Pytannia literaturoznavstva

23-33

Authors: Olha Bandrovska

The article analyzes the critical work “James Joyce. The mystery of his artistic face”(1934) by the West Ukrainian writer and literary critic of 1920–30-ies Daria Vikonska, whose ideas about an outstanding Anglo-Irish writer correspond to contemporary critical discourse. It is stated that in analyzing J. Joyce’s “Ulysses” the writer applies psychoanalytic, receptive and intermedial approaches and traces such actual problems of contemporary humanities as nation, state, religious values and cultural traditions. Dialogic nature of Literary Studies has been chosen as a theoretical focus of analysis. It is shown that the system of dialogical interconnections is not only an artistic object of Literary Studies, but also the essential characteristics of a critical word about literature. Karl Popper’s thesis that the development of scientific knowledge should not be regarded as “a progressive, cumulative” process, because it requires constant revision and restructuring of theories is taken into account. The knowledge of world literary process is emerging in the interchange and interplay of critical approaches. In this “dialogical” perspective, the development of Ukrainian Literary Studies, including Ukrainian reception of Western modernism and works by James Joyce, is examined. It is shown that dialogism and Western European context of D. Vikonska’s statements about J. Joyce make it possible to consider her work as a fundamental one in national Literary Studies.

46-68

Authors: Hala Esmat Elkady

The given article treats the functioning of esoteric motives in francophone literature in general and in the creative work of French writer Ph. Ragueneau in particular. The light is thrown upon the genesis of concept “esoterism” in a modern scientific paradigm as well as the reasons and criteria of modulations of intellectual and literary reception of the esoteric, since the XIX century up to nowadays. The interrelations of the esoteric believes with discoveries of the epoch of scientific and technical progress are considered, the social aspect of distinction of the concepts “science” and “para-science” is designated. The phenomenon of presence splash of esoteric ideas in fiction and the ontological importance of the esoteric in the epoch of complex political and social conflicts is noted. On a material of the novel by Ph. Ragueneau “The Other Side of Life” is shown the artistic realization of esoteric ideas by the modern writer for interpretation of the psychological personal drama connected with death theme (it is the loss of the beloved person, suffering, mourning, etc.). A dialogue with the lost person by means of telepathy is written out in Ragueneau’s work using the art-style method of prosopopoeia, having features of metaleptic writing with the inherent variations of focalization and “reality effect” by Barthes. On the example of history of mourning of the husband on his died wife the author of the novel throws light upon the conflict of the Cartesian scientific thinking with the intervention of irrational during a human life, a final indispensability for the person to comprehend an idea of existence of the beyond, as well as close communication of any spiritual meditation with esoterics. Therefore the communicative diagram of the work becomes a transcommunicative diagram as, considering a discovery of psychoanalysis, the article proves, that the communication of the person with a material world always occurs through the area of unconscious, and consequently, paranormal. Discursive strategies of supernatural and invisible are studied in the work by Ragueneau also through the paratext, uniting the features of autobiographical and esoteric. And the individual esoteric experience stated be Ragueneau in the form of diarist writing, acts as a key of comprehension of the important psychological problems of a human life. It is concluded, that esoteric ideas in the literature often act as art method of escape from the reality during an epoch of wars and growth of violence.

81-87

Authors: Rostyslav Semkiv

The article underlines the possibility of Ukrainian satirical literature history. In general, literature uses different comic forms, such as burlesque, satire, humor, or irony. But we can speak about a particularly satirical work of literature, if an author elaborates mocking as the main purpose of a text. Besides, any comic form that develops in a work of literature makes clear the connection of writing with cultural and national identities, and this way the history of satire would be simultaneously the history of a community values in a certain epoch. The author of the article also stresses the particular role of burlesque, as a comic form that differs from satire, but exists in unison to it. Burlesque provokes a carnival festive laughter, which is pointed in all directions, while satire is precisely directed onto its particular object. According to M. Bakhtin theory of folk festive culture, an author of a burlesque piece does not remain outside of his laughter, while a satirist mocks, but remains serious himself. On the other hand, if burlesque unfolds as a stylistic lowering, it could lead to satire and often becomes a tool for it. Ukrainian literature encloses visible tradition of burlesque in parallel to the satirical one. Finally, it is concluded that Ukrainian history of burlesque and satirical literature is possible as integrated comic forms inside the model of national literature.

98-109

Authors: Ivo Pospíšil

The article treats one of the first samples of description of a tragical way of life of the emigrant environment in Prague post-revolutionary years: “Tundra. A Novel from Refugee Life” (1925). The author, Eugene Liatsky (1868–1942), was a writer of Belarus origin, a philologist, the expert of the eastern Slavic languages, one of key figures of Russian Prague emigration. He was known yet in pre-revolutionary Russia by his varied scientific, educational and publishing activity: as the publisher of magazine “Fires”, the researcher of I. Goncharov’s work, as well as of epistolary heritage of separate raznochinetz writers. E. Liatsky participated in Prague Russian emigration’s life‚ wrote poetry and prose‚ arranged literary anthologies‚ was the author and the co-author of Russian textbooks on wide base. The novel by its structure and poetics is connected with classical tradition of Russian prose of the second half of the 19th century; however there are also poetics groundworks of Russian modernism (heterogeneity of the text‚ complicatedness of a plot‚ introduction of publicism in a novelistic substance‚ aggressive enrichment of the dictionary). On art speech level the tradition is enriched functionally with new lexical layers. “Tundra” is original tragic novel about the end of old Russia.

123-136

Authors: Zhanna Bortnik

The author of the article summarizes the main trends of world literary works on history of monodrama's research and outlines potential field for further scientific research. J. Bortnik noted that the term “monodrama” being used by the authors, literary critics and art historians to refer the presence of one character in the book, one actor on the stage to demonstrate the monologic of character's expression. Meaning of the term is often giving by mixing literary and theatre terminology in dictionaries, theoretical articles. In this article J. Bortnik analyzes the works of German, British, American, Ukrainian, Russian and others literary and notes that their scientific research reflect the interdisciplinary approach of the study of the cultural and historical monodrama’s phenomenon; related monodrama as theatrical genre, part dramatization theory, form production, psychotherapeutic method, a form of subjectivity, special view on reality and art. The author of the article notes that these scientific research are local, which emphasis on the individual author’s, national, etc., phenomenon, and do not go beyond it to important theoretical generalizations. According to the view of the author of this article, monodrama went to the next level of development realized as a dramatic genre in the end of XX century, and was realized as a cultural and historical phenomenon in XXI century. Monodrama as unique artistic phenomena manifested through the implementation of compensatory functions: monodrama became the indicator of genuine human desire to preserve the authentic I and expand its capabilities by manifestation of its absolute right on “ego”-expression.

151-163

Authors: Svitlana Macenka

The report noted the important scientific contribution of the World Literature Department of Ivan Franko National University of Lviv in medieval literature studies. It is emphasized that although the relevant literary school was not created, but there a serious foundation for literary phenomena of Western European Middle Ages research was laid, which was further developed. It is also indicated that primarily the publication of the textbooks The History of the Middle Ages and the Renaissance by M. S. Shapovalova, H. L. Rubanova and V. A. Motornyi, and The History of World literature. Western European Middle Ages (3rd – 14th cc.) by H. L. Rubanova contributed to this development. These textbooks are not only the source of information and guidance in the learning process, but also they convincingly demonstrated their scientific potential. The conception of the textbooks was analyzed, basing on the idea of comparative studies of Western medieval literature and the theory of historical anthropology, which developed under the influence of the Russian school recognized by western science. In relation with this complex and important area of interest for the department a number of current issues related to the latest medieval studies were outlined, which can be considered as vectors of investigation, namely the definition of historical knowledge, the understanding of otherness and modernity of medieval literature, highlighting the changing image of the Middle Ages within the great time, the interpretation of medieval culture world depiction. The analysis involved a review of known medievalist and literary critic I. Kachurovsky, who draws special attention to the need for providing the course in the history of Western medieval literature with relevant Ukrainian language materials, referring to the translation of the oldest monuments of Germanic poetry by Ivan Franko. The need for particular careful attention to the accumulated material for further development of this important field of literary research is ascertained.

175-184

Authors: Tetyana Yarovenko

Native Malanyuk study structurally is composed of diasporic and continental options that have close connections. Historiographical study of this literary direction formation allowed to define a leading role and function of research strategies developed by scientists of independent Ukraine in the process of formation. Integration of Malanyuk’s personality and creativity in cultural and literary sphere of Ukraine started in the 1990s by publications of Slovak Ukrainian M. Nevrlogo and I. Dzyuba, who outlined the major strategic issues of this branch of literature. T. Salyga (Lviv) and L. Kutsenko (Kirovograd) actively participated in the same period in works popularizing of E. Malanyuk, their analytical thinking. There was a proper regional forming of Malanyuk study centers. Thus, T. Salyga from Lviv provided publication of Malanyuk’s lyrics in 1992 describing in the preface solutions to some problems of Malanyuk study. The problem of creativity of E. Malanyuk is also significant for Galicia scientists such as M. Ilnytsky, M. Krupach, L. Senyk, P. Ivanyshyn, O. Bagan and others. Writer’s heritage was considered by them in connection with the ideological and artistic phenomenon of visnykivstva, which required the study of aesthetic dimensions of national centric pathos and patriotism of Malanyuk’s lyrics, his ideosophia. Significant role in the native Malanyuk study played Kirovograd. L. Kutsenko, using cultural and geographical principle established fundamental monographic study of the artist creativity “Dominus Malanyuk: background and personality” where he actually reconstructed life and career of the writer. In addition, the scientist introduced into scientific turnover previously unprinted works of the artist (Russian poetry, “Black poetry”, journalism, notebooks, etc.). The peculiar ones were the studies of other scientists from Kirovograd region who complemented and expanded the range of problems of Malanyuk study (S. Barabash, G. Klochek, V. Marko, O. Golnyk). In 2005 there appears the largest in Ukraine Malanyuk’s publication of works of different genres “Return” (compiled by T. Salyga). The structure of the book contains a number of scientific works of L. Kutsenko showing successful integration of regional studies and scientific practices in national literary context. We can assume that this symbolic act of research centers symbiosis finally underlined the formation dynamics of Malanyuk study in Ukraine overcoming properly regional boundaries and becoming national dimension.

196-208

Authors: Natalia Isaieva

The purpose of this article is to study some aspects of Gender Studies in Modern Chinese Literary criticism, which were not the subject of study in Ukraine. It will give an opportunity to the orientalists (as well as anyone who is interested in the problems of gender) to expand the understanding of the possibilities of the existing interpretive theories of feminist criticism. The author of the study applies the method of structural description. Particular attention is paid to Chinese methods of the “alternative reading” of classical texts. The article presents three strategies of conceptualization of female characters in Chinese literature mainstream, represented by Meng Yue, Li Ling, Liu Huiying, Wu Yuming, Chen Shunxin: 1) determination of the symbolic female types in the works of writers-men to rebuke false notions about the nature of women; 2) Criticism of the plot models of ancient and modern literature, which demonstrates the masculine nature of image system of the novels; 3) a combination of the abovementioned strategies. The study results demonstrated the dual nature of gender studies in the Chinese literary criticism. On the one hand, the universality of interpretative methods was demonstrated by Western feminist critique (e.g. the method of “a woman’s re-reading” by E. Shovalter, S. Gilbert and S. Gubar). On the other hand, the Chinese researchers have shown constant reinterpretation in the borrowed methodological approaches. It formed new research strategies: the criticism of women's images in the literary mainstream has led to the study of man's psychology of creativity and analysis of archetypal values of feminine discourse eliminated the need for the gender differentiation of the literary canon. Actually such departures from the basic theories define national models of scientific knowledge.

220-233

Authors: Svitlana Natiazhko

The article is devoted to the technique of psychoanalytic literary interpretation in Ukrainian literary criticism. The article deals with the importance and relevance of psychoanalytic narrative’s research. The specificity of the adaptation of psychoanalysis to the Ukrainian cultural space is defined. The basic milestones in the formation and development of psychoanalytic research in Ukrainian literary criticism from the early XX to XXI centuries are given and the main stages of the psychoanalytic school in Ukraine are also outlined. The expediency of studying psychoanalysis as a method of research and interpretation of contemporary fiction literature is proved. The detailed review of Ukrainian researchers’ critical works on the application of psychoanalysis in the study of the writers’ personality and creative works is realized to justify its use to contemporary literature. A lot of attention is paid to works that are appearing in Ukrainian literary and theoretical discourse in recent years (works of S. Pavlychko, N. Zborovska, M. Ilnytskyi, T. Hundorova, M. Moklytsia, I. Zherebkina, A. Pecharskyi, A. Bidiuk and others). They allow to extend the range of psychoanalytic studies involved in literary criticism. The main task of literature of recent decades is clearly outlined. An analysis of the effectiveness of psychoanalytic methodology is trying to be made. According to this aim it is proposed to pay attention to the works of contemporary literature that are written using the psychoanalytic implication (works of N. Zborovska, O. Zabuzhko, E. Kononenko). The discursive method is used in research.

23-39

Authors: Alla Sazhyna

We are talking about a kind of “embodiment” of the image of a Ukrainian classic in modern media text. We are considering examples of contemporary popular media culture, transforming the image of Taras Shevchenko. Advertising is one of the genres of modern mass culture that actively reformats literature, including and Shevchenko’s canon. For the most part, Shevchenko’s image is embodied in the so-called social advertising. Its purpose and objective is to proclaim and strengthen moral, ethical, aesthetic values of the Ukrainian people through the image of Kobzar. It is symptomatic that the next input of Taras Shevchenko’s image in the socio-political context takes place at the time of the Orange Revolution and during Euromaidan. This update is based primarily on harmony of Kobzar’s value orientations with those of modern Ukrainian society: fellowship, freedom, patriotism – these are the key programs upon which the dialogue of generations is build. The image of the classic is embodied in various forms of popular media culture, actualizing a kind of dialogue with the classic via language of the recipient. The embodiment of Taras Shevchenko’s image in the new art forms actively takes place in urban literary topos. A new form of modern pop art, which is called for embodying the image of the classic, is the so-called digital painting. A whole block of modern media texts is being created under the laws of the postmodern game with program irony, parody and pastiche. Another kind of transfer of classical paradigm through the media language is the creation of literary works based on original literary works (fanfic). Members of Taras Shevchenko’s fandom diversely reassess Kobzar’s image as a personality. The examples considered here motivate the modern receptive “Shevchenko’s portrait”. Numerous examples of popular literature through the game, intertextual and intermedial techniques, parody and others involved in the creation of a new myth. This myth can be called „Our Shevchenko”, it becomes a sign and evidence of continuous dialogue between classics and the present.

62-71

Authors: Halyna Bokshan

The article analyzes the semantics of the archetype of „the noble savage” embodied in the image of Kaspar Hauser from the fairy-tale „The Escape of the Animals, or the New Bestiary” by Halyna Pahutiak. It looks at such features of this archetype as moral innocence, inborn kindness, harmonious relationships with nature, intentions to restore the lost order of the Universe. The article details the semantics of damaging influences of the civilization which prevent a person from realizing his or her life mission, expressed in a literary interpretation of „Kaspar Hauser syndrome”. It studies the specific character of creating the image of the same name in the novel by the German writer J. Wassermann, which is a sample of a literary biography. The paper considers the allusive connections of Kaspar Hauser image with the myth of the Golden Age, associated with the nostalgia for the lost Paradise; the mythopoetic image of the Unicorn; the semiotic system of the Old Testament. It deals with the peculiar character of realizing the motifs of loneliness, alienation, human sins, lost universal order, search for harmony. The article highlights the particular qualities of Halyna Pahutiak’s mythological thinking, which is realized through the interpretation of the world mythology images, symbols and sacred texts by actualizing the senses subordinate to the author’s intention.

98-108

Authors: Mykola Lehkyy

The varieties of technique of “stream of consciousness” in Ivan Franko’s prose works, especially direct internal monologue, mediate internal monologue and omniscient description are reviewed in the article. It is found out, that Ukrainian writer (as row of European authors) used this technique earlier, than M. Prust, J. Joyce and V. Wolfe, who are considered to be the inventors of technique of “stream of consciousness”. The backgrounds and conditions of the appearance of this form of showing artistic material in Franko’s creation are revealed. The appearance of this modern form of account with Franko’s naturalistic aesthetic is connected, in particular with the study of the agony of consciousness, alcoholic intoxication, affects etc. Ukrainian writer used the technique of “stream of consciousness” in such his works as “Na roboti” (“At work”), “Iz zapysok neduzhoho” (“From diary of the sick person”), “Odi profanum vulgus”, “Perechresni stezhky” (“Cross pathes”), “Vivchar” (“A shepherd”) and others. The master of word shows varieties of “stream of consciousness” with different aim, often – as a way for clearer delineation of character’s psychology. Technique of “stream of consciousness” in Franko’s works is one of factors in the modernization of Ukrainian literature at the end of XIX – beginning of XX century.

121-132

Authors: Svitlana Prytoliuk

Specificity of autobiographical material modification in the novel “Pojaz” by Karl Emil Franzos is analysed in the article. Plot elements and the peculiarities of the image structure of the work are studied, which correlate with the author’s life story. The fictional world of the novel is considered as a space for implementation of conscious and unconscious intentions of the writer and is a representation of the evolution his worldview.Coincidences in the character’s story and author’s life are expressed not so much in terms of events, but in the ideological aspect. Peculiarities of autobiographical identity are manifested in the principle of the central protagonist’s character formation, crystallized in the concept of the main character, which is a reflection of the author's psycho. The genre of the educational novel gave K. E. Franzos the possibility to comprehend his own life from certain distance, identify factors that changed the vectors of his life and influenced the process of national identification. Relations between the central protagonist and the close surrounding illustrate the complexity of the dialectic interaction of the individual and the social as viewed through personal experience. German and Ukrainian cultures, Christianity and Judaism created the extremes between which the writer’s mind balanced and, at the same time, evoked doubts and sense of “otherness”. Incompatibility with the surrounding, experienced by Franzos himself is reflected and emphasized in the conflict between the protagonist and his surrounding. The subconscious desire to meet the challenges of fate is implemented in unrestrained aspiration of the protagonist to overcome external forces’ resistance in tireless fight for his beliefs. Disappointment and loss of illusions are the results of the confrontation between “I” and “World” experienced by the author.

144-155

Authors: Natalіia Naumenko

The article represents the overview of the 20th century Ukrainian and Russian sonnets (original works by Mykola Zerov, Valerian Borodayevs’kyi, Igor-Severyanin and some contemporary poets) that interpret artistically the fact of a writer’s biography. There was shown that, upon modeling the sequence of the events of a writ’s life and creativity in a triad ‘thesis-antithesis-synthesis,’ and involving the sensual (theme, idea, problem) and formal (composition, language, tropes, genre and style conceits) into its biographic paradigm, the sonnet turns to be a great pattern of intellectual poetry. Particularly, the sonnets with evident biographic element were popular among the Neoclassicist period (Sonnetarium by M. Zerov in Ukrainian, and the works by V. Borodayevs’ky in Russian); then, in the 1970s and 1980s, they became popular once again. Dmytro Pavlychko has been particularly productive (first of all, the cycle Hranoslov dedicated to Maksym Ryl’s’ky), yet the biography became the prominent motif in sonnets by A. Katsnelson and A. Moysiyenko. Thanks to formal stability and well-organized composition of the sonnet, a poet may realize one’s aspiration to perfection and esthetic stylishness. That is why this lyrical genre is able to express the dramatic gift of both the poet-author and the poet-addressee, who are staying in the constant strengthened field of dialogical essence of life.

170-186

Authors: Iryna Satygo

The article considers the main biographical moments of Leopold Sédar Senghor (1906 – 2001), Senegalese poet, thinker and statesman, the president of Senegal (1960 – 1980), the most influential writer of the West-African literary region, the renewer of poetic form verset. The heritage of the poet is traced within a postcolonial literary practice; therefore, the writer was formed on the border of two cultures – colonial Christian and ethnic Senegalese, which first of all has defined world-view themes and hybrid rhythmic character of his texts. Our study analyses the poems from the collections marked by the main themes of his life: “Twilight Songs” (1945), “Black Victims” (1948), “Ethiopiques” (1956), “Letters of Raining Season” (1972), “Major Elegies” (1979). The formation of Senegalese written literature occurred on the base of the French language, which became a unifying factor for the multilingual Senegalese culture. It is also stressed that Senghor’s Négritude conception became a culturological paradigm for the whole generation of African writers of the XX century, having generated thereby one more feature of the Senegalese literature. The basic principle of the Négritude proclaimed by Senghor was the return to African sources, and consequently, traditional African values became source of inspiration of the African artists. Thus, Senegal, due to Senghor, became a cultural centre of the postcolonial West Africa.

200-215

Authors: Ivan Davydenko

The present paper concentrates on analyzing the peculiarities of Ovid’s personal myth. It must be admitted that this problem is relatively fresh in literary criticism and needs a thorough studying. The main purpose of our research is to suggest a new approach to the reception of poet’s biographical data. It is shown that Ovid’s literary works such as “The Loves”, “The Art of Love” and “Sorrows” are reflective formations, which included the self-mythologization components. Thus the poetic narrative has been considered as a verbal instrument of personal myth encoding. Accordingly, as a methodological background, the author uses the myth theory, biographical and psychoanalytical methods that are allowed to ascertain the phenomenon of Ovid’s self-identification. The benefit of this study lies in applying the conceptual statements of a myth criticism to the famous Roman’s life story. Special attention is given to the psychological and philosophical perspectives of this theory. As a result, the two mythological themes in Ovid’s autobiography are presented. In addition, it is retraced a function of the collective unconscious in the personal myth assembling. The final conclusion is that Ovid’s biographical myth transformed into an open structure which constantly enriches by the author’s interpretations.

227-236

Authors: Olha Kravchuk

The article deals with the influence of cultural, literary and historical context of Bukovyna on the identity formation of a German-speaking Jewish poet Rose Ausländer, who spent much of her life in exile in the United States and Germany, wrote that her true home was the word itself. Her poem “Mutterland” (“Мotherland”) distinguishes between national identity and individual identity which is informed by language: “My fatherland is dead / they have buried it / in fire. / I live / in my motherland / word”. Happy childhood and youth and also war and ghetto in the home town have made a decisive influence on her identity and oeuvre. Among constant lyric motives of Rose Ausländer’s works during the period of her oeuvre, first of all after the painful experience of the Holocaust, started to appear those connected with irretrievable loss of the home land. Her longing after home land made her emblaze and idealize the prewar city. Analyzed have been in the given survey the following poems: “Niemand” (“Nobody”), “Mutterland” (“Мotherland”), “Dorf Sonntag” (“Village Sunday”) та “Bukowina II” (“Bukovyna II”), which are many-sided retrospective metaphor. In these poems, that recalls Ausländer's idyllic childhood and the multiple cultures and languages coexisting in this geographic area, poet captured the landscape and culture of Czernowitz and the Bukovina.

251-265

Authors: Luiza Oliander

This article is about a the world picture and a man in it, which appears in the recipient imagination under the influence of O. Honchar’s diary. The question of writer’s life and creativity is considered. Diariush is interpreted as a kind of autobiographical genre. It is said that the daily fixing manifestations of life determines author dual role / narrator: he confesses himself and shows what is happening around him and with others. Special relationship between addressee (narrator) – the recipient (beneficiary): on the one hand, the receiver (beneficiere) – it is the sender itself, and the second – the future recipient, are examined. The specific structure of the text is characterized. The forms and ways of expressing paradigmatic relations own / other are defined. It is confirmed that human concept in O. Honchar is formed by not only direct but indirect way. It is given the list of details such as self-consciousness of mankind, man ... realized his mission, was the spiritual became …force of life...The techniques of literary skills to create portraits that make up the gallery of real characters of the epoch (writers, scientists, politicians, peasants, soldiers, and others) are revealed. It is emphasized that Honchar’s notes about Holodomor (famine) and other forbidden topics first, pay attention to the different views of their vision; second, these notes in the subtext hidden forced silence which shows typological situation of many artists. It is proved that in O. Honchar’s diaries writer biography is both a biography of a generation that preceded the sixties and biography of Ukrainian creative intelligentsia.

278-285

Authors: Petro Rychlo

A monograph by Anna Arkadiivna Stepanova „The Faustian Culture Poetics. “The Decline of the West” by Oswald Spengler and the Literary Process of 1920–1930” (Dnipropetrovsk, 2013) is under review.

17-28

Authors: Mychailo Kalinichenko

The article actualizes the necessity to specify methodological, historical and literary priorities, which may ensure the production of a biography of the creative work of Herman Melville, the author of the widely famous novel Moby-Dick. The urgency of the search for a principally new scholarly paradigm is conditioned by the crisis state of numerous North American biographies of the artist, which are primarily aimed at the exploration of documental materials. As the result of this scholarly devotion to obsolete positivistic, empirical models of thought, the existing variations of Melville's biography (including the authoritative two-volume biographical work of professor H. Parker) leave unanswered the issues of creative character: the connections of the writer with the social and cultural reality of the United States of the first half of the nineteenth century remain unreciprocated; the problem of Melville's artistic evolution also awaits proper solutions. The author of the article realizes a textual comprehension of the writer's creativity and personal life. Biographical circumstances of the process of his artistic maturation are reviewed in terms of their connections with the discursive practices of Melville's age.

41-51

Authors: Yulia Pavlenko

The article views the place of the fictional subject’s self-writing at workshops concerning autobiographical questions. The study reveals the repression of a particle “grafos” in the formula “auto-bio-graphy” and leads to the idea of the compensatory function of the self-writing practice analysis in that very situation. The change of the perspective on the research of self-writing appeals to the problematic of the method. The fictional subject’s self-writing represents a field of multiple crossings of different methodologies that examine ego-documents; therefore in this field the role of figures and metaphors is actualized. It is quite logical to describe the self-writing practice within the coordinates of the critical synthesis as the place of illustration and transmission of the values, as the dimension of self-reflectiveness, multi-generic reflectiveness, introspection, representation of author/reader relations, display of intertextuality (both declared by the author and unforeseen), play in autobiography, tension between fiction and reference. The fictional subject’s self-writing is not identical to the autobiographical writing of a real subject, though a lot of semantic fields and registers come across. The character writing the story of his life becomes that another who makes it possible to multiply the experience of the inner harmony research, to see the power of the writing work from one side approaching thus to its ontology. The key for understanding the figure of this another is deeply hidden in the interpretation of the fictional space metaphoric.

62-70

Authors: Sergey Tuzkov

The main motives of H. Lovecraft’s story “The Call of Сthulhu” are marked out in the article. They give the possibility to examine the writer’s creative activity in the context of the gothic tradition: doom of human civilization, overcoming the limits between modern and ancient worlds, between reality and dreams, perception of human life as mysticism and horror, aspiration to make the reader feel the reality of the fantastic plot. It is noted that these motives not only form the subject-composition structure of the story “The Call of Сthulhu” but at the same time unite H. Lovecraft’s works into the joint cycle. The advantage of this research is that H. Lovecraft’s prose is considered to be the link between E. Poe's novelistics and modern literature of “horror” genre. The thought that humanity is only one of the great variety of highly-advanced civilizations inhabited the Earth at different times becomes the main motive of H. Lovecraft’s works. The idea of projection of the consciousness of the ancient die off civilization representatives into the future is connected with this motive. In H. Lovecraft’s story the idea of the consciousness shift from one body into another is viewed in the context of the eternal subject of the fight of good and evil. In its turn the “dream in dream” motive creates the feeling of the current developments illusiveness with the characters of the story as well as with readers. In the result of the story “The Call of Сthulhu” analysis the conclusion that the atmosphere of fear, supernatural horror, mystery, appealing to infernal forces allows (in half-mystical or half-mythical way) to judge H. Lovecraft’s works as peculiar variations about the gothic themes is made. It is possible to claim with certainty that H. Lovecraft’s creative activity predetermined in many ways the development of the modern neo-gothic prose.

86-96

Authors: Yekaterina Shabal

The article is devoted to the analysis of the veiled form of implementation of author’s conciseness in the political novel “Notes of a Ukrainian Madman” by L. Kostenko. It is clarified that the author’s personal vision of occurrences of the beginning of the XXI century is given through the notes and actions of the main character. The personage put down political and social reports which he got to know from various mass media that is why artistic reality is depicted in form of notes. By giving the writer’s functions to the personage the author focuses her attention on contradictions between a complicated political situation in the country and a globalized reality in general, while statement of facts and faithful events in the piece of literature gave a possibility to express the essence of nationwide problems and interests. The novel gives details of factual and social basis. This paper provides the overview of a modern novel in terms of political genre variety. There is no term “a political novel” in Ukrainian Literary Studies encyclopedias and reference books nowadays. But literary scholars (V. Klymchuk, I. Motornjuk and others) prove that a political novel as a genre variety was finally formed in the XX century. “Notes of a Ukrainian Madman” by L. Kostenko is the author’s emotional response to the social realm, an attempt realize realia of today from the artistic point of view, it is a literary reflection of social and political life of the country.

107-115

Authors: Anna Kulik

In the twenty-first century biographical prose fiction has been at the top of its development. It is proved by the large number of biographical studies which have appeared in this area over the last decade. Writers have focused on innovation and experiment. Modern literary theorists consider documentalism to be a creative direction, genre and style that reflects modern trends. The popularity of biographical, essay and memoir genres confirms the need for a deep theoretical understanding of the problems of biographical literature and organizing of genre tumors. There is an urgent necessity in psychologization of scientific approaches to the study and interpretation of the problems of the artist and his work in the Ukrainian study of literature of the nineteenth and twentieth century’s. The literature confirms the psychology that becomes the dominant technique for the works of the genre biographical. This is evidenced by the diversity of psychological tools that are used by writers in order to modeling the nature of biographical character. Creating the image of an artist, the biographical writer focuses on psychology and psychoanalysis as a theory of the unconsciousness, as while examining historical life facts of a historical person, he transfers emotional state of the character, his thoughts, experiences, reveals the inner life of the character, builds its internal model of the world with the help of the artistic means.

126-136

Authors: Yuliia Levchuk

The article aims to explore the biographical facts as the factors of influence on the work of Lesia Ukrainka. In particular, children experience as a source of psychological complexes (relationship with mother) is regarded as one of the preconditions for the formation of dramatic thinking. Subsequently way to overcome these complexes has reached its logical conclusion by writing “The Obsessed”, thus forming a “perfect” cognitive genre model, the center of which is a drama. That is the way to forming the most organic form of genre has become central in the article. In particular, using theory of research verse, biographical and psychoanalytic methods, the author analyzed the cycles “The Journey to the Sea” (1888), “The Crimean Memories” (1890–1891) and “The Crimean Reviews” (1897–1898), and also “The Obsessed” (1901). The main attention in the research is concentrated in the analyses of work “The Winter Night in a the Foreign Country”, in which the author by the … person (Muse) mediation and the lyrical I is decide the existence problem. As a result the scientific work is ascertain, that lyrical person (what has named herself Lesia Ukrainka) can’t describe her feelings in this mode. In this way thinking a dramatist, what confirm a fact of the first place of dramatization as the mood predominance and as the special feature of thinking. Consequently, the period of Lesia Ukrainka’s creation to writing “The Obsessed” is the process subconscious searching and forming the dramatic genre, which in difference modes stay predominant during the next twelve years of literary work.

153-164

Authors: Kateryna Shakhova

The aim of the paper is to investigate the autobiographism as genre dominant of notes in “Teacher’s Notes” by Ulyana Kravchenko. The actuality of the article is an attempt to discover the genre aspect of “Teacher’s Notes” that is briefly discussed in the context of the other works of writer. So it needs more thorough analysis. The article deals with the autobiographical elements in the structure of the plot and their influence on the formation of the narrator image. The prototype of protagonist is a writer itself, the proto-plot is years of her life and work as a teacher in the town of Bibrka and village of Stoky. The author fills notes with her own emotions and feelings. That is why the static components dominate in notes, for example: descriptions, lyrical digressions, reflections etc. The self-characteristic in the text plays an important role as a result of certain events or actions, also reveals the narrator internal state. The writer sometimes resorts to philosophical reflections that accumulate her experience. The descriptions of the interior, appearance of the heroine, leitmotiv images of books and flowers are the indirectly ways of conveying the narrator image. Consequently the paper emphasizes on the genre uniqueness of “Teacher’s Notes”, for instance: narrative in the form of personal records; first-person narration, providing true psychological portrait of the heroine; autobiographical genre dominant, coupled with network of artistic means that help to show the narrator inner world; the genre marker “notes” in the name of the second part indicates the genre affiliation of the Ulyana Kravchenko’s work.

178-192

Authors: Oleksandr Volkovynskyi

The allegoric images in many of H. Skovoroda’s works gravitate towards symbolization, which prevents their unambiguous and literal interpretation. A significant role in the possible allegoresis of the fable “The Snake and the Frog” is played by the manifestation of symbols and mythologemes of the Ophites, which function at multiple structural levels: at the motif level – as elements and twists of the plot, at the eidological level – as literary allegoric images. That is why, in order to provide an in-depth interpretation, the search for hidden meanings of symbols and allegories should be added to a thorough explanation of H. Skovorada’s fable “The Snake and the Frog”. The fable “The Snake and the Frog” is an incarnation of the character –archetype dialectics. The Snake-character is a specific incarnation of the general permeating invariant capable of generating variable modifications. The Snake is an archetype possessing a fixed image-producing and symbolic nucleus, which becomes the basis for character modifications. The main (archetypal) function of the Snake is to teach, to lead to the hidden wisdom. The Snake allegorically embodies the ideas of circling, rotation and cyclic returns. The emphasized allegoric exclusivity of the character amplifies the motifs of mystic calling and purpose, of which only the chosen ones can become aware. The analogies and associative likenings indicate H. Skovoroda’s stance on the positive role of the Snake in man’s destiny. The name of the main Ophitic symbol (the Ouroborus) is manifested in the fable “The Snake and the Frog” through an anagram, when letters and sounds scattered in the text may form a word-theme. The anagram reading makes it possible to look beyond the external verbal decorations and discover the hidden meaning. Thus, the allegoresis of this work leads to arguing that H. Skovoroda largely adopted the symbolic emblems and the mysterial cult of the Ophites. The symbol of the World Serpent (the Ouroboros) is formed and functions in H. Skovoroda’s philosophy and aesthetics as ambivalent. The combination of the Gnostic Ophite and Christian traditions enabled H. Skovoroda to emphasize the idea of duality of the main imagistic and symbolic chain of the concepts “eternity”, “circular”, “cosmogonic”.

205-214

Authors: Tetiana Dynnichencko

The author puts task to interpret works by Gide “Strait is the gate” and “The Pastoral Symphony” as antinomian unity reflecting dialogical religious views of the writer. The author uses the following methods: biographical, comparative, socio-cultural and method of textual analysis. The writer was a hereditary Protestant and in his work a very large place occupied by revision of the traditional religious concepts of morality. A. Gide thought that basic to the doctrine of christianity – the humanity of Christ and he opposed it to the dogmas of the Church, embodied in the comments of the Apostle Paul (he treated them as to social stratification). Radical religious ideas A. Gide caused by such factors: energetic revolt against Puritan upbringing; categorical rejection of the dogmas of the Church and their socio-cultural priorities of the modernism. The original in the article is a comparative analysis of the works said in the aspects of the problematic, the construction of the plot, of characterization. The study reveals their antinomy in all three aspects: on the level of problems (diametric opposite of the main conflict resolution), the plot (the opposite direction of development), the construction of images of the main characters (images-antipodes). Thus, the author comes to the conclusion that the product of the Andre Gide’s “Strait is the gate” and “The Pastoral Symphony” is antinomian unity. Moreover, it is, as such, they reflect the inherent dialogic thinking of the writer, show some contradictions in his world and allow us to determine the evolution vector religious views of the author.

224-234

Authors: Oksana Schur

The article is dedicated to the phenomena of the artist’s narrative identity as a process. The purpose of the research is to analyze the points and ways of the writer’s representation and construction of his or her identity and autobiography. We use the Paul Riceur’s conception of identity and based on his terms of personal identity, and narrative identity, temporal dimension of the identity construction. The artist makes his identity story for all the life, it is changing and developing. For example, autobiographies, letters, memoirs and autobiographival fiction of Ukrainian writer Natalena Koroleva are very representative to illustrate these theoretical points. Koroleva’s biography is almost based on the information she said about her life, and there almost no documents to check this information. So, she accented on definite aspects of the identity: art, religion, ethnic, culture, gender. Koroleva defined herself as Ukrainian writer with Spanish roots who consciously became a part of Ukrainian culture but was a multicultural person. She also wrote about independent modern women as an example of free people. Consequently, for artist who writes an autobiography showing the life and ideological position and autorepresentation are more important than telling the documental things: dates, facts etc. Fiction forms are used for such identity and biographical constructions and stories, so, autobiography is near the fiction genre.

247-255

Authors: Viktoria Grivina

Article adopts Jacques Lacan’s concept of the “mirror stage” to study the mechanisms of the way the Author’s identity evolves in W. Burroughs’s Naked Lunch and Ch. Palahniuk’s Fight Club. Evolution of the Author is set against general process of personal growth. The study is primarily concerned with features of the Author’s evolution within transgressive fiction, as Chuck Palahniuk and William Burroughs are the key figures of this genre. Transgression presupposes addressing social taboos by explicating them, thus creating strong reactions within the readership. We argue and find evidence that Burroughs and Palahniuk in the process of facing their perfect images of the Author digress from what Lacan would consider normal development. When they are given a chance to produce a unified body of text, the writers chose unconscious strive for fragmentation instead. Fragmented images invade Naked Lunch and Fight Club. However the mirror stage in the case of Palahniuk and in the case of Burroughs differ. While Burroughs in the myth of the Interzone ends up rejecting the notion of unique Author as such, Palahniuk accepts the fact that he managed to form a new niche for transgressive fiction and stays true to this niche, continuing similar aesthetics in the works that follow.

266-277

Authors: Oksana Galchuk

The article analyses the main interpretation tendencies of the antique biographies in Ukrainian lyrics of 1920–1930s. The role of artistic connotations of someone else’s life in a force field of mature modernism has been studied, the typological characteristics of thede connotations have been discovered, those common for the symbolistic (Pavlo Tychyna) and neoclassic interpretation models of the antique text in partiqular (Eugen Malaniuk and “Kyiv” neoclassics). The dominant techniques and methods of integration of the antique biographies into the text have been revealed. They are citations, allusions, reminiscences, transformation of manes into images-symbols, adding to and transformation of traditional biography plots and so on. It was uncovered that historically real and literary-mythical antique characters of heroical andaesthetical types are the most often interpreted ones, with existential types to the lesser degree. The connection of principles of artistic interpretation of antique biographies with idea-aesthetical principles of creativity and worldview of a given author or tendency is emphasized. Thus, appealing to the life facts of antique figures, Eugen Malaniuk creates his own historiosophical concept. In poetry by neoclassics the biography fragments figures of the antique culture are replicated, thus the type “culturetrigger” prevails. The disappointed tragical “hero” prevail in symbolists’ works. Moreover, in Tychyna’s works “biography” of the myth figure transformation as well as rethinking of the antique concept of “heroic”. In general antique biographies play appeal, expressive, abstract and poetic functions that are inherent to intertext.

286-294

Authors: Oksana Levytska

Hardy’s personality as a writer and a man invariably accompanies John Fowles’ texts, he repeatedly clearly and sometimes with hints and allusions appeals to the creativity of this outstanding writer of the Victorian era, uses as an epigraph quotes from his texts, reveals little known facts of his biography, conducts the biographical analysis of his works, etc. John Fowles’ permanent appeal to Thomas Hardy’s personality the author himself explains by close proximity and affinity of writer's work. On the material of essays by John Fowles (“Hardy and the Hag”, “Thomas Hardy’s England”) and the novel “The French Lieutenant’s Woman” is analyzed Fowles’ appeal to the biographical method of analysis of literary works. The writer’s opinions regarding methodologies of literature of the second half of the twentieth century with their formal search and the benefits of the appeal to biographism are found out. The features of biographical study of Thomas Hardy’s personality are analized in Fowles’ works, focus is made on the explaination of the characteristics of the English mentality, the use of the background in connection with the real historical time, the illustration of the writer’s complexes and so on. Special attention is paid to Hardy’s family mysteries as the illustrations of the dual nature of the Victorian epoch, and the key to the interpretation of the mental processes of creativity and the analysis of the novel “Beloved”. The identity of Thomas Hardy in Fowles’ works is the illustration of Englishness, an attempt to explain the peculiarities of the English mentality, creativity and attitude to their own publicity and vice versa – an expression of secrecy, isolation, and separation. The minutiae of Thomas Hardy’s biography, the details of his personal life John Fowles uses as a narration of customs and peculiarities of the Victorian era in his novel “The French Lieutenant’s Woman”. The usage of biohraphism is the way of connecting conditional and specific, real and fictional, Hardy's biography in Fowles’ novel is also the documentary text, the evidence of the era and the artistic reinterpretation of mysteries of writer’s personality.

309-318

Authors: Roman Tkachenko

This article is devoted to the artistic reception and modeling of V. Sukhomlynsky’s personality. Her image of the outstanding teacher is being analyzed in connection with the aesthetic ideas of socialist realism epoch. A researcher compares the I. Tsyupa’s story with B. Tartakovsky’s “Story about teacher Sukhomlynsky”. The war is a key moment of the Sukhomlynsky’s biography in the I. Tsyupa’s story, as well as in soviet history mythology on the whole. War is the concentrated expressing of those facts in the circle of which it was written into by artistic logic: cold, poverties, snow, ice, death, envy, spiritual vacuum, alienation. War is image of tests which it was fated to test to the hero. Faith in a man and progress defined the great vitality sense of creation of protagonist. In spite of aspirations of author to create a sanguineous and contradictory artistic world, a story has the signs of aesthetics of kitch. I. Tsyupa’s story “Creator of Kindness” is enough successful popularization of the Sukhomlynsky’s ideas and not always convincing artistic attempt to limit a personage by the scopes of epoch, ideology, standard conduct.

22-33

Authors: Tetiana Basniak

A number of typological coincidences in the texts of the Polish-American writer Cz. Miłosz, a Nobel prize winner and German classic G. Von Rezzori are considered. The work of these authors is a result of the crisis of the twentieth century, tragic decline of the traditional culture that was associated with the status of a writer in exile. Biographical background appears very organic for their texts , and in this case it almost coincides: the parents of both future artists “temporarily” left their land when the the situation in the empires was not stable – the Austria-Hungarian (in the case of Rezzori ) and Russian ( in the case of Miłosz). Both writers lived in exile. In their opinion, topos of childhood tragically detached from the future life events, generated separate thematic and anthropological link in their creative work . In this sense “The Issa Valley” (“Dolina Issy” 1955) by Cz. Miłosz and “The Snows Of Yesteryear” (“Blumen im Schnee” 1989) by Rezzori are the most exemplary. The works of a number of other representatives of the European literature of the twentieth century (e.g., “Others shores” by V. Nabokov ). The problem discussed is still relevant. Tendence to autobiographism as genre sign of their texts, and, in addition, the source of many images – primarily children and adolescent characters is evident. The most obvious typological parallels emerge in several dimensions: the perspective of ideological clichés (negation Nietzschean ideas of nihilism by each writer), specific system of images (including images of nannies Cassandra and Antonina), relection the typical paradigm , which presents a complete image of “the world of childhood”, besides – in relation to the issue of “language as poetic phenomenon” (Miłosz’s definition), that mirrors the multinational palette the lost homeland.

48-68

Authors: Natalia Vinnikova

A parody as a genre is characterized by only its inherent laws of construction and creation, the purpose of this article is to investigate the most popular parody implements and techniques that are used by Ukrainian authors very often. The object and purpose of parody, artistic tastes and writer’s skill determine parodist selection of specific tools and techniques. The parody text analysis is used in this article, the descriptive method is used in unfamiliar texts and the brightest parody examples are introduced in the scientific revolution. Also the functional approach is used the problem of understanding the text. The accent is on the fact that the parody applies the work facilities, which is parodied. Parodist mimics the style of prototext, altering it so that it is recognizable, but ridiculed. As a rule the most characteristic elements of the style are taken – a favorite method, propensity to a particular functional style, desirable usage of lexical items, syntactic structures etc. To achieve the goal parodist can use a lower object style of parody, to introduce new material into the text of the original works. The benefits of this study lies in the fact that for the first time the most popular methods and Ukrainian parodist are described. Consequently the most popular implements and techniques of Ukrainian authors are hyperbola, grotesque, metaphor, absurdity, alogizm, quotations, phonetic (alliteration, assonance, voice parallelism), syntactic (repetition, refrain, gradation), morphological facilities and receptions etc.

89-105

Authors: Galyna Dranenko

The article has been dedicated to investigating the processes and mechanisms of multiplication of person identities and personalities of an author, a narrator and a literary character on the basis of the work of a modern French writer Emmanuel Carrère “Limonov”. The article investigates the problem of dialectical transformations which the author of fiction uses through the creation of a literary character on the basis of a famous personality; and the issue of demythologization of a character created by the media and the character itself. The attention is paid to the intersection and inversion of identities of an author, a narrator and a protagonist resulting in the creation of new identities. The issue of how these newly created identities reflect certain social and cultural phenomena has been clarified.

117-126

Authors: Borys Shalaghinov

Using the concept “mimesis” every historical period added something new to it, reinterpreted it until it paradoxically departed from its original semantic variant associated with the names of Plato and Aristotle. It is stated that the European aesthetics of the Modern period was enriched rather by “modernized” than authentic understanding of this concept. The so-called Roman classicism becomes the first stage of the receptive understanding of Plato and Aristotle’s concept. Then the this classicism is followed by the classicism of the XVII century and the classicism of the XVIII century, then goes Romanticism of XVIII–XIX centuries, and finally its new history is made in the XIX and XX centuries. Provided in the article guide marks show that “mimesis”, “imitation”, search for stable terminological basis for our intellectual, aesthetic and practical work is a contradictory and ambiguous process that requires consideration of many factors. The development of the concept “mimesis” in pre-Kantian, modern and postmodern periods as well as historical changes in the meaning of the very concept “nature” as environment (reality) and “human nature” is traced. Kant’s “transcendental idealism” became the basis of the new philosophy of nature. It became a basis for the romantic authors who actually only extended and specified the ideas that developed by Kant in the field of epistemology, and by Goethe in the realm of aesthetics. Transformation of the romantic idea about the inner human nature that changed the content of the concept “mimesis” is linked in the article with the name of S. Freud and his followers.

144-156

Authors: Sofiya Varetska

An attempt to show the modification of classic novel about an artist (Künstlerroman) through a prism of postmodernism instantiated by German novels of the second half of the twentieth century “The Tin Drum”, “Brother of Sleep”, “Perfume: The Story of a Murderer” was accomplished. Crisis of artistic apperception in the twentieth century is demonstrated. Different conceptions of the creative process of main characters are compared. The main attention was focused on the clash between man and artist, life and art, daily routine and spirituality. In the postmodern age the cynical worldview model is predominating. At the same time tales, where magic and reality, sentimentality and brutality are combined, enjoy widespread popularity. An art of genius has positive connotations in general, but some of chosen novels are revealing the reverse side of the coin, when the art is capable to create an evil in its superior manifestations. For a wonder a presence of negative, monstrosity and disgust attract attention of the crowd rather than beauty. Therefore tin the article new idea that talent is on the verge of monstrosity is asserted. These two concepts exist together rely on each other. Every hero is like two-faced Janus to some extent. On the one hand, being endowed with Divine Grace he has a talent, but on the other hand, having something demoniacal is possessed by physical defect. On the one hand, they limelight and fire our imagination by their unusualness, on the other hand, they push away by their monstrosity and disgust. Main characters are always teetering on the edge. However the notion of edge is taking the wider meaning in the contemporary society. Consequently, having used all features of classic novel about an artist and portrayed them through a prism of modern perception of the world, writers created a new compilation – postmodern novel about an artist.

173-188

Authors: Oleksandr Oguy

Purpose of the article was to find the principle of genres’ formation of medieval German literature. Being based on post-non-classical methodology, the author used content analysis of Latin and German literal monuments (10 old, 242 middle German monuments) for it. The study tested the main hypothesis: new literature monuments were produced because of social crises and new genres formed on their basis helped overcoming the crises in German literary history. Due to our findings the History of medieval German literature of the Middle Ages can be subdivided into at least 8 periods in its development. They are (due to the impact of the crises in the public life upon the formation of a new genre): (1) migrations period of Great Barbarian invasions (5th c.) with heroic epics as the result; (2) the introduction of Christianity (5th-8th cent.) with Christian translated monuments; (3) the state consolidation with Notker’s translational activity; (4) the period of the Cluniac Reforms and the Crusades (1050/80-1150/87 years) with religious songs, spilman epics, etc.; (5) establishment of Staufen’s dynasty (1150–1250) and its collapse with courtly (and epigenous) novels; (6) strengthening of cities with didactic burgher literature; (7) worldview crisis caused by Avignon papacy with the mystique of 1300-ies; (8) transition of medieval culture into the Renaissance with its anthropocentric paradigm. As to the research implications it is necessary in perspective to focus on the historical and social genres of medieval literature and to define the principles of their classification, being based on post-non-classical methodology.

200-209

Authors: Yuliya Skorokhod’ko

The article focuses on the neo-Victorian postcolonial novel and on the late neo-Victorian novel with the colonial motives. The article explores genre peculiarities of these modifications of the late neo-Victorian novel. The article focuses on the problem of Britishness as a base of an English identity. ‘British’ features are the peculiar characteristics of any Victorian or modern Englishman. Understanding English national character with its Britishness is a key to the neo-Victorian postcolonial novel and the late neo-Victorian novel with the colonial motives appropriate reading. To achieve the aims of the article the following methods of literary analysis were used: typological, cultural and historical, comparative methods and intertextual analysis. Through the careful analyses of the neo-Victorian novels the author of the article concludes that Victorian colonial novels are the predecessors of the neo-Victorian novels with colonial motives as well as the neo-Victorian postcolonial novels. The basic differences between these varieties of the late neo-Victorian novel are determined by the origin of their author. As the author of the neo-Victorian postcolonial novel originates from the former colonies, such novels focuses on the postcolonial problematics and correspond to the postcolonial canon but not to the neo-Victorian one. On the contrary neo-Victorian novel with the colonial pastiches and parodies Victorian fiction. The prospects of the research include the further exploration of the neo-Victorian postcolonial novel and neo-Victorian novel with the colonial motives.

223-233

Authors: Yevheniya Chernokova

The paper deals with the heroic artistic modus transformations in English lyrics of World War I. The purpose is to see war poetry not as a separate artistic phenomenon but as the striking evidence of the arterial development of literature in its turn to modernism. The focus of attention is in the metamorphosis of the heroic showed in W. Wordsworth’s “The Character of the Happy Warrior” as compared to Herbert Read’s “The Happy Warrior”. In Wordsworth’s poem the hero is made by the harmony of a soldier’s duty and moral standards, loyalty to the country and commitment to God. Imagist Read makes a hero out of a “function reflex” which turns a man into a weak-minded, circumscribed but effective cripple ready to kill, much the same as extermination machines around. Nation’s memory is selective, and the instrument of this selection is mythologizing of a case, a man, or a phenomenon. In the case of the Great War this process is both mighty and paradoxical: in contrast to ancient heroes, under new mythology the archaic and universal concept of heroic turns into national and modern, with war poets as emblem of new “English heroism”. Comprehension of the heroic as an exhausted and ambivalent modus in the global conflict of World War I and the denial of rhetoric as the background for “heroic” genres lay the foundation for creating both the new national myth (hero-victim) and the new poetics in the poetry of the soldier poets.

258-273

Authors: Andrzej Borkowski

The text refers to reception of literary and cultural texts in the perspective of humanistic self-knowledge category. The author's intention is to show the role of oneself in the reception of literary and cultural texts. It is also important to show that this category can help you understand the meaning of human creativity. Hermeneutic lessons require repetition especially today. Both Ricoeur and Gadamer showed that the reception and the understanding of the text is an important problem for hermeneutics in general. The interpretation of the literary work focuses on the reader. These two scholars pointed out that reading of the texts is existential and deeply symbolic.

286-299

Authors: Aliona Matiychak

The article deals with the immersive novel “The Raw Shark Texts” by Steven Hall in the aspect of genre metamorphism. This approach allows to trace how genre matrices (horror, thriller, adventure etc.) transformation and in particular the combination of fantasy and science fiction with both psychedelic and real images facilitates the creating of an immersive reality in the novel. The article analyses how the alternative conceptual worldview helps the protagonist to recreate the chronicle of his self-identification after the loss of memory as a consequence of psychological trauma. Human knowledge, experience and communication as well as his individual mind, ideas and thoughts are perceived by the protagonist’s dual personality as an aquatic environment inhabited by conceptual fish. His fear of the conceptual shark feeding on his memory generates distinctive psychedelic hydro-text in the form of specific narrative structures. The discreteness of narrative accents the protagonist’s distraction and is used by the author as a literary imitation of his psychical instability (dissociative amnesia). The interrelation of the novel’s homophonic title with the Rorschach’s Psychodiagnostic (Inkblot) Tests, that are used to examine a person's personality characteristics and emotional functioning, is investigated. The idea that interpretation of Inkblot Tests results can be highly subjective allows drawing an analogy with Hall’s graphics in “The Raw Shark Texts” which bring up multiple associations and allusions. These author’s innovative graphic installations stimulate multileveled communication with a reader. Rich receptive potential (comprising metamorphosed genre and narrative structures of the novel with numerous literary and cinematographic allusions) allows examining this hypertext narrative fiction both as an original intellectual and psychological testing of the reader.

318-328

Authors: Valeriya Georgievskaya

Analysis of Christopher Marlowe’s works highlights unexplored issues in Ukrainian literary English writer, contributing to a better understanding of the Renaissance in general. The article touches classical receptions problem analysis based on the play by the writer in the Renaissance. Investigates the socio‑cultural events of the day and their impact on drama writer. In this article are not researching aspects of C. Marlowe “Dido, Queen of Carthage”, it appears more interested in the writer’s image of Dido and installed originality single elaborate female image artistically playwright. The play “Dido, Queen of Carthage” was written in 1583 while studying at the University of C. Marlowe. It corresponds to the tradition of Renaissance drama, which absorbed at Latin literary norms and models of Roman plays L. A. Seneca and is a generalization about the ancient Greek tragedies and myths of Oedipus, Medea, Hercules, the fall of Troy and others. “Aeneid” by P. Virgil, who was taken based on plot C. Marlowe, was part of educational programs in almost all schools and became an integral part of humanistic education in England and Europe in the XVI century. So, Dido is the only elaborate images of women throughout their careers playwright. It is, without doubt, is the central figure in the play, dominating over all others, including the above Aeneas. C. Marlowe absorbed in developing the image of Dido. Her moral problems dominate the play.

340-350

Authors: Oksana Levytska

The article deals with the role of descriptive context in the structure of John Fowles’ novel “The French Lieutenant’s Woman”. Based on the intermedial analysis there was analyzed the semiotics of fine art in the novel, in particular an appeal to the Pre-Raphaelite art and the Renaissance painting. It was found that John Fowles’ works tend to use the poetics of different kinds of arts: the writer appeals to painting, operates its sign system, recodes signs of visual art by the language of a literary text, expanding the context of its understanding, interpretation and reception. There were studied intermedial connections of the novel with other works of arts. It was found that in the writer’s novels and stories were presented the most clearly visual arts in terms of their classification for the form of sensory perception. Among the arts in relation to time and space are dominated spatial arts: painting, sculpture, architecture, photography, decorative arts. The study focuses on the fine art, especially painting. The descriptive context is multivariation and multifunctional, it has manifestations on a level with the intermedial citation of painting, ekphrasis in landscape or portrait sketches, paintings of visualizing of characters’ imagination, allusions to works of art, etc., explicitly and implicitly represented in the texts. Intermedial analysis allows us to see the relationship of John Fowles’ novel with the Pre-Raphaelite art. In the character context the descriptive component increases literary, cultural and historical contextual characteristics. Introduced in the structure of a literary text the descriptive context on the semiotic level forms the axiological context. The system of ethical and aesthetic values of different cultural eras is extrapolated through the artistic context. So, the article studies the intermedial novel connections with other works of art. The descriptive context of the novel is manifested at different levels of poetic works, has explicit and implicit nature. The appeal to the fine art in “The French Lieutenant’s Woman” relates the novel to other works of the author, in which the theme of art is developed and brings to the broader context of the study of other arts, including arts and crafts, which are provided with if not the most attention in the text.

368-380

Authors: Tatiana Senkevich

The purpose of article is a study of the structure of the novel “Kunigas” by J. Kraszewski in line with poetics of intermediality: methods, receptions of creation complete polyartistic space through the interaction of artistic references. Chosen for art comprehension by the author the era of the Middle Ages was based on experiments in genre specific of the historical novel, a stylistic variety, structuring a material, personsphere and ways of its creation. Research methodology: historical- functional, structural-functional, descriptive (partially). In article the type of “intermedial incorporation” is revealed and analysed: the coexistence in the works of the novelist of multi-style signs assumes their incorporation and different manifestations at the level of the text that first of all it is peculiar to portrait and landscape elements. Replenishment of the portrait resource which has been set in the first portrait, is going on throughout all narration. The talent of the painter Krashevsky is shown and in landscape pictures. “Sculpturnost” is one of the main features of his portraits of people and images of the flora world. In the historical novel it is especially important to convey colouring of the remote past in architectural preferences, suits, customs, the ritual sphere and sphere of morals and manners, etc. The novel shows Litvins' life inseparably linked with folk art. The songs captured centuries-old experience of the people, the moods of today projected to the past of the region. Songs in the novel serve as the comment of what is happening or what happened and also precede events. J. Kraszewski's main creative task consisted in creating artistically convincing picture of the medieval era with historical events, persons who have played an important role at the moments of a historical choice, who find the nature of authenticity, due to colour of an era, transfer of the atmosphere of the past. The combination of visual, spatial, sound and other characteristics in the narration allows the author to create multidimensional structure.

392-405

Authors: Svitlana Kryvoruchko

S. de Beauvoir’s great contribution is the formulation in her essay “The Second Sex” (1949) of q “feminine” cultural code in the history of the civilization, to which submit the „feministic” and the “female” aspects. The purpose of the analysis is to define the feminine concept on the material of “The Second sex”,as well as to study its incarnation, existential essence of the woman's artistic character Nadine on the novel “The Mandarines”. The essence of the “feminine” code consists in opening of “other” kind of female thinking, formed by the masculine world outlook and in overcoming this “other” as a psychological inferiority complex. The feminine concept aims to discover the transcendence and to depart from the immanency. The creative search of a woman herself as a being has to go beyond the traditional scope of the functions of the mother and mistress and to proceed on to the self-realization of a personality in her creative potential. In her novel “The Mandarins” (1954) S. de Beauvoir forms the conflict between Nadine and Henry as a kind of expression of a parable stratum (“the myth” about Adam and Eve), which appears to be substational since it cannot be resolved by the characters themselves. There is only one thing that can resolve this incomprehension between Adam and Eve as well as Nadine and Henry – the course of time and the regular march of history. The character of Nadine implements the authoress’s overcoming of this notion of “other” as a psychological inferiority complex, and seeks to trace a possible future way of woman’s self-actualization as an existent aspiring to discover personal creative potential. S. de Beauvoir creates for Henry and Nadine a probability to exist in happiness, so that they have to achieve mutual understanding and harmony. Henry's action consists in becoming happy with his sweetheart. The authoress opens up the prospect of the possibility of love and happiness in marriage, which is contrary to the previous literary tradition.

18-29

Authors: Liudmyla Skuratovska

The paper contains re-thinking of some constantly discussed issues of the Dickensian literary studies. Dickens as a theme in fiction (E. Waugh, R. Bradbury) and some unnoticed by critics features of his literary genius are also analyzed.

43-52

Authors: Svitlana Negodyayeva

The research is dedicated to the analysis of poetry by L. Talalay that was written during his last years. The work highlights character of presentation and motivation in connection with the problems, which the Ukrainian culture has faced on the basis of actualization of issues regarding renewal of the literature theory that is considered by us through the prism of archetype visions of the author’s and the reader’s receptions. This work considers transformations of the archetypes of native land, home, domestic goddess, a father, a child, an identification of own „I”, which were presented in the last album „Homeless stream: the best poetry” (Bezprytul’na techiia: vybrani poezii). So as you can see, in his lyrics Leonid Talalay sought out new intellectual assumptions of the archetypal categories, on the basis of which he expressed his attitude to the world and contemporary in it, so that his poetry is „intelligent”. Defining the element of the text as the archetype depends on collective and individual authors-readers’ unity. Associative basis of this category defines its principal vastness associated with psychological and genetic memory, anthropology of the bearer of a certain cultural community. And archetypal vision of the mature poet, as we see, is inseparable from those of modern Ukrainian. From our point of view, declared research aspect will deepen the literature author’s silvetta. Moreover, the work will open the archetypical resources of generating of new word pictures by means of realized by author widening of associative range as the main factor of poet’s style manner that represents an author’s conception of the world and a human.

64-76

Authors: Valerij Tiupa

The article considers Paul Ricoeur’s innovative investigation of the category “narrative intrigue”. An attempt at translating the term from the language of philosophical generalizations into the language of theory of literature is made. Ricoeur’s attention is focused on the correlation of the plot and readerly reception, i.e. on the “event of telling” as an aspect of the plot. An intrigue as fundemental interest of narration is tension in a row of events that triggers certain receptive expectations and presupposes a certain satisfaction of these expectations. Organizing readerly reception, a narrative intrigue interrupts a story and unites its fractal episodes into one utterance. These multidirectional actions are inavoidable because the time of telling and “the told time” are not only unequal but different in terms of quality. The time of story is multidimensional and continuous, while the speech discourse is one-dimensional and discontinuous. A narrative intrigue in the text is a system of episodes whose boundaries indicate a fractal break of the narrated world: temporal, spacious or actantial, or two or three simulnaneous breaks. A chain of these elements of turning the story into an intrigue becomes a certain system characterized by a logic of increases or decreases; recurrent alternations, repetitions or similarities; contrast. Some episodes take up the marked positions: initial, final, central or the position of “golden ratio”. The article views the cyclical, liminal and cumulative plot schemes as already known in literary theory types of the plot. A possibility of existence of one more narrative intrigue, the intrigue of revelation, is also indicated.

88-96

Authors: Marta Zambrzycka

The subject of the article is a problem of anthropological theory of literature in Polish, modern literature studies. Today in the Polish literary studies there is a large number of publications based on the concept of “anthropology of literature”. Popularity, of the anthropological context of literary studies encourages some researchers to observe phenomena of “anthropological revolution in literary criticism”. Polish literary studies haven’t still created a single, coherent definition of “anthropology of literature”. Most researchers emphasize interdisciplinary and open nature “of the anthropological project of literature”. The authors note that the literary text, included in a broad cultural context can be interpreted in terms beyond the literary, as one of the cultural practices. The benefits of this study is a presentation of the most modern and current trends in the Polish literary theory. Literary increasingly turning to interdisciplinary research, as a result there is a union of the areas of cultural studies, cultural anthropology and literary theory. The article presents the concepts of the following researchers: Edward Kasperski, Grzegorz Godlewski, Ryszard Nycz, Małgorzata Czermińska, Ewa Kosowska, and others. It was tested in this study, that the term “anthropology of literature” is interpreted variously, and is not subject to a single definition. Literary researcher, Michał Paweł Markowski, says, that the phrases: “literary anthropology”, and “anthropology of literature” could mean the phenomenon quite different from each other – the differences was shown in this text. According to some researchers, the notion of “anthropology of literature” is still not the clear concept of literary analysis, but a kind of an interdisciplinary project with undefined boundaries.

106-117

Authors: Nadiya Pavlyuk

The specificity of the historical and artistic truth’s proportionality, the historical authenticity of certain historical events are analyzed on the material of the first Yu. Mushketyk’s novel “Semen Palii” in the article. The analysis was done with using of the historical-functional, historical-genetic and typological methods of the literary text’s exploring. The key points to reinforce the actual authenticity of the work during the creative transformation of historical truth to the fiction are identified in the exploration. In addition, the benefit of this study is that the contradictory historical figure of Ivan Mazepa is investigated with respect to time parameters and the ideological position of the author and is based on the historical novel “The last hetman”. This allows to rethink the author's attitude about the period of the end of the XVII and the beginning of the XVIII century’s historical events and figures. The analysis found, that the story “Semen Palii”, although marked a significant influence of historical conditions of the time, but there is the author’s focus on a particular fact, actual events, figure, the subordination of conjecture and fiction (the inner world of the characters, their psychology) to showing of the historical reality.

129-141

Authors: Lyudmyla Anisimova

The aim of our research is to accomplish the comparative analysis of two powerful in the USA literary critical movements of XX century: New Criticism and Reader-Response Theory (paying attention more to the last one, less studied in Ukraine). Their features, main contradictions, common ideas, points of coincidence, reasons of emergence and decline, degree of influence to the development of theoretical and critical process and value for contemporary science are revealed. Though in majority of guides and glossaries pointed that Reader-Response Theory stands in total opposition to the hegemony of formalistic New Criticism and as the reaction to assay Affective fallacy of W. K. Wimsatt and Monroe Beardsley in late 1960th and early 70th in the USA. As we thought, exactly L. M. Rosenblatt (1904-2005) should considered to be the founder of denoted theory and her book “Literature as Exploration” (1938) as the pioneer work in reader-oriented criticism. It is interesting that both New critics and Reader-response theorists considered the book of I.A. Richards “Practical Criticism” (1929) as the important basis for their theories, but accenting different aspects. Therefore to a certain extent these theories from the beginnings have got common source, but different vectors of development and time of growth. In article the main classifications of RRT of N. N. Holland and L. M. Rosenblatt are represented, analyzed and compared. Also common and distinctive features of New Criticism and RRT are defined. In general the most suitable for practical use is L. M. Rosenblatt’s transactional theory of reading, in which the same attention is paid both to the reader and the text, and meaning is evoking during the process of transaction between them.

154-164

Authors: Kostiantyn Tytianin

The realism conception in the articles of L. Ginzburg is founded on social-psychological determinism in opinion of V. Markovich. The author of this article polemizes with Markovich and affirms that Ginzburg’s realism conception is out of these proportions. At first, in Ginzburg’s research the point at issue is about “the poetics of unpredetermined” ( about the poetics of not determined previously artistic devices) and the customized contexts in realistic texts. The researcher marks that a realist cannot designate the narrative events, characters and the word (its referential and style characteristics) according to tradition. Secondly, Ginzburg treats the realistic world’s “monism” not as substantial, but as functional category, “monism” for her is only adjustment for explanation of the world in the key, that is not antilogous for the positivistic world picture. However, the thesis of Ginzburg that “the irrational experience appears for a realist always in cause-and-effect relationships” requires the specification. In opinion of the author of this article, a realist cannot guarantee that “reasons” will be determined. In connection with this aspect the role of analysis changes in realism: it is not a cognition tool yet, but a process with independent significance and validity. This feature brings together realism and romanticism, although Ginzburg insists on its essential differentiating. Thirdly, Gizburg uses a thesis of realism “non selectiveness”. It is examined in the article as the demonstration of general literary tendency to extension of phenomena circuit which can be embraced by realism. In this plan Ginzburg is compared with D. Zatonskiy, V. Markovych, P. Davis and M. Seidel, who specifying “formal realism” of I. Watt. All these facts proclaim the applicability of Lidiia Ginzburg realism conception.

180-193

Authors: Roman Bobryk

The title of Zbigniew Herbert’s poem “Fra Angelico: Martyrdom of Saints Cosmas and Damian” suggests that the poem is a typical ekphrasis. Such descriptiveness seems to be confirmed by the author's segmentation of the text (and at the same time of the presented world) into the left side, background and the right side of the picture. Such division is characteristic for verbal description of a picture as a work of painting and is used by historians of art. But by reading more attentively it reveals that Herbert's poem should be treated not only as a description of the picture, but its interpretation. Herbert refers not only to the picture, but to external information (hagiology). Division of the world in the poem causes stratification on another levels of the text such as narrators. While “left side of the picture” is presented from external perspective indefinite in details, “right side of the picture” deals with the presented world from the viewpoint of the characters from the described picture. That's why instead of neutral utterance of an external narrator we have utterances of the characters (as in masks lyrics).

207-218

Authors: Svitlana Macenka

In a complex process of literature and music mutual elucidation an important feature of both types of art – their tendency to interchange, which results in a joint operation context in revelation of their semantic potential which becomes evident only under these conditions – is defined. Thereupon, one may speak of the relationship between literature and music as of a meaningful co-existence, which, in turn, goes beyond each of these kinds of art and aspires to independent sense generating text. From this perspective, an interesting and widespread German literature phenomenon of a novel semantic field enrichment by involving a musical text in it acquires a new definition of a special semantic score, called upon to demonstrate dialogism and dynamics of structure formed as a result of this process and its sense generating potential. This literary work is presented as “a new text”, originality of which is the fact that “event of its life, that is its real nature” (Mikhail Bakhtin) is developed on the edge of two interrelated texts – verbal and musical – as the sources of its sense generation. Thus, the novel pointed at music represents complicated relationships of musical text as the subject of understanding and interpretation with the contextual framing necessary for it. It is ascertained that, notwithstanding the fact that the scope of musical semantics is most uncertain and ambiguous, it is that music is able to function in the novel semantic field just as text. Under the circumstances, to achieve the status of the musical communication proper, musical expression in the novel should be as closely associated with the music-syntagmatic sphere as possible.

230-242

Authors: Natalia Nikoryak

The purpose of this research is to study ekphrasis, a phenomenon actual in recent years, (N. Braginska, A. Voievodina, V. Bychkov, L. Geller, G. Kosikov, V. Lepahin), on the example of a modern scenario text (“The Portrait” by V. Mytsko). The topicality of the issue is stipulated by the need to analyze ekphrasis as a literary device that performs the function of a specific tool in the “translation” of painting, music, sculpture or architecture into the language of literature. The research methodology is based on the complex tool offered by the modern approaches utilized to single out and analyze new literary forms generated by the intermedial contextuality state (provisions of structural and semantic approach, genre-study discourse, receptive poetics practice.) Other arts texts furnish scenario, a historically determined twentieth-century literary form, with their own illustrative examples. At the heart of the author’s address to ekphrasis is the intention to verbalize a non-verbal image. In addition, ekphrasis presents the script writer’s own aesthetic modus, her/his own receptive needs and impressions from other artists’ works, comprising specific hermeneutic resource of the text that cannot be ignored. Ekphrastic elements of the modern scenario “The Portrait” by V. Mytsko (ekphrasis-fiction, ekphrasis of the famous works of art, ekphrasis-interpretation, ekphrasis-psyhologization, ekphrasis-impression or “infection”) suggest organicity of this device for the practice of creating scenario texts in general. Due to this device, a literary text is getting extremely rich, thus engaging in active dialogue with other art forms. Furthermore, these descriptions in V. Mytsko’s scenario are applied to arouse reader’s/viewer’s creative and associative thinking and, at the same time, encourage him/her to appropriate creative reflections.

253-264

Authors: Ganna Savorovska

The aim of this work – based on the study of romantic novels A. V. Chayanov and illustrations to it, made A. I. Kravchenko, identify factors romantic desire for synthesis of different kinds of arts, see how the tools of painting helps to convey the idea of disharmony, discord with the romantic world. The primary objective for us is to study the relationship of art and illustrations to him early XX century with the traditions of the Romantic period. Connection with the traditions of Romanticism, in the works of Chayanov, manifested at the level on the system of motive, images and issues. Nonrandom selection of Chayanov as Illustrator A. I. Kravchenko, whose best works are illustrations for the works of Pushkin, Hoffmann and Byron. Romantic tone prints Kravchenko. Chayanov drew his musical rhythm, the ability to map the world in its disharmony and mutual penetration of the fantastic and the real elements. The idea of synthesis of the arts, as an independent, was first comprehended by German romantics. We had to find out for what purpose did Chayanov emphasis on illustrations to his work, drew readers' attention to the synthesis of the arts, beginning with the title of the story, and by what means is updated romantic desire for synthesis of different kinds of arts and at the level of art, and the word level. As a result of the study, we concluded that the link with the traditions of romanticism in the works of A. V. Chayanov was reflected in the world of illustration, A. I. Kravchenko, in order to provide a multilateral aesthetic impact on the reader. For Chayanov, as a man of imagination, the important thing was to rely on the impact on the reader, not only with words, but also the means of representation.

279-290

Authors: Tetiana Basniak

The body of the article goes on to disclose an autobiographical essay of the major author in the German-speaking area, Gregor von Rezzori’ “Flowers in the Snow” in terms of its genre specific ambiguity. After writing hypothetical autobiographies endlessly, Rezzori dare write an apparently autobiographical novel. Critiques considered him to reach the top of the most-exciting-authors list of the German literature. However, researchers have not determined Rezzori’s Blumen im Schnee so far as an undoubtedly autobiographical book as the genre of classic autobiography. The purpose of the given academic research is to define clear boundaries of its genre model. The problem of Defining the genre becomes far more complex because of representation of ironic pathos. Ironic charades ferment and disguise its real genre format. The author’s astounding ability to arrange his thoughts with insight and poetry enables him to do so while remaining a few paces away from the threshold of historical chronicles. The Outlined perspective is highlighted by the methodological framework of such poetological branches as time space theory and genre forms, structural and semantic hermeneutics-receptive areas of a present day history of literature, and the works of foreign adepts of Rezzori’s works. Taking into account the receptive capacity of the work, it can be determined in the sense of connotations of its genre parameters. The findings lie in the idea that Rezzori’s conventional autobiographical novel appears equally as education novel and might be considered as a synthesis of the two genres subtypes. Firstly, individuality establishing occurs in the biographical time, passing through the unique individual stages. Secondly, a personality self-making is portrayed in close connection with the historical development, it is a historical reality. Noteworthy, the text balancing on the verge of several varieties of genre should be considered as the author’s attempt to find a balance, so its composing is a main obvious “auto-therapeutic” purpose.

302-310

Authors: Tetyana Bovsunivska

The article deals with the design features of philosophical novel in the creations of french writer Muriel Barbery. The plot is simple, but there is much more to this book than that. It reminds you of so many things that make life wonderful – art, literature, music, ideas and so many wonderful small things. Considered the leading features of philosophical novel since the Enlightenment and to postpostmodernism relates to text. Analyzes the main philosophical allusions (to the philosophy of Marx, Husserl, Ozu, Kant, others), opposition (adult world / world of childhood, life / death, true philosophy / philosophy imitation), simulate (children's suicide, genuine beauty, imitation thoughts) reflections in the novel “The elegance of the hedgehog” by Barbery. Details the principle of deployment of dilemmas in the novel. This novel is characterized by a game statuses: the concierge is a philosopher; a twelve year old girl intellectually superior graduate bachelor; professor can only sign the invitations. Interpreted the E. Shevyakova`s term “intergenre Novel poly form”, recreated philosophical context of the writer, her preferences and dislikes regarding various philosophies and representatives. Accentuated ideological the confrontation of Barbery`s novel with regard to postmodern worldview. The novel was adapted into a film “The Hedgehog” (“Le hérisson”) released in 2011, starring Josiane Balasko as Michel, Garance Le Guillermic as Paloma, and Togo Igawa as Kakuro Ozu.

322-337

Authors: Yuliya Dzhugastryanska

The purpose of the research is to assay the therapy novel as meta-genre and to examine some of its specifics by author. The article deals with certain methods of approach to the definition of meta-genre including the cognitive literary criticism. The subjects of research are cognitive models that are also genre characteristics of the work from the standpoint of traditional generics. For therapy novel these are: non-valuation discovery and self-acceptance mental world of the characters, the appeal to philosophical (“eternal”) issues being illustrated with plot turns; non-valuation type of narration; specific rhythm and structure of the text. Consequently this is the first attempt in Ukrainian literary criticism to describe the therapy novel as a meta-genre. The benefits of this study are also the concord of different theories of genre and investigating the therapy novel from the reader`s point of view and as a source of answers for “eternal questions”. The material for analysis consists of selected novels written by I. Yalom, “When Nietzsche wept”, “The Schopenhauer cure”, the story written by A. Marshall “Whispering in the Wind”. Also, to illustrate certain positions partially deployed J. Gaarder novel “Sophie's World” and the monograph written by M. Csikszentmihalyi “Flow. Psychology of optimal experience”.

348-360

Authors: Halyna Shvets

In the article the importance and feasibility of the text analysis in terms of right to life life position, pro-life position in particular. The main research methods are observation and comparison. The importance of research on this issue in Ukraine is due to the influence of the right to life position in almost all areas of modern science: philosophy, culture, sociology, ethics, bioethics in particular, psychology and more. The topicality of the research consists in: the need of the definition of a „person” and its reflection in modern texts; the need of examining new literary phenomenon - life-affirming / life-denying literature – in system, genre and style aspect; the need to identify new genre modifications, genres interactions, literary genres, different national literatures and texts, forming genre systems in literary discourse of the XXI century. The author examines the state of research and analysis of the text from the perspective of the right to life position in Ukraine and abroad. The article shows that there is little research in the field of literature and scientific analysis of the text in terms of the right to life position in Ukraine. The author presents the basic terms and concepts. For example, pro-life, pro-choice, pro-lifers, pro-choicers, right to life, right to die, abortion, post-abortion syndrome (PAS), infanticide, euthanasia, suicide, death penalty and so on. In conclusion, the author believes that such scientific analysis is promising, because it gives the opportunity to discover new literary phenomena of the XXI century. For example, life-affirming / life-denying text, type of hero / anti-hero of such texts, language changes in the vocabulary, grammatical construction, syntax, semantics of the life-affirming / life-denying text; interpretation of life-affirming / life-denying text.

374-380

Authors: Anastasiia Davydova

Modern society is in conditions of indeterminacy: there is a tendency to create an integrated social foundation, which would be free from racial or national prejudices and would give a powerful creative urge, – on the one hand, and on the other hand − such processes inevitably destroy the borders of national identity what causes the crisis of national identities. In this context it is very interesting to analyze works by the authors who are possessed of an ambivalent identity, what in fact inspires them to create transcultural texts with real events and historical facts assumed as the basis. That is why the article deals with the problem of autobiographical character of works by modern Canadian writer – Janice Kulyk Keefer. The study examines the correlation of the novel “The Green Library” and the memoir book “Honey and Ashes” due to the context of national identity’s crisis, which has keenly revealed in modern social globalization processes. The text of the novel is analyzed in terms of the identity’s research method. The study highlights as a result that Janice Kulyk Keefer deals with the problem of “The Old Place” history and her family roots because she is looking for an answer to the question “who am I?”, caused by the difficulty of national self-identification by the second and third immigrant generations. This article will be useful for those who are interested in modern Canadian women writing, in the problem of national identity and autobiographical character.

393-403

Authors: Anna Chernysh

Artistic biography as special metagenre variety is examined in the article. In basis of biographic work is a hypothesis-model of life of hero-prototype. Writer-biographer, as a rule, in biographic works uses actively by diaries, memoirs, documents, protocols, newspaper and magazine publications, public appearances, that is instrumental in working out in detail of appearance of historical epoch and appearance of artist, and also tripping of with a plot canvas of works. On the example of novels-biographies of M. Slaboshpickiy “Maria Bashkirceva (Life Is After a Horoscope)”, “Todos' Os'machka (Poet From Hell)”, “Nikifor Drovnyak”, “Self-portrait of Artist In Maturity” there is analysed psychological basis of works, and also the specific of genre of contaminations in the novels of the Ukrainian writer. For example, biographic novel-essay “Maria Bashkirceva (Life Is After a Horoscope)” and novel-biography “Poet From Hell (Todos' Os'machka)” are examined from positions of psychological prose, in which intelligent fundamental psychological bars appearance of protagonists: a genotype, heredity, psychosomatic properties of artists, is artistically analysed, their temperament and others like that. Psychological basis of other biographic novels of M. Slaboshpickiy “Nikifor Drovnyakl” and “Self-portrait of Artist In Maturity” is artistically designed due to the reception of collage and contrasting with a plot editing which consists in the duty of events and psychical state of protagonists transition. The specific of text biographic roman-collage in which external and underlying structure formal express (experiments with a form, combinations with the artistic design of fact and device, inconsistence of composition structure, narrative manner, system of appearances, psychological basis, interpenetration of elements of the different semiotics systems) certify stylistic changes in text creation will be realized by such method, that mainly is determined the specific of collage, editing, shot off screen technique.