Balio Sruogos kūrybos samprata vokiečių estetikos kontekste

LTStraipsnyje analizuojama Balio Sruogos kūrybos samprata, formuluojama įo kritikoje. Pateikiama B. Sruogos psichologinė trijų pakopų (realizmo, romantizmo ir simbolizmo) meno įrakinote bei simbolizmo, kaip universalaus ir kartu modernistinio kūrybinio metodo, interpretacija. Kūrybos sampratą, literatūros istoriją bei metodus B. Sruoga aiškina psichologiniu, istoriniu bei estetiniu aspektais. Šis autorius artimas klasikinei idealistinei, hermeneiilinei ir formalistinei vokiečiu estetikai (L Kantas, W. Dilthev 'us, J. W. Goethe, Fr. Schilleris, H. Wölfflinas, H. Brunno, per P. Merkelį perimtas A. Boeckha.s). [Iš leidinio]Reikšminiai žodžiai: Lietuvių modernizmas; Literatūros estetika; Vokiečių estetika; B. Sruoga; German aesthetic; Literary aesthetic; Lithuanian modernism; B. Sruoga.

ENBalys Sruoga emphasised the correlation between literary movements, continuity and development, their contradictory character, the variety of the forms, a continuous shifting of the borders, which was provoked and united by the constant character of human nature. He treated the literary self-awareness as a permanent and at the same time historical phenomenon that was manifested at different times in the creative works of different writers in the folowing three main forms: Realism, Romanticism and Symbolism. Symbolism is treated as a synthesis of Realism and Romanticism and is identified with Modernism. Sruoga connected the Realistic level of creation to mimesis, the Romantic level with the strengthening of the expression of an individuality, the breakaway from mimesis and the Symbolic level with the manifestation of the combination of the intuition of the creator-genius and the creative experience through symbols. The psychological theory of the three levels of art could penetrate Sruoga's criticism via the German Romantic aesthetics. J. W. Goethe grounded the theory of creative style on the threefold scheme of creative thinking (mimesis, idealism and their synthesis); he singled out three art forms (imitation of nature, manner and style). Friedrich Schiller distinguished between the naive and the sentimental poet who interpreted creation as the play and synthesis of matter and form. Later on this idea was picked up by Wilhelm Dilthey and the so-called Spiritual Historical School.In Sruoga's theory of Modernist Art, a naive subconscious creator is the Realist and the sentimental conscious creator is the Symbolist who is also a modern synthesising creator. The origination of the creative forms from the level of the psychological spirit and intellect of man in Sruoga's criticism is close to Heinrich Wölfflin's conception of the development of literature. The latter understood art forms as historic and dynamic, inspired by a concrete historical period and its psychological structures. Moreover, Sruoga adopted Wölfflin's conception of the organic relationship between content and form. Sruoga's method of literary research was adopted from P. Merkelis and August Boeckh. It comprises an exegesis of the text, a search for the artistic and generic immanence of a creative work, an analysis of the intentions of the author of the work and its historical-cultural context. [From the publication]