ЖАНРЫ СЕТЕВОЙ ЛИТЕРАТУРЫ В АСПЕКТЕ ЖАНРОВОЙ ВТОРИЧНОСТИ

Научная статья
DOI:
https://doi.org/10.18454/RULB.6.35
Выпуск: № 2 (6), 2016
PDF

Аннотация

В статье рассматриваются отдельные жанры сетевого литературно-художественного дискурса, бытующие в современном русском литературном Интернете (Рулинете). В ходе анализа произведений сетературы как вторичных жанров в них выявляются признаки первичных жанров. Установлено, что по мере развития жанровой системы интернет-коммуникации происходит усложнение моделей дискурсивной трансформации.

Electronic literature is considered to be the kind of literary discourse, which is located in the Internet space and organized on the principles of the Internet. We suppose that two main varieties of electronic literature are: 1) in a broad sense, (electronic literature) a kind of literary discourse, which has electronic and written texture; 2) in a narrow sense, (net literature) a kind of electronic literary discourse, built on the principles of interactivity, multimedia and hypertextuality.

Aesthetics of electronic literature (in a narrow sense) results from the intersection of two loci of different ontological nature – real and virtual. Virtual locus is a special multilinear sign-oriented and symbolic communication space formed by a stable set of specific extralinguistic conditions and factors of communication which are derived from technical communication systems. In the communication space there are implementation and transformation of existing forms, types and codes of communication and genesis, consolidation and distribution of innovative methods of communication also become possible [6]. Thus, according to its ontological nature the virtual locus is a secondary sociocultural environment of communication.

During “immersion” in the virtual locus comes transformation of a number of aesthetic properties of creative writing and its product (the text). The source of this transformation is, on the one hand, peculiarities of the virtual environment, and on the other hand, creative intentions of the subject-creator and the subject-recipient. This process can be considered as a process of discursive transformation and its result is a specific electronic literary discourse (net literature) combining features of literary discourse and Internet discourse which shows its diffuse nature [1, P. 24].

Thus, the reference to the phenomenon of net literature is appropriate from a position of primary / secondary genres that is innate in the nature of the Internet environment.

In this case it is interesting to turn our attention to the theory of genres that includes consideration of Internet communication genres as secondary in relation to those formed in the “pre-Internet” communicative environment. It is important to note that the problem of genre secondariness is broader than the problem of the status of Internet genres. For example, it affects the relationship of diachronic secondariness (speech / rhetorical genre etc.) and the relationship of synchronic secondariness (simple / complex, or synthetic genre etc.). It is suggested that “various types of secondariness are appropriate for language and speech in general” and thus can be studied as exemplified in the genre structure of other types of discourse [4, P. 38].

Genre division of discourse, including literary discourse, appears to be its universal characteristic that was revealed first in M. Bakhtin's major works relying on the recurrent idea of dialogism as not only a feature of a single word, utterance or even a statement, but also a property of a character as a subject [5].

It has been argued that genres of verbal creative writing in the Internet are the development of genre space of Russian classics and there is a continuity relation between them based on the “memory of the genre” (M. Bakhtin). There are some attempts to analyze the speech (creative) Internet genres as secondary in relation to specific literary genres as primary.

This is how we can find similarities between the genre of the Internet sketch and the literary genre of “prose poem”: while secondary genres retain the basic genre-making characteristics and at the same time discover the discursive transformation influenced by the Internet discourse [3].

There is also a discursive transformation of a different kind when the secondary net literature genre goes back not to the primary literary genre, but to the primary speech genre. For example, the genre of an Internet joke is secondary in relation to the speech genre of verbal joke [2].

Consequently it seems quite natural to raise the question of genre priority and secondariness in relation to net literature as a particular kind of literary discourse.

One of the first manifestations of the genre secondariness in the net literature is the project “ROMAN” by R. Leybov (1995–1997). This new literary genre – “hypernovel” – combined the genre features of the novel and completely new Internet capabilities: hypertextuality and polyauthorness. At the same time the project is based on the game principle. And although the author has defined the eventual result of Internet creativity as “underliterature”, in many ways “ROMAN” set the strategic line of genre evolution of net literature – discursive transformation of primary literary genre towards broadly understood dialogueness among many authors and their texts.

In 1999 – 2002, during experiment with the “net novel” genre, the novel “The Innocent Marpl Project” was created. It is based on the imposition of discursive settings of Internet communication on the genre of the novel: hypertextuality, interactivity and multimedia. The novel is a non-linear text created by a variety of authors (more than 40). The text is formed with cross-reference hyperlinks that defines the variation of interpretation. Combination of narrative and iconic texts creates a special notional sphere, united and centered by the character of English composer Innocent Marpl, who lived in the first half of the XIX century.

Even deeper (at the level of poetics) penetration of the secondary features of the genre in the original, prototypical genres can be observed during the interaction of the actual literary genres (primary) with the genres of Internet communication (secondary).

Then Evgeny Popov’s book “ARBEIT. The wide canvas” can serve as an example of the transformation of the long-form genre under the influence of the Internet-genre of the blog. As we can guess from its name, the work is aimed at the widest reach of social reality, as befits the genre of the novel. At the same time, here the idea of “width” is implemented in polyphony of ideas: the novel was written on the LiveJournal blog “evgpopov”, and an impassioned debate that started in the comments has become the part of the text. In this case we can speak about the discursive transformation of the novel under the influence of the genre of the Internet blog and also several speech subgenres: the post belonging to the author and comments made by blog readers.

The discursive transformation affected also a smaller genre form – a diary, which transformed into a net literature genre of the online diary under the influence of Internet discourse. Literariness, or artistry as a property of the discourse is inherent to various online diaries to a variable degree, but there are almost indisputable examples. Among them comes the online diary of a popular writer called Slava Se – it is a pen name of Latvian author Vyacheslav Soldatenkov writing in Russian. In 2010 he won the “Imhonet” award in the category “Favorite journalists”, which shows not only the author's popularity, but also the appreciation of the literary aspects of his net writing.

In “Rulinet” we can see examples of more complicated interaction of literary and Internet genres. Let us refer to the forum of verbal role-playing games http://www.prikl.ru. This platform gives to users the opportunity to take part in creation of various literary works. There are many topics at the forum, and each of them develops its own narrative line. Each work is created in a particular literary style, but it is possible to determine their general prototypical literary genre – the novel. The development of the game plot is based on interactivity, i.e. involvement of multiple independent, but united by a common topic and the communication conditions authors that somehow resembles the adaptation of the epic. Thereby some recognizable features of the drama layered on the genre characteristics of the novel. Thus, the genre named “verbal role-playing game” acts as a secondary genre form in relation to the primary literary genres – the novel and the play. At the same time the impact of the genre of the Internet blog can be traced here. It acts for this net literature genre as the primary genre form.

The analyzed examples show different models of discursive transformation of primary net literature genres into secondary ones. The source of transformation and genre-making locus is the Internet sphere as ontologically secondary area of social communication. At the same time there is complication of transformational models as not only the classic literary genres, but most Internet genres become the primary genre form for the net literature genres.

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