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Право і релігія в драматичній поемі Лесі Українки «Адвокат Мартіан»
Full text linkThe paper explains the attitudes towards law and religion in Lesia Ukrainka’s dramatic poem “Martian the Lawyer” (1911). The poem depicts the life of early Christians under the Roman law in the third century and obtains new relevance in the context of the movement ‘Law and Literature’, as the focus on law in this oeuvre allows a deeper exploration of its meaning. Law is connected with religion in two ways in the poem: as a part of the civil religion and as a system of prohibitions and punishments within the Christian community.
Analysis of the text shows that Martian is a carrier of a sophisticated religious form, which implies the juridical elements codified in early Christianity, as well as a belief in law as the incarnation of the idea of truth and justice. The two antagonistic social and spiritual systems – early Christianity and the Roman law – fuse into one ideology that consumes the life of the protagonist. The difference between the juridical laws, the law of nature, and the commandments of Christian leaders disappears within this religious form. In the house of the hero, only those things that represent time or law remain, such as different types of timepieces and juridical texts; Martian’s home becomes a place for abstract ideas, but not for human beings with their needs and feelings. For the protagonist, there are no conflicts between law and religion, but there is a conflict between early Christianity and the Roman law on the one side and, on the other side, human compassion, which is supposed to be a crucial idea within Christianity but is not practiced in the local Christian community. Because of this conflict, Martian completely loses contact with human feelings and becomes an ideal lawyer, which is beneficial for his Christian community but tragic for himself and his relatives. This development signifies not only a sacrifice but also the full realization of Martian’s talent (Ukrainian: ‘khyst’). In some episodes within other poems by Lesia Ukrainka, law and religion are presented as intertwined or undifferentiated, but in “Martian the Lawyer” the author for the first time elaborates this issue thoroughly and creates an ambivalent and sophisticated dramatic situation.У статті розглядається взаємодія права і релігії в драматичній поемі Лесі Українки «Адвокат Мартіан». Дослідження тексту показує, що Мартіан є носієм складної релігійної форми, котра містить як правові компоненти раннього християнства, так і віру в закон як в інкарнацію справедливості та блага. Суперечності між правом і релігією не спостерігається, проте виникає конфлікт між християнством і римським правом, з одного боку, та людським співчуттям — з другого. В результаті Мартіан утрачає зв’язок із людським. Цей розвиток, корисний для християнської громади й трагічний для героя та його оточення, означає не тільки жертву, але й повне розкриття Мартіанового хисту
Треворова адаптація Джойсового імпульсу
Full text linkWhile finding out the relation of W. Trevor’s writing to Joyce, we are to take into account the fact, fixed by the German writer H. Bell in his “Irish diary”: Joyce is one of the ordinary surnames in Ireland. Yet the aim of the article was to search for the influence of the literary technique of J. Joyce — one of the well-known modernists — on W. Trevor’s creative works. On the one hand, W. Trevor himself in the interviews insisted that “Dubliners” and “A Portrait of the Artist as a Young Man” were valuable for him within the whole life; on the other hand, the known and famous writers and critics aimed at finding those links. A number of researchers took into account that Joyce’s later texts were not so valuable for Trevor’s creative works. His influence was not the linguistic pyrotechnics of the “Ulysses” but the modest and punctilious voice of “Dubliners”. It is possible to determine some levels of Joyce’s presence in W. Trevor’s texts: Joyce as a character, as a model of creative activity, as a pattern for stylization and even comic imitation. One of the characters of Trevor’s “Music” was fascinated with Joyce’s appearance, his photograph. Sometimes, while hearing music, he was imagining himself a human being similar to Joyce. “The Third Party” began with a meeting of two men, one the husband, one the lover in a Dublin hotel bar. They have to come to an agreement on the end of the marriage, which was not achieved. The plot of this story is somewhat a travesty of “A Little Cloud” (from “Dubliners”). Moreover, the main characters are W. Trevor’s version of two different types of mental constitution vivid in “A Little Cloud” as well as in “Ulysses”. The interview of two characters in Trevor’s text allowed using Joyce’s telling strategy: an application of subjective third-person narration. An aspect of location in Trevor’s story is similar to that of Joyce, it is Dublin. Nevertheless for Trevor Dublin was a city, where events took place, not a version of the important original location, as it was with Joyce. The same may be said about “Two More Gallants”. Th is story of the modern and equally traditional Irish writer is the most vivid example of the author’s dialogue with the original text of Joyce. Th e writer simultaneously reflected and parodied “Two Gallants” (from “Dubliners”). There is a certain similarity between the viewpoints of both authors on Dublin and Ireland in general. The creative activity of Joyce was governed by Ireland. W. Trevor’s links with Ireland were restored only when he became something of a stranger to this country. Moreover, Trevor’s conception of Ireland remained constant as if nothing had happened in this country during the second half of the XX century. So the reality of “Two Gallants” and “Two More Gallants” remained alike, as well as irresponsibility of the main characters. The narrative nerve in Joyce’s text may be defi ned as no-event, while Trevor’s text is arranged according to tale tradition. “Two Gallants” is associated with the concentrated poetic image of paralysis. A similar representation is evident in “Two More Gallants”: puppets dance to the music of original sins. Th at shows Trevor’s play with the original text.Вільям Тревор не уник впливу доробку Дж. Джойса на власну творчість. Можна окреслити кілька рівнів присутності ірландського класика в його текстах: Джойс як персонаж, як зразок для творчої діяльності, як версія для стилізації та навіть розігрування. Новели «Музика», «Третій зай вий», «Ще два кавалери» В. Тревора травестійно пов’язані з оповіданнями зі збірки «Дублінці» Дж. Джойса (на рівнях фабули, образів персонажів, художнього простору, особливо стей нарації, концентрованої поетичної образності)
«Сеньйор Ніколо» Юрія Косача і гоголівський текст в українській літературі ХХ століття
Full text linkIn the context of the Ukrainian Gogol discourse of the 20th century, the paper analyzes fragments from the unfinished Yurii Kosach’s novel “Seignior Nicolo”, which deals with the history of Mykola Gogol. The researcher focuses on the peculiarities of Kosach’s understanding of Gogol and the worldview analogies of the two writers.
The concept of symbolic autobiography is understood as a manifestation of the author’s self through the image and history of the other. Presenting the Roman episode in Gogol’s biography, Yurii Kosach tells his own symbolic story, and this relationship between fictitious and real stories functions as a certain way of the author’s symbolic self-representation in his text and through the text.
The incomplete Yuri Kosach’s novel about Gogol is considered in the context of ideological discussions about the national and cultural identity of the writer, as a component of Gogol discourse in Ukrainian literature of the 20th century. The problem of Gogol’s duality, understood in ideological and psychological aspects, manifests a worldview split of Yurii Kosach himself, his own drama. Yuri Kosach’s re-thinking of Gogol’s figure must have been an attempt of destroying two main ideological myths: the Russian-imperial, based on the Soviet, socialist-realist Gogol’s cult, and the colonial one, rooted in the Ukrainian populist tradition.
In addition, the paper pays attention to the sources of Kosach’s novel and clarifies the historical and psychological contexts of its creation, as well as its inter- and midtextual relations, both with Kosach’s works and Gogol discourse as a whole. It is argued that in the history of Gogol the writer considered the problem of cultural colonialism, both in the political and psychological aspects, in particular the problem of Gogol’s sexuality, ‘fear of sex’, which is associated with colonial subordination and the loss of masculinity.
The main personal manifestation of Gogol in the novel by Kosach is a migrant, i. e. a man without ground, an artist without a motherland. The history of Gogol in Rome is examined through the relation of “Seignior Nicolo” to Gogol’s “Rome”, a comparison of the Roman text in Gogol’s and Kosach’s worksУ статті аналізуються фрагменти з незавершеного роману Юрія Косача «Сеньйор Ніколо», присвяченого історії Миколи Гоголя, у контексті українського гоголівського дискурсу ХХ ст. З’ясовується своєрідність Косачевого розуміння Гоголя, наголошується на світоглядних аналогіях письменників
Стратегії адресування у текстах Шевченка-повістяра
Full text linkThe paper considers the metanarrative (exegetical) and metanarrative (exegetical) and metafictional (diegetical) aspects of a work, the ways of the author’s contacts with the reader/listener. The nature of addressing may be direct, which implies the explicit addressee, and hidden, designed for the implicit addressee. The latter is present as an ideal recipient who perceives the aesthetic mode of the work. The strategy of intimate connection with the reader is based on the ascending evaluative direction, while the descending one serves as a basis for the discrediting strategy, realized in a number of communicative tactics, used by the narrators-addressers. The images of the narrator and storytellers perform different functions (hero, character-witness); the narrative composition of each story is not repeated in other works, gradually becoming more complicated. The author uses various compositional and verbal forms: in addition to a consistent story and narrative, description and reflection, he involves the forms of inserted narrative, epistolary text, and even a full-length story of an eyewitness. Tactics of oral communication and its constitutive stylistic features are presented by D. Barannyk as Shevchenko’s version of Ukrainian oral narrative, open to the addressee, and as a means of involving the reader in the imaginary world of a work. The term ‘self-presentation’ as an action of informing the addressee about the narrator’s occupation and his social status in order to establish contact differs from ‘self-thematization’ which is an intimate self-characterization of the narrator, addressed to a friendly reader/listener. The latter also includes the digressive reflections of the narrator on moralistic, sociological, historical, artistic topics, which reveal his mentality.У статті на основі ідей М. Бахтіна та принципів рецептивної естетики розглянуто метанаративний (екзегетичний) та метафікційний (дієгетичний) аспекти повістей Т. Шевченка, висвітлено способи контактування автора з читачем / слухачем, розрізнено характер адресування — прямого, направленого експліцитному адресатові, та прихованого, спрямованого адресатові імпліцитному. Останнього втілено в іпостасі ідеального реципієнта, до якого апелює імпліцитний автор і який сприймає естетичний модус твору (об’єктивну естетичну цінність уявного світу тексту та його суб’єктивну естетичну оцінку, виражені тональністю твору). На висхідній оцінній спрямованості ґрунтується стратегія інтимізації взаємин із читачем, а на низхідній — стратегія дискредитації, які реалізуються в низці комунікативних тактик. Носіями цих тактик є наратори-адресанти — розповідач та оповідач, котрі разом із нарататорами-адресатами утворюють корелятивні пари, які по-різному презентуються у текстах дев’яти повістей, що й розглянуто у статті
Поняття «метатекстуальність» і «метаоповідь» у літературознавчому дискурсі
Full text linkUndoubtedly, the second half of the 20th century and the early 21st century are notable for the extensive artistic experiment, including metatextual and metafictional phenomena. Such scholars as Gérard Genette, Anna Wierzbicka, Patricia Waugh, Linda Hutcheon, Robert Sholes, and many others focused on the mentioned issues in their research work. Therefore, this paper considers metatextuality and metafiction in the theoretical perspective tracing the origins of metatextuality and its connections with postmodern literature. The terms ‘metatext’ and ‘metafiction’ appeared as rather close in time. Notably, both of them are based on the discursive practices of the late 20th century. However, the term ‘metatext’ originated in the scholarly practice of structuralism. It is obvious that ‘metatext’ was constructed by analogy with the concept of ‘metalanguage’. Either of them does not exist without the initial text (or language). Metatextual elements are important for analyzing styles, genres, types of expression, discursive functions, and more. On the other hand, the term ‘metafiction’ has an obvious connection with genre studies. Metafiction qualifies as a special kind of literary text that became characteristic of the postmodern era. Such features as self-referentiality of artistic expression, introspection, and self-consciousness became essential for postmodern aesthetics. Metatextuality relates to the narrative theory and metacritiсism, while metafictionality is applicable within the intertextual analysis. Thus, the paper highlights an advance of metadiscourse in the cultural consciousness of the late 20th century.Статтю присвячено теорії метатексту / метатекстуальності, співвідношенню метатексту і метаоповіді й висвітленню основних концепцій, що стосуються цих понять у сучасному літературознавстві. Терміни «метатекст» та «метаоповідь» / «метапроза» з’явилися майже одночасно в західній науці та базуються на дискурсивній практиці літератури кінця ХХ ст. Термін «метатекст», створений за аналогією до поняття «метамова», виник у рамках наратології і пов’язаний зі структуралістською теорією. Метатекстові елементи стосуються аналізу стилів, жанрів і типів висловлювання, дискурсивних функцій тощо. Натомість термін «метаоповідь» має очевидний зв’язок із теорією жанрів й актуалізується у контексті епохи постмодернізму. У статті стверджується, що метатекстуальність пов’язана з метакритикою та структурними особливостями тексту або висловлювання, а метапрозові явища варто розглядати на базі постмодерністської теорії як особливий вид тексту, що набуває поширення в художній літературі сучасності. Увагу акцентовано на появі та розвитку метадискурсу в культурній та науковій свідомості другої половини ХХ ст
«Продовольчі експедиції» та «авоська»: споживчі пристрасті «homo sovieticus» у сучасній прозі
Full text linkContemporary Ukrainian prose has been actively appealing to the memory of the Soviet past recently. Especially interesting is the literary reconstruction of everyday life that creates a background for demonstrating a specific type of ‘homo sovieticus’. A discussion on this large-scale and promising process has already started within literary studies. The paper deals with O. Ilchenko’s “Fog Pickers” and S. Baturyn’s “Shyzgara”, which represent the everyday life of Kyiv in the Soviet era. The focus is on the literary treatment of consumerism as a feature of a unified model representing the Soviet man. The researcher explains the ideas of debunking the myths about happy life in the USSR, analyzes the ways of creating the panoramic view of everyday life, traces the consistency of the authors’ interpretations that shows how accurately the experiences are depicted. The gastronomic routes of Kyiv residents, the methods of obtaining the foodstuffs, the social relationships established during purchases presented in the literary works are worth special attention. The writers are definitely critical regarding everyday living conditions in the recent past. They put characteristic features of the Soviet everyday life at the center of events, namely the lines in the stores of all kinds and their primitive range of products. Some Soviet euphemisms related to the food theme have been explained in the paper as well. The researcher comes to the conclusion that reconstruction of the everyday life of a Soviet man in the works by O. Ilchenko and S. Baturyn reveals the despicable nature and danger of the totalitarian system, shows the groundlessness of the nostalgic gasps for the Soviet Union. The literary representation of life in the USSR prompts one to reflect on the true values and uphold human dignity in a free state.У статті розглянуто питання споживчих інтересів радянської людини на прикладі творів О. Ільченка «Збирачі туманів» і С. Батурина «Шизґара». Пояснено художні ідеї розвінчання міфів про добробут громадян СРСР, проаналізовано панораму повсякденного життя в умовах продовольчого дефіциту, простежено суголосність авторських інтерпретацій як достовірність змалювання пережитого. Зазначено, що відтворення сутності уніфікованої моделі «homo sovieticus» виявляє нікчемність і небезпечність тоталітарної системи, нівелює можливість ностальгійних «зітхань» за радянським минулим
Любовні історії епохи модерн. Лариса Косач, Ольга Кобилянська: віддзеркалення
Full text linkThe paper highlights the key events of the private life of Larysa Kosach and Olha Kobylianska. It focuses on their communication and relations with men (acquaintance, friendship, and love), in particular Serhii Merzhynskyi and Osyp Makovei. The practice of behavior, the emotional and sensual experience of the Ukrainian women from the modern era have been revealed in a comparative aspect. This approach is determined by the special spiritual and sisterly connection between Larysa and Olha, as well as similar stages of experiencing the love feeling. The emphasis is made on the ‘history’ of L. Kosach, which is explained and even duplicated in the ‘history’ of Olha Kobylyanska.
A general shaping of the writers’ personalities has been also considered comparatively. The cultural, psychological, and gender aspects in Ukraine of the late 19th and early 20th centuries had to be taken into account. The typology of both personalities has been traced from the time of their adolescence till their adulthood. The author of the paper pays special attention to the social norms as the oldest way to keep a woman within her nature as it was imagined. The traumatic experience of such social representation and the ways of addressing the issue within literary and autobiographical works are highlighted as well. The problem of expressing oneself is an important psychobiographical factor here. All private and public profiles related to human individuality, female nature, and creative consciousness are worth taking a deeper look at. The break up with the authorities, being a dominant feature for these women, is important for each of the mentioned manifestations of personalities and their integrity. The researcher concludes that biographical material, when properly structured, opens up new perspectives for those focused on the life and creative paths of the famous Ukrainian female writers.Статтю присвячено, можливо, ключовим подіям приватного життя Лариси Косач та Ольги Кобилянської. Ідеться про їхні взаємини із чоловіками, зокрема стосунки (знайомство, дружба й любов) із Сергієм Мержинським та Осипом Маковеєм. Досвід поведінки, емоційних та чуттєвих переживань українських жінок модерного часу розкрито в зіставних ракурсах. Такий підхід зумовлено як особливим духовно-сестринським зв’язком Лариси та Ольги, так і схожими до певного часу етапами переживання любовного почуття. Акцент зроблено на «історії» Л. Косач, яку «підсвічує», тобто пояснює і навіть дублює, «історія» її подруги
Бунін і Гоголь: український чинник, або між Орловщиною і Провансом
Full text linkThe gap as long as several decades between I. Bunin’s different opinions of Gogol’s personality and writings — from youthful admiration and feeling of emotional and spiritual proximity to the confession of ‘hatred’ in a diary note of emigrant times — has been considered both as historical-literary fact and psychological mysterious phenomenon. The key problem determining the angle of an analytical approach to the topic is the role and significance of the ‘Ukrainian factor’ in Bunin’s biography and literary art, his interest and affection towards Ukraine, its people, nature, history, traditions, and culture, which was testified by the writer’s confessions and became the subject of research in the Ukrainian scholarly discourse and journalism (E. Malaniuk). In that light, the stories by Bunin based on his traveling around Ukraine, the parts of the novel “Аrseniev’s life”, memoir and epistolary materials have been analyzed in the paper. Special attention has been paid to Bunin’s tender attitude towards T. Shevchenko, his creative works and his personality. It was Shevchenko’s poetry as well as “A Terrible Revenge” and “The Old-World Landowners” by Gogol that revealed Ukraine to young Bunin, entering his conscience and creative imagination. As to the later Bunin’s negative attitude towards Gogol, the decisive factors were dissimilarity of both writers’ personal and psychological features and difference of their creative methods and poetics, connected with the change of historical and literary paradigm. In particular, Gogol was the forerunner to modernism from which Bunin stayed away.Розглядається як історико-літературний факт і психологічний феномен-загадка розрив між двома оцінками І. Буніним особистості та творчості М. Гоголя — від юнацького захоплення до «ненависті» у зрілі літа. Ключовим є питання про місце й роль «українського чинника» в біографії та творчості Буніна, про його інтерес та емпатію до України, її людей, природи, історії, культури, до Т. Шевченка. Саме через поезію Шевченка й ранні повісті Гоголя Україна відкрилася молодому Буніну. Щодо його пізнішого негативного ставлення до Гоголя, то тут визначальними постають відмінності особистісного плану, несхожість поетик, пов’язана зі зміною історико-літературної парадигми, зокрема в напрямку модернізму
Франків поетичний цикл "Скорбні пісні": аспекти поетики
Full text linkFranko’s poetic cycle “Mourning Songs” became the third in his collection “From the Heights and Lowlands” (1893), however, this cycle was not included in the first edition of the collection in 1887. Nine lyrical poems of the cycle “Mourning Songs” mainly belong to the genre of reflective-meditative lyrics, in which the author (lyrical subject) reflects on social structure, ontological and existential problems. The articulation of the mental state of the lyrical hero, his inner suffering, loneliness, social vacuum, feeling of being unwanted in the world are important motives here.
Franko purposely doesn’t arrange poems in chronological order but instead develops the inner plotline of the cycle with the following motives: guilt for the mournful mood of his muse, inner rebellion against social evil, apocalyptic vision of destroying the old world order, declaration of his solidarity with the humiliated, obsession with the idea of service, emotional despair, resignation and passive reconciliation with one’s own misfortune, statement of one’s social credo, the experience of loneliness and marginality, optimistic vision of the earthly paradise against the background of prison-like gloom.
As a result, eschatological motives appear: the domination of evil on earth inevitably will lead to its destruction for the sake of a new life and restoration of just law and order. In mood and stylistically, Franko’s jail poetry corresponds to the prison lyrics by Taras Shevchenko.
Each of the nine poems in the cycle has been considered in terms of poetics, genre, imagery, literary means, versification, as well as intertextual parallels at the level of reminiscences and allusions. The researcher paid attention to the character of the lyrical hero, the internal plot of the cycle, chronotopic organization, leitmotifs, folklore structures.
The philosophical meditations of the cycle “Mourning Songs”, perceived in the context of Franko’s biography, reflect the parallelism of the lyrical hero’s existence and the author’s psychobiography of the period marked by the first two arrests.У статті комплексно проаналізовано Франків поетичний цикл «Скорбні пісні», який увійшов до другого видання збірки «З вершин і низин» (1893). Кожен із дев’яти віршів осмислено з погляду генології, образності, художніх засобів, особливостей версифікації, а також інтертекстуальних паралелей на рівні ремінісценцій та алюзій. Звернено увагу на характер ліричного героя, внутрішній сюжет циклу, хронотопну організацію, лейтмотиви, фольклорні перегуки
Жанр оповідки в англомовних працях західних теоретиків літератури ХХ - початку ХІХ ст.
Full text linkThe paper is focused on the perception of the short story genre in the western literary theory of the 20th —21st centuries. At the end of the 19th and the beginning of the 20th century, the term 'short story' was a neologism, and its appearance indicated the rethinking of established literary forms. This process led to the development of new literary theories. The works of Brander Matthews (“The Philosophy of the Short Story”, 1901) and Frank O’Connor (“The Lonely Voice”, 1962), prominent writers and literary scholars of the 20th century, established academic short story studies in the English-speaking countries. Charles E. May, Susan Lohafer, Mary Rohrberger, Austin Wright, Ian Reid, Clare Hanson, Florence Goyet, Hanna Meretoja, whose major publications are also within the scope of the paper, provided further investigation of numerous issues of the short story genre and other types of short fiction. The works of the mentioned scholars are widely known and serve as a basis for academic courses and as an introduction to the short story theory. Nevertheless, they are rarely considered as one of the possible theoretical perspectives in the relevant Ukrainian research works on a short story, and it gives a reason for a closer look at them. Due to rising attention to the short literary forms, involving different theoretical frames might be beneficial to the development of the discourse. The paper describes the key issues of modern discussions concerning the distinctive features of the short story, its scope, definitions, establishment as an independent genre, and meaning in axiological and ontological contexts. The issue is explored by comparing different theoretical experiences with the use of comparative and discursive analysis.У статті розглянуто англомовні праці провідних західних теоретиків літератури ХХ і ХХІ ст. (Брандера Метьюза, Френка О’Коннора, Чарльза Мейя, Сюзан Лохейфер, Мері Рорбергер, Остіна Райта, Яна Ріда, Клер Хансон, Фльоранс Ґоє, Ханни Меретої та ін.) про жанр оповідки, який активно функціонує на літературній арені від XIX ст. і до сьогодні. Проведено діахронічний аналіз основних етапів осмислення жанру, охарактеризовано ключові питання сучасних дискусій, що стосуються рис оповідки, її обсягу, відмінностей від інших прозових жанрів, визначення, виокремлення як самостійного жанру, огляду в аксіологічних та онтологічних контекстах. Розкриття означеної проблематики здійснено шляхом зіставлення різних теоретичних досвідів із застосуванням компаративного та дискурсивного аналізу