Naslov (srp)

Trauma i sećanje u prozi Kazua Išigura

Autor

Matović, Tijana, 1988-, 17068647

Doprinosi

Bubanja, Nikola, 1978-, 13511271
Paunović, Zoran, 1962-, 13244775
Bošković, Dragan, 1970-, 13421415
Lojanica, Marija, 1979-, 13512551

Opis (eng)

The aim of this dissertation is to analyse ideas, themes, narrative structures, and genre ideology, related to the phenomena of trauma and memory, within the novelistic oeuvre of contemporary British author Kazuo Ishiguro, which encompasses his seven published novels to date: A Pale View of Hills (1982), An Artist of the Floating World (1986), The Remains of the Day (1989), The Unconsoled (1995), When We Were Orphans (2000), Never Let Me Go (2005), and The Buried Giant (2015). The methodology used in this dissertation employs a broadly conceived, interdisciplinary theoretical model, which connects contemporary cultural theories of memory and theories of trauma to poststructuralist and psychoanalytic thought, along with the application of analytic, synthetic, hermeneutic and deconstructive methods. The original contribution of this dissertation lies in the revision of a predominantly descriptive interpretation of Ishiguro’s oeuvre, in the application of a unique theoretical model conceived to meet the authentic propositions of Ishiguro’s prose, and in the placing of his last novel, The Buried Giant, within the overall critical framework, given that, on account of its recent publication date and a divergence regarding narrative voice, it has not been synthetically integrated with his previous novels. The main thesis explored in this dissertation states that the specificity of Ishiguro’s poetics lies in the metaphorical treatment and ironic subversion both of his protagonists’ narrative identities as supposedly stable and of the propositions of genre, which shape the fictional worlds of his novels. This thesis points to the processes of memory as constructed and to their configurations as conditioned by the retroactively conceived trauma. The aim of this dissertation was also to disprove critical interpretations of Ishiguro’s prose as historiographic or ethnic fiction, along with an extraliterary analysis of it as such, in order to interpret the narrative or focalized voices of his protagonists within the confines of a specific world of fiction. The dissertation suggests that the confrontation of different socio-historical circumstances in Ishiguro’s novels does not aim at mimetic realism, but provides the context within which the dynamics of his protagonists’ configurative memory processes, on account of the traumatic discrepancy between the mentioned symbolic orders, require a retrospective mediation between them. The conclusions reached in the analytic part of the dissertation confirm the postmodernist framework of Ishiguro’s prose, as demonstrated through his incredulity toward the ideological metanarratives conceived as specific genres, through an emphasis on perspectivism regarding narrative voice, and through a parallel deconstruction of subjectivity, stemming from the discontinuity between the idealistically and normatively configured narrative identities of his protagonists. The deconstruction of subjectivity in Ishiguro’s novels reveals memory processes as metaphorically constructed and configurative, without an autochthone foundation, while the mapping of trauma is interpreted as interlinked with irony, carried out via the ontological unreliability of the narrative voice, via the subversion of the chronology of the plot, and via the subversion of genre, as an ideological structure, which is not an external form in reference to the narrative voice, but conditioning for and conditioned by the protagonists’ narrative identities. On the other hand, the privileging of the ontological, postmodernist issues in Ishiguro’s works is continually placed in confrontation with the creative dynamics of the configurative processes of individual and collective memory, which can produce and stabilize meaning, and which are, as such, available for identity construction, although that construction is dependent on both the ideological demands of the genre and the idealizations interlinked with subjective desire, formed not only in reference to the symbolic order, but also with respect to the spectrality of trauma.

Opis (srp)

Predmet istraživanja u ovoj disertaciji su idejno-tematske, strukturnonarativne i ideološko-žanrovske figuracije fenomena traume i sećanja u romanesknom opusu savremenog britanskog pisca Kazua Išigura, koji obuhvata njegovih sedam objavljenih romana: Bledi obrisi brda (1982), Slikar prolaznog sveta (1986), Ostaci dana (1989), Bez utehe (1995), Kad smo bili siročad (2000), Ne daj mi nikada da odem (2005) i Zakopani džin (2015). U disertaciji smo primenili načelno interdisciplinarni teorijski model, koji uspostavlja veze između savremenih kulturoloških teorija sećanja i teorija traume, kao i postavki poststrukturalizma i poststrukturalističke psihoanalize, a primenom analitičko-sintetičke, hermeneutičke i dekonstruktivističke metode. Originalni doprinos ove disertacije ogleda se u reviziji deskriptivnog tumačenja Išigurovog opusa, primeni jedinstvenog teorijskog modela usklađenog sa autentičnim propozicijama njegove proze i pozicioniranju njegovog poslednjeg romana naspram prethodnih, budući da Zakopani džin nije bio predmet sintetičke obrade, a da predstavlja odstupanje od Išigurove sklonosti ka pripovednom glasu u prvom licu. Osnovna teza koju smo u disertaciji razmatrali jeste da specifičnost Išigurove poetike počiva u metaforičkom oblikovanju i ironijskom podrivanju postojanosti narativnog identiteta protagoniste i žanrovskih postavki koje oblikuju svet fikcije, te ukazivanju na konstruisanost procesa sećanja, koji je kao konfigurativni proces uslovljen retroaktivno koncipiranom traumom. U disertaciji osporavamo tumačenje Išigurove proze kao oblika istoriografske ili etničke fikcije, za koju bi bila relevantna ekstraliterarna analiza, već narativni ili fokalizovani glas tumačimo naspram sveta fikcije konkretnog romana. Predložili smo i da sučeljavanje društveno-istorijskih poredaka u Išigurovim romanima za cilj nema mimetički realizam, već formiranje konteksta u kome bi dinamika konfigurativnih procesa sećanja njegovih protagonista, zbog naznačenog traumatičnog diskontinuiteta između simboličkih paradigmi, morala retrospektivno posredovati između tih paradigmi. Proistekli uvidi iz analitičkog dela disertacije potvrdili su postmodernističke odlike Išigurove proze, uočene u njegovom nepoverenju prema žanrovsko-ideološkim metanarativima, privilegovanju perspektivizma narativnog glasa i uporednoj dekonstrukciji subjektivnosti, koja proističe iz diskontinuiteta između idealistički i normativno konfigurisanog narativnog identiteta protagoniste. Dekonstruisanje subjektivnosti u Išigurovim romanima upućuje na procese sećanja kao na metaforički-konstruktivne, konfigurativne procese, koji nemaju autohtono uporište, dok se mapiranje traume ispostavlja kao ključ za tumačenje ironije u Išigurovoj prozi, koja je sprovedena putem ontološke nepouzdanosti narativnog glasa, putem podrivanja hronologije sižea, ali i putem podrivanja žanra, kao ideološke strukture, koja nije eksterna forma u odnosu na narativni glas, već usklađena sa strukturom narativnog identiteta protagoniste. Sa druge strane, privilegovanje ontološke, postmodernističke problematike, u Išigurovoj fikciji je kontinuirano suočeno sa kreativnom dinamikom konfigurativnih procesa individualnog i kolektivnog sećanja, koji sadrže potencijal za proizvodnju i stabilizaciju smisla i koji su, kao takvi, dostupni njegovim protagonistima za konfiguraciju sopstvenih identiteta, premda se ta konfiguracija ispostavlja kao zavisna i od žanrovsko-ideoloških naloga i od idealizacija usklađenih sa subjektivnom željom, koja se formira ne samo naspram konkretnog simboličkog poretka, već i naspram sablasne traume.

Jezik

srpski

Datum

2020

Licenca

Ovo delo je licencirano pod uslovima licence
Creative Commons CC BY-NC-ND 2.0 AT - Creative Commons Autorstvo - Nekomercijalno - Bez prerada 2.0 Austria License.

CC BY-NC-ND 2.0 AT

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