PERIPHERAL WRITING AND WRITING ON THE PERIPHERY IN TRAVELOGUES BY JAY NORWOOD DARLING

Abstract

The article is devoted to the little-known literary work of the American cartoonist Jay Norwood Darling. The current study was conducted on the travelogues “Ding Goes to Russia” (1932) and “The Cruise of the Bouncing Betsy. A Trailer Travelogue” (1937). This article aims to reveal and contextualize the features of J.N. Darling’s travel texts as peripheral genres. The main objective of this work is to analyze the deep structures of the travelogues chronotope, based on which the hypothesis will be put forward. Its essence is that the intensity of the crisis time experience in different spaces and through these spaces modifies the involved genre clichés, giving rise to a tragic (for Soviet space) and optimistic (for American space) premonition. The research methodology is based on the study of the interaction between the centre and periphery of the literary system, in particular, the concept of “semiosphere” formulated by Yu. Lotman. Genre analysis includes comparative and contextual methods of studying texts. The cultural-historical method deepens the understanding of the context of Darling’s literary work. Particularly, it is used to discover the historical and social factors that impact the peculiarities of others and one’s own world perception and image reconstruction. Genre analysis of travelogues with various graphic components, including caricatures, involves an intermedia method of studying the semantic connections between visual and verbal in travelogues. The examination of Darling’s travelogues “Ding Goes to Russia” and “The Cruise of the Bouncing Betsy. A Trailer Travelogue”, which inherited different genre traditions, revealed their conceptual and poetic affinities. In both texts, the author investigates the common issues of civilization and its advancement, as well as the significance of technological progress for a human being. The features of the unmanifested future or hidden phenomena of the present are felt more strongly at a distance from the centre, at the intersection of transit paths. Geography in these travels is perceived through anthropological optics, implemented, among other things, through the concepts of the mutual influence of society and space in an unstable world. The experience of alienation is constructed through images of places displayed identically in both travelogues. In Darling’s travelogues, places outside of symbolic meaning come to the fore of the spatio-temporal structure. According to the concept of M. Auger, their features can be attributed to non-places. The key features of the chronotope of both travelogues are the peripheralization of space, the transformation of places into space, and the related process, the representation of non-places. The caricaturists’ texts exhibit genre peripherality through the dual nature of their poetic codes. Behind the secondary nature of the genre constructions of both texts, one cannot help but see individual searches reflected in the unique role and methods of spatial metaphors and imaginary topoi explication. Their semantic and visual density force us to recall and re-estimate the factual writing of the cartoonist in the context of future genre development.