“寄存器移位者”的创造性冷漠——格雷戈尔·冯·雷佐里

Tetiana Basniak
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引用次数: 1

摘要

文章的主体接着强调了格雷戈尔·冯·雷佐里的奢侈、奢华和独特的风格与他天生的精致的讽刺和怀疑,有时讽刺交织在一起的问题,这可以从他对社会规范和趋势的漠不关心的立场中推断出来。在此背景下,最具表现力和最杰出的是雷佐里的小说《俄狄浦斯在斯大林格勒大胜》(1954)和《在我自己的足迹上》(1997),这两部小说从时间范畴的角度反映了作者对自传体神话的雄心勃勃的冒险,并揭示了艺术家的消极经历如何转化为创造性的冷漠。对于我们的研究来说,特别有价值的是永恒的主题和在两个不同环境中创造的意识形态互文性的融合,并由重大的历史事件引发。雷佐里对自我认同的反讽是后现代诗学的一个显著特征,也是解读作者个人经历的最关键主题之一。作者将童年对故土的记忆转化为富有想象力的艺术风格,成功地创造了一个神话般的主题,源自作者个人的神话(他的自传体小说《切尔诺波尔的一只银鼠》就是一个很好的例子)。应该明确指出的是,无处不在的反讽和自我反讽是作者风格的关键特征。在后现代主义艺术之前,雷佐里的小说《俄狄浦斯在斯大林格勒》预示了他的观念原则、哲学基础和世界观。随着时间的推移,他的小说《在我自己的痕迹上》继承了《俄狄浦斯》的精髓。总而言之,雷佐里童年的神秘经历在他的小说中被保存下来,就像最珍贵的宝藏一样,揭示了他幼稚脆弱的灵魂,寻求自己的认可。要理解雷佐里的哲学,我们必须认识到作者的关键概念——时间范畴,这使他认识到自己是“Epochenverschlepper”:在他的小说中,时间线是模糊的,在某种程度上变得毫无意义,并在功能上代表了人类历史的连续性。因此,在过去、现在和不可预测的未来,一切似乎都摇摇欲坠、不稳定的时期,作者敢于深入探究人类情感和认识自我的心理。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Creative Indifference of a “Shifter of Registers” (Epochenverschleppe) – Gregor Von Rezzori
The body of the article goes on to highlight the problem of Gregor von Rezzori’s extravagant, lavish and idiosyncratic style entwined with his innate exquisite irony and scepticism, sometimes sarcasm, which can be inferred from his stance of indifference to social norms and trends.In the given context, the most expressive and illustrious are Rezzori’s novels “Oedipus Prevails at Stalingrad” (1954) and “On My Own Traces” (1997), which reflect the author’s ambitious venture into his autobiographical mythologizing from a perspective of the category of time and shed the light on how the artist’s negative experience can be turned into creative indifference. Of particular value, for our research, is the convergence of timeless themes and the ideological intertextuality created in two different surroundings, and provoked by fateful historical events. Rezzori’s irony of his own search for self-identity, a distinguishing feature for postmodern poetics, is one of the most critical topics to perceive the author’s personal experience. Transforming his childhood memories of his lost homeland into the imaginative artistic style, the author succeeded in creating a mythical topos, derived from the personal author’s mythologies (his autobiographical fiction “An Ermine in Czernopol” serves as an excellent example). It should be articulated, that pervasive irony and self-irony are key features of the author’s style. With his novel “Oedipus at Stalingrad”, Rezzori prior to postmodernism in art, foreshadowed his conceptual principles, philosophical fundamentals and worldview. In time, his fiction “On My Own Traces” picked up the threads of the ideas of “Oedipus” quintessence. To conclude, Rezzori’s mystical experiences of his childhood are preserved in his fiction like the most precious treasures that reveal the childish fragile soul seeking for its recognition. To grasp Rezzori’s philosophy, we should realize the author’s key concept – the category of time, which enables him to recognize himself as “Epochenverschlepper”: in his fiction, time lines are blurred, to some extent they become meaningless and functionally typify human history continuity. Consequently, in periods when everything seems rickety and unsettled: the past, the present, and the unpredictable future, the author dares to delve into in-depth psychology of human feelings and knowing thy-self.
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