აღმოსავლური ტექსტი როგორც მხატვრული რეფლექსიის დიალოგური სტრუქტურის რეკონსტრუქციის ინსტრუმენტი მიხეილ ლერმონტოვის გვიანდელ ლირიკაში

ანოტაცია

One of the pressing tasks of modern literary comparative studies is the investigation of the logic underlying the formation of artistic consciousness and reflection as one of the principles of self-development. In this regard, the problem of M. Y. Lermontov’s artistic interpretation of the theme of East and Eastern culture, despite longstanding scholarly interest, has not yet exhausted its potential within academic discourse.

This article, based on the material of Lermontov’s "Eastern works" in his lyric poetry (“The Dispute,” “The Dream,” “The Cliff”, “They Loved Each Other...,” “Tamara,” “The Meeting,” “The Leaf”), examines the logic of the evolution of the poet’s artistic world in the context of his search for originality within the Russian-Western-Eastern artistic interaction. A comparative analysis of the artistic conceptualization of this theme in the works of Russian and European authors contemporary to Lermontov will help to distinguish and comprehend both the universal and the creatively individual aspects of addressing the issues related to reflexive world perception and its relativistic functions in the mature period of Lermontov’s work.

An analysis of Lermontov's works devoted to the East led to the following conclusion. If the literature of Russian Romanticism admired the masquerade and carnival side of the East (V. Kuchelbecker, F. Glinka, V.A. Zhukovsky and many others), while Lermontov, following Pushkin, gradually formed a synthesis of East and West in his work – a specific bi-national perception of the world reflected in the artistic text. Here we can mention Goethe's "Western-Oriental Sofa", in which the German poet anticipated the appearance of oriental and, specifically, Muslim hyper- text in the literatures of Western Europe. Russian Russian literature has included a significant part of Lermontov's work as a consolidation of oriental codes that function in the structure of the Russian romantic style within a framework similar to Goethe's strategy of "effortless connection of West and East."

The object of study is the reflexive type of consciousness as one of the fundamental principles of image creation and meaning generation in Lermontov’s lyric poetry.

The methodological framework of the research is based on the works of M. M. Bakhtin, A. F. Losev, Yu. M. Lotman, R. Barthes, M. Foucault, J. Derrida, G. Delouse, J. Kristeva, and others.

Among scholars engaged in the study of the reflexive function of art, the term “artistic reflection” has not yet become canonical, as a comprehensive definition and an in-depth study of this type of reflection are still lacking. Within the chosen research theme – Lermontov’s Oriental lyric poetry – particular interest lies in the dialogical aspect of artistic reflection, which in this article is proposed to be understood as an artistic dialogue in the mode of unity between the individual and the universal in artistic experience. In such a dialogue, a "meeting" and creative interaction of individual consciousness’s occur through the perception of artistic works.

The analysis conducted of the dialogical structure of artistic reflection leads to the following conclusions:

The essence of artistic reflection in Lermontov’s works consists in structuring the givens of sensory perception and elements of imagination in accordance with their existential-aesthetic experience within a special meaning-of-life context, which is significant for the author.

The primary levels of artistic reflection in Lermontov’s "Eastern" works are image and structure, which ensure the typification of vital phenomena.

The artistic work, as a model of the author's "image of the East-West world," creates the phenomenon of artistic dialogue unity of the individual and the universal in artistic experience.

The content-related levels of such a dialogue include image, concept, semantic dominance, and artistic myth, at each of which a "meeting" of different conscious- ness’s and a creative "augmentation" of meaning take place.

"The Eastern text in the works of late Lermontov is a far from unambiguous phenomenon. It is the result of the conceptualization of Oriental motifs within the context of the author's interpretation of the foundations of world history and culture, as well as the assimilation of Oriental trends of the Romantic era in literature, journalism, and public consciousness of the 1830s-1840s."