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.

7-22

Authors: Galyna Dranenko

The article considers T. Samoyault’s biographical proses, dedicated to Roland Barthes (Samoyault T. Roland Barthes, Paris, Éd. du Seuil, 2015). The raises questions are about the intention of the intellectual and biographical project and the poetical methods of theirs realization. We distinguished the subject’s dominants (biographemes) of intellectual lifework and the approaches of their reconstruction. We outlined the narrative methods of the (de)mythologization of the object of the biographical text. We marked out the types of the used discourses: literary or fictional discourse (by means of the sorting of the biographical material in the narrative and the creation of the biographical personage); the documentary or factual discourse used by means of the authentication of the source base this is the testimonies, documents, manuscripts and so on; the argumentative or scientific discourse used by means of the intellectual intention of the biographical project. Besides, we paid attention to the paratextuels components of the analyzed biographical work (péritexte and épitexte) with the purpose to describe the writer’s strategies of the author of the biography of the famous French thinker and we outlined the waiting horizon of their recipient. We justified the singularity of T. Samoyault’s work functions in the genre paradigm of the lifeworks about R. Barthes. We traced „the intellectual biography„ of the French author as the biography which based not on the life of the protagonist of the life story, but as a story of his Novel’s emergence as the complex of the produced his ideas and his concepts and the influences of the intellectual space during the certain period and vice versa. It is specially noted the metabiographical components of the T. Samoyault’s work. We stressed on the combination of the chronological and the fragmental, we noted that the unity of the author’s life story based not on the time direction but on the direction of the critical thought of the life story’s object.

34-45

Authors: Natalia Vysotska

Due to a number of socio-cultural factors biography (sub)genre “аuthor as character” has become fairly popular in current biographic writings. It is no wonder that William Shakespeare – the central figure in the Western canon according to H. Bloom – is one of its favorite “heroes”. In his novel The Tragedy of Arthur (2011) Arthur Phillips increasingly referred to as one of the most promising American writers of his generation engages his readers in a sophisticated play carried out around Shakespeare as a cult person. The play is centered on Shakespeare’s “unknown” tragedy; its text is incorporated into the novel being a masterful stylization imitating conventions and language of Elizabethan drama. The bulk of the novel has the form of an Introduction to the play relating the latter’s story which is simultaneously the story of the protagonist’s (the writer Arthur Phillips’) personal and professional coming of age. The paper sets out to explore the strategies the novelist deploys to tackle topical issues of present-day humanities. These include institutionalizing of the canon; machinery of literary cult functioning; blending borders between the original and the copy/forgery in the age of electronic technologies; limits of autofiction, etc. The timeliness of these issues guarantees Phillips’ daring experiment no small degree of interest both in its matter and its form.

69-80

Authors: Markiyan Dombrovskyi

The classical philology is the oldest philological discipline. It has been always dealing with the texts written in classical languages. But its object has been various: through the text the classical philology studied a history, a culture, a philosophy, a language, and a literature. Although the classical philology is essentially a text-oriented discipline, the immanent approach to the literary text is not characteristic for it. The immanent approaches usually have been developed in the modern philologies – where the language is not to be overcome, realia are not to be commented, and the extratextual situation is not to be reconstructed. Therefore the methods of the modern literary criticism in general are rarely applied to the ancient literature the thing is that it is the classical philology that inevitably has monopoly on the professional studies in the field of the ancient literature that hardly can be studied on a professional level without a good command of the classical languages and without the scholar being included in the classical tradition. So it seems to be important to establish the cooperation between the classical philology and the literary criticism proper. It may open not only the ancient text for the modern approaches, but also the classical approaches for the modern texts.

88-97

Authors: Iryna Vikyrchak

The article deals with the collection of English poetry by German-Jewish poet Rose Ausländer “The Forbidden Tree”, written between 1947 and 1956 during these exile years in New York. Among literature researches there are several versions about the reasons for the shift of language by the author, these versions are post-war trauma, loss of her mother or practical approach in positioning of her poetry in a new language environment. English poetry by Rose Ausländer is considered to be a transitional link between traditional pre-war and free verse poems written after 1957. In this publication there are examples of stylistic influences on Rose Ausländer’s writing by M. Moore, E. E. Cummings, T. S. Eliot, W. Stevens and other American Modernist poets. Generally speaking, in her English poetry Ausländer gradually loses rhyme, the rhythm becomes free, the author experiments with poetic forms a lot, until she decides for the free verse poetry and continues to write quite so in German. Like E. E. Cummings, Pose Ausländer tries different forms and usage of punctuation; like Marianne Moore, she addresses meditative poems with high attention to details. We can observe direct correspondence in dedication of some poems to the American modernist poets. Poetry written by Rose Ausländer during this period, was published in 1995 Helmut Braun in a collection entitled “The Forbidden Tree”. There are 190 poems in this poetry collection, placed in the alphabetical order.

110-122

Authors: Tetyana Bovsunivska

The article includes an analytical review of literary criticism of the last half-century, mainly in its integration with cognitive sciences. In particular, it is about rethinking postmodern criticism for its inability to create new scientific gestalt. The article draws attention to the tautological nature of the terminology of contemporary literary criticism (image – actant – a simulacrum – eidos – rhizome, etc.). However, it noted that the postmodern criticism has identified the most relevant cognitive dissonance of XX – early XXI centuries and triggered integration of literary criticism with disciplines of natural sciences (neuroscience, the study of artificial intelligence, cognitive psychology, cognitive linguistics, cognitive philosophy, cognitive cultural studies and so on). Paying tribute to postmodernist attempts if not modifications, at least “rethinking” the system of flavors, canons, genres, etc., must recognize that without their revolutionary configuration upgrade – direct cognitive promote regeneration of the gestalt science – мodernity has continued to be in a state of “theoretical innocence”. Hence the great interest to contemporary cognitive science, synergy, Postnonclassical theories of human and Universe development. The article suggested the development of cognitive literary criticism. The conclusion of important interdisciplinary concepts and terms is faced at the resent time. The cognitive sciences today (from humanities to natural-science cycle) is the unique field of research, which has a uniform terminology system, which, in turn, contributes to the formation of a new gestalt of science. The universal character of terminological system of the cognitive sciences also assures that the unity of the laws of human thought should be seen as the foundation of any modern sciences.

137-150

Authors: Igor Kozlyk

Taking into consideration experience of history of literature studies and natural sciences and personal experience of making documentary films about scholars-philologists “Marko Teplinskii – teacher, scientist, person” (2012) and “In the eyes of the other one: Marko Teplinskii and Volodymyr Matviishyn” (2013), there has been discussed the mechanisms of the succession in common codified (source studies and historiographic works, methodological analysis of the definite heuristic practices phenomenon of the scientific school ) and non-codified kinds of literature studies activity (documentary cinema). It has been shown that the mechanism of succession laid down in the logic of cognitive work revelation. So, in the historiographical and source study phase interaction of opposite procedures of actualization and re-actualization leads to the formation of the new research thematic horizon. A special study of specific heuristic methodology practices encourages thoughts above the laws of different literary experiences. The scientific schools phenomenon, to which the process of institutionalization of science is directly related, provides in its functioning not only differential, but also integral components, the key of which is the identity of the scientist in which human traits (including moral and ethical and psychological) are inseparable from the professional ones (professional level). That's why, when it comes to succession, it concerns not only the principles of research, but also general cultural points, attitude to own profession, formation of a creative and human personality of the scientist and style of interpersonal communication among professionals. Completeness of its production causes the necessity of appealing the documentary genres of arts – cinema and television – close interaction between literary critics and journalists and mass media workers. The total value of succession in the development of literary criticism, as a culture creation activity, is caused by the artificial nature of culture as a secondary modeling system, the reproduction of which is closely connected with the structure of active memory and conscious efforts of its creators.

164-174

Authors: Natalia Nikoryak

Olha Petrivna Gulia, as talented teacher and competent scientist, was respected by pupils and colleagues of our University, although her biography appears a typological example of most scientific biographies of the Soviet times. Contributing to the commemoration of the 70-th anniversary of the Department of World Literature and Theory of Literature, we can mention the difficult fate of that amazing scholar women, literature expert, French literature connoisseur and researcher of Romain Rolland’s creative work: she had in quite difficult 1945, together with her husband, Professor Mykola Petrovych Gulia, established this Department. Today the life of Olha Petrivna is read as a text with fairly complex plot. Petersburg born and bred, got a brilliant education at the History of Arts Institute, where the love for science and literature was inculcated by such well-known academicians, as V. Peretz, S. Baluhatyi, L. Shcherba, Z. Zhirmunsky, she got through the siege of 1941–1942 in her hometown, the evacuation to Essentuki (East Caucasus), until in September 1945, after the liberation of Bukovyna, together with her family she moved to Chernivtsi, where she ended her life. The Department of World Literature in the Chernivtsi State University was founded after the war, in 1945. Its head was already known at the time literary critic, Professor Mykola Petrovych Gulia, whose fate is dramatic as well. Together with him at the origins of this Department was his faithful wife Olha Petrivna, who occupied the post of senior teacher. They had to educate students and young scientists, to engage them in science and teaching, in quite difficult conditions. The unfair accusations at them in grovellery “to the Occident”, “inheritance of Veselovsky” and “a break with the reality” harmed not only Mykola Petrovych, but also Olha Petrivna, who, after her husband’s death, took on not only the family care, but also the Department’s management and, ultimately, reconquered the right to work and to engage in science. It is important to emphasize that in this fight she had a fairly reliable protection, the support her supervisor, academician O. Biletskyi.

185-195

Authors: Natalia Astrachan

The aesthetic theory of G. W. F. Hegel is regarded as relevant to modern literary studies example of the synthesis of humanitarian knowledge, relevant anthropological and ontological literary interest, the desire to build a holistic worldview in the space of the Humanities. Hegel's views on art, artwork, creative subjectivity of the artist, consistent with his holistic philosophical system, characterized as a kind of guidance in the process of clarifying the General concept of literature and literary studies at their present stage of development are interrelated. Historicism and dialectics of aesthetic thinking G. W. F. Hegel, matched with the consideration of artistic reality and actual reality, characteristic of artistic creativity in the context of being spirit, the definition of works of art in connection with the dialectical overcoming of contradictions between the spiritual and the sensual data, the development of notions of substantiality artistic and creative activities are not perceived today as archaic. The main provisions of the aesthetic theory of the German philosopher can be the basis for a syncretic model of cultural knowledge, a new determining the value of the experience of literature and literary studies as a fundamentally open epistemological systems.

209-219

Authors: Svitlana Kryvoruchko

In the 20th century in the 90s they started to apply actively the features of feminist criticism which were formed in American and European theoretical branches in the middle of the 20th century under the strong influence of Simone de Beauvoir’s existential point of view of a woman as a historical phenomenon to the analyses of female artistic images in the Ukrainian literary studies. The representatives of this literary school believe that female image in literature is a role model and presents a way of “socialization”. However it must be remembered that an artistic image is a fiction which does not correlate directly with reality, but is only an imitation, thus there lies its “conventionality”. “Conventionality” opens nonidentity of female images in literature and their prototypes in life. R. Jakobson differentiates “primary” and “secondary” “conventionality”. “Primary” conventionality is realistic as it reflects reality. R. Jakobson disproves the theories that defend the practice of plausibility and talks about “secondary” “conventionality”. “Secondary conventionality” destroys plausibility when it recombines the system of characters and displays creativity beyond the limits of the possible. In this case the “socialization” is expressed in the way that a literary work “tells” about the character’s formation when he\she implements cultural norms and social values. The “socialization” is determined by the influence of society on emotions of literary heroes that encourages them to reflection, reveals them not only as the objects, but as the subjects of an active action aimed at social realities. In the works by S. de Beauvoir the principle of “socialization” determines reference to “secondary” “conventionality” and opens the prospect for the object’s / subject’s development. The active “action” of subjects happens the real existence of the individual when he\she tries to know him or herself. “Feminine” is the transcendental (“secondary conditional”) unlike “female” and “feminist” which seems “real” (“social” “conditional-primary”). The aim of feminist criticism is to research female characters in male and female literature in order to reevaluate the experience, reconsider the literary canon, return from oblivion the texts written by women. Its representatives give special attention to the study of power relations that demonstrate the extent of patriarchy in one or the other culture, in order to destroy this patriarchy.

234-243

Authors: Olha Chervinska

A monograph by Olena Haleta “From Anthology To Ontology: Anthology as a Means of the Representation of the Ukrainian Literature of the Late 19th – Early 21st Century” (Kyiv, 2015) is under review.