| Abstract | Ovaj diplomski rad bavi se analizom postmodernističkog preosmišljavanja ruskog jezika i društveno-kulturnog položaja ruske klasične književnosti u distopijskom romanu Plavo salo V. G. Sorokina. Autor se služi dekonstrukcijom jezika i narativa što se na sadržajnom i diskurzivnom planu manifestira kao nasilje i stvara efekt šoka. Ovakve postupke smjestili smo u okvir odnosa jezika i stvarnosti i izdvojili dva slučaja kada dolazi do njihovog konflikta. U prvom slučaju autorovo umjetničko viđenje jezika kao generativnog organizma realizira se u opscenoj konkretizaciji apstraktnih koncepata i metafora u materijalnoj stvarnosti romana,
odnosno u karnalizaciji. U drugom slučaju proučili smo lingvističku problematiku referencijalnosti jezičnog znaka koju Sorokin inkorporira u svoj umjetnički tekst: u pseudočehovljevoj drami ukazuje na proizvoljnost i krhkost veze između jezičnog znaka i referenta, a na primjeru Staljina kao jezičnog znaka destabilizira duboko ukorijenjena konotativna značenja. Na jezičnom planu romana analizirali smo autorovo eksperimentiranje s ruskim jezikom koji u romanu postaje tzv. novi ruski, svojevrsni zaumni jezik distopijske budućnosti. U njegovom oblikovanju autor poseže za neologizacijom i neosemantizacijom standardnog ruskog jezika, jezičnim posuđivanjem te grafijskim inovacijama. Na kraju smo s osvrnuli na prikaz položaja i uloge književnosti i književnika. U tom prikazu Sorokin se služi motivom kloniranja i rekreira (parodijske) tekstove Tolstoja, Nabokova, Čehova, Ahmatove, Platonova, Pasternaka i Dostojevskog. S obzirom na to okarakterizirali smo Plavo salo kao izrazito metaliteraran i intertekstualan roman koji na Sorokinu svojstven način progovara o ruskom jeziku, književnosti i kulturi. |
| Abstract (english) | This master's thesis deals with the analysis of the postmodernist reimagining of the Russian language and the socio-cultural position of Russian classical literature in the dystopian novel Blue Lard by V. G. Sorokin. The author uses the deconstruction of language and narratives, which manifests as violence in both plot and discourse, and produces a shock effect. We placed such literary techniques in the framework of the relation between language and reality and emphasized two cases in which conflict between them occurs. In the first case, the author's artistic vision of language as a generative organism is expressed in the obscene concretization of abstract concepts and metaphors in the material reality of the novel, i. e. carnalization. In the second case, we studied the issue of the referentiality of the linguistic sign, that Sorokin introduces in his literary text: in the pseudo-Chekhovian play he points out the arbitrariness and fragility of the relation between the linguistic sign and the referent, and on the example of Stalin presented as a linguistic sign, he destabilizes deeply rooted connotative meanings. On the linguistic level of the novel, we analysed the author's experimentation with the Russian language, which in the novel becomes the so-called New Russian, a language of the dystopian future which manifests itself as zaum (“beyondsenseˮ). In creating the New Russian, Sorokin employs strategies such as neologization and neosemantization of the standard Russian language, linguistic borrowing, and innovations in the writing system. In the end, we discussed the position and role of literature and writers represented in the novel. Sorokin uses the motif of cloning and recreates parodic texts as i f they were written by Tolstoy, Nabokov, Chekhov, Akhmatova, Platonov, Pasternak, and Dostoyevsky. With this in mind, we defined Blue lard as a highly metaliterary and intertextual novel that speaks about the Russian language, literature, and culture in Sorokin's distinctive manner. |
