Pytannia literaturoznavstva

7-21

Authors: Halyna Pastushuk

Text analysis of Act II Scene III in the well-known tragedy “Macbeth” by W. Shakespeare manifests hidden allusions on the mystery play “Harrowing of Hell” and its carnivalesque tradition of stage foolery. By means of acoustic and visual reconstruction of theatrical acting fixed in the text the author attempts to reveal the receptivity potential of the scene which, at first glance, seems to be irrelevant to the tragedy main plot line. The comism of the fragment contrasting with the preceding murder scene provides for a communicative distance between the protagonist and the spectator, i.e. it interprets Macbeth’s state into the mystery play discourse – on the one hand, and into the discourse of “low” humour – on the other. Behind the “lowered” helplessness of the Porter before alcohol and drunken state one can read tragic helplessness of Macbeth and his wife before the infatuation for power. Abundant visuality caused by the loud sound of knocking and Porter’s comment on it creates temporal ambivalence of the scene and provides opportunities for its multiple interpretation on different levels, the deepest of them being that of the infernal topos of “harrowing of hell”. The Porter that could have been played by a prominent Elizabethan fool (for instance Robert Armin) focuses on himself the point of intersection of various interpretative possibilities by playing with his simultaneously available for the spectator identities – “Globe” comic actor, Macbeth’s servant, mystery Devil, stage rustic fool and Shakespeare himself under the mask of auctorial narrator. Acoustic and visual homogeneity of the “Porter’s scene” with other scenes of the tragedy speaks for the presence of “harrowing of hell” topos in the axiological dimension of the whole play. Acousting background at the beginning of the tragedy – thunder and lightning, conversation of witches, mentioning by other characters of owl screech and cricket hooting etc. – is in line with the Porter’s scene aura. It is proved in the article that the Porter’s scene, which makes only two per cent of the whole play text (!), reveals to the recipient its transcendence and becomes critical for the localization of Holinshed’s chronicle in the theatrical chronotopos of the 17th cent. London. It also serves as a stereoscopic deepener and assistant for a better reception of the play by W. Shakespeare’s contemporaries most of whom still remembered spectacular mystery plays in various towns all over England.

34-47

Authors: Petro Rychlo

“Maghrebian” novel “An Ermine in Czernopol” by G. von Rezzori is considered to be the first multicultural novel in the postwar German literature. Its multicultural nature is linked to the Bukovyna origin of the author, who was born in a region that is rich in different ethnic groups, languages and religions, where the author could collect his childhood experiences and later transform them into artistic images. The author lightly encrypts topographic concepts of Czernopol and Teskovyna, by which real historical topoi of Chernivtsi and Bukovyna shound be understood. In his novel the author describes real “maghrebian cabinet of figures” marked by unique originality. Here we see Germans and Jews, Romanians and Ukrainians, Russians and Poles, and representatives of the other nationalities, ethnic origin of which is undefined. In the images of the protagonist of the novel major Tilda, such original characters as Pashkano or prefect of Teskovyna Tarangolian, national identity of which is rather blurred, the Romanians Nastaze or Aleksyanu, the Germans professor Foyera and editor Adamovsky, the Jewish children Blanche Schlesinger and Sally Brilya, the Jewish entrepreneurs Ushera Brilya, Ephraim Perko and Wolf von Leybish Merores, Ukrainian prostitute Mititka Pyovarchuk, we see the colorful national gallery of types that, despite the author’s tendency to operate by the stale cliches appear to be eventually strong individuals. The report also touches the problem of Rezzori’s “anti-Semitism” and the satirical methods of depicting “maghrebian” reality.

69-88

Authors: Roman Dzyk

The creative work of Julia Kristeva the French author of the Bulgarian origin is investigated. She is perceived as an organic part of the French culture, but in France her status is not so unambiguous. Kristeva does not only accept her strangeness in the French language and culture, but also tries to comprehend it. The exile experiences of J. Brodsky, Cz. Milosz and Tz. Todorov have been analyzed as well. The methodology of investigation is based on the theoretical ideas of E. Said and J. Kristeva. Strangeness is examined on the ontological, epistemological and artistic levels. A novel “Murder in Byzantium” (“Meurtre à Byzance”, 2004) serves as an object of the investigation. This work deliberately uses the form of detective and even the police novel, skillfully combining it, like in “The Name of the Rose” by Umberto Eco, with the genre of the historical novel and playing with the narrative points of view. Special attention is focused on system of images, in particular on the images Stephanie Delacour and Sebastian Crest-Jones. In both cases the correspondence of their storylines with the author’s theoretical ideas is observed. The main features of immigrant status (alienation, loss of usual coordinate system, life in between two worlds, contrapuntal consciousness, the special role of memory and flashbacks) are singled out. It is proven that the text of the novel can be regarded as a kind of compensatory mechanism required directly by the author. The latter may be a key condition for an adequate perception of the whole novelistic structure.

106-116

Authors: Dmytro Drozdovskyi

In the paper, the philosophical features of the novel “The Ebony Tower” by John Fowles have been defined. The purpose of the research is to outline epistemological twists in the British postmodernism which reinforces the modernistic views and provides new paradigms of the post-postmodern aesthetics and arts. Besides, the place of the novel in the history of the contemporary English literature has been indicated. The methodological approach of the paper concentrates on the sociocultural analysis of the text; the interpretations correspond with the cultural context and the visualized ideas are correlated to the specifically conceptualized cultural models of art. The benefits of this study prove that the represented text proclaims ideas of the two oppositional conceptions of arts: avant-garde (reductionistic) and traditional (phenomenological). However, the findings of the analysis demonstrate that no one of these two theories can be absolutely “positive” or ‘negative’. The novel implies that the new cultural paradigm is in the process of formation, and its specific features demonstrate the interrelations between aesthetics and ethics, sciences and humanities, social and anti-social (sociopathic). The author of the paper considers the opposition between these two views on the nature of art: ontological (phenomenological) and avant-garde (reductionistic); their inherent characteristics have been explored taking into account the peculiarities of the post-postmodernism. Hence, the novel can be featured as a text which corresponds not only with modernism and postmodernism as cultural and epistemological binaries but also with the new paradigm of thinking which is neither modernistic nor postmodernistic.

127-143

Authors: Alena Boychuk

It’s worked up the nature of utopia genre by comparative analysis of Nicolai Nosov’s text “Dunno in the Sun city” and Tommaso Campanella “Sun City”. The advantage of this research is in elaboration what actually becomes an utopia for a young recipient, the property of consciousness, the attribute of text, border between childhood and adulthood or an ideological barrier. Furthermore, it was found that the difference of children’s and adult’s literature depend at first on the labeling of the recipient. In the plot of “Dunno in the Sun city” a rational and super national coexist without clear polarization (unlike the famous genre – fantasy). In spite of availability separate charming objects, the deep idealism, the constant state of daydreaming, in the Nosov’s novel – tale are absent neo myth, the events don’t develop in the past , the author don’t underline the personal heroism of protagonist, because Dunno and his friends are typical children that got into unusual conditions for them. The Sun City of Nosov is perceived like similar intellectual center by the inhabitant of Flowery. The fact which attract attention is in present and future time in Nicolai’s writing which are full of optimistic fervor and the past is on the contrary, it’s marked by the negative experience. The motif is the transitive transformation in this sample of children’s literature, although not relevant associations in the minds of young readers. In the result of experience the social type of remake is separated, in which not only reformats the content – formal factors, but also displaces the receptive orientation of text – trans textual. The analysis of Nicolai Nosov’s text , in the aspect of time – space, clarify the availability of ideal society, the idea of syncretism of science and art, didacticism, contamination of real and fictional, designing of protagonists as a “team” that have a novel – tale “Dunno in the Sun City” in all respects do the remake of classical utopia. It is assumed that utopianism is immanent feature of consciousness of the young reader.

157-172

Authors: Olena Haleta

In this article is analyzed a history and functions of an anthology in a modern Ukrainian literature from the last quarter of the 19th c. to the beginning of the 21st. An anthology is treated as a literary and anthropological project which is characterized by recasting of original materials and specific politics of its re-arangement. It proposes a new cultural value hierarchy, defines a literary field and the rules of its organization. As a form of literary self-representation an anthology participates in a process of forming a literary tradition and canon, its diversification up to the emergence of anti-canon; it intensifies a work of cultural memory, represents new literary genres and styles and also indicates an appearance of diaspora as a model of cultural citizenship. Numerous anthological projects also stress spacial, performative, subjective, gender, erotical, somatic, and oneirological aspects of creative writing; they rethink a very nature of literature as a creative experiment and as a social action in a context of mass culture and new media development. This allows us to consider the literary anthology as a way of a literary self-reflection and as a separate meta-genre in modern Ukrainian literature. The main genre-defining anthological qualities are such as selectivity, double methonimity, integrity and an ability to create new cultural values. The history of anthology as a specific meta-genre helps us to understand the general pecularities of modenr and postmodern literature, its structure and principles of development, its key problems and challanges and also its the most important achievements.

189-199

Authors: Svitlana Korshunova

This research examines the functioning of universal “freedom” in Russian novels from the mid. XIX century. The author starts with reviewing the concept FREEDOM in the poetry of A. S. Pushkin. But her central intention is to examine this issue in the novels of the prominent Russian writers I. A. Honcharov and I. S. Turgenev. Alongside freedom the author discusses its opposite meaning “dependence” and compares two very different heroes Bazarov and Oblomov. The main viewpoint is that freedom determines in heroes the ability to be themselves while achieving personal unity in its different modi. Thus the hero of the novel “Oblomov” is characterized by inner dependence. Oblomov’s way of life and values show that he is in search of his own “liberty” as an opportunity to live his life without any responsibilities for his family and country. Another type of the hero is shown in the image of Bazarov (the novel “Fathers and Sons” by I. S. Turgenev). This hero in his aspiration to be free rejects any kind of dependence earning the honor of a nihilist. Russian literature during the XIX century opens new horizons in understanding man by using the concept of freedom, primarily liberty.

210-222

Authors: Ganna Uliura

In the article analyzes the specifics of scientific knowledge legitimization in gender studies, actualized as the issue of the knowledge production point. Increased focus on gender studies in postmodern philology is linked to the general tendencies of science development, viz. with the search for theories able to provide alternative ways of knowledge. Gender studies in literature, as a theoretical project, in this sense are consonant to the search of the literary theory, as both see themselves in the review of humanitarian knowledge, at the core of which is the impossibility of a single critical notion of a human. It’s no coincidence that Joan Scott, reflecting on the analytic potential of gender approach, notes, that the discovery of gender coincided in time with a radical epistemological change, which marked in post-classic science the transition from scientific to literary paradigms. And in this field, gender studies, as well as the majority of modern critique theories, faces the requirement of researchers (such as a literature historian, for example) to realize their own research methods, which, however, contradicts the “basic” incapability to overcome their own subjectiveness. This lie of the land actualizes the problem of establishing gender studies in post-Soviet humanities in the context of scientific knowledge generation. In the article is analyzed Gender studies in the study of literature in such context appear as strategic inconsistently-sceptical theoretical project.

234-257

Authors: Eleonora Shestakova

The article raises the problem of sociality and justified in its relations with the verbal and cultural space. It is proved that the social has always been designed to identify the specific interaction of the space of literature and society, time, history, ideology, and everyday life, actualizing their relationship's communication, its creation and its readers, especially their cultural communication network. However, the current literature, for which although still and focus on the inherent social aspects of verbal and cultural space, in contrast to the classical literature turovedeniya oriented at other values of the role and nature of literature, The detection-ruzhivaet insufficient attention and sensitivity to the social, sold directly to the verbal-cultural space. Naturally, this all leads to an interest in social in qualitatively new conditions for the existence of literary theory, but at the same time, the relevance is determined and a sort of “abandonment” of the social in contemporary literary criticism. She, sociality, as it were, is a kind of stumbling block for modern literary criticism, tried to comprehend what had always been an integral and valuable part of the structural integrity under-May and take the words and cultural space, where, according to Berdyaev, “all the threads converge dyatsya central idea of the Logos”. But at the same time, social regarded primarily as a phenomenon of discursive practices, verbal and cultural and philosophical context, the socio-historical sentiment. Sociality breaks and overcomes specific verbal and cultural space, while introducing it in a broad context and entering into it as some additional, conditioned by time and age, bedding. That is one side. But on the other – all this leads to the sociological method in literary criticism, not so much when the actual fabric of the study, especially the verbal, cultural and creative processes, how many times and with the state of their “break” sociality. However, in a qualitatively new ideological and cultural conditions for the existence of modern literary criticism, sociality has not received proper Literary On reflection, rather consistently developed methods. It is this aspect and is relevant to the literature.

274-285

Authors: Oksana Galchuk

The purpose of this article is to determine the reception’s specifics of the Antique text and to observe its role in historiosophy and esthetics of Eugen Malaniuk. Using contact and comparative methods we analyzed his lyrics and elucidated that the author had put in the basis of his poetic historiosophy his comprehension of concepts “Hellas” and “Rome”. In Malaniuk’s interpretation these concepts became the metaphors of past and future of Ukraine (“Polittia”, “Variaz′ka vesna”, “Liuds′ke”, “Epiloh”, “Uryvok”, etc.). Its present he comprehend transforming the antique maxim “world – theatre” (“Teatr, Doba”, “Odyn vechir”, “V maіbutnie”, “Pobachennia”, etc.). This comprehension resulted into quotations in epigraphs and text (“Tertia vigilia”, “Сampus Martius”, “Ars poetica”, “Ave, Caesar…”, “Post scriptum”, etc.), reminiscence and allusions of antique plots and motives (“Martivs′ki idy”, “Osinnii Stiks”, “Muza”, “Bezkrovna Muza…”, “Perykl”, etc.), explicit (“Prysviatni strofy”, “Doba”, “Bezsonnia”, “Tak dovho buv dvolykyi i dvoiakyi…”, “Nostal′hiia”) and implicit (“Proloh”) embodiment of “text in text” structure and transformation of the lyrical hero into images of the prototext’s characters (Odysseus, Theseus, Aeneas). The research revealed that transplantation of the antique text by the poet caused the uprise of the “Prague” interpretation variant, distinctive features of which are synthesis of neoclassic and neoromantic perception of the Classic tradition, focus on the Baroque experience of its reception, reading through the historisophical prism. The study “Malaniuk and Antiqity” creates a perspective of separating and researching masculine, Rome’s rationality oriented, with Apollo’s principles domineering (Ol′zhych, Klen); and feminine, with Dionysus’ element prevalence in dialogue with emotional and sensual archaic of Ancient Greek (Olena Teliha) interpretation variants of Greco-Roman fiction heritage as components of neoclassical interpretation model of Ukrainian antiquity of late modernism era.

300-317

Authors: Olha Chervinska

Actual outline of creating the concept of literary insanity (in the aspect of poetics of dialogue, narrative, motif of duality, etc.) is overviewed. The article states that in the fiction by Nicolai Gogol a graduated sequence of various states and degrees of madness is fully represented in “The Collected Petersburg Tales”. Here, this paradigm is considered to be the principle of graduation in all levels of manner as a key suggestive genre construct of “Dead Souls”. The mental isomorphism of the paradigm meaning content, associated with the peculiarities of the religious, as well as the verbal, consciousness is emphasized in the article. The author stresses that the anthropological vector of Gogol's attention is directed towards the ordinary “despicable and stupid in the life”. The ironic example of the discursive metaphor of a pendulum of history (the philosophical background of the text) is the slip-in parable of Kif Mokievich and his son Mokii Kifovich. Both characters are at opposite sides of the proper. The world of human relations in “Dead Souls” is reflected in the most straightforward analogies with constant teeming world of different microscopic creatures. To give prominence to the human image Gogol refers to the colourful ontological metaphor, ultimately identifying and equating the person with ordinary fly, which in this text is a significant element of the whole hyper-realistic person-sphere. Conversion of large to small or small to large is the dimensioned game of the author’s strategy in the literal sense. In “Dead Souls” the denoted topic decisively grounds for the genre of the poem.

329-339

Authors: Olena Kytcan

The article deals with the study of intermedial analysis media of the interaction peculiarities of different art forms, namely: literal, musical, and plastic in the works of a famous Ukrainian poet Vasyl Holoborodko. This paper showed that intermedialization is not only not in the opposition to verse libre, but also is another facet of its freedom, as well as a free choice for the sake of attainment of the deepest esthetic impression. Intermedialization of the poetry of V. Holoborodko makes oneself evident not merely on a notional level, but also on a strucural one. The title is oftentimes a signal that orientates the reader on the musical beginning of a verse. To mark the genre names for his verse libres the author borrows a sufficient layer of terms from others kinds of art (e.g. a symphony, a song, a nocturne, a suite, a fugue etc.) which enables us to characterize a verse libre as a special kind of a contact zone. Special attention has been paid to the verse libres that contain the name of traditional, sometimes even standard from the point of view of lyric verse versification: “Ballada” (The Ballad), “Pisenka”(“The song”), “Romans” (“The Romance”) as a title or a sub-title. The key method that makes the effect of musicality in a non-rhymed work possible is a split-level repetition: anaphor, refrain, parallelism, and alliteration. It is demonstrated that the appeal to other art forms in the titles is available in the upper layer of intermedial parallels, whereas on the deepest layers musical realm is condensed in the area of lexical meanings, musical work depiction, usage of musical terminology, the names of composers and their works. Engagement into literatureof other kinds of art is caused by the questioning of the new opportunities for expression, as well as a creative experiment.

351-367

Authors: Natalia Nikoryak

The purpose of this research is to study intermediality as one of the dominant concepts of literary practice in recent years (N. Tishunina, L. Khaida, O. Profe, N. Mocherniuk, V. Prosalova etc.) by the example of Sergii Parajanov’s “Kyiv Frescoes” (“Kyivs’ky Fresky”) script text. The topicality of this theme emanates from the need to analyze screenplay intermedial codes, including intermedial nature of text architectonic and composition organization, personal sphere and chronotope intermediality, as well as screenplay ekphractic elements and constructive palimpsest. In the text of this screenplay, intermediality appears to be a genre-specific factor. Research methodology is based on complex tools of modern approaches to the separation and analysis of new literary forms for which the state of intermedial contextuality (set of structural and semantic principles, genre studies discourse, and receptive poetics practice). Use of intermediality markers is stipulated by the film author’s desire to return to the art’s original syncretism. In addition, the text intermedial dimension represents the screenwriter’s aesthetic modus, specifically, the Spanish context of the screenplay, as well as the artist’s own receptive and productive needs and the productivity of his impressions of other artists’ works. Intermedial discourse constitutes a specific hermeneutic resource that can not be ignored. Intermedial codes of S. Parajanov’s screenplay reflect the general practice of screenplay text creating. This is the usage of this component that extremely enriches the literary text, thus involving it in an active dialogue with other art forms. “Decoding” of the text intermedial dimension has prime importance for the author's conception disclosure and adequate understanding of the implications. In addition, the role intermedial markers are called for is to awaken creative, associative reader-viewer’s thinking, encourage him/her to adequate creative reflections.

381-391

Authors: Tamila Kyrylova

The article offers the analysis of the aesthetics of modernism in the prose of German female writers at the turn of GDR. Texts of H. Königsdorf, M. Maron and B. Burmeister have a high grade of the modernist aesthetics in order to overcome the crisis cultural-historical period at the turn of GDR and also as a mode to resist against doctrines of socrealizm in the conditions of the strict regulation of art and its ideologization of the state. The fact of active using of modernist aesthetics becomes an interesting unknown case in the modern history of German female literature. Purpose of the study is to search a strong intertextual connection between novels different chronological periods in order to find out important factors and changes of national German history by means of literary contextualization female experience of dictatorship, to make links with the most important historical-literary features in the beginning of 20th century, establish reasons for return of modernist aesthetics, to prove interrelationships between turning stages of German female literature in the 20th century. The complex analysis consists of the modern methods and ideas of German studies: Gender Studies and historical-cultural analysis (W. Emmerich, S. Schaffratch). The benefits of this study let discover dynamism of national events and literary process, its projection in the newest female literature of women after 1989.

406-411

Authors: Yevheniy Vasilyev

Review on the Monograph by Natalia Nikoryak “The authenticity of the screenplay as a modern literary text” (Chernivtsi, 2011).

7-17

Authors: Aliona Matiychak

The article is devoted to the study of Edward Lear’s art and literary works, in particular his nonsense poetry. The attention is drawn to E. Lear’s role in popularizing the limerick genre form in British and world poetry. The purpose of the article is to analyze humorous poems by Edward Lear in the aspect of genre study. The style of Lear’s versification (his short and silly poetic rhymes) is analyzed. The research of the style and genre specific of his nonsense verses (comic rhymes, puns, paronomasia, creativity in spelling, creating neologisms according to the principles of homophony, his weird creatures and absurd stories, etc.) is carried out. The influence of the poet’s personal features on his creativity is observed with reference to his drawings and illustrations. Psychological and biographical facts are considered in the research and allow understanding the poet’s world outlook.

30-42

Authors: Iryna Holodiuk

The article analyzes the dominant action modes of neo-romantic character and constructs its motivational model as contrasted to one of romantic character with the methodology of possible worlds theory. The purpose of the paper is to define the specific features of neo-romantic character motivational model through the approach of possible worlds theory (L. Dolezel, M.‑L. Ryan, R. Ronen, T. Pavel). The study analyzes dominant action modes of neo-romantic hero compared to romantic character modes in order to clarify the relation between the Ukrainian romanticism and neo-romanticism which is one of the most polemical problems nowadays. The study determines the correlation of physical or mental acts and evens in the neo-romantic and romantic fictional worlds. The paper analyzes the texts of Lesya Ukrainka, Olga Kobylanska and Panteleymon Kulish. As a result, the study defined neo-romantic hero to be of acratic irrational type with the high degree of mental activity. On the contrary, romantic character is defined to be of impulsive irrational type with the law or even zero degree of autoreflexive activity. The benefits of this study consist in the analysis of Ukrainian literature of early modern period according to the main principle of possible worlds theory. Research implications prove that neo-romantic character interprets his acts, constructs present and future possible worlds, and figures out his/her position toward textual actual reality. Character with such mental activity represents Ukrainian early modern literature.

53-63

Authors: Oleg Pagut

The purpose of the proposed article is to highlight the shaping of the archetypal stereotypes in terms of contemporary literary studies, their genesis according to the peculiarities of the psychological type of characters, and therefore produce “individual” stereotype. Appropriate ways to solve this problem is narrowing the chain of archetypal stereotypes at the level of Robert Musil’s paradigm creativity, which is referred to as "female". In particular, we looked at the character of Gerda from the novel by Robert Musil “The Man Without Properties”. The analysis is focused on the androgynous aspect and mythical purity by means of which the narrative situation around Gerda is outlined, and this figure becomes more versatile in perspective. The emphasis is on the “triple negative connotation” of the character: sensory underdeveloped in terms of senses, raised in a Jewish nationalist family, used as an object in family conflicts of her own parents. All this suggests that Gerda represents the archetypal stereotype of “femme fatale” in the novel with the corresponding variable semantic load. As a result, we identified the following dominants: excessive childishness in actions and deeds, the desire to overcome the “Oedipus complex”, Hermaphroditismus, primary desire as a sign of hysterical physicality, immaturity and weakness of mind, indecision and frustration in sexual terms, which she tries to compensate by using the potential spiritual and creative (read – perverted sexual) energy to promote the national-socialist ideas. Theoretical and methodological basis of the article are Ukrainian and European scientists working on the problems of gender studies and feminist criticism (I. Zherebkina, Yu. Kristyeva, Z. Hedok). Significance of our study is in virtually grounded thesis on the impact of the archetypal unconscious on personality formation, which opens new perspectives for further research of female (stereotypical?) figures in Musil's texts.

77-87

Authors: Nataliia Shaparieva

The purpose of this article is the research of the particularities and functions of portraiture in representing the psychological world of the heroes during the Second World War. So long as the creation of the hero image and representing of his inner world is the main mission of the writer, L.-F. Céline resorts to the description of appearance that reflects the psychological characteristics. In the Céline’s novel prevails the static element of portrait because natural and social features behold the paramount sense in creating the image system of the novel. By means of portraits the author transmits human suffering, draws the contrast between the outward form and the inner value of the heroes, underlines the social inequality. L.-F. Céline debunks as well the myth of the modern beauty that depreciates classic criteria. As a result the writer expresses his decadent attitude due to the moral and spiritual crisis of the society, because the heroes’ portraits mainly reveal aggression and groom. The artistic functions of the portrait are aimed at reflecting the world and men ugliness in the difficult socio-historical conditions of the Second World War times. The value of the article dedicated to L.-F. Céline consists in his considerable impact on the world literature of the XX century.

97-105

Authors: Alexandra Lytovskaya

The purpose of the article is analysis of correlation between specifics of composition in Aristophanes’ comedy and fundamental changes of Athenians’ world-view. In the end of V – beginning of IV century B.C. – period of progressive decline of Athens which caused rethinking of new way of interference between world and human being. Using comparative and historical approaches author argues that while tragedy remains restrained by genre canon formed in the epoch of Athens’ flowering, Aristophanes’ comedy with its freedom of contents and representation means is proves to be able to answer demands of new time. The analysis of structure of Aristophanes’ plays reveals tendencies of violation of standard pattern of Greek drama, freedom in arranging traditional dramatic elements as parabasis, agon, part of chorus etc. As a result dramatic action is developed as system of equivalently meaningful episodes. This principle of dramatic composition allows Aristophanes to show complicated interaction between remote aspects of polis’ life such as war, citizenship law, literature, philosophy and private life. Freedom in dramatic structuring includes violation of time and place unity, genre interaction, combining of laughter and seriousness, breaking of theatrical illusion which are signs of folk chronotope and open dramatic form. Research implication. Downfall of Athens and fundamental changes in Athenian’s world-view caused overrun of dramatic tradition. Principles of open form in Aristophanes’ comedies are considered as discovering of new artistic methods to rethink new situation. Consideration of Old Attic Comedy as first example of open form in Europan theatre determines originality of the article.

118-128

Authors: Melanie Foik

Classicism in general, and the one of the 20th century in particular, are often characterized as a timeless and universal style and as a return to cultural tradition. Therefore it is considered to be a circular tendency in literature. The neoclassicism of the 1920s and 30s is often linked to the tradition of classicism. Although an undoubtedly important method to localize this phenomenon, such a linkage however leaves a number of questions unanswered. By taking an additional synchronous perspective of analysis (without losing the diachronic one) it is possible, to classify neoclassical tendencies as a distinct product of a certain epoch and, afterwards, to outline them at the intercept point of the two time axes. Synchronic consideration, however, entails the problem, that neoclassicism is neither a trend of classic modernism, nor a hovering counterbalance to avant-garde. As an appropriate solution to this problem one might resort to a four-membered model of modernist movement, which supplements the trichotomy of classic modernism – avant-garde – postmodernism with an additional paradigm of late modernism. In spite of all contingencies, a comparative analysis of neighboring East-European literatures from Poland, Russia and Ukraine allows to find basic common ground, which categorizes neoclassicism both as a general European phenomenon and as a part of European late modernism.

142-153

Authors: Natalia Vysotska

The paper offers a view of literary theory development as a kind of pendulum movement between text-centered and world-centered models. The reasons behind current theory’s gravitation towards world-centered approaches are discussed, including scholars’ dissatisfaction with New Critics’ concentration on texts’ formal characteristics taking no heed of broader socio-cultural context. Critical edge of present-day theory also presupposes closer attention to the interface between the text and the world. Posthumanism as a prominent trend in contemporary philosophy and cultural studies is considered in terms of its continuity with regards to traditional humanism and of its potential efficiency as an instrument for analyzing and interpreting literary phenomena, in particular, those engendered by early 21st c. cultural and psychological atmosphere. It is argued that, far from postulating “the death of the subject”, posthumanism offers a different perspective on human beings in their ambivalent relationships with natural environment and technology. Based on a variety of ideas put forward by such prominent exponents of new directions in humanities as Katherine Hayles, Donna Haraway, Cary Wolfe and others, the paper shows how contemporary intellectuals seek to challenge and transgress the traditional limits of human subjectivity demonstrating the porosity of borders separating humans from their “companion species” and man-made cyborgs.

165-179

Authors: Justyna Urban

The main purpose of this article is presentation and critical analysis of Zenon Fajfer’s notion “liberatura “liberture”” (developed also by Katarzyna Bazarnik). The conception of liberature as “total literature in which the text and the space of a book constitute an inseparable whole” is known since1999 inPolish Literary studies and now is a wide discussed subject abroad. Being a new idea, after all, it concerns also very old (existing from the beginnigs of letters and literature, for example: visual poems of Simmias of Rhodes (of 325 BC) and Theocritus (of III BC)) fenomena. The conception of liberature was invented for the sake of the Oka-leczenie [‘Eyes-ore’], the first book created by Fajfer and Bazarnik (since 1988 until 2009) and described by them as very sample of 'liberature'. Authors just don't "made" another example of art book or book-art, but literary work of art including sphere of iterests and meaning with “phisical elements”, “bookish elements” or “editorial formality”. Flank of transfer from meanings of used words here subsequent and very important was (away from conventions) semantically carrying manner of book edition as the way performing. Term „liberature” Fajfer originates not only from Latin: “līběr, līběră, līběrǔm” = ‘liberty’, but also from “līběr, lībri” = ‘book’ and “lībră, lībrae” = ‘Libra’ (‘scales’). Freedom in “liberature” means liberation from rules and publishing conventions. It has to indicate capability to involving publishing form to construction of integrity of transfer to significant integrity of text with its unindifferent physical carrier “book”. Then it indicates necessity of selection of – weighing word “weight” also in respect visual, quantitative or respect letter composition, behavior of proportions between text, image, the way of pagination etc. The Fajfer’s concept, continuously obtained, inclines for assigning question, among others, about mutual rates of balks literature but liberature, liberature but visual arts, about place liberature in literature, about still actual definition of book.

194-206

Authors: Nataliia Liubarets

The article considers the problem of interaction between word and music in Aldous Huxley’s novel “Point Counter Point”. Music representation in the work is analysed with the use of S. P. Scher’s methodology. His three types of prose musicalization, i.e. word music, verbal music, assimilation of the text to the musical form are traced in the novel at the main levels of text organization. The transposing of the musical method of counterpoint into the narrative structure of the novel is considered in details. Thus, at the thematic level, the theme of death is observed through representing its variations in the storylines of six characters. At the level of narration, the study showed that the technique of constructing micro-monologue by combining two levels of narration causes the effect of simultaneous sounding or non-linear reading. The use of this narrative technique by Huxley’s compatriot and contemporary Virginia Woolf allows regarding it as the experimental one in the scope of modern writing. Perceptions of music by the characters in the novel as well as the author’s ironic attempt to interpret music with the words are regarded as the style creating features of Huxley’s prose. In the conclusion, the deliberate author’s desire for prose musicalization is determined as a modernistic experiment which outlines the prospects of the further study of his works from the viewpoint of intermediality.

219-229

Authors: Natalia Mocherniuk

The article is dedicated to the investigation of space in literature. Space and time are basic criteria in the classification of arts. The author pays attention to approaches of structuralism, semiotics, phenomenology, sociology in the investigation of art space. Intermedial analysis of space poetics can combine with other methods of philological science. The principles of intermedial methodology in analysis of spatial characteristic of the literary work are defined. According to the typology, founded on the interpretation of relations in the semiotic triangle, there are three types of intermedial connections. Firstly, there is a model of the material construction of another kind of art, for example visual forms in poetry. Secondly, the projection of visual art creative rules into poetry. To my mind, it is the most difficult type of intermedial connection. Thirdly, incorporation of images, painting, drawing, sculpture and architecture plots into literature, for example genre of ekphrasis. Therefore space and time inversions are characteristic for each type of intermedial connections. The material of the investigation is the poetry of Ukrainian artists of the period between the two world wars. The poetry by S. Hordyns’kyi, V. Havryliuk, V. Khmeliuk demonstrates various modes of a space presentation in the intermedial aspect.

243-252

Authors: Marina Povar

In this article on the example of the vivid system of Ivan Vyrgan outlined main factors of forming of intermedial space. An analysis showed that fragmentations of different types of arts come forward in creation of poet the formants of intermedial. The features of reflection of appearances undertake attention in works of artist through the prism of the use of koloristiki, auditory, tangent, olfactory receptors of perception of environment. The problem of the vivid system is violated in the context of artistic creation of Ivan Vyrgan. Offenses and problems in poetries and stories of artist are considered. Among the dominants of poet’s creation is form of native land, village, garden, rivers of Suli, womanlike offenses. Underline interest to intermedial facilities (painting, music, cinematographic art), the methods of expression of experiencing, ideas, are marked through co-operation of arts, vivid system, national constituents, language means. It provides feeling of fullness, sculpturalness of appearances, in creative work of Ivan Vyrgan. Thus, these receptions give a recipient possibility to perceive work not only as a phototypograph but also as an artistic picture, piece of music or sculpture. As a result we reached to the conclusions, that this research enables to consider the vivid system of poet in the context of intermedial space which represents informative metatext. By metaphors, personifications, overstatements, use of archaisms, Ivan Vyrgan creates the own artistic world which is comprehended combination of all planes of perception.

265-278

Authors: Arina Yankova

The article highlights two opposing opinions on peculiarities of modern methods of stage interpretation of epics. The first one (T. A. Shakh-Azizova, I. L. Vyshnevska, V. Ie. Khaliziev): today theatre and literature interact without stage-players, translation of prose into action language makes the text poorer without taking into consideration narrative part of prose, without presenting author’s voice and style. The second one (B. O. Kostelianets, M. I. Turovska, A. P. Svobodin, G. O. Tovstonogov): modern art possesses sufficient means of stage embodiment of narrative discourse, characters’ inner monologues – generally – means of prose dramatization. The assertions by contemporary cult directors: P. Brook, T. Suzuki, S. Zhenovach, K. Ginkas are another argument in favor of creative character of stage interpretation. Based on these assertions it is stated that stage interpretation is such a process where literary image stops to be final embodiment of recipient’s imagination, but produces the next alive immediate experience. The article also analyzes two attempts of dramatization of the novel “The Little Demon” by F.Sologub – the author’s one (play “The Little Demon” by F. Sologub) and modern one (play “Beast” by V. Semenovskyi). Drama interpretations, separated by almost a century distance are compared. The main problem of interpretation is absence of fantastic and realistic topics combination in the stage action. Instead, in his play V. Semenovskyi combines text with the reader’s personal experience which touches upon the problems of the Russian backwoods of the early 20th century actualizing them from the distant offspring’s standpoint. Thus, the problem of prose dramatization is considered in connotation with the problem of individualized reception act. Changes of paradigm “stage interpretation phenomenon” are analyzed in the context of combination of dramatization as a receptive script with the postmodernism practice on the basis of play “Beast” by V. Semenovskyi (by the novel “The Little Demon” by F. Sologub).

291-301

Authors: Maria Belyavskaya-Slyusaryeva

The research proposes an attempt of analysis of tendencies of modern novel genre, which is represented in a new conception of the literature and the process of reading. A novel appears before research workers and literary critics as a plastic category, deprived of permanent idea and thematic, artistic and formal signs, that persists its continuous evolutional synthesizing process. Swift technical progress fundamentally changes the realization of literary discourse, creating for it new forms and facilities. On the material of works of the Belgian authoress A. Nothomb the research suggests to analyse oscillation in the field of genres within the framework of a modern novel. The purpose of the analysis consists in contrastive creating of a certain image of the modern novel, emphasizing of its structural, idea and thematic, and also contents characteristics within the framework of the writers' artistic search in ХХ–ХХI cs. As a methodological base of the analysis of the text formal and structural methods have been used, to study the literary, cultural and historical contexts cultural and historical, comparative and sociological methods have also been applied, as well as the hermeneutical approach in the analysis of the work as a complete unit. The achievement of the proposed research is the processing of the literary fund of the turn of XX–XXI centuries. with the purpose to enrich the theoretical basis of the studied social and cultural period.

311-321

Authors: Olexandr Wesselenyi

The literary process of the Ukrainian immigration is a special segment of Ukrainian culture and shows an “alternative way” in the development of literature. The purpose of this article is to study the specifications of sensational novels in the Ukrainian immigrant literature. The literary genre “sensational novel” appeared in Great Britain in the second half of the XIX century. These novels typologically descend from another popular Victorian genre – gothic fiction. Later they transformed into detectives and thrillers. The Ukrainian writers and critics used this term as a marker of any action novel with elements of adventures or crime investigations, or even science-fiction. Thus the term “sensational novel” was used to define such works as “The Petrijs and the Dovbushchuks” by I. Franko, “Doctor Caccioni” by H. Zhurba, “The mystery of the Red embassy” by Y. Bohenskyi etc. Most of the so-called “sensational novels” in the Ukrainian postwar immigrant literature were represented by the spy novels of B. Polianych and Z. Donchuk. The “Dictionary of literary studies” (2007), edited by R. Hromiak, presents sensational novel as a subgenre of the adventurous novel, noting that “it contains an event or message, which produces a strong impression”. As we can see, this criterion is not enough to use “sensational novel” as a fully functional term in relation to the spy and adventurous novels, written by Ukrainian immigrant authors. But it still can be a marker of a special modification of texts which main function was to make literature more popular among the immigrants.

338-347

Authors: Yulia Pavlenko

The article introduces the analysis of the French novel’s genre parameters, one of the core element of which is the specificity of the narrative form of a protagonist-narrator’s self-writing. The given research is based on J.-M. Schaeffer’s ideas (Qu'est-ce qu'un genre littéraire?). It focuses on the communicative frame of writing’s space about one(him/her)self. The study shows that the text’s convention with “Self-writing” genre is of great importance. Analytical description of the structural characteristics as methodological approach to the novels, in which poetic landscape is Self-writing by fictional person, identifies genre indexes, characteristics and markers of writing about oneself. As a result, the study makes it possible to assert the existence of transhistorical constants in such type of novels from the period of Enlightenment to the literary modernism times. Connection between genre indexes and characteristics serves one more object of the analysis. The study introduces the category of self-writing “indirect” index, which changes the structure of the genre expectations and transforms genre into paragenre. A special attention in the field of interpretation is paid to the correlation of fiction and reality in self-writing. The study comes to the definition of self-writing genre’s intentionality. A protagonist, who performs the function of homo scribens, enters into a dialogue with Self-Other, with an eye to disclosure innner secrets of his world and to achieve the self-harmonization, resulting in, accordingly, a change of the trajectory of his future through understanding of the past.

361-373

Authors: Anastasiya Bachynska

In the article the author researches social and communicative image of writer – the part of his literary identity. In the focus of attention are origin and features of functioning of Nizhny Novgorod's legend about Korolenko. The author analyzes perception of writer by both general population and literati, for example M. Gorky and S. Yeleonsky. At that time V. Korolenko published anticorruption article in local newspapers, as volunteer helped to fight hunger (1893) and he traveled across region of Nizhny Novgorod. In his literary work he reflected these activities. As well it was a reason, why peasants and the urban poor began to see a “mysterious prince” at him. We found several reasons of prince’s image appearance: 1) surname Korolenko sounds like “korolevich” (prince in Russian), 2) it correlates with actual philosophy of populism and 3) it reflects archetypal conception of just ruler, defending the truth and travelling incognito through his kingdom. As well V. Korolenko himself used the story of the prince errant. For example in the story “The blind musician” the main character Peter explored the world together with blind beggars and as a result he had got psychological transformation. F. Batyushkov the critic compared this scene with the Bible story of “Proud king Haggai”. So the author of this article showed and commented features of writer’s public perception within the framework of literary history and archetypical story. As a result we have an objective view of the perception of Korolenko by his contemporaries and the whole writer’s social role in 1880 – 1890's.

381-392

Authors: Galyna Levchenko

Over more than a century of literary reception of creative figure of Lesya Ukrainka the poetess was called incommensurable definitions-apposition like “the patient puny girl” and in the same time “lonely man in the whole Ukraine”, “the daughter of Prometheus”, “poetess – prophetess”, “Ukrainian Sibilla”, “the woman – heresiarch”, others. A list of the metaphorical meanings certifies the mythologizing process of her literary life and creative way where most clearly the hagiographic and heroic tendencies revealed itself. In view of the above trends, our article is devoted to historiographic examination of the literary works, in which formation, transformation, and postmodern deconstruction “agiographic” and “heroic” myths of literary life and creative way of Lesya Ukrainka observe. We find out historical and cultural reasons and biographical reasons of the research mythmaking, which consist in biographical circumstances on the one hand (confrontation of creative and social activity to the physical illness, which are caused by the disease of loneliness, an introversion, the idealism, the psychological habit of an internal dialogues), on the other hand – in the conscious creative guidance of the poetess to mythmaking (sublime imagery, pathos, intensifying feelings in the text and overcoming the skepticism). So, the range of the mythmaking literary toposis systematically unites, the repeatability underlines in different generations of researchers supplementing the current deconstruction copyright and research myths for modern Ukrainian literature and caused the mithmaking trends in the art of Lesya Ukrainka.

404-411

Authors: Olha Chervinska

Review on the Monograph by Oleg Radchenko “The Immanent Poetics of Emil Staiger: Philological and Philosophical Discourses” (Drohobych, 2012).