Research
The goal of this article is twofold: first, to revisit the approach proposed
by a Russian scholar Olga Freidenberg in her early (1926) article under
the name of a “literary motif compass”. I argue that the “motif compass” approach
is a valuable tool in modern narrative enquiry. Although it is relatively
unknown in the West and is not currently used in the mainstream narratology,
the method of “motif compass” offers numerous advantages and can even open
new venues in studying formal semantic elements in unrelated and dissimilar
narratives (thus, helping in finding a “narrative DNK”). The article examines the
situation with Freidenberg’s scholarly legacy and suggests that although
Freidenberg is less known in the West than her contemporaries such as Michael
Bachtin, Lev Vygotsky, and Vladimir Propp, in narratology her works are of
equal value, magnitude and importance.
The second goal of the article is to apply the aforementioned Freidenberg’s
method to the novel “The Swedish Cavalier” written by the Jewish-Austrian
writer Leo Perutz. This novel was chosen, because in it, the universal motifs and
narrative schemata are obscured and intentionally disguised by the author. This
novel so far is only being studied within a traditional literary theory paradigm.
As a result, its innate (“genetic”) similarity to other literary and folklore sources
is not dealt with in the relevant literature. I argue that only through the application
of Freidenberg’s method to the novel, is it possible to uncover in it several
semantic elements / motifs that reveal its parallels in the world literature and
folklore. These motifs are as follows: 1) the universal motif of a “(noble) outlaw”
and its connection to the motif of “righteousness”; 2) the motif of “changing
clothes in order to escape”, which, in its turn, is genetically related to the motif of “double / imposter”; 3) the motif of “punishment for the sacrilege”.
Thus, only through the use of Freidenberg’s method, the considerable cluster of
universal motifs has been recognized and identified in the novel.
The article conclusions are as follows: 1) the semantic method of “motif
compass” is a valuable tool in finding similarities and semantic connections in a
broad range of unrelated and dissimilar on the surface narratives (world folklore,
literature, personal stories, memoirs, etc.); 2) the “motif compass” can be
also understood as a manifestation of the mechanism of priming known in psychology
as a phenomenon of long-term memory, in which semantically similar
information is organized in clusters and stored, and may be consequently retrieved
bit by bit, if triggered by the similar stimuli. It is my contention that the
“motif compass” is both a scientific method and a mental process, through
which a scholar / reader spontaneously recollects similar motifs and narrative
schemata in dissimilar narratives.
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Research // Критика и семиотика. 2018. № 2. Pp. 415–433. DOI: 10.25205/2307-1737-2018-2-415-433.