ავტორი რეალიზმის ეპოქაში

აბსტრაქტი

სტატიიდან აღებული ავტორის ინგლისურენოვანი რეზიუმე:

Key words: realism, narrator, author.

Creative output is the act of self-knowledge. Therefore, we can assume that while performing a creative act, a writer is creating his own personality as well. Working out its own aesthetic principles, each epoch forms a new type of authors. Whereas at the beginning of the Realism Epoch the parallelism of an author’s and a hero’s plans are preserved, and each of them are presented as subjects with equal rights, in analytical realism dating back in 1850s, a new inner standard appears in this aspect. It becomes extremely analytical and an author faces the challenge of observing a hero’s - as the intersection of a person and a character – outlook from an outside.

This causes the alterations of inner criteria of a subjective sphere. A social, political and moral atmosphere of an epoch leads a writer to analyze a human. We can hardly call such a person, whose fate and destiny reflect all the characteristics of an epoch, a hero. It is no longer typical of him/her to be involved in large-scale activities, rebellion and conflict which equals to typicality. The creators of this epoch focus on another conception of a person – to depict everyday concerns – which is no longer the product of direct intersections of social and psycho-biological origins. The sign of the epoch Romantism - an image of an author, a narrator and, accordingly, the parallelism of a narrator’s and a hero’s spiritual-vital events - underwent the process of reduction during the analytical realism causing the origin of meta-narrating to weaken.

A face of an author was replaced by an objective narrator with generalized expressions. Flaubert wrote about the status of a narrator that became an ideal:”An author must exist in his creation like God – he must be everywhere but must not appear anywhere”. A writer becomes interested in demonstrating a human’s versatile and various spiritual changes, which might not be reflected in social bonds. The nature of a human is more important than circumstances. Therefore, this process was called “Characterization” /”Characterologization” of Circumstances. Accordingly, characterological status of a hero is increased. As for an author’s “omniscience”, throughout analytical realism it drastically increases as well as the possibilities of its penetration in a personage’s consciousness.

However, such kind of introspection has its limits, and this is a person’s inner core. The sign of restriction of an omniscience narrator’s power are those moments of a hero’s emotions and spiritual life the objectivation of which are denied by a narrator. A narrator’s self- restriction is manifested in the following cite as well:”Many aspects and moments of life reflect only through sharing a hero’s view by a narrator” (Tamarchenko 1988: 185). Right here does the possibility of bringing about a new narrative situation – personal or neutral - in the history of poetics lie. According to France Karl Stanzel “a personal novel” is the one which has no narrator as the reader can nowhere find its personal trace.

Therefore, the reader even cannot form the impression that something is being narrated. In a personal novel life is presented, formed, reflected” (Stanzel 1993: 40). Neutralization of a narrator and his/her extract from an artistic world is achieved by a personage who takes over a view point yet this is the narrator who nominally narrates. As for the hero’s self-knowledge, when it comes to introducing him to an artist, interaction between subjects absolutely changes. In this case, the author has to take the position of an outside observer to a person (a hero). Previously, a hero’s self-knowledge was just the element of an artistic reality. However, now it takes all the artistic space.

The narrator inserts everything in a hero’s scope and “the very self-knowledge serves as the view object in an author’s scope” (Bakhtin 1972: 80). The hero knows about him/herself all that just the author knew before. Therefore, it can be assumed that the subjects become the author’s heroes that equal to a traditional author. Hence, the author does not talk about the hero but just refers to him/her and this way the object of description becomes “the subject of reference”. In new intention of an author and a new status of a hero changed the direction of literature and made it dialogised. The relationship of an author and a hero from the relationship of a subject and an object turned into the one of that of subjects.

გამოქვეყნებულია ჟურნალში „სჯანი“, ტ. 14 (2013), გვ. 14–19. ნაშრომის გახსნა