THE THEORY AND HISTORY OF THE GROTESQUE IN THE EUROPEAN LITERATURE (THE DYNAMIC OF THE NOTION)

Abstract

The article deals with the history and theory of the grotesque in European literature. The dynamic of this notion is examined. The main attention of the author is paid to the definition of the notion and the changes in its meaning in the literary process. The origin of the grotesque can be found in the Ancient myths when this word appeared in the XV century. During this time «grotesque», «arabesque» and «moresco» were used as synonyms. In this article it is shown the difference of these phenomena in literature and art. The main ideas of European researchers of the 18th-19th centuries on the grotesque are highlighted. The theories of F. Schlegel, F. Schelling, G. Schneegans, W. Kayser and many others are discussed. The theory of the grotesque by outstanding Russian scientist M. Bakhtin is analyzed. As he studied the Romantic grotesque and highlighted some of its features such as Chamber Carnival, reduction of laughter from humor in irony and sarcasm, reduced regenerating moment of laughter; the changes in the picture of the world: the world is strange and terrible to man; the embodiment of world’s mystery and the inner life of the individual. The author of the article offers the definition of the grotesque as a principle of artistic typification based on the combination of different elements into a single unit, or the expansion of these elements, which leads to the formation of new aesthetic structures that identify the deep essence of the phenomena. The concept of «grotesque» can be used in two different ways: 1) receiving in fiction («inclusion» of certain grotesque images, plot, etc.), 2) a way to organize the text as a whole. In both cases, the grotesque is a principle of art typification. The grotesque in the creative works of A. T. A. Hoffman and N. Gogol have been carefully studied at all levels of literary work.