For the meaning of the unconscious and for the power of the imagination

/, Blesok no. 03, Literature/For the meaning of the unconscious and for the power of the imagination

For the meaning of the unconscious and for the power of the imagination

– in the narration world of Witold Gombrowicz and Aleksandar Prokopiev –

Modern studies are pointing on the fact that in the world of the human values a sign is represented, in fact the man itself is a sign, and the whole his life is lived through transparent meanings, gained as result of some real or unconscious pressed wishes. And if the interpretation of the sign culture is the most important precondition for the human existence, than the acceptance of the bi-layer nature of the meaning – the latent no-constructed and the conscious, the constructed – it won’t be nothing but a result of one interference between the surface structure and the depth “no-structure”. But, to say this same thing on the simpler way: when we talk about the semiology as science of the meanings, we can’t oversee the possibility for existence of two parallel worlds: rational and irrational, and – simultaneously – on two parallel meanings, because for one hermeneutical type of analyze, every new discovered meaning can be use as a sign for other deeper and dependable for the previous.
Coming from that, in the epistemology of the verbal arts as logical relation between the part and the whole, appears the relation literature sign – referee who in one metonymical sense of the word is reflecting the relation literature act – world. And precisely those: the material world from one and the fiction universe of the literature act from one side, are bringing in game the motivation of the signs, and are realizing the connection between the multitude of the marks and the multitude of the marked. In this process of transfer of the mean text, the ambiguous essence of the linguistic sign – which power to produce marked that in role of sign, and we are coming back on the beginning of this circulus vitiosus: transferred from the level of the code in the multi-meaning level of the hermeneutic, we are coming in contact with the semantically transformations, and by the principle of replacement of the sema in arhisema, we are creating the new meaning of the word in the deep structure of the artistic discourse.

But because in one literature act everything in fact is relation never-ending game of the elements – the Question is asked: does the meaning of that what is going on as reflection of the process from the real world, we could be searching in some “meta – structure”?
One thing is certain: no meter how we approach to the literature text – as to some global sign, motivated, iconic, and polysemical, or as on totally with own semantically transformations – its interpretation and the interpretation of those semantically transformations, infallibly, is reflecting meaning (in the samples of postmodernism even absence of the sense), but nevertheless – as result of the game between the explicate meanings of the code and the implicate meanings of the hermeneutic – necessary is the need of one invariable model, from one matrix, with which we will try to organize the disjunctive logic of the literature act.
The samples which in the prolongation will illustrate these statements are referring on the short stories: “Virginity” and “On Subordinate Stairs” from the Polish writer Witold Gombrowicz1F and “Dolphin” and “A Story About The Snake” from the same named books of short stories of Aleksandar – Sasho Prokopiev2F.

1. About the form and the essence and for the epistemological component in the poetic of Gombrowicz

Every author is moving in the frames of its epistemes, more precisely – in the one global structure from hierarchical lined sign system, which are nothing but result of its individuality and of the society in which he belongs. That personal episteme is explaining the authentically of their appearance – and its social and historical component in role of join implicated sema, is appearing as immanent part of the actual societal reality. Because of that, when we talk about someone’s art production, it’s necessary to have in mind the relation author-world, and all paradigms that become from it.
However – it looks like – that it will be unusually hard to put under objective the art creation of man which hasn’t hesitated to state that the critics, as same as writing, are not suppose to be pseudoscientific, but artistic, tensed and vibrating, as the object for which she speaks – because in the contrary, she will look like just as blowing gas out of balloon. So for that reason, every tendentious directed to analytical approach of one prose discourse (in which even the infantile sexuality of the author is manifested as object of its sensibility) looks justified, because – to penetrate to the artistic language of the author and in its individual system of values, is necessary to decompose them on their content parts. Of this reasons I will try to point that the procedure of penetration in the “word”, and in the process of marking in the Polish writer Witold Gombrowicz won’t be just a “blowing gas out of the balloon3F”.
Movement by the line of associations – permanent search for “real code”, by that existing and secret creative element, hidden in the lowest layers of the authors idiolect – is awakening our idea for some signs and symbols, with which is plentiful the narration world of Witold Gombrowicz. But, however it looks like on first look, spontaneously its creation – “fantastic” and intuit its writing – there is ruling feeling for one firmly established “systematism” which is predicting the battle between the internal logic of itself and the unconscious paradigm of its nature, asked: is the act and the pretext for his own act, Gombrowicz itself is answering: “out from that keeping will be born something third, something in the middle, something that looks like as it hasn’t been written by me, but is after all mine – which isn’t even an clear form, either mine direct statement, but deformation born in the area between: between me and the world4F.
I will stop now here, on his statement and I will try to redefine, the logic of his statement: she is reassuring me that the relation “me” and “the world around me”, can be easy transferred in already known opposition Nature-Culture, as clear indicator for the argument between two basic ambitions: one is trying to realize itself in shape, and the other is standing up to that trying – because, the nature isn’t something without rest cant be close in a shape, and this directly is depending from the complex of rules which are variation from one to another society structure – it isn’t agreeable with the essence of life – thing Gombrowicz. Analogical to this opinion becomes the following: the individual and the spontaneous, that is belonging to the Nature, isn’t in agreement with the attributes of the Culture, because the universal and the conventional are filling the system of society values. But, is really so firm the frontier between the nature and the Culture in the artistic production of this writer?
The answer to this question we will try to find in his stories, but before we go to their contents, we will point something else: Gombrowicz in them doesn’t tell any tale, but on unique artistic way, is discovering one world made by the pressure of the Culture what isn’t just turning against the characters, but is forcing them to reject the shape and to return to the individual unconsciousness. So, with right can be said that antagonism which can be read in both his stories, in fact, comes from disharmony between the nature and the culture, between the essence and the shape. But not only that is interpreting the human universe and its values, leaving the epistemological dilemmas of its characters, Witold Gombrowicz is discovering to the public his own modernism. Here how that looks like.

1. Vitold Gombrovič, Pripovetke, Beletra, Beograd, 1989.
2. Александар Прокопиев, Слово за змијата, Македонска книга, Скопје, 1992.
3. Vitold Gombrovič, Dnevnik I, Beograd, 1985, str. 153.
4. Ibid, pp. 155.

AuthorAngelina Banović-Markovska
2018-08-21T17:24:04+00:00 June 1st, 1998|Categories: Reviews, Blesok no. 03, Literature|0 Comments