Address: office 1410a, 17 Naberezhnaya Severnoy Dviny, Arkhangelsk, 163002, Russian Federation, Northern (Arctic) Federal University named after M.V. Lomonosov

Phone: (818-2) 28-76-18
E-mail: vestnik_gum@narfu.ru
http://gum.narfu.ru/en/

ABOUT JOURNAL

On Ekphrastic Thesaurus in Alexander Grin’s Works. P. 73–81

Версия для печати

Section: Philology

UDC

821.161.1

Authors

Margarita I. Kryukova
Institute of Philology, Siberian Branch, Russian Academy of Sciences; ul. Nikolaeva 8, Novosibirsk, 630090, Russian Federation;
e-mail: iamdaisy@mail.ru
Elena Yu. Kulikova
Institute of Philology, Siberian Branch, Russian Academy of Sciences; ul. Nikolaeva 8, Novosibirsk, 630090, Russian Federation;
e-mail: kulis@mail.ru

Abstract

Ekphrasis plays a very important role in Alexander Grin’s artistic world and is widespread in his works, which indicates the writer’s adherence to the intermedial paradigm of 20th-century culture with its attention to the synthesis of arts and inclination for media systems. This article analyses ekphrastic thesaurus in Alexander Grin’s oeuvre and classifies the descriptions of works of art found in his prose. Grin applies different kinds of ekphrasis: classical, dynamic, mimetic, non-mimetic, and topographic ekphrasis. Predominance of non-mimetic ekphrasis was identified, when the paintings, sculptures and artefacts described do not exist in reality. The author creates amazing pictures and statues in his imagination and then puts their detailed descriptions in writing. In his works, Grin verbalizes painting and sculpture, endowing them with dynamic representation and making them either part of the plot or fullfledged characters. In addition, this study dwells on the correlation between the concepts of ekphrasis and metaphor. Ekphrasis is almost exclusively based on metaphor which assimilates the living with the lifeless and vice versa. Grin’s ekphrastic thesaurus is broader than the traditional definitions of this concept; his prose combines the static and the dynamic in a natural way. Paintings in works of art (Grin’s prose in this case is rather a confirmation of than exception to the rule) are always pictures brought alive. Conversely, an artist can, through ekphrasis, impart deathly features to the living world, opposed to the frozen world of art, as “liveliness” of the world of art can be described more convincingly than the dynamics of the real world. A writer represents an image as something living and contrasts an abstract combination of objects and things – forms of space devoid, in his opinion, of meaning – with the content or descriptive beauty of the picture. Thus, the intratextual space in Grin’s works can generate the pictorial.

Keywords

Alexander Grin, intermediality, ekphrastic thesaurus, ekphrasis, non-mimetic ekphrasis, dynamization of ekphrasis
Download (pdf, 4.1MB )

References

1. Braginskaya N.V. Ekfrasis kak tip teksta (k probleme strukturnoy klassifikatsii) [Ekphrasis as a Type of Text (on Structural Classification)]. Slavyanskoe i balkanskoe yazykoznanie. Karpato-vostochnoslavyanskie paralleli. Struktura balkanskogo teksta [Slavic and Balkan Linguistics. Carpathian-East Slavic Parallels. The Structure of the Balkan Text]. Moscow, 1977, pp. 259–282.
2. Geller L. Ekfrasis, ili obnazhenie priema. Neskol’ko voprosov i tezis [Ekphrasis, or Revealing the Trick. Some Questions and a Thesis]. “Nevyrazimo vyrazimoe”: ekfrasis i problemy reprezentatsii vizual’nogo v khudozhestvennom tekste [“The Inexpressible Expressed”: Ekphrasis and the Problems of Visual Representation in Works of Fiction]. Moscow, 2013, pp. 44–61.
3. Wölfflin H. Kunstgeschichtliche Grundbegriffe: Das Problem der Stilentwicklung in der neueren Kunst. München, 1915 (Russ. ed.: Vel’flin G. Osnovnye ponyatiya istorii iskusstv. St. Petersburg, 1994. 426 p.).
4. Hansen-Löve A.A. Intermedial’nost’ v russkoy kul’ture: Ot simvolizma k avangardu [Intermediality in Russian Culture: From Symbolism to the Avant-Garde]. Moscow, 2015. 450 p.
5. Urtmintseva M.G. Ekfrasis: nauchnaya problema i metodika ee issledovaniya [Ekphrasis: A Scientific Problem and Methods of Its Research]. Vestnik Nizhegorodskogo universiteta im. N.I. Lobachevskogo, 2010, no. 4-2, pp. 975–977.
6. Kling O. Topoekfrasis: mesto deystviya kak geroy literaturnogo proizvedeniya (vozmozhnosti termina) [Topographic Ekphrasis: Setting as a Character in a Work of Literature (the Potential of the Term)]. Ekfrasis v russkoy literature [Ekphrasis in Russian Literature]. Moscow, 2002, pp. 97–111.
7. Lyakhovich A. Vitki i okovy “Zolotoy tsepi” Aleksandra Grina [The Turns and Shackles of The Golden Chain by Alexander Grin]. Available at: http://grin.lit-info.ru/grin/kritika/lyahovich-vitki-i-okovy.htm (accessed 1 June 2018).
8. Boccioni U., Carra C., Russolo L., Balla G., Severini G. The Exhibitors to the Public 1912. Apollonio U. (ed.). Futurist Manifestos. New York, 1973. 232 p.
9. Flaker A. Zhivopisnaya literatura i literaturnaya zhivopis’ [Pictorial Literature and Literary Pictures]. Moscow, 2008. 432 p.
10. Kovskiy V. Romanticheskiy mir Aleksandra Grina [The Romantic World of Alexander Grin]. Moscow, 1969. 296 p.
11. Vipper B.R. Problema i razvitie natyurmorta [The Problem and Development of Still Life]. St. Petersburg, 2005.