| Summary: | The fundamental qualities of imagology are traditionally associated with its key category ‒ image / imagological image, which in the classical reading is concretized to the conceptual-mental format. The ideas presented in it are by their nature specific ethnocultural discourses that do not remain unchanged depending on the conditions of the context. A separate field of imagological improvisations is Serbian novel, according to the established national experience and specific genre features favorable for imagological panoramas, in particular, when it comes to the first half of the twentieth century. In view of the indicated topicality of the issue the aim of the article is to consider in chronological supposition the poetics of image in Serbian novel discourse up to the middle of the last century. The research is based on the productivity of descriptive, comparative-typological, imagological methods in combination with the approaches of structural-semantic and archetypal analysis. In the dynamics of imagological image there is a dominance of variability from the focus of poetics on the phenomenon of classical oppositions I/Other, My/Strange to the change of combinatorics to the binary relationship I/Stranger and My/My-as-Strange. As a result, the Serbian novel experience consolidates the meaning of the search for the human among the laws of its existence with an appeal to multicultural ethical dominants, including attempts at geopolitical self-identification. In a separate imagological perspective, the analyzed works demonstrate program isomorphism in relation to the imagological image as a mode of humanistic synthesis of goodness and love of life in the status of ethnocultural universals, which are inalienable for enriching the experience of epistemology of existence.
|
|---|