Іронія як стильовий компонент прози В. Дрозда

Диссертация посвящена изучению специфики проявления в прозе В. Дрозда иронии как неотъемлемой составляющей художественного стиля писателя. Анализ показал, что ирония в произведениях автора может выражаться по-разному. Для прозы В. Дрозда в целом характерны эксперименты со словом, языковая игра в разных ее проявлениях: буквализация метафор и парономазия; обыгрывание канцеляризмов, языковых штампов; автокомментарии персонажей и самого автора; смешивание стилей и стилизация с элементами пародийности. В работе доказано, что иронические установки В. Дрозда заметно влияют как на внешнюю, так и на внутреннюю структуру его текстов. Мотив игры является одним из определяющих мотивов в текстах прозаика. Важную роль в творчестве писателя играют объективный и субъективный типы иронии. В работе отстаивается мысль о том, что неизменной чертой стиля В. Дрозда является ирония как мировоззренческий принцип и оптимальный способ выразить собственную точку зрения.

Summary

Kharchenko A. V. The irony as a style component of Volodymyr Drozd's prose. - Manuscript. The dissertation for obtains the degree of Candidate of Science (Philology) in specialty 10. 01. 01 - Ukrainian literature. - V. N. Karazin National University of Kharkiv. - Kharkiv, 2008.

The dissertation deals with the study of special expression of irony in Volodymyr Drozd's prose. The study has shown that a permanent feature of V. Drozd's distinguished works of various periods is irony as one of the ways to interact the reality and almost the only way to express his own viewpoint.

The irony in V. Drozd's prose can by traced through such features as two- or many-sided images, acceptance and rejection of a thought or an idea at the same time. The whole of his life the writer embodied his own ambiguous perception of the world and his own role in the world; and a permanent feature of V. Drozd's ideology is his constant focusing on contradictions of life, regardless of their scale. The concept of several visions of a thing, existing simultaneously, is a necessary condition of ironic world view.

It is significant to note that V. Drozd's prose expresses irony in different ways - at the language and composition levels. In the conception of a main character and his internal contradiction, at the level of general idea, particularly, through comprehension of irony in the object's life (tragic irony) and subject of the work, in other words the author himself (self-irony), etc.

V. Drozd's artistic style is generally characterized by experiments with words, namely literal embodiment of metaphors and paranomasia; using with effect bureaucratic expressions, speech patterns, used in unusual contexts, comments of characters and the author himself, which often create semantic ambiguity in his texts; mixture of styles and pastiche with the parody elements, etc. He uses ideological clichйs and myths of the Soviet period to parody socialist realism by grotesquely distorting or ironically reversing it. The narrator shows the absurdities of the Soviet world in majority of his novels. He uses the irony to liberate reader's consciousness from Soviet stereotypes.

The author's irony is also observed indirectly in the characters' speeches with signs of irony by using such words as “ironically”, “to employ irony”, etc. Many of V. Drozd's texts have heterogeneous language style, which can be observed in mixture of different styles - high and low, colloquial and official, which often creates comical effect.

The dissertation has proved that the author's ironic methods distinctly affect the structure of his texts, both external and internal. The titles of his works (“The Disaster”, “The Performance”, “The Werewolf”, “The Yriy”, “Leaves of the Earth”, “The Ballad about Slastion”, etc.) and names of many characters are polysemantic and symbolic. There are two different ways to explain the division of the texts into parts or sections, which also confirms the author's desire to create an ambiguous vision of reality. Many of the author's stories and novels end in an open manner, testifying the writer's deliberate reluctance to give final answers to the problems arising in his works. An ironic effect of V. Drozd's prose is also achieved due to reinventing and making a parody of immortal characters.

The inner structure of V. Drozd's texts is determined by such oft-recurring patterns, as autobiography and play. The author often transfers his complicated inner life, some biographical events to his works, but at the same time he avoids any links to the characters of the works, as if coquetting with the reader. A playing motive is a defining motive of the author's prose. Playing is an important mechanism of irony. In the first place it concerns playing on meanings, i.e. divergence of the basic idea from the objective meaning. In the designing of the artistic world of his novels the author uses such principles as a play with eternal verities, a kink of senses, an integration of tragic and comic elements and so on. An artistic world of many other novels is constructed likewise.

During the analysis it has been suggested that V. Drozd's irony has indeed playing manner, it resembles romantic irony, which is the basic of creative work. The author's whole prose is penetrated with the idea that all the world's a stage, and all the men and women merely players. Therefore, it is not an easy task to determine sincerity or pretence of the characters' behaviours, thoughts, and lives in V. Drozd's works.

Anthropocentrism of the author's prose stipulates large-scale prose works with a main character, the basic problems being connected with him (novels “The Disaster”, “The Werewolf”, “The Performance”, “The Murder for a Hundred Thousand ... ”). Many of V. Drozd's characters cannot be well-defined as negative or positive. He proves the artificial nature of such division, depicting rather complicated and ambiguous people. Inconsistency between the characters' perception of themselves and their real essence is an important prerequisite for the ironic assessment made by the reader.

Objective irony and self-irony, two variants of irony, play an important role in the author's creative work. The above-mentioned variants are extreme points of irony, representing its objective and subjective character in the best way. Using tragic irony, i.e. depicting characters only as objects, not subjects of irony, the writer confirms the idea of constant ambiguity, tragic and comic manner, which characterize objective reality of a man in the world. On the other side, the author's self-irony in “The Museum of the Living Writer…” shows a creator's highest liberty, making fun of himself and his lofty ideals, which he called into question more than once.

The analysis of V. Drozd's significant works with the focus on the author's personification shows that the very irony became his best way to avoid possible mistakes, stipulated by non-critical, naif perception of possible stereotypes and generally accepted facts. Irony was not only the author's artistic method, but also his way of thinking, and “state of his soul”.

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