜剧元素的出现。然而,在后者中,悲剧的讽刺与人物无关,而是与舞台动作的道具有关,在舞台动作中,像人体模型的人代表村庄和地区当局,假装给一个饥饿的人颁发“最佳动物饲养员”。在短篇小说《古怪》(Oddity)和《我的星期六》(My Saturday)中,Hryhir Tiutiunnyk笔下的一些人物成为了对压迫者的讽刺嘲弄:苏联共产党官员的特殊性在于,他们甚至没有意识到自己行为的荒谬,这种行为缺乏任何人文原则。作家的文学世界,尽管看似简单,但就思想、情感和冲突的内在微妙而言,却是极其复杂的。
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IRONIC ΗRYHIR TIUTIUNNYK (SOME OBSERVATIONS)
One of the most dramatic writers of the 2nd half of the 20th century Hryhir Tiutiunnyk was remembered by all his contemporaries who worked in the cultural sphere as a person endowed with a keen sense of humor, rare wit, and unique artistry (in various genres, both dramatic and comedic). This paper is a reflection on how in the works by Hryhir Tiutiunnyk, killed by the totalitarian system in 1980, the well-known dominants of “love and pain” are deepened by irony, in all the immensity of its shades and meanings. The writer did not use any words from the political lexicon but instead unmasked the totalitarian system by depicting (mostly through apt expressions and details) the behavior and destinies of people oppressed or destroyed by it. His irony is mild, lenient, or even somewhat sympathetic. In the stories reviewed in the paper, namely “Screw”, “Niura”, “The Feast in Memory of Markiian”, “The Son Has Arrived”, the mentioned nuances of the means of irony are used in rather complex, sometimes weird combinations (“The Literate”, “Laughter”), revealing the ardent indifference of the author who tried (sometimes successfully) to pretend to be an outsider – an unworried or even superior narrator. In such works as “The Feast in Memory of Markiian” and “Medal”, the death itself or its obvious approach causes the appearance of tragicomic elements. However, in the latter, the tragic irony is not related to the character, but to the props of the stage action, in which the people resembling mannequins represent the village and district authorities and pretend to award a starving man as “the best animal breeder”. Some of Hryhir Tiutiunnyk’s characters, as in the short story “Oddity” and the story “My Saturday”, rise to a sarcastic mockery of oppressors: the specificity of the Soviet-communist officials lies in the fact that they don’t even realize the absurdity of their activities, which lack any humanistic principles. The literary world of the writer, despite its seeming simplicity, is extremely complex in terms of inner subtleties of thoughts, emotions, and conflicts.
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