2005, vol. 3, br. 2, str. 151-160
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Tolstojev Mihajlov, slikar Aninog portreta i Konstantin Gijz, Bodlerov slikar modernog života
Tolstoy's Mikhailov, the painter of Anna's portrait, and Constantin Guys, Baudelaire's painter of modern life
Monash University, Australia
Ključne reči: Tolstoj; Ana Karenjina; Bodler; Konstantin Gijz; Lakan; viđenje; Fuko; Arheologije; Francuzi u svom sopstvenom viđenju; Rusi kako vide sami sebe u naturi
Sažetak
Tolstojev realizam nije baziran na mimetičkom slikanju 'stvarnosti'. U romanu Ana Karenjina prisutna je operativna poetika 'viđenja' (ono što je Lacan nazvao 'le regard'), koja je u skladu sa poetikom stvarnog umetnika Konstantina Gijza, koga je Bodler nazvao 'živopiscem modernog života'. Iako se ne tvrdi da je Tolstovljev Mihajlov baziran na Gijzu, u radu se otkrivaju paralele između umetnika kao 'arheologa' (Foucault) ili lokalnog istoričara i umetničkog stila Mihajlova, koji se osniva na rekuperaciji sećanja i interpretaciji znakova.
Abstract
The paper argues that Tolstoy's Realism does not rely on a mimetic representation of 'reality'. In Anna Karenina what operates is a poetics of the 'gaze' (what Lacan called 'le regard'), which resonates with the poetics of an artist like Constantin Guys, whom Baudelaire called 'a painter of modern life.' While not claiming that Tolstoy based his Mikhailov on Guys the paper uncovers parallels between the painter as (Foucault's) 'archeologist' or local historian and Mikhailov's artistic method based on the recovery of memory as trace and interpretation of signs.
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