CARMEN PERPETUUM: CHAOS AND METAMORPHOSIS

K. Spassova, Vassil Vidinsky, M. Kalinova
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Abstract

Ovid's poem "Metamorphoses" forms its own literary and philosophical concept of metamorphosis, in which every collapse of forms is only a step in the process of their transformation. The most important aspect is that chaos is twofold: it is both material disorganization and an immanent force. The article points out that not only the primal state is chaotic, but chaos is present in the catastrophe of all forms, it is in the absence of a slit or a gap, which pushes matter to mix and confuses itself incessantly. The gap between the separated moments (narrative, motifs, or figurative interruptions) can be fulfilled in two ways. The first is merely receptive and universal (the role of the reader); the second one is metapoetic. It is in the meta-level of the creation of the concrete work itself – the self-reflexive indication that "Metamorphosis" is an artificial fusion, which assembles heterogenic elements in one texture. And although Ovid introduces the story of the plastic transformation of new images, forms and bodies, the very force of change is chaotic – it creates new links and new forms. The episodes with the catastrophe of the bodies are a crystallization of the chaos in the order of forms. Dixere chaos: nothing dies, it just mingles or blends and so it can't end for good.
永远的卡门:混乱和变形
奥维德的诗歌《变形记》形成了自己的文学和哲学的变形概念,其中形式的每一次崩溃都只是其转变过程中的一个步骤。最重要的方面是混沌是双重的:它既是物质上的混乱,又是一种内在的力量。文章指出,混沌不仅存在于原始状态,而且存在于一切形态的突变中,存在于没有缝隙或缝隙的状态中,这种缝隙或缝隙促使物质不断地混合和混淆。分隔时刻(叙述、母题或比喻性中断)之间的间隙可以通过两种方式来填补。前者仅仅是接受的和普遍的(读者的角色);第二个是元诗歌。它是在具体作品本身创造的元层面上——自我反思的表明,“变形”是一种人为的融合,它将异质元素组装在一个纹理中。尽管奥维德介绍了新形象、形式和身体的可塑性转变的故事,但变化的力量本身是混乱的——它创造了新的联系和新的形式。身体灾难的情节是形式秩序混乱的结晶。不同的混乱:没有什么会死亡,它只是混合或混合,所以它不会永远结束。
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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