19世纪30 - 40年代俄国文学中莱蒙托夫创作与文化变迁的存在主义范式

L. Mysovskikh
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摘要

本文结合克尔凯郭尔和雅斯贝尔斯的存在主义理论,在19世纪30 - 40年代俄罗斯文学文化转型的背景下,对莱蒙托夫创作的存在主义范式进行了分析。有人认为,莱蒙托夫在19世纪30年代中期从根本上改变了他的文学活动的性质,克服了他自己存在的矛盾心理,放弃了他年轻时诗歌的主观情感和异国情调,转而对周围世界进行客观观察和研究。莱蒙托夫意识到自己存在的矛盾心理,并试图克服这种状态,以实现文化的完整性,这应该被视为他的主要价值观之一。莱蒙托夫的作品反映了完整性的概念,即通过一套普遍的规范和理想来整合文化,以及这种完整性在过渡时期正在解体的感觉。这种状况在莱蒙托夫造成了一种解体感,这与雅斯贝尔斯的边缘处境相似。莱蒙托夫的作品说明了随着浪漫主义的衰落,文化理想的丧失。但莱蒙托夫拒绝浪漫主义的理想,他传达了一种感觉,即后浪漫主义的失望产生了玩世不恭和扭曲的思维。小说《当代英雄》就是这种缺点的体现。莱蒙托夫的作品既不属于浪漫主义,也不属于原始现实主义,也不属于两者的任何结合。但是莱蒙托夫出色地扮演了他的过渡角色。他不仅提出了关于浪漫主义的问题,他还揭示了浪漫主义本身以及它是如何衰落的。莱蒙托夫展示了对于一个意识到自己存在的矛盾心理的艺术家来说,在一个缺乏统一的文化整合和完整性的过渡时代进行创作和生活是多么困难,说明了创造性人格是多么需要这种整合和完整性。
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The Existential paradigm of M. Lermontov's creativity and cultural transition in Russian literature of the 1830s–1840s
The article presents an analysis of the existential paradigm of M. Lermontov's creativity in the light of the existential theories of S. Kierkegaard and K. Jaspers, which is considered in the context of the cultural transition in Russian literature of the 1830s-1840s. It is argued that Lermontov radically changed the nature of his literary activity by the mid-1830s, overcoming his own existential ambivalence and abandoning the subjective emotionality and exoticism of his youthful poetry in favor of objective observations and research of the surrounding world. Lermontov was aware of his existential ambivalence and sought to overcome this state in order to achieve cultural integrity, which should be considered as one of his main values. Lermontov's works reflect the concept of integrity as the integration of culture through a set of prevailing norms and ideals, as well as the feeling that this integrity was disintegrating in transitional times. This state of affairs caused a sense of disintegration in Lermontov, which is similar to the borderline situation of Jaspers. Lermontov's works illustrate the loss of cultural ideals with the decline of Romanticism. But rejecting the ideals of Romanticism, Lermontov conveys the feeling that post-Romantic disappointment generated cynicism and distorted thinking. The novel "The Hero of Our Time" has become the embodiment of such shortcomings. Lermontov's works do not belong to romanticism, nor to protorealism, nor to any combination of both. But Lermontov played his transitional role superbly. Not only did he raise questions about Romanticism that realism would later make its own, he also shed light on Romanticism itself and how it was fading. Lermontov showed how difficult it is for an artist who is aware of his own existential ambivalence to create and live in a transitional time devoid of a unifying sense of cultural integration and integrity, illustrating how badly a creative personality needs such integration and integrity.
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