For anyone cultural phenomenon characterized by sharp and contradictory changes and transformations during the turn of the century. This period intensifies global problems being, and at the same time creates new, more pressing questions.
Beginning of a new era
Often, those issues that were perceived as a tradition and were already considered eternal are exacerbated, then the culture of the new time makes people look at them in a new way. Therefore, the study of literature turning points give special attention and carefully trace its continuity and the trends that influenced it.
Literature stands out in particular Silver Age, full of dramatic tension and artistic variety. It was this period that opened new era in Russian literature and in Russian art. But literature has managed to preserve a lot, and reveal some themes and traditions even more fully and more fundamentally.
The essence of the succession problem
The basis of succession literature XIX XX centuries have become humanistic traditions that have always been feature Russian classical literature. The ideological and ideological elements of the Silver Age were based on the fundamental achievements of realism of the last century.
But at the same time literature early XIX centuries denied crude materialism and a kind of nihilism. which was inherent in several generations of the last century. Literary figures focused on " pure art and presented traditional philosophical, moral and religious concepts in a completely new way.
Naturally, the further development of the literature of the 20th century was influenced by the legacy of literary trends that arose at the turn of the century. After all, in such a critical period, attention and interest in the eternal and unshakable, and in the awareness of one's time from such positions, always increases.
The key moment for the continuity of literature was the religious quest, which still occupied an important part in literary process, but now they were given a more symbolic, and even mystical image. Literature is directly related to history, it not only reflects it, it fundamentally comprehends it.
New understanding of reality
The abundance and variety of historical events, dramatic and sometimes completely unpredictable, left a big imprint on the formation of the general literary process of these centuries. But if in the 19th century reality was comprehended by active humanistic traditions, then the literature of the 20th century was forced to constantly change these humanistic values.
But despite this, the consistent continuity of humanism and historicism is preserved, both in Russian and world art. Aesthetic and moral values retained their influence and still occupied important place for writers, only now they have been transformed into slightly different categories.
MODULE IV
HISTORICAL NATURE
ART OF THE WORD: CONTINUITY
Artistic Realities of the Imaginary literary worlds are outside the historical reality of life. However, the texts that carry them, on the contrary, completely belong to history: the “small time” of the era of its origin, and the true masterpieces belong to the “big time” of national and universal culture.
Literature – with a historical look at it - this is not a chronological series of monuments of literature, not " bookshelf". This is special field of culture , whose carriers are not only writers, but also readers. This is the area of a specific kind of activity called art writing and artistic perception.
Artistic writing, as we already know, is communicative(and consequently semiotic, i.e. text-forming) activity aesthetic(i.e. emotional-reflective) nature. Such is the theoretical essence of literature.
The process of changes, transformations in the field of this type of activity (once they wrote and read differently than they write and read now) is history of literature. Otherwise it is called literary process - part of the general historical process and something fundamentally different than creative process writing literary text.
The two extremes of the historical approach to literature and to social life: event doctrine(history is a chain of unique events) and procedural doctrine(history is a deeply natural process, not dependent on single events, which constitute only the “foam of history”).
To understand literature as historically changing, evolving neither of these extreme doctrines is suitable for the field of culture.
The truly creative act of a writer is unique; event. The work born of this act, by its very appearance, changes literature.
However, in none of the independently developing national literatures, the usual order of succession for us was violated. literary periods classicism - sentimentalism - romanticism - realism ... Here, undoubtedly, lies a certain internal, mandatory pattern.
The historical reality itself is internally contradictory. The subject of historical knowledge - human presence in the world(as a kind, and not as a single "I"). And man as a key phenomenon of history is a dual phenomenon:
a) it is a natural phenomenon of nature, which is a factor of procedurality;
b) it is a free (self-determined in its individuality) phenomenon of the spirit (consciousness) - a factor of eventfulness.
That's why complementarity of procedural and eventfulness (natural and unprecedented) is a fundamental property of historical reality, every smallest "quantum" of historical experience, which is more or less eventful and at the same time more or less procedural. These aspects of historical existence are in dynamic balance, which means the following: any history is a chain of events, but not random, but procedurally regular. Events that do not correspond to the general pattern of development remain without consequences; corresponding to it - accelerate, deepen the natural process.
Main events literary history- works of art: their emergence and entry into culture. Each creative act of a writer is a kind of “test of evolution” (sometimes unsuccessful, dead end) of literature as a kind of activity and as a field of culture. With each significant creative event, literature to a greater or lesser extent, but changes.
The literary process is historical connection between texts (like a mycelium between mushrooms, which is their true life, but hidden from the observer). The history of literature is intertextual - i.e. happening between texts - evolution of artistic writing.
The main factors ( driving forces) of the literary process are:
innovation(innovative search for the artist, originality);
continuity(relation to tradition);
stadiality(regular sequence of stages of development);
social situation(circumstances of general historical life).
Such is the nature of literature as a historical reality. She is riddled with "mushroom" intertextual connections studied no longer by the theory of literature, but by another area of literary science: the HISTORY OF LITERATURE.
Literary history
as a scientific discipline
Consideration literary works as closed in itself wholeness (aesthetically completed imaginary worlds) and the extremely ordered masterpieces of artistic writing (texts) manifesting these wholeness is the competence of literary theory. Whereas for the history of literature any work open, it is inalienable link literary process, connected with many other works and non-literary factors. Here the focus is on the biographical figure of the Writer, and not on the theoretical category of the Author.
If the activity of the professional reader as a literary theorist consists in analysis And typologies the brightest literary events(masterpieces), then as a literary historian he is called upon to deal with factography (collection and systematization of individual facts) and explanation the emergence of literary texts as links of the literary process.
Historical explanation involves the setting of facts, in particular, literary facts - texts - in certain contexts.
Contexts of "small" historical time:
sociopolitical;
socioeconomic;
sociocultural;
biographical(social circumstances and psychological characteristics of the writer).
At school, the biographical context is often given exaggerated attention. Meanwhile, this is a narrow, individual-personal circle within the general historical context, for the most part the least significant for elucidating the literary process.
Contexts of the "great" historical time:
trans-historical context of tradition (diachronic, successive connections of literary texts);
stadial-historical the context of the era steps literary evolution (synchronous connections of literary texts generated by their common historical situation).
CONTINUITY and STADIATION are the fundamental characteristics of the literary process, which form the core of comparative problems.
Comparative studies – area of comparative historical knowledge. Comparison of the development trajectories of two or more national cultures, separated in time and/or space, gives such knowledge that chronological coverage cannot give.
Comparativeism- not a cognitive "reception" of comparison, but special way understanding of history. This is special scientific strategy humanitarian (historical) thinking - similar to synergetics in the natural sciences, "avoiding a dramatic alternative between the blind laws and arbitrary events", paving the middle path "between two opposite pictures - a deterministic world (lawful processes – V.T.) and an arbitrary world of pure events"(IlyaPrigozhin).
In Russia, the founder of comparativism was Alexander Nikolaevich Veselovsky. Opening the Department of General Literature at St. Petersburg University in 1870, in his introductory lecture “On the Method and Tasks of the History of Literature as a Science,” he proposed the “comparative method” as “the development of the historical, the same historical method, only accelerated, repeated in parallel rows in the forms achieve the fullest possible generalization. Comparative identification, on the one hand, "parallel historical series", whose parallelism is stadiality historical process, and on the other "Boundaries of Tradition in the Act of Personal Creativity"(i.e. historical continuity) led Veselovsky to the creation of an extremely promising and relevant doctrine for modern philology, called "historical poetics".
Continuity of the literary process
The creative process of the writer proceeds in tension between the impulse of personal originality necessary for art and the equally necessary general cultural impulse of conformity with the experience accumulated by the culture of artistic writing and reading. The dialectic of the creative act is such that the work arises every time as resultant innovation and continuity.
The art of the word is a communicative-semiotic activity, one of the most important languages culture. In the development of any language, there is a necessary inhibition of development, a necessary inertia, which ensures the preservation of the language in the state of its communicative suitability.
In the field of literature, this kind of inertia is called TRADITION. This intersubjective experience of artistic writing.
The literary tradition is not only a brake on creative innovation, but at the same time premise creativity. In relation to tradition, not only imitative following is possible, but also the realization of potential possibilities hidden in it, the transformation of established norms or a parodic repulsion from them.
Cultural, in particular literary, tradition is analogous to biological heredity. Both are forms of evolutionary succession.
The "genetic fund" of intertextual connections of literary continuity consists of:
genres(invariant varieties of the organization of a literary text as an integral statement) and stable genre forms;
mythopoetics(the role of the "world tree", cumulative, cyclical, liminal protoplots, mythologized luminaries, elements, natural cycles, etc.);
topic(traditional plots, motifs, character types, themes);
pathos(aesthetic modalities);
speech forms artistic writing (composition, style, rhythm), in particular, stylization.
Leading factor literary tradition is genre continuity: " genre memory » (Bakhtin) as historically productive way of organizing text.
Similar information.
Continuity in literature
connection of modern literature with previous periods of its development, with the literature of past eras.
Other associations: innovation and tradition in literature
"IN artistic process Tradition finds true and fruitful continuation not in epigonism, but in continuity, the main creative factor of which is innovation" (Yu.B. Borev).
Terminological dictionary-thesaurus on literary criticism. From allegory to iambic. - M.: Flinta, Nauka. N.Yu. Rusova. 2004
See what "continuity in literature" is in other dictionaries:
TRADITION AND INNOVATION IN LITERATURE- TRADITION AND INNOVATION IN LITERATURE, concepts that characterize continuity and renewal in the literary process, the ratio in it between the inherited and the newly created. Tradition (T.) (from Latin traditio transmission, tradition) is ... ... Literary encyclopedic Dictionary
- (from lat. novator updater and traditio transfer). Literature is characterized by both the enrichment of artistic creativity with new themes, ideas, characters, techniques and means, as well as the desire to consolidate and pass on to the next generations of writers their own ... Terminological dictionary-thesaurus on literary criticism
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extra people- "EXTRA PEOPLE" designation of the whole category literary images. It entered the circulation of Russian literal speech simultaneously with such popular works by Turgenev as “Rudin”, “The Noble Nest”, etc. (“The Diary of a Superfluous Man” appeared in 1850). ... ... Literary Encyclopedia
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Books
- Golden Dream of the Soul: On Russian Literature at the Turn of the 19th-20th Centuries. , Smirnova Lyudmila Alekseevna. This book is the last unfinished work famous literary critic Lyudmila Alekseevna Smirnova. Considering Russian literature of the XIX - early XX centuries. like a living unity, the author traces… Buy for 619 UAH (Ukraine only)
- Golden dream of the soul. On Russian literature at the turn of the 19th-20th centuries. , Smirnova Lyudmila Alekseevna. This book is the last, unfinished work of the famous literary critic Lyudmila Alekseevna Smirnova (1927-2008). Considering Russian literature of the XIX - early XX centuries. as a living unity, the author...
Continuity
Heredity is an objective pattern in the development of society, material and spiritual culture. "Poems of Homer," The Divine Comedy"Dante, Shakespeare's dramas," Faust "Goethe," Evgeny Onegin "A. Pushkin," War and Peace "Tolstoy - this, - notes A. Bushmin, - Art Gallery eras experienced by mankind. In works of art, life is embodied in a specific, unique moment. historical development and in unique forms, and this is their indispensability, their enduring, "eternal" meaning, the "uniqueness" of each of them.
One of the forms of historical continuity is repetition. Of course, no work completely repeats another, but in each unique whole elements and features are repeated. The work of each writer is the result of his creative efforts and, at the same time, the learned experience of his predecessors and contemporaries. Each work has something that brings it closer to other works. Of course, difference and similarity are not absolute, they interact. Every talented writer is an heir and an innovator. Each genre has something to do with its predecessor. Each direction assimilated the achievements of the previous one, expanding the possibilities of aesthetic exploration of reality. Considering the issue of literary continuity, we find in those writers whom we compare, similar image techniques, images, textual analogies. I. Franko wrote: “Poetic creativity is a matter of freedom, depending on the nature and ability of the husband; truthful, great poets, no one is similar to each other, each must have something of his own, special, which no one else has, and for that, instructions to the poet models to be imitated always has its evil sides.At the same time, for every true poet, the main thing is not what he has learned from the rest, but what he brings into his poetry and into the public from his own soul, from his own feelings.But, on the other hand, On the other hand, in modern times, not a single true poet can do without a school, without developing a form and language, without knowing what and how other great poets expressed and viskazyut". Hence, we are talking about the assimilation by the writer of the experience of predecessors.
IN national literatures literary types are successively connected with each other. In Russian literature such as various " dead souls": Skalozub, Famusovs, Molchalin in Griboyedov; Skotinins, trifles, Buyanov at Pushkin; Plyushkins, Sobakevich, Nozdrev, Korobochki at Gogol; Gloomy-Burcheev, organ player, Golovlevs at Saltykov-Shchedrin; extra people: Chatsky in Griboyedov; Onegin at Pushkin ; Pechorin at Lermontov's.
We observe the continuity of ideas among writers who are close in worldview. Continuity in the development of means has a peculiar character. artistic image. F. Dostoevsky owns the famous phrase "We all came out of Gogol's" Overcoat ". In this case, the writer meant continuity in the selection of material and means of artistic depiction." Gogol's "direction was continued by Turgenev, Nekrasov, Grigorovich, who, after Gogol, showed the fate of the" little man ".
Literary interactions and mutual influences
An important role in the development of literature is played by creative contacts, the interchange of spiritual and artistic values. All European literature has gone through the following stages of development, such as the Renaissance, Baroque, Classicism, Romanticism, Realism. And literature has reached high level development, influenced other literature. Many literatures were influenced by the Italian Renaissance of the 15th-16th centuries, French classicism of the 17th century, English and French romanticism of the early 19th century, English and French realism of the 19th century. Sometimes the early stages of the development of literature have an influence on the literature of many subsequent eras. romance late XVIII- early 19th century turned to folk poetry, the history of European culture constantly uses the experience ancient art. Creative mutual relations in the literary process are reminiscent of the connections of the past and the present in human memory. M. Werli wrote that for the memory of "a millennium ... does not mean anything, Plato is no further from us than Kant, and Chekhov is closer than Shakespeare, since they are all living voices of our culture and, thus, contemporaries are one for one in the world of meanings "1. "Interspecies artistic interaction, - notes Yu. Borev, - is similar to the cross-pollination of flowers: there is a rare coincidence of features artistic thinking poet and painter, novelist and musician, their worldviews, their basic principles of aesthetic attitude to the world or their cultural orientations coincide. "We can talk about the stylistic closeness of the composer Lysenko and the poet P. Tychyna. "N. V. Lysenko did not know, - wrote P. Tychina. I didn't even get to see him in his lifetime. However, he was very often present in my life."
The interaction of writers affects both individual works and periods of development of literature, in particular, trends and directions. Goethe admitted that Lessing's works had a significant influence on him. “The influence of the great poet,” wrote V. Belinsky, “is noticeable on other poets, not because his poetry is reflected in them, but because it excites their own forces in them: just like a sunbeam, illuminating the earth, does not give it its strength , but excites the force, in itself ".
Literary influence is not a mechanical transfer of other people's achievements, it is a complex, sometimes contradictory system. The motives that prompt one writer to turn to the creative experience of another are very diverse. P. Tychina wrote: “Before I start writing, I pray to Schiller, Shevchenko, and to less recent ones like Chumak. This is not a prayer, I do not ask you to help me write something. This is a burning between friends, this is a continuation what they did." creative influence there are some writers of others even when they are in a state of enmity. The relationship between Saltykov-Shchedrin and Dostoevsky developed according to the principle of conflict connection. M. Gorky was in a state of constant controversy with the creative heritage of Dostoevsky. Each participant in the literary controversy mobilizes his creative potential and, as A. Bushmii notes, “also assimilates in his own interests and strengths your adversary."
In the development of literature, the works of foreign writers play an important role, they broaden the horizon, bring fresh elements into the sphere of thought and language. In the article “Formal and Real Nationalism”, I. Franko wrote: “When we liked the works of European literature, violated our aesthetic taste and our imagination, the works of Russians tormented us, violated our conscience, awakened a person in us, awakened love for the poor and humiliated ".
M. Bakhtin noted: "An alien culture only in the eyes of another culture reveals itself more fully (but not in its entirety), as other cultures will come that will see and understand it more."
The inclusion of the work of a foreign writer in the literary process is carried out in three aspects: through translation, critical interpretation and creative assimilation. When we find out the significance of the work of a foreign writer for the literary process, we distinguish between active and passive assimilation. According to V. Zhirmunsky, Russian literature actively assimilated the experience of foreign literatures in the first half of the 19th century. In the second half of the XIX century. foreign literature ceases to be a relevant factor for her.
In order for influence to be possible, there must be a need for it. The progress of Russian literature of the XIX century. due to the development of liberation ideas in Russia, the search for revolutionary means of solving social problems. It also affected the development of Ukrainian literature, its creative search.
The development of many European literatures was significantly influenced by ancient culture. The American D. Updike (the novel "The Centaur"), the Irishman J. Joyce (the novel "Ulysses"), the German playwright B. Brecht ("Antigone"), the Frenchman A. Camus (the essay "The Myth of Sisyphus"), F Anui (dramas "Eurydice", "Antigone", "Medea"). ancient mythology nourished the work of T. Shevchenko, P. Gulak-Artemovsky, S. Rudansky, Lesya Ukrainsky, N. Zerov. Lesya Ukrainka dedicated one of her first poems to the Greek poetess Sappho, antique motifs sound in her poems "Iphigenia", "Niobeus", dramas "Cassandra", "Iphigenia in Tauris". I. Kotlyarevsky, using the plot of the "Aeneid" by the Roman poet Virgil, created a unique poem from the Ukrainian life "Aeneid".
Romantics J. Byron, P.B. Shelley, F. Schiller, in whose works the ideas of humanism and the fight against tyranny sounded. I. Franko wrote that he was influenced by German and Polish romantics.
The influence of the writer on the writer is manifested in the awakening of interest in individual motives, plots, genres. This influence can be conscious or spontaneous. In 1918, K. Chukovsky turned to writers with the question: "Did Nekrasov have any influence on your work?" The responses of the survey participants were instructive:
"Alexander Blok. - It seems so.
Maksim Gorky. - Don't think.
Vladimir Mayakovsky: unknown.
Nikolai Tikhonov I'm afraid not."
Contact with predecessors can be temporary, episodic, long-term, permanent.
Conclusions about the influence of a work on a work based on such elements must be cautious and justified. Sometimes a writer appreciates in another what he lacks. But to recognize the achievements of another does not mean to experience its influence. The similarity between the images may be accidental.
One form of literary influence is borrowing. This is the use by the writer of well-known plots, motifs, stylistic figures, means of verification. An example of borrowing is the use of timeless themes or images. Many writers turned to biblical images (T. Shevchenko - "Psalms to David", "Kings", "Mary"; 1. Franko - "Moses"; E. Malanyuk - "From the Gospel of the Fields"; D. Pavlychko - "Golgotha") . Biblical stories were developed by Ch. Aitmatov ("The block"), M. Bulgakov ("The Master and Margarita"). In the works of Aeschylus, J. Byron, T. Shevchenko, P. B. Shelley, Lesia Ukrainsky, P. Tychyna, A. Malyshko there is an image of Prometheus. T. de Molina, Molière, E.T.A. Hoffman, A. Pushkin, Lesya Ukrainka, A. Around.
A form of borrowing processing epic works to dramatic. The play" Sorochinskaya Fair" M. Staritsky wrote on the basis of N. Gogol's story. N. Lysenko created an opera based on N. Gogol's story "Taras Bulba". In the 19th century, the theory of borrowing or "wandering plots" appeared, which spread in folklore. Subsequently, the "comparative historical school" became popular, the founder of which was T. Benfey. The supporters of the school were A. Veselovsky in Russia, M. Drahomanov, M. Sumtsov in Ukraine. They collected rich and interesting material, compared works of different literatures, however, trying to find common ground in works of art sometimes underestimated their uniqueness and originality. As Yu. Kuznetsov notes, the absolutization of the borrowing theory "not only simplified the creative process, neglected its historical and typological patterns, but also made the next text dependent on the previous one, junior writer from the elder, deceived the pleurisy, deprived artistic creativity its inherent immanent properties, originality, uniqueness, originality, discovery ".
view literary influence is imitation. This is a conscious use of samples of folklore, thoughts, style of another writer. Eat different types imitations. It can be student, which is typical for beginners, can be explained by a certain fashion, the desire to create new text on an intertextual basis.
Imitation is often found in related works. Polish Romantic Poets of the "Ukrainian School" in Polish literature followed the poetics and stylistics of Ukrainian folk dumas in their own thoughts, thoughts and songs. Sometimes imitation arises on a polemical basis. Lesya Ukrainka in dramatic poem"The Stone Master" gave a female interpretation of the image of Don Juan, which differs significantly from the male interpretation of Tirso de Molina, Moliere and A. Pushkin.
A type of imitation is the assimilation of narrative or dramatic compositions and poetic technique. "Imitation, - notes Yu. Kuznetsov, - differs from borrowing, therefore it retains only the general features of the original, and from suggestion, since it is due to the intentions of the recipient, and not the sources, that is, another author, whose works, style and manner of thinking are a model" . "In the history of world literature, there are many examples of imitation of the message of Horace" To Melpomsna ". The opinion of the Roman poet "I will not submit to death" was rethought by G. Derzhavin, A. Pushkin, V. Bryusov, M. Rylsky. There are imitations from T. Shevchenko ("Isaiah Chapter 35 ("Imitation"), "Oshii. Chapter XIV ("Imitation"), I. Franko (cycle "On old topics"), M. old woman-or ("On the motive with Heine").
Close to imitation is a rehash - this is a work written for certain motives with elements of imitation of the composition of the original source, figurative system, stylistics. P. Gulak-Artemovsky's poem "Tvardovsky" is a rehash of the ballad "Mrs. Tvardovskaya" by A. Mitskevich, the ballad "Marusya" by L. Borovikovsky - "Svetlana" by V. Zhukovsky.
Imitation, which distortedly repeats the features of the original, expresses a critical attitude towards ideas, heroes, stylistic features the original is called a parody. Parody has been used since ancient times. The founder turned to the method of parody ancient Greek comedy Aristophanes in the works "Clouds" and "Frogs". In the comedy "Clouds" Aristophanes parodied the sophists and the philosopher Socrates, in the comedy "The Frogs" - the tragedian Euripides. The novel "Don Quixote" by Cervantes is a parody of medieval chivalric romances. In Ukrainian literature, the genre of parody appeared in ancient literature in the 16th century. The first parody was Feofan Prokopovich's poem "Elegia Alekhi". A successful parody of the poem of the Roman poet Virgil is Kotlyarevsky's poem "Aeneid". Many parodies in the creative heritage of K. Bureviy, known under the pseudonym Edward Strikha, Ostap Vishnya, Y. Ivakin, A. Zholdak. Neo-avant-garde artists often turn to this genre.
Copying the works of predecessors is called epigonism (Greek Epigonos - descendant). In Ukrainian literature, the "Aeneid" by I. Kotlyarevsky and "Kobzar" by Taras Shevchenko became victims of epigones in their time. After Kotlyarevsky's Aeneid, P. Beletsky-Nosenko's Horpinides or Vhoplen Proserpin, S. Alexandrov's Werewolf, Ya. beads".
A type of literary influence is reminiscence (lat. Reminiscensia - recollection). This is the borrowing of motifs, images, individual details from famous work another writer. Borrowed statements, motives are rethought, acquiring new meaning. P. Voronko's poem "I am the one who tore the dams" is based on a reminiscence from the drama-extravaganza "Forest Song". In the pomy-burner poem by I. Franko "On the twenty-fifth anniversary of the death of Taras Grigoryevich Shevchenko" (1886), the rhetorical question "And who will wake our" drunken truth? ”- A reminiscence from T. Shevchenko's poem "The Caucasus": "The executioners mock us, but our drunken truth is sleeping." In the poem "In this field as blue as flax" by V. Stus, the lines "In your captivity / to know here, in your native foreign land" evoke associations with T. Shevchenko's words "in your native, not your own land."
Reminiscences are references to works. In the famous novel by Cervantes, the priest and the barber, examining the books that Don Quixote read in order to burn some of them, evaluate chivalric novels. In the lyrics, in the novel "Eugene Onegin", "Tales of Belkin" by A. Pushkin, Dante, Shakespeare, Byron, Baratynsky, Vyazemsky come to life. II. Brodsky transforms the text of A. Pushkin "I loved you" to express his view of the world and love:
I loved you. More love (perhaps
that just pain) drill my brains.
Everything was blown to pieces.
I tried to shoot myself, but it's difficult
with weapon.
(I. Brodsky)
In the sixth poem of the cycle "Twenty Sonnets to Mary Stuart" he writes:
I loved you so much, hopeless,
how God forbid you the second - but will not!
“In terms of its function, literary essence,” Yu. Kuznetsov notes, “reminiscence is similar to stylization and allusion, however, unlike them and from quotation, it is not realized by the author, it arises as a result of the significant influence on him of the works of other writers, genre, style, stylistics , figurative system, rhythmic-syntactic moves, etc., cannot always be versified. Reminiscence is perceived in a certain context, in connection with tradition, signs of innovation are found in it, displaying a dialogue with the previous artistic culture. "
Sometimes works of art use autoreminiscence - quoting oneself in order to strengthen a specific thought. An example of a well-known autoreminiscence by T. Shevchenko is "And the day goes on, and the night goes on."
I. Kachurovsky considers reminiscence to be a figure of construction.
The winds are blowing, the winds are blowing,
Already-already-already trees bend.
These are slightly modified words from the song of the main character of I. Kotlyarevsky's play "Natalka Poltavka".
The repetition of the theme of which work in a slightly modified form is called a variation (lat. Varions - changeable, variaiio - change). Many variations are written on folklore works. P. Tychina, under pressure from Soviet criticism, was forced to change the melodic lines "O panel Inna, panel Inna" to "O dear Inna, gentle Inna."
In M. Zerov's poem "Pro domo" the lines
And the iron flow of logic -
This is your Ukraine, dear.
have been replaced by:
Classic plastic and strict contour,
and logic iron current -
this is yours, poetry, road.
M. Rylsky in the poem "Variations" used the motif of M. Kotsyubinsky's poetry "Our house", retaining the rhythm and size of the sample. Variations can be compositional, stylistic, appear in the replacement of lines, stanzas, phrases, figurative techniques. Classic examples of Ukrainian folk poetry exist in different versions. Branched nests of variants have lyrical songs, thoughts, ballads, proverbs, sayings, riddles, ditties.
A common type of creative mutual influence in the literary process is a paraphrase (Greek Paraphrasis - description, exposition) - an abbreviated or widespread retelling of thoughts in your own words. An example of a paraphrase is Irina Sidorenko's adaptive translation of the novel "Gargantua and Pantagruel". I. Franko called some of the lyrical songs of T. Shevchenko paraphrases.
A paraphrase can be either a separate stylistic figure or a separate genre. An example of the latter is Lina Kostenko's "Spontaneous Paraphrase":
Poet, do not value the love of the people,
Because the people give you ranks.
Who needs your noble gift?
Write an ode just in case.
Write about honor and conscience, but at the same time
Dip your pen in the mud.
Well, in a word, yes. Poet, don't be a poet
They will give you orders.
Sending the reader a separate element, a detail to the previous source is called an allusion (lat. Allusio - a hint, a joke). The sources of allusion are myths (" Augean stables"), Holy Bible("Kiss of Judas"), works of art (" human comedy"Balzac") historical events("Pyrrhic victory" - a victory, according to the number of dead it is considered a defeat), "Hannibal's oath".
A type of artistic mutual influence is reproduction. This is the transfer of the compositional structure of the source work into a modern work. The reproduction is "Agrafena-da, or Vhoplen Proserpine" by P. Beletsky-Nossnk, written according to the scheme ancient myth"The Abduction of Proserpina" in the heroic-comic version by A. Kotelnicheskaya and Yu. Lutsenko.
Rivalry plays a significant role in literary mutual influences. It is a process in which the writer struggles with the predecessor. Creative rivalry occurs when writers work in the same genre. V. Stefanik and Grigory Kosynka successfully worked in the novel genre. Grigory Kosynka considered himself a student of the Western Ukrainian prose writer, in a letter to V. Stefanyk he wrote: “I was glad to read your letter, it is so cordial and parental, that letter. mountains ".
An example of creative rivalry is the artistic assimilation by different writers of the same plots, motifs, and images. Kornil Ustiyanovich was the first Ukrainian writers outlined the image of the legendary Moses. I. Franko considered K. Ustiyanovich's poem "Moses" artistically unsuccessful. He wrote that "K. Ustiyanovich drew Moses superficially, schematically, but did not get to the depths of the soul of that great man, maybe he did not even try to get there." The result of the controversy was an artistic masterpiece - the poem by I. Franko "Moses".
The outstanding German writer I. Becher wrote: "We studied with the great masters, all together and each separately. If we talk about literature, then we learn from Homer, from Pindar, from the constellation of Greek playwrights, we learn from Balzac and Tolstoy, in Dante and Hölderlin, in Shakespeare and Swinburne, there is an endless opportunity to learn. But even this is not the special school that I have in mind that I am talking about. The essence of the special school that I have in mind is that everyone of these chosen, shining geniuses, among these crystal, eternal, transparently clear ridges, one or another peak (and sometimes several peaks), which attract our eyes with special force and, looking at which, we say: without taking our eyes off it, I will begin my ascent ... I want to learn from this or that master, I not only respect this or that master, but also love, I feel my kinship with him. "
The writer can positively or negatively perceive the artistic and conceptual features of the work of his predecessors. These two types of interaction with creative heritage are called attraction and repulsion. Repulsions, when writers interpret events, images, historical past, classical heritage in different ways.
form literary interaction is concentration, the essence of which lies in the artistic development outstanding writer creativity of predecessors and contemporaries. “Most of them,” notes the textbook “Theory of Literature,” “become interesting for posterity not own literature, but by the fact that all of them are historically and culturally illuminated by the genius of the great artist, whose creative heritage retains lasting value for future generations." In Ukraine, such writers were T. Shevchenko, I. Franko, Lesya Ukrainka.
The process opposite to concentration is dispersion, when creativity outstanding artist as if absorbed in the subsequent stages of the development of literature, without losing its artistic value. The term "spray" was introduced by J. Derrida. According to Derrida, any textual episode resembles a shoot, implanted under the bark of another shoot that sprouts from its seed. A shoot, a fragment of living tissue that undergoes transplantation, is distinguished from a graph by the originality of the unit of writing (inset of texts, plot elements, font configuration). This principle of Count Derrida demonstrates in the book "Death knell" (1974 p.). Here the text is printed in two columns that are separated by a margin. On the left are excerpts from the "Philosophy of Religion *" and "Aesthetics" Ґ.V.F. Hegel, and on the right - Derrida's reflections, caused by J. Genet's novel "The Miracle", thoughts about J.P. Sartre, J. Bataille, selected etymological observations.
Continuity is an objective pattern in the development of society, material and spiritual culture "Poems. Homer," Divine Comedy "Dante, dramas. Shakespeare," Faust "Goethe," Eugene. Onegin "O. Pushkin," Tolstoy's "War and Peace" - this, notes O. Bushmina, is an art gallery of eras experienced by mankind. In works of art, life is embodied in a specific, unique moment of historical development and in unique forms, and this is their irreplaceability, their enduring, "eternal" meaning, "uniqueness" of each of them, "eternal" meaning, "uniqueness" of their skin.
One of the forms of historical continuity is repetition. Of course, no work completely repeats another, but in each unique whole elements and features are repeated. The work of each writer is the result of his creative efforts and, at the same time, the learned experience of his predecessors and contemporaries. Each work has something that brings it closer to other works. Of course, the difference and similarity is not absolute and, they interact. Every talented writer is an heir and an innovator. Each genre has something to do with its predecessor. Each direction assimilated the gains of the previous one, expanding the possibilities of the aesthetic assimilation of reality. Considering the issue of literary continuity, we find in those writers whom we compare, similar image techniques, images, textual analogies. I. Franko wrote: “Creativity is poetic. Political is a matter of a free man, depending on the nature and ability of a husband; truthful, great poets, no one is alike to each other, everyone must have something of their own, special, which no one else has, and for this Anna to the poet of role models always has its evil sides. At the same time, for every true poet, the main thing is not what he learned from others, but own feeling bring it into their poetry and into the public. But, on the other hand, in modern times, not a true poet can do without a school, without developing a form and language, without knowing what and how other great poets sang and sing" Therefore, we are talking about the writer's assimilation of the experience of the predecessor .
Literary types are successively connected with each other in national literatures. In Russian literature, the types of various "dead souls":. Puffer,. Famusov,. Molchalin at. Griboyedov;. Skotinins,. Pu ustyakov,. Buyanov v. Pushkin;. Plushkin,. Sobakevich,. Nozdreva,. Boxes at Gogol;. Gloomy-Burcheeva, organ. Golovlev u. Saltykov-Shchedrin; extra people. Chatsky at. Griboyedov;. Onegin. Pushkin;. Pech. Orin v. Lermontov. Lermontov.
We observe the continuity of ideas among writers who are close in worldview. Continuity in the development of means of artistic representation has a peculiar character. F. Dostoevsky owns the famous phrase "We are all from the village of Gogol" Overcoat "In this case, the writer had in mind the continuity in the selection of material and means of artistic depiction" Gogol's "direction continued. Turgenev,. Nekrasov,. Grigorovich, who after. Gogol showed the fate of the "little man" showed the share of the "little man".
113 Literary interactions and mutual influences
An important role in the development of literature is played by creative contacts, the interchange of spiritual and artistic values. All European literatures have gone through the following stages of development, like. Renaissance, Baroque, Classicism, Romanticism, Realism. But the literature that reached a high level of development influenced other literatures. Many literatures were influenced by Italian. Renaissance of the 15th-16th centuries, French classicism of the 17th century, English and French romanticism of the early 19th century, English and French realism of the 19th century. Sometimes the early stages of the development of literature have an impact on the literature of many subsequent eras of romance in the late 18th - early 19th century turned to folk poetry, the history of European culture constantly uses the experience of ancient art. The creative mutual in the literary process is reminiscent of the connections of the past and the present in human memory. M. Werli wrote that for memory "the millennium means nothing, Plato is no further from us than Kant, and Chekhov is closer than Shakespeare, since they are all living voices of our culture and, thus, contemporaries are each other for friend in the world of meanings "1" Interspecies artistic interaction, - notes Yu. Borev, - similar to the cross-pollination of flowers: there is a rare coincidence of the features of the artistic thinking of a poet and a painter, a novelist and a musician, their worldviews coincide, their basic principles of aesthetic attitude to the world or their cultural orientations" One can speak about the stylistic affinity of the composer. M. Lysenko and the poet. P. Tychyna "MV. Lysenko did not know," wrote P. Tychyna, "I did not have to see him during his lifetime. But in my life he very often was in the presence of him.
The interaction of writers affects both individual works and periods of development of literature, in particular, trends and directions. Goethe admitted that he had a significant influence on the work. Lessing "The influence of a great poet, - wrote V. Belinsky, - noticeable on other poets, not because his poetry is reflected in them, but because it excites their own forces in them: like a sunbeam, illuminating the earth, does not give her own strength, but excites the strength that is in her by herself.
Literary influence is not a mechanical transfer of other people's achievements, it is a complex, sometimes contradictory system. The motives that prompt one writer to turn to the creative experience of another are a wide variety of niches. P. Tychyna wrote: "I pray before I start writing, to. Schiller, Shevchenko and to less recent ones, like. Chumak. This is not a prayer, I do not ask you to help me write something. This is burning between friends, this is a continuation of what they have done "The creative influence of some writers on others is even when they are in a state of enmity. Relationships developed on the principle of conflict. Saltykov-Shchedrin and. F. Dostoevsky. M. Gorky was in a state of constant controversy with the creative heritage. F. Dostoevsky. Each participant in the literary controversy mobilizes his creative potential and, as he notes. O. Bushmii, "and each assimilates in his own interests and the strengths of his adversary side of his adversary."
In the development of literature, the works of foreign writers play an important role, they broaden the horizon, bring fresh elements into the sphere of thought and language. In the article "Formal and Real Nationalism" by I. F. Franko wrote: "When we liked the works of European literature, violated our aesthetic taste and our imagination, the works of Russians tormented us, violated our conscience, awakened a person in us, awakened love for the poor and humiliated, and that pokrivdzhenikh."
M. Bakhtin noted: "An alien culture only in the eyes of another culture reveals itself more fully (but not in its entirety), because other cultures will come that will see and understand it more"
The inclusion of the work of a foreign writer in the literary process is carried out in three aspects: through translation, critical interpretation and creative assimilation. When we clarify the significance of the work of another non-national writer for the literary process, we distinguish between active and passive assimilation. By observation. V. Zhirmunsky, the active assimilation of the experience of foreign literatures by Russian literature occurred in the first half of the 19th century. In the second half of the 19th century, foreign literature ceased to be relevant to her. Factorimator.
In order for influence to be possible, there must be a need for it. The progress of Russian literature in the 19th century was due to the development of liberation ideas in the 19th century. Russia, the search for revolutionary ways to solve social problems. It also affected the development of Ukrainian literature, its creative searches.
The development of many European literatures was significantly influenced by ancient culture. In ancient mythology turned American. D. Updike (novel "Centaur"), Irish. J. Joyce (novel "Ulysses"), German playwright. B. Brecht ("Antigone"), French. A. Camus (essay "The Myth of Sisyphus"), J. Anouilh (dramas "Eurydice", "Antigone", "Medea"). Antique mythology nourished creativity. T. Shevchenko,. P. Gulak-Artemovsky. Lesya Ukrainskaya, M. Zerova One of the first poems Lesya Ukrainskaya dedicated to the Greek poetess Sappho, ancient motifs sound in her poems "Iphigenia", "Niobea", dramas "Cassandra", "Iphigenia v. Tavrida"I. K. Otlyarevsky, using the plot of the "Aeneid" by the Roman poet. Virgil, created a unique poem from Ukrainian life" Yeneidaotlyarevsky, curtailing the plot of "Aeneid" by the Roman poet. Virgil, creating a unique theme for Ukrainian life "Aeneid".
Romantics had a great influence on Ukrainian literature. J. Byron,. PB. Shelley. F. Schiller, whose works sounded the ideas of humanism and the fight against tyranny and. Franko wrote that he was influenced by German and Polish romanticists.
The influence of the writer on the writer is manifested in the awakening of interest in individual motives, plots, genres. This influence can be conscious or spontaneous. In 1918, K. Chukovsky addressed the writers with questions: "Did Nekrasov have any influence on. Your work?"
"Alexander. Blok -. It seems so.
Maksim. Bitter -. Don't think
Vladimir. Mayakovsky: unknown
Nikolay. Tikhonov:. I'm afraid not"
Contact with predecessors can be temporary, episodic, long-term, permanent
Conclusions about the influence of a work on a work based on such elements should be cautious and justified. Sometimes a writer appreciates in another what he lacks. But to recognize the achievements of another is not to experience his influence. The similarity between the images may be accidental.
One form of literary influence is borrowing. This is the use by the writer of well-known plots, motifs, stylistic figures, means of verification. An example of borrowing is the use of timeless themes or images. Many writers turned to biblical images (T. Shevchenko - "Psalms to David", "Kings", "Mary", 1. Franko - "Moses"; Calvary"). Biblical developed. Ch. Aitmatov ("Scaffold"). M. Bulgakov ("Master and. Margarita"). In works. Aeschylus. J. Byron,. T. Shevchenko,. PB. Shelley. Lesia Ukrainian. P. Tychyny,. A. Malyshko is an image. Prometheus. To the image. Don. Juana was contacted. T de. Molina,. Molière,. THIS. Hoffman. O. Pushkin,. Lesya Ukrainian. About loved onesTo the image. Don. Juan were furious. T. de. Molina,. Moliere,. E.T.A. Hoffman,. Oh.. Pushkin,. Lesya. Ukrainian. Oh. Close.
form of borrowing, the reworking of epic works into dramatic ones. The play "Sorochinsky Fair" by M. Staritsky wrote based on the story. M. Gogol. M. Lysenko created an opera based on the story. M. Gogol "Taras. Bulba ba" In the 19th century, the theory of borrowing or "wandering plots" appeared, which spread in folklore. Subsequently, the "comparative-historical school" gained popularity, the founder of which he became. T. Benfey was your school's students. O. Veselovsky v. Russia,. M. Drahomanov,. M. Sumtsov to Ukraine. They collected rich and interesting material, compared works of different literatures, however, trying to find something in common in a work of art, they sometimes underestimated their uniqueness and originality. As noted. Yu. Kuznetsov, the absolutization of the theory of borrowing "not only simplified the creative process, neglected its historical and typological patterns and, but also made the next text dependent on the previous, younger writer from the older one, misled spitology, deprived artistic creativity of its inherent immanent properties, samoba quality, uniqueness, originality, openness, originality, originality, originality, brilliance".
A type of literary influence is imitation. This is a conscious use of samples of folklore, thoughts, style of another writer. There are different types of imitation. It can be student-like, which is typical for beginners, it can be explained by a certain fashion, the desire to create a new text on an intertextual basis.
Imitation is often found in related works. Polish romantic poets of the "Ukrainian school" in Polish literature followed the poetics and stylistics of Ukrainian folk dumas in their own thoughts, thoughts and songs. Sometimes imitation arises on a polemical basis. Lesya Ukrainian in the dramatic poem "The Stone Master" gave a female interpretation of the image. Don. Juan, which differs significantly from the male interpretation. Tirso de. Molina,. Moliere and. O. Pushkins,. Moliere i. Oh.. Pushkin.
A type of imitation is the assimilation of narrative or dramatic compositions and poetic technique. “Imitation,” notes Yu. Kuznetsov, “is different from borrowing, therefore it retains only the general features of the original, and from suggestion, because it is due to the intentions of the recipient, and not the source, i.e. e. another author, whose works, style and manner of thinking are a model "" In the history of world literature there are many examples of the wording of the message. Horace "K. Melpomsny "The opinion of the Roman poet" I am not afraid of death "was rethought. G. Derzhavin,. O. Pushkin,. V. Bryusov,. M. Rylsky. There are imitations of V. T. Shevchenko ("Isaiah. Chapter 35 ("Imitation"), "Oshii. Chapter XIV ("Imitation"),. I.. Franko (the cycle "On old topics"),. M. Staritsky ("On the motive from. Heine";), I.. "), M.. Staritsky-whom ("On the motive of Z. Gaine").
Close to imitation is a rehash - this is a work written for certain motives with elements of imitation of the composition of the original source, figurative system, style. Poem. P. Gulak-Artemovsky "Tvardovsky" is a rehash of the ballad. A. Mitskevich "Lady. Tvardovskaya", ballad "Marusya" by L. Borovikovsky - "Svetlana" V. Zhukovsky - "Lights". V. Zhukovsky.
Imitation, which distortedly repeats the features of the original, expresses a critical attitude to the ideas, characters, stylistic features of the original is called parody. Parody has been used since ancient times. Before receiving parody, the founder of ancient Greek comedy addressed. Aristophanes in the works "Clouds" and "Frogs" In the comedy "Clouds" Aristophanes parodied the sophists and the philosopher. Socrates, in which "The Frogs" is a tragedy. Euripides. Roman "Don. Quixote" M de. Cervantes is a parody of medieval chivalric romances. In Ukrainian literature, the genre of parody appeared in ancient literature in the 16th century. The first parody was a poem. Feofan. Prokopovich "Elegia. Alekhi" A successful parody of a poem by a Roman poet. Virgil is a poem. I. Kotlyarevsky "Aeneid" Many parodies in the creative heritage. K. Bureva, known by his pseudonym. Edward. Strikh,. Ostap. Cherries. Yu. Ivakina,. O. Zholdak. This genre is often referred to as neo-avant-garde tapa. Cherries. Yu. Ivakina,. Oh .. Zholdak .. Neo-avant-garde artists often turn to this genre.
Copying the works of predecessors is called epigonism (Greek epigonos - descendant). In Ukrainian literature, the "Aeneid" of I. Kotlyarevsky and "Kobzar" T. Shevchenko. After "Ene eida" by Kotlyarevsky, "Gorpinida or. Vhoplen. Proserpina" appeared. Biletsky-Nosenko, "Werewolf" S. Aleksandrova, "Kharko, Zaporizhzhya Koschevoi" Ya. Kukharenko epigonov "Kobzar" T. Shevchenko became. M. Yurkevich - author of the collection "Once a Kobzar's necklace". T. Shevchenko became.
A type of literary influence is reminiscence (Latin reminiscensia - recollection). This is the borrowing of motifs, images, individual details from the famous work of another writer. Borrowed statements, motives are rethought by me, acquiring new content. A poem is built on a reminiscence from the extravaganza-drama "Forest Song". P. Voronko "I'm the one that tore the dams" In a poem-slop-burner. I .. Franko "On the twenty-fifth anniversary of the death. Taras December. Igorevich. Shevchenko" (1886) rhetorical question "And who will wake up our" truth drunk "? a" In this field, blue as flax "lines" In their own captivity / to know here, in their native foreign land "cause associations with words. T. Shevchenko" in their native land, not their own land, in their native foreign land "calling out associations with words. T. Shevchenko" in their native, not their own land.
Reminiscences are references to works. in a famous novel. M. Cervantes priest and barber examining the books he was reading. Don. Quixote, in order to burn some of them, give an assessment of chivalric romances. In lyrics, in the novel "Eugene. Onegin", "Tales. Belkin" by O. Pushkin come to life. Dante. Shakespeare,. Byron,. Baratynsky,. Vyazemsky II. Brodsky transforms the text. O. Pushkin "I loved you" to express my view of the world and love to catch my look at the world and kohannya:
I loved you. Love. more (probably
that's just pain) drills my brains
Everything was blown to pieces
I tried to shoot myself, but it's hard
with weapon
(I. Brodsky)
In the sixth poem of the cycle "Twenty sonnets to. Mary. Stuart" he writes:
I loved you so much, hopeless
how to give you. God others - but will not give!
“In terms of its function, literary essence,” notes Yu. Kuznetsov, “reminiscence is similar to stylization and allusion, however, unlike them and from quotation, it is not realized by the author, it arises as a result of the sign. style, stylistics, figurative system, rhythmic-syntactic moves, etc., cannot always be versified. Reminiscence is perceived in a certain context, in connection with tradition, signs of innovation are found in it, displaying a dialogue with previous artistic culture and culture. "
Sometimes works of art use autoreminiscence - quoting oneself in order to strengthen a specific thought. An example of a well-known autoreminiscence in. T. Shevchenko is "And the day goes on, and the night goes on"
I. Kachurovsky considers reminiscence as a figure of construction
the winds are blowing, the winds are blowing
And-already the trees bend
These are slightly modified words from the song of the main character of the play. I. Kotlyarevsky "Natalka. Poltavka"
The repetition of the theme of some work in a slightly modified form is called a variation (lat. variions - changeable, variaiio - change). Many variations are written on folklore works. P. Tychina under pressure from the Soviet Cree. Ytyk was forced to change the melodic lines "Oh panel. Inno, panel. Inno" to "Oh dear. Inna, gentle. Innaa Inno, lower Inno."
In M. Zerov's poem "Pro domo" the lines
And the iron flow of logic -
This is yours, Ukraine, road
have been replaced by:
Classic plastic and strict contour
and logic iron current -
this is yours, poetry, road
M. Rylsky in the poem "Variations" used the motif of poetry. M. Kotsiubinsky "Our House", retaining the rhythm and size of the sample. Variations can be compositional, stylistic, appear in the replacement of lines, stro-offs, phrases, figurative techniques. Classical examples of Ukrainian folk poetry exist in different versions. Branched nests of variants have lyrical songs, thoughts, ballads, proverbs, sayings, riddles, around yikkazki, riddles, kolomiyka.
A common type of creative mutual influence in the literary process is a paraphrase (Greek paraphrasis - description, exposition) - an abbreviated or widespread retelling of thoughts in your own words. An example of a paraphrase is an adaptive translation. Irina. Sidorenko of the novel "Gargantua and Pantagruel" by I. Franco called some lyrical songs paraphrases. T. Shevchenkosni. T. Shevchenko.
Paraphrase can be either a separate stylistic figure or a separate genre. An example of the latter is Lina's "Spontaneous Paraphrase". Kostenko:
Poet, do not value the love of the people
Because the people give you ranks
Who needs your noble gift?
Just in case, compose an ode
Write honor and conscience, and at the same time
dip your pen in the mud
Well, in a word, yes. Poet, don't be a poet
They will give you orders
Sending the reader as a separate element, detail to the previous source is called allusion (lat. allusio - a hint, a joke). The sources of allusion are myths ("Augean stables"). Sacred. Scripture ("kiss. Judas"), fiction and works ("The Human Comedy" About de. Balzac), historical events ("Pyrrhic victory" - a victory, according to the number of dead it is considered a defeat), "Hannibal's oath is respected by astonishment", "Hannibal's oath ".
A type of artistic interaction is reproduction. This transfer of the compositional structure of the source work into the modern work of reproduction is "Agrafena-yes, or. Vhoplen. Proserpina" P. Biletsky-Nossnka, written according to the scheme of the ancient myth "Abduction. Proserpines" in an iro-comic version. O. Kotelnicheskaya and. Yu. Lutsenkoelnitsky that. Yu. Lutsenko.
Rivalry plays a significant role in literary mutual influences. It is a process in which the writer struggles with the predecessor. There is creative rivalry when writers work in the same genre. In the genre of short stories and successfully worked in. Stefanik and. Gregory. Scarf. Gregory. Kerchief considered himself a student of the Western Ukrainian prose writer, in a letter. He wrote to V. Stefanik: "I was glad to read. Your letter, it is so cordial and parental, that letter. You, as it should be for parents, praised your son-Kosynka from the village of Devich-mountain. Divich-gori."
An example of creative rivalry is the artistic assimilation by different writers of the same plots, motifs, and images. Kornilo. Ustiyanovich was the first Ukrainian writer to portray the image of the legendary. Moses. poem. K. Ustiyanovich"Moses"I. Franco considered artistically unsuccessful. He wrote that "K. Ustiyanovich drew Moses superficially, schematically, but he didn’t get to the depths of the soul of that great man, maybe he didn’t try to get there." The result of the controversy was an artistic masterpiece - a poem. I.. Franko "Moses" - poem by I.. Frank "Moses".
Outstanding German writer. I. Becher wrote: "We studied with the great masters, all together and each separately. If we talk about literature, then we learn from. Homer, from. Pindar, in the constellation of Greek drama urgivs, we learn from. Balzac and. Tolstoy , in Dante and Hölderlin, in Shakespeare and Swinburne - the opportunity to learn is endless. But even this is not yet the special school that I have in mind, which I am talking about. The essence of the special school that I have in mind is lies in the fact that among all the chosen, shining geniuses, among these crystal, eternal transparent-clear ridges, one or another peak (and sometimes several peaks), which attract our gaze with special force and, looking at which, we say: do not tearing my eyes away from her, I will begin my ascent. I want to learn from this or that master, I not only consider this or that master, but also love, I feel my kinship with him.
The writer can positively or negatively perceive the artistic and conceptual features of the work of his predecessors. These two types of interaction with creative heritage are called attraction and repulsion. Vidsh shtovhuvannya when writers interpret events, images, historical past, classical heritage in different ways.
form of literary interaction is concentration, the essence of which lies in the artistic development of the works of predecessors and contemporaries by an outstanding writer. - culturally illuminated by the genius of the great artist, whose creative heritage keeps enduring value for future generations" In Ukraine, there were such writers. T. Shevchenko, and. Franco,. Lesya UkrainianI.. Franko,. Lesya. Ukrainian.
The process opposite to concentration is dispersal, when the work of an outstanding artist seems to be absorbed at subsequent stages of the development of literature, without losing its artistic value. The term "powder distribution" was introduced. J. Derrida. According to. Derrida, any textual episode resembles a shoot, implanted under the bark of another shoot that sprouts from its seed. A shoot, a fragment of living tissue that undergoes transplantation, is distinguished from a graph by the originality of the writing unit (insertion of texts, plot elements, font configuration). This is the graph principle. Derrida demonstrates in the book "Death knell" (1974 p). Here the text is printed in two columns, which are separated by a margin. On the left are excerpts from the "Philosophy of Religion *" and "Aesthetics" of the GVF. Hegel, and on the right - reflections. Derrida caused by the novel. J. Genet"Miracle", opinion pr. ZhP. Sartre,. J. Bataille, some etymological observations about. J.P.. Sartre,. Zh.
