Pub Date : 2019-06-30DOI: 10.28925/2311-259X.2019.2.4
V. Kryvenchuk
The relevance of the study is due to the need to expand the circle of the Sixtiers- poets, demonstrating the manifestation of modernist aesthetics in the works of S. Shumitskyi as an organic part of the discourse of the sixtiers movements. Accordingly, the subject of the study is the intertextual links of the poetic works of this author with other representatives of the generation of the 1960s. The purpose of the study is to demonstrate the modernist aesthetic and philosophical search for the poetic heritage of the sixtiers S. Shumitskyi. Achieving the purpose is possible thanks to the methodology of intertextual analysis, which reveals the relationship between the texts, as many-sided discussions, as the process of creating text by sending text to art forms and genres, style codes, literary tradition, as the destruction or transformation of established poetic norms. As a result of the research, it is established that the work of S. Shumitskyi develops ideological and aesthetic features common to the sixtiers poets. The original features of his creative heritage are autoreflexivity, associativeness and musicality. As the nature of each poetic text is different, it causes the following: the very genesis of the text determines the complexity of the interconnections between the various texts, which, in turn, depend on the dominant sense of the additional functions of the auxiliary inclusions imagery. In S. Shumytskyi’s works, latent (not directly written) ideas dominate, therefore, they prompt the recipient to meditate. These very signs enable the creation of innumerable models of manifestation of the author's thinking. S. Shumitskyi’s intertextuality confirms his inclusion in the context of the sixtiers, in particular, references to the work of V. Simonenko are demonstrated. The frequency types of intertextuality are such types of intertextual links as intertextuality itself, paratextuality, metatextuality, hypertextuality, and intermedia. The intertextual links can load any element of the text: from the name to the tropes. The perspectives of the research is consist in the study of other sources of intertextual connections in the work of S. Shumitskyi, the clarification of his aesthetic guidelines and the determination of the optimal context for the evaluation of the auther’s work.
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Pub Date : 2019-06-30DOI: 10.28925/2311-259X.2019.2.3
I. Devdiuk
The article is devoted to the study of death as an existential phenomenon. The topicality of the research is due to the lack of comparative studies of the problem. Its aim is to comprehend the existential of death in the prose of the Ukrainian and English authors of the interwar decades. The research is made on the material of the works by V. Pidmohylny (“Ostap Sheptala”, “A Story without a Title”) and the novel “Honor” by M. Mohyliansky, “The Painted Veil” by S. Maugham and “To the Lighthouse” by V. Woolf. The subject of the study is the philosophical reflections of the characters as subjective thinkers, in the plane of which the authors’ visions of death are actualized. Theoretical and methodological basis is the concepts of the representatives of the existential philosophy (S. Kierkegaard, M. Heidegger, K. Jaspers, A. Camus), in which death is seen as the basic existential of human existence. The main heroes’ attitude to death is considered in the plane of distinguishing of death as an event and as a boundary situation or a phenomenon of death and a phenomenon of mortality. In the course of the study, it was found that an important prerequisite for acquiring thanatological experience by the personages is ‘the death of Another’, which gives rise to a sense of guilt, inducing the personages to active actions. For Ostap Sheptala, Horodovsky, Kitty, Mr. Ramsay, a direct meeting with the death of close people means a boundary situation in which the existence of their own finitude is revealed, which is the main factor in their becoming as individuals as well as in gaining freedom. Instead, in the images of Kalin and Walter, who are in the captivity of their own ambitions, the perception of the ‘death of the Other’ is represented as an objective fact. Their suicide is a consequence of despair, caused by the awareness of their own weakness, which leads to a rejection of oneself. The last is considered as one of the forms of evasion from death. Common for the characters as the spokesman for authors’ views is the state of alienation and loneliness caused by the dehumanization of post-war reality. Prospects for further studies are seen in the study of the problem through the prism of archetypal criticism, as well as the expansion of the arsenal of investigated works.
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Pub Date : 2019-06-30DOI: 10.28925/2311-259X.2019.2.5
Andrijana Nicolic, Ilona Chaika-Lukovych
Review of the monograph: Kalezić, S. (2018) “Minervinim tragom”, prozno stvaralaštvo crnogorskih književnica. Cetinje, FCJK.
{"title":"Feminist writing in “Minerva's trace” by Sofija Kalezic","authors":"Andrijana Nicolic, Ilona Chaika-Lukovych","doi":"10.28925/2311-259X.2019.2.5","DOIUrl":"https://doi.org/10.28925/2311-259X.2019.2.5","url":null,"abstract":"Review of the monograph: Kalezić, S. (2018) “Minervinim tragom”, prozno stvaralaštvo crnogorskih književnica. Cetinje, FCJK.","PeriodicalId":153550,"journal":{"name":"Synopsis Text Context Media","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121882869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-30DOI: 10.28925/2311-259X.2019.2.1
S. Kolyadko
Several approaches to the interpretation of emotion in poetic text are considered in the article — linguistic, traditional literary and emotive (from the point of modern interdisciplinary interpretation of the phenomenon of emotionality). The relevance of the study determines the belief that, without taking into account of achievements of linguistic emotion and traditional linguistics, the analysis of the stylistic individuality of the writer will be incomplete. Novelty of the study is the introduction concepts of poetic emotion and emotivity into the conceptual apparatus of the style of the text. The subject of study — the emotivity of a poetic text — is defined as a formal-stylistic index / factor of author’s individuality, expressed through the images of a work. The relation of emotional and rational in methods of author’s self-expression, coordination of pathos and emotions is considered. The methodology of the research is determined by an interdisciplinary approach, it is determined during the analysis that among the linguistic approaches the most effective for literary analysis is the method of in-depth study of the category of emotivity in the text, worked out by O. Filimonova. As a result of research an emotivity of the form and content components are interpreted as the interconnected stylistic means in recognition of the lyrical work. It is proved that the expressiveness and aesthetic origin of poetry as a kind of artistic creation predetermines the emotivity of all its components. The basis of the theory of the emotivity of a poetic work, which incorporates the concepts of traditional poetry and prosody, is the principle of revealing poetic emotion in the text in three planes: content, expression and image. Stylistic differentiation of emotive means is conditioned by the formal expression of them at all levels of language use — phonological, morphological, lexical-semantic, phraseological, syntactic levels of structural models of works. According to the results of studying various aspects of the author’s emotionality in the poetic text, it is planned to develop a literary theory of poetic emotion and its description in the historical perspective.
{"title":"Emotivity as an element of the style category in poetry","authors":"S. Kolyadko","doi":"10.28925/2311-259X.2019.2.1","DOIUrl":"https://doi.org/10.28925/2311-259X.2019.2.1","url":null,"abstract":"Several approaches to the interpretation of emotion in poetic text are considered in the article — linguistic, traditional literary and emotive (from the point of modern interdisciplinary interpretation of the phenomenon of emotionality). The relevance of the study determines the belief that, without taking into account of achievements of linguistic emotion and traditional linguistics, the analysis of the stylistic individuality of the writer will be incomplete. Novelty of the study is the introduction concepts of poetic emotion and emotivity into the conceptual apparatus of the style of the text. The subject of study — the emotivity of a poetic text — is defined as a formal-stylistic index / factor of author’s individuality, expressed through the images of a work. The relation of emotional and rational in methods of author’s self-expression, coordination of pathos and emotions is considered. The methodology of the research is determined by an interdisciplinary approach, it is determined during the analysis that among the linguistic approaches the most effective for literary analysis is the method of in-depth study of the category of emotivity in the text, worked out by O. Filimonova. As a result of research an emotivity of the form and content components are interpreted as the interconnected stylistic means in recognition of the lyrical work. It is proved that the expressiveness and aesthetic origin of poetry as a kind of artistic creation predetermines the emotivity of all its components. The basis of the theory of the emotivity of a poetic work, which incorporates the concepts of traditional poetry and prosody, is the principle of revealing poetic emotion in the text in three planes: content, expression and image. Stylistic differentiation of emotive means is conditioned by the formal expression of them at all levels of language use — phonological, morphological, lexical-semantic, phraseological, syntactic levels of structural models of works. According to the results of studying various aspects of the author’s emotionality in the poetic text, it is planned to develop a literary theory of poetic emotion and its description in the historical perspective.","PeriodicalId":153550,"journal":{"name":"Synopsis Text Context Media","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127394722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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