Thanatology in the Tales Of Old Vilnius by Maks Frai Thanatological motives of the Tales Of Old Vilnius are inherent to Vilnius, a place where the actual author of this literary work, Svetlana Martynchik (known as Maks Frai by her pen name), now lives. This inherence is due to the tendency of works written in foreign languages on the territory of Lithuania to construct the so-called local identity. Its main construct is the phenomenon of Vilnius which in Maks Fraiʼs interpretation acquires a particularly fantastic and mythological character and appearance, on the verge of conscience. Utilizing the semantic potential of mental models “the death of mine” and “the death of yours” in correlation with model “the death reversed”, S. Martynchik generates certain thanatological conditions which are stipulated by “miraculous” ties between the “border city” Vilnius and its inhabitants. This eventually secures their victory over the death, thereby making Maks Fraiʼs thanatology distinctly “humanized”.
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Tematyka tanatologiczna w książkach Maxa Freia z cyklu Bajki Starego Wilna Tematyka tanatologiczna w Bajkach Starego Wilna nierozerwalnie związana jest z Wilnem, nowym miejscem zamieszkania autorki książek — Swietłany Martynczik (piszącej pod pseudonimem Max Frei), i wynika przede wszystkim z nowej tendencji do tworzenia na Litwie literatury w języku obcym — budowania tak zwanej tożsamości lokalnej. Podstawowym fundamentem tożsamości lokalnej jawi się tu fenomen miasta, a Max Frei tworzy szczególny bajkowo-mitologiczny obraz oraz strukturę współczesnego Wilna, gdzie wzdłuż ulic przechodzi granica pomiędzy jawą i snem, życiem i śmiercią. Wykorzystując potencjał modeli semantycznych „śmierć własna” i „śmierć twoja” w relacji z modelem „śmierci odwróconej”, S. Martynczik formułuje różne tanatologiczne problemy, wynikające z „cudownego” połączenia „miasta granicznego” Wilna i jego mieszkańców. W ostatecznym rozrachunku zespolenie to daje ludziom zwycięstwo nad śmiercią, a tanatologia Maxa Freia zyskuje bardziej „humanitarne” zabarwienie.
Thanatological chronotopesin Eugene Vodolazkin’s novel The Aviator Eugene Vodolazkin’s novel is based on thanatologic motives. Eternal literary theme enables to realize (represent) the author’s concept of death. The article deals with peculiar features of the plot, types of death representation and types of thanatologic chronotope connected with them. The plot is as an inverted parabola, the branch of which tends upwards and reaching its apogee to life (resurrection) and tends to death again. It is possible to define types of fictitious and real death, natural and brutal, physical and spiritual. Different thanatological chronotopes correspond to different types of death. Time-space relation makes it possible to show the summation of ontological, axiological, ethical and religious sides of thanatological issues.
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Танаталагічныя хранатопыў рамане Яўгена Вадалазкіна Авіятар Раман Яўгена Вадалазкіна збудаваны на танаталагічных матывах. Вечная для літаратуры тэма дае магчымасць рэалізацыі аўтарскай канцэпцыі смерці. У артыкуле разглядаюцца асаблівасці сюжэту, тыпы рэпрэзентацыі смерці і звязаныя з імі тыпы танаталагічных хранатопаў. Сюжэт пабудаваны па прынцыпе перавернутай парабалы, галіна якой імкнецца ўгору і, дасягнуўшы апагею, сыходзіць уніз. Асаблівасцю сюжэта рамана Авіятар з’яўляецца рух ад смерці да жыцця (уваскрашэнне) і затым зноў да смерці. Вылучаюцца тыпы ўяўнай і рэальнай смерці, натуральнай і гвалтоўнай, фізічнай і духоўнай. Розным тыпам смерці адпавядаюць розныя танаталагічныя хранатопы. Суадносіны часу-прасторы дазваляюць адлюстраваць комплекс анталагічных, аксіалагічных, этычных і рэлігійных бакоў танаталагічнай праблематыкі.
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