Pytannia literaturoznavstva

7-24

Authors: Galyna Dranenko

The article deals with the problem of the removing of the secondary’s status in the artwork in term of the functioning of its paratextual elements. We studied Gérard Wajcman’s novel “The Forbidden” (1986, republished in 2016), it’s composed of the author’s endnotes and the body text is lacking. We outlined the discursive and the narrative text’s structures that favor the changing of the hierarchy’s status, from paratext (lower) to the body text (higher). We examined other paratextual elements (title, dedication, opening information etc.) as the body text is lacking they have the essential function in the reader’s interpretation of the text. It is described as the new novel republishing “The Forbidden” modified the work’s receptive capacity on condition of the changing of the publisher’s peritext (book’s format, epilogue is added, the writing of the author’s name is changed) and epitext (the author’s artistic heritage, the biography in media). We analyzed as this modification transform the code and the modus of the reader’s perception of the novel. It is shown that the text expected by receiver is lacking not because it’s waiting to be fill on the basis of the interactive game with the reader the main reason is that this text is impossible, unrealizable, forceless. This text says about unspeakable and in this form, it is completely self-sufficient as it represent the oblivion, erasing memory, its deficiency, its absence. We stressed that the lacking of the boy text in Gérard Wajcman’s novel, which is the part of the paradigm “Literature of the Holocaust”, is the symbol of the obliteration and of the language loss in general and particularly of the family’s language Yiddish. We concluded that the text’s delete is not poetic and stylistic way; it is the apparatus of the minor hierarchy.

40-54

Authors: Feliks Shteynbuk

It is asserted that the works by Oles Ulianenko, the only laureate of the Small Shevchenko Award in Ukrainian literature history, are still on the periphery of literary research; the reasons of such indifference to the writer’s heritage are explained and an alternative corporal-mimetic variant for textual analysis of the novel “Woman of His Dreams” given as an example in comparison to existing research methods is suggested. It is proved that accumulation of horrors relating to numerous cruel deaths of marginal characters dialectically transform the obviously marginal character of these horrors into discourse formation seeking to fill existential emptiness. The correlate of emptiness is considered through the eastern approach, in particular the Buddhist one, so as the western philosophy, in the first place in M. Heidegger’s and H. Miller’s interpretations, so the conclusion is made according to which the primary author’s intention of O. Ulianenko despite the fact that he indeed, as he said in his interviews many times, wanted “…to frighten so that the man could understand how horrible it was if it happened”, and despite the fact that in fiction practice it was realized with a horror correlate – this intention has received a deeper artistic-aesthetic meaning through actualization of interrelated with it correlates of emptiness and monstrosity represented with the language considered by the Ukrainian writer as the only substance, which has acquired corporal features, belonging to absolute freedom; and in conclusion it is noted that on this side of “Woman of His Dreams” horrors rampage conditioned by marginal locus existence of the big city; but “on that side…” of “Woman of His Dreams” these horrors are ritualized by pseudo mystical images and due to the language, hence the monstrosity correlate as well, they fill emptiness with freedom formation and representation at the same time, first of all freedom as it is but also freedom from social, national, religious, sexual and other prejudices.

71-93

Authors: Olexandr Keba

The article concerns issues of the genre of fictional biography. The study examined the peculiarities of the artistic transformation of the circumstances of the F. M. Dostoyevsky's creative biography in J. M. Coetzee's novel “The Master of Petersburg”. The author has investigated a lot of intertextual sources as factors of the fictionalization of Dostoyevsky's biography, such as essays Stavrogin by Nikolai Berdyaev, Dostoevsky and patricide by Sigmund Freud, Dostoevsky – but in moderation by Thomas Mann, academic biographies of F. M. Dostoevsky and especially Dostoevsky’s novel Devils. An attempt was made to find out the motives of the author's appeal to the “dark” side of the inner world of Dostoevsky. The culminating episode of the novel, when Dostoevsky begins to write the novel Devils, is considered on three levels of the artistic system of the novel: 1) plot motivation; 2) characterological aspects; 3) conceptual level, determined by the problem of creativity as the central problem of the novel. Writer's work is mainly an irrational and intuitive sphere, Dionysian phenomenon, fraught with unpredictable consequences. So the author of the article tries to identify the “positive program” of the Coetzee's novel as a work about “darkness of human heart”, that is cleared by the artist's genius, but it does not protect against moral losses.

106-115

Authors: Iryna Vikyrchak

The article examines the image of the Jewish people in English poetry by Rosa Ausländer. Born in 1901 in Austrian Chernivtsi, a German-speaking poet changes the language of her writing after survuvung through the Holocaust and for almost ten years writes in English during the emigration in New York. The main motives of this period are the search for a new identity, the experience of having lost her mother and rethinking the horrors of the Second World War and its consequences for the Jewish people and for Europe in general English poetry written by Rosa Ausländer between 1947 and 1956 was published by Helmut Braun in 1995 in a collection tittles “The Forbidden Tree”. The program poem under the same title depicts a tree from the Garden of Eden maimed by the Nazis, the roots of which, in spite of everything, are strong and “vigorous”. In the poem “The Clinic” the surface motive is the rapid pace of life in the megalopolis, which also belongs to the leading motives of this period of writing and the life of the poetess. However, the images of “impersonal names”, a sense of distrust to state institutions, long waiting for the unknown and a reference to the typical image of the phoenix often used by Ausländer give the reader implicit indications of the Shoah's traumatic experience. In the poetry of Rosa Ausländer, the phoenix remains a symbol of hope and rebirth for the Jewish people.

136-151

Authors: Olesia Kalyniushko

An article analyses M. Shchygel’s travelogue “Make Your Own Paradise” from the imagological viewpoint. Czech Republic occupies a special place on the sympathy scale among the Polish, even though, geographically it belongs to Eastern Europe and Czechs in return are much more restrained about the Polish people. Despite the narrator’s genuine delight about the Czech Republic, he unwraps the story, depicting Czechs critically, and subconsciously trying to rehabilitate the people of Poland uncertain in their European identity. It is important for the author to define both pros and cons of the Czech national identity, comparing them with the specificity of Polish nature, and thus demonstrating the ethnocentrism of his love for the Czech Republic. Traveller’s discovery of the country, which typically takes highest levels of the Polish sympathy scale, through the prism of the national values demonstrates his inner need (as the representative of “Not-Enough-European” country) to enhance its status having compared it with the country, which is higher appreciated by Poles than any of Western European countries. Another reason of character’s attention to the Czech Republic consists in his national guilty conscience that he shares with his nation, recognizing himself responsible for actions of his compatriots who supported the Soviet Union in August in 1968 and invaded Czechoslovakia as the part of five armies of the Warsaw Pact. Hence, getting to know the Czech Republic traveller of M. Shchygel’s travelogue “Make Your Own Paradise” states his Polish identity by means of comparing and analysing the specificity of Polish and Czech national characters. He calls himself a Czechophil, although he sets aside idealization of the Czech Republic in order to exonerate his people.

174-186

Authors: Olha Chervinska

The article under discussion is a survey of how a literary concept of a prominent Ukrainian German Studies expert Olexandr Dmytrovych Oguy has been developing on the pages of a scientific journal “Problems of Literary Criticism” from 1993 till 2013. The article traces up the stages of progress of scientist’s methodological strategy concerning the so-called concept of post-non-classicism, beginning with his first article in “The Issues”, where he presented an efficient sample of involving the timeless linguistic universals with the purpose of comparing the typologically similar genre forms. In this way, he managed to prove the authenticity of “The Tale of Igor’s Campaign” in historical-typological comparison with the medieval epic works (Issue 1, 1993). After a 15-year break, O. Oguy’s articles “A Three-Dimensional Poetic Space of ‘Lanzelet’ by Ulrich von Zatzikhoven” (review, 2010), “The Historical-Social Genres in Post-Non-Classical Methodology: the Principles of Classification” (2012), “The Principles of Formation of the Middle Age German Literature: Overcoming the Crisis Stages through New Genres” (2013) were published in the journal. Each of these works contains a distinct conceptual program. The review was not restricted by a mere critical analysis of the work by a German researcher Kai Lorenz. It also highlighted the difference between methodological fundamentals of European and Ukrainian scientific text analyses – “different paradigms of foreign and Ukrainian Medievalist Studies”. This scientific text is a topical “transplantation” of analytic methodology of K. Lorenz into Ukrainian philological practice. It was introduced into scientific circulation as the so-called “trichotomic model” of functional types of the interacting spatial structures. The article “The Historical-Social Genres in Post-Non-Classical Methodology: the Principles of Classification” (Issue 86, 2012) is a vivid example of a profound present-day academic research. It is worth reading for everyone, who deals with literary genres. The scientist made up his mind to tackle the problem of genres due to the ambiguity of the criteria that existed in Post-Soviet Literary Studies. He activated the notion of “synergic approach”, which enabled him to rethink drastically the whole genre system in the Middle Age literature. O. D. Oguy’s last and largest article “The Principles of Formation of the Middle Age German Literature: Overcoming the Crisis Stages through New Genres” appeared in “Problems of Literary Criticism” in 2013 (Issue 88). It impresses the reader with a broad scope application of diachronic principle in a research space, as well as with the methodology of scientific discourse (the so-called “content analysis”, which presupposes the effect of social factors in investigating the cultural phenomena). The comparison of literary artefacts with the events in European history has enabled O. Oguy to determine and classify eight crisis stages (including the prehistory). The latter had been accompanying the formation of the German nation from the early Christian days and the Great Relocation of Peoples till the end of the Middle Ages, as well as had exercised a direct influence on the changes in the literary process.

204-214

Authors: Dmytro Drozdovskyi

In the paper, the specific narrative structure of the novel “Cloud Atlas” has been analyzed. The array of philosophical questions that determine the post-postmodern literature has been outlined. In the novel, the motif connected with the rebirth of the human being has being explicated; the belief related to the irrational bond between the events in the past, present and future, about memory as a special sphere where the crossing of different temporal modes is possible has been visualized. Changeable in this transformation system are such factors as sex, gender, social positions, religious affiliations, etc. The immanent essence of the “humanity” has been defined. This, Sonmi~451 in the fifth story struggles against the totalitarism which cultivates the industry of consumerism transforming entertaining ads and other forms of leisure into the ideology. The forms of criticism toward the consumerism and the bonds between memory, knowledge, and power have been explained. In the paper, the author focuses on the features related to the transition from postmodernism to post-postmodernism in contemporary English literature. The key features of postmodernism in accordance with the theoretical approaches I. Hassan, M. Foucault, F. Kermode, D. Fokkema, etc. have been outlined. The categories of inconsistency and immanence that determine the characteristics of the postmodern sensibility have been emphasized. The conflicts between reason and intuition, myth and technology, religion and science have been analyzed in the discourse of post-postmodernism.

231-246

Authors: Marina Lebedzeva

The article reconstructs the figurative concept of personality, embodied in the story of A. Averchenko “The Death of an African Hunter” (1914), through the prism of the author's value orientations and psychological transformations of the hero experiencing adulthood. The study of cultural discourse in the projection of artistic expression on the social context promotes the disclosure of the author's attitude to the characters and events and the comprehension of the “life-death”, “freedom-non-freedom” set forth in the work of philosophical oppositions. Sincerity as the highest manifestation of a person, typical for children and lost by adults, a rebellion against everyday life, farewell to illusions as a reaction to a collision with the real dimension of the modern world – all this turns out to be in the author's objective, objectively, psychologically and symbolically detailing the scale of life values within the framework of artistic integrity story. The comprehension of artistic models that embody the problem of the maturation of the personality, the “before” and “after” childhood conditions, the loss of illusions and the adaptation of the personality to the real world, allow us to reconstruct from the private artistic experience a picture of objective philosophical and psychological contradictions to which the individual aspires to resolve.

7-19

Authors: Natalia Astrachan

The article raises the problem of achieving artistic integrity of a literary work in the transition situation of the European prose from modernism to postmodernism. The features of the poetics of the M. Frisch’s novel “Gantenbein”, in particular the organization of the narrative, the composition of the plot and characters, are being discussed. Special attention is paid to stressed minor elements of art structure (inserted short stories, characters beyond the plot, peripheral details), which play a decisive role in the artistic whole of the experimental novel. It is with them that the author interprets the product, the original tips that allow the author's intention to be reconstructed. From this point of view the center and periphery change places, accentuating the invertedness of modern ideas about man, the world, the meaning of life. The material of the novel “Gantenbein” analyzes the concept of man, proposed by the artistic discourse of the second half of the twentieth century. The study shows that the actualization of a lost value system, functionally provided with peripheral elements of art structure, is linked in the novel with a return to artistic integrity and correction of errors at the level of the artistic conception of the person. Such actualization, return and correction give new meaning not only to the problem of the quality of a literary work, but also to the concept of literary and artistic creativity.

32-44

Authors: Oleksandra Visych

Metadramatic analysis is widespread in the Literary Theory of recent decades. Despite the fact that most of specific elements of metadrama are present even in the most ancient dramatic texts, their intensive updating is observed in postmodern literature. The article analyzes the expanded typology of medadramatic methods. The main attention is focused on such metadramatic technique as play within the play, role within the role, ceremony (ritual) within the play, adaptive metadrama and literary / theatrical criticism in the drama. It is proved that the play of the Ukrainian playwright Pavlo Arie “The Man in a State of Elevation” is an example of the original application of metadramatic poetics, in particular due to the conceptually complicated hierarchy of these techniques on the character and dimensional levels. The text represents a multilayered space, where the concept of theatre-within-the-theatre is repeated, indexed to infinity. Each layer is arranged according to the principle of the musical state just like interlines and has certain dominant methods of metadrama. However, the possibility of a stable hierarchy is questioned, since each structural element of the play claiming to be a centre easily changes its location to the periphery. Pavlo Arie's play confirms the leading orientation of the postmodern theater on the self-reflection and self-presentation. Actually metadrama turns to be an attempt to expand the dramatic world by constructing additional real / unreal planes. Their hierarchy in the art world of the author becomes a conceptual problem and subject of decoding.

62-77

Authors: Yevheniy Vasilyev

Along with the genre forms that have not stopped their development for many centuries, but have gained significant transformations (tragedy, comedy, drama, melodrama, tragicomedy), there are also numerous genres, whichfell out of the history of drama for a long time (often for centuries) and were not claimed by theatrical art. However, in the drama of the 20th – beginning of the 21st century the clear tendency for the revival and modification of archaic genres, first of all, seemingly, “dead” genres of the medieval theater is characteristic. In its genre system religious drama genres (especially mystery and miracle plays), didactic (pritch, parable) and comic (farce, interlude, commedia dell'arte) occupy an important place. The article discusses the features of genre modifications of medieval farce in contemporary dramaturgy. A typology of contemporary farce is also suggested (three types are conventional farce, black farce and socio-political farce). Genre signs, features of the plot and of farce in the works of European dramaturgy of the late twentieth and early twenty-first centuries (M. Frein, M. Kamoletti, D. Orton, P. Schaeffer, E. Nelison, G. Adam, A. Bitton and others) are researched. Scientific (L. Smith, A. Sierz, S. Goncharova-Grabovskaya, N. Malyutina etc.) and author's (R. Cooney) reflections on the farcical genre module are considered.

90-105

Authors: Mykola Dudnicov

The article considers the process of historical novel genre formation. It is identified its structural components: historical authenticity and fiction, speculation, historiographical features and the properly literary that requires special ways and techniques to explore. There are specific reflection of the facts, their modifications, the literary transformation of image synthesizing, and also considering its temporal, spatial, national-cultural characteristics, ethnic mentality of presentation. In that way, it is focused on the fact that the highest of the literature achievements is the result of the work of different generations’ writers. To pass the time, such literary experiments lead to results comparable with the classic conquest. To achieve writing products of such level it is necessary to build a holistic literary structure, and this thankless job is implemented by ordinary talented people. The article offers the interpretation of individual works relating to historical- literary prose, for example, historical adventure novels by N. E. Heinze literary and M. N. Volkonsky. The process of genre modifications contributes to activate the variable genre forms that leads to the expansion of genre potential, acquisition new qualities. Trend updates genre historical prose and the emergence of new genre forms does not stop be an alternative form of the historical novel, acquiring new artistic quality. Tendency of upgrading genres of historical prose and the appearance of new genre forms does not stop: there are alternative forms of the historical novel emerge, acquiring new literary qualities. Narrative forms of fiction though deprived of literary magnification, but perceived as such that correspond to spiritual and intellectual requirements of a certain part of society by contemporaries. This literature carries bothproblem- analytical and entertaining effect, which increasingly is implemented in such genres as adventurous and historical novels.

120-129

Authors: Iryna Zhylenko

The article studies images and motifs of Shevchenko based on the materials of works of another row of Ukrainian emigration writers of the 20-30ies years. Using the theory of archetypes of Jung, we identified an intermediate archetype acting on the verge between a Hero (a Savior) and a Sage, this is what Taras Shevchenko became for the Diaspora writers. Particular attention is being drawn to the genre palette of Shevchenkiana, artistic and stylistic features of the stories of the following writers are being defined: K. Polishchuk, B. Lepky, Dmytro Tyahnyhore, and Lesya Verhovynka. The Shevchenko motifs we discovered in the short fiction of the 20-30ies are usually united around the magnificent figure of Shevchenko, his portrait and his “Kobzar”. The archetypal figure of Shevchenko represents a symbol of a rebellious spirit and a national talisman for Ukrainian writers of the emigration. It is being determined that the portrait of the great son of the Ukraine serves as an icon for his people and is frightening for the others; words of the works of Shevchenko inspire heroes to fight for the liberation of the native land and act like a prayer; “Kobzar” serves as a talisman. Thus, motives of Shevchenko in the works of short fiction emphasize saving function for the characters and for their authors. As a result, it is being concluded that a dominant in all the stories and novels was both a respectful and a panegyric relationship towards the Savior of the Ukraine, Taras Shevchenko, and that his name and works became a philosophical guide that inspired artists to create Diaspora of the short fiction with patriotic content.

146-159

Authors: Natalіia Naumenko

The article elucidates the properties of a parody as not only an art work, but also as a literary-critical study. There is shown that the parody, according to the creative invention of its author, has the purpose to expose and then to deride the certain disadvantages of on original poetic text; however, in closer reading, it seems to maintain a critical paradigm. First of all, this paradigm reveals all of the noticed flaws as the remedy to make “the creative prophylactics” for a future poet; second, it helps a reader to comprehend as well the positive features of a parodied text (particularly, in reading an original), and also to imagine the image of an author (of either the original or the parody) opened to further interpretations. The subjects of studies in this article are Ukrainian literary parodies published throughout the 20th – the beginning of the 21st centuries (authors – Ostap Vyshnia, V. Yaremenko, Yu. Ivakin, A. Bortnyak, I. Havryliuk); there are also analyzed several poetic works that are not parodies a priori, but tend to deride some realia of the authors’ everyday life. There was shown that the efficiency of literary criticism could be defined by not only what the critic said, but also how one did it. Therefore, elucidation of a parody seems to be impossible without studying its generic, stylistic, imagery and compositional characteristics of a potential parody object (original verse work), including the specifications of development of a poet’s individual style within parodying any kind of literary works.

175-188

Authors: Svitlana Kyryliuk

Formation of modernist aesthetics in Ukrainian literature at the turn of the twentieth century is connected with changes in aesthetic consciousness, overcoming stereotypes, and search for new expressive means. This enables us to trace “conflicts” and contradictions that allows us to speak about qualitative changes, search of new resources, points of view, and reading “voices” in a work of fiction. These “voices” reveal to a different degree both surface and concealed layers of text. We can trace certain co-references of these “voices” within historical and cultural epoch, and in the works of an author or based on a text. At the same time it is important that the author may not have wanted to reveal, open something, but the text itself can reveal it. Ways to relveal these may have some significance for revelation of certain characteristics or stylistic peculiarities of author’s works as a whole. The texts of Ukrainian classic writer M. Kotsiubynsky allowed critics to speak of “aesthetism” and „spiritual aristocracy” inherent to the writer, but realisation his own marginal position provoked him to unconsciously pay attention to his secondary role. Here we have conscious attempt not so much as being silent as concealing one’s own voice. At the same time conscious “concealment” confirms unconscious desire to be heard. Therefore, the purpose of the paper is to highlight the problem, make it the major one to understand M. Kotsiubynsky’s texts. An important role is provided to character’s voices. But to counterbalance the voice of the main or secondary character, there is silence that we should treat as an anthropological phenomenon. It is the analysis of the function of silence is the key to reading Kotsiubynsky’s fiction, along with the function of non-silence where the first rate role of a narrator is lost. The foreground is occupied by the second rate that assumes the status of the first ratedness.

200-216

Authors: Alyona Tychinina

The methodology of detection of paratextual connections detailed by Gerard Genette is analyzed. It is proved that such at first sight peripheral elements of a text are able not only to frame it specifically but also to make possible its transformation into a book. It is emphasized that paratextual modi respectively generate the mechanism of receptive action, narrow or/and broaden the expectation horizon of a reader. Subsequently, adjusted by the experience, they form a different perspective of perception which nevertheless is restricted and emphasized by a kind of paratextual “frame” that is sometimes called the interpretational one. An author's foreword is a sort of proxemic center in architectonics of literary text. The main function of the textual threshold that can be created directly by an author, publisher, and other writer is to inform readers about circumstances the text was written under, stages of creation, interpretation of important or complicated (from the standpoint of the author) moments of the text, its conception, genre, biographic motives that guide a reader's reception in one way or another. In line with the historical poetry considering a text with a few author's prefaces is the most effective way. Three prefaces (1951, 1953, 1957) to the novel “Trans-Atlantic” (1953) by the Polish writer-immigrant Witold Gombrowicz (1904–1969) have become the subject of the analysis. Obviously, the specifics of narration in the aforementioned prefaces appear interesting. Not only is the experimental character of Gombrowicz's shape proved but also the dynamics of his texts' content in the historical time. Proofs of that, apart from the prefaces, are found in his diaries. The function of the author's preface has the exceptional receptive weight as it directs the reader's receptions only to the indicated destination and establishes the profound contact, more precisely the dialog, with a reader. Serving as an interpretative frame that outlines an author's interpretation of the text, in this case a preface is capable not only of forming but also deforming the reader's expectation horizon.

234-237

Authors: Galyna Dranenko

Poetics of the Ukrainian Translations of E. Verhaeren [Review of the monograph: Kravets Ya. Ukraïns′kyi Emil′ Verharn (krytyka, perehuky, pereklady) [Ukrainian Emile Verhaeren (critique, response, translations)] Lviv, 2016, 344 p. (in Ukrainian)]