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130 ÌÅÄ²À-ÌÎÂÀ ÓÄÊ 811. 161. 2’42 Íàòàëÿ Êîíäðàòåíêî Ä²ÀËÎÃ²×Í²ÑÒÜ ßÊ ÏÐÈÍÖÈÏ ÑÒÂÎÐÅÍÍß ÒÀ ÔÓÍÊÖ²ÎÍÓÂÀÍÍß ÕÓÄÎÆÍÜÎÃÎ ÄÈÑÊÓÐÑÓ Ñòàòòþ ïðèñâÿ÷åíî àíàë³çó õóäîæíüîãî äèñêóðñó â êîìóí³êàòèâíîìó àñïåêò³. Âèçíà÷åíî ñòðèæíåâèé ïðèíöèï òåêñòîòâîðåííÿ — ä³àëîã³÷í³ñòü ÿê âçàºìîä³þ àâòîðà é ÷èòà÷à (ñóá’ºêòíà ä³àëîã³÷í³ñòü) òà ÿê âçàºìîä³þ òåêñò³â (ì³æòåêñòîâà âçàºìîä³ÿ). Àíàë³ç çä³éñíåíî íà ìàòåð³àë³ ìîäåðí³ñòñüêèõ ³ ïîñòìîäåðí³ñòñüêèõ õóäîæí³õ òâîð³â óêðà¿íñüêèõ ïèñüìåííèê³â. Êëþ÷îâ³ ñëîâà: äèñêóðñ, òåêñò, ä³àëîã³÷í³ñòü, àâòîð, ÷èòà÷. Ñòàòüÿ ïîñâÿùåíà àíàëèçó õóäîæåñòâåííîãî äèñêóðñà â êîììóíèêàòèâíîì àñïåêòå. Îïðåäåëåí êëþ÷åâîé ïðèíöèï òåêñòîîáðàçîâàíèÿ — äèàëîãè÷íîñòü êàê âçàèìîäåéñòâèå àâòîðà è ÷èòàòåëÿ (ñóáúåêòíàÿ äèàëîãè÷íîñòü) è êàê âçàèìîäåéñòâèå òåêñòîâ (ìåæòåêñòîâàÿ äèàëîãè÷íîñòü). Àíàëèç îñóùåñòâëåí íà ìàòåðèàëå ìîäåðíèñòñêèõ è ïîñòìîäåðíèñòñêèõ õóäîæåñòâåííûõ ïðîèçâåäåíèé óêðàèíñêèõ ïèñàòåëåé. Êëþ÷åâûå ñëîâà: äèñêóðñ, òåêñò, äèàëîãè÷íîñòü, àâòîð, ÷èòàòåëü. The article is dedicated to analysis artistic discourse in communication aspect. It is determined key principle textcreative — dialogic as interaction of the author and reader and as interaction text. The analysis is realized on material modernistic and postmodernism of the artistic making the ukrainian writers. Êey words: discourse, text, dialogic, author, reader. Êîìóí³êàòèâíèé ï³äõ³ä äî âèâ÷åííÿ õóäîæíüîãî òåêñòó âèìàãàº îñîáëèâî¿ óâàãè äî âíóòð³øí³õ ÷èííèê³â ôîðìóâàííÿ òåêñòó ÿê êîìïîíåíòà êîìóí³êàòèâíîãî àêòó. Òëóìà÷åííÿ òåêñòó ÿê êîìóí³êàòèâíîãî ÿâèùà òà àêòóàë³çàö³ÿ éîãî ðîë³ â êîìóí³êàòèâíîìó ïðîöåñ³ çóìîâëþº äèñêóðñèâíå ðîçóì³ííÿ õóäîæíüî¿ êîìóí³êàö³¿: àâòîð ñï³ëêóºòüñÿ ç ÷èòà÷åì îïîñåðåäêîâàíî ÷åðåç òåêñò. Çã³äíî ç òåîð³ºþ ä³àëîã³çìó Ì. Áàõò³íà áóäü-ÿêå «ñëîâî õî÷å áóòè ïî÷óòèì, ìàòè â³ä- © Íàòàëÿ Êîíäðàòåíêî, 2010
Í. Êîíäðàòåíêî. Ä³àëîã³÷í³ñòü ÿê ïðèíöèï ó õóäîæíüîìó äèñêóðñ³ 131 ïîâ³äü ³ çíîâó â³äïîâ³äàòè íà â³äïîâ³äü, ³ òàê ad infinitum» [2, 305], íàâ³òü ÿêùî àâòîð ³ íå ðîçðàõîâóº íà êîíêðåòíîãî ÷èòà÷à. Ñòâîðåíèé òåêñò âæå íå íàëåæèòü àâòîðó, ñàìå â öüîìó ïîëÿãàº ìàí³ôåñòîâàíà Ð. Áàðòîì «ñìåðòü àâòîðà» é ïåðåòâîðåííÿ éîãî íà Ñêðèïòîðà [1]. Àâòîð íå ëèøå ïèøå òåêñò ÿê åëåìåíò ãëîáàëüíîãî ²íòåðòåêñòó, â³äáóâàºòüñÿ ïðîöåñ â³ä÷óæåííÿ àâòîðà â³ä òåêñòó, ÿêèé ñòàº íàäáàííÿì ÷èòà÷à. Ïðîòå àïåëÿö³ÿ äî àäðåñàòà çàâæäè ³ìïë³öèòíî íàÿâíà â òåêñò³, àâòîð ïðàãíå ïîòåíö³éíîãî ðîçóì³ííÿ, ìîäåëþº îáðàç âëàñíîãî ÷èòà÷à, çàäàþ÷è íàïðÿì ðîçóì³ííÿ òà ³íòåðïðåòàö³¿ ÷åðåç â³äïîâ³äí³ ñåìàíòè÷í³ ìàðêåðè. Ìåòîþ íàøî¿ íàóêîâî¿ ðîçâ³äêè º âèçíà÷åííÿ ä³àëîã³÷íîñò³ ÿê ïðîâ³äíîãî ïðèíöèïó òåêñòîòâîðåííÿ â õóäîæíüîìó äèñêóðñ³ íåðåàë³ñòè÷íîãî òèïó — ìîäåðí³ñòñüêîãî é ïîñòìîäåðí³ñòñüêîãî. Ìåòà çóìîâëþº ðîçâ’ÿçàííÿ òàêèõ çàâäàíü, ÿê ðîçìåæóâàííÿ ïîíÿòü ä³àëîãó òà ä³àëîã³÷íîñò³, êâàë³ô³êàö³ÿ òèï³â ä³àëîã³÷íîñò³ â õóäîæíüîìó äèñêóðñ³, âèâ÷åííÿ âíóòð³øíüîòåêñòîâî¿ ³ ì³æòåêñòîâî¿ ä³àëîã³÷íîñò³. Ìàòåð³àëîì äîñë³äæåííÿ áóëî îáðàíî õóäîæí³ ïðîçîâ³ òâîðè óêðà- ¿íñüêèõ ïèñüìåííèê³â — ïðåäñòàâíèê³â ìîäåðí³ñòñüêîãî é ïîñòìîäåðí³ñòñüêîãî íàïðÿì³â ó ë³òåðàòóð³. Ó òåîð³¿ òåêñòó ïîíÿòòÿ «ä³àëîã» ÿê òèï ìîâëåííÿ, ùî ïðîòèñòàâëåíèé ìîíîëîãó, äîñòàòíüî äåòàëüíî ïðîàíàë³çîâàíî. Ìîíîëîã âèçíà÷àþòü ÿê «êîìïîíåíò õóäîæíüîãî òâîðó, ùî ñòàíîâèòü ìîâëåííÿ, çâåðíåíå äî ñàìîãî ñåáå àáî äî ³íøèõ» [10, 122]. Ìîíîëîã ìîæå ìàòè ðèòîðè÷íèé õàðàêòåð, ³ òîä³ ãåðîé àáî àâòîð âèñëîâëþº âëàñí³ ì³ðêóâàííÿ, ó òàêèõ âèïàäêàõ òåêñò íàáóâàº ôîðìè ðîçäóìó. Ìîíîëîã ìîæå îðãàí³çóâàòè õóäîæí³é òåêñò, ÿêùî ðîçïîâ³äü âåäåòüñÿ â³ä 1-î¿ îñîáè, à ìîæå âèñòóïàòè îäíèì ³ç êîìïîíåíò³â òåêñòîâî¿ îðãàí³çàö³¿. Îñîáëèâèì ð³çíîâèäîì ìîíîëîãó º âíóòð³øí³é, ùî õàðàêòåðèçóºòüñÿ ïåðåðèâ÷àò³ñòþ, íåçàê³í÷åí³ñòþ, ñèíòàêñè÷íèìè ïîðóøåííÿìè. Íà ïðîòèâàãó ä³àëîã — âåðáàëüíà ðåïðåçåíòàö³ÿ êîìóí³êàòèâíî¿ ñèòóàö³¿, ó ÿê³é áåðóòü ó÷àñòü äâà êîìóí³êàíòè, ùî âèñëîâëþþòüñÿ ïî÷åðãîâî, ïðîòå ïðîâ³äíîþ îçíàêîþ ä³àëîã³÷íîãî ìîâëåííÿ âèçíàþòü íàñàìïåðåä àäðåñîâàí³ñòü [11, 378]. Ñàìå ä³àëîã³÷íå ìîâëåííÿ ââàæàþòü ïåðâèííîþ ôîðìîþ ñï³ëêóâàííÿ, çîêðåìà êîëè éäåòüñÿ ïðî ñïîíòàííå, íåï³äãîòîâëåíå ìîâëåííÿ. Äëÿ ä³àëîãó õàðàêòåðíèé ò³ñíèé çâ’ÿçîê ì³æ ðåïë³êàìè, êîæíà ç ÿêèõ ïåðåâàæíî º êîíòåêñòóàëüíî àáî ñèòóàòèâíî íåïîâíèì âèñëîâëåííÿì. Ä³àëîã³÷íå ìîâëåííÿ òðàäèö³éíî
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5 Òåòÿíà Àíäð³ÿø. Äè
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