CC BY
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Section 2. Literature
References:
1. Bunin I. A. Collected Works: In 9 v., V. 7. - М.: fiction, 2006. - Р. 49-54. The text of the story of Bunin «In Paris» is given under this edition; boundaries of quoted pieces in clause are not specified.
2. Introduction in literary criticism. The textbook for high schools., 2 ed/., corrected./under M. Krupchanova. -М.: Onyx, 2007.
3. Glinka V. M. Russian a military suit of the XVIII - the beginnings ofXX century. An album. - L.: Artist Russia, 1988.
4. Shimanskiy G. I. Liturgics. Manual for theological seminaries. - М.: the Moscow spiritual academy, 2006.
Matushkina Darya Dmitrievna, State educational institution "Luhansk Center of Vocational Education of the State Employment Service”, PhD student
E-mail: 24Dasha@gmail.com
The typology of the city’s loci in the novel “The Abyss” by E. Pashkovskiy
Abstract: It is disclosed the content of such basic concepts of an urban literature as the “topos” and “locus”, an attempt to study the functioning of different types of loci of the city in the novel “The Abyss” by the Ukrainian writer E. Pashkovskiy. The author of the article, according to the classification of loci by V. Prokofieva, identifies artistic features of the imagination of three specific types: private, social and natural. Analysis of a topos and loci of the city in the novel proves that the city determines the mode of man’s existence, offers an opportunity to address issues of economic and social measures, provides the conditions for self-realization, but also creates a lot of problems.
Keywords: topos, locus, the city, the novel.
The problem of artistic space is one of the most discussed in the literature at the present stage of its development. There was always a constant phenomenon, referred to as researchers in different ways: as the eternal images, archetypes, stable motifs, topoi in Philology. The increased attention of linguists to the spatial images led to the emergence of different classifications and definitions. The basic concepts to denote space are “topos” and “locus” entered the Philology of philosophy and natural Sciences. The researchers used these terms in scientific text without specific semantization that, in turn, leads to their mixing and exchange.
The concept of art space began to form as a literary category since the end of nineteenth century, although it was used in ancient times. «The notion of “topos”, known since the time of Aristotle, and designated by him as the doctrine of “common places”, common reference points that serve for the presentation of topics...» writes the academic V. Prokofieva in her work “The Category of space in the artistic relation: the loci and the topoi” [3, 89]. The search for theoretical definitions of the concepts of artistic space today we are required such literary scholars-researchers as: N. Antsiferov (“The Soul of St. Petersburg”), M. Bakhtin (“The Forms of time and chronotope in the novel”), A. Bulgakova (“Topics in the
literary process”), D. Likhachev (“The Poetics of artistic time. The poetics of artistic space”), Yu. Lotman (“About the art”, “About the problem of spatial semiotics. Writings on semiotic”), V. Toporov (“The Space and the text”) and others.
The notion of “topos” is used in literary criticism to indicate the places that can be nominated as a spatial phenomenon of the natural world (city, farm, village, a particular landscape — forest, steppe, desert, field, etc.) [4, 8]. Yu. Lotman examines the function of the term “locus” in his research about the semiotics of artistic space, in which is revealed the idea of the close relationship of the hero of the works with a specific place, the locus (“The Semiosphere”) [1, 4]. The researcher divides the space into an open and a closed. It allows the linguists to interpret the term “locus” as the limited space in the unlimited. In turn, the open unlimited space is referred to as topos. The topos of the city is the specific meaning given to the city, reflected in the text of a set of urban realities, certain and localized in the spatial and temporal framework. The subject-thematic nature of spatial localization of the urban’s topos determines the correlation identified in the work sphere of life of the city with the sphere of a particular subject (industrial, cultural, etc.), under the angle of which is formed a general
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The typology of the city’s loci in the novel “The Abyss” by E. Pashkovskiy
spatial picture of the city, in particular, the combination of the subject selected an urban’s realities in the text. We can talk about the functioning of a number of loci because there are streets, houses and different buildings in every city. We addressed to the works of Ukrainian writer E. Pashkovskiy for consideration and study of the typology of loci of the city.
The writer’s artistic creation in the context of literary process was explored by E. Baran («The novel “The holiday” by E. Pashkovskiy: ten years later»), N. Zborovskaya (“The novels by E. Pashkovskiy (The progress of an art search)”), I. Ivanishin (“A view of the modern prose through the E. Pashkovskiy’s creativity”), S. Kvit (“Eugene Pashkovskiy: the free Mason of Gothic tower”), A. Protsenko (“Journey to the feast of hopelessness and loneliness (the problem of personality’s spiritual deadening in the novel by E. Pashkovskiy “The Holiday”)”),
G. Sulima (“The Zhytomyr prose school in the mirror of an ancient Ukrainian literature”), V. Shevchuk (“Will be the comeback home? [Foreword to the publication of the novel “The Holiday”]”). The aforementioned studies analyze the E. Pashkowskiy’s prosaic legacy, in particular, the features of stream of consciousness. However, the problem of the loci of the city in the author’s novels remained outside the field of scientists’ view. The study of the typology of loci of the city in the novel “The Abyss” by E. Pashkovskiy is so relevant.
In accordance with this the aim of our study is to determine the specificity of the typology of loci of the city in the novel “The Abyss” by E. Pashkovskiy.
The goal involves the following objectives:
- theoretical determination of the concepts of “to-pos, locus ;
- analysis of the text of the novel to highlight the features of the functioning of a topos of the city and loci;
- identify the artistic features of an embodiment of the loci of the city in the novel “The Abyss”;
- identify ways of further studies of the spatial categories of the city in the novels by E. Pash-kovskiy.
The space in the novel “The Abyss” is provided by the Central topos Kiev. E. Pashkovskiy puts the readers in the autumn Kiev, which gives special smells, sounds, colors and rhythms. The smells from the streets are reflect the kind of an atmosphere “... the smell of sausage and vodka from secretly devastated and broken a quart of bottle by a loader.” [2], which are carry a negative connotation, as the perception of the city by the heroes of the novel. The variety of city sounds shows a constant movement
that is present everywhere: at the train station, streets, apartments, parks, etc.: “... the sweet sound ofthe motor of the device for candy floss, noise by machinists.”, “. the sound of the whistle.”, “. grandma were scraping the pan with a knife and rinse with warm water from the kettle.” [2], — all this is combined in the text to create a single full image of a real, genuine city.
In accordance with the classification provided by researcher V. Prokofieva [3], we distinguish the following loci in the novel “The Abyss”:
- private (Dorm room, basement, “hata-pustka”);
- social (station, market, mine, station);
- natural (forest, steppe, garden, river).
The first type of loci represents the domestic sphere of citizens, which is characterized by a chaos and carries the value of the gesture instead of word: “. in the room with inflatable toys. sad integrity glimmered at the ends of the steel spokes .”, “. over the bedside table turned yellow lamp in the form of a Lotus, for electric fire has dried the insoles on the undone boots...” [2], — that is how the author describes the Dorm room, from which reeks the loneliness and sadness.
Following among the individual loci E. Pashkovskiy describes the basement, in which had to live for a time the main character: “. the curtains was stuck to the icy glass on the frost, there are crackled scattered coals under the heels and not weathered stench of the mattress on corners were interrupted by the smell of birch bark in hot tube.”, “. there were spotty mattress, foam pillow from car cover laid on two bricks in the cellar, a photographic blushed on a wooden box under like a bunch of mountain ash lantern.” [2]. The writer depicts this place with sounds, smells, and the red color of blood, thereby revealing the emotional state of the main hero, who lives there for a long time.
One of the most meaningful loci is the “hata-pust-ka” : «... there was visible a gray slate roof under the dry moss, “probably pustka”.» [2], — a place that symbolizes the emptiness in the soul of the hero.
The second type of loci are represented by places of public gathering and ongoing movement. The author still portrays it with smells, sounds and colors. The first is station: “The station with the tongue-less sounds on the extreme in the duty room of the post, with brown shadows on the grain bins behind the kiosk was resembled a crypt.” [2], then the Bazaar: “. there smelled a crushed tomatoes between the trays, a horse’s then, . leatherette seats. from the Bazaar.” [2], and finally the bus station: “. a motorcyclist. disappears in the amber fog on the bridge, . a bus blind around the
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Section 2. Literature
bend a bent man with a portfolio under his arm on the bench...” [2], — so, it emerges a picture of the usual way of being ordinary citizens.
The author portrays the last type of loci with such tricks as personification to enhance emotional impact on readers: the forest the forest loomed after the pasture,
where the river was driving with the flow of knotty car-caci, pine needles’s bitter, broken off stems spell-potions from the girls’ hands.” [2], the river “... the river wove the misty canvas out of time.”, “. river falls asleep in
the stone, the greenish gorge from moss.” [2] and the garden “. the garden rustled on the hill.” [2].
Thus, we can state the fact that the author takes readers into the autumn Kiev, which is the personification of all citizens’ existance in exactly at this time of a year. This types of loci create a full image of the city, which not only determines the way of human existence, allows us to solve the problems of economic and social measures, provides the conditions for self-realization, but also creates a lot of problems.
References:
1. Lotman Y. M. Semiosphera./Y. M. Lotman. - SPb: Iskusstvo-SPB, 2000. - 704 s.
2. Pashkovskiy E. Bezodnya [Tekst]: romanu/E. Pashkovskiy. - L.: LA “Piramida”, 2005. - 268 s.
3. Prokofieva V. Kategoria prostranstvo v hudozhestvennom prelomlenii: lokusy i toposy./V. Prokofieva//Vestnik OGU. - 2005. - № 11. - S. 87-95.
4. Solodar L. Teoretuchnuiy aspect kategoriyi “topos” v literaturoznavchiy recepcii.//[Electronic resource]. -Available from: http://sconference.org/publ/nauchno_prakticheskie_konferencii/filologicheskie_nauki/teo-rija_literatury/11-1-0-847
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