Istorija i fikcija u romanima Kazua Išigura
History and fiction in Kazuo Ishiguro's novels
Метаподаци
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Kako se navodi u njenom naslovu, predmet ove disertacije biće romani Kazua
Išigura, obrađeni po hronološkom redosledu objavljivanja, i to: Bledi obrisi brda
(1982), Slikar prolaznog sveta (1986), Ostaci dana (1989), Bez utehe (1995), Kad smo
bili siročad (2000) i Ne daj mi nikada da odem (2005). Cilj istraživanja pri tom će biti
osvetljivanje aspekta istorije u pomenutim romanima, odnosno ispitivanje odnosa
istorije i fikcije, kao i uticaja značajnih istorijskih događaja, prvenstveno ratova, na
živote običnih ljudi, zatim prevrednovanje prošlosti u sadašnjem trenutku, ali i sukob
javne i lične istorije. Svi ovi elementi, naime, u izraženoj meri karakterišu celokupan
opus ovog savremenog pisca, čija su dela s razlogom odlično prihvaćena, kako kod
čitalačke publike, tako i kod najstrožih književnih kritičara.
Uloga istorije i značajnih istorijskih događaja u romanima Kazua Išigura ne
može se poreći. Iako u različitom stepenu prisutna u pojedinačnim romanima, istorija je,
na ovaj ili onaj... način, uvek u pozadini radnje, koju dopunjuje, gradeći sa njom
neraskidivu celinu. U tom kontekstu, posebno ćemo se osvrnuti na odnos između javne i
privatne, odnosno lične istorije pojedinca. Osim toga, teme kojima ćemo se baviti u
zasebnim poglavljima, analizirajući svaki roman ponaosob, obuhvataju dijalog prošlosti
i sadašnjosti, nepouzdanost sećanja, perspektivu i pluralizam istina u postmodernizmu.
Poseban naglasak prilikom analiziranja romana Kazua Išigura sa aspekta istorije
stavićemo na besmisao i strahote rata, budući da Drugi svetski rat, kao istorijski događaj
koji je na tragičan način obeležio čitav 20. vek, figurira u svim romanima ovog pisca.
Zahvaljujući specifičnosti Išigurovog stila, međutim, prvenstveno njegovoj suptilnosti i
eliptičnosti, samo se u nekim romanima mogu naći jezivi detalji ratnih razaranja,
ruševina i krvavih borbi, dok se u drugim romanima prećutno podrazumeva koliku
tragediju rat zapravo predstavlja i koliko je običnim ljudima teško da se nose sa
njegovim posledicama. Upravo se u ovakvom njegovom stilu ogleda topla, ljudska
poruka koju Išiguro prenosi svojim, istorijom obojenim, romanima...
As is stated in its title, the subject of this dissertation will be the novels of Kazuo
Ishiguro, analyzed chronologically, as follows: A Pale View of Hills (1982), An Artist of
the Floating World (1986), The Remains of the Day (1989), The Unconsoled (1995),
When We Were Orphans (2000), and Never Let Me Go (2005). The objective of the
analysis will be to highlight the aspect of history in these novels, i.e. to examine the
relationship between history and fiction; the impact of significant historical events,
mainly wars, on the lives of ordinary people; revaluation of the past in the present
moment; but also the conflict of public and private history. All these elements, namely,
to a considerable extent characterize the entire oeuvre of this contemporary writer,
whose works have been well accepted, both by the readers and the most demanding
literary critics.
The role of history and momentous historical events in the novels of Kazuo
Ishiguro is indisputable. Though present in variable de...grees depending on the novel,
history is, this way or another, always in the background, complementing the plot, with
which it intertwines to build an unbreakable whole. Within this context, we will
particularly refer to the relationship between public and private, i.e. personal history of
an individual. Moreover, the topics to be dealt with in separate chapters, devoted to the
analysis of each novel, include the dialogue between the past and the present,
unreliability of memory, revaluation of the past, perspective and pluralism of truths in
postmodernism.
Special focus during the analysis of Kazuo Ishiguro’s novels from the
perspective of history will be placed on the pointlessness and horrors of war, given that
the World War II, as a historical event that tragically marked the entire 20th century,
occurs in every single novel authored by Ishiguro. Thanks to the specificity of
Ishiguro’s style, however, mostly its qualities of being subtle and elliptical, it is only in
some novels that we find the gruesome details of war destruction, rubble, and
bloodshed, whereas in his other novels it is tacitly understood what kind of tragedy the
war actually brings, and how hard it is for ordinary people to bear the burden of its...