Theoretical basis of a new interpretation of the prototext

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Namestyuk Svitlana, Zazulia Iryna Chernivtsi

THEORETICAL BASIS OF A NEW INTERPRETATION OF THE PROTOTEXT

In our paper, the theory of TTPI (theory of traditional plots and images) is interpreted as a segment of intertextuality, personosphere, narrative and their postmodern specificity (Neamtsu, 2001, p. 12). The sequels by V. Ruchinsky, V. Kulikov as well by Ch. Aytmatov were reviewed. At the level of the personosphere, the named authors metamorphize the genre matrix of the novel “Master and Margarita”, while maintaining recognition. It is the personosphere, that on the basis of a certain plot, each time determines the specifics of a new plot.

V. Ruchinsky consciously deforms the Bulgakov's model of the personosphere due to deviations in the plot. Using the example of V. Kulikov's text with Bulgakov's plot of the well-known novel, it is noted that the preservation of the main characters of the personosphere plays an important role in shaping the dynamic continuation of the original storyline strategy (Namestyuk, 2018, p. 105-110).

The elliptical model of the plot in a postmodern text allows a change in the interpretation of prototext. Translating the events of the genius novel into a new modernity, the authors showed the generative potential of the classics.

All this is aimed not only at the reflection of the worldviews of his time, but also, in his creative program, works to reformat the borrowed genre pattern into a specific, different genre form - a sequel.

Chingiz Aitmatov, in which he conveys the past, present and future, reflecting in a “miniature” the novelistic narrative methods introduced by M. Bulgakov. There is an inside typological rapport between the “metaphor” of Aytmatov and the “metatext” of Bulgakov's original. We pronounced the transformation of the cultural heritage of M. Bulgakov in Aytmatov's literary attainment. The material of our research is Bulgakov's novel “The Master and Margarita” and “The Scaffold” by Ch. Aytmatov. In this context, the object of the work is legendary and mythological structures that provide a variety of forms and methods of the usage of the literary heritage of Bulgakov. Reliant on the remoteness of the conception and epoch recipient a traditional motive or image is modified (Namestyuk, 2017, p. 118-125). In our case, the standing of the novel “The Master and Margarita” in the interpretation of Aytmatov is not decreasing despite the temporal aspects (Bronskih, 2015, p. 12-23). The aim was to identify how this novel can be attributed to the rare, single interpretations (continuations), where the writer tells about the future life of Bulgakov's characters in the twentieth century.

V. Ruchinsky consciously deforms the Bulgakov's model of the personosphere due to deviations in the plot. Using the example of V. Kulikov's text with Bulgakov's plot of the well-known novel, it is noted that the preservation of the main characters of the personosphere plays an important role in shaping the dynamic continuation of the original storyline strategy (Namestyuk, 2018, p. 63-66).

The elliptical model of the plot in a postmodern text allows a change in the interpretation of prototext. Translating the events of the genius novel into a new modernity, the authors showed the generative potential of the classics.

This sequel is styled in agreement with the typical genre structures of ordinary romance, consisting of characteristic feathers. This, in specific, the sphere, as an incident centripetal point of the logic of arrangement of events; the lively love triangle of the sequel, which in V. Kulikov's text gets the signs of a philosophical parable; the section of temporal anachronisms hired from the Bulgakov's key source, which qualifies the time-space movement of characters in time. The peculiarity of the postmodernist narrative in the sequel by V. Kulikov defines the functions of citations in postmodern symbols, which play an assimilating role in the practice of the narrative on the example of the prototype personosphere of this sequel. The specificity of the postmodern narrative, consequently, is transformed depending on the metamorphic model of the personosphere of the sequel. Transformation occurs due to the presence of eclecticism.

Transitivity as an aspect of genrological deformations is closely related to the intertextuality as a rather complex and mosaic phenomenon. The structure of our study is based on the theory of communicative- discursive analysis (in the segment of naratology) that, in kin to the principle of intertextuality, too accurately, the devotion to the adequacy of reading does not make sense of any message. In our opinion, the prospect of reading is very important on the basis of a well-understood methodological basis. In our case, we prefer to follow theoretical dogmatism of narratology. In the tactic of our research, we agree as well with the theory of perception (in the segment of narratology) that, mixed with intertextuality's component brands the sense of the reading. In our opinion, it is important not only to infer the phenomenon of intertextuality in different schools, but, in fact, the very prospect of reading on the source of a specifically well-understood methodological basis. The scientific significance of the concept of intertextuality corresponds to the deep demands of the modern era with its attraction to a radical renewal of the entire genre of literature. The timespace function in the aspect of genre metamorphism as a form of intertextual experimentation confirms that time-space coordinates determine the plot of artistic text. Consciousness of the author's narrative and practical principles of the personosphere in terms of time and space underwrites to the immanent reception of an artistic effort. So, the analysis of the artistic nature of time space, the signs and ways of expression in the novel “Master and Margarita” and in his novel-continuations arises. Typically, postmodernism is characterized by modification of archaic genres, forming new, derivative, “secondary” forms. Therefore, the borrowing of traditional material in the following interpretations may pass into a zone of another literary genus. Regarding Bulgakov's “Master and Margarita” it is a fairly frequent practice.

All this is aimed not only at the reflection of the worldviews of his time, but also, in its creative program, works to reformat the borrowed genre pattern into a specific, different genre form - a sequel.

intertextuality personosphere postmodern specificity metamorphize novel master and margarita

REFERENCES:

1. Bronskih, S.V. (2015) Content complexes of Evangelical motives in the novels “Master and Margarita” by M. Bulgakov and “Skyfall” by Ch. Aitmatov. Science. app. Kharkiv. Nat. un-tu im. G.S. Frying pans. Literary studies. Kiev, Vip. 3 (79). Part 2. 12-23.

2. Namestyuk, S.V. (2018) The triple reception of demonic image in M. Bulgakov-Ruchinsky-Kulikov. Mind technologies: step to the future: mater. Int. scientific-practical Congr. Brussels. 63-66.

3. Namestyuk, S.V. (2018) The theory of TCO from the perspective of Bulgakov's creativity. Language and literature in the European context: mater. Mizhnar. sciences. conf., assign. 90th anniversary of the day of the People's Writer, publisher Felix Krivin Uzhgorod. 105-110.

4. Namestyuk, S.V. (2017) Mythopetics of infernal images and motives in the novels “Master and Margarita” by M. Bulgakov and “The First of the First, or The Road from Bald Mountain” by V. Kulikov. Literature and culture Polissya: zb. sciences. Nizhyn ave., Vip. 86. Series “Philological Sciences”. No. 8. 118-125.

5. Neamtsu, A.E. (2001) Traditional plots, images, motives: articles. Chernivtsi: Ruta.

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