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Файл:Языковые средства имплементации мотива аутопоэтический аспект (на материале творчества Джона Фаулза). Монография
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ПРИЛОЖЕНИЕ
«The French Lieutenant’s Woman» («Женщина французского
лейтенанта»)
1. If one flies low enough one can see that the terrain is very abrupt, cut
by deep chasms and assented by bluffs and towers of chalk and flint, which
loom over the lush foliage around them like the walls of ruined castles.
…but on foot this seemingly unimportant wilderness gains a strange extension. People have been lost in it for hours, and cannot believe when they see
on the map where they were lost, that their sense of isolation – and if the
weather be bad, desolation – could have been so great. The Undercliff – for
this land is really the mile-long slope caused by the erosion of the ancient
vertical cliff-face – is very steep. Flat places are as rare as visitors in it.
But this steepness in effect tilts it, and its vegetation, towards the sun;
and it is this fact, together with the water from the countless springs…, that
lends the area its botanical strangeness – its wild arbutus and ilex and other
trees rarely seen growing in England; its enourmous ashes and beeches; its
green Brazilian chasms choked with ivy and the liana of wild clematis; its
bracken that grows seven, eight feet tall; its flowers that bloom a month earlier than anywhere else in the district. It has also, like all land that has never
been worked or lived on by man, its mysteries, its shadows, its dangers –
…since there are crevices and sudden falls that can bring disaster. […] Now
the Undercliff has reverted to a state of total wildness. […] It was this place,
an English Garden of Eden, on such a day as March 29th 1867, that Charles
had entered…(FLW: 70, 71)
It seemed strangely distinct, this undefiled dawn sun. It had almost a
smell, as of warm stone, a sharp dust of photons streaming down through
space. Each grass blade was pearled with vapour. On the slopes above his
path the trunks of the ashes and sycamores, a honey gold in the oblique sun-
light, erected their dewy green vaults of young leaves; there was something
mysteriously religious about them, but of a religion before religion; a druid
balm, a green sweetness over all…and such an infinity of greens, some almost black in the further recesses of the foliage; from the most intense
emerald to the palest pomona. A fox crossed his path and strangely for a
moment stared, as if Charles was the intruder; and then a little later, with an
uncanny similarity, with the same divine assumption of possession, a roedeer looked up from its browsing; and stared in its small majesty before
quietly turning tail and slipping away into the thickets. There is a painting
by Pisanello in the National Gallery that catches exactly such a moment: St.
Hubert in an early Renaissance forest, confronted by birds and beasts. The
191
saint is shocked, almost as if the victim of a practical joke, all his arrogance
dowsed by a sudden drench of nature’s profoundest secret: the universal
parity of existence (FLW: 233).
2. It was not only these two animals that seemed fraught with signifi-
cance. The trees were dense with singing birds – blackcaps, whitethroats,
thrushes, blackbirds, the cooing of woodpigeons, filling that windless dawn
with the serenity of evening; yet without any elegiac quality. Charles felt
himself walking through the pages of a bestiary, and one of such beauty,
such minute distinctness, that every leaf in it, each small bird, each song it
uttered, came from a perfect world. He stopped a moment, so struck was he
by this sense of an exquisitely particular universe, in which each was appointed, each unique. A tiny wren perched on top of a bramble not ten feet
from him and trilled its violent song. He saw its glittering black eyes, the
red and yellow of its song-gaped throat – a midget ball of feathers that yet
managed to make itself the Announcing Angel of evolution: I am what I am,
thou shalt not pass now my being. […] It seemed to announce a far deeper
and stranger reality than the pseudo-Linnaean one …perhaps nothing more
original than a priority of existence over death, of the individual over species, of ecology over classification» (FLW: 233, 234).
«Daniel Martin» («Дэниел Мартин»)
1. He tells how one day, his father finding himself without his usual
shepherd, he was allowed to take out the family flock; and how, wandering
with it, he came on a secret valley in the hills behind the village. He had
never heard anyone speak of it before; it was miraculously lush, green, se-
cret, and full of birds and animals…a hare, a roebuck, a pair of wild boar
mating. A hoopoe, the first he had ever seen, flew down and began feeding
in a tree of wild honey-pears. He felt these creatures were in some way tamer and more magical here than outside, so that he had a sense of trespassing. But it immediately became ‘his’ valley in his mind; he returned there,
built a little monument of stones, cooked picnic meals over a fire; and even
consecrated the place…with a gathering of other young shepherds and
shepherdesses, feeling ‘the state of man before kings and laws and prohibitions’. Using a dialect word of the region he baptized the place simply la
bonne vaux: the valley of abundance, the sacred combe.
Restif’s is, in fact, a quite uncannily premonition of a vision, the English
associate more ready with Samuel Palmer of the Shoreham years: of a place
outside the normal world, intensely private and enclosed, intensely green
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ПРИЛОЖЕНИЕ
and fertile, numinous, haunted and haunting, dominated by a sense of magic
that is also a sense of a mysterious yet proufound parity in all existence
(DM: 305-306).
2. All this went on again at Bandelier, which is a rather different site, se-
cret – la bonne vaux turned museum – in a canyon bottom; asleep and
wooded and inturned, and as remote from our stock picture of ‘Red Indians’
as can be imagined…a timid planter-culture protopolis not very far removed
from the Garden of Eden. All their still-present plants, the yuccas and the
cylindrical prickly pears, the medicine herbs and the dyeing weeds, seem to
have a kind of numen, an equal status, all that the young Restif once felt on
the other side of the world. It’s almost a smile, said Jenny, they’re saying
look we’ve lasted longer here than you mouldy old human beings.
We drove east back down to Santa Fe in the splendid evening air, all
roses and ochres and greens, with the tree-covered folds in the mountains
behind the town lying like a gigantic crumpled velvet rug; a limpid and
cloudless winter sky above, a light no camera has ever captured, or ever
will, since its essence is in its depths, not its colours or vertical planes
(DM: 363).
3. They set off again …towards Kitchener’s Island. The sun was begin-
ning to decline and high on the sandy dunes that crowned the western cliffs
there was a congregation of the kites… Omar brought them in past the first
green walls of the trees of the island; strange flowers, leaves, boughs sweeping the water. There were no houses on this side of the river, the town was
lost; and one might, as they came closer beside the towering wall of sunlit
vegetation, with the quiet water, have been on one of summer Oxford rivers.
Some hidden warbler bubbled an out-of-season song. It was delicious, after
the arid desert of earlier that day: a profound and liquid, green and eternal
peace. [...] …the place had a charmingly haphazard and unkempt quality. It
had literally run to seed, and bred the pleasing air of a once stern scientific
purpose succumbed to the mere existing of shady vistas, countless birds,
coolness, simplicity…the simplicity …of centuries of folk-knowledge exercised on sanctuaries against the sun. It was an Alhambra composed of vegetation, water, shadow» (DM: 598, 599).
«The Journals: Vol. 2» («Дневники. Том 2»)
1. During one of her rows I told her that this place she hated so much
was like living a poem. It is. A poem, a book of hours, a symposium of all
the springs that ever were and will be. I wander round the fields in a sort of
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trance. Just as I feel physically so much healthier here, I feel a new (a revived) immediacy of impression. I had it when I was a schoolboy, but then
it was clogged and clouded by all sorts of false notions about the importance
of names… Though lines of poetry come, no poems come – in a way it is
like Greece, it is too immediate, too constituted by poems of phenomenon, a
constant flux of actual poetic events. The linnets that haunt the garden (because I am a bad gardener and the fescue is rampant) with their fine Stravinsky-like songs and their ancient Chinese harp flight calls, the first pale, huge
violets on the big ‘step’ down to the sea; finding a bed of moschatel in the
woods; the wonderful owls that haunt our nights; a flock of fifty oystercatchers, black, white, coral-red against a pearly-grey sea; the grey-black
depths in a watching rabbit’s eyes – these things are poems in their language, and in a way to write poems in mine about them is not creative, but
merely a matter of translation (Journals II: 11).
Анаграммирование имени писателя – FOWLES: …Finding a bEd
of mOSchatEL in the WOOdS; the WOndErFul OWLS that haunt Our
nightS; a FLOck oF FiFty OyStErcatchErS, bLack, WhitE, cOraL-rEd…
2. I don’t feel so much that I need the experience of the outer world, but
its humiliations. We live here in a detached, self-supporting, self-sufficient
world. We see no one, the sun shines, the sea glistens, our birds and insects
weave their summer world around us. It is beautiful, like being in a glass
sphere whose diameter is the sea horizon, all seventy or eighty miles of it. The
sense of enclosure is very small; yet finally one knows it (Journals II: 15).
Анаграммирование имени писателя – FOWLES: WE LivE hErE
in a dEtachEd, SeLF-SuppOrting, SeLF-SuFFicient WOrLd. WE SEE nO
OnE, the Sun shinES, the SEa gLiStEns, our birdS and inSEctS WEavE
their SummEr WOrLd arOund uS.
3. …a truly delicious area of olive groves that transmuted into pine-
groves, along an old river-bed. It was rich in orchids and other plants, and I
grew very fond of it. […]
The mule-track mounts through the pines, many of which grow out of
the rock. It is very beautiful: aromatic peace, no tourists, no coastal horror,
that unforgettable silence of the old ‘wild’ Greece. It sounds paradoxical,
but one can almost ‘hear’ it, though it has no sound; something living beyond all sound. I sat under an olive, with a goldfinch singing near by; time
was not (Journals II: 294, 295).
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ПРИЛОЖЕНИЕ
Анаграммирование слова SOLITUDE: … IT SOUnDS paraDOxI-
caL, bUT OnE can aLmOST ‘hear’ IT, thOUgh IT haS nO SOUnD; SOmEthIng LIvIng bEyOnD aLL SOUnD. I SaT UnDEr an OLIvE, wIth a gOLDfInch SIngIng nEar by; TImE waS nOT.
4. Eventually I came to a crest and saw across an olive-orchard a road
leading to the summit. It was still quite cloudless, and although it was getting late, I couldn’t resist it. The road led, in a mile or so, rich in irisies and
anemones, to the kalyvia, small stone huts on the summit, with its magnificent view down on the coast and backwards on the higher uplands and
mountains inland… There was a high wind, but the sky was quite cloudless,
very pure. To the west the mountains towards the sun were deep blue in
shadow, with here and there shafts of light pouring over the peaks and
ridges like something from a Palmer or a Martin, a Blake-like effect; celestial light, but not apocalyptic. I noticed this several evenings; this blue shadow of these western mountains out of the sun, and the light still pouring
over (Journals II: 297).
5. Bluebells just beginning, many patches of wood-sorrel. A strangely
deserted area, not a soul about, over and about sheep-pastures to the north
and south, eventually into the beech woods and bracken. From the northeast
a strong, cold breeze, but down the south-western slope, in the sunshine,
warm. Where we lay and rested on the dry bracken, high above the green
Marshwood Vale. The whortle-berry bushes in flower, fat little blood-andwater bells. Some bumbles, a wasp, were busy on them. […] We wandered
on until we came on the path down to the road that skirts the south side, and
runs through very pleasant, combe-y, swelling hillsides. The England of
Nash paintings, dimly beyond that, of Palmer. That is, so isolated it is
haunted still, not real, somehow still waiting. Space, bosom-curves, springs,
greenness. Lovely almond whiffs of gorse in bloom. Beyond Brimley Copse
farm the lane curves into the hill, beautifully deserted. In one field two little
groups of grazing roe deer, three in each; in another a solitary deer, standing
alert and suspicious in its very centre, then trotting up to a furze-brake just
before the trees start. It stands a few moments, watching us. Such wildness,
such isolation still, that today no one passes here (Journals II: 354).
Анаграммирование слова SOLITUDE: …a SOLITary deer,
STanDIng aLErT anD SUSpIcIOUS In ITS vEry cEnTre, thEn TrOTTIng
up TO a fUrzE-brakE jUST bEfOrE the TrEES STarT. IT STanDS a fEw
mOmEnTs, waTchIng us. SUch wILDnESS, SUch ISOLaTIOn STILL,
thaT TODay nO OnE paSSES hErE.
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ОГЛАВЛЕНИЕ
ВВЕДЕНИЕ .............................................................................................................. 7
Глава 1. КАТЕГОРИЯ МОТИВА В ОТЕЧЕСТВЕННОЙ
И ЗАРУБЕЖНОЙ ГУМАНИТАРНОЙ НАУКЕ ........................ 11
1.1. Истоки теории мотива: концепция А.Н. Веселовского ........................ 11
1.2. Основные направления развития современных мотивных
исследований ........................................................................................... 19
1.2.1. Мотив и тема, мотив и смысл .......................................................... 19
1.2.2. Структурно-семантический и прагматический подходы
к изучению мотива, системное определение мотива .................... 22
1.3. Семиотический подход к изучению мотива ......................................... 26
1.4. Проблема языковой имплементации
1.5. Традиции зарубежного и отечественного «фаулзоведения»:
степень исследованности мотива уединенного места ........................ 34
Глава 2. АУТОПОЭТИЧЕСКИЕ ЯЗЫКОВЫЕ ТЕХНИКИ
ИМПЛЕМЕНТАЦИИ АРХЕТИПИЧЕСКОГО
МОТИВА УЕДИНЕННОГО МЕСТА .......................................... 41
2.1. Архетипический мотив: проблема определения ................................... 41
2.2. Аутопоэтическая природа языковой имплементации архетипи-
ческого мотива: «глубинно-семиотическая» трактовка ...................... 45
2.3. Анализ языкового воплощения архетипического мотива
и выявление мифопоэтической основы художественного
текста ........................................................................................................ 53
2.4. Архетипический мотив уединенного
исторический субстрат, проблема статуса, структурно-
семантическая специфика ...................................................................... 57
2.4.1. Культурно-исторический субстрат мотива уединенного
места .................................................................................................. 57
мотива ......................................... 31
места: культурно-
196
2.4.2. Проблема статуса и структурно-семантическая специфика
мотива уединенного места ............................................................... 60
2.5. Аутопоэтические языковые техники как способ имплемента-
ции архетипического мотива в художественном тексте .................... 64
2.5.1. Аутопоэтические языковые техники: процесс выявления,
определение, обоснование выбора термина ................................... 64
2.5.2. Лингвистический и аутопоэтический аспекты изучения
техник имплементации мотива ....................................................... 67
2.6. Анализ аутопоэтических языковых техник имплементации
мотива уединенного места на литературном
Глава 3. ОСОБЕННОСТИ АУТОПОЭТИЧЕСКОЙ ЯЗЫКОВОЙ
ИМПЛЕМЕНТАЦИИ МОТИВА УЕДИНЕННОГО
МЕСТА В ПРОЗЕ И ПОЭЗИИ ДЖОНА ФАУЛЗА ................. 101
3.1. Мотив уединенного места в творчестве Фаулза: общая характеристика, связь с философией Гераклита, аутопоэтическая
синтактика мотива ................................................................................ 101
3.2. Реэтимологизация как способ выявления аутопоэтической
специфики имен, называющих уединенное место ............................. 114
3.3. Реэтимологизация как способ выявления аутопоэтического
потенциала антропонимов в
3.4. Семиотическая структура мифопоэтического пространства
уединенного места в прозе и поэзии Дж. Фаулза .............................. 135
3.4.1. Оппозиция «космос – хаос» ........................................................... 135
3.4.2. Оппозиция «свет – тьма» ............................................................... 155
Заключение ........................................................................................................... 165
Библиографический список ................................................................................ 169
Список использованных словарей и их сокращений ................................ 188
Список источников цитированных примеров ............................................ 189
Список произведений Дж. Фаулза и их сокращений................................. 189
Приложение .......................................................................................................... 190
ÏÐÈËÎÆÅÍÈÅ
материале ..................... 83
рамках мотива уединенного места ...... 125
197
CONTENTS
Introduction ................................................................................................................ 7
C h a p t e r 1. THE CATEGORY OF MOTIF IN RUSSIAN AND
FOREIGN PHILOLOGICAL SCIENCE ................................... 11
1.1. The origins of the motif theory: A.N. Veselovsky’ concept of motif .......... 11
1.2. Basic lines of research in modern motif studies .......................................... 19
1.2.1. Motif and theme, motif and sense.......................................................... 19
1.2.2. Structural-semantic and pragmatic approaches to motif studies, a
systematic motif definition .................................................................... 22
1.3. Semiotic approach to motif studies ............................................................. 26
1.4. The problem of linguistic motif implementation ......................................... 31
1.5. Foreign and Russian traditions of John Fowles’ texts studies: the
level of scrutiny of the secluded spot motif ................................................. 34
C h a p t e r 2. AUTOPOIETIC LANGUAGE TECHNIQUES OF
IMPLEMENTING THE ARCHETYPAL MOTIF OF A
SECLUDED SPOT........................................................................ 41
2.1. Archetypal motif: definition ........................................................................ 41
2.2. An autopoietic nature of linguistic archetypal motif implementation:
a deep semiotic interpretation ...................................................................... 45
2.3. Analysis of linguistic archetypal motif implementation and the ex-
plication of the literary text mythopoetic basis ............................................ 53
2.4. An archetypal motif of a secluded spot: its cultural and historical
background, the problem of the motif’s status, its structural and se-
mantic peculiarities ...................................................................................... 57
2.4.1. The cultural and historical background of the secluded spot motif ....... 57
2.4.2. The problem of status, structural and semantic peculiarities of the
secluded spot motif ................................................................................ 60
198
2.5. Autopoietic language techniques as a way of implementing the ar-
chetypal motif in literary texts ..................................................................... 64
2.5.1. Autopioetic language techniques: identification, definition, and
term explication ..................................................................................... 64
2.5.2. Linguistic and autopoietic aspects of studying motif implementa-
tion techniques....................................................................................... 67
2.6. Analysis of autopoietic language techniques of motif implementation
in literary texts ............................................................................................. 83
C h a p t e r 3. PECULIARITIES OF AUTOPOIETIC LINGUISTIC
IMPLEMENTATION OF THE SECLUDED SPOT
MOTIF IN JOHN FOWLES’ PROSE AND POETRY ........... 101
3.1. The secluded spot motif in John Fowles’ texts: a general overview,
its relation to the Heraclites philosophy, and motif autopoietic syn-
tactic patterns ............................................................................................. 101
3.2. Re-etymologization as a means of identifying autopoietic peculiari-
ties of secluded spot names ....................................................................... 114
3.3. Re-etymologization as a means of identifying an autopoietic poten-
tial of personal names related to the secluded spot motif .......................... 125
3.4. A semiotic structure of a secluded spot mythopoetic space in John
Fowles’ prose and poetry ........................................................................... 135
3.4.1. The “Cosmos – Chaos” opposition ...................................................... 135
3.4.2. The “Light – Darkness” opposition ..................................................... 155
Conclusion ............................................................................................................. 165
References .............................................................................................................. 169
List of dictionaries and their abbreviations ...................................................... 188
List of quotation sources .................................................................................. 188
List of John Fowles’ works and their abbreviations ......................................... 189
Appendix ................................................................................................................ 190
ÏÐÈËÎÆÅÍÈÅ
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