«Русская песня» в литературе 1800–1840-х гг.
Kuupäev
2018-03-01
Autorid
Ajakirja pealkiri
Ajakirja ISSN
Köite pealkiri
Kirjastaja
Abstrakt
Väitekiri on pühendatud 1800-1840. aastate „vene laulule“ – erilisele kirjanduslüürika vormile, stiliseeritud uusloomingule, mis konstrueeris rahvalaulu poeetikat. Selliseid stilisatsioone käsitletakse eeskätt kui kirjandusžanri, kirjakultuuri autoritekste. „Vene laulude“ levikut vaadeldakse Euroopas toimunud arengu kontekstis, kui otsiti rahvuskirjanduse lätteid folkloorist. Selline lähenemisviis võimaldab vastata küsimusele rahvaluule keele kasutuse kohta kirjanduses ja mõista kirjandusžanri dünaamika mehhanisme. Uurimus kaardistab “vene laulu” teekonda kirjanduslikult perifeerialt 19. sajandi alguses (mil seda võis kohata kontserdi- ja teatrilavadel, koomilistes ooperites ja divertismentides) täielikult väljakujunenud luuležanriks, mis saavutas jätkusuutlikkuse 1820-1840ndatel. “Vene laulu” muutuvat kirjanduslikku staatust vaadeldakse Aleksei Merzljakovi “kontsertlaulude”, Napoleoni sõdade aegse kvaasi-rahvaliku isamaalise luule ning Anton Delvigi rahvalaulu-imitatsioonide näitel. Väitekirjas näidatakse, kuidas konstrueeriti rahvalaulu kirjanduses. Uurimuse üheks eesmärgiks oli koostada „vene laulude” korpus põhinedes olemasolevatele kogumikele, teatmekirjandusele ja perioodiliste väljaannete läbitöötlusele. Praegu koosneb korpus 622-st kirjanduslikust 1800-1840. aastatel loodud stilisatsioonist. Uurimus põhineb kvantitatiivsetel ajaloolistel andmetel ja korpusel ning ühendab endas mitut metodoloogilist lähenemist. Ajaloolis-kirjanduslik analüüs põimub kulturoloogilisega; autor teeb mitu lühikest kõrvalepõiget idee ja rahvusluse ajalukku. Sotsioloogilise optika abiga käsitletakse ka erilist tüüpi patronaažisuhteid vene kirjanduses. Uurimus juhindub samuti kvantitatiivsetest meetoditest kombineerides endas traditsioonilist värsiõpetust ja kaasaegset stilomeetriat. Leksikaalse sageduse mitmemõõtmelise analüüsi ja stilomeetria meetodeid kasutades näidatakse töös rahvalaulu kujutamise viise luules ning rahvaluule teatud stiililiste signaalide väljavalimist ja võimendamist, millest kujuneski välja “vene laulu” eripära.
The present thesis is focused on the poetic genre known as “Russian song”, widespread in the first half of the 19th century. Popularity of this literary form, which consists in reproducing folk songs by means of refined poetry, was grounded in the Romantic concept of folklore that saw oral traditions as the foundation of national cultures. The research follows the path of “Russian song” from literary periphery in the early 19th century (concert and theatre stages, comic operas and divertissements) to the fully-shaped poetic genre that gained sustainability in 1820-1840s. Shifts in the literary position of “Russian song” are examined through A. Merzlyakov's “concert” songs, publishing practices of the 1800s, quasi-folkloric patriotic poetry of the Napoleonic wars and A. Delvig's folk song imitations. The study also describes social comprehension of the vernacular language of “Russian song” in the 1830-1840s. Combined with organic aesthetics in criticism, this social understanding of folkloric style in poetry provided grounds for the literary success of A. Koltsov – a poetic phenomenon that connected low social origins with the form of “Russian song”. Using the example of Russian self-taught poets of the 1820s, it is shown why “peasants” did not write “peasant” songs before Koltsov: the literary position of self-taught poets was designed by their patrons, who drew their images of a “natural genius” from the 18th century English pastoral tradition. The present work combines historical and sociological approach to “Russian song” with quantitative research. Using a corpus of more than 600 “Russian songs”, the study examines how Romantic imitation transformed the folklore – on the level of verse as well as vocabulary. Methods of stylometry and multivariate analysis of lexical frequencies are used to show how folk song was imagined in poetry and how certain stylistic signals of folklore were selected and amplified, thus creating the basis for “Russian song”.
The present thesis is focused on the poetic genre known as “Russian song”, widespread in the first half of the 19th century. Popularity of this literary form, which consists in reproducing folk songs by means of refined poetry, was grounded in the Romantic concept of folklore that saw oral traditions as the foundation of national cultures. The research follows the path of “Russian song” from literary periphery in the early 19th century (concert and theatre stages, comic operas and divertissements) to the fully-shaped poetic genre that gained sustainability in 1820-1840s. Shifts in the literary position of “Russian song” are examined through A. Merzlyakov's “concert” songs, publishing practices of the 1800s, quasi-folkloric patriotic poetry of the Napoleonic wars and A. Delvig's folk song imitations. The study also describes social comprehension of the vernacular language of “Russian song” in the 1830-1840s. Combined with organic aesthetics in criticism, this social understanding of folkloric style in poetry provided grounds for the literary success of A. Koltsov – a poetic phenomenon that connected low social origins with the form of “Russian song”. Using the example of Russian self-taught poets of the 1820s, it is shown why “peasants” did not write “peasant” songs before Koltsov: the literary position of self-taught poets was designed by their patrons, who drew their images of a “natural genius” from the 18th century English pastoral tradition. The present work combines historical and sociological approach to “Russian song” with quantitative research. Using a corpus of more than 600 “Russian songs”, the study examines how Romantic imitation transformed the folklore – on the level of verse as well as vocabulary. Methods of stylometry and multivariate analysis of lexical frequencies are used to show how folk song was imagined in poetry and how certain stylistic signals of folklore were selected and amplified, thus creating the basis for “Russian song”.