THE ASPIRATION FOR INTERNAL DIALOGUE AS LYRICAL SUBJECTS’ SELF-REFLECTION FORM IN WORKS OF V. TSOI AND I. KORMIL’TSEV

Z. Stankovich
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引用次数: 1

Abstract

The article examines the issue of internal dialogue possibility as a way to oneself in the form of literary self-reflection on the material of V. Tsoi’s and I. Kormil’tsev’s works. For that purpose, a comparative analysis of the songs’ texts “Ya – asfal’t” by V. Tsoi and “Nikomunikabelnost” by I. Kormil’tsev is carried out. The lyrical subjects of both authors use such “auxiliary means” as letter (Tsoi) and telephone (Kormil’tsev) in order to reach internal dialog. It is revealed that those means of communication and contact with oneself create an effect of maximal defamiliarization, the ability to look at oneself as at different subject and thus enter the space of self-reflection which is a characteristic feature of Russian rock poetry’s authors worldview. Both poets somehow raise the issue of loneliness. The lyrical subject of Tsoi is closed in his own world where he plays various life roles but at the same time he thinks about the possibility of access to other people. Kormil’tsev’s text, on the contrary, presents excessive communication with other individuals which ultimately hampers the internal dialogue of the lyrical subject. Hence the hero gets into a tragic situation: he has no time and opportunity to communicate with himself but also no desire to open his soul to abstract interlocutors. The self-reflection attempt in the work of Tsoi can be considered largely successful, while the lyrical subject of Kormil’tsev despite repeated efforts can not establish contact with himself.
蔡国强与柯密采夫作品中作为抒情主体自我反思形式的内心对话诉求
本文以蔡氏和柯密采夫的作品为素材,以文学自我反思的形式,探讨内在对话可能性作为一种自我途径的问题。为此,本文对V. Tsoi的《Ya - asfal ' t》和I. Kormil ' tsev的《Nikomunikabelnost》这两首歌的歌词进行了比较分析。两位作者的抒情主体都使用书信、电话等“辅助手段”来达到内心对话。这些与自己的交流和接触的方式产生了一种最大程度的陌生化效果,使人们能够把自己看作不同的主体,从而进入自我反思的空间,这是俄罗斯摇滚诗歌作者的世界观的一个特征。两位诗人都在某种程度上提出了孤独的问题。蔡氏的抒情主题是封闭在自己的世界里,他扮演着各种各样的生活角色,但同时他也在思考与他人接触的可能性。相反,科尔米尔采夫的文本呈现出与其他个体的过度交流,最终阻碍了抒情主体的内部对话。因此,主人公陷入了一种悲剧的境地:他既没有时间和机会与自己交流,也没有意愿向抽象的对话者敞开心扉。蔡氏作品中的自我反思尝试在很大程度上可以说是成功的,而柯米尔采夫的抒情主体尽管一再努力,却无法与自己建立联系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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