THE POST-POSTMODERN AESTHETICS OF JOHN FOWLES

ПОСТМОДЕРНИСТСКАЯ ЭСТЕТИКА ДЖОНА ФАУЛЗА

Ширинская Адиле Адильевна

студент 4 курса филологического факультета профиль подготовки «Филология. Английский язык и литература. Русский язык и литература», Крымский инженерно-педагогический университет имени Февзи Якубова,

РФ, г. Симферополь

Джапарова Эдие Каримовна,

научный руководитель, канд. филол. наук, доц., Крымский инженерно-педагогический университет имени Февзи Якубова,

РФ, г. Симферополь

Postmodernism, or "postmodern time" is a new period in world history and culture, falling in the 60s - 70s of the twentieth century. Being a philosophical and cultural direction postmodern period of development of world culture, postmodernism fully reflects its "spiritual state".

The novels of John Fowles are characterized not only by the originality of philosophical thought, but also by the perfection of the author's style. According to the author's intention, the texts of the work seem to enter into dialogue with the texts of his predecessors. Using the concepts of postmodernism, we can agree that every work of John Fowles contains an infinite number of «cultural codes, formulas and structures in more or less recognizable forms: the texts of the previous culture and the texts of the surrounding culture». Following the English literary tradition, postmodern writer John Fowles enters into dialogue with writers of previous eras. Returning to the artistic heritage of the past in the conditions of postmodernism allows the writer to transform and give an aesthetic and value reassessment of literary art, to actualize the work of creators of bygone times, placing new accents in their work.

The coexistence of times is clearly expressed in the work of the English writer. The writer innovatively correlates both the artistic worlds of his novels "The Magician" and "The Collector" with the play by William Shakespeare "The Tempest" and cultural and historical realities in the novel "The French Lieutenant's Woman" with the immortal images of Thomas Hardy.

Replacing social and moral conflict with interpersonal conflict, John Fowles depicts the relationship between a man and women in all their complexity and contradictions. The works of John Fowles, written in the mainstream of postmodernism, interacting with the works of past eras, through the means of cultural and historical dialogue, reflect the literary continuity of the modern English novel. [1, p.19]

John Fowles made his debut with his novel «The Collector», which has become not only interesting for the general reader, but also an exquisite novel of the postmodern era for the sophisticated esthete. As a truly postmodern novel, «The Collector» contains many features of postmodern literature: allusiveness, nonlinearity of informational images, double coding, the death of the author, and also assumes a multilevel reading. Those. provokes the reader to think and form his own opinion. Each episode, each topic touched upon in the novel, each reader can be understood in his own way. This is the main advantage of postmodernism: everyone finds their own, depending on the level of intellectual and moral development. Also, people see God as brightly as their own faith and depth of knowledge allows them. Someone sees the main problem in the confrontation between the intellectual elite and the gray masses, someone in the struggle of beauty, humanity, openness to life and ugliness, inertness, everything dark and archaic, someone in the psychedelic debates of the heroes, and someone does not see no problem, but only another whim of a mentally unbalanced person. [3, p.19]

The work of John Fowles, located on the border of mythologism, existentialism and postmodernism, is a completely organic phenomenon for European culture. Mythologism reveals itself in the author's desire to create a meaningful subtext - the novel level of classical archetypes. Existentialism - in the realization of the problem of the formation of a personality, passing the test of the "borderline situation". Postmodernism in D. Fowles's prose does not lead to the destruction of the plot, but the connection with the modern artistic and philosophical worldview is carried out in the thoughtful creation of the intertext, in the priority choice of game models that characterize the relationship between the characters, in the deconstruction of traditional metahistories, which becomes the direct author's word.

Fowles' creative originality is undeniable, but it is also obvious that the writer is not alone in European literature of the second half of the 20th century. Within the framework of the English existential tradition, the author of «The Collector» and «The Magus» creatively interacts with W. Golding and A. Murdoch. Their prose («Lord of the Flies» and «The Spire», «The Black Prince» and «The Bell») is difficult to comprehend without a mythological double world that represents the personality in an existential context. [3, p.58]

References:

1. Маклецов В. Вместо предисловия, или вариации на тему: «Все проходит, и это пройдет тоже»/Постмодерн как ситуация философствования. – СПб.: Алетейя, 2003. – С.3–30.
2. Фаулз, Дж. Острова / Кротовые норы: Роман/Пер. с англ. И. Бессмертной, И. Тогоевой – М.: Махаон, 2002. – С.27–54.
3. Fowles J. The Collector. 1963. – 256 p.
4. Fowles J. The Collector. Boston, 1963.
5. Fowles J. The Magus. L., 1997.