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МАРКЕРИ РОЗПАДУ ЖАНРОВО-СТИЛЬОВОЇ СИСТЕМИ ЛІТЕРАТУРИ ДРУГОЇ ПОЛОВИНИ ХХ СТ.
Get PDFThe article focuses on the transformation processes that took place in literature at the level of its genre and style typology. In the 2nd half of the 20th century certain genres and types of writing acquired meanings and functions of styles. It could be one of the most widespread or even dominant genres (for example, ‘new novel’), a type of fiction (modern ‘literature of fact’), a genre of literature at the border with other kinds of spiritual and creative activity (essay, biography, etc.). The functioning in a literary process made them close to styles and literary trends and changed their basic code. Usually they acted as dominant ramified genres or types of writing subordinating other (marginal) genre forms.
A paradigmatic feature of a ‘new novel’ is convergence of literature and science, writers and scientists. Due to scientific and technical revolution the criterion of accuracy and appreciation of real fact and document took an important place in a writer’s conscience. The ‘aesthetics of fact’, formed on this ground, gave a basis for the non-fictional genres in the 20th-century literature. The use of ready ‘blocks of life’ in the non-fiction of the 2nd half of the 20th century is tightly connected to acute conceptuality and often to apparent journalism. The writer’s imagination was focused on revealing semantic and artistic potential of the real facts.
The intellectual prose, dramaturgy and partly poetry were full of genres and genre varieties with strict semantic and imaginative structure, aimed to express certain generalizations and actual world view ideas. These are novels-parables, novels-allegories, novels-symbols, and others like that. The theme and motive construct, especially in its mental and epistemological aspect, became frequent in a lyrical poetry. It was the way of forming the metagenre concepts of philosophical and meditative lyrical poetry, as well as, in particular, metaphysical, prophetical, suggestive, intimate, social, and journalistic one, with their inherent main codes.
The process of leveling and destructing the traditional genres, styles, and their systems in postmodernism, as well as recombining their components, resulted in emergence of numerous hybrid forms. The ratio of original and repetitive or paraphrased material in the literary works began to change.У статті розглянуто трансформаційні процеси, що відбувалися в літературі на рівні її жанрово-стильової типології. Проаналізовано роль у цьому процесі “нового роману”, “літератури факту”, наукової фантастики, новітнього міфологізму, інтелектуальної прози, драматургії й поезії, а також естетики постмодернізму з її зміною співвідношення між творчо-оригінальним і повторюваним, парафразованим на користь другого – явище “центонності”
ШЕВЧЕНКОВА СЕПІЯ “ПОРТРЕТ ЛУК’ЯНА АЛЕКСЄЄВА” (“ПОРТРЕТ НЕВІДОМОГО З ГІТАРОЮ”): ПЕРЕГЛЯД АТРИБУЦІЇ
Get PDFThe paper refutes an ascription accepted in the current Complete Collection of Shevchenko’s Works for the sepia drawing that was formerly known as a “Portrait of an Unknown Man with Guitar”. It was supposed to be a portrait of Lukian Aleksieiev dated 1856–1857. The paper’s author points out that the age of the portrayed man (25–30 years old) does not correspond to L. Aleksieiev’s age at the time (16–18 years old). The inscription ‘Raim’, which H. Palamarchuk treats as not made by the artist himself, is considered undoubtedly as Shevchenko’s plot forming component of the work. The portrayed man is dressed in a double-breasted frock coat with a straight stand collar (neither skewed nor rounded) belonging to the period of Nikolai I, who died in 1855. Frock coats were abolished by Military Minister’s order on March 15, 1855; instead of them since January 1856 a half-kaftan with a rounded stand collar was introduced. This leads to the conclusion that a portrayed military officer is dressed in a uniform that was in use until 1855.
The paper supports and develops observations of V. Smilianska and other researchers that the sepia drawing depicts a staff captain Aleksei Maksheiev, a representative of the Military Ministry in the Aral describing expedition, and accordingly, the work is dated by the year 1848. The following hypothesis is offered: Starting to draw A. Maksheiev’s portrait from nature, Shevchenko finished it after the staff captain’s departure for Orenburg and signed it at the place of completion ‘Raim’. Later Shevchenko took the sepia drawing to the Novopetrovsk fortification, to which in 1856 a young graduate of the Nepluiev Cadet Corps, a sergeant of Ural Cossack 200-man detachment L. Aleksieiev was sent for the service. He made friends with the poet. Leaving his exile place in August 1857, in memory of their common stay in the fortification, Shevchenko decided to present the young man with some of his drawings, namely two landscapes with the fortress and A. Maksheiev’s portrait, having crossed the inscription ‘Raim’ with a pencil. For L. Aleksieiev this had to be primarily a work by a well-known artist, a famous poet, while the personality of an unknown military officer might be no so important.У статті спростовано прийняту в останньому на сьогодні Повному зібранні творів Шевченка атрибуцію, за якою сепія, раніше відома як портрет невідомого з гітарою, є портретом Лук’яна Алексєєва з датуванням 1856 – 1857 рр. Автор спирається при цьому на низку аргументів, зокрема вік портретованого, який не відповідає рокам Л. Алексєєва, напис “Раимъ”, що становить невіддільний складник композиції твору, військову форму, у яку одягнутий зображений офіцер, тощо. Підтримано й розвинуто спостереження В. Смілянської та інших дослідників, що на сепії змальовано штабс-капітана Олексія Макшеєва, представника військового міністерства в Аральській описовій експедиції; відповідно твір датується 1848 р
ДУХОВНА ПІСНЯ В УКРАЇНСЬКОМУ ФОЛЬКЛОРНОМУ СЕРЕДОВИЩІ (ПРОБЛЕМИ НАУКОВОЇ РЕЦЕПЦІЇ)
Get PDFThe paper outlines the original phenomenon of a spiritual song in the Ukrainian oral tradition, determines characteristic features of these texts and their functions. Besides, the author focuses on some special research issues concerning the folklore religious repertoire, first of all, the specificity of the relationship between spiritual and secular epic songs.
The spiritual song in the Ukrainian oral tradition is a large group of poetical and musical works, united primarily by the religious Christian themes and endowed with the ability to acquire special spiritual meaning in the life of a believer, exercise an important function of satisfying his/her spiritual religious needs. Another defining feature of these songs is a lack of clear attachment to a certain rite, time, occasion. An episodic attachment of individual texts to the rite only reveals their multifunctionality, since, as a rule, the same work may be used in various rituals, appear in the repertoire of professional singers, and perform some other functions simultaneously. Essential for the differentiation of the spiritual song phenomenon in the folklore milieu is the fact of distinguishing this group of works and perceiving it as integrity by the bearers of tradition themselves until now. They use special folk concepts for its designation (‘God’s songs’, ‘psalms’). At the same time, this large stratum of folk repertoire is divided into two sub-groups, namely folklorized songs of book origin and those of folk origin. Thus, the phenomenon of a spiritual song in the Ukrainian oral tradition is characterized by a rich variety of texts in terms of character, time of emergence, nature, form, style, and genre features.
The practice of perception, recording, and comprehension of spiritual songs has developed certain concepts and approaches. The present paper offers an attempt to systematize the previous experience and distinguish the problems that were raised in the works by various researchers and remained topical, often lacking a proper resolution. Attention to the system of the research approaches gives a guideline to the author and forms a sense of the continuing tradition.У статті окреслено самобутнє явище духовної пісні в українській усній традиції, визначено основні ознаки цієї групи поетично-музичних текстів, їх функціональне спрямування. Виокремлено деякі проблеми дослідження народного релігійного репертуару, насамперед особливості зв’язку духовного та світського пісенного епосу
НОН-ФІНІТО У ДРАМАТУРГІЇ ЛЕСІ УКРАЇНКИ
Get PDFThis article establishes the notion of “non fi nito” as an aesthetic category and codifi es its literary representations in Lesia Ukrayinka’s dramatic works. The author treats the fantastic drama “TheAutumn Tale” as a key text which puts forward the basic features of “non fi nito” technique and thus prepares the way for Lesia Ukrayinka’s later dramas.У статті сформульовано поняття нон-фініто як естетичної категорії, систематизовано його художні прийоми у драматичному доробку Лесі Українки. Ключовою для еволюції мистецької манери письменниці визнано фантастичну драму “Осіння казка”, де виробились основні ознаки нон-фініто, що дістали розвиток у наступних творах Лесі Українки
“Авось выведу величавую, положительную, святую фигуру” (про особливості сакралізації пізньої творчості М. Гоголя і Ф. Достоєвського)
Get PDFThe paper deals with Gogol’s “Dead Souls” and Dostoyevsky’s “The Brothers Karamazov”. The author investigates main ideas, motives, plot coincidences, which are core for the works. The word of the Holy Scripture clearly permeates the language of the works by Gogol and Dostoyevsky, forming the stylistic direction of the narrative with its inherent didacticism and emphasizing the credibility of the original Source. The aim of the Bible intertext is to sacralize the whole of the text. The writers’ techniques of retrospection enhance the reader’s attention and actualize pivotal biblical formulas.
The researcher states that some episodes of “The Village of Stepanchikovo and Its Inhabitants” by Dostoyevsky cover the ideas of “Selected Passages from Correspondence with Friends” by Gogol, and also extend the content components of the statements articulated by the heroes’ of the second volume of “Dead Souls”. The chapter of “The Brothers Karamazov” called “Conversations and Exhortations of Father Zosima” by its style, didactic pathos, plot, motive combinations and the names of the sub-chapters reminds “Selected Passages from Correspondence with Friends”. Gogol’s phrase “Love us black, anyone can love us white” repeatedly echoes in the replicas of the characters of “The Brothers Karamazov” and becomes universalized to the formula: “Love a man even in his sin, for that is the semblance of Divine Love and is the highest love on earth. Love all God’s creation… If you love everything, you will perceive the divine mystery in things… And you will come at last to love the whole world with an all-embracing love”.
The image of Troyka (Carriage-and-Three) makes the image of Russia in the studied works by Gogol and Dostoevsky more profound, accumulating the core idea of the writers – the revival of society.
‘Gesture situations’ allow the writers to describe a psychological image of the characters in detail and to relate their spiritual movement with a millenary dimension of existence.У статті на прикладі “Мертвих душ” М. Гоголя та “Братів Карамазових” Ф. Достоєвського виокремлено стрижневі для письменників ідеї, мотиви, сюжетні збіги. Їх сукупність являє собою інтертекстуальне полотно, покликане сакралізувати тканину тексту. Прийоми авторської ретроспекції акцентують увагу читача, актуалізуючи осьові біблійні формули. Слово Святого Письма виразно пронизує мову творів авторів, не лише формуючи стилістичний вектор розповіді з притаманним їй латентним дидактизмом, а й указуючи на авторитетність Першоджерела. “Жестові ситуації” дають змогу письменникам докладніше вималювати психологічний образ героїв, а також співвіднести їхні душевні порухи з міленарним виміром буття
З ЕПІСТОЛЯРНОЇ СПАДЩИНИ ОЛЕКСАНДРА БІЛЕЦЬКОГО
Get PDFThis publication contains the correspondence of two well-known literary scholars, O.I.Biletsky and B.V.Hornung, which is indicative of seminal contacts between both scientists in the 1940s.Публікується листування відомих діячів філологічної науки О.І.Білецького та Б.В.Горнунга, яке засвідчує плідність наукових контактів між ученими в 40-і роки ХХ ст
ПРО РИМУ І СТРОФІКУ ШЕВЧЕНКА
Get PDFThe article specifi es the patterns of Taras Shevchenko’s rhyming and versifi cation and traces back their evolution as a part of the poet’s individual style.Статтю присвячено розгляду особливостей рими та строфіки Тараса Шевченка у процесі еволюції його індивідуального стилю
Ремінісценція з нарису Льва Толстого в повісті Тараса Шевченка
Get PDFThe paper attempts to prove that Shevchenko’s remark in the story “A Walk with Pleasure and Not Without Some Moral” about the fourth bastion during the defense of Sevastopol in the Crimean War derives from the essay by Leo Tolstoy “Sevastopol in December”, as it has been already supposed earlier. The author of the paper focuses on Shevchenko’s awareness of the works by Tolstoy investigating if the Russian magazines in which the works of the Russian prose writer were printed belonged to the reading scope of the Ukrainian writer.
As L. Khinkulov’s version saying that the publication of “The Tale of the Sorrow-Evil” in the journal “Sovremennik” (1856, No. 3) served as the source of Shevchenko’s series “Parable of the Prodigal Son” has been reasonably rejected, the Ukrainian poet’s awareness of the story by Tolstoy “Snowstorm” printed in the same issue may be considered only as hypothetical. Bolshakov's statement that Shevchenko, while writing the story, drew the material from the direct participants of the Crimean War is denied: when he met them in Astrakhan in 1857, the first version of the work had been already written. The publication of the essay by Tolstoy in the newspaper “Russkiy invalid” also could not be the source of the reminiscence, as it contained only the first part where the bastion was not discussed.
The author of the paper comes to the conclusion that the epithet ‘strashnyi’ (‘terrible’), used twice in Shevchenko’s story (the second time – in the comparative degree) and at least 4 times in different forms in the essay by Tolstoy, is the key to connecting Shevchenko's phrase with the essay “Sevastopol in December”. According to the researcher, this word came into the poet’s mind while reading the essay in “Sovremennik” and association emerged when he mentioned the fourth bastion in his story. Shevchenko thus enriched his own narration with additional associations and semantic overtones, freeing himself from the need of using detailed descriptions and explanations.У статті доведено, що Шевченкова згадка у повісті “Прогулка с удовольствием и не без морали” про четвертий бастіон під час оборони Севастополя у Кримській війні походить із нарису Льва Толстого “Севастополь в декабре месяце”, про що висловлювалися припущення і раніше. Автор статті розглядає обізнаність Шевченка із творчістю Толстого, аналізуючи наявність у лектурі українського письменника тих чи тих номерів журналів, у яких друкувалися твори російського прозаїка. Завдяки ремінісценції з нарису Толстого Шевченко збагатив власний виклад додатковими асоціаціями та смисловими обертонами, звільнивши себе від необхідності вдаватися до розлогих описів і пояснень
“І слово правди і любові” (Шевченкова правда і її християнськість)
Get PDFThe paper focuses on the motive of truth and its unique representation in the works by Taras Shevchenko. The topicality of the issue is explained by the needs of its deeper exploration in the context of present time when the term “post-truth” appeared and informational war is going on. Using abundant references to Shevchenko’s and biblical texts, the researcher indicates the features that characterize “truth” in Shevchenko’s works as a basic concept with Christian meaning. In particular, the word “truth” is often used by the poet with such lexemes as “light”, “love”, “glory”, “power”, “will” that involve a strong association with God in the Bible. According to the researcher, Shevchenko’s texts contain obvious and direct indications proving that the poet understood truth as Christ Himself or His teaching revealed in Gospel explanations.The analysis provides considerations which may help to interpret Shevchenko’s works or some fragments in them. In order to show the unequivocal Christian understanding of the category of truth by Shevchenko the author repeatedly refers to the thoughts of Christian theologians. Shevchenko’s “truth” is likened to the concept “will” in the sense of personal and social freedom, but even more it means the Christian freedom of choice for a man and related human efforts and actions. A powerful motive of sacrifice in Shevchenko’s works testifies that he noticed the essential feature of the Christian religion which was reflected in the definition of truth. The paper has a comparative nature as it gives the examples of using the word/concept of truth by Shevchenko’s predecessors. The poet’s attitude towards truthfulness as a virtue is also considered. Based on the diary entries and correspondence of Shevchenko, as well as the memories about the poet, the researcher tries to explore how much this virtue was inherent to him. Shevchenko’s historiosophy is also taken into consideration. The conclusions explain why Shevchenko filled the concept of truth with the Christian content exactly.У статті проаналізовано мотив правди-істини у творчості Тараса Шевченка, його унікальність. Розглянуто поєднання цього мотиву із сучасністю, коли з’явився термін “постправда” й триває інформаційна війна. Висловлено міркування, що розширюють тлумачення окремих творів Шевченка. Окреслено словообраз правди в інших письменників ХVІІ – XIX ст. Розглянуто ставлення поета до правдивості як чесноту
“Енеїда” Анатолія Базилевича: живописна міфологізація поеми Івана Котляревського
No full textThe article analyzes 120 drawings by A. Bazylevych, the outstanding Ukrainian artist of the 20th century, created for the editions of “Aeneid” by I. Kotliarevskyi in 1969 and 1970. The subject matter is a look at the drawings in the status of a picturesque author’s myth. The skill of ‘visual intelligence’ of the artist is demonstrated in the picturesque original reading of the poem by Kotliarevskyi as a phenomenon of the Baroque with expressive literary methods of ‘image turning’ that contributed to this process and acquired the significance of historical and literary classics. The assumption as for the artist’s mastering of the Baroque concept of Chyzhevskyi that was popular in the 1960s as well as the single-stage development of the Italian-Ukrainian culture of laughter (according to M. Bakhtin) and appreciation of picture poesis (poetry as painting, according to L. B. Alberti) are suggested. This interaction lined up the picturesque myth of Bazylevych through the artistic transformation techniques of ‘image turning’, burlesque travesty of ‘booklore’. This produced the formation of the mythological image of Aeneas as a ‘black knight’ (in the edition of 1969) in the traditions of Western European literature. The view of life through mythological red colour founded by the legendary book cover reveals the content of the ‘red Aeneas’, being signified with red clothing items, shoes, and above all the red Cossack heraldry on the flag, combining Aeneas with Trojan-Cossacks, representing the ‘red world’. Aenei-myth is considered as a Cossack Sorcerer due to the suffix specificity of H. Cohen and physical plastic with folk content that unite the Trojans-Cossacks with the gods.У статті проаналізовано 120 малюнків А. Базилевича до видань “Енеїди” І. Котляревського 1969 і 1970 рр. у статусі малюнкового авторського міфу. Предмет розгляду – специфіка “зорового мислення” художника, продемонстрованого в міфологізованому прочитанні поеми Котляревського як феномену барокової книжності на засадах концепції Д. Чижевського, італійсько-української сміхової культури (за М. Бахтіним) та історії, колоса (за Л. Б. Альберті). Літературні засоби “перелицювання”, бурлескного травестування трансформовані в малюнкові й увиразнені тілесною пластикою (за О. Лосєвим). Це продукувало погляд на світ через колір, сприяючи створенню образу Енея як “чорного лицаря” (за виданням 1969 р.) у традиціях західноєвропейської культури. Погляд на світ через міфологізовану червону барву легендарної обкладинки, примножений червоною козацькою геральдикою, репрезентував “червоного Енея”-характерника (за суфіксальною концепцією Г. Когена). Народний зміст тілесної пластики поєднує Енея, троянців-козаків із богами