Историја, фикција, актуелност – приповедање и поруке у прози Владана Ђорђевића

Abstract

Рад проучава (пара)фикционалну приповедну прозу Владана Ђорђевића са становишта статуса приповедача, те ауторског/приповедачког разумевања природе књижевне поруке и односа фактографија-фикција-порука. Као основни тематски сегменти издвојене су историјска/параисторијска, с једне, и проза са грађом из актуелне свакодневице, с друге стране, да би потом биле разматране њихове сродности и разлике на наведеним плановима.

The paper examines Vladan Đorđević’s non-documentary narrative prose throughout the entire period of its creation (1860–1920), focusing on its stylistic and/or poetic transformations – from romanticism to realism, including a turn toward the sphere of trivial/ boulevard literature. Among the early romantic works, the paper pays particular attention to the story “Hleb i so” and the novel Kočina krajina. Both works are historical by topic, and marked with hyperbolization of emotions, strong stylistic characterization, and treating the hero, historical environment and nature itself as the organic whole. The main narratological feature is the “hybridity” of storytelling, manifested through the shifting/overlapping of the author’s and narraror’s perspective, playing with the position of wit ness-narrator combined with objective storytelling in the third person, as well as the significant presence of “authorial intrusions”. The paper takes the stand that the characteristics of Đorđević’s narrative strategies do not essentially change with the shifting of the poetic/stylistic paradigm. When inclining to realism (passages entitled “Gazda Milić” and “Slavna komisija”, from the unfinished novel Stajka) he detains all main features of the earlier storytelling, but with stronger manipulation with the pace of narration and an ironic perspective attributed to the “neutral” omniscient narrator, which shapes critical discourse in the presentation of (certain aspects) of social realities. The relation between history/factography and fiction is additionally underlined in conection with Đorđević’s late novels Car Dušan, Golgota and U front that bear all features of trivial/boulevard literature. They refer to actual reality by its perspicuous “masking” and are treated as a paraliterary phenomenon: essentially, they are retelling the history and presenting the author’s political views and experiences. This points out the issue of the “message” and its place in the structure of the work. While, despite its privileged position in the structure of the story, in the prose of the 1860s the message (in principle) stems from the text, in the aforementioned late novels it is conveyed by authorial comments and/or clear allusions to non-textual reality. Paradoxically, this can lead to the essential absence of message, as in Golgota.