ციტატური რემინისცენცია, როგორც მხატვრული ტექსტის ელემენტი

Abstract

There is a rich experience in literary studies in terms of researching the relationship between “one’s own” and "belonging to someone else". This issue has been known since ancient times and quite frequently attracts the attention of researchers. Literary imitation, borrowing, plagiarism, etc., often appear as objects of research. Among the most attractive categories is a reminiscence, many theoretical or practical-literary aspects of which still need further exploration and analysis. The remarkable representatives of the Tartu school and other prominent scholars of the twentieth century, Z. Minc, R. Timenchik, P. Torop, I. Levin, T. Segal and others through their research have demonstrated the role, function, and significance of reminiscences and quotations as essential elements of a fictional text in terms of the perception and understanding of the authorial intentions. The findings and position of these researchers are logically linked to M. Bakhtin’s theory, according to which culture is a phenomenon of dialogue, while dialogue is a universal category of culture. Literary texts exist insofar as they are involved in a dialogue or a polylogue with other texts. The study of different aspects of reminiscence and dialogue is not foreign to Georgian literary criticism either. Reminiscence, as well as various issues related to it, have been studied by different generations of researchers. In this respect works of M. Miresashvili, N. Gaprindashvili, T. Sidamonidze, M. Kvirkvelia etc. are especially significant. Reminiscence is a productive artistic method that involves two types of memory. On the one hand, it is connected with the mental ability of a reader to encode, store and restore any information and artistic-aesthetic memory, through which the author redirects the recipient of the work of art to the cultural-historical facts, events, literary works of predecessors or contemporaries, on the other. The nature, role and function of these literary-cultural or historical-social parallels are also significant. It is a peculiar form of dialogue that the author conducts with the reader in the hope that the reader will also become acquainted with the ancient culture and will perceive and understand their thoughts. There was a different understanding of reminiscence in different eras. However, writers and representatives of other fields of arts often employed reminiscence, intentionally or unintentionally, to refer to another writer, musician, artist, etc. as well as any artistic element of the work, passage, title, or motifs. This way, they try to convey and express their ideologicalaesthetic position and message to the reader, listener, viewer. They achieve this mainly by reflecting retrospectiveness of consciousness, allusions, quotations, restoration-repetition of an existing work of art, artistic phrase or construction on the same or a similar subject. Reminiscence occupies a significant place in Georgian literature; it is a highly interesting and productive artistic method. It gives the reader the aesthetic pleasure of meeting once experienced, already read and thus familiar again, and has the ability to infinitely expand not only the creative palette of the author but also the semantic frames of the text and the horizon of the reader. When creating reminiscence, the author hopes to connect with the literary memory and associative perception of the reader with high intellect, sophisticated artistic-aesthetic experience and culture. Through literary reminiscence, writers give new life to the artistic works of their predecessors or contemporaries and create a new literary reality through dialogue. Moreover, literary reminiscence has a philosophical and aestheticutilitarian function. It combines the historical experience of cultures, literary texts written either in a different or in the same period, resulting in the hypertext of literature. We can say that, on the one hand, reminiscence, can be seen as a "test", a challenge to the reader set by the writer, and a peculiar aesthetic game, on the other. The author is interested whether the reader is capable of guessing and recognising the artistic images, characters, story layers, thus, at first glance, an "unknown", but at the same time, the new "building material" embedded in the work. Unlike the original text, it is read in a new way and performs a different function in the new artistic reality. The nature of reminiscence in each particular case depends on its artistic and aesthetic functions and purpose in the literary text. This article discusses the practical models of reminiscence on the example of “The Martyrdom of the Holy Queen Shushanik” by Iakob Khutsesi and the poetry of Ana Kalandadze.