Добірка наукової літератури з теми "Remembrance motif"

The article examines the interaction between fact and fiction in V. Nabokov’s “estate text” at three levels of semiosis. The level of semantics is made up of a system of images, motifs and toposes that together form the semantic core of the “estate” text. The level of syntactics is formed by horizontal connections between elements of semantics, the sequence of their implementation (for example, a plot), as well as the interaction between text and contexts. At the level of pragmatics are considered dialogical connections within the supertext (for example, the features of the subjective structure) and the interaction between different artistic languages that form the supertext (verbal and visual, artistic and documentary, poetry and prose). The semantics of “estate” poetry is associated with the topos of remembrance, the transformation of the real space of the estate into the space of memory and imagination. At the same time, a mechanism of decontextualization is operating: attention is focused not on the historical and cultural contexts of the functioning of the “estate topos”, but on the author’s personal memories. In autobiographical prose (the novel “Other Shores”, 1953–1954) the different relationship between text and context can be observed: the space of the estate fits not only into the biographical, but also into the literary context. At the pragmatic level, there is a blurring of intersemiotic boundaries, which leads to an active interaction between verbal and visual, poetic and prosaic artistic languages. Thus, in the novel “The Gift” (1938), the ecphrastic border between reality and the image is blurred, and in the prose text the plot of an elegiac walk is used, being typical for the “estate” poetry of the 19th century.

In 1956 Alain Resnais opened his film-essay Toute la mémoire du monde with the statement that owing to the short-lived nature of human remembering, people tend to accumulate countless auxiliary memories. The issue of “auxiliary memories” related to the search for one’s own identity is an ostinato theme of Sebald’s last novel Austerlitz where the titles and certain motifs articulated in three films by Resnais are appropriated in order to depict the twentieth century in terms of the uncanny. It was not by chance that a Jewish boy named Jacques Austerlitz, before he was sent from Prague in England by the last Kindertransport, and his mother to Theresienstadt, spent his last summer with the parents in Marienbad, a place to which he would return many years later and become haunted by something unknown. In Sebald’s narrative tissue such reference to L’Année dernier á Marienbad (Last Year at Marienbad) rhizomatically lead to 1955 Resnais’s film-essay Nuit et brouillard (Night and Fog), as well as to the psychoanalytic notion of the originally lost object. But, in the novel, Resnais is explicitly mentioned only once, in Austerlitz’s remembrance of the scene from Toute la mémoire du monde as fantastic and monstrous owing to footage of the Bibliothèque nationale de France in Paris that shows the transportation of notes from reading room to storage. The performative of Sebald’s “monstrosity” is through narrative transversal related to the erasure of historical (holocaust) memory: the new library—erected on a site where Nazis had stored Jewish property which they had stolen during the Second World War—was, following a 1988 decision by the French president, to be the most modern and biggest library building in the world.