Тип публикации: статья из журнала
Год издания: 2023
Идентификатор DOI: 10.17223/24099554/20/16
Ключевые слова: Ivan Bunin, travelogue The Temple of the Sun (The Shadow of a Bird), orientalism, Textual Criticism, narratology, style, И.А. Бунин, травелог «Храм Солнца» («Тень Птицы»), ориентализм, текстология, нарратология, стиль
Аннотация: Статья завершает созданный авторами цикл работ, посвященных текстологии бунинского травелога «Храм Солнца», известного по советским изданиям как «Тень Птицы». Впервые системно рассмотрена так называемая мелкая правка (лексика, словообразование, синтаксис и т.д.), никогда прежде не привлекавшая внимание исследователей «путевых поэм»Показать полностью. Основной тезис статьи заключается в том, что «технические» коррективы почти всегда у Бунина семантизированы, осложнены масштабным смысловым заданием. Большая часть приведенных наблюдений позволяет увидеть с годами усиливавшееся стремление художника приблизить Восток непосредственному восприятию читателя, подчинить словесное описание целям наглядного изображения. Авторы заявляют об отсутствии конфликта интересов. The present article completes a cycle of works the authors wrote and dedicated to the textual criticism of Bunin’s travelogue The Temple of the Sun known in Soviet editions as The Shadow of a Bird. The pioneering role of this article is provided by a systematic study of so-called small corrections (lexis, word formation, syntax) that never attracted the attention of scholars who studied “travel poems”. The main notion argued in this work is that Bunin’s “technical” corrections are almost always meaningful, supplied with a significant notional task. Most of observations provided here help to see how, as years went by, the author sought to bring the East closer to readers’ immediate perception, to subjugate his verbal descriptions to purposes of visual representation. In this article, all Bunin’s alterations were distributed into several categories: 1. The “sublimation” of lexis. Old-Church Slavonic forms, pathetics. 2. Word formation and collocations. 3. Tropes, literary citations. 3. Generic verbal indicators (elegy). 4. Narratology. Syntax and the problem of narrator. Three redactions of the travelogue reflected, consequently, in the 1915 Collection of Works, the Paris 1931 edition of The Shadow of a Bird, and the Berlin 19341936 Collection of Works, provided a source database for this study. Within the framework of the typology presented above, a number of tendencies which contributed to the formation of mature Bunin’s poetics were revealed. The alterations that refer to the first type (“storozha - strazhi”, “stolby - stolpy”) signify the notional sublimation by means of Slavization of the initial Russian lexical form - a tendency well-known from the Russian poetry since the 18th-century Classicism when Old-Church Slavonic lexis of biblical and liturgical texts were functionally rethought as a “high style”, the system of solemn rhetorical poeticisms. Howeve,r in the realities of the 20th century, this analogy seems to be inappropriate since Bunin simultaneously, as the analysis of his collocations shows, aimed away of the high style of symbolists who tended to compose complex adjectives and adverbs. Thus, Bunin’s literary and aesthetic maneuvers do not match the straightforward logic of evolution (in terms of archaization, for instance). Another sample of distancing from the pathetic modernist style is the reduction and transformation of tropes - for example, the author’s counteraction against obsessive metaphors that crept in the text from the beginning of its history. At the same time, Bunin reduces the quantity of overtly literary citations and reminiscences muting the speaking subject’s voice in this way and striving not to “convey” the impressions but rather to create an “iconic” demonstration of Oriental realities according to the principle “as is”. A predictable step on this way is the author’s resistance to the traces of the genre, persisted in the text for a long time. Whereas the travelogue as a genre provided a general framework for the chronotope of “travel poems”, the text’s definite plot and motif constructs date back to a number of generic traditions and aesthetic systems. Thus, the Sentimentalist and Romantic layers of poetics are of particular interest. Both encourage the elegy’s productiveness - “melancholic” musings of the lyrical subject contemplating ancient ruins. The persistent usage of the very word “melancholy” connects The Temple of the Sun with a number of sources - from Vasily Zhukovsky to Pierre Loti. The analysis of the narrating subject continues in observations over syntax. Bunin’s intention to transform sentences supplied with conjunctions “and” and “but” helps him to reach the depiction of an object as if out of any context, within a single cinematographic shot. The authors declare no conflicts of interests.
Журнал: Имагология и компаративистика
Выпуск журнала: №20
Номера страниц: 315-350
ISSN журнала: 24099554
Место издания: Томск
Издатель: Национальный исследовательский Томский государственный университет