Критична проза А. Бєлого 1902–1905 х років: естетика й поетика
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Критична проза А. Бєлого 1902–1905 х років: естетика й поетика
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Капінус, Т.Л.
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символизм
критическая проза поэтика критики мифопоэтика автокоммуникация микросюжет неомифологизм мотив монтаж |
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| Description |
Kapinus T. L. The critical prose by A. Bely of 1902–1905: aesthetics and poetics. – The manuscript rights. The thesis for the degree of Candidate of Philological Studies, speciality 10.01.02 – Russian Literature. – V. N. Karazin Kharkiv National University, Ministry of Education and Science, Youth and Sport of Ukraine, Kharkiv, 2013. The critical works by Andrei Bely of 1902–1905 are analyzed in the thesis at different levels of their poetics, including genre, communicative and stylistic. The individual specifics of the reviews, creative portraits, manifestos and other genres of literary-art criticism is characterized according to the most important aesthetical concepts of the «Argonautic» period. System of genres of the early critical prose consists of two large groups, the small forms (critical letters, reviews, literary portraits, monographic articles) and the big theoretical articles and lyrical-philosophical essays. It is shown that hybridization is a distinctive feature of most works. The presence of other genre’s structure usually conditions changes in stylistic. Appearance of new components such as portraying an artist’s look or personal memories and evolution of the other ones causes reference to the new genres, for example, a silhouette, a literary parallel or a critical story. The big articles may include reviews and creative portraits as autonomic fragments or chapters, so the main compositional principle in these texts is montage. The communicative strategies by A. Bely as a critic are considered as a result of practical implementation of his aesthetical theories. Although literary and art criticism has dialogical nature, it is shown that many early critical works of the writer, especially among the small genres, are largely autocommunication-oriented. Preferring the form of inner monologue, A. Bely intends to talk to the relevant recipient who has the same spiritual feeling. The most common model of a reader at the analyzed critical works is a potential member of the Argonautic circle, maximally close to the author personality. Thus the concept of Argonautic brotherhood causes using autocommunicative narration with communicative aim. A tragic mismatch between the implied reader and the real ones is the main reason of misunderstanding critical texts by A. Bely among contemporaries. Transformation of personality inherent to communication within the «I – I» channel also correlates with Bely’s concept of theurgical art as a life-creative activity. It is proved that the dramatic increase of influence of autocommunication is one of the most important factors determining the phenomenon of aesthetization of the critical discourse. The structure of traditional critical genres is largely modernized. The lyrical type of review demonstrates author’s focusing not on the analysis of a literary work but on his inner feelings, caused by reading. Describing the process of autocommunication serves as a specific attestation machine confirming artistic value of the texts considered by the critic. Basically, the value is defined with the presence of symbols or theurgical element. Widely used metaphors and symbolic microplots, imitation of the poetics of the viewed artist prove that A. Bely prefers suggestive methods of arguing his conclusions. The genre modifications and the specifics of interpretation are also determined with author’s myth-creating strategy. The aesthetical and anthropological project of A. Bely is represented in early symbolist manifestos both as the main issue and a neomythological plot about the internal path of a human personality. This plot is isomorphic to the model of initiation in archaic myths and the theory of K. G. Jung. The research has proved that the basic complexes of motives of the critical prose are correlated with a three-unit structure of the personalistic myth. Mythopoetic motives penetrate into the sphere of practical tasks of literary and art criticism. The presence of particular motives indicates that the subject of critical reflection (a work, a poet or even literary process) belongs to one of the three stages of the personality’s path. The myth-creating aspect of the critical method by A. Bely is also represented in a special point of view. The author’s image is frequently presented as a visionary who looks at different artistic phenomena and sees their mythological essence. The heroes of the creative portraits are compared with a particular set of individual mythologems such as a magician, a spiritual leader, a wise man etc. The analysis of correlation between the «mode of content» (the main myth) and the «mode of expression» (actual texts, events, personalities, history and everyday life) has shown that the critical articles have the features of the neomythological symbolist texts. Капінус Т. Л. Критична проза А. Бєлого 1902–1905 х років: естетика й поетика. – На правах рукопису. Дисертація на здобуття наукового ступеня кандидата філологічних наук за спеціальністю 10.01.02 – російська література. – Харківський національний університет імені В. Н. Каразіна МОНмолодьспорту України, Харків, 2013. У дисертації здійснено всебічний аналіз літературно-художньої критики А. Бєлого першої половини 1900 х рр. Схарактеризовано індивідуально-авторську своєрідність рецензій, творчих портретів, статей-маніфестів та інших жанрів, досліджено процеси гібридизації, поглиблено уявлення про механізми естетизації критики. Оновлення традиційної структури критичного тексту в роботі пов’язується із поширенням сфери впливу автокомунікації. Розглянуто комунікативні стратегії критика-письменника як результат впровадження його естетичних теорій та визначено основну модель імпліцитного читача. Дослідження підтвердило, що критичні тексти, створені в так званий «аргонавтичний» період, становлять систему. З’ясовано, що принципи інтерпретації й оцінки, які застосовує критик, визначаються індивідуальним міфом про шлях, що розташований на метарівні по відношенню до окремих критичних творів і походить від центрального естетико-антропологічного проекту. Аналіз мотивної системи ранньої критики довів, що критичні твори А. Бєлого мають всі підстави вважатися неоміфологічними текстами. |
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2017-11-21T14:03:36Z
2017-11-21T14:03:36Z 2013-03-22 |
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Thesis
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| Identifier |
Дисертаціяна здобуття наукового ступеня кандидата філологічних наук за спеціальністю 10.01.02 — російська література
УДК 821.121.1-4 Бєлий.09 http://dspace.univer.kharkov.ua/handle/123456789/13481 |
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ru
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| Publisher |
Харківський національний університет імені В.Н.Каразіна
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