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.