Литературная позиция и творчество С. А. Ауслендера в 1906–1908 гг.
Date
2023-10-17
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
Väitekiri on pühendatud Sergei Auslenderi (1886–1937) loomingulise kujunemise algusaastate uurimisele. Siiani ei ole Auslenderi loomingut terviklikult käsitlevat monograafiat. Üksikud teaduskirjanduses olevad viited kirjanikule piirduvad sageli formaalse suhtumisega tema loomingusse, mis järgib üht või teist modernismi haru. Teda ennast kirjeldatakse aga kui „stilisaatorit“ või „Kuzmini kooli“ epigooni. Vaatamata oma noorusele, sugulusele M. Kuzminiga ja sõbralikele suhetele sümbolistide ringkonnas, sammus Auslender kirjanduses algusest peale oma teed. Tema eripära avaldus autoriteema väljatöötamises, stiili kujundamises, suhtumises „võõrasse“ sõnasse, isikliku kogemuse poole pöördumises ja ajaloolise teabe kunstilise materjalina kasutamises.
Väitekirja eesmärk on pakkuda võimalikult terviklik analüüs Auslenderi 1906–1908. aastate kirjanduslike ja kriitiliste tekstide kohta, alustades esimestest publikatsioonidest tuntud väljaannetes ja jätkates kuni jutustuste debüütkogumiku „Kuldsed õunad“ ilmumiseni, mis võtab kokku tema kirjandusliku arengu algusaastad. Väitekirjas analüüsitakse laia valikut Auslenderi kirjanduslikke ja kriitilisi tekste, millest mitmed jõuavad akadeemilisse vaatevälja esmakordselt. Uurimise metodoloogia tugineb sellistele üldtuntud meetoditele nagu teksti struktuurne, kontseptuaalne, kompositsiooniline, intertekstuaalne jne analüüs. Kasutatakse ka võrdlevaid, ajaloolisi ja biograafilisi tõlgendusmeetodeid.
1. peatükk on pühendatud Auslenderi kui „stilisaatori“ ja „Kuzmini jäljendaja“ kriitilisele uurimisele: tõestatakse sellise lähenemise teaduslik ebaproduktiivsus, kirjeldatakse literaadi reputatsiooni kujunemise allikaid, pakutakse uut vaadet tema loomingulisele meetodile. 2. peatükis kirjeldatakse Auslenderi osalemist Vjatšeslav Ivanovi kinnises loomingulis-filosoofilises ringis „Hafiz“; analüüsitakse jutustust „Ganymedese märkmed“, milles kajastatakse „Hafizi“ tegevust ning autori suhtumist ühenduse ideedesse ja praktikatesse. 3. peatükk on pühendatud jutustuste kogumiku „Kuldsed õunad“ analüüsile: esitatakse raamatu kõikide tekstide tõlgendused ning hüpotees raamatu kontseptsiooni, struktuuri ja kompositsiooni kohta. Erilist tähelepanu on pööratud sellele, et rekonstrueerida biograafilised ja ajaloolised kontekstid, mis suures osas määrasid ära jutustuste ideelise sisu. 4. peatükis analüüsitakse Auslenderi teatrikriitikat. Kirjeldatakse tema osalemist sümbolistliku ajakirjanduse arutelus, esteetilisi ning eetilisi hoiakuid. Auslenderi loomingu näitel demonstreerib uurimus vajadust õppida tundma unustatud autorite pärandit ja selgitab kirjaniku loomingulise meetodi spetsiifikat, mis väljendub ajaloolise, kirjandusliku ja biograafilise materjali kunstilises sünteesis, mis loob mitmekülgse pildi ja mida saab lugeda mitmel tasandil.
This dissertation is devoted to the study of the initial stage of Sergei Auslender's (1886–1937) creative development. There is currently no monograph that provides a comprehensive understanding of Auslender's early work. Separate mentions of the writer in research literature often limit themselves to the formal classification of his work into one or another modernist branch and describe him as a "stylizer" or an epigone of the "Kuzmin’s school". Despite his youth, his kinship with Mikhail Kuzmin and friendly relations with the symbolist circle, Auslender from the outset paved his own way in literature. His specificity manifested itself in the development of the author's theme, work on style, appeal to "others" word, the use of personal experience and historical information as an artistic material. The goal of the dissertation is to provide a comprehensive analysis of Auslender's literary and critical texts during the period of 1906–1908. It covers his first publications in well-known editions and his debut collection of stories, titled "The Golden Apples" (1908), which marks the culmination of his initial stage of writerly evolution. The dissertation analyzes a broad range of Auslender's artistic and critical texts, some of which are being introduced into academic discourse for the first time. The research methodology is based on such philological methods as structural, conceptual, compositional, intertextual, and other types of text analysis, including comparative, historical and biographical methods of interpretation. Chapter 1 is devoted to a critical examination of the notions of Auslender as a "stylizer" and "Kuzmin's imitator". The scientific unproductivity of these notions is proven, the origins of the writer's reputation are described, and a new view of his creative method is proposed. Chapter 2 describes Auslender's participation in Vyacheslav Ivanov's closed creative-philosophical circle "Hafiz" and analyzes the story "The Notes of Ganymede", which reflects the activities of "Hafiz" and the author's attitude towards its ideas and practices. Chapter 3 is devoted to the analysis of "The Golden Apples", offering interpretations of all the book's texts, presenting a hypothesis about its concept, structure, and composition. Special attention is paid to the reconstruction of biographical and historical contexts that largely determine the ideological content of the stories. Chapter 4 provides an analysis of Auslender's theatrical criticism, including his participation in symbolist journal polemics and his ethical and aesthetic attitudes. Using the example of Auslender's work, the dissertation demonstrates the necessity of studying the legacy of forgotten authors and clarifies the specificity of Auslender's creative method, which involved an artistic synthesis of historical, literary, and biographical material to create a multifaceted image that can be read on several levels.
This dissertation is devoted to the study of the initial stage of Sergei Auslender's (1886–1937) creative development. There is currently no monograph that provides a comprehensive understanding of Auslender's early work. Separate mentions of the writer in research literature often limit themselves to the formal classification of his work into one or another modernist branch and describe him as a "stylizer" or an epigone of the "Kuzmin’s school". Despite his youth, his kinship with Mikhail Kuzmin and friendly relations with the symbolist circle, Auslender from the outset paved his own way in literature. His specificity manifested itself in the development of the author's theme, work on style, appeal to "others" word, the use of personal experience and historical information as an artistic material. The goal of the dissertation is to provide a comprehensive analysis of Auslender's literary and critical texts during the period of 1906–1908. It covers his first publications in well-known editions and his debut collection of stories, titled "The Golden Apples" (1908), which marks the culmination of his initial stage of writerly evolution. The dissertation analyzes a broad range of Auslender's artistic and critical texts, some of which are being introduced into academic discourse for the first time. The research methodology is based on such philological methods as structural, conceptual, compositional, intertextual, and other types of text analysis, including comparative, historical and biographical methods of interpretation. Chapter 1 is devoted to a critical examination of the notions of Auslender as a "stylizer" and "Kuzmin's imitator". The scientific unproductivity of these notions is proven, the origins of the writer's reputation are described, and a new view of his creative method is proposed. Chapter 2 describes Auslender's participation in Vyacheslav Ivanov's closed creative-philosophical circle "Hafiz" and analyzes the story "The Notes of Ganymede", which reflects the activities of "Hafiz" and the author's attitude towards its ideas and practices. Chapter 3 is devoted to the analysis of "The Golden Apples", offering interpretations of all the book's texts, presenting a hypothesis about its concept, structure, and composition. Special attention is paid to the reconstruction of biographical and historical contexts that largely determine the ideological content of the stories. Chapter 4 provides an analysis of Auslender's theatrical criticism, including his participation in symbolist journal polemics and his ethical and aesthetic attitudes. Using the example of Auslender's work, the dissertation demonstrates the necessity of studying the legacy of forgotten authors and clarifies the specificity of Auslender's creative method, which involved an artistic synthesis of historical, literary, and biographical material to create a multifaceted image that can be read on several levels.
Description
Keywords
writers, literary critics, translators (language), Russian, creation, prose, dramaturgy, literary criticism, history of literature, beginning of the 20th century