THE PRINCIPLE OF "WEAK BOUNDARY" OF THE TEXT IN THE RUSSIAN LITERATURE OF XVIII CENTURY (ON THE MATERIAL OF M.V. LOMONOSOV'S WORKS) |
| 1 | |
| 2020 |
| XVIII CENTURY |
| scientific article | 82-142 | ||
| 7-18 | Г.Р. Державин, жанр, заглавие, М.В. Ломоносов, метапоэтическая каузальность, ода, параэстетическая каузальность, русская поэзия XVIII века, слабая граница текста, G.R. Derzhavin, genre, title, M.V. Lomonosov, metapoetic causality, ode, para aesthetic causality, XVIII century Russian poetry, weak text boundary |
| The author of the article uses the example of the solemn ode of the XVIII century to demonstrate a very peculiar feature of Russian literature - its distinctive attachment to the external cause in terms of the aesthetic unity of the text, the dominance of pragmatism over the autonomy of artistic intentions. The concept of "weak boundary" of the text is used by the author as one of the examples of paraaesthetic causality - that is when the text exceeds the "situation," the event that triggered the appearance of the text, which in turn is tailored to the personality of its consumer, who becomes an explicit or implicit recipient of the work. This highlights a specific feature of the literature of the XVIII century: these categories have a much greater impact on its development than such classic categories as the reader, writer, and the work itself. The "weak boundary" emphasizes the dominant audio-kinesthetic nature of the text, which is confirmed by the specific choice of the relevant functional elements of Church Slavonic, as well as by the title of the odic work, which almost becomes its center when it calls for the totality of the depicted world and unfolds a lyrical foundation for ode. The usual categorical apparatus of poetics cannot be effective for understanding the authentic status of an XVIII century literary text, as it inevitably generates an anachronistic context. The features of the literature of that time have not been critically matched with the modern reflection of the essence of the literary process, which took its usual forms almost at the turn of the XIX-XX centuries. That is why the extrapolation of such a reflexive process to the earlier and initial stages of Russian culture in its Western European version correlates more with the history of humanitarian methodology than with the material to which it can be applied. Therefore, the main conceptual premise of this article is not to supplement the already existing concepts of literary stadiality but to paradigmatically shift the methodological foundations, identifying new promising paths in them. |
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