About the Problem of Exposure of Author’s Coding Methods in Works of V. M. Shukshin

Q2 Arts and Humanities
V. Vasiliev
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引用次数: 1

Abstract

The unicity of Shukshin’s oeuvre is that from the middle of 1960s when he is consciously seeking for and invents coding tools of his creations. The author himself has pointed out some methods of «code» creation. He pays attention to the “change of emphasis”, “hints”, “nuances”, things which are said at a glance, cursorily, on parts of text which appear to be secondary. The actual problems, questions, node of the conflict and the conflict itself can be described by Shukshin in one creation, but the extension, comments, answers or the variant of the pay-off are described in another one, which is published many years after. That is why there are a lot of double characters, double episodes, story- lines, which stand in the inter decoding position. So everything that is about author’s code should be considered as the main thing as the author directed to us. The aim of such art strategy is to tell the truth about the time, to state the hate and revolt. This article is about the methods, which Shukshin used, while coding the novels “Director”, “Rhetorical device” and “Order”, and also about clearing up the point of this code.
论舒克辛作品中作者编码方法的暴露问题
舒克申作品的独特性在于,从20世纪60年代中期开始,他就在有意识地寻找和发明自己创作的编码工具。作者自己也指出了一些创建“代码”的方法。他注意“重点的变化”,“暗示”,“细微差别”,那些在文本中看似次要的部分上,一眼就能说出来的东西。Shukshin可以在一个作品中描述实际的问题、问题、冲突的节点和冲突本身,但在另一个作品中描述扩展、评论、答案或回报的变体,这是许多年后出版的。这就是为什么有很多双重人物,双重情节,双重故事线,它们站在相互解码的位置。所以关于作者代码的一切都应该被认为是作者指导我们的主要内容。这种艺术策略的目的在于讲述时代的真相,表达仇恨和反抗。本文对舒克信在小说“导演”、“修辞手法”和“秩序”三部分的编码方法进行了探讨,并对其编码要点进行了梳理。
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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来源期刊
Kritika i Semiotika
Kritika i Semiotika Arts and Humanities-Literature and Literary Theory
CiteScore
0.30
自引率
0.00%
发文量
15
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