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Фрагментація постмодерного прозового тексту: засади і прийоми

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Kropyvko I.

Studia Polsko-Ukraińskie

2022

vol. 9

141-161

The article focuses on factors and manifestations of postmodern text fragmentation. A fragment is one of the central concepts of modern and postmodern literature. The modernist fragment was a means of cognitive activity and a form of its adequate representation. It was determined by the basic concept of the integrity of a literary phenomenon and recognition of its encoded meaning, as well as encouraged the reader to invent missing parts. It has been proven that for postmodernist prose, the fragment is the only possible mode of its existence, an artistic strategy and an artistic device. The postmodernist text is positioned by the game field, where equal participants play with multiple-order fragments. Such fragments include preceding artistic traditions and techniques. Text fragmentation is enhanced by equalizing the rights of the author, character and the reader. Each participant of the literary communication has their own (partial) view of the art world. Narrative strategies of prose fragmentation are determined by the ways of building rhizomatic narratives and the peculiarities of their perception by the receptionist. Ukrainian and Polish writers use various means of constructing a fragmented text at the levels of its conceptualization, narrative structure, interpretative and receptive strategy, image-based specificity (intermediateness etc.).

Atonální hudba a nekonečná fragmentarita: Bloch a Schönberg

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Bierhanzl J.

Filosofický časopis (Philosophical Journal)

2021

vol. 69

issue 3

545-560

The concept of fragmentarity not only constitutes the central idea of Ernst Bloch’s philosophy of music, but also the whole of his aesthetics, even of his entire ontology – which can already be characterized as a Marxist ontology of creative, utopian imagination. In spite of the fact that the focus of his musical interest was chiefly classical, tonal music and that, unlike Adorno, he gave relatively little attention to atonal and dodecaphonic music, we would like to show that Schönberg’s atonal music occupied, by way of the problem of fragmentarity, a specific place in Bloch’s socio-utopian ontology. At the same time, we want to highlight problematic aspects of Bloch’s concept of fragmentarity. This concept is perhaps overly connected with the aesthetics of romanticism, and its use to describe new music is in this way limited. The last part of the text is then a corrective of this position using the thinking of Emmanuel Levinas, especially his aesthetics and some of his notes on the event nature of music. In fact, from the point of view of Levinas’ critique of ontology, Bloch’s fragmentarity too is overly connected with the idea of totality, albeit only utopianly sketched. In the conclusion itself, we will then attempt to point out the possible combination of Bloch’s conception of new music as a fragment and Levinas’ event approach to music in the broader framework of the aesthetics of ambiguity.

Pojem fragmentarity či fragmentárnosti netvoří jen ústřední pojem Blochovy filosofie hudby, nýbrž celé jeho estetiky, ba dokonce celé jeho ontologie – již lze charakterizovat jako marxistickou ontologii tvůrčí utopické imaginace. Navzdory tomu, že předmětem jeho hudebního zájmu byla zejména klasická, tonální hudba a že na rozdíl od Adorna atonální a dodekafonické hudbě věnoval poměrně malou pozornost, rádi bychom ukázali, že Schönbergova atonální hudba zaujímá, skrze problém fragmentárnosti, specifické místo v Blochově sociálně-utopické ontologii. Zároveň chceme upozornit na problematické aspekty Blochova pojmu fragmentarity. Tento pojem je totiž možná až příliš spjat s estetikou romantismu a jeho užití pro popis nové hudby je tímto limitované. Poslední část textu je potom korektivem této pozice s využitím myšlení Emmanuela Lévinase, zejména jeho estetiky a některých jeho poznámek o událostním charakteru hudby. Z hlediska Lévinasovy kritiky ontologie je totiž Blochova fragmentarita příliš spojená s představou totality, byť jen utopicky nastíněné. V samotném závěru se pak pokusíme poukázat na možné skloubení Blochovy koncepce nové hudby jako fragmentu a Lévinasova událostního přístupu k hudbě v širším rámci estetiky ambiguity.

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1 Filosofický časopis (Philosophical Journal)

1 Studia Polsko-Ukraińskie

1 Bierhanzl J.

1 Kropyvko I.

1 2022

1 2021

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Фрагментація постмодерного прозового тексту: засади і прийоми

Atonální hudba a nekonečná fragmentarita: Bloch a Schönberg