Pub Date : 2023-06-30DOI: 10.31861/10.31861/pytlit2023.107.115
Petro Rychlo
The article under studies traces the poetic and publishing genesis of Paul Celan’s collection of poetry “Poppy and Destiny”. The latter collection has made its way under extremely hard circumstances; however, it has eventually become a real literary breakthrough and the young author’s greatest poetic success. On the other hand, at first the poet published large collections of his texts in renowned German-language press (“Plan”, “Die Tat”). Later, he tried many times to carry out his literary debut in the form of a book. The early stages of “Poppy and Destiny” include several handwritten text collections (“Typoscript”, 1944; “Manuscript”, 1945), in which the young author prepared and gradually implemented the concept of his collection. The culmination of this hard work was the Viennese collection “The Sand from the Urns” (1948), which Celan soon destroyed due to numerous typographical errors. Nevertheless, he never rejected it, yet he conscientiously revised the poems, including a good half of them into the manuscript of the new collection “Poppy and Memory”. At a meeting of the literary “Group 47” in Niedorf (1952), he finally managed to get in touch with the Stuttgart publishing house “Deutsche Verlags-Anstalt”, which regarded his collection as an innovation in post-war German poetry, as well as promptly published it on Christmas Eve of 1952. The publication of the collection soon became a literary sensation and laid the cornerstone of the poet’s later fame in the German and European cultural space.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.097
Ivo Pospíšil
The author of the present paper deals with the general features of success of literary artefacts on the examples of several Czech authors. Regardless of some typical cases going back to the 19th century, among others a famous one connected with the name of possibly the only real Czech romantic Karel Hynek Mácha, probably the most significant romantic poet in the world observed from the point of view of poetics and artistic values and existential angles, there are quite a lot of interesting 20th-21st-century authors whose success on the one hand and loss of popularity on the other signalled the causes of the whole process and its markers. While the 19th-century authors and the success of their work were linked with the preparedness of the reading public, with aesthetic tastes and prevalent styles, more modern literature since modernism has been connected, besides the mentioned factors, more with political shifts of emphasis and with the whole social atmosphere; it also depends on the thematic and genre structure of literary artefacts, on the problems dealt with, on the degree of experimentalism. The examples of several Czech 20th-century authors demonstrate various aspects of the problem of the markers of succes and their association with their creative individuality.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.115
Petro Rychlo
The article under studies traces the poetic and publishing genesis of Paul Celan’s collection of poetry “Poppy and Destiny”. The latter collection has made its way under extremely hard circumstances; however, it has eventually become a real literary breakthrough and the young author’s greatest poetic success. On the other hand, at first the poet published large collections of his texts in renowned German-language press (“Plan”, “Die Tat”). Later, he tried many times to carry out his literary debut in the form of a book. The early stages of “Poppy and Destiny” include several handwritten text collections (“Typoscript”, 1944; “Manuscript”, 1945), in which the young author prepared and gradually implemented the concept of his collection. The culmination of this hard work was the Viennese collection “The Sand from the Urns” (1948), which Celan soon destroyed due to numerous typographical errors. Nevertheless, he never rejected it, yet he conscientiously revised the poems, including a good half of them into the manuscript of the new collection “Poppy and Memory”. At a meeting of the literary “Group 47” in Niedorf (1952), he finally managed to get in touch with the Stuttgart publishing house “Deutsche Verlags-Anstalt”, which regarded his collection as an innovation in post-war German poetry, as well as promptly published it on Christmas Eve of 1952. The publication of the collection soon became a literary sensation and laid the cornerstone of the poet’s later fame in the German and European cultural space.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.016
Svitlana Vardevanian
Maria Matios belongs to the Ukrainian literary generation of the eighties of the 20th century. The writer has a lot of prose texts, the editions are fantastic for the Ukrainian book market, the affection of the mass reader is undeniable. That is, we are dealing with a literary brand. However, this literary brand, highly sought after by publishers, readers, and translators, and awarded with many awards, did not enter the literary canon. Literary criticism mostly assigns the prose works of Maria Matios a place in the so-called “mass” literature, the writer’s works are not included in the school curriculum. The prose of Maria Mathios is an interweaving of historical and femincentric themes. The historical theme in Matios’s prose is not presented from the angle usual for similar themes. The reader does not see the historical twists and turns that usually take place in the capitals, he observes the consequences of major historical events in the small village of Roztoky in Bukovyna. The village, which for the author herself is not the periphery, but the center, because she was born in it. Just as peripheral to the patriarchal masculine center is the “second sex”, on whose behalf the story is told in the writer’s texts. The women of Maria Mathios talk about their psychological and bodily experiences of survival in times of great social upheaval. The prose texts of Maria Mathios make sense of the colonial traumas of Ukrainian memory, centering the peripheral. The author uses one of the most relevant decolonial narrative strategies – the archival impulse. The writer delegitimizes the story officially broadcast by the former metropolis; emphasizes the history of national resistance. The prose of Maria Mathios is important and necessary for our literary canon.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.080
Yuliia Pavlenko
The dynamics of the text’s stay in the circle of literary classics becomes clear only over time: the experience of epistolary novels of the Enlightenment is very indicative of many aspects of literary production. “Portuguese Letters” by Guilleragues (second half of the XVIIth century) and “Letters from a Peruvian” by F. de Graffigny (middle of the XVIIIth century) offer material for understanding the mechanisms of the novel’s timeless success. These texts have experienced powerful recognition, oblivion, and rediscovery throughout history. From the history of creation, genre canon, literary process to the system of motives, rhetoric, figures, and metaphors – everything in these works is a kaleidoscope of the widest readership. The extra-literary factors and intra-textual mechanisms of the two novels by Guilleragues and F. de Graffigny together shed light on the secret of the power of the work in the context of the classics of literature. At the same time, they encourage us to check the essence of such categories as author’s mystification, fictionality, mimeticity in the communication arch of an artistic work. The article reveals these questions, which allows us to introduce the “Portuguese Letters” of Guilleragues and the “Letters from a Peruvian” by F. de Graffigny into the circle of current issues of modern literary studies to fill the gap in Ukrainian literary studies around the theme of the formation, flowering, and power of the epistolary genre in the history of French literature.
随着时间的推移，文本在文学经典圈中停留的动态才变得清晰:启蒙运动时期书信体小说的经历非常能说明文学生产的许多方面。吉约格斯的《葡萄牙书信》(18世纪下半叶)和f·德·格拉夫尼的《一个秘鲁人的来信》(18世纪中叶)为理解这部小说经久不衰的成功机制提供了材料。这些文本在历史上经历了强有力的认可、遗忘和重新发现。从创作历史、体裁经典、文学过程到动机系统、修辞、人物和隐喻——这些作品中的一切都是最广泛读者的万花筒。guillerues和F. de Graffigny的两部小说的文学外因素和文本内机制共同揭示了作品在文学经典背景下的力量的秘密。同时，它们也鼓励我们在艺术作品的传播拱门中审视作者的神秘性、虚构性、模仿性等范畴的本质。通过对这些问题的揭示，我们可以将吉约格的《葡萄牙书信》和格拉夫尼的《一个秘鲁人的书信》引入现代文学研究的当前问题圈，以填补围绕法国文学史上书信流派的形成、兴盛和力量这一主题的乌克兰文学研究的空白。
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.128
Eleonora Shestakova
Themed cooking reality shows emerge and develop at the intersection of media communications, literary culture and leisure. They are also based on intertextual, transmedia connections, simultaneously and masterfully using heterogeneous languages, ranging from artistic, social-ideological to commercial. This is a new type of intermediate territory (J. Mukarzowski), which is filled with, and exists due to the meeting and interaction of heterogeneous languages, memory, signs, and associations, fragmentary hints, which are united into a coherent whole by the tasks, meanings and language of media. Such a culinary media text that uses the game with fashionable works of art, holidays, and heroes and makes them fashionable by this game should be easily read as explicit, well-known, universally understood quotes, allusions, puzzles, and signs. It to be accepted and in demand, must speak the equally significant language of mass culture, art, and everyday life, which is quickly perceived. Magical heroes, characters, and magical food also actively and naturally fit into these processes through the means and possibilities of literary culture and media communications. As a result, new urgent places of existence of collectively, socially, and ideologically significant meanings are created and consolidated, and literary culture contributes to this as much as possible, helping to form and manifest new aspects of truth and authenticity. In addition, thematic cooking reality shows also reveal qualitatively new dimensions of transmedia, intertextual transformations of folklore, literature, and cinema texts, as well as aesthetic, ideological, and socio-cultural functions. In this regard, the ideas and methods proposed by J. Mukarzowski in his works of the 1930s and semiotics are relevant.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.009
Olha Chervinska
The article under studies outlines the parameters of the paradigm “success” in relation to the concept of “category”. Hereby, success is interpreted as an ontological phenomenon, as a creative objective of any activity. The metaphysical parameters of success are outlined through a number of additional concepts-markers: avant-garde (innovation), historical time, goal, conjuncture, context, method, style, leap, boundary, summit, victory, authority, even a lucky coincidence. All of them require compliance with their own criteria. Success can come to authors years and even centuries after their death (Homer, Dante Alighieri, Shakespeare, Friedrich Hölderlin, Byron, Emily Dickinson, Vasyl Stus). The same happens to certain texts that may even be alienated from the author (for example, Scheherazade’s fairy tales, chivalric novels, Ukrainian dumas, which are currently successfully exploited by the genre of fantasy). The transit of such successful themes and texts was recorded by A. Volkov’s school of TPI (last quarter of the previous century). Its representatives agreed that imitation is mainly produced by the success of the original source. Referring to the canonical circle of literary names (for example, those identified by H. Bloom), we observe the lack of argumentation for common criteria for evaluating each of these writers. The most interesting things can happen to an artist in the future, in the shadows, because success is mostly a turning point, not the end of his or her life trajectory. Success as a specific emotional cleansing of the soul, in fact, its devastation, can put a tragic end to a biography. Therefore, when taken together, success and failure appear as an important dichotomous compound, the most essential intentional levers of subjective self-determination. The author’s interpretation of the paradigm of “success” is regarded in this article on the example R.-M. Rilke’s poetic text “The Beholder”.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.067
Gaga Lomidze
In anti-democratic systems, free-thinking people are always feared. Poets are free people. That is why the main book of Georgians – “The Knight in the Panther’s Skin” was probably persecuted not only in the 12th century, but also centuries later. It is enough to remember the Catholicos Patriarch of Georgia, Anton I, who threw the “The Knight in the Panther’s Skin” printed in Tbilisi’s first printing house into the Mtkvari river, “as a book harmful to readers, poisonous to the minds and feelings of Christians”. There are only a few main reasons why literary works or works of art in general are banned. Motives are essentially sexual, religious, political, or moral. But the motive as such belongs to a variable category – we cannot say about any motive that it is universal and does not change according to time and space – or more precisely, era and countries. To anyone who has thought about this matter, it will be self-evident that temporal categories are always changing. Michel Foucault has already told us that the concepts of mad and abnormal are constantly changing in different times, under different countries and governments. Times and values change, but the mechanisms of prohibition remain the same. And if before the state directly interfered in what could be considered appropriate, from the point of view of political or other type of correctness, today it already imposes the mass and controls the validity criteria from its point of view as much as possible.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.216
Dan Paranyuk, Alyona Tychinina
The article under studies deals with the issue of regeneration of genre forms of science fiction literature through its evolution. In the context of topical issues of poetics, it outlines the genrological status of science fiction and fantasy in terms of genre modifications – genre, genre variety, sub-genre, mega-genre, and meta-genre. Particular emphasis has been placed on the fact that the evolution of science fiction into a meta-genre format is due to a number of factors, such as the simulative nature of the chronotope of possible and parallel worlds, the change in the anthropological vector of texts, and the involvement of samples of other art forms (intermedial components). In addition, the activation of intertextual narratives in the personosphere (which becomes an important parameter of the meta-genre) has been identified as a marker of the genre evolution of fantasy. The creative activity of the American classic of science fiction prose Clifford Simak (1904–1988) may be regarded as a typical example of how science fiction writers appeal to “other authors’ texts”. This research relies on the analysis of his novel “Shakespeare’s Planet” (1976), in which the reader’s attention is mainly focused on the intertextual parameters of the personosphere, which significantly expands the hyper-real chronotope of the science fiction world. The works by William Shakespeare are identified as the prototexts for fantasy texts. Interpreted by Simak, the Shakespearean imagological narratives are implemented through quotations, reminiscences, anthropological allusions (the use of Shakespeare’s characters’ names), as well as through the introduction of the figure of Shakespeare himself into the fantasy personosphere. What is more, the figure of the English classic occasionally appears as the very center of the personosphere, its confocal axis. It has been determined in the article that the mystified and ironic story of Shakespeare’s timeless existence ferments the internal content of the fantasy text. Besides, the personosphere of a fantasy novel with several fictional narratives also includes the classic’s texts, such as “Hamlet”, “Twelfth Night”, “The End Praises the End”, “The Comedy of Errors”, “King Lear”, “Macbeth”, “Othello”, “Pericles”, “The Taming of the Shrew”, “Richard III”, and “Titus Andronicus”. In this case, in Simak’s “Shakespeare’s Planet”, they perform the function of additional (implicit) narratives, and, consequently, as a particular (intertextual) link in the personosphere. In conclusion, the article claims that the consistent generation of new literary genre formats in the field of the cultural continuum is an immanent feature of the complex literary process, which can be fully realized only with the help of the reader’s rich receptive background.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.007
Olha Chervinska
From the compiler
来自编译器
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