Пространство как семиотическая и лингвопоэтическая категория в романе А.А. Кабакова «Невозвращенец»
Рассматриваются семиотика пространства и её языковая репрезентация в романе А. А. Кабакова «Невозвращенец» через жанровые особенности текста (романа-антиутопии), хронотопичность образа главного героя и координаты физического пространства художественного мира. Показывается, что категория пространства, будучи семиотической по своей сути, выстраивается в художественном произведении как иерархическая структура пространственных семиотических оппозиций, эксплицируемых семантическими рядами.
SPACE AS A SEMIOTIC AND LINGUOPOETIC CATEGORY OF THE NOVEL NEVOZVRASHCHENETS [THE DEFECTOR] BY A.A. KABAKOV
The article is an attempt to consider space as an important semiotic and linguopoetic category of a literary text on the basis of the dystopian novel Nevozvrashchenets [The Defector] by A.A. Kabakov. To represent the artistic world and the space in this world through symbols, encoding meanings, the author needs some special means for the representation of their concept. The reader, on their behalf, explores the unique set of linguistic resources that describe the spatial relationships in the text and perceives and reconstructs the author's position, finding the meanings which are unique for this particular reader. A semiotic approach overcomes some narrowness of a purely linguistic look in the analysis of such a complex category as space and makes it possible to identify the links connecting linguistics with other forms of human intellectual and spiritual activity. The boundaries of the denotations of space in a literary text are determined by semantic series in which denotation is included, and its original denotative values are set by the code, while the nuances of meaning are subject to inspection by the means of cultural studies, psychology, philosophy, anthropology, etc. That is, the methodological tools used to analyze the semiotics of space in this article can be formulated as follows: the correlation of lexemes with spatial semantics and the general semantics of the series, including associative and implicit semantics. Apparently, it becomes possible to study the semiotics of the space of a literary text to the fullest extent not only by analyzing the physical space described in the text, but also by examining the genre of the work and the protagonist. The sign-based nature of space manifests itself most clearly in the description of dystopian ideas. The codification of space as a category of Nevozvrashchenets, a famous dystopian novel by A. A. Kabakov, remains relevant today, requiring further research and conceptualization. Obviously, the new cultural and social contexts of the 21st century bring in more details, form a more elaborate content of both the author's position and the reader's representation. The genre of dystopia encodes space in a special way: the literary world of the novel is catastrophical, with the catastrophe becoming the semantic characteristic of the space. The chronotopic nature of the main character manifests itself in constant movement, the analysis of space through the medium of the character's consciousness and his actions results in the identification of a special locus, the locus of the road. The key spatial opposition in the novel is the semiotic contradistinction of space of the "present" / "future" as free / non-free space. At the same time, it is possible to distinguish the following categorial semes, which, while building a notional and semantic hierarchy, reveal the key opposition and form opposed semantic series with spatial semantics, which can be described as follows: "closedness", "of everyday routine", "desolation", "static", "brokenness", on the one hand, and "openness", "historicity", "fullness", "dynamism", "indestructibility", on the other.