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ogorc vnaxeT, interteqstualuri dekonstruqcia<br />

yvela epoqis teqstebis mimarT SegviZlia gamoviyenoT,<br />

magram literaturuli mimdinareobidan, Janridan da individualuri<br />

stilidan gamomdinare, TiToeul calkeul<br />

SemTxvevaSi sruliad sxvadasxvagvari midgomebia saWiro.<br />

damowmebani:<br />

igavni... 2004: igavni uflisa Cuenisa ieso qristesni. naw. 2. Tb.: 2004.<br />

wiqariSvili 2003: wiqariSvili l. purismteobisaTvis: grigol<br />

robaqiZe da mixeil javaxiSvili. Tb.: 2003.<br />

Jeni 1976: Jenny L. La stratégie de la forme // Poétique, № 27, 1976. visargebleT<br />

Txzulebis rusuli TargmaniT wignidan Натали Пьеге-Гро,<br />

Введение в теорию интертекстуальности, Перевод с французского Г. К.<br />

Косикова, В. Ю. Лукасик, Б. П. Нарумова, Москв:, 2007.<br />

rifateri 1994: Riffaterre, M. "Intertextuality vs. Hypertextuality." New<br />

Literary History. 1994<br />

Maia Ninidze<br />

Georgia, Tbilisi<br />

Intertextual Studies in the Fiction of Different Epochs<br />

Summary<br />

The report is an attempt to use modern methods of intertextuality in the<br />

studies of the texts belonging to different epochs, literary directions and<br />

genres. For this purpose was chosen one particular image from Gospel<br />

parable – “vineyard workers” and was studied its use in diachronic line.<br />

The results revealed that in the old, spiritual literature intertexts are<br />

easily recognizable because they are represented by exactly the same forms<br />

of words. David Guramishvili, besides such use of allusions, introduces a<br />

new technique too. Some ordinary things like cucumbers and vineyard, as a<br />

result of the author’s reflections to some events and behaviors, become<br />

associated with the Gospel intertext and undergo sublimation.<br />

From this viewpoint quite different is realistic fiction. Here we have<br />

two equally important layers. The surface layer tells us the plot (as Ilia<br />

Chavchavadze calls it – the “flesh” of the story) and the intertextual one<br />

shows the spiritual aspects of the events (He calls it the “soul” of the story<br />

and asks the readers to pay greater attention to it”). These allusions are<br />

more complicated than the previous ones and for their identification it is of<br />

great importance to pay attention to linearity disruption.<br />

296

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