了不起的莎士比亚:人物在接受方面的情感共焦性

A. Tychinina, D. Paranyuk
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In this way, the specifics of including the “fantasy” characters of Shakespeare’s plays into the intertextual space of science fiction has been analyzed. Much attention has been paid to the figure of William Shakespeare as a character in literary texts by American science fiction writer Clifford Simak (1904–1988) “The Goblin Reservation” (1968) and “Shakespeare’s Planet” (1976). Another emphasis has been laid on the peculiarities of synthesizing science fiction and fantasy that form the so-called “simulative hyperreality” by means of combining several models of personosphere – fairy, fantastic, fantasy, mystical, and other – in the creative activities of C. Simak. They function in accordance with the principle of combining the image fields, whose imagological vectors are constantly intersecting with each other. What is more, the personosphere has been attracted not by the protagonist, but by some confocal figure (a sage or a sentinel, according to C. 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引用次数: 1

摘要

本文以鲍德里亚关于超现实时代开端为“模拟世界”的方法论为基础,以“颠倒想象”的方式来确证科幻视界的扩张。后一种概念主要以虚构世界的相互渗透为标志,这些虚构世界只有在与新体裁形式的联系中才能从系谱上揭示出来。在科幻小说叙事的“超真实的冷漠”中,特别强调的是互文关系。这篇文章更新了科幻小说和奇幻小说中人物圈互文潜力的问题。托多罗夫的作品预设了“读者主动融入人物世界”。通过这种方式,分析了将莎士比亚戏剧中的“幻想”人物纳入科幻互文空间的具体问题。美国科幻作家克利福德·西马克(1904-1988)、《地精保留区》(1968)和《莎士比亚的星球》(1976)等文学作品中,威廉·莎士比亚的形象受到了广泛关注。另一个重点是在C. Simak的创作活动中,通过结合仙女、梦幻、幻想、神秘等几种人格空间模型,将科幻小说和幻想结合起来,形成所谓的“模拟超现实”。它们按照图像场组合的原理工作,图像场的成像向量不断地相互相交。更重要的是,人格场并不是被主人公所吸引,而是被一些共聚焦的人物(根据荣格的说法,是圣人或哨兵)所吸引,他们绝对中立,但却有一个可靠的“观点”,从而赢得了读者的信任。在这种情况下,W.莎士比亚被认为是一个共聚焦的,同时也是一个充满激情的人物,因为他被呈现为一个富有想象力的人物圈的核心,而不仅仅是一个互文的幻影(根据R. Barthes)或一个atroponimic典故。因此,莎士比亚对科幻小说的这种“渗透”可以被认为是一种重要的互文意识形态(根据J. Kristeva)。进入其他人物的世界,他的激情状态推开了人圈的中心,从而产生了情节事件的发展。这就是为什么这位美国作家提出的时间点版本(现实、奇幻、幻想甚至神秘的人物和平共处),对于莎士比亚的永恒形象来说,显得相当合乎逻辑,其固有的韵律本质能够适应任何语境,讽刺地反驳了所谓的“莎士比亚的问题”。所研究的文章还指出了莎士比亚与一个神秘的拟人化人物“精神”的相互关系,其“痕迹”(在J.德里达的解释中)经常“碰到”莎士比亚的形象。因此,我们可以得出这样的结论:莎士比亚的内在存在加强了文学文本的完整性,并谴责了其在人格领域中的自卑功能,而在接受方面,它截获了读者的注意力,转移了小说中其余的想象中心。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Fantastic Shakespeare: Character’s Passionary Confocality in the Aspect of Reception
Based on J. Baudrillard’s methodology on the beginning of the era of hyperreality as the “world of simulation”, the article under discussion substantiates the expansion of science fiction horizons by means of “reversing the imaginary”. The latter notion is mostly marked with the inter-penetration of fictional worlds, which are genealogically revealed only in their connection with new genre forms. Particular emphasis in the “hyperreal indifference” of science fiction narratives has been laid on intertextual ties. The article updates the issue of intertextual potential of the personosphere of science fiction and fantasy, which, according to Tz. Todorov, presupposes “reader’s active integration into the world of characters”. In this way, the specifics of including the “fantasy” characters of Shakespeare’s plays into the intertextual space of science fiction has been analyzed. Much attention has been paid to the figure of William Shakespeare as a character in literary texts by American science fiction writer Clifford Simak (1904–1988) “The Goblin Reservation” (1968) and “Shakespeare’s Planet” (1976). Another emphasis has been laid on the peculiarities of synthesizing science fiction and fantasy that form the so-called “simulative hyperreality” by means of combining several models of personosphere – fairy, fantastic, fantasy, mystical, and other – in the creative activities of C. Simak. They function in accordance with the principle of combining the image fields, whose imagological vectors are constantly intersecting with each other. What is more, the personosphere has been attracted not by the protagonist, but by some confocal figure (a sage or a sentinel, according to C. Jung), who is absolutely neutral, however has a reliable “point of view”, thus winning reader’s receptive trust. In this case, W. Shakespeare is regarded as a confocal and, at the same time, passionary character, for he is presented as an imaginative nucleus of a personosphere, and not only as an intertextual phantasm (according to R. Barthes) or an atroponimic allusion. Therefore, this “penetration” of Shakespeare into science fiction may be considered as an essential intertextual ideologeme (according to J. Kristeva). Entering the world of other characters, his passionary status pushes away the center of the personosphere, thus generating the development of plot events. This is why the chronotope version, suggested by the American writer (whereby realistic, fantastic, fantasy and even mystical characters coexist quite peacefully), stands out as rather logical for Shakespeare’s timeless image, whose idiorhythmic nature is able to fit any context, ironically refuting the so-called “Shakespeare’s Question”. The article under studies also points out Shakespeare’s interrelations with a mystical anthropomorphic character Spirit, whose “traces” (in J. Derrida’s interpretation) frequently “run into” the figure of Shakespeare. Hence, it might be concluded that Shakespeare’s immanent presence strengthens the integrity of a literary text, as well as denounces the inferiority of its function in the personosphere, whereas in the aspect of reception, it intercepts the readers’ attention, shifting away the rest of the imaginative centers of the novel.
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