The dissertation defines Aksenov's style as intertextual. Aksenov's folklorism is identified in (1) the portrayal of characters as incongruous assemblages of emblems with archaic symbolism; (2) in the manner of bricolage work elicited in the structuring of folkloric figures; and (3) the intertextuality through which Aksenov fills his archaic images with modern content. A spontaneous religiosity of Aksenov's characters is apparent in the numinous feelings awakened by the quotidian presentiment of the sacred, the sign of a higher unnameable moral authority which gradually is elicited as an omen from God. Aksenov's novels from his second and third periods incorporate an iconology of totalitarian evil figures that function autotextually. The political and social evil is endowed with demonic features with a traditional symbolism embedded in Christian popular cultures. Their implicit hierarchy mimics the Soviet political structure. Aksenov's personification of the Soviet regime is an old Russian literary archetype designating the Russian homeland in the guise of an evil ogress, a double-mother that seduces and destroys its intellectual protegees. She is constructed as an intertext of folk tales, Soviet propaganda, Stalinist paraphernalia, and intellectual literary cliches. Aksenov's intellectual heroes yield to the temptation of the regime, a process described in clues that point to their gradual demonization and spiritual destruction. Others become or feel like traitors, with the folkloristic image of the Judas functioning as a double of Aksenov's heroes. Christ-like characters are collated as alternatives to the archaic brutality of the state and display numinous features as God's instruments of an impending moral miracle. Forgiveness as the central value does not preclude Aksenov's innocent macho heroes from practicing self-defense and manly valor. Their / personal God is non-violent and non-punishing. As the sacred is available in everyday life, man can experience at any moment the opening of his latent religiosity--a non-denominational capacity for goodness. The theophany in Aksenov is under the influence of Berdiaev. The hero's resurrection, alluded to through ascension and flight motifs, replaces the paschal mystery which is viewed in the Russina literary tradition as a general renewal of men's humanity and of the community bonds. / Source: Dissertation Abstracts International, Volume: 52-08, Section: A, page: 2946. / Major Professor: Richard L. Chapple. / Thesis (Ph.D.)--The Florida State University, 1991.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_76448 |
| Contributors | Efimov, Nina Aleksandrovna., Florida State University |
| Source Sets | Florida State University |
| Language | English |
| Detected Language | English |
| Type | Text |
| Format | 356 p. |
| Rights | On campus use only. |
| Relation | Dissertation Abstracts International |
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