Traumas reprezentēšanas iespējas : Baļa Srogas atmiņu grāmata "Dievu mežsun" Aleksandra Solžeņicina stāsts "Viena diena Ivana Deņisoviča dzīvē" salīdzinošā skatījumā

LTReikšminiai žodžiai: Aleksandras Solženycinas; Balys Sruoga; Dokumentinis pasakojimas; Koncentracijos stovykla; Literatūra; Nacizmas; Sovietinės represijos; Stalinizmas; Traumos komunikacija; Traumos reprezentacija; Aleksandr Solzenicyn; Balys Sruoga; Communication of trauma; Concentration camp; Documentary storytelling; Lithuanian Literature; Nazism; Reprezentation of trauma; Soviet repressions; Stalinism.

ENThe article is dedicated to the transformation of traumatic experience from the Soviet correctional labour camps and Nazi German concentration camps in literature. Similarity of psychological trauma allows us to view literary representations of crime victims of both Nazi and Soviet power in the same perspective. The research focuses on two works of fiction which are linked by several common features: l)they represent the traumatic experience caused by repressions; 2) they have been created soon after the trauma had occurred; 3) they have given resonance in the national literature, have been translated into several languages and are known outside the borders of their countries. Memoirs by Lithuanian writer Balys Sruoga (1896-1947) "Forest of Gods" (Dievu miškas, written in 1945, published after being censored in 1957) is one of the very first stories about Nazi concentration camps, meanwhile the story by the Russian writer Aleksandr Solzenicyn (Александр Исаевич Солженицын, 1918-1988) "One Day in the Life of Ivan Denisovich" (Один день Ивана Денисовича, written in 1959, rewritten in 1961, published in 1962), the initial title being „Shch-854" (Щ-854), is the first work of fiction which turns to revealing the experience in the camp. The article also reflects the reception of both fiction works in Latvia.The genre of the work by Sruoga is memoirs but it has overgrown the borders of this genre thus changing the canon of memoirs literature. Sruoga's center of attention is not his personal experiences but an analytical description of the camp. Although Sruoga's memoirs do not match the canons of socrealism and in the description of the camps, it is possible to spot dangerous similarities to the theme completely banned in the Soviet Union about the camps; it seems that concerning the theme this work was convenient and the censorhip allowed it to appear. As a result, the artistic qualities of the work, precisely, its shocking content and contrastingly grotesque ironic way of expression gives resonance not only in Lithuania but also worldwide, thus confirming the possibilities of communicaton of the particular trauma during the Soviet times. Solzhenicyn's work is a story about Ivan Denisovich Shuhov's one day experiences in the camp. This work is characterized by such categories that are characteristic of modernism as expansion of a banned theme, subjective narration, denial of the protagonist and a clearly expressed idea.This makes Solzhenicyn's story to stand against principles of socrealism, but, in spite of this, the work was published in the Soviet Union. Reasons - the story by Solzhenicyn eventually helps to highlight Hruschov's role in detection of Stalin's crimes, it is a tool of ideology in the fight for a new stage in the Soviet life or a weapon in Hruschov's fight for power. The article also follows the representations of traumas caused by Soviet repressions in the Baltic, and, especially, in the Latvian literature. Conclusion - in the Baltic literature during the period from the end of the 40s till the beginning of the 60s of the 20th century there do not appear similar texts. As the Baltics is an especially dangerous region for the Soviet power, publishing similar texts containing similar content is absolutely out of question here. This is the reason why the wave of memories by writers deported to Siberia mostly in the form of memoirs approached just in the period of awakening and even after regaining independence. [From the publication]