Ars-poetica в києворуській гімнографії
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2019
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Одеський національний університет імені І. І. Мечникова
Анотація
У статті проаналізовано такий компонент літературно-естетичного цілого
в середньовічній києворуській гімнографії, як ars-poetica. Йдеться про особливу естетичну установку автора, обумовлену пошуками відповідного слова, придатного
для літературної діяльності. Зазначено, що у києворуській гімнографії ars-poetica,
зазвичай, реалізується у першому тропарі першої пісні і концептуально перегукується із «топосом скромності». У п’яти розглянутих пам’ятках ars-poetica зустрічається у двох варіантах: авторській мольбі до Бога та авторській мольбі до святого / святих.
В статье проанализировано такой компонент литературно-эстетического целого в средневековой киеворусской литературе, как ars-poetica. Речь идет об особой эстетической установке автора, обусловленной поисками соответствующего подходящего слова для литературной деятельности. Показано, что в киеворусской литературе ars-poetica обычно реализуется в первом тропаре первой песни и концептуально пересекается с «топосом скромности». В пяти рассмотренных памятниках ars-poetica встречается в двух вариантах: авторской мольбе к Богу и авторской мольбе к святому / святым.
Medieval literature presupposes the specific functions of the author. Firstly the author can actively quote authoritative sources. And secondly, starting a literary work, he can cling to himself, confessing in his lack of spirituality, inappropriateness, inability to skillfully master the word. And the first and second trends are complementary to the same literary style of the medieval scribe — the aesthetic need to take advantage of the «topos of modesty». One of the manifestations of this topos is the justification of the artistic purpose and awareness, so that the tasks can be implemented. In the article such reasoning is defined as ars-poetica. It understood as a special discursive part of a literary work in which the scribe explains how he is going to compensate for his aesthetic limitations. Ars-poetica available in the Kievan translation and original hymnography, in the canons of the saints of the Mining Cycle. In the translated and original canons of the XI–XII centuries. Ars-poetica is fixed in the first troparion of the first song. In the Kievan translation and original hymnography of the XI–XII centuries. Ars-poetica is represented by two equivalent variants. The first version is more widespread, it assumes that the scribe turns to the God. The second variant is less common and suggests that the scribe, in essence, appeals to the God, but in the person of his glorified saints. The article states that in both versions there is the same tendency. The author acknowledges his spiritual weakness, neglect of the word, but believes in divine help, and that is precisely why literary work begins. It is proved in the article that such an aesthetic setting demonstrates a special mystical attitude of a medieval artist to a creative process that is led and directed by God, not man.
В статье проанализировано такой компонент литературно-эстетического целого в средневековой киеворусской литературе, как ars-poetica. Речь идет об особой эстетической установке автора, обусловленной поисками соответствующего подходящего слова для литературной деятельности. Показано, что в киеворусской литературе ars-poetica обычно реализуется в первом тропаре первой песни и концептуально пересекается с «топосом скромности». В пяти рассмотренных памятниках ars-poetica встречается в двух вариантах: авторской мольбе к Богу и авторской мольбе к святому / святым.
Medieval literature presupposes the specific functions of the author. Firstly the author can actively quote authoritative sources. And secondly, starting a literary work, he can cling to himself, confessing in his lack of spirituality, inappropriateness, inability to skillfully master the word. And the first and second trends are complementary to the same literary style of the medieval scribe — the aesthetic need to take advantage of the «topos of modesty». One of the manifestations of this topos is the justification of the artistic purpose and awareness, so that the tasks can be implemented. In the article such reasoning is defined as ars-poetica. It understood as a special discursive part of a literary work in which the scribe explains how he is going to compensate for his aesthetic limitations. Ars-poetica available in the Kievan translation and original hymnography, in the canons of the saints of the Mining Cycle. In the translated and original canons of the XI–XII centuries. Ars-poetica is fixed in the first troparion of the first song. In the Kievan translation and original hymnography of the XI–XII centuries. Ars-poetica is represented by two equivalent variants. The first version is more widespread, it assumes that the scribe turns to the God. The second variant is less common and suggests that the scribe, in essence, appeals to the God, but in the person of his glorified saints. The article states that in both versions there is the same tendency. The author acknowledges his spiritual weakness, neglect of the word, but believes in divine help, and that is precisely why literary work begins. It is proved in the article that such an aesthetic setting demonstrates a special mystical attitude of a medieval artist to a creative process that is led and directed by God, not man.
Опис
Ключові слова
середньовічна література, гімнографія, канон, ars-poetica, средневековая литература, гимнография, medieval literature, hymnography, canon
Бібліографічний опис
Проблеми сучасного літературознавства = The problems of contemporary literary studies