Home>>Archive>>Back

 

 

Title

THE APHORISM AND PLAY IN THE ARTISTIC PARADIGM OF THE NOVELS BY CR?BILLON-FILS

Author(s)

Natalya V. Lidzerhos

Information about the author(s)

Natalya V. Lidzerhos, PhD in Philology, Associate Professor, “BIP — Institute of Law,” private educational establishment, Grodno Branch, Mostovaya 39, 230025 Grodno, Belarus. E-mail: natlidergos@ mail.ru

Received

August 02, 2016

Published

December 25, 2016

Issue

№3-4

Department

World literature

Pages

141-161

DOI

DOI: 10.22455/2500-4247-2016-1-3-4-141-161

UDK

УДК 821.133.1.05

BBK

ББК 83.3(4 Фр)

Abstract

The article examines the function of ludic poetics and the role of aphorisms in the novels by Cr?billon-fils: “L’Ecumoire, ou Tanza? et N?adarn?.” “Les Egarements du c?ur et de l’esprit,” and “Le Sopha.” It argues that the specificity of the artistic paradigm of Cr?billon’s novels draws from the synthesis of the ludic origin and aphoristic writing while their “inner measure” (N. D. Tamarchenko) is determined by skeptical and ironic attitude to the world typical for rococo. The ludic poetics creates the second level of encoding in the novels that makes them interesting to different audience. A naive reader enjoys a frivolous work that has a comical situation at its core; a more sophisticated reader peruses a “novel with a clue,” that is a novel with a metaphorical plot containing ironic insinuations and allusions to contemporary realities. Aphorisms in the dialogues reveal the absence of the shared, universal truth and demonstrate its contingency on the speaker’s viewpoint. Taken together, aphorisms of Cr?billon’s characters reflect the author’s own dialogical relation to reality and relativity of the moral truths in his opinion. Blurring semantic meaning of the words related to moral and ethical sphere was typical for rococo; it allowed these words collide in a ludic manner within the aphoristic framework; it also prompted further dialogization of aphoristic statements and the establishment of dialogic relations among characters and between the author and the world. By broadening the local chronotope and establishing contacts between the novel’s conventional plot and reality, by contributing to the ongoing dialogue among the characters, the author, and the reader, by reflecting the controversies of the rococo worldview and sophisticating the style, the ludic poetics and aphoristic writing defined stylistic and generic specificity of Cr?billon’s novel — intellectual in form and philosophical in content.

Keywords

artistic paradigm, ludic poetics, aphorism, Cr?billon-fils, novel, rococo.

Works cited

1 Bakhtin M. M. Problema teksta v lingvistike, filologii i drugikh gumanitarnykh naukakh. Opyt filosofskogo analiza [The problem of the text in the linguistics, philology and other humanitarian sciences. The experience of the philosophical analysis]. Estetika slovesnogo tvorchestva [Aesthetics of verbal creativity], sost. S. G. Bocharov; tekst podgot. G. S. Bernshtein i L. V. Deriugina; primech. S. S. Averintseva i S. G. Bocharova. 2-e izd. Moscow, Iskusstvo Publ., 1986, pp. 297–325. (In Russ.) 2 Bakhtin M. M. Problemy poetiki Dostoevskogo [The problems of Dostoevsky’s poetics]. Sobr. soch.: v 6 t. Red. S. G. Bocharov, V. V. Kozhinov. Moscow, Russkie slovari; Iazyki slavianskoi kul’tury Publ., 2002, vol. 6, pp. 7–300. (In Russ.) Studia Litterarum. Том 1, № 3–4 Мировая литература 160 3 Vainshtein O. Iazyk romanticheskoi mysli. O filosofskom stile Novalisa i Fridrikha Shlegelia [The language of Romantic thought. On the philosophical style of Novalis and Friedrich Schlegel]. Moscow, Ros. gos. gumanitar. un-t Publ., 1994. 80 p. (Chteniia po istorii i teorii kul’tury. Vyp. 6. Istoricheskaia poetika). (In Russ.) 4 Ginzburg L. O psikhologicheskoi proze [On psychological prose]. Leningrad, Sov. pisatel’ Publ., 1971. 463 p. (In Russ.) 5 Griftsov B. A. Teoriia romana [The theory of the novel]. Moscow, Gos. akad. khudozh. Nauk Publ., 1927. 151 p. (In Russ.) 6 Zababurova N. Teatral’nost’ kak printsip demonstratsii filosofskikh idei v romanakh markiza de Sada [Theatricality as a principle of manifestation of philosophical ideas in the novels by Marquis de Sade]. XVIII vek: teatr i kulisy [Eighteenth century: theatre and backstage]: sb. nauch. tr. MGU im. M. V. Lomonosova, filol. fak.; pod red. N. T. Pakhsar’ian. Moscow, Izd-vo MGU Publ., 2006, pp. 191–196. (In Russ.) 7 Kosikov G. K. Ideologiia. Konnotatsiia. Tekst [Ideology. Connotation. Text]: vstup. st. Bart R. S/Z.; per. s fr.; pod red. G. K. Kosikova. 2-e izd., ispr. Moscow, Editorial URSS Publ., 2001, pp. 8–29. (In Russ.) 8 Krebiion-syn. Zabluzhdeniia serdtsa i uma, ili Memuary g-na de Mel’kura [Cr?billonfils. Strayings of the heart and mind, or memoirs of M. de Meilcour]. Moscow, Nauka Publ., 1974, pp. 7–259. (Literaturnye pamiatniki) (In Russ.) 9 Krebiion-syn. Shumovka, ili Tanzai i Neadarne. Iaponskaia istoriia. Sofa. Nravouchitel’naia skazka [Cr?billon-fils. The skimmer, or the history of Tanzai and Neadarne. The sofa: A moral tale]; izd. podg. E. Babaeva, N. O. Vedeneeva, A. D. Mikhailov. Moscow, Nauka Publ., 2006, pp. 147–302. (Literaturnye pamiatniki) (In Russ.) 10 Kulishkina O. N. Lev Shestov: aforizm kak forma “tvorchestva iz nichego” [Lev Shestov: aphorism as a form of “creativity out of nothing”]. Russian literature, 2003, no 1, pp. 49–67. (In Russ.) 11 Kurganov E. Anekdot kak zhanr [The joke as a genre]. St. Petersburg, Gumanit. agentstvo “Akad. Proekt” Publ., 1997. 123 p. (In Russ.) 12 Labriuier Zh. Kharaktery, ili Nravy nyneshnego veka [La Bruy?re, de. J. The characters, or Manners of the age]; per. s fr. Iu. Korneeva. Moscow, AST Publ.; Khar’kov, Folio Publ., 2001. 607 p. (Aforizmy. Maksimy. Mysli) (In Russ.) 13 Maliavin V. V. Iazyk serdtsa: aforizm i kitaiskaia traditsiia [The language of the heart: the aphorism and the Chinese tradition]. Aforizmy starogo Kitaia [The aphorisms of old China]: per. s kit. V. V. Maliavina. Moscow, Nauka Publ., 1988, pp. 5–38. (In Russ.) 14 Mikhailov A. D. Dva romana Krebiiona-syna — oriental’nye zabavy rokoko, ili Razdumiia o prirode liubvi [Two novels of Cr?billon-fils — the oriental amusements of rococo, or the meditation on the nature of love]. Krebiion-syn. Shumovka, ili Tanzai i Neadarne. Sofa. Nravouchitel’naia skazka [The Skimmer, or the History of Tanzai and Neadarne. The Sofa: A Moral Tale]. Moscow, Nauka Publ., 2006, pp. 305–329. (Literaturnye pamiatniki) (In Russ.) 15 Mikhailov A. D. Primechaniia [The notes]. Krebiion-syn. Shumovka, ili Tanzai i Neadarne. Sofa. Nravouchitel’naia skazka [Cr?billon-fils. The skimmer, or the history of Tanzai and Neadarne. The sofa: A moral tale]. Moscow, Nauka Publ., 2006, pp. 338–361. (Literaturnye pamiatniki) (In Russ.) Studia Litterarum. Vol. 1, no 3–4 Natalya V. Lidzerhos 161 16 Pakhsar’ian N. T. Genezis, poetika i zhanrovaia sistema frantsuzskogo romana 1690–1760-kh godov [Genesis, poetics, and genre system of the French novel, 1690–1760]. Dnipropetrovsk, 1996. 268 p. (In Russ.) 17 Pakhsar’ian N. T. Problemy poetiki frantsuzskogo romana rokoko [The problems of the poetics of the French rococo novel]. Problemy stanovleniia i razvitiia zarubezhnogo romana ot Vozrozhdeniia k Prosveshcheniiu [The problems of the formation and development of the foreign novel from Renaissance to Enlightenment]. Dnipropetrovsk, DGU, 1986, pp. 97–105. (In Russ.) 18 Podoroga V. A. Metafizika landshafta. Kommunikativnye strategii v filosofskoi kul’ture XIX–XX vv. [The metaphysics of landscape. Communicative strategies in the philosophical culture of the 19 th –20 th centuries]. Moscow, Nauka Publ., 1993. 320 p. (In Russ.) 19 Pushkin A. S. O nichtozhestve literatury russkoi [On the insignificance of Russian literature]. Sobr. soch.: v 10 t. [Col. of works: in 10 vols.]. Moscow, Khudozhestvennaia literatura. Publ., 1976, vol. 6: Kritika i publitsistika, pp. 360–366. (In Russ.) 20 Razumovskaia M. V. Novyi svet i frantsuzskii roman pervoi poloviny XVIII v.: “estestvennyi chelovek” protiv “starogo poriadka” [The new world and the French novel of the first half of the 18th century: the “natural man” against the “old order”]. Chelovek epokhi Prosveshcheniia [A man of the Enlightenment]. Moscow, Nauka Publ., 1999, pp. 87–97. (In Russ.) 21 Senderovich M., Senderovich C. Penaty: Issledovaniia po russkoi poezii [Penates: studies in Russian poetry]. Michigan, Russian Language Journal. East Lansing, 1990. 287 p. (In Russ.) 22 Tiupa V. I. Analitika khudozhestvennogo (vvedenie v literaturovedcheskii analiz) [The analytics of the fictional (introduction to the literary analysis)]. Moscow, Labirint: Izd-vo RGGU Publ., 2001. 192 p. (In Russ.) 23 Ulybina E. V. Obydennoe soznanie: struktura i funktsii [The everyday consciousness: its structure and functions]. Stavropol’, Izd-vo SGU Publ., 1998. 209 p. (In Russ.) 24 Shpet G. G. Skeptik i ego dusha (Etiud po filosofskoi interpretatsii) [A skeptic and his soul (an essay on philosophical interpretation)]. Philosophia Natalis. Izbrannye psikhologopedagogicheskie Trudy [Philosophia Natalis. Selected psychological-pedagogical works]. Moscow, Rossiiskaia politicheskaia entsiklopediia Publ., 2006, pp. 366–416. (In Russ.) 25 Durrer S. Le dialogue romanesque, style et structure. Geneva, Droz Publ., 1994. 271 p. 26 Fort B. Le Langage de l’ambiguit? dans l’oeuvre de Cr?billon fils. Paris, Klincksieck, 1978. 222 p. 27 Juranville F. Pr?face. Le Sopha. Paris, Flammarion, 1995, pp. 5–23. 28 Kibedi-Varga A. Causer, conter: strat?gies du dialogue et du roman. Litt?rature, 1994, no 93, pp. 5–14. 29 Salvan G. S?duction et dialogue dans l’oeuvre de Cr?billon. Paris, Honor? Shampion Editeur Publ., 2002. 378 p.

Full version of the article

 



 

 

EN/RUS