乌克兰卡的《楚扎的妻子乔安娜》是乌克兰现代文学中一种新的传播模式

Q4 Arts and Humanities
Olena Haleta
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引用次数: 0

摘要

本文考察了乌克兰现代文学史上具有划时代意义的人物之一、列西亚·乌克兰卡的戏剧《楚扎的妻子乔安娜》(1909)。这部作品被认为是创造一种新的交流模式,在乌克兰文学中引入开放作品的诗学,并在作家和观众之间建立新关系的一个例子。这部作品的中心形象,以及相应的行为模式和世界观的不完整性,导致了没有一个情节结局,这将是冲突的最终解决方案。通过这种方式,乌克兰卡建立了一种新的阅读实践,而不仅仅局限于体验作者作品的“生活世界”。正如对文本历史的引用所表明的那样,它符合作者的有意识的指示,作品的构成也与之一致:事件发生在一个特殊的时期,当时前一个故事已经结束,新的故事还没有开始(在基督被钉十字架之后,但不是在复活之后)。同时,作品的空间组织强调读者的地位,使他们从感兴趣的见证者变成积极的探索者。乔安娜的例子更能说明问题,因为它破坏了小说在20世纪文学中的霸权,并引起了人们对与特定文学状况相对应的文学形式的关注,尤其是“被淹没的人口群体”的文学形式(弗兰克·奥康纳)。Lesya Ukrainka在单独作品层面上引入的变化也是作为作者和读者之间交流方式的类型内部的变化;这也是文学作为一种特定类型的审美体验,以及作为一种文化上既定的对特定类型的情境的认知和修辞反应方式的概念的改变。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Olena Haleta, Joanna the Wife of Chuza by Lesya Ukrainka as a New Model of Communication in Modern Ukrainian Literature [Joanna, żona Chuzy Lesi Ukrainki jako nowy model komunikacji w modernistycznej literaturze ukraińskiej]re
This article examines the drama Joanna the Wife of Chuza (1909) by Lesya Ukrainka, who is one of the defining figures in the history of modern Ukrainian literature. This work is considered an example  of creating a new communicative model, introducing the poetics of an open work in the Ukrainian literature and establishing a new relationship between writer and audience. The incompleteness of the central image of this work, and therefore of the corresponding behavioral model and worldview, leads to the absence of a plot ending which would be the final solution to the conflict. In this way, Ukrainka establishes a new reading practice, not limited to experiencing the ‘life world’ of the author’s work. As reference to the history of thetext shows, it corresponds to the author’s conscious instruction, with which the composition of the work agrees: the events take place in a special period of time, when the previous story has already ended and the new one has not yet begun (after the crucifixion of Christ, but not after the resurrection). At the same time, the spatial organization of the work emphasizes the position of readers, turning them from interested witnesses to active searchers. The example of Joanna is all the more telling because it undermines the hegemony of the novel in twentieth-century literature and draws attention to literary forms that correspond to a particular literary situation, especially that of ‘submerged population groups’ (Frank O’Connor). The change introduced by Lesya Ukrainka at the level of a separate work is also a change within the genre as a way of communicating between an author and a reader; it is also a change in the very notion of literature as a certain type of aesthetic experience and as a culturally established way of cognitive and rhetorical response to a certain type of situation.
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来源期刊
Przestrzenie Teorii
Przestrzenie Teorii Arts and Humanities-Literature and Literary Theory
CiteScore
0.10
自引率
0.00%
发文量
1
审稿时长
16 weeks
期刊介绍: “Przestrzenie Teorii” is a theoretical and literary journal of scholarly criticism. The journal is peer-reviewed and reflects the research interests of authors from across a wide range of universities in Poland, as well as presents translations of texts of distinguished foreign theoreticians in literature. The journal undertakes to present key and essential problems in the contemporary criticism and theory of literature, and provides a platform for a transdisciplinary dialogue. The published texts, presented in diversified methodological approach, address both aesthetical and poetical problems in different areas of research, encompassing theatre and film, but also drama and art (in particular, visual and performative art forms). The journal is characterized by its interdiciplinary approach, participates in the present-day scholarly discourse in the philosophy of science and attempts to effect its policy of fostering the polyphonic form of literary studies in drama. “Przestrzenie Teorii” is published semi-annually.
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