Автор-традиціоналіст у середньовічному творі: форми взаємодії з читачем
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Дата
2020
Автори
Джиджора, Євген Володимирович
Джиджора, Евгений Владимирович
Dzhydzhora, Yevhen V.
Науковий керівник
Укладач
Редактор
Назва журналу
ISSN
E-ISSN
Назва тому
Видавець
Анотація
Вивчено особливі умови здійснення творчого процесу в середньовічній
літературі. Такими умовами визнано авторський поетичний традиціоналізм,
який розкривається на трьох рівнях: дотримання жанрового канону, слідування загальноприйнятим зразкам; застосування мовно-літературного етикету.
Означені умови дозволяють автору-традиціоналісту налагодити естетичний
зв’язок із потенційним читачем. Прокоментовано три форми такого зв’язку:
налаштування читача на відповідне сприйняття за допомогою цитат; прохання помолитися або й виправити написане; звернення із певним закликом.
The article discusses special conditions of the creative process in medieval literature. So, the attention is focused on the participants of aesthetic activity in the medieval literary process: the author – the work – the reader. The fi rst two categories are described in medieval studies, while the role of the reader is not clearly defi ned yet. The key issue of our research is to comment on the necessary conditions for the creative process and to trace the forms of interaction of the traditionalist author with the reader in medieval Christian literature. In the literary works of this period there was a special relationship between the author – the work – the reader. The author had to adhere to poetic traditionalism at three levels: not to avoid the genre canon; to follow set patterns in the meditation / narrative; to observe the rules of linguistic and literary etiquette. Setting a strategy of literary expression, the genre canon acted as an artistic guide to the author and therefore helped him to satisfy the needs of his audience. The adherence to traditional patterns does not unify the story of the ascetic so rigidly that all the works have the same plot. The medieval linguistic and literary etiquette allowed the use of “ready” and therefore “better” expressions, which enjoyed this “status” not because they were once used, but because they were used by an authority. Since Christian literary texts had a didactic purpose, enlightened and taught spirituality, the writer was constantly concerned not only with attracting the attention of potential listeners but also with directing it to understanding the presentation in the right sense. To do this, he prepared the reader for the appropriate perception with the help of the phrases and ideas borrowed from authoritative sources; asked the readers to pray, or even to correct his one writing; addressed the audience with certain appeals. In the aesthetic triad, the author – the work – the reader, communicative relations were built on a hierarchical principle. The dominant meaning-generating role was given to the author, who initiated the literary discourse. The second in this hierarchy is the reader whom the author always tried to engage in creative interaction. A medieval literary work is usually an “open system”, which can be composed of “alien” but appropriate authoritative quotes, and which can be changed depending on the aesthetic and ideological preferences of the abstract reader who heard the author’s appeal and also wants to become the author.
The article discusses special conditions of the creative process in medieval literature. So, the attention is focused on the participants of aesthetic activity in the medieval literary process: the author – the work – the reader. The fi rst two categories are described in medieval studies, while the role of the reader is not clearly defi ned yet. The key issue of our research is to comment on the necessary conditions for the creative process and to trace the forms of interaction of the traditionalist author with the reader in medieval Christian literature. In the literary works of this period there was a special relationship between the author – the work – the reader. The author had to adhere to poetic traditionalism at three levels: not to avoid the genre canon; to follow set patterns in the meditation / narrative; to observe the rules of linguistic and literary etiquette. Setting a strategy of literary expression, the genre canon acted as an artistic guide to the author and therefore helped him to satisfy the needs of his audience. The adherence to traditional patterns does not unify the story of the ascetic so rigidly that all the works have the same plot. The medieval linguistic and literary etiquette allowed the use of “ready” and therefore “better” expressions, which enjoyed this “status” not because they were once used, but because they were used by an authority. Since Christian literary texts had a didactic purpose, enlightened and taught spirituality, the writer was constantly concerned not only with attracting the attention of potential listeners but also with directing it to understanding the presentation in the right sense. To do this, he prepared the reader for the appropriate perception with the help of the phrases and ideas borrowed from authoritative sources; asked the readers to pray, or even to correct his one writing; addressed the audience with certain appeals. In the aesthetic triad, the author – the work – the reader, communicative relations were built on a hierarchical principle. The dominant meaning-generating role was given to the author, who initiated the literary discourse. The second in this hierarchy is the reader whom the author always tried to engage in creative interaction. A medieval literary work is usually an “open system”, which can be composed of “alien” but appropriate authoritative quotes, and which can be changed depending on the aesthetic and ideological preferences of the abstract reader who heard the author’s appeal and also wants to become the author.
Опис
Ключові слова
середньовічна література, автор, традиція, читач, рецепція, «відкритий» твір, medieval literature, author, tradition, reader, perception, “open” literary work
Бібліографічний опис
Літературознавчий дискурс від бароко до постмодерну : колективна монографія. – Київ–Люблін–Харків: Майдан, 2020.