The article continues a series of the author's studies related to the research of a special type of visual thinking of a writer who is also an artist with direct artistic practice. It is proposed to define this type of thinking as plastic, by analogy with plastic art, emphasizing the characteristic type of work with the image through visual-plastic means (space, form, volume, color, rhythm, texture, etc.). The analysis of the text corpus of Boris Dyshlenko allows us to confirm the hypothesis about the transposition of both the principles of seeing an image and working with it from artistic (in this case, pictorial and graphic) optics and practice to literary. We are talking about the desemantization of color, ponderation as a stable way of connecting text elements, forming a composition through rhythmization, geometrization and balancing of parts of the visual field, accentuation of the visual center, balancing of objects of different scales, etc. The concept of “image of image” in the case of B. Dyshlenko is of particular interest, it was proposed in painting by his brother —Yuri Dyshlenko and was actively developed by Boris in literature. The essence of the concept consists in splitting the image into a product and a procedure; slowing down the image on its way to becoming in order to demonstrate this way; creating opportunities for recognizing the image in the process of its production, which is achieved by plastic means through incompleteness, erasure, semblance of form or, on the contrary, its overflow, deceptive semantization, metonymic substitution by other media. This article offers an analysis of the methods, techniques
and means that allow B. Dyshlenko to create such effects in a literary text. In many ways, they are built around the key concept of “silhouette”, characteristic of all Dyshlenko’s supertext, which accumulates the variability and instability of the image, simultaneously striving for reification and devastation, or, in B. Dyshlenko’s formulation, pure metaphor — “expression of something through (some) thing”. The implementation of silhouette forms the desired processuality, the capture of the image in the process of self-formation, but keeping it from finalization, since it is precisely the preservation of the image flickering that allows it to always remain “on the way”.
For citation: Tyuleneva Е.М. The phenomenon of plastic thinking of a writer-artist: “image of image” in the structure of B. Dyshlenko’s literary text, Ivanovo State University Bulletin, Series: Humanities, 2024, iss. 4, pp. 30—40.