Sharypina, T. A. POETOLOGICAL FUNCTIONS OF AUTHORIAL MODALITY IN THE ARTISTIC PRACTICE OF FRANZ FÜHMANN AND BERNHARD SCHLINK. Proceedings of Petrozavodsk State University. 2022;44(1):81–88. DOI: 10.15393/uchz.art.2022.709


Literary studies

POETOLOGICAL FUNCTIONS OF AUTHORIAL MODALITY IN THE ARTISTIC PRACTICE OF FRANZ FÜHMANN AND BERNHARD SCHLINK

Sharypina
T. A. 		Lobachevsky State University
Keywords:
modality
subjective modality
fi ction modality
fairy tale
myth
genre
existential situation
intermediality		 Summary: The paper for the fi rst time analyzes the poetological functions of authorial modality through the example of the works of Franz Fühmann and Bernhard Schlink in a comparative aspect. The relevance of the paper is confi rmed by its multidisciplinary focus and the problem of the communicative space of a literary text. The aim of the study is to discover the main tendencies of authorial modality and its functioning in style formation based on a comparative analysis of the works of Fühmann and Schlink. The comparative and typological perspective proves that the originali ty of authorial modality expression and its evolution in the creative practice of writers is determined by the strongly pronounced personal background and individual experience of authors. Specifi cally, the withdrawal from the biased binarity of a fairy tale in favour of the myth’s polysemy and the diff usion of canonical genres in Fühmann’s works opened new stylistic possibilities for the ways of expressing authorial modality, while the choice of artistic devices, as well as the autho rial modality of Schlink’s works were predefi ned by the axiological principles and priorities of Pro testantism which had formed Schlink’s personality in his childhood and then found a certain legal basis in his mentality as a lawyer. It explains the diff erence in the attitude to the phenomenon of the Word between Fühmann who doubted its eff ectiveness and appealed to the emotional universality of dance at the end of his career and Schlink whose novels are marked by the use of artistic and photographic ekphrasis, which is widening his narrative technics. Despite all the diff eren ces in the origins of spiritual experience and life peripeteia, the intermedial discourse which fi nds its expression in the mature creative practice of Fühmann and Schlink becomes a way of comprehending “eternal” questions of existence.



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