成功即失败,失败即成功

Olha Chervinska
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引用次数: 0

摘要

本文从“范畴”的概念出发,概述了“成功”范式的参数。因此,成功被解释为一种本体论现象,作为任何活动的创造性目标。成功的形而上学参数是通过一些额外的概念-标记来概括的:前卫(创新)、历史时间、目标、时机、背景、方法、风格、飞跃、边界、顶峰、胜利、权威,甚至是幸运的巧合。它们都需要遵守自己的标准。作家可能在去世数年甚至数世纪后才获得成功(荷马、但丁、莎士比亚、弗里德里希Hölderlin、拜伦、艾米莉·狄金森、瓦西里·斯图斯)。同样的情况也发生在某些可能与作者疏远的文本上(例如,谢赫拉扎德的童话、骑士小说、乌克兰杜马,这些目前被幻想类型成功地利用了)。这种成功的主题和文本的转换被A. Volkov的TPI学派(上世纪最后25年)记录了下来。其代表一致认为,模仿主要是原创来源的成功生产。参考文学名字的规范圈(例如,由H. Bloom确定的那些),我们观察到缺乏对评估这些作家的共同标准的论证。最有趣的事情可能发生在艺术家的未来,在阴影中,因为成功主要是一个转折点,而不是他或她生命轨迹的结束。成功作为一种特定的心灵情感的净化,实际上是它的毁灭,可以给一部传记画上悲剧性的句号。因此,当结合在一起时,成功和失败似乎是一个重要的二分化合物,是主观自决的最重要的有意杠杆。本文以r.m.为例,探讨了作者对“成功”范式的解释。里尔克的诗歌《旁观者》。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Success as Failure, Failure as Success
The article under studies outlines the parameters of the paradigm “success” in relation to the concept of “category”. Hereby, success is interpreted as an ontological phenomenon, as a creative objective of any activity. The metaphysical parameters of success are outlined through a number of additional concepts-markers: avant-garde (innovation), historical time, goal, conjuncture, context, method, style, leap, boundary, summit, victory, authority, even a lucky coincidence. All of them require compliance with their own criteria. Success can come to authors years and even centuries after their death (Homer, Dante Alighieri, Shakespeare, Friedrich Hölderlin, Byron, Emily Dickinson, Vasyl Stus). The same happens to certain texts that may even be alienated from the author (for example, Scheherazade’s fairy tales, chivalric novels, Ukrainian dumas, which are currently successfully exploited by the genre of fantasy). The transit of such successful themes and texts was recorded by A. Volkov’s school of TPI (last quarter of the previous century). Its representatives agreed that imitation is mainly produced by the success of the original source. Referring to the canonical circle of literary names (for example, those identified by H. Bloom), we observe the lack of argumentation for common criteria for evaluating each of these writers. The most interesting things can happen to an artist in the future, in the shadows, because success is mostly a turning point, not the end of his or her life trajectory. Success as a specific emotional cleansing of the soul, in fact, its devastation, can put a tragic end to a biography. Therefore, when taken together, success and failure appear as an important dichotomous compound, the most essential intentional levers of subjective self-determination. The author’s interpretation of the paradigm of “success” is regarded in this article on the example R.-M. Rilke’s poetic text “The Beholder”.
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