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Abstract

The article studies the problems of forming intentional deformations of a narrative category of event in the prose of a famous Russian absurdist of the 1920s‑30s, a member of the avant‑garde collective Oberiu – Daniil Kharms. The study defines the main regularities of generating “normal” textual events as well as the mechanisms for their deformations and destructions within a narrative “story” and its “discourse”. The most important reasons for the “ludic” absurdity of events within D. Kharms’ short stories are the unintelligibility of the described objects, the ontological absurdity of the objects of events, the absurdity of the heroes’ behaviour and thinking, the sequence (multiplication) of events, the violation of structural order and the integrity of the described objects and their constituents, among others. The absurdization of events in the narrative “discourse” is presupposed by a set of semantic and pragmatic devices, in particular: the author’s assumed inability to create an event’s manoeuvring or to build the plot; the violation of the logic of the development of the plotline; making the modus and modality elements of the story weird; shifting points of view and their focuses, to name a few. The author’s intentional deviations within the “story” and the “discourse” of the belles‑lettres narrative cause communicative senses characteristic for an absurd type of writing: the senses of mental “charming”, which border on the reader’s cognitive “stupor”, as well as numerous senses of an evaluative and ludic character generated by the common “background” of the reader’s consciousness and borrowed, so to say, from “standard” belles‑lettres text types and narratives. The article outlines the perspectives of lingual‑narrative studies into weird (absurd, in particular) belles‑lettres texts.
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Authors and Affiliations

Флорій Бацевич
1
ORCID: ORCID

  1. Львівський університет імені Івана Франка

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