Pytannia literaturoznavstva

7-24

Authors: Galyna Dranenko

The article deals with the problem of the removing of the secondary’s status in the artwork in term of the functioning of its paratextual elements. We studied Gérard Wajcman’s novel “The Forbidden” (1986, republished in 2016), it’s composed of the author’s endnotes and the body text is lacking. We outlined the discursive and the narrative text’s structures that favor the changing of the hierarchy’s status, from paratext (lower) to the body text (higher). We examined other paratextual elements (title, dedication, opening information etc.) as the body text is lacking they have the essential function in the reader’s interpretation of the text. It is described as the new novel republishing “The Forbidden” modified the work’s receptive capacity on condition of the changing of the publisher’s peritext (book’s format, epilogue is added, the writing of the author’s name is changed) and epitext (the author’s artistic heritage, the biography in media). We analyzed as this modification transform the code and the modus of the reader’s perception of the novel. It is shown that the text expected by receiver is lacking not because it’s waiting to be fill on the basis of the interactive game with the reader the main reason is that this text is impossible, unrealizable, forceless. This text says about unspeakable and in this form, it is completely self-sufficient as it represent the oblivion, erasing memory, its deficiency, its absence. We stressed that the lacking of the boy text in Gérard Wajcman’s novel, which is the part of the paradigm “Literature of the Holocaust”, is the symbol of the obliteration and of the language loss in general and particularly of the family’s language Yiddish. We concluded that the text’s delete is not poetic and stylistic way; it is the apparatus of the minor hierarchy.

40-54

Authors: Feliks Shteynbuk

It is asserted that the works by Oles Ulianenko, the only laureate of the Small Shevchenko Award in Ukrainian literature history, are still on the periphery of literary research; the reasons of such indifference to the writer’s heritage are explained and an alternative corporal-mimetic variant for textual analysis of the novel “Woman of His Dreams” given as an example in comparison to existing research methods is suggested. It is proved that accumulation of horrors relating to numerous cruel deaths of marginal characters dialectically transform the obviously marginal character of these horrors into discourse formation seeking to fill existential emptiness. The correlate of emptiness is considered through the eastern approach, in particular the Buddhist one, so as the western philosophy, in the first place in M. Heidegger’s and H. Miller’s interpretations, so the conclusion is made according to which the primary author’s intention of O. Ulianenko despite the fact that he indeed, as he said in his interviews many times, wanted “…to frighten so that the man could understand how horrible it was if it happened”, and despite the fact that in fiction practice it was realized with a horror correlate – this intention has received a deeper artistic-aesthetic meaning through actualization of interrelated with it correlates of emptiness and monstrosity represented with the language considered by the Ukrainian writer as the only substance, which has acquired corporal features, belonging to absolute freedom; and in conclusion it is noted that on this side of “Woman of His Dreams” horrors rampage conditioned by marginal locus existence of the big city; but “on that side…” of “Woman of His Dreams” these horrors are ritualized by pseudo mystical images and due to the language, hence the monstrosity correlate as well, they fill emptiness with freedom formation and representation at the same time, first of all freedom as it is but also freedom from social, national, religious, sexual and other prejudices.

71-93

Authors: Olexandr Keba

The article concerns issues of the genre of fictional biography. The study examined the peculiarities of the artistic transformation of the circumstances of the F. M. Dostoyevsky's creative biography in J. M. Coetzee's novel “The Master of Petersburg”. The author has investigated a lot of intertextual sources as factors of the fictionalization of Dostoyevsky's biography, such as essays Stavrogin by Nikolai Berdyaev, Dostoevsky and patricide by Sigmund Freud, Dostoevsky – but in moderation by Thomas Mann, academic biographies of F. M. Dostoevsky and especially Dostoevsky’s novel Devils. An attempt was made to find out the motives of the author's appeal to the “dark” side of the inner world of Dostoevsky. The culminating episode of the novel, when Dostoevsky begins to write the novel Devils, is considered on three levels of the artistic system of the novel: 1) plot motivation; 2) characterological aspects; 3) conceptual level, determined by the problem of creativity as the central problem of the novel. Writer's work is mainly an irrational and intuitive sphere, Dionysian phenomenon, fraught with unpredictable consequences. So the author of the article tries to identify the “positive program” of the Coetzee's novel as a work about “darkness of human heart”, that is cleared by the artist's genius, but it does not protect against moral losses.

106-115

Authors: Iryna Vikyrchak

The article examines the image of the Jewish people in English poetry by Rosa Ausländer. Born in 1901 in Austrian Chernivtsi, a German-speaking poet changes the language of her writing after survuvung through the Holocaust and for almost ten years writes in English during the emigration in New York. The main motives of this period are the search for a new identity, the experience of having lost her mother and rethinking the horrors of the Second World War and its consequences for the Jewish people and for Europe in general English poetry written by Rosa Ausländer between 1947 and 1956 was published by Helmut Braun in 1995 in a collection tittles “The Forbidden Tree”. The program poem under the same title depicts a tree from the Garden of Eden maimed by the Nazis, the roots of which, in spite of everything, are strong and “vigorous”. In the poem “The Clinic” the surface motive is the rapid pace of life in the megalopolis, which also belongs to the leading motives of this period of writing and the life of the poetess. However, the images of “impersonal names”, a sense of distrust to state institutions, long waiting for the unknown and a reference to the typical image of the phoenix often used by Ausländer give the reader implicit indications of the Shoah's traumatic experience. In the poetry of Rosa Ausländer, the phoenix remains a symbol of hope and rebirth for the Jewish people.

136-151

Authors: Olesia Kalyniushko

An article analyses M. Shchygel’s travelogue “Make Your Own Paradise” from the imagological viewpoint. Czech Republic occupies a special place on the sympathy scale among the Polish, even though, geographically it belongs to Eastern Europe and Czechs in return are much more restrained about the Polish people. Despite the narrator’s genuine delight about the Czech Republic, he unwraps the story, depicting Czechs critically, and subconsciously trying to rehabilitate the people of Poland uncertain in their European identity. It is important for the author to define both pros and cons of the Czech national identity, comparing them with the specificity of Polish nature, and thus demonstrating the ethnocentrism of his love for the Czech Republic. Traveller’s discovery of the country, which typically takes highest levels of the Polish sympathy scale, through the prism of the national values demonstrates his inner need (as the representative of “Not-Enough-European” country) to enhance its status having compared it with the country, which is higher appreciated by Poles than any of Western European countries. Another reason of character’s attention to the Czech Republic consists in his national guilty conscience that he shares with his nation, recognizing himself responsible for actions of his compatriots who supported the Soviet Union in August in 1968 and invaded Czechoslovakia as the part of five armies of the Warsaw Pact. Hence, getting to know the Czech Republic traveller of M. Shchygel’s travelogue “Make Your Own Paradise” states his Polish identity by means of comparing and analysing the specificity of Polish and Czech national characters. He calls himself a Czechophil, although he sets aside idealization of the Czech Republic in order to exonerate his people.

174-186

Authors: Olha Chervinska

The article under discussion is a survey of how a literary concept of a prominent Ukrainian German Studies expert Olexandr Dmytrovych Oguy has been developing on the pages of a scientific journal “Problems of Literary Criticism” from 1993 till 2013. The article traces up the stages of progress of scientist’s methodological strategy concerning the so-called concept of post-non-classicism, beginning with his first article in “The Issues”, where he presented an efficient sample of involving the timeless linguistic universals with the purpose of comparing the typologically similar genre forms. In this way, he managed to prove the authenticity of “The Tale of Igor’s Campaign” in historical-typological comparison with the medieval epic works (Issue 1, 1993). After a 15-year break, O. Oguy’s articles “A Three-Dimensional Poetic Space of ‘Lanzelet’ by Ulrich von Zatzikhoven” (review, 2010), “The Historical-Social Genres in Post-Non-Classical Methodology: the Principles of Classification” (2012), “The Principles of Formation of the Middle Age German Literature: Overcoming the Crisis Stages through New Genres” (2013) were published in the journal. Each of these works contains a distinct conceptual program. The review was not restricted by a mere critical analysis of the work by a German researcher Kai Lorenz. It also highlighted the difference between methodological fundamentals of European and Ukrainian scientific text analyses – “different paradigms of foreign and Ukrainian Medievalist Studies”. This scientific text is a topical “transplantation” of analytic methodology of K. Lorenz into Ukrainian philological practice. It was introduced into scientific circulation as the so-called “trichotomic model” of functional types of the interacting spatial structures. The article “The Historical-Social Genres in Post-Non-Classical Methodology: the Principles of Classification” (Issue 86, 2012) is a vivid example of a profound present-day academic research. It is worth reading for everyone, who deals with literary genres. The scientist made up his mind to tackle the problem of genres due to the ambiguity of the criteria that existed in Post-Soviet Literary Studies. He activated the notion of “synergic approach”, which enabled him to rethink drastically the whole genre system in the Middle Age literature. O. D. Oguy’s last and largest article “The Principles of Formation of the Middle Age German Literature: Overcoming the Crisis Stages through New Genres” appeared in “Problems of Literary Criticism” in 2013 (Issue 88). It impresses the reader with a broad scope application of diachronic principle in a research space, as well as with the methodology of scientific discourse (the so-called “content analysis”, which presupposes the effect of social factors in investigating the cultural phenomena). The comparison of literary artefacts with the events in European history has enabled O. Oguy to determine and classify eight crisis stages (including the prehistory). The latter had been accompanying the formation of the German nation from the early Christian days and the Great Relocation of Peoples till the end of the Middle Ages, as well as had exercised a direct influence on the changes in the literary process.

204-214

Authors: Dmytro Drozdovskyi

In the paper, the specific narrative structure of the novel “Cloud Atlas” has been analyzed. The array of philosophical questions that determine the post-postmodern literature has been outlined. In the novel, the motif connected with the rebirth of the human being has being explicated; the belief related to the irrational bond between the events in the past, present and future, about memory as a special sphere where the crossing of different temporal modes is possible has been visualized. Changeable in this transformation system are such factors as sex, gender, social positions, religious affiliations, etc. The immanent essence of the “humanity” has been defined. This, Sonmi~451 in the fifth story struggles against the totalitarism which cultivates the industry of consumerism transforming entertaining ads and other forms of leisure into the ideology. The forms of criticism toward the consumerism and the bonds between memory, knowledge, and power have been explained. In the paper, the author focuses on the features related to the transition from postmodernism to post-postmodernism in contemporary English literature. The key features of postmodernism in accordance with the theoretical approaches I. Hassan, M. Foucault, F. Kermode, D. Fokkema, etc. have been outlined. The categories of inconsistency and immanence that determine the characteristics of the postmodern sensibility have been emphasized. The conflicts between reason and intuition, myth and technology, religion and science have been analyzed in the discourse of post-postmodernism.

231-246

Authors: Marina Lebedzeva

The article reconstructs the figurative concept of personality, embodied in the story of A. Averchenko “The Death of an African Hunter” (1914), through the prism of the author's value orientations and psychological transformations of the hero experiencing adulthood. The study of cultural discourse in the projection of artistic expression on the social context promotes the disclosure of the author's attitude to the characters and events and the comprehension of the “life-death”, “freedom-non-freedom” set forth in the work of philosophical oppositions. Sincerity as the highest manifestation of a person, typical for children and lost by adults, a rebellion against everyday life, farewell to illusions as a reaction to a collision with the real dimension of the modern world – all this turns out to be in the author's objective, objectively, psychologically and symbolically detailing the scale of life values within the framework of artistic integrity story. The comprehension of artistic models that embody the problem of the maturation of the personality, the “before” and “after” childhood conditions, the loss of illusions and the adaptation of the personality to the real world, allow us to reconstruct from the private artistic experience a picture of objective philosophical and psychological contradictions to which the individual aspires to resolve.

7-19

Authors: Natalia Astrachan

The article raises the problem of achieving artistic integrity of a literary work in the transition situation of the European prose from modernism to postmodernism. The features of the poetics of the M. Frisch’s novel “Gantenbein”, in particular the organization of the narrative, the composition of the plot and characters, are being discussed. Special attention is paid to stressed minor elements of art structure (inserted short stories, characters beyond the plot, peripheral details), which play a decisive role in the artistic whole of the experimental novel. It is with them that the author interprets the product, the original tips that allow the author's intention to be reconstructed. From this point of view the center and periphery change places, accentuating the invertedness of modern ideas about man, the world, the meaning of life. The material of the novel “Gantenbein” analyzes the concept of man, proposed by the artistic discourse of the second half of the twentieth century. The study shows that the actualization of a lost value system, functionally provided with peripheral elements of art structure, is linked in the novel with a return to artistic integrity and correction of errors at the level of the artistic conception of the person. Such actualization, return and correction give new meaning not only to the problem of the quality of a literary work, but also to the concept of literary and artistic creativity.

32-44

Authors: Oleksandra Visych

Metadramatic analysis is widespread in the Literary Theory of recent decades. Despite the fact that most of specific elements of metadrama are present even in the most ancient dramatic texts, their intensive updating is observed in postmodern literature. The article analyzes the expanded typology of medadramatic methods. The main attention is focused on such metadramatic technique as play within the play, role within the role, ceremony (ritual) within the play, adaptive metadrama and literary / theatrical criticism in the drama. It is proved that the play of the Ukrainian playwright Pavlo Arie “The Man in a State of Elevation” is an example of the original application of metadramatic poetics, in particular due to the conceptually complicated hierarchy of these techniques on the character and dimensional levels. The text represents a multilayered space, where the concept of theatre-within-the-theatre is repeated, indexed to infinity. Each layer is arranged according to the principle of the musical state just like interlines and has certain dominant methods of metadrama. However, the possibility of a stable hierarchy is questioned, since each structural element of the play claiming to be a centre easily changes its location to the periphery. Pavlo Arie's play confirms the leading orientation of the postmodern theater on the self-reflection and self-presentation. Actually metadrama turns to be an attempt to expand the dramatic world by constructing additional real / unreal planes. Their hierarchy in the art world of the author becomes a conceptual problem and subject of decoding.

62-77

Authors: Yevheniy Vasilyev

Along with the genre forms that have not stopped their development for many centuries, but have gained significant transformations (tragedy, comedy, drama, melodrama, tragicomedy), there are also numerous genres, whichfell out of the history of drama for a long time (often for centuries) and were not claimed by theatrical art. However, in the drama of the 20th – beginning of the 21st century the clear tendency for the revival and modification of archaic genres, first of all, seemingly, “dead” genres of the medieval theater is characteristic. In its genre system religious drama genres (especially mystery and miracle plays), didactic (pritch, parable) and comic (farce, interlude, commedia dell'arte) occupy an important place. The article discusses the features of genre modifications of medieval farce in contemporary dramaturgy. A typology of contemporary farce is also suggested (three types are conventional farce, black farce and socio-political farce). Genre signs, features of the plot and of farce in the works of European dramaturgy of the late twentieth and early twenty-first centuries (M. Frein, M. Kamoletti, D. Orton, P. Schaeffer, E. Nelison, G. Adam, A. Bitton and others) are researched. Scientific (L. Smith, A. Sierz, S. Goncharova-Grabovskaya, N. Malyutina etc.) and author's (R. Cooney) reflections on the farcical genre module are considered.

90-105

Authors: Mykola Dudnicov

The article considers the process of historical novel genre formation. It is identified its structural components: historical authenticity and fiction, speculation, historiographical features and the properly literary that requires special ways and techniques to explore. There are specific reflection of the facts, their modifications, the literary transformation of image synthesizing, and also considering its temporal, spatial, national-cultural characteristics, ethnic mentality of presentation. In that way, it is focused on the fact that the highest of the literature achievements is the result of the work of different generations’ writers. To pass the time, such literary experiments lead to results comparable with the classic conquest. To achieve writing products of such level it is necessary to build a holistic literary structure, and this thankless job is implemented by ordinary talented people. The article offers the interpretation of individual works relating to historical- literary prose, for example, historical adventure novels by N. E. Heinze literary and M. N. Volkonsky. The process of genre modifications contributes to activate the variable genre forms that leads to the expansion of genre potential, acquisition new qualities. Trend updates genre historical prose and the emergence of new genre forms does not stop be an alternative form of the historical novel, acquiring new artistic quality. Tendency of upgrading genres of historical prose and the appearance of new genre forms does not stop: there are alternative forms of the historical novel emerge, acquiring new literary qualities. Narrative forms of fiction though deprived of literary magnification, but perceived as such that correspond to spiritual and intellectual requirements of a certain part of society by contemporaries. This literature carries bothproblem- analytical and entertaining effect, which increasingly is implemented in such genres as adventurous and historical novels.

120-129

Authors: Iryna Zhylenko

The article studies images and motifs of Shevchenko based on the materials of works of another row of Ukrainian emigration writers of the 20-30ies years. Using the theory of archetypes of Jung, we identified an intermediate archetype acting on the verge between a Hero (a Savior) and a Sage, this is what Taras Shevchenko became for the Diaspora writers. Particular attention is being drawn to the genre palette of Shevchenkiana, artistic and stylistic features of the stories of the following writers are being defined: K. Polishchuk, B. Lepky, Dmytro Tyahnyhore, and Lesya Verhovynka. The Shevchenko motifs we discovered in the short fiction of the 20-30ies are usually united around the magnificent figure of Shevchenko, his portrait and his “Kobzar”. The archetypal figure of Shevchenko represents a symbol of a rebellious spirit and a national talisman for Ukrainian writers of the emigration. It is being determined that the portrait of the great son of the Ukraine serves as an icon for his people and is frightening for the others; words of the works of Shevchenko inspire heroes to fight for the liberation of the native land and act like a prayer; “Kobzar” serves as a talisman. Thus, motives of Shevchenko in the works of short fiction emphasize saving function for the characters and for their authors. As a result, it is being concluded that a dominant in all the stories and novels was both a respectful and a panegyric relationship towards the Savior of the Ukraine, Taras Shevchenko, and that his name and works became a philosophical guide that inspired artists to create Diaspora of the short fiction with patriotic content.

146-159

Authors: Natalіia Naumenko

The article elucidates the properties of a parody as not only an art work, but also as a literary-critical study. There is shown that the parody, according to the creative invention of its author, has the purpose to expose and then to deride the certain disadvantages of on original poetic text; however, in closer reading, it seems to maintain a critical paradigm. First of all, this paradigm reveals all of the noticed flaws as the remedy to make “the creative prophylactics” for a future poet; second, it helps a reader to comprehend as well the positive features of a parodied text (particularly, in reading an original), and also to imagine the image of an author (of either the original or the parody) opened to further interpretations. The subjects of studies in this article are Ukrainian literary parodies published throughout the 20th – the beginning of the 21st centuries (authors – Ostap Vyshnia, V. Yaremenko, Yu. Ivakin, A. Bortnyak, I. Havryliuk); there are also analyzed several poetic works that are not parodies a priori, but tend to deride some realia of the authors’ everyday life. There was shown that the efficiency of literary criticism could be defined by not only what the critic said, but also how one did it. Therefore, elucidation of a parody seems to be impossible without studying its generic, stylistic, imagery and compositional characteristics of a potential parody object (original verse work), including the specifications of development of a poet’s individual style within parodying any kind of literary works.

175-188

Authors: Svitlana Kyryliuk

Formation of modernist aesthetics in Ukrainian literature at the turn of the twentieth century is connected with changes in aesthetic consciousness, overcoming stereotypes, and search for new expressive means. This enables us to trace “conflicts” and contradictions that allows us to speak about qualitative changes, search of new resources, points of view, and reading “voices” in a work of fiction. These “voices” reveal to a different degree both surface and concealed layers of text. We can trace certain co-references of these “voices” within historical and cultural epoch, and in the works of an author or based on a text. At the same time it is important that the author may not have wanted to reveal, open something, but the text itself can reveal it. Ways to relveal these may have some significance for revelation of certain characteristics or stylistic peculiarities of author’s works as a whole. The texts of Ukrainian classic writer M. Kotsiubynsky allowed critics to speak of “aesthetism” and „spiritual aristocracy” inherent to the writer, but realisation his own marginal position provoked him to unconsciously pay attention to his secondary role. Here we have conscious attempt not so much as being silent as concealing one’s own voice. At the same time conscious “concealment” confirms unconscious desire to be heard. Therefore, the purpose of the paper is to highlight the problem, make it the major one to understand M. Kotsiubynsky’s texts. An important role is provided to character’s voices. But to counterbalance the voice of the main or secondary character, there is silence that we should treat as an anthropological phenomenon. It is the analysis of the function of silence is the key to reading Kotsiubynsky’s fiction, along with the function of non-silence where the first rate role of a narrator is lost. The foreground is occupied by the second rate that assumes the status of the first ratedness.

200-216

Authors: Alyona Tychinina

The methodology of detection of paratextual connections detailed by Gerard Genette is analyzed. It is proved that such at first sight peripheral elements of a text are able not only to frame it specifically but also to make possible its transformation into a book. It is emphasized that paratextual modi respectively generate the mechanism of receptive action, narrow or/and broaden the expectation horizon of a reader. Subsequently, adjusted by the experience, they form a different perspective of perception which nevertheless is restricted and emphasized by a kind of paratextual “frame” that is sometimes called the interpretational one. An author's foreword is a sort of proxemic center in architectonics of literary text. The main function of the textual threshold that can be created directly by an author, publisher, and other writer is to inform readers about circumstances the text was written under, stages of creation, interpretation of important or complicated (from the standpoint of the author) moments of the text, its conception, genre, biographic motives that guide a reader's reception in one way or another. In line with the historical poetry considering a text with a few author's prefaces is the most effective way. Three prefaces (1951, 1953, 1957) to the novel “Trans-Atlantic” (1953) by the Polish writer-immigrant Witold Gombrowicz (1904–1969) have become the subject of the analysis. Obviously, the specifics of narration in the aforementioned prefaces appear interesting. Not only is the experimental character of Gombrowicz's shape proved but also the dynamics of his texts' content in the historical time. Proofs of that, apart from the prefaces, are found in his diaries. The function of the author's preface has the exceptional receptive weight as it directs the reader's receptions only to the indicated destination and establishes the profound contact, more precisely the dialog, with a reader. Serving as an interpretative frame that outlines an author's interpretation of the text, in this case a preface is capable not only of forming but also deforming the reader's expectation horizon.

234-237

Authors: Galyna Dranenko

Poetics of the Ukrainian Translations of E. Verhaeren [Review of the monograph: Kravets Ya. Ukraïns′kyi Emil′ Verharn (krytyka, perehuky, pereklady) [Ukrainian Emile Verhaeren (critique, response, translations)] Lviv, 2016, 344 p. (in Ukrainian)]

7-29

Authors: Michaela Krämer

In the format of interpretation the creative laboratory of Shakespeare’s “The Tempest” is being revealed. By all accounts “The Tempest” has no specific sources. This study, however, supposes, that Shakespeare could refer to the basic concept and, from this perspective, even very closely rely on the details. Hence, it is proved, that the philosophical impulse of Shakespeare’s tragedy can be considered the introduction to the “Oration on the Dignity of Man” by Giovanni Pico della Mirandola, created for the forbidden later theological discussions on relevant topics in Rome (1486), which dealt with the possibility of moral self-determination and individual responsibility. Imposing the lines of the treatise by Pico on the images and plot of the drama by Shakespeare, we immediately notice a twisted three-dimensional image, the transition from abstract relationship to the visible processes of existence and consciousness, at the same time fantastic and real. This analysis is based on the statement, that “The Tempest” can be interpreted as the staging of memorable images of Pico. This statement is relevant to point of view, according to which Shakespeare could choose the idea of the Oration, or directly from the passage of the text. Shakespeare consciously goes beyond the ideas of Pico. If the quotations from the text of Pico are considered as a subtext, it immediately becomes evident that scene, characters and action of the play are based in some way on a complex conceptual scheme. With the underlying meaning of the Oration by Pico, “The Tempest” is a powerful creative experiment and a reasonable appeal to the uniqueness of human life and spiritual freedom of a man. Thus, this study, without resorting to discuss specific aspects of the play, aspires to promote scientific debate about its hidden meaning.

48-67

Authors: Roman Mnich

The article deals with the mainstream issues of contemporary Franko Studies, one of the most important fields of Ukrainian Literary Studies. The contemporary Franko Studies includes different discourses (political, sociological, linguistic, and literary), each of which reflects the topical problems of Ukrainian Studies in a widest sense. Many controversial topics (starting with Franko’s meeting/non-meeting with Theodor Herzl in Vienna, Franko’s article “A Poet of Betrayal” and on to Franko’s attitude towards Ukrainian and European modernism) receive nowadays a different interpretation, which is not exhaustive but, on the contrary, initiating the study of another problem. The author also comments on the literary terminology used within the Franko Studies.

82-90

Authors: Iryna Vikyrchak

English poetry by Rose Ausländer is an interesting phenomenon in the biography and writing of the German-speaking author, associated with the practical aspects of life in exile and psychological traumas. Using the method of analysis of poetic texts created by her in English during the life in emigration in the United States between 1947 and 1956 (poetry collection “The Forbidden Tree”) and some later prose texts, interviews, we conclude that Rose Ausländer had an ambiguous attitude to New York. The same attitude to the metropolis was shared by the American poet Marianne Moore, with whom Ausländer developed friendship, which played an important role for the creative life of the Bukovynian author in exile. We also consider the different perceptions of New York by Rose Ausländer during the two different periods of her residence there: the late 1920s when poetry was traditional in form and expressionist in style, written in German; and English free verse during the post-war period. Despite numerous topographical names that appear in the poetry collection “The Forbidden Tree”, the main New York motives remain the challenges to adapt to the rapid pace and rhythm of life, urge for the feeling of home, hope for a reunion with Bukovyna and German language etc.

108-122

Authors: Yulia Isapchuk

The study analyzes the novel fragment of the outstanding Austrian writer Ingeborg Bachmann (1926–1973) “Requiem for Fanny Goldmann” (“Requiem für Fanny Goldmann”) from the cycle “Death Styles” (“Todesarten”). The attention is paid to the spatial organization of the text in particular to the author’s depicting of the centre and periphery of the country with an emphasis on the historical and social features of the state’s development in the first half of the 20th century (dissolution of the Habsburg Monarchy, Anschluss, Holocaust etc.). The special role of Vienna as a cultural metropolis of Austria after the Second World War is stressed. The family Wischnewski and married couple Goldmann represent both the generalized image of the Austrian capital city, which contrasted with the negative stereotyped image of a periphery. As a result this phenomenon is demonstrated in the relationship of the heroine Fanny Goldmann as the representative of the exquisite Viennese society with the character of the young writer Anton Marek from the remote province. Consequently I. Bachmann shows one of the possible variants of the correlation between centre and periphery, where the Austrian province manifests its aggressive intentions towards the Vienna from its point of view as a metropolis.

141-152

Authors: Sergey Tuzkov

The analysis of G. Meyrink's novel “The Golem” is represented in the article in terms of gothic tradition in literature. The advantage of this investigation is that the majoriry of literary scholars point out those aspects of the novel “The Golem” that are connected with G. Meyrink's interest to occult sciences, alchemy, Buddhizm and Kabala learning. The value of these aspects for the authentic perception of G. Meyrink's text is beyond doubt. But at the same time the role of the elements referring to the gothic tradition in literature is not less important in the narration organization of the novel “The Golem”. For example in narration organization the author of the novel uses not only gothic chronotope but also the elements of the gothic invariant such as mystory and horror, play-acting, fate, manuscript, phantom etc. As a result the system of the characters of the novel “The Golem” correlates in its turn with the characters of a classic gothic novel: the main characters go through some hardships before they find happiness in the ideal love at the ending of the novel; the gothic villain embodies the evil incarnate and is inavitably punished; the phantom being the character's clone shows the transparence (ephemerality) of the border line between two worlds – real and infernal. The given aspect of G. Meyrink's poetics is not taken into account in numerous investigations of literary scholars. Therefore the aim of this investigation to examine the poetics of G. Meyrink's novel “The Golem” in terms of gothic tradition in literature gains particular actuality. As a result the analysis of G. Meyrink's novel “The Golem” shows how meaningful the gothic invariant in the XX th century literature is.

172-182

Authors: Tereza Levchuk

Biographical writings emphasize the ability of fiction to combine facts and conjectures.This binary is laid at the level of documentary bases of biography, presented by memoirs, epistolary, diaries. Self-image forming is accompanied by some mystification owing to variety of reasons. Person’s biography has its own plot. It may be interesting or boring for other people. Real life can be devoid of intriguing facts (as an option – a person works hard and has no leisure time), then you need to show the facts of inner life and to develop them into the story, interesting to readers.The role of the personal factor is determinant, because the writer presents a subjective vision of certain events in the life of a historical figure. Biographical narrative is a productive way of entry of the individual into the culture.Ego-fiction, which originated as a literary form of individualism, has become a peculiar phenomenon of modernist literature (J. Kotsiubynsky, O. Kobylanska, V. Stefanik).The original work serves as a grateful modeling material for further artistic biography, because it contains not only autobiographical motives, but also expresses deep reflection. Modern biography marks the transition from being plot-eventual to associative and psychological.In the process of psychobiographical works’ creation the object of the real life story becomes the object of the author's reflection.There is the increasing of aesthetic imperative – the writer's conscious effort to recreate the life of the individual and biography interestingly and artistically accomplished. Interest to the biography as a literary genre is powered by universal interest to ourselves. The penetration into the inner world of writer’s own characters is a branch of creativity itself.

194-206

Authors: Svitlana Kyryliuk

Creative worlds of Mykhaylo Kotsiubynskyi and Volodymyr Vynnychenko clearly describe the peculiarities of literary fin de siècle in Ukrainian literature of the period on the level of topics, images and style practices. Important role is devoted to characteristic features inherent to creative fates of the mentioned writers. They promoted creation of unique “rhythm” of prose characteristic of both writers and to a great degree similar to episodes and events of their lives. Mykhaylo Kotsiubynskyi and Volodymyr Vynnychenko belonged to one cultural time “intercrossing” in space: real and artistic. If the writers’ biographies were objects of numerous literary discussions (e.g., authors’ stay in Italy on an island Capri or a period of “intermezzo” in Kononivka of Yevhen Chykalenko), then a peculiar “clashes” on the level of texts urges us to find ways to perceive these “intercrossings.” They are interwoven into the texture of texts and are not always provided for decoding. It becomes possible by reading the topology of artistic thinking that is revealed by means of artistic images, landscape, particular attention to corporeality. We come across the category of corporeality in both writers works, but a priori the category is marked by a given disconnection in their texts. As a result of the analysis, we state its prevailing quality, in particular, in creation of a whole “landscape” of writer’s creative work. The study of internal mimesis of Mykhaylo Kotsiubynskyi and Volodymyr Vynnychenko’s texts based on the basis of analytical anthropology allows us to trace peculiarities of biographics of creative „landscapes” in both authors, establishing the range of “rises” and “declines”, movement of their creative work as a whole. At the same time such an approach allows us to evaluate the character of cultural “landscape” of the Ukrainian literature at the beginning of the twentieth century.

215-225

Authors: Olha Chervinska, Yulia Vilchanska

Exile existential accents are not considered to be a completely focused object. There are factors in history of cultures which are easier for understanding, proceeding from the current reality: the presence of certain culture in other cultural structure when the creative person faces an indispensability of self-identification (as motivated in the philosophical platform of Julia Kristeva, i. e. in the essay “Strangers to Ourselves” (1988). In the culture study aspect anyone of conventionally homogeneous cultures (or using the expression by Sorokin – “socio-cultural bodies”) in the context of its development inevitably faces, or will face in future, with a situation where the homogeneity ceases to be obvious. In particular, the experience of integral culture collapse of the Russian Empire, at first glance, gives very significant examples related to the so-called allotropy factor (the literary lexicon virtually lacks the concept, although it is appropriate to use this ancient scientific term containing commonly known Greek roots αλλος – other, τρόπος – feature). We mean the various forms which presented the existence of representatives of individual national cultures of Russia after the October Revolution generating the emergence of various known today diasporas – such as the Armenian, Russian, Ukrainian and others. In this synchronic time span the formation of the various “post-imperial” Diasporas (the first wave of emigration) is of great interest. Their main point becomes a creation of the corresponding ideological clamp. In this respect it is interesting to trace typological samples on the most revealing examples. The given article examines the work of two poets-emigrés: Boris Poplavsky (Russian diaspora) and Eugeniy Malaniuk (Ukrainian diaspora). It is a question of typologically polar transformations of biographical experience in the Diaspora ideology outlook.

7-11

Authors: Olha Chervinska, Roman Dzyk, Oxana Matiychuk, Natalia Nikoriak. Alla Sazhyna. Alyona Boychuk

The anniversary issue is “Classified catalogue of articles” that from 1966 to 2015 were published in the scientific journal “Problems of Literary Criticism” (up to 1991 “Questions of Russian Literature”). It is completed with “Bibliographical entry of the issues for 1966–2015”, “Index of names of the articles’ authors” and “Index of names of research objects”.

17-205

Authors: Olha Chervinska, Roman Dzyk, Oxana Matiychuk, Natalia Nikoriak. Alla Sazhyna. Alyona Boychuk

The anniversary issue is “Classified catalogue of articles” that from 1966 to 2015 were published in the scientific journal “Problems of Literary Criticism” (up to 1991 “Questions of Russian Literature”). It is completed with “Bibliographical entry of the issues for 1966–2015”, “Index of names of the articles’ authors” and “Index of names of research objects”.

7-25

Authors: Aleida Assmann

The realization that our knowledge of history is associated primarily with places that are revealed in the cities, first of all, through building substance, transforms the city into an important subject of cultural and historical research. There is a basic question: how exactly history fits in urban space and “anchors” in it, how it is altered, renewed, destroyed, how it is challenged? And how are related memories to these spaces? These questions bring us to the interplay of space, time, memory, identity, which we deal in details on the example of four aspects. The distinguishing between space and place (1) opens the two perspectives of perception: space as such, provided for the organization and reorganization, and place that we understand through the richness of its history and memories, passed through the narrative. The city is perceived as palimpsest (2), when becoming visible the layers that reveal history as a collective work of different generations, epochs, and periods of settlement. The concept of “reconstruction” (3) denotes a new practice in architecture, which involves rebuilding after 1989, historic buildings, destroyed by war with either ideological or modernization motives. Historical continuity (4), in its turn, means attitude to historical building substance that combines again more closely the past and the future.

35-46

Authors: Ivo Pospíšil

The article treats a question about a complex feature of a scientific situation in the Central Europe of the years 20–30 of the XX-th century, reflected in the activity of Russian formalists and Prague linguistic circle on a background of the independent circle in literary criticism researches of the intermilitary Czechoslovakia which generated “Russian-French-American coherenceˮ. The question is considered on the example of medievalist Sergii Vilinskii (who teached M. Bakhtin in due time), entered afterwards in the environment of Czech bohemists, special place in his scientific activity was intended for popularization of Russian classical literary heritage, especially works of M. Saltykov-Shchedrin. The given research rested on archival materials of Masaryk University in Brno. The unknown before details of his biography are considered: his way in science, begun in Odessa, continued in St.-Petersburg, completed in the Czech Republic. Change of a problematics of his researches which testifies to unconditional influence of life circumstances on scientific work, to the complexity of self-realization of a scientist in his new context. Unlike sociological critics or Russian radical positivists – from so-called revolutionary democrats – up to populists and the psychologists of literature following traditions of Alexander Potebnja, – Vilinsky follows the A. Veselovskyʼs line: i.e. the line of integration of comparativistics, historical poetics and a social background.

61-77

Authors: Alyona Boychuk

The article treats the status of the change of aesthetic general cultural paradigm in the period of socialist realism, which raises as completed phenomenon and is interpreted as a version of popular culture (Tatiana Sverbilova), or “artistic force field” (Leonid Geller, Antoine Bodin) with the kitsch basis of the “politicization of aesthetics” (Tamara Hundorova), on the basis of their respective ideological party resolutions of Soviet times. The confrontation with social realism with the modernism and avant-garde (Dmitry Zatonsky) is accentuated. Maria Litovska notices that in totally-ideological tendency of art when the child has acquired the status of State property, her consciousness through literature was formed in perspective of latent atheism. Literature was changed into “long-term propaganda element” (Andrei Fateev). As a result, the range of texts of children’s literature suffered from the ideological, thematic and genre compression, those “atheistic times” the “atheists union” generated a faith in the original “worshipping” of Joseph Stalin. Party strategy of socialist realism began its practice actively and rigidly, basing on literature for children, which suffered not only from the compression of the genre spectrum of texts, but also from the selection of the necessary to a child themes, motifs, images. This children’s literature lost not only its creative originality, but also a thinking recipient. It became a powerful tool of total ideologization of society, by its world outlook program, first of all, depriving the younger generation of faith in God. The poem by Eduard Bagritsky “Death of Pioneer” is analyzed as a typical example of such an ideologization. The poem was based on real events, the renunciation of God appears highest feat. In Soviet times, from the position of former ideological platform, the poem has received extremely appreciation. The heroization of the image of the dying Valentina in the times of socialist realism has contributed to strengthening in the consciousness of recipients her implicit atheistic faith. The suggestive resource of the text is reinforced by phonetic and syntactic repetitions: alliterations, anaphoras, lexical repetitions, variated duplicate address of the girl’s name, parallelisms, as well as a number of rhetorical questions and calls. Bravura pathos of trochee trimeter poem “Youth Guided Us”, which became the famous song, tragically contrasts with the suffering of girl’s mother. Despite the fact that the ideology of socialist realism aspired to “sterilize” the author’s consciousness of the religious dominants in the case of other children’s classics – Agniya Barto, Samuil Marshak, Nicholay Nossov, Korney Chukovsky, refusing to accept the principles of the method, especially total atheism, deviation from the Soviet standard of art for children, provided their lyrics (of course, along with high artistic value and diversification), by the ability to move from contemporaneity to the space of “great time”.

88-98

Authors: Iryna Satygo

The article is devoted to the study of the scientific views of Leopold Senghor (1906–2001), the Senegalese poet, thinker and statesman, the president of Senegal (1960–1980), a member of the French Academy (1983), the most influential writer of the West-African literary region, on the figurativeness and rhythmics of the African poetical tradition.The article emphasizes on therhythmic images, including “analogical images” and a special African rhythm – tetrameter as a specific feature of the West-African folk poetry. It is shown that the ternary African rhythms during the song performance of traditional verses create a “silent” basic rhythm, a missed sign of traditional African singing poem. It is also stressed that Senghor’s Négritude conception became an important culturological paradigm for the African poetry of the XX century. One of the basic principles of the Négritude was proclaimed the return to the African sources, and consequently, traditional African values, became source of inspiration of the African artists. It is confirmed that the rhythm acts the major part in the communication of the Africans and immanently exists in all African culture. Négritude’s existentials as rhythm and analogical image were reasoned by Senghor as the main features of the African culture.

117-130

Authors: Liudmila Skibitskaya

The article analyzes the genre model of the story the subject of artistic exploration in which advocates biography or facts biography famous writers. In the center of such works is the image of real people (writers) in the imaginary circumstances, which allows the author to reveal the mystery of the writer. An example of such forms are stories of “Friends” Y. Olesha, “Jingle Breguet” Y. Kazakova. Yuri Olesha recreated scene of the Lyceum period of Pushkin's life. Y. Kazakov tried to unravel the mystery of the fateful day in the life of Mikhail Lermontov. The nature of the works of these authors distinguish the variety genre layers: a novel, short story, lyrical and philosophical, artistic and biographical, literary – which are presented in a syncretic type of connection within a small narrative forms. Features of the study of biography in the framework of artistic-biographical story based on several factors: - the cause of these works is the interest of the writers to the personalities of Lermontov (Yuri Kazakov) and Pushkin (Yuri Olesha); - the connection of the facts of biography with fiction and conjecture; - in the center of the story – one fact from the biography of the writer, due to the volume of small form; - the nature of the character is revealed in situations that define the essence of his personality; - the narrative is dominated by “point of view” of one subject; - the structure of the finale of the story, inherent to semantic incompleteness and diversity.

145-155

Authors: Borys Shalaghinov

The object of the given article is the further development of the moral potential of Nietzsche’s antibourgeois discourse. The actuality is also related with the aforesaid. The research method is the Marxism. Scientific novelty: a comparison of “Little Herr Friedemann” by Th. Mann and “Richard III” by W. Shakespeare in terms of F. Schiller’s teaching of “grace” is made for the first time. The article is a continuation of the author’s works cycle about the modernist project of the early romantics and its historical destiny. The essence of the interpretation: the heroine of the story is devoured by the excitement, not of Friedemann’s beauty (he has a hump), but of the liveliness of his intelligence and the ideas refinement; however, in a moment of the decisive declaration the force of life, which source is beauty, prevails. The thoughts excitement (grace) turns out to be fragile and unstable before the vitality, and consequently before the power of beauty; the life protects itself from an excessive refined anxiousness as from the element of the decline. The article states that Th. Mann follows conceptually F. Nietzsche. Greeks in “philosopher’s of life” conception were ready for the tragic collision with the fate, which was opposed by the power, not by the fine mobility of their own spirit. Nietzsche’s attention is paid to the images of the inner integrity and psychological solidity. In Nietzsche’s and Mann’s time Renaissance was interpreted as a symbiosis of beauty and strength, often cruel and pernicious, but fertile and buoyant. Although both authors treated rarely the images of Shakespeare, but jointly the “philosophy of life” was based on the Renaissance integrity, heroics and tragedy of human existence. The article is accentuated on the quintessential of the Nietzsche’s antibourgeois discourse: the integrity and the solidity of the personality is a condition of the tragic; gracefulness and elegance, emotional excitement (“grace”) lead to death even before the person managed to enter a competition with an inexorable necessity. Such is a common verdict of the philosopher and writer in the age of “decadence” to the bourgeois society, not capable to a tragic attitude.

167-180

Authors: Halyna Kovalchuk

The proposed article highlights the Odessa period (1956–1961) of life and creativity of the famous Ukrainian and Russian researcher of drama and theater of the 20th century Natalia Borysivna Kuziakina, focuses on the drama of academic way of scholar, observes facts of her methodological evolution. Author notes that academician moved from Izmail to Odesa, like many of her colleagues, because of program of integration of universities, there she started working as assistant professor of Ukrainian literature at Odessa I. I. Mechnikov State University, which actively developed, having considerable intellectual forces. Research and teaching activities of N. B. Kuziakina developed beyond the period of Executed Renaissance in Ukrainian literature: taught such disciplines as history of Ukrainian literature of late 19th – early 21st century, history of modern Ukrainian drama, special course dedicated to creativity of M. Kulish etc. N. B. Kuziakina published the book “Essays on the Ukrainian Soviet drama. Part 1 (1917–1934)” (1958) which based on her dissertation. Moreover, she published the number of articles on literary-historical, theoretical, literary-critical, journalistic content, wrote works in the genre of theater reviews, actively worked over next monograph devoted to dramatist M. Kulish. It can be argued that in these years N. B. Kuziakina finally shaped as a mature researcher of Ukrainian literature and theater, defined methodologically, thematically, ideologically, heading for objectivity scientific vision of artistic fact in line with national philological school. Also author observed epistolary testimonies recorded in her memoirs about Odesa professional, personal, family ties of N. B. Kuziakina with O. V. Florovska, V. P. Saienko, I. B. Shaikevych, E. I. Kyrychenko etc., certifying her high humanity, spiritual wealth, deep professionalism, revealing facts of private biography. N. B. Kuziakina loved Odessa, visited it in the late 1980s – early 1990s, spoke in the libraries to readers and at the various academic forums, published in local periodicals. Memory of prominent researcher must be adequately immortalized by the residents of the Black Sea Palmyra.

191-197

Authors: Kostiantyn Tytianin

The monograph of Alexander Keba is the first attempt to provide the comparative analysis of Andrei Platonov’s works and typologically similar phenomena of world literature in the twentieth century. O. Keba considers the comparison of J. Joyce’s and F. Kafka’s writings is the most representative. Comparing Platonov and Joyce, Keba concludes that the poetics of both writers are based on their anthropology. Hence, there is the main features community of their art systems. But the ways of the character’s consciousness rendering are different in these writers: Joyce relies on the “consciousness stream”, Platonov reclines the abnormal, but etymologically precise, “semantic” language. Typological common in Platonov and Kafka is their problem significance perception of human existence meaning. Both writers are successful in creating of artistic worlds-myths. But because of proximity to the vernacular mythology in Platonov's writings there are the restoring harmony prerequisites and in Kafka's writings the tone of tragic alienation is dominant. O. Keba also tries to describe the broad context of Platonov's works and therefore takes into account: 1) purely philosophical (philosophical and aesthetic) context of russian writer’s works (we are talking about the parallelism of Platonov’s ideas and negotiators of the “life philosophy”, about the Platonov's attention to the ideas of Oswald Spengler about the “organic nature of life”, to the Henri Bergson’s intuitivism and F. Nіtsshe’s reflection of superhuman, about the comparison of Platonov's ideology with the philosophy of existentialism); 2) the context of genre searching in the literature of the twentieth century (the genre of utopia and anti-utopia in the structure of Platonov’s, Hermann Hesse’s and Karel Chapek’s) works, ambiguous usage of parable elements in Platonov's and William Golding’s works, as well as in the works of Ukrainian writer Mykola Khvyliovyi.