THE AESTHETIC FUNCTION OF THE GROTESQUE IN THE FIGURATIVE CONCEPT OF V. NABOKOV

2021 
This article discusses the aesthetic functions of the grotesque in the work of V. Nabokov as a highlyartistic and metaphysical meaning in a comparative view; consideration is carried out from theprovisions of philosophical, structural and general chemical scientific methods. The importance andrelevance of the study of such a complex technique helps to establish a connection in the work of theauthor of the "subject" grotesque and grotesque consciousness. The disclosure of semantic methodsallows you to view in them the actualization of the motives of the absurdity of existence, thecombination in author-individual comparisons of zoomorphic and anthropomorphic series. In addition,to present the historical connection between the methods of modeling "other" reality and thedescription of characters with a distorted mind in the work of Nabokov-Sirin and classics of fiction.Nabokov considered naming literary methods one of the important compositional elements of artisticanalysis, therefore, our approach corresponds to the object of cognition. The study highlights someof the fundamental details of grotesque expressiveness in the author's prose in the critical and artisticstyles of depicting reality. In particular, both from the position of postmodern game poetics, on theone hand, and subjective-mythological ideas - on the other. The task of the article is to show how theoriginality of the meta-description of reception in the author goes into the definition of the canons ofgrotesque unity and the comparison of picturesque nature with the aesthetic functions of literature asa type of art. This meaning shows how V. Nabokov's terminological and conceptual system with itsfeatures of ambivalence and distortion (concepts of "pattern," "arabesque," "prism") is consistent withthe artistic nature of the grotesque.
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