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Засновок концепції “безґрунтовності” Віктора Петрова
Get PDFLiterature can interact with reality in many possible ways, and one of them is ‘derealization of reality’. The term was introduced by Viktor Petrov (V. Domontovych) at the end of the 1940s; yet the first reflections on this phenomenon in the discourse of the Ukrainian literature appeared in 1913 within Mykola Yevshan’s articles on the specificity of Lesia Ukrainka’s creative work. Real Ukrainian life of that time did not provide a proper material for the philosophical perspectives of her poetry; it didn’t allow implementing the modernist aesthetics which were gradually developing in Europe and timidly penetrating into Ukrainian culture. To a certain extent Lesia Ukrainka’s situation may be compared to indispensability of the choice facing Gogol, who was compelled to write in Russian. This was, first of all, the consequence of the low status of the Ukrainian language in Russian Empire. In the study “Apotheosis of Groundlessness” (1905) Lev Shestov announced a new phase of philosophical understanding of reality. He related a process of cognition with a subject of cognition, i. e. with entire destiny of a human being. In his concepts of ‘derealization of reality’ and ‘groundlessness’ Viktor Petrov came close to Shestov’s existentialist ideas applied to the negativity and skepticism as the life strategies. Petrov, in a similar way to that of Hryhorii Skovoroda, insisted on the absolute autonomy of a person; he asserted one’s right to the critical perception of the world and even skeptical attitude towards it.The polysemy of the term ‘groundlessness’ allows using it in diverse contexts: from philosophical (Skovoroda, Swedenborg, Shestov) and mystical (Gogol, Balzac) to analytical and prognostic (V. Domontovych’s novel “Without Ground”), let alone the primitive meaning this term acquired in the literature of socialist realism.У статті розглядається взаємодія літератури з дійсністю в різних контекстах. Термін “знедійснення дійсності” був запропонований В. Петровим (В. Домонтовичем) наприкінці 1940-х років. Перші рефлексії над цим явищем належать М. Євшану стосовно творчості Лесі Українки (1913). Тогочасне українське життя не надавалося поетесі для пошуку ґрунту модерного естетичного розвитку. Подібне можна спостерегти й у творчості М. Гоголя. В. Петров у концепціях “знедійснення дійсності” і “безґрунтовності” наближався до екзистенціальних ідей Л. Шестова (“Апофеоз безґрунтовності”, 1905). Багатозначність терміну “безґрунтовність” дозволяє використовувати його в різних контекстах – від філософськи значущого (як у Г. Сковороди, Е. Сведенборга, Л. Шестова), містичного, як у випадку з М. Гоголем, О. де Бальзаком, до прогностично аналітичного (В. Домонтович) і навіть побутово-вульгарного (соцреалізм)
Мотив надії у творчості Миколи Бажана
Get PDFThe paper off ers an attempt to read the works of M. Bazhan focusing on the evolving motive of hope. It is stated that this motive has its cultural and historical scope and practical content. Presently the experience of hope becomes energy of progress and cultural creation. Hope is energized by active work and nourishes work, art, science, creativity. The methods of overcoming despair in Bazhan’s poetry have been updated over the course of decades in connection with the changes in perception of the social role of poetry. Although initially the comprehension of integrity was seen in the stream of the class struggle, later the poet preferred healing the soul with art. The philosophy of the author of the “Hoff man’s Night” was not contemplative; it was focused on existential and social problems and directed by humanistic values. It is no coincidence that the poet chose the least irrational of the three main Christian virtues, the most earthly and human one – the hope. Instead, most poets at all times cultivated predominantly faith and love. This fact might explain why Bazhan’s poetry never gained vast popularity but constantly attracted attention of critics and scholars. The author’s path from despair and fear to hope is the path from the local, psychological, individual to the universal, social, and philosophical. The continual motive of hope gives some unexpected coloring to a seemingly trivial Enlightenment-like picture of the future. The concepts of progress are being filled with drama and dynamics. Existential problems proved to be much more important than the ideal future projects. The sources and plan of the progress are contained not in the objective laws of the history, but exclusively in a human being, permanently fighting in the darkness and chaos. From this point of view, Bazhan is not a representative of the Soviet-style Marxism. In fact, his worldview is rather in tune with E. Bloch’s neo-Marxism or J.-P. Sartre’s existentialism.Стаття – спроба прочитати творчість М. Бажана крізь призму еволюції мотиву надії. Стверджується, що цей мотив має в поета культурно-історичний масштаб і практично-діяльнісний зміст. Переживання надії стає енергією прогресу й творення культури. Надія живиться активною діяльністю й сама живить труд, мистецтво, науку, творчість. Способи долання безнадії в поезії М. Бажана оновлювалися впродовж десятиліть у зв’язку зі зміною уявлень про суспільну роль поезії. Якщо спочатку осягнення цілісності бачиться в річищі класової боротьби, то пізніше поет схиляється до культуротворення. Філософічність автора “Гофманової ночі” не мала споглядального характеру, була перейнята екзистенційними й соціальними проблемами, спрямовувалась гуманістичними цінностями
Шевченків лист до невідомої: проблема адресата
Get PDFThe author of the article analyzed the arguments of other researchers and finally disproved the version that Shevchenko’s “letter to unknown woman” could be addressed to Lykera Polusmak. He also offers a few clarifications in the comments to this and several other related letters. The Russian language is the main and indisputable argument against addressing the letter to Lykera, despite the fact that, although badly, she could read in Russian and was even able to write a few words with great difficulty. The author suggests publishing several Shevchenko’s household notes, contained on the pages of Lykera’s notebook, in the new “Complete Works”. The version of the researchers who compiled Shevchenko’s “Complete Works” in 10 volumes that the letter was intended for Anna Sharikova has been recognized as inconsistent. The published archival materials, previously unavailable to the general public, do not give ground to speak even about Shevchenko’s acquaintance with A. Sharikova. Her petitions to various authorities are full of fantastic allegations, none of which was confirmed. According to the documents, officials were inclined to consider her insane.
Having offered Lykera to marry on July 27 1860, and having obtained her prior consent on the 28th (subject to the absence of a denial from her former master M. Makarov), Shevchenko on the same day, i.e. July 28, wrote a letter to a person associated with him, obviously being in intimate relationship, which had to be completely broken off. The author substantiated the hypothesis that an unfinished note was addressed to Amalia Kloberg, which was a seller at F. Avanzo’s art store in St. Petersburg. He also supposes that A. Kloberg could be a model for several Shevchenko’s drawings. At the same time, it is probable that the note was intended for the person still unknown to us, therefore the previous decision of the researchers compiling academic editions of Shevchenko’s works remains valid: to print the text as a letter to the unknown.Автор статті, проаналізувавши аргументи публікаторів Шевченкового листа від 28 липня 1860 р., остаточно відкидає можливість його адресації Ликері Полусмак і пропонує кілька уточнень у коментарі до цього та кількох інших, пов’язаних із ним листів. Неприйнятною визнано також версію упорядників Повного зібрання творів Шевченка в десяти томах про те, що лист призначався Анні Шариковій, адже поетове знайомство з нею так і не доведено. Автор обґрунтував гіпотезу, що незавершена записка адресувалася Амалії Клоберг – продавчині магазину малярського приладдя Фелікса Аванцо. За припущенням дослідника, вона могла бути натурницею для кількох Шевченкових малюнків
ПОЕТИЧНИЙ СВІТ БОРИСА ГРІНЧЕНКА
Get PDFThe paper focuses on the fi gurative, style, and genre characteristics of B. Hrinchenko’s poetry. Three stages have been distinguished: early poetry of the 1880s, poems of the 1890s, and those of the1900s. The fi rst period is marked by a thematic and formal imitation of T. Shevchenko, I. Manzhura, V. Zabila, etc., and yet the originality of poetic talent, attested by the poems “The Tiller”, “Sad Views”, and others, is evident. In terms of genre and style, the civic poetry prevails, in which the leading motive is work, sometimes interpreted as commitment to the benefit of others (1880s), and sometimes as an immanent internal need of an individual (1900s). The researcher traces the dynamics of the lyric hero, being defi ned mostly by the moral imperative. In B. Hrinchenko’s poetry of the late 1890s, philosophy and sensuality deepened, and as a consequence the lyrical hero changed; the strong-willed personality with a neo-romantic outlook emerges. The topicality of neo-romantic ideas for the poet is indicated by the interpretation of the motive of spiritual leadership, as a feature that characterizes someone who is able to elevate others to his level.
The syncretism of the types of artistic understanding of reality is evident in Hrinchenko’s poems. The poems of the 1880s and 1890s were dominated by the positivist worldview, and the poetry at the turn of the century was rather focused on the subjective and emotional, neo-romantic perception of the world, although not devoid of the ‘two worlds’ concept of the late romanticism.
Meditative and epical lyrics noticeably prevail in Hrinchenko’s genre system, due both to the thematic material and the focus on the reader. The most frequent were reflection, appeal, invective, and song genres, mainly romance, for example “The Soul is Burning, and the Heart is Singing.” Knowledge of folklore, interest in the Cossack era and the history of the Cossack state gave Hrinchenko material for his works; he wrote about twenty poems interpreting the history of Ukraine.У статті проаналізовано етапи творчого становлення Бориса Грінченка як поета. Образно-тематична, стильова, жанрова характеристика його поетичної творчості розглядається впродовж трьох вимірів: рання поезія 1880-х років, вірші 1890-х та 1900-х років. У полі зору динаміка розвитку образу ліричного героя. Приділена увага версифікаційній будові вірша
Метафізика пошуку в новелах Федора Потушняка
Get PDFFedir Potushniak’s works were closely connected to historical and cultural tendencies of literary process of the late 19th – early 20th centuries and therefore reflected Modernism in its European and particular Ukrainian patterns, especially in its transcendental aspect concerning the metaphysical nature of human being. Thus the literary works by Fedir Potushniak require a study that takes into account philosophical ideas of his epoch.
Fedir Potushniak created his own philosophical conception considering human existence in connection with its spiritual aspect. The writer’s attempt of uncovering the transcendental sense of things is a peculiar feature of both his lyrics and prose. The paper interprets Potushniak’s short stories in the light of his philosophical understanding of metaphysics. Philosophical and aesthetic approach to the analysis of text involves using hermeneutical and aesthetic research methods.
Images, symbols, time and space variations and other literary details in the works by Fedir Potushniak have been examined with regard to the metaphysical nature of human being and the motif of search reflecting the way of the characters to perceiving their own life and art. A special accent has been made on the issue of human being in the writer’s short stories. The aim of search for magic things such as buried treasure, fire, stone, flower, leads the characters to happiness, prompting them to realize their own spiritual roots beyond time and space. Looking for their dream the characters of Potushniak’s stories pass the inner way of spiritual formation. Interpretation of short stories by Fedir Potushniak with regard to their philosophical background contributes to better understanding of the writer’s creative phenomenon. The paper aims to reveal new meanings in Potushniak’s fiction and outlines the aspects of interpreting it within interdisciplinary research.Творчість Федора Потушняка формувалася під впливом сучасних йому культурно-історичних реалій, європейської філософії. Розуміння прихованого, таємничого пронизує не лише лірику, а й прозу письменника. У статті досліджено мотив пошуку крізь призму метафізичного в новелах Ф. Потушняка – віднайдення персонажами втраченого зв’язку зі своїми духовними праосновами, сенсу життя, творчості. Також розглянуто образи-символи, зміну часу і простору, інші художні деталі
Формування й модифікація бачення революції та війни: болгарський аспект
Get PDFRelated notions of war and revolution are not something primordial and constant. They are constructed and constantly changing. The paper traces some aspects of these processes in the mentality of the 19th and early 20th century Bulgarians, with attention to their Balkan context.
The lack of the own state for a long period of time (1396–1878) determined the initial negative image of the war. For the Bulgarians of the late 18th and early 19th centuries a war was something definitely negative, as it brings death, troubles, and disasters; it was also something alien or external as only few of them were recruited in the Ottoman army. The wars between Russia and Ottoman Empire generated some hopes for independence among certain elite groups of society (although not so much among common people). The Greek War for Independence (started in 1821) and other uprisings in European dominions of Turkey had their impact on Bulgarians. The idea of revolution grew in the 1860s and 1870s within the group of radicals, mainly the alumni of Russian Universities and high schools. Literature played a serious role in this process, and April uprising (1876), not without some debates, was represented as ‘revolution’ in the last decades of the 19th century. The two notions were mixed after the Russian-Turkish Liberation War (1877–78), especially in later interpretations.
The newly established Principality of Bulgaria lived in constant threat (real or imagined) of Ottoman invasion and soon got drawn into the war with Serbia (1885) which contributed to creating the fully positive image of a patriotic war. This image persisted during the First (1912–1913) and Second (1913) Balkan wars, called in Bulgaria ‘inter-allied’. The defeat motivated to shift the image of war from something patriotic to something making the ordinary people suffer. This was a gradual change catalyzed by the World War I (1914–18) that made the previous image problematic. The notion of revolution that was previously associated only with the past (1876, 1878) also shifted and became associated in some leftist minds with the future as well. First and still shy anti-war humanitarian ideas appeared; the last poems of Dimcho Debelianov (1887–1916), who died in the war, were the most representative examples of this trend.У статті розглядаються деякі аспекти таких взаємопов’язаних понять як “війна” і “революція” на прикладі болгарської літератури ХІХ – ХХ ст., зокрема в балканському контексті. Упродовж тривалого часу (1396 – 1878) відсутність власної держави визначала початковий негативний образ війни. Війни між Росією й Османською імперією породжують серед частини болгарської еліти деякі надії на звільнення. Війна за незалежність Греції (1821) та інші повстання в європейській Туреччині мають подібний вплив на болгар. Ідея революції почала формуватися в 1860 – 1870-х роках серед радикалів, більшість яких була випускниками російських шкіл і університетів. Література брала активну участь у цьому процесі
СИНЕСТЕЗІЙНА ПОЕЗІЯ ЛЕОПОЛЬДА СТАФФА
Get PDFThe article outlines the peculiarities of synesthesia phenomenon and traces its role in L.Staff’s poetry by way of introducing the distinction between antecedents and consequents. The analysis of synesthesic phenomena in L.Staff’s poetry is based upon the notions of G.Bachelard’s phenomenology, C.G.Jung’s theory of collectiveunconscious, and also as a process of individual memory.У статті аналізується синестезійна поезія Л.Стаффа, його схильність до “кольорового слуху” та “звукового кольору”, упроваджується класифікація антецедента й консеквента. Прийоми синестезії авторка розглядає крізь призму феноменології Г. Башляра, юнгівського колективного підсвідомого, інтуїтивізму А. Бергсона
The reception of Taras Shevchenko’s works in “Biuletyn Polsko- Ukraiński”
Get PDFThe paper studies the reception of Taras Shevchenko’s works on the pages of the journal “Biuletyn Polsko-Ukraiński”. The author analyses translations, research papers and reviews of new editions of Shevchenko’s oeuvre, articles on his work and its signifi cance for the development of Ukrainian-Polish literary relations.У статті розглянуто рецепцію творів Тараса Шевченка на сторінках журналу “Biuletyn Polsko-Ukraiński”, проаналізовано переклади, велику увагу приділено проблемам шевченкознавства, відгукам на нові видання поета, статтям про його творчість і її значення для розвитку українсько-польських літературних взаємин
КОНСТРУЮВАННЯ КУЛЬТУРНОГО ПРОСТОРУ В ПОЕЗІЇ ПЕТРА МІДЯНКИ
Get PDFThe article analyses the structural principles and the peculiarities of cultural space modeling in the poetry by P. Midyanka. Special attention is paid to the phenomenon of Carpathian myth and to the ritual structure of poetic texts.Статтю присвячено аналізу структуротворчих принципів і особливостей моделювання культурного простору в поезії П.Мідянки. Особливу увагу приділено феномену карпатського міфу та ритуальній структурі поетичного тексту
ШЕВЧЕНКОВІ ПРИСВЯТИ
Get PDFThis article explores different types of dedications used by T.Shevchenko, i.e. address dedications, titlededications, and inscriptions serving as a sign of the writer’s respect for an addressee. The author of theessay traces back how particular dedications were used, adopted in other inscriptions or removed. A particularattention is paid to the addressees of T.Shevchenko’s dedications as well as to the exact dating of the latter.Especially comprehensive dedications are treated here as a separate genre.У статті розглядаються різні види Шевченкових присвят: присвяти-послання, присвяти-назви, дарчінаписи. Простежено історію їх функціонування (перенесення з одного твору до іншого, зняття присвяттощо). Особлива увага приділена адресатам присвят і даті їх написання. Аналізується розгорнутаприсвята як окремий жанр