ARTISTIC AND AESTHETIC METHODS OF ORGANIZATION AND FUNCTIONING OF SPACE-TIME RELATIONS IN THE STORY

UDC 821.161.3

Kuz’mich Natallya Vasil’yeuna – PhD (Philology), Associate Professor, Assistant Professor, the Department of Literary and Artistic Criticism. Belarusian State University (4, Nezavisimosti Ave., 220030, Minsk, Republic of Belarus). E-mail: kuzmich_nv@mail.ru

DOI: https://doi.org/ 10.52065/2520-6729-2024-285-17.

Key words: space, time, space-time features, story, Belarusian writers, Ivan Ptashnikau, Uladzimir Stsyapan.

For citation: Kuzmich N. V. Artistic and aesthetic methods of organization and functioning of space-time relations in the story. Proceedings of BSTU, issue 4, Print- and Mediatechnologies, 2024, no. 2 (285), pp. 128–133 (In Belarusian). DOI: 10.52065/2520-6729-2024-285-17.

Abstract

Space and time as the forms of existence of matter in the real world are present in almost all its manifestations, also space and time belong to the main objects of artistic representation in a literary work, without these categories the existence of the world modeled in the structure of the text is impossible. In this text, for the first time in domestic humanitarian science, the specifics of the organization of spatiotemporal relations in the works of Belarusian writers Ivan Ptashnikau and Uladzimir Stsyapan are considered. In the stories of I. Ptashnikau, spatio-temporal relations always have a conceptual meaning. The writer builds a plot with main and secondary characters, in the works the past and the present intersect; through abstract and visual subject images, spatio-temporal flows, their movement and substantive and semantic meaning in the implementation of a creative task are conveyed and formed; in the subtext there are associations that connect episodes into integrity, determine the continuity of the spatio-temporal flow. In the stories of U. Stsyapan, the action develops dynamically, the main role in the implementation of the creative task is given mainly to two or three characters; events that occur in reality are explored; spatio-temporal signs are revealed in their combinations; the denouement can be unexpected, but within the logic in which the image develops. The spatio-temporal model of the Belarusian short story of the twentieth century is individual for each writer depending on the creative tasks that he sets for himself. It reflects ideological and philosophical-aesthetic guidelines, and certain common features inherent in the mentality of a Belarusian are revealed. Artistic and aesthetic techniques for organizing and functioning spatio-temporal relations in stories are a clear evidence of the creative individuality of the writer. Together with such techniques, the organization and functioning of the spatio-temporal paradigm as an important component determine the structural unity of a literary work.

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