Pytannia literaturoznavstva

7-25

Authors: Aleida Assmann

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

35-46

Authors: Ivo Pospíšil

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

61-77

Authors: Alyona Boychuk

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

88-98

Authors: Iryna Satygo

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

117-130

Authors: Liudmila Skibitskaya

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

145-155

Authors: Borys Shalaghinov

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

167-180

Authors: Halyna Kovalchuk

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

191-197

Authors: Kostiantyn Tytianin

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