The article examines the peculiarities of comparing the transcultural symbol of the blue flower with a palimpsest reading, which allows not only to identify additional connotations, but also to discover the formula "virgin-flower" attributed to the era of syncretism (A.N. Veselovsky). Based on the material of the works of Russian culture of the early XX century, the images of lilies and night violets are considered as variations of the transcultural symbol of the blue flower. As illustrative material, the poems by I. Annensky "The Second Painful Sonnet" and N. Gumilev "I am a conquistador in an iron shell" are given; the poem by A. The block "Night Violet", M. Vrubel's panel 34 "Princess of Dreams", A. Kuprin's story "Night Violet". The interrelation of the blue color and lilies with the image of the Virgin Mary and additional connotations that the flora image has: royal power, chastity and death are also considered. The development and strengthening of these connotations in the French literature of the XIX century is shown by the example of the works of A. Rimbaud, S. Mallarmet, A. de Lamartine and O. Balzac. The article also reveals the concept of transculture (M.N. Epstein), which assumes the position of "exclusion" and "non-necessity" for the perception of this phenomenon, and the concept of a transcultural symbol. The transcultural symbol of the blue flower is genetically related to the era of syncretism, has a pronounced color lexeme, refers to elementary symbols, which allows it to have variations and readings in national cultures. However, each of these incarnations must be considered as a variation, and not as a reception, since it is palimpsest relationships that allow for an independent, meaningful, new work
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