<<
>>

3.3.3 Conceptual layer of a valuable component «the house - a Utopia»

In art space of analyzed novels of Henry Byollja the opposition of the real and ideal worlds is observed. As researcher S.V.Rozhnovsky, Henry Byoll «marks contrasts the ideal and real worlds, showing to that as the validity is far from an ideal» [Rozhnovsky 1967: 69].

In this sense the village Bitenhan described in the novel, it some kind of paradise where heroes try to run away. The author represents an idealistic picture: the houses-fahverki scattered on wood: «Fachwerkhauser in den Wald gestreut» [Boll 1979: 241]), cut lawns («auf dem harten, kurzgeschnittenen Rasen» [Boll 1979: 15], «Der Rasen war geschnitten» [Boll 1979: 313]) - «Here fish naked hands then to release it».

It is interesting, that in the text of all product the words which are of great importance for protagonists, are italicised: unmoralisch (immoral) [Boll 1979: 288, 205, 263, 268], Geld (money) [Boll 1979: 253, 204], Blut im Urin (blood in urine) [Boll 1979: 173, 202, 263] etc. (that fact Is remarkable, that in this number of the allocated words there is no moral, ethical gradation, and also value judgment, and along with religious lexicon (Moraltheologie - Theology, Dogmatik - the Dogmatic person [Boll 1979: 165]) we can meet and a swear word, engraved in the memory eleven-year Henry, «Scheiβe» (zd. Lines!) [Boll 1979: 20]). Not casually, that in this number there is also a district name - Bietenhahn [Boll 1979: 15]. Time spent in Bitenhane, is represented to heroes cheerful and pleasant: « Am schonsten war es in Bietenhahn »[Boll 1979: 16] -« Is better was in Bitenhane "," Und dort drauβen tat Brielach manchmal, was er selten tat: lachen »[Boll 1979: 15] -« And Brilah, always such unsmiling, laughs there with all the heart ». Therefore, expiating the fault before the son, Nella Bach [Byoll 1989: 6] uses trip Bitenhan along with ice-cream and visiting of a cinema.

As shows a product material, the house in Bitenhane is an ideal image of "house". Kognitivnyj a sign "ideal" verbalizuetsja variety of epithets with positive konnotatsiej: «freudig» ("joyful"), «freundlich» ("friendly"), «glucklich» ("happy"), «warm» ("warm") etc.: « Alles war so schon: das helle Tittern der Tischtennisballe, Wilmas freudige Stimme, die Gute, die aus der Stimme von Alberts Mutter herausklang. Will war so gut, Albert war es. Gut und schon und warm auch klang der Spruch «Safran macht den Kuchen gehl». Safran war ein gutes Wort, schmeckte und roch gut, doch alles das war etwas fur Kinder. Ihm aber konnten sie nichts vormachen: es stimmte etwas nicht »[Boll 1979: 318-319] -« All was fine: light clatter of balls of table tennis, joyful voice Vilmy, the kindness sounding in a voice of mother Albert. Villi was such good, Albert was good. Well, and it is beautiful, and the saying «the Saffron warmly sounded does a pie yellow». A saffron was a good word, it smelt well and was pleasant on taste ». For the description of the ideal validity in Bitenhane Henry Byoll uses sinesteticheskuju a metaphor. The given reception, pulling together pertseptivnye channels, not only promotes giving of diversity to an artistic image, but also raises degree of its importance: «Es roch warm und Hf» [Boll1979: 318] («smelt warmly and it is sweet»), «Glockengelauter klang warm und dunkel» [Boll 1979: 315] («the sound of bells sounded warmly and darkly»).

Based on synthesis of the sensations, the given kind of a metaphor reflects complex character of process of perception of world around. With an epithet «hell» (light) sounds get emotionally-estimated colouring and express intensity of sensation: « und Wilma lachte hell und glucklich »[Boll 1979: 314] -« Vilma laughed sonorously and joyfully "," das helle Tittern der Tischtennisballe »[Boll 1979: 318] -« Light clatter of balls of table tennis ». It is interesting, that in Bitenhane children put to bed all together in one bed. And a bed, acting throughout all product by a symbol of rest and a cosiness by which heroes in a reality are deprived, (wide) has received an epithet« breit »:« Heinrich und Martin gingen zusammen in das kleine Zimmer, wo sie in dem breiten Bett schlafen
sollten. Wilma sollte zwischen ihnen liegen »[Boll 1979: 324] -« Henry and Martin have gone together to a small room where they should sleep on a wide bed. Vilma should sleep between them ».

Bittenhajm is also an original place of an embodiment of representations about a correct family. In this sense very important the idea of a joint meal of all members of a family as a way of its unification and preservation of traditions is represented. The author draws an idyllic picture of a joint meal in Bitenhane: all eat together, talking and laughing: «Martin umarmte seine Mutter, Glum ruckte die Tische zusammen, Bolda kam mit einem groβen grunen Tischtuch und mit einem Sto β von Tellern. Feucht und frisch glitzerte die Butter im Buttertopf, und Will sagte:« Bring doch noch von dem Pflaumenmus, die Kinder mogen's sogern », und Alberts Mutter sagte:« Ja, ichbring's - du magst es genauso gern wie die Kinder »[Boll 1979: 318] -« Martin has embraced mother, Glum has shifted tables together, Bolda has come with the big green cloth and with a pile of plates. It is damp and fresh oil in a butterdish shone, and Villi has told: bring still plam mousse, children love it », and mother Albert has told:« Yes, I will bring - you love it also, as well as children »». Bitenhan is a place of abundance, here again children can eat everything, that in the real world is usually inaccessible: oil («Butter»), jam («Pflaumenmus»), a ham («Schinken»), house bread («das Brot, das Alberts Mutter selbst buk» [Boll 1979: 13] - bread which mother Albert baked itself).

The great value has also that in Bitenhane the care of members of a family is shown. The uncle the Bill, the brother of mother Albert, since childhood suffering surprising illness which all named «night potlivost"("Nachtschwei β»), after a verdict of the doctor - «it is necessary to protect the child» - has acquired the right on some kind of the life annuity from members of a family: «dieser Arzt [.] hatte vor funfzig Jahren gesagt: Schonen Sie das Kind einwenig. Diese Schonung geno β Will sein Leben lang.« Ein biβchen schwach, ein biβchen nervos »— und Nachtschwei β, das wurde fur ihn zu einer Rente, die seine Familie ihm auszuzahlen hatte» [Boll 1979: 31] - «this doctor has told fifty years ago: keep

It is a little child. It «keep a little» Vill enjoyed all life. Little bit weak, little bit nervous - and night potlivost became for it pension which to it was paid by his family ». It is remarkable, that after reasonings on care in Bitenhane the reflexion concerning a life of one of heroes, eleven-year Henry follows:«... aber Brielach war von der Stunde seiner Geburt an nicht einen Tag lang geschont worden »[Boll 1979: 17] -« since Henry Brilah was born, to anybody and in a head did not come though day to keep the boy ». Such opposition of an ideal and a reality only strengthens contrast and sensation of unreality and improbability of idyll Bitenhana.

In an image of mother Albert the ideal of the woman is realised: («Alberts Mutter buk alles selbst, auch das Brot. Sie tat es, weil sie es gern tat» [Boll 1979: 16] - «mother Albert all a scorching heat itself, even bread. It did it simply because liked to bake». Ideal and reality opposition because in a reality of mother prepared seldom is obvious: «Wenn sie Uberhaupt da war, fiel es ihr nachmittags gegen drei oder vier Uhr ein, ein Mittagessen zu machen» [Boll 1979: 171] - «When mother happened at home, she suddenly bethought at three-four o'clock what well to make a dinner».

It is impossible to underestimate also value of colour for the description of an ideal image of the house in Bitenhane. As a widespread epithet yellow colour here acts. It is remarkable, that Byoll pays the big attention to subjects of a life which are usually disregarded: gelbe Platzchen [Boll 1979: 315], der leuchtend gelbe Korb [Boll 1979: 242]. As marks I.V.Goethe, yellow colour «possesses the light nature and differs clearness, cheerfulness and a soft charm., yellow colour makes exclusively warm and pleasant impression» [Goethe 1957: 313]. V.O.Kandinsky also notices, that yellow is «typically warm colour» [Kandinsky 1985: 64].

It is necessary to notice, that the epithet "yellow" is used also for the description of other ideal house: a utopian small house in which there is a meeting Nelly Bach and her husband Rajja, during its holiday from army. Kognitivnyj

The sign "unrealistic" is realised by means of a lexeme «honey, colours of honey» («honigfarbig»): honigfarbige Laufer, honigfarbige Tapete,

honigfabigeuberzogene Polstermobel [...], honigfarbiger Telefonapparat [...] undalles - auch die Servietten - sohonigfarbigen, da β es fast nach Honnig zu riechen schien »[Boll 1979: 44] -« honey rugs, honey ladders, honey upholstered furniture, honey phone and everything, even napkins, was honey colour so, appear, even smelt as honey ». The appeal to flavouring sensations, certainly, strengthens an image, besides, feeling of excessive sweetness represents contrast with wartime realities. Numerous repetitions only strengthen impression. The author gives to an image still the big expressiveness, allocating with its smell. Thus, occurs pertseptsija an image at three levels: visual, flavouring and olfactory.

The house and family in Bitenhane is a Utopia, impracticable dream: «Alles war schon, war glatt und rund, es war da, war aber nicht fur ihn da» [Boll 1979: 315] - «it was good here fine, smooth and round, but not for it». A conceptual sign "unrealistic" obektiviruetsja through concept "children's", realised by means of expression «etwas fur Kinder"("something for children»): «... dock alles das war etwas fur Kinder. Ihm aber konnten sie nicht vormachen: es stimmte etwas nicht» [Boll 1979: 319] - «. But all it was for children. But it you will not spend: something was not so». One of protagonists of the novel, eleven-year Henry, cannot believe in this ideal image of the house. The conceptual sign "unrealistic" is realised by means of a nomination «the third world» (diedritteWelt) and an epithet "too much" («zu viel»): « Es war zu schon in Bietenhahn, obwohl die Bangigkeit dort kommen wurde, ein Gefuhl, das ihm hier nie kam. Bangigkeit vor der dritten Welt, die zu viel war [Boll 1979: 265] "-" In Bitenhane it was fine, though he and knew, that will quail there that usually with it never happened. But there he quailed before this third world of which was too much ».

In summary it is necessary to notice, that the image of ideal "house" in the novel correlates with non-realised desires of heroes and their unattainable
The aspiration to the own house, traces obvious opposition of the "ideal" and "real" worlds. As the means substantiating an ideal image, the epithets designating colour often act. In the novel data kontsept reveals as a symbol of "unrealizable desire» and aspiration to stability, a cosiness, an order (as researcher A.N.Prihodko marks, in German national consciousness «to an order category things which cannot beat them by definition sometimes concern, - marriage, love, fidelity» [Prihodko 2013: URL]). Here kontsept harmony, an order and rest incorporates such kognitivnye signs, as a family. Representations of heroes about the ideal house enter in the novel the conflict to a reality that causes the protest consciousness of new generation.

So, the valuable component kontsepta «Haus» in individualnoyoavtorskoj is presented a picture of the world of Henry Byollja following kognitivnymi by signs: "house-Utopia" (non-realised aspiration to an ideal), «the house as aspiration to security», and also obektiviruetsja means kognitivnoj antitheses "antihouse" ("inhuman" space).

<< | >>
A source: Ponomareva Anna Jurevna. KONTSEPT «HAUS» In the INDIVIDUALLY-AUTHOR'S PICTURE of the WORLD of HENRY BYOLLJA (on a material of novels «the House without the owner», «Billiards in half tenth», «Eyes of the clown»). The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Moscow - 2018. 2018

More on topic 3.3.3 Conceptual layer of a valuable component «the house - a Utopia»:

  1. 3.3.1 Conceptual layer of a valuable component "house-protection"
  2. 3.1.3 Conceptual layer «tenants of the house»
  3. 3.3 Valuable component kontsepta «Haus» B individualnoyoavtorskoj to a picture of the world of Henry Byollja
  4. the general installation on change of the position (valuable a component)
  5. 3.2. Conceptual signs kontsepta the house on questioning materials
  6. CHAPTER 2. THE SCEPTIC: CONCEPTUAL, VALUABLE AND COMMUNICATIVE CHARACTERISTICS
  7. 2.1.2. Reprezentant kontsepta the house in Russian explanatory dictionaries: conceptual signs
  8. 3.1.2 Conceptual layer "residence"
  9. 2.2 Reprezentatsija a conceptual component kontsepta «Haus» in German JAKM.
  10. 3.1 Conceptual component kontsepta «Haus» in individualnoyoavtorskoj to a picture of the world of Henry Byollja
  11. § 3. The Community property in an apartment house and an apartment house as objects of legal regulation
  12. Pedagogical views and the childhood world in creativity I.S. The Sokolov-Mikitova: a Utopia "Source-city"
  13. non-stationary movement of an external spherical layer