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DISCURSIVE APPROACH TO ANALYSIS OF THE LITERARY TEXT AS ONE OF THE PROBLEMS IN LITERARY CRITICISM (BASED ON BULGAKOV'S NOVEL «MASTER AND MARGARITA»)
Master Karlygash Baikanova L. N. Gumilyov Eurasian National University
Abstract. This article deals with the problems of actualization of a literary text. For example, Bulgakov's novel «Master and Margarita», the author tries to analyze the world of the text using current approaches to the study of the text, such as the cognitive-discursive analysis of the product, and to determine the creation of a literary text.
The Bulgakov's novel «The Master and Margarita» is like a final product in relation to the whole work of the writer, summing up his ideas about the meaning of life, of man, of death and immortality, the struggle of good and evil in the history of the beginning. In addition, the tragic complexity of the establishment of the novel, as well as the associated creative and dramatic personal fate of Bulgakov, organic and original combination of works of world cultural traditions put «Master and Margarita» in a number of interesting literature phenomena of XX century. Innumerable works dedicated to this novel acknowledge it. In this novel, we explored the central element of the integrative model of discourse - a literary text of the novel. The text of the novel depends on the subject of discourse: its substantial integrity or completeness of the forms in the course of interaction of the author and the reader. Due to the temporal and spatial fragmentation discourse of each character of the novel takes place in the mode autocommunication. Creating text, Bulgakov was based on their perceptions of the destination created by them text. By his, the author's discourse, which is the product
of the text, the author laid it interpretive program for a real reader when the author comes out of his own ideas about the destination and a character's inner world. In turn, the reader forms the person-to-date version of the meaning of the text based on their interpretation of hypotheses about the inner world of the text, the inner worlds of the author and his inner world. The degree of activity of the reader depends on the degree of its approach to model the reader, who is guided by the author. However, a complete coincidence particular (empirical) reader and his ideal image are probably unattainable. But it is in the process of reader auto communication possible aesthetic experience of reading those states in which the reader reconstructs his inner world under the influence of reading, recognizing itself as a unique part of the world.
System analysis tools of literary and narrative text, it is functional-semantic and communicative-pragmatic «decompression» is the interpretive program, through which the implicit author simulates the image reader called from different sources implicit, abstract, perfect, concentrated, model, and «directs» reading the real reader.
Currently, a discourse analysis, there are many approaches. However, considering the different approaches to the analysis of discourse, we should not forget that the discourse of the direction which has an interdisciplinary nature of the study, also linked to cognitive linguistics.
According to Cubreacov E., «the man and the language are the main objects of study one of the leading paradigms of modernity, is of particular integration - communicative and cognitive paradigms» [1, P. 8]. This approach can be interpreted as cognitive-discursive. In this connection it should focus on a more detailed review of the Cubreacov E. and Alexandrova O. «Types spaces text and discourse», in which they emphasize that as «cognitive science as a whole is aimed at the study of cognition, cognitive processes and achievements in their specific knowledge, the key concepts of cognitive linguistics - is the concept of information and its processing by the human mind, the concept of structures of knowledge and representation, on the one hand, in the mind of man, and the other - in the forms of language» [2, P. 26].
In reviewing the literature as verbal creativity, aware that its' basic material and the tool is the word, which functions in the context of literature and linguistics different. Todorov C. distinguishes the principal features of literary and linguistic features of speech as follows: «It is necessary to introduce a generic with respect to the concept of literary concept of «discourse». It - structural couple to a functional concept of «use» (language). «Why do I need this concept? Because the language rules binding on all the speakers - is only part of the rules governing the production of a specific voice products. The language - with varying degrees of severity - fixed combination rules of grammatical categories within a sentence, phonological rules, generally accepted meaning of the words. Between the set of rules common to all, without exception, statements, and the specific characteristics of a particular utterance lays an abyss of uncertainty. This gulf is filled on the one hand, the rules specific to each discourse individually: official letters up otherwise than an intimate; and on the other -restrictions imposed by the situation saying: the identity of the sender and recipient, the conditions of time and place in which there is a statement. Specificity of the discourse by the fact that it is located on the other side of the language, but on this side of the statements, that is given after the tongue, but as far as saying» [3, P. 9].
Thus, Kazakhstan scientist Esimbekov T. analyzing the ratio of discourse and text, comes the conclusion that the wider discourse of the text: «In recent years, frequently seen tendency to replace the notion of» text «the concept of «discourse». This term was first introduced into scientific circulation Benvenistom E. Widely using in psycholinguistics and pragmatics, discourse opposed to the text because it included a review of questions of origin of the elements, the appearance of text (pragmatics), acts of perception (psycholinguistics). Therefore, the discourse is a broader concept than the text. Text - linguistic phenomenon, as a subject of discourse, generally accepted text as target sociological act, which includes consideration of origin, evaluating, analyzing the text» [4, P.10].
Also Esimbekov T. makes the following conclusions concerning the theory of discourse: «The discourse explores not only the thinking and statements of the subjects of communication, but also on their social, cultural norms, the level of understanding of the text the social environment. If the text is the subject of discursive fragments of material unit, and discourse is process formation unit» [4, P.11].
The complexity of the analysis of a work of art is that the author, according to Bakhtin, «does not invite to his banquet table of literature». See and understand the author of the work - is to see and understand more, the consciousness of others and the world, that is other entity. In explaining the only
one consciousness, one subject; the understanding is two consciousnesses, two subjects. An object cannot be dialogic relationship, so an explanation devoid of moments of dialogue (with the exception of formal rhetorical). Understanding is always to some extent dialogical [5, P.198].
Thus, the basis of artistic worldview Bulgakov is a grotesque conflict of laws «big» problems of time and era in which it is physically there. Epistemological aspect of organizing the system of views of Bulgakov's novel «Master and Margarita» is realized through juxtaposition of rational and irrational knowledge, which is reflected in the relations between Bulgakov characters. Dialogs of Bulgakov's characters and their appeal to the problems of spirituality, freedom and creativity, destiny, the meaning of life and death, suggest the type of polyphonic artistic thought Bulgakov, the basis of which, in our opinion, it is the concept anthropocentric vision of the world. Labeled the position of this type of thinking is dialogic relationship agreement that allows you to uncover a «Other» not only outside, but also inside (on Bakhtin's terminology, I-for-myself I-to-Other, non-self-in-me and over-I), whose presence in man, in his unconscious he makes it nontrivial himself.
In the analysis of the novel by Mikhail Bulgakov «The Master and Margarita» has been revealed the identification of problems of aesthetic consciousness of the artist-marginal (Foucault) to the problem of madness. The motif of madness, sounding clearly in Bulgakov's novel, let's look at the world of the «other» eyes «uncomplicated conventional views and estimates» [5, P. 301].
In the process of «reconstruction of the author's intentions» of the novel «The Master and Margarita», we analyzed the relationship between the characters, seeing them as part of dialogic relations «equal consciousnesses» which form the basis of the author's cognitive system, Alloy «conscious» and «unconscious» of the author. As a result, we concluded that the author of the novel «The Master and Margarita» is manifested in the novel through the analysis of these binary oppositions: Master / Yeshua (I-for-itself / over-me), Voland / Yeshua (non-I-in me / over-me), Homeless / Yeshua (I-to-friend / over-me), Pilate / Yeshua (I-to-friend / over-me) Margarita / Yeshua (non-self-in-me / Nadia). Thus, based on the strategic intent of the author is based on two major issues - the problem of Good and Evil (Voland / Yeshua, Margarita / Yeshua) and the person / society (homeless / Yeshua and Pilate / Yeshua).
The components of cognitive author of the novel «The Master and Margarita» are anthropocentric (labeled) ideological concept doctor Bulgakov, feeds the works of Kant, the mystical theories of the alchemists (R. Bacon), the Albigenses, the Templars and the Rosicrucians, and are basically cognitive. Polyphonic type of artistic thinking, which was formed on the basis of the concept anthropocentric vision of the world, when (in the context of the problem, «the author-character»), the author is at «out sidedness» on the border depicted them peace. Dialogic relations agreement (marked position) and disagreement (marginality as an extreme form of expression of anthropocentrism) in the characters that the problem of «identity / society» decided in anthropocentric way (right-hand term «person» enjoys a privileged position).
Iconic characters in the novel «The Master and Margarita» is achieved at the expense of the dialogic interaction «Many of equal consciousnesses» I-for-myself I-to-Other, non-self-in-me over-I, and can reveal in themselves the «Other «not only outside, but inside, the presence of which in a man in his unconscious it makes it a very nontrivial. Creative «type of integrated individuality of the author-creator of the novel» The Master and Margarita «, when relations» person / society «presents the ratio of» I-subject-Company-subject «. Iconicity space of Moscow chapters of Bulgakov's novel «Master and Margarita», during which - in cycles, vneistorichno; space - unlimited, «spiritualized» metaphorically. Copyright perception of biblical archetype as a sacrificial victims (of guilt, repentance, forgiveness Wizard, Pontius Pilate).
In the novel «The Master and Margarita» duality is expressed in the dialectical interaction and struggle between good and evil (this is the main problem of the novel). As Woland said Matthew Levi, «that would make your good, if there were no evil, and how the earth would look like if she'd gone all the shadows?». There must be a balance between good and evil, which was broken in Moscow: the scales tipped dramatically in favor of the latter, and Woland came as the chief punisher to restore it.
Trehmirnost text of «The Master and Margarita», and can be correlated with those of the famous Russian religious philosopher, theologian and scientist-mathematician Florensky (1882-1937), who developed the idea that «Trinity is the most common characteristic of being», linking it with the Christian trinity. He also wrote: «...Truth is a single entity for three persons...». In Bulgakov's novel is really a composition made up of three layers, which together lead us to an understanding of the main
idea of the novel: the moral responsibility of man for his actions, that the truth should strive for all people at all times.
REFERENCES
1. Bulgakov M.A., 1984. The Master and Margarita. Moscow.
2. Kubryakova E.S., Demyankov V.Z., Pankrac J.G., Luzin L.G. 1996.
Brief dictionary of cognitive terms. Moscow
3. Kubryakova E.S, Alexandrova O.V. 1999. About the contours of a new paradigm of knowledge in linguistics // structure and semantics of a literary text. Reports of the VII International Conference. - Moscow.: MGU, 1999, pp 186-197.
4. T. Todorov, 1983. The concept of literature. Moscow.
5. Esembekov T.W. 2009. Kerkem matindi Taldau negizderi. Almaty: Kazakh University.
6. Bakhtin M.M. 1996. Coll. cit.: 7 m. - 5. Moscow.
INFLUENCE OF F.V. NIETZSCHE'S PHILOSOPHY ON AMERICAN LITERATURE FROM POINT OF VIEW RUSSIAN AND ANGLO-AMERICAN STUDIES
Lomova E. A.
Kazakh National Pedagogical University Abai
Abstract. The penetration of the ideas of F.V. Nietzsche's reception in America and their American intellectual community had a certain specificity and defined by the fact that the perception of the original texts of F.V. Nietzsche was carried out in the general context of the interest and desire to join the latest artistic and philosophical discoveries in Europe. From another side F.V. Nietzsche kept himself a deep interest in different cultural and philosophical theory, particular American transcendentalism, and above all romantic heritage R.U. Emerson. Another dramatic example of influence ideas F. V. Nietzsche in American literary community can serve as a work of such famous American writers like Jack London and Theodore Dreiser.
Keywords: idea, perception, morality precepts, covered quotation, literature consciousness, ideology, individualisms, homo supersepiens, pragmatism, egoism, the germ of an idea, evolution, evaluation of character.
The breadth and diversity of exposure to F.V. Nietzsche on the culture of the West at the turn of XIX-XX centuries, approved the real perception of his ideas community of writers and their reflection in literary and artistic practice in WesternEurope, Russia and the United States. [13], [15]
In this case the reception ideas F.V. Nietzsche in American literature directlysuperimposed on quite complex and specific process of its development in the period from 1890 till 1910.
The penetration of the ideas of F.V. Nietzsche's reception in America and their American intellectual community had a certain specificity [6] and defined by the fact that the perception of the original texts of F.V. Nietzsche was carried out in the general context of the interest and desire to join the latest artistic and philosophical discoveries in Europe, which were presented theories of Spencer and Darwin, the philosophy studies of Kant, Hegel, Schopenhauer. [16]
From another side F.V. Nietzsche kept himself a deep interest in different cultural and philosophical theory, particular American transcendentalism, and above all romantic heritage R.U. Emerson. [19]
Another dramatic example of influence ideas F.V. Nietzsche in American literary community can serve as a work of such famous American writers like Jack London and Theodore Dreiser.
Evidence of persistent interest in Nietzsche in England and in US was the fundamental project «The complete works», carried out in 1909-1913, edited by G. Levi and included almost all the F.V. Nietzsche.
