希什金散文中的乔伊斯文学传统及其在《盲人音乐家》中的再现

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Tekst Kniga Knigoizdanie-Text Book Publishing Pub Date : 2021-01-01 DOI:10.17223/23062061/26/3
Ludmila V. Comuzzi
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引用次数: 0

摘要

在这篇文章中,米哈伊尔·希什金被认为是詹姆斯·乔伊斯现代主义写作传统的文学继承者。他的创作方法与乔伊斯的创作方法之间的联系本质可以从两个方面来考察,这两个方面也决定了他的文本的叙事结构,即自传式和互文式。虽然乔伊斯作品的自传体特征可以通过他的大量传记和档案来估计,但希什金的生活事实,作为我们同时代的作家,大多可以通过他自己的文学作品中的创造性解释来判断。然而,就其真实程度而言,希什金的自传体散文远远超过了乔伊斯的自传体散文,后者更倾向于在艺术形式上对自己的生活进行美学改造。这两位作家的生活故事本身就表现出明显的相似之处:他们都对语言很敏感;两人的主要职业都是文学(教师、记者、讲师、翻译)。对这两本书来说,母亲死于癌症和孩子的疾病都反映在反复出现的文学母题中;他们都去了瑞士,以艺术家的超距离来写祖国。希什金遵循了乔伊斯的策略,将他个人生活中亲密而痛苦的片段交织在他作品的文学质感中。这两位作家属于不同的民族和历史文化,他们的生活情节也非常相似。只是希什金在直接和坦率方面比乔伊斯走得更远,从而使乔伊斯的模仿原则处于边缘。这种终极的自传体使希什金一方面继承了俄罗斯古典文学的传统(记住他“对阿卡基耶维奇的爱”),同时也继承了20世纪文学的真理传统。另一方面,这又使他置身于文本转化为现实的后现代思潮之中。不管怎么说,与后现代主义者破坏文学话语和表达文学话语的人物不同,希什金“玩弄”文学话语是为了让小说复活。在美学上,希什金再现并阐述了乔伊斯的“美的韵律”理论、激进的互文性手法和“万有之万”的吻合连接。《盲人音乐家》这个故事具有上述现代主义诗学的所有特征。由昼夜交替的循环节奏和从模仿到神话(互文)话语的规律转换设定的光明和黑暗的戏剧是类似于乔伊斯使用的结构叙事手段。乔伊斯笔下的人物就像牛头怪一样,在都柏林的迷宫中盲目地游荡,直到他们到达顿悟的梦幻时刻,一个微不足道的真理之美在他们的脑海中闪现。希什金的意识形态也具有现代主义的特征,因为他的“新语言世界”是作为一种调和人类与这个世界的不完美的模式而创造的,也是一种澄清其意义的模式。
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Joyce’s Literary Tradition in Mikhail Shishkin’s Prose and Its Evocation in the Story “The Blind Musician”
In this article, Mikhail Shishkin is presented as a literary successor to James Joyce’s modernist tradition of writing. The nature of the ties connecting his creative method with that of Joyce is considered in two aspects which also qualify the narrative structure of his texts, namely the autobiographical and intertextual ones. While the autobiographical features of Joyce’s works can be estimated by his numerous biographies and archives, the facts from Shishkin’s life, the writer being our contemporary, can mostly be judged on by their creative interpretations in his own literary works. However, in its degree of truthiness, Shishkin’s autobiographical prose is in large excess over that of Joyce’s who would rather tend to aesthetic transformations of his life in the art forms. The two writers’ life stories themselves demonstrate a noticeable parallelism: both are linguistically sensitive; both did similar jobs along with their primary, literary occupation (a teacher, a journalist, a lecturer, a translator); for both, mother’s death of cancer and the child’s illness are reflected in recurrent literary motifs; both left for Switzerland to write about homeland from the meta-distance of the artist. Shishkin follows Joyce’s strategy of interlacing the intimate, painful episodes of his personal life into the literary texture of his writings. The very episodes of the lives of the two writers belonging to different national and historical cultures are quite identical, too. It is only that Shishkin goes further than Joyce in directness and candour, thus putting Joyce’s principle of mimesis on edge. This ultimate autobiographicity makes Shishkin, on the one hand, a successor to the tradition of Russian classical literature (remember his “love for Akaki Akakievitch”), as well as the tradition of truth in the 20th-century literature. On the other hand, it attaches him to the postmodern trend of transforming text into reality. Anyway, unlike postmodernists who are destroying literary discourse together with the characters articulating it, Shishkin “plays” with it in order to bring the novel back to life. Aesthetically, Shishkin reproduces and expounds Joyce’s theory of the “rhythm of beauty”, his technique of radical intertextuality and anastomosis connections of “all in all”. The story “The Blind Musician” has every trait of modernist poetics outlined above. The plays with light and darkness set by the cyclic rhythm of the day/night alternation and by regular shifts from mimetic to mythopoetic (intertextual) discourse are the structural narrative devices similar to those used by Joyce. Joyce’s characters, like Minotaurs, are wandering blindly through the labyrinth of Dublin until they arrive at the visionary moment of epiphany, when the beauty of a trivial truth lights up in their minds. Shishkin’s ideology is also modernist in character, since his “new linguoworld” is created as a mode of reconciling man with this world’s imperfections and as a mode of clarifying its sense.
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Tekst Kniga Knigoizdanie-Text Book Publishing
Tekst Kniga Knigoizdanie-Text Book Publishing HUMANITIES, MULTIDISCIPLINARY-
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