Pytannia literaturoznavstva

7-21

Authors: Halyna Pastushuk

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

34-47

Authors: Petro Rychlo

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

69-88

Authors: Roman Dzyk

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

106-116

Authors: Dmytro Drozdovskyi

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

127-143

Authors: Alena Boychuk

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

157-172

Authors: Olena Haleta

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

189-199

Authors: Svitlana Korshunova

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

210-222

Authors: Ganna Uliura

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

234-257

Authors: Eleonora Shestakova

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

274-285

Authors: Oksana Galchuk

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

300-317

Authors: Olha Chervinska

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

329-339

Authors: Olena Kytcan

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

351-367

Authors: Natalia Nikoryak

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

381-391

Authors: Tamila Kyrylova

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

406-411

Authors: Yevheniy Vasilyev

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