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some features of genre differentiation and synthesis in a modern literary situation

The genre category is represented to one of key in literary criticism. Questions of genre identification, interosculation and integrity of genres, genre strategy in a modern literary science have got the status of the main.

The traditional opinion on a genre is based on reader's retseptsii when, noticing in the art text certain principles of a structure of a plot, local and topicheskie features, behavioural characteristics of characters, the reader ranks it as this or that genre known to it, being based on concrete associations with seen or read earlier. Such understanding of the term adjoins to its treatment M.L.Gasparov who has designated a genre as «historically developed set of poetic elements of the different sort, not deduced the friend from the friend, but associating with each other as a result of long coexistence» (Gasparov, 1987: 295). At the same time, konstantnost and identity are not unique and invariable signs of a genre as specificity of the given category is wider thematic, motivnyh and subject restrictions and has the return named lines, aspiring to historical lability, like art aksiologicheskoj to a paradigm as a whole. So, recognised genre classifications of of V.F.Gegel and A.N.Veselovsky (Gegel, 1973; Veselovsky, 1989) remain significant for modern literary criticism, but position about cross genre typology is only postulated at both scientists that proves to be true absence of terminological ordering and study of a problem of a genre originality of the art form.

Genre frameworks are subject to dynamics; the periods of a constancy of art concepts are replaced by stages destrukturizatsii and search of new configurations. The genre transformations connected with so-called genre continuity when the structure of one genre is essentially transformed, owing to loan of lines of other genres are peculiar to a modern literary epoch. Recognition of specificity of a genre in such conditions occurs rather uneasy: character of ways of perception of the same genre in various time pieces can differ, and the final imperative in polemic about its nature will belong to literary tradition.

Thus, the genre provides «unity and continuity of literary process» (Nikolaev, 2011: the electronic resource) also proves practically at all levels of the text: the plot, a position of the author, feature of a narration, the relation of the sender and the addressee of the text etc. characterises Products of one genre their formal and substantial similarity.

According to A.I. Nikolaev, the genre should be defined as «group of the literary works united by the general formal and substantial signs» (Nikolaev, 2011: an electronic resource). This judgement is close to understanding of genre structure of the text B.V.Tomashevsky considering, that the genre is formed by means of "dominants", i.e. receptions, organizujushchih «a product composition» (Tomashevsky, 2002: 207).

«Genre dominants» "subordinate" «to themselves all other receptions necessary in creation of an art ensemble Set of dominants and is the defining moment in genre formation» (Tomashevsky, 2002: 207). Revealing and consideration of "dominants" posess a predominating role at the analysis of a genre originality of a literary work.

According to T.Todorova, «the concept of a genre should be subjected first of all to the careful critical analysis» (Todorov, 1975: 99).

In "Poetics" the researcher offers two interpretations of the required term, designating it after E.Lemmertom "type" and, actually, "genre" (Lammert, 1955: 16): «some certain set of properties is meant type
The literary text, recognised important for those texts in which they meet. Concept of type - the abstraction having the right to existence only within the limits of academic constructions If to bring number of rejected properties to naught each product will appear as special type (and this statement is not deprived sense); on the other hand, at the maximum degree of derivation from concrete properties of texts it is possible to consider, that all literary works belong to one type. Between these two poles those types to which we were accustomed by classical treatises on poetics, for example, poetry and prose, tragedy and a comedy etc. settle down. The concept of type concerns the general, instead of historical poetics.

Otherwise business with a genre in the narrow sense of the word a genre is is a type which has found concrete historical existence and has taken a known place in literary system of a certain historical epoch »(Todorov, 1975: 99).

Thus, on the one hand, the genre is a category abstract, i.e. the product belonging to a certain literary genre should have an abstract set of qualities/properties/characteristics. On the other hand, "genre" is exclusively historical concept, i.e. a live life of abstract qualities/properties/characteristics.

According to these hypotheses, T.Todorov calls historians of the literature for the decision of three problems interfaced to genre specificity of literary works:

1) to study variability of various literary categories;

2) to consider genres in diahronicheskom aspect;

3) to formulate the laws of evolution operating transition from one literary epoch to another (if those exist) (Todorov, 1975: 1 00­101).

Under J.N.Tynyanov's statement, «Historical [literaturovedcheskie - JU. P] researches break up at least to two main types on an observation post: research of genesis of the literary phenomena and research of evolution of a literary number, literary variability»
(Tynyanov, 1977: 271). Thereupon B.V.Tomashevsky's words are actual: « Genres live and develop. A genre sometimes raspadaetsja.nikakoj logic and firm classification of genres to make it is impossible. Their differentiation is always historical, i.e. it is fair only for the certain historical moment; besides, their differentiation occurs at once to many signs, and signs one genres can be perfect other nature, than signs of other genre, and logically not to exclude each other, and only owing to natural coherence of receptions of a composition to be cultivated in various zhanrah.klassifikatsija genres is difficult. Products break up to extensive classes which, in turn, are differentiated on kinds and versions. In this respect, running a ladder of genres, we from abstract genre classes will rest against concrete historical genres («bajronicheskaja a poem","a Chekhovian short story","balzakovsky the novel","a spiritual ode","proletarian poetry») and even in separate products. »(Tomashevsky, 2002: 207).

In the same channel M.M.Bakhtin argues also, entering in literaturovedcheskuju a science the term «memory of a genre» which has been used for the first time in its work of "the Problem of poetics of Dostoevsky» (1963). M.M.Bakhtin said, that the genre «lives the present, but always remembers the past, the beginning. A genre - the representative of creative memory in the course of literary development» (Bakhtin, 1979: 122).

In XX century there is a resolute reorganisation, cardinal reforming and serious revision of all system of genres: exclusive and extraordinary genre combinations, and steady, nekolebimaja traditional continuity of concrete themes and motives with their fixing behind concrete art forms, their interrelation by means of reader's associations are represented probable, becomes problematic both for the writer, and for its audience. The literature during this period gets special character. 1990th are noted by imperceptible leaving from sphere of reader's interest of classical genres which give way to a fiction with
Actualisation of such genres, as a detective, the love novel, a fantasy, the mystic (CHernjak, 2014: 91-106). In the literature turn from spirituality to razvlekatelnosti is more and more obvious.

On the other hand, the traditional system of genres is transformed: there is their modernisation, srashchenie and a combination of genre forms. The literature continues the tendency of stay out of genre "pure" samples or on their joint: «the Literature is created on the basis of the literature, instead of a reality, whether it be a material or mental reality; any work of art konventsionalno» (Todorov, 1999: 13), - is spoken by T.Todorov, confirming the thoughts the citation from M.Fr's book «Formed imagination»: «the Desire to write comes to the writer from earlier got experience in literature area... The Literature scoops the forms from itself All new in the literature - alteration old. Self-expression in the literature - something never existing» (tsit. On: Todorov, 1999: 13).

The modern literary situation forms different sights at a problem of genres. For example, M.Blansho considers, that today division into genres is not obviously possible at all: «the book in itself as it is, without any genres, out of any headings Is important: prose, poetry, the novel, notes of the eyewitness. The book does not allow to bring itself under these headings and refuses to them in right to define its place and the form; it more does not concern any genre, any book concerns the literature in general, as if in last in their generality secrets and formulas in advance contain, which only and allow to give a reality of the book to that it is written» (tsit. On: Todorov, 1999: 11).

From our point of view, hardly it is possible to speak about perfect refusal of the literature of genre division. Most likely, modern genres were so transformed, that simply do not keep within the traditional system developed by literary theories of the past. Most likely, in modern conditions it is necessary to develop new approaches to definition of genres.

The modern literature recreates characteristic lines of social development. Boundary XX-XXI was characterised centuries by literary orientation to new reader's needs and the requirements which have was to a certain extent result of adherence to fashionable tendencies in art in this connection popularity of separate genres has increased.

In XXI century there were considerable political, economic, cultural and valuable changes in a public life. By means of various PR-technologies writers began to co-ordinate reader's genre preferences and interests, staticizing concrete texts for subsequent acquaintance with them and their commenting. Modern writers fix the attention to search of new forms, address to eksperimentirovaniju with traditional genres owing to what there is a reconstruction and updating of old genre configurations at preservation of their base fig.

In the course of merge of various genre models synthetic genres are formed. Domination of synthetic literary forms, in our opinion, it is possible to correlate with threshold, critical stages when the sensation of approach of cataclysms becomes aggravated, feeling of existential unsteadiness, absence of harmony in the world. Similar public metamorphoses arose, for example, during an epoch of the Renaissance, romanticism, on joint XIX-XX and XXI centuries

At the analysis of modern literary process and, in particular, genre systematisation of texts, the concept of synthesis as a whole is represented basic. The tendency to genre symbiosis is considered in various aspects. The symbol «synthesis of genres» assumes formation of the new art phenomenon which specificity is expressed not in aggregate elements making it, and is based on typology of signs of new genre constructions and a scientific substantiation of legitimacy of such constructions. Thus, in the literature genre communications go deep, "apocryphal" genres, a problematics are staticized
Interactions "genre-author" passes to other level (Brojtman, 2001: 363).

M.V.Jakushevich's work «Synthesis in art of Spain and its realisation in F.Garsia Lorca's creativity and M de Fali» (JAkushevich, 2004) is interesting by classification of kinds of art interrelation present at it, applicable, in our opinion, as to culture as a whole, and separate it ipostasjam, in our case to the literature. In art, it is necessary to notice the versions of synthesis allocated with the scientist, exist in mutual crossing and bilateral penetration:

1) integration-combination of various forms of art without formation of a new artefact;

2) interdependence or sintetizm - occurrence of new connection on the basis of remaining independent art forms with aktsentuatsiej one of them as integration dominant;

3) synthesis-symbiosis - immersing of certain types of art in other art validity;

4) assimilation of arts not through communication interrelation, in summary presence of identical logic of art thinking (so-called «supplementing synthesis» or "removal");

5) a phenomenon of "emotional" combination of versions of art by revealing of related lines (picturesqueness, solidity, effektnost, density etc.), characteristic for all types of art at a time, that promotes their crossing in space of integral aesthetic sensitivity (sinestezija arts) (JAkushevich, 2004: 34).

Experts underline possibility of existence of the wide list of integration processes - from a formal automatic joint (eklektizm) before occurrence of the organised phenomenon assuming the dominating role of one of arts at introduction in it by other kinds of accidental elements. This most internally the complete way of integration corresponds with one of the parties of synthesis of arts (architecture),
Which J.Borev defines as sopodchinenie (at us - interdependence) (Borev, 2: 132). Specificity of this variant of synthesis consists in preservation of specific features of co-operating components and their ability to association. Such character of mutual relations is frequency in the spatial arts perceived visually.

The following group of specific interaction is based on the factor of integration of those or other types of art in essentially new art environment that distinguishes, for example, a theatrical art. Feature of realisation uniform art retseptsii in theatrical representation is equality of the literature, scenic treatment (art of direction, actor's skill), painting, music, architecture when the named art forms can indirectly be present - as a rhythmic basis and plastic figurative decisions. Specificity of this synthetic model consists in inadmissibility eliminirovanija one of art types of the general sequence for its occurrence is caused by set of influences on various touch compilers (verbal, visual, audialnyj etc.) . According to J.Borevu, this synthetic class definiruetsja as "symbiosis" at which art types are in equal relations, uniting in the new phenomenon. Such character of synthesis marked as "concentration", is observed in a cinema, TV and a photo, i.e. in art forms which can absorb other elements, keeping the originality.

Next modus transtypical communications (the cut of "supplementing synthesis») is based on connection of the composite and is figurative-language components expressing by means obshcheesteticheskih of groups, functioning not through free merge of arts, and at a stage of interaction of the main aspects of art thinking. But as a whole this synthetic model is embodied in the musical logic containing in literary works, theatrical and picturesque art.

As it was already underlined by us earlier, despite of specificity of our conversation in this case about art sphere in the generalised understanding, the considered typology can be applied and in connection with the genre processes realised in the literature.

Development on the basis of inartistic, diffuznyh or kontaminirovannyh written artefacts (the chronicle, memoirs and so forth) and obligatory presence of the certain genre form is inherent in prosaic art texts.

The novel keeps the positions as the paramount genre for today, however tests considerable modifications, is considerably reformed. Its this property was fixed still by M.M.Bakhtin, having underlined, that the novel as the genre is not capable to be finished owing to its actual epichnosti; i.e. the novel is an epos of the present, for it limiting communication with the formed, becoming validity, with its continuous audit and revision (Bakhtin, 1979: 76) is basic.

M.M.Bakhtin's statement that each genre can be introduced in the novelistic device is especially essential. The researcher designates the specific genre category which is carrying out in novels special effective function, and at times directly predetermining a novel system, forming its genre models. According to M.M.Bakhtin, the novel operates with plug-in genres as the developed configurations of lexical comprehension of a life (Bakhtin, 1979: 138).

Genre synthesis and genre differentiation - two important tendencies of modern literary process. Contrasts which do not exist in a separation from each other now. The Russian scientists-literary critics began to study this problem not so long ago. One of the first to this problem G.M.Fridlender (Fridlender, 1971: 64-65) on a material of the literature of an epoch of realism has addressed.

The researcher. P.Ivanjuk marks genetic conditionality of genre synthesis mythological sinkretizmom arts (Ivanjuk, 2006:
Electronic resource). This researcher allocates various variants of synthesis of genre forms in article: kontaminatsija genres, «inkrustirovanie products by genre inserts» (Ivanjuk, 2006: an electronic resource), a case when the small genre is a certain structural element of more volume, «a genre hint» (Ivanjuk, 2006: an electronic resource), most often meeting variant - «organic unity of genre forms with presence of a genre dominant peculiar to it» (Ivanjuk, 2006: an electronic resource). The fifth, last, the variant of synthetic relations selects B.Akunin for creation of the products more often. And, more often the author designates a dominating genre in a genre subtitle.

Also scientists-literary critics notice, that besides listed above relations, there is a possibility to allocate some other types of genre synthesis: «1) intrapatrimonial (for example, the majority liricheski F.Tyutchev's products represent an ode and elegy alloy); 2) interpatrimonial ; 3) crossing of actually literary and nonliterary genres ; 4) genre formations which arise on crossing of the literature and other art forms» (Ivanjuk, 2006: the Electronic resource). B.Akunin resorts in the creativity practically to all types of genre synthesis, carefully selecting genres which will enter synthetic mutual relations, being guided on own interest or social inquiry.

Thus, if to bring some intermediate result of the given part of work, it is possible to tell that the modern literary situation is characterised by the eklektizmom and rate of symbiotic genre forms, and in the modern novel their variety faces. Today in domestic and foreign literary criticism it is traced aktsentuatsija attention to intragenre processes. In the literature of boundary HH - XXI centuries as a result of multilevel genre synthesis sometimes appear unexpected author's models ("novel-parable" ("Father-wood" A.Kima), "novel-delusion" (L.Leonov's "Pyramid"), "novel-fairy tale" (Squirrel "A.Kima),"novel-komiks"(D.Rubinoj's"Syndicate"),"novel-clip"("pop art"the novel) (O.Sivuna's"Brand"),
"Novel-cinema" («Death on brudershaft» B.Akunina) and mn. Other L.N.Tselkovoj In work «the Modern novel (Reflections about a genre originality)» (TSelkova, 1987) is summarised the aspect of perception of the modern literary process, connected with occurrence «new art structures which could transfer with the greatest completeness both the world of the become complicated validity, and private world of the hero-contemporary, occurs genre displacement: receptions of one genre are used for disclosing of a problematics of another Phantasmagoria, irreality, inclusion of elements of the mythology which are breaking or blowing up traditional expansion of action, give the chance to authors to express exciting problems deeply and ambiguously. To the modern novelist as though it is close within the limits of one genre, it safely combines elements psychological and philosophical, historical and documentary. All it testifies to constant search of the new forms, new means of the expression, the new artistic touches used for reflexion of complexity of our time »(TSelkova, 1987: 9).

In the present work with a view of achievement of the greatest adequacy of the analysis zhanrologii to us N.D.Tamarchenko's genre characteristics will be necessary for B.Akunina besides other, the major for us which aspects we will quote here: « The genre category is necessary at all for "classification" , and for adequate understanding of sense of the literary phenomena. Narrativnaja genre "situation" is defined by presence knowing (on-vest-vujushchego narratora, the carrier to conduct: from-vest-ija about the made events) and not knowing (narratatora), as the figure of the storyteller-intermediary assumes in quality «authorship masks». In the course of creation and the statement of nonconventional, historically new genres The big role is played by a fiction In parallel with dekanonizatsiej certain traditional forms There is an updating, and then and standardization of some other. preservation a dynamic basis of a genre in new product or the first sample of one of the possible
Typological versions of this genre, or its one more sample »(Tamarchenko, 2012: 4, 20, 47, 49).

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A source: Ponomareva Julia Vladimirovna. the GENRE ORIGINALITY of PRODUCTS + AKUNIN. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2018. 2018

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