Erdviškumo ir laikiškumo dimensijų sklaida

LTMano pranešimo tikslas - erdvės aspektu peržvelgti du Škėmos tekstus: romaną „Balta drobulė“ bei „Olofemo“ pirmąją dalį „Žingsniai ir laiptai“. Analizė remiasi mintimi, kad Škėmos diskurse erdvės konstruktų figūradją lemia laiko matas. Semiotikų teigimu, reikšmės elementai gali būti atpažinti tik remiantis opozicijomis, o šių elementų svarba esmingai identifikuojama tik struktūros rėmuose. „Baltos drobulės“ bei „Žingsnių ir laiptų“ erdviškumo sklaida bus aptarta atsižvelgiant į jų figūradją tam tikrose laiko plotmėse. Abiejų tekstų diskursyvinis lygmuo komponuojamas opozidjos dabartis - praeitis pagrindu. [Iš straipsnio, p. 192]Reikšminiai žodžiai: Antanas Škėma; Dabartis; Egzistencializmas; Erdviškumas; Erdvė; Išeivijos literatūra; Laikas; Laikiškumo dimensija; Lietuvių išeivijos literatūra; Lietuvių romanas; Praeitis; Priešingybė (opozicija); Proza; Antanas Škėma; Dimension of temporality; Existentialism; Literature in Exile; Lithuanian exile literature; Lithuanian novel; Opposition; Past; Present; Prose; Space; Spatiality; Time.

ENDiscursive level of the novel “Balta drobulė” and short story “Žingsniai ir laiptai” by Antanas Škėma is being composed on the grounds of the present-past opposition. Dimension of the present time supposes conception of enclosed and fixed space based on the oppositions of horizontality-verticality, highness-lowness, outside-inside and real-mental worlds. All-embracing and central place of the present movement in “Balta drobulė” is New York city. This spatial structure becomes the author’s symbol of space creation: it frequently repeats in his discourse establishing integral, enclosed world, which embraces many smaller microuniverses (cafeteria, hotel, elevator). In the present situation the elevator becomes the essential figure and the main Garšva’s incarceration place in the strange world; it essentially embodies the protagonist’s vertical movement through space. A link between top and bottom is notably felt in “Žingsniai ir laiptai”. The subject’s climbing up to the fourth floor is the way to conjunction with the object of value or, speaking in terms of semiotics, — the topical space. The structures of fundamental present are perceived as subjects’ non-life space.In both discourses by Škėma the past time dimension, which is viewed from the present time perspective, emerges as an open world of various opportunities. This world liberates the subjects from narrowness and hermetism specific to the present universe in that way creating relationship between the closed-open space. However the openness does not endue the world with harmonious tune. In most cases it is marked with loss, violence or even death. A frequent opposition of the present-past in Škėma’s texts is based on the conception that the past is not a perfect reminiscential structure, but rather a necessity provoked by the present realia to find out and explain why the subject is exactly the way he is and what or who influenced his actions. [From the publication]