JAZZ MELODY AS AN INTERTEXTUAL ELEMENT OF THE NOVELS BY JEAN-PAUL SARTRE “NAUSEA” AND L. ULITSKAYA “THE KUKOTSKY CASE”: ON THE PROBLEM OF INTERTEXTUAL LINKS
During the analysis, we have established intertextual links between the novel by J.-P. Sartre “Nausea” and L. Ulitskaya's novel “Kazus Kukotskogo”. It became possible to speak about the intertextuality of these works due to the following points we have established: the use of jazz image as the musical code of the work; the visualization of sounds; the representation of existential issues through the melodies “sounding” in the texts; the identification of music with freedom. We believe that writers use the image of jazz music not accidentally, because only music can express the most subtle shades of human feelings and experiences, a person's reaction to what is happening in the surrounding reality. In the course of the research, we have drawn a conclusion that both novels have a jazz narrative form and are structured according to the principle of jazz polyrhythm, in which there is a basic rhythm combined with rhythms of improvisations. In the text of the novels, the main characters – Antoine Rocantin and Tanya have a “basic” line of their movement in the novel space, but numerous life “variations” appear in this line. And all this creates a unique picture of life that no one can reproduce, just as no one can reproduce a jazz melody twice. Many works are based on this principle, but only the “sounding” jazz melody combined with this construction gave us the right to talk about jazz polyrhythm in the novels “Nausea” and “Kazus Kukotskogo”. Both novels express the idea that the space of music is infinite, it fills everything; in fact, it is “the world itself”. At the same time, both authors combine the abstract concept of music with a concrete-figurative concept, creating a number of common associative components that include vision, touch and taste, which allows you to “see” and “feel” this music. The ambivalence of music that we have established within the works we are interested in, correlates with an important category of existential order – “the immortality of the soul and the perishability of the body”. During the detailed analysis, it becomes obvious that for both authors music belongs to the emotional sphere to a lesser extent. In fact, its purpose is much deeper – it can heal and liberate. From the point of view of J.-P. Sartre and L. Ulitskaya, music represents a conscious monologue that can penetrate to the very depths of the human soul
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