MYTH-AND-SYMBOLIC MODIFICATION OF THE ART WORLD BY MEANS OF PHYTOSYMBOLISM IN THE WORKS OF JEAN GENET`S “NOVELISTIC” PERIOD

Abstract

INTRODUCTION The poetics of the writer's works which are part of his genre chosen combines the poetic means of autobiography with a specific author's style, marked by the tendency to bright floral symbolism and colorful palette. According to V. Colonna such a rich symbolism of Jean Genet 's prose with its emphasis on floristics is the feature that prevents us from positioning his prose as an example of an “autobiographical novel”. Describing J. Genet's work as the subject, problematic and poetic matter Y. Pokalchuk deduces the writer`s “formula of popularity”: he rhythmizes the classic prose style, expresses it in the argo language and indecent descriptions of erotic relations especially between men. In this way J. Genet, according to Y. Pokalchuk, “looks out of the public hell into the Lost Paradise of human beauty and sincere feelings, poetizing Montmartre prostitutes and petty thieves, murderers and traitors, inmates of the lower world, the lower layers of society, guys for whom love between men is a natural phenomenon”. In this way “discovering the beauty”, he “discovered poetry”. The writer repeatedly emphasized that he wrote not prose but poetry. And although he sometimes strived for “dry and even bony style”, he still appealed to us “from the depths of his prison” by a book “un livre chargé de fleurs, de jupons neigeux, de rubans bleus”. As to using artistic means, Genet's language tends to be more poetic. He does not aim to recreate his life, but rather to convey emotions, aesthetically affecting the reader. In an attempt to describe the most disgusting things for the average reader in the most wonderful words, to accompany the mention of pus, faeces, vomiting by the most poetic epithets, a marginal mentality of Genet manifests. The process of overcoming the inner splitting is realized in the adaptation of eternal