Пам'ять жанру і наративні функції оповідей рабів у афро-американському художньому дискурсі другої половини XX століття (на матеріалі романів Ішмаеля Ріда "Політ до Канади" та Едварда Джоунза "Знаний світ")

Abstract

АНОТАЦІЇ Горенко І.В. Пам’ять жанру і наративні функції оповідей рабів у афро-американському художньому дискурсі другої половини ХХ століття (на матеріалі романів Ішмаеля Ріда «Політ до Канади» та Едварда Джоунза «Знаний світ»). – На правах рукопису. Дисертація на здобуття наукового ступеня кандидата філологічних наук за спеціальністю 10.01.06. – теорія літератури. – Київський університет імені Бориса Грінченка. – Київ, 2015. У дисертації вперше в українському літературознавстві досліджується проблема пам’яті жанру у контексті афро-американського художнього дискурсу. Основна увага зосереджена на осмисленні шляхів трансформації оповіді рабів у романістиці США другої половини ХХ століття. Досліджено моделі комунікативних рівнів, експліцитні та імпліцитні оприявлення наратора, типологію оповідача, типи фокалізації, різноплановість точок зору, моделі наративного конструювання у текстах свідчень рабів та афро-американської романістики ІІ половини ХХ століття. У науковій праці виявлено та проаналізовано модифікації оповідей рабів у художньому дискурсі США даного періоду, а також визначено вагомість і функції наративів афро-американських невільників у контексті формування жанрової ідентичності афро-американського роману ІІ половини ХХ століття. Ключові слова: жанр, пам’ять жанру, оповіді рабів, афро-американська література та нові романи про рабство. Horenko I.V. The genre memory and the narrative functions of slave narratives in African-American literary discourse of the second half of XX century (based on novels “Flight to Canada” by Ishmael Reed and “Known World” by Edward Jones) – Manuscript. Thesis for candidate degree in Philology, specialization 10.01.06 – Theory of Literature. – Borys Grinchenko Kyiv University. – Kyiv, 2015. Since the time of Plato and Aristotle, the concept of «genre» has occupied an important place in philosophical and literary discourse. The first genre classification was settled on methods of representation. Widespread genre theory was developed by European Romantics – Schiller, Goethe, and the Schlegel brothers who saw genre as a universal and constant category. Furthermore, the Romantics emphasized that genre is a historically conditioned concept and has its own logic of development. The era of modernism made problematic the category of genre, and in the late nineteenth and early twentieth centuries there was explicit transgression of genre boundaries and rules, which continues until today. In keeping with the times, critics began to challenge literary genre as a continuing and comprehensive category. So during the twentieth century were developed theories which on the one hand contested genre as such, limiting the imagination of the artist, and on the other hand were seen as necessary constituents of any communicative act that promotes optimal understanding among speakers. The term «memory of the genre», which was introduced into literary discourse by Bakhtin in 1963, generated a number of discussions and various interpretations. Using this concept made it possible to remove the opposition between synchronic and historical poetics. In aptly and capacitive definition of «genre memory» proposed by Bakhtin, where the researcher noted that there are always immortal archaic elements in any genre that have the ability to be constantly updated, highlights memory as objective nature. Bakhtin emphasized that «the memory of the genre» is not stored in the subjective memory of creators or in some collective psyche, but in objective forms of culture itself. In our thesis, the category of «memory of the genre» is understood in the context of African-American art discourse. Based on the fact that its primary mode, its protogenre, is narratives written by former slaves, we analyzed the typological reasons for their rebirth into new genres of novels about slavery, followed by evidence that as slave narratives and novels have been updated into postmodernist American literature their features have remained unchanged, although modified or transformed into a new quality. Since the beginning of the formation of African-American literature up to the postmodern period, the experience of slavery has been defined to its thematic and artistic and stylistic dimensions. Black artists have collectivized individual traumatic experiences associated with their attempts to verbalize the full extent of slavery and to comprehend the tragic events surrounding this institution, and then have created their own meanings, often different from the official version of historical enslavement. Thus the narrative stories about slaves and slavery constitute a special genre of African-American literature. Most literary critics have tried to register them in canonical art forms such as the autobiography or the historical novel, but these are unjustified. Slave narratives constitute a genre that combines elements of both the black oral folk heritage and some features of Euro-American romance. Those living in the second half of the twentieth century are witnessing intense revival of genre stories of slaves. Such writers as M. Walker, Ishmael Reed, Octavia Butler, Alice Walker, Toni Morrison, Charles Johnson, and Edward Jones have turned to their own coverage of correctly interpreting the past Negro race. Genre determines their works neo-slave narratives, novels about slavery and points to stories about slaves or to stories containing inter-text and meta-text about them. When comparing stories about slaves and slavery, critics of neonarratives pay attention to the fact that the first predominantly, except for The Story of the life of Frederick Douglass, end with the arrival of the fugitive slave to the dreamed-of North Country, and therefore correlate with romanticized notions of American freedom and identity. The second criticism is taken over by these idealized concepts and reveal the realities of class or racial inequality. Key words: genre, memory of the genre, slave narratives, Afro-American literature, neo-slave narratives.