Kirjanduslikud omailmad ja nende autobiograafilised lätted
Date
2016-10-14
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Abstract
Väitekiri keskendub kirjandusliku omailma kui eripärase nähtuse analüüsile ja biosemiootikast laenatud ning kirjandusteadusele kohandatud termini ’omailm’ selgitamisele, milles vilksamisi on tuginetud ka kultuuri- ja kirjandusgeograafilistele arusaamadele. Kirjanduslikku omailma võib defineerida tegelikust geograafilisest maastikust tõukuva, kuid dokumentaalset ümbruskonnakujutust subjektiivsete tõlgenduste ja väljamõeldisega põimiva mudelmaailmana, mille keskmeks on autobiograafiline (mina)tegelane. Väitekiri ei uuri niisiis mitte igasuguseid fiktiivseid maailmu, vaid kirjanduslik omailm kätkeb spetsiifilist reaalse ja väljamõeldud geograafia vaheala, mida esitatatakse küll ilukirjanduslikes teostes, ent milles ei kao side päris maastike ja kohalooliste faktidega – ning olulisim on see, et selle keskmeks olevat (mina)tegelast kujutatakse autoriga varjamatult samu biograafilisi üksikasju jagava subjektina. Nii nagu biosemiootiline omailm tähendab sihipärast ja valikuliselt moodustatud isendikeskset keskkonnakuvandit, mis ei kattu üksüheselt füüsilise tegelikkusega, kujutab ka kirjanduslik omailm kirjaniku meelte, tahete ja valikute alusel reaalsest paikkonnast loodud subjektiivset kuvandit, füüsilise ruumi ümbervermimist puhtisiklikuks mentaalseks sopikeseks, millele on sageli antud ka fiktiivne toponüüm. Kirjandusliku omailma ulatuse, tunnused ja elemendidki määrab autor oma eelistuste alusel, enamasti on selle olulisimateks komponentideks reaalselt olemasolevad ning autorile tähenduslikud kohad, millegi poolest eripärased inimesed, erinevad looduslikud elemendid, hooned, dokumentaalsed (ajaloo)sündmused, ent teoseks saanud keskkonnatõlgendustesse lülituvad ka unelused, kujutlused, faktidest võõritavad paisutused/tihendused, sihipäraselt maastikega seostatud emotsioonid, mälestused jne. Töö põhiosas on analüüsitud peamiselt nelja kirjandusliku omailma juhtumit: Karl Ristikivi Arkaadiat, Andrus Kasemaa Poeedirahu, Tõnu Õnnepalu Paradiisi ja Lauri Pilteri Airootsit.
This doctoral dissertation studies literary mindscapes in Estonian literature, using the frameworks of semiotic Umwelt theory, cultural and literary geography, as well as autobiographical landscape or environment representations (the term Umwelt (’omailm’) is in dissertation translated as ’mindscape’). Books that are considered as literary mindscapes/Umwelt representations include a description of the topography of the writer’s home environment or other significant area, which is brought forward through memories, emotions, dreams, everyday life, perceptions of nature, as well as the mentality of the writer. So can literary mindscape be understood first and foremost as a vision of the real environment formed in the author’s mind: it refers to actual geography and is based on autobiographical experiences of real places, but the description of the environment is always modified by imaginations, subjective choices, and other features reinforcing fictionality. It is the writer’s own mental world oscillating between real and the imaginary geography that has been created intentionally based on the writer’s sensory experiences, selections and aspirations – one literary mindscape is a limited, completely subjective and selective representation of the real surrounding environment. What is most important – the centre of this literary mindscape is the autobiographical (self-)narrator (or lyric self) whose biographical details overlap with the writer’s. This is what has called for a method of analysis using the semiotic Umwelt theory in literature. In literary analysis I will point out the most prominent examples of subjective, autobiographically nuanced place or landscape imagery and literary mindscapes in Estonian literature, which refer to actual geography but are denoted by clearly fictional toponyms: Arcadia, Poet’s Peace, Paradise and Airootsi.
This doctoral dissertation studies literary mindscapes in Estonian literature, using the frameworks of semiotic Umwelt theory, cultural and literary geography, as well as autobiographical landscape or environment representations (the term Umwelt (’omailm’) is in dissertation translated as ’mindscape’). Books that are considered as literary mindscapes/Umwelt representations include a description of the topography of the writer’s home environment or other significant area, which is brought forward through memories, emotions, dreams, everyday life, perceptions of nature, as well as the mentality of the writer. So can literary mindscape be understood first and foremost as a vision of the real environment formed in the author’s mind: it refers to actual geography and is based on autobiographical experiences of real places, but the description of the environment is always modified by imaginations, subjective choices, and other features reinforcing fictionality. It is the writer’s own mental world oscillating between real and the imaginary geography that has been created intentionally based on the writer’s sensory experiences, selections and aspirations – one literary mindscape is a limited, completely subjective and selective representation of the real surrounding environment. What is most important – the centre of this literary mindscape is the autobiographical (self-)narrator (or lyric self) whose biographical details overlap with the writer’s. This is what has called for a method of analysis using the semiotic Umwelt theory in literature. In literary analysis I will point out the most prominent examples of subjective, autobiographically nuanced place or landscape imagery and literary mindscapes in Estonian literature, which refer to actual geography but are denoted by clearly fictional toponyms: Arcadia, Poet’s Peace, Paradise and Airootsi.
Description
Väitekirja elektrooniline versioon ei sisalda publikatsioone.
Keywords
omailm, eesti, kirjandus, biosemiootika, kultuurigeograafia, kirjandusteadus, mindscape, Estonia, literature, biosemiotics, cultural geography, literary studies