309 KB60 KB201920252022Senegačnik, BraneValijev, Sergejštevilka:1letnik:4str. 5-27DOI:10.4312/clotho.4.1.5-27COBISSID_HOST:125438723ISSN:2670-6210URN:URN:NBN:SI:doc-WUBMLRGJslZaložba Univerze v LjubljaniClothoantična književnostantična tragedijaFenomenologijaIngarden, RomanMotivacija (psihologija)obstoj literarne umetnineSophoclesEksistenca literarnih likov in neverbalna motivacija v Sofoklovi tragediji|Since we do not possess any original stage directions, the whole world of each play (psychological and material reality included) is represented exclusively by the words spoken by the characters. Roman Ingarden calls this type of representation schematic because the objects represented in this way are only outlined: there are innumerable places of indeterminacy in their literary representation that invite the reader to fill them up using his or her intellectual capabilities, knowledge, experience, and imagination in the process of concretization or reconstruction. Both concretization and reconstruction are to be distinguished from the work itself: since they are formed by the reader’s imagination, they present an obstacle to the cognition of the work itself. Ingarden’s theory has been criticized for ‘providing the reader with far too much leeway in constituting the concretization and even in the reconstruction of a literary work of art’ (Ray, Kos, Holub, Calinescu). The objections, however, seem to be based on a somewhat simplified understanding of Ingarden’s complex analysis, in which the role of the reader, although limited to a certain extent by the text, appears to be vital to the secondary existence of a literary work of art. The non-verbal factors of motivation in the Sophoclean tragedy interpreted in this paper are divided into three groups: character traits, dramatic atmosphere, and sensory experience. The article closes with an analysis of Odysseus’ motivation in Ajax: his case is exceptional as we are presented with the numinous experience as the obvious factor of a character’s motivationKer nimamo avtorskih didaskalij, je celoten svet drame (vključno s psihično in materialno realnostjo) predstavljen izključno z besedami, ki jih govorijo dramski liki. Roman Ingarden imenuje takšen način predstavljanja shematična reprezentacija: na ta način predstavljeni predmeti so namreč samo skicirani, nešteta nedoločena mesta v njihovi predstavitvi vabijo bralca, da jih v procesu konkretizacije ali rekonstrukcije zapolni z intelektualnimi in domišljijskimi operacijami in se pri tem opira na svoje znanje in izkušnje. Tako konkretizacijo kot rekonstrukcijo je treba ločevati od literarnega dela samega; ker ju oblikuje bralec s svojo domišljijsko dejavnostjo, predstavljata oviro pri spoznavanju dela samega. Ingardnovo teorijo so kritizirali prav zaradi tega, ker daje bralcu preveč manevrskega prostora pri konstituiranju in tudi pri rekonstrukciji literarne umetnine (Ray, Kos, Holub, Calinescu). Zdi se, da te kritike temeljijo v nekoliko poenostavljenem razumevanju Ingardnove izredno kompleksne analize, v kateri se kaže, da je vloga bralca sicer omejena s tekstom, a vendarle vitalnega pomena za sekundarno eksistenco literarne umetnine. V članku so obravnavani neverbalni dejavniki motivacije v Sofoklovi tragediji; razdeljeni so v tri skupine: značajske poteze, dramska klima in čutne izkušnje. Članek se zaključi z analizo Odisejeve neverbalne motivacije v tragediji Ajant, ki predstavlja poseben primer, saj je tu odločilni dejavnik motivacije Odisejeva izkušnja numinoznegaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstvena založba Filozofske fakultete