Silence in the texts of Maxim Gorky as a way of indirect talks about the world
Vol.20,No.2(2017)
Abstract
Keywords:
Maxim Gorky; a novel reflector; artistic text; journalism; image of author; author comment; meaning; indirect reality; world at the time of movement and transformation as a novel object; art as intuitive and spontaneous perception of reality
Pages:
59–65
The article notes that the scientific biography M. Gorky are based on the art and autobiographical texts. The author in his art works remain silent. The word of art text can not be identified with the author. Gorky's novels speak about the author only indirectly. The absence of evaluation comments can be considered important to the understanding Gorky's relationship to the world. Gorky's poetics is based on a concise portrait of events, situations and characters in their movement and transformation. Gorky linear and non plot (non story) poetics seeks neither to have the unifying significance even to the evaluation comments, but still remains at the stage of constant renewal issues. Gorky expressed everything he wanted, and still comes back to the question about the meaning of what is spoken. The Gorky's portrait is possible to assemble only throught artistic text but Gorky as an author is silent. Gorky did not speak directly on events in Russia through the best novels he wrote. He was limited by complexity of the word to express directly assessment of man's place in the world and his relationship to the world. Gorky's works expressed the helplessness of man in the world to navigate. Simple expressions belong in Gorky journalism. This situation creates a possible parallel to controversial situations in real life of Maxim Gorky. Gorky's artistic texts express his true and always indirect understanding of the world.
Maxim Gorky; a novel reflector; artistic text; journalism; image of author; author comment; meaning; indirect reality; world at the time of movement and transformation as a novel object; art as intuitive and spontaneous perception of reality
59–65