Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.259
Mariana Lanovyk, Zoriana Lanovyk
In the memory of Anatoliy Nyamtsu (29.03.1950–3.05.2018)
纪念Anatoliy Nyamtsu (29.03.1950-3.05.2018)
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.185
Nataliia Nikoriak
The trend of syncretization of arts in the modern world is spreading and this causes interest in the method of intermedia analysis in literary studies. Today we can observe a kind of “intermedia boom” (H. Levchenko); studies on the problems of synthesis and interaction of arts have become relevant, an intermedia code is actively offered for understanding problems, architecture, artistic means, narrative strategies, images of a literary work. Intermediality is relevant to the methodology of modern literary studies and also offers a new perspective on those artistic texts that are on the periphery of theoretical interests due to the uncertainty regarding their inter-artistic identification. A film story about a composer is an interesting phenomenon of intermedial synthesis, since different channels of intermedial communication, such as literature, cinema and music, are simultaneously involved. The intermedial poetics of Ivan Drach and Ivan Mykolaichuk’s film story “Kyiv Fantasy on the Theme of a Wild Rose-hip” (1984), which is about the founder of Ukrainian classical music, public figure, musician-virtuoso and outstanding scientist-ethnographer Mykola Lysenko, is analyzed. Perfectly combining the private and creative beginnings, the successful tandem of I. Drach and I. Mikolaichuk is managed to present a rich and difficult life of a talented person and a brilliant composer from early childhood to his death. Using a two-level composition of the unfolding of events, the reader/spectator is presented with the journey of Mykola Lysenko in adulthood, where memories are retrospectively used: first childhood, then youth, and then student years, etc. The artists also tried to find out the complicated relationship of the composer with his wife Olga O’Connor and the mother of his children – Olha Lypska. In addition to this, the film story presents the image of the artist in the discourse of contemporary historical events, social processes, in the discourse of events that had significant cultural value, thus presenting the composer as a citizen-patriot, and as a public figure, and as an important cultural figure. The image of a rose-hip stands out as a symbol and a metaphor that combines saturated biographical material into a single whole – a symbol of the “people’s soul, song”.
现代世界艺术融合的趋势正在蔓延，这引起了人们对文学研究中媒介分析方法的兴趣。今天，我们可以观察到一种“媒介繁荣”(H.列夫琴科);对艺术的综合和互动问题的研究已经变得相关，积极地为理解文学作品的问题、建筑、艺术手段、叙事策略和图像提供了一种媒介代码。中间性与现代文学研究的方法论有关，也为那些由于艺术间认同的不确定性而处于理论兴趣边缘的艺术文本提供了一个新的视角。一个关于作曲家的电影故事是一个有趣的中间合成现象，因为不同的中间传播渠道，如文学、电影和音乐，同时涉及。本文对乌克兰古典音乐的奠基人、公众人物、音乐大师、杰出的科学家、民族学家尼古拉·李先科的电影故事《野玫瑰果主题的基辅幻想》(1984)中的中间诗学进行了分析。完美地结合了私人和创造性的开端，I. Drach和I. Mikolaichuk的成功组合成功地呈现了一个才华横溢的人，一个才华横溢的作曲家从童年到去世的丰富而艰难的生活。通过对事件展开的两层构图，读者/观众可以看到尼古拉·李森科(Mykola Lysenko)在成年后的旅程，其中回忆被回顾性地使用:首先是童年，然后是青年，然后是学生时代等。艺术家们还试图找出作曲家与他的妻子Olga O 'Connor和他的孩子的母亲Olha Lypska之间复杂的关系。除此之外，电影故事将艺术家的形象呈现在当代历史事件、社会进程的话语中，呈现在具有重大文化价值的事件的话语中，从而将作曲家呈现为一个公民-爱国者，一个公众人物，一个重要的文化人物。玫瑰臀的形象作为一种象征和隐喻，将饱和的传记材料结合成一个整体——象征着“人民的灵魂，歌曲”。
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.160
Volodymyr Antofiichuk
The article under studies presents the first ever attempt to reveal the basic features of the prose of the prominent Ukrainian poet, prose writer, literary critic, and journalist Ivan Kovaci (born in 1946). It lays particular emphasis on the peculiarities of modeling the chronotope of the prose contained in three books by the writer: “A Sycamore Tree Alone in the Field” (1974), “Chuha” (1976), and “Orange Ballad” (2006). It also analyzes the narrative strategy of the writer’s artistic thinking at the level of lyrical confession of the narrative, investigates its genre specificity and the role of leitmotif detail, as well as traces the synthesis of arts in writer’s creative workshop at the level of coloring, etc. In terms of genre and style features, Ivan Kovaci’s prose is comprised of stories of various types: both lyricized, with a weakened plot, and works that are close to the genre of the classical short story. Their structure is based on an eloquent detail that creates an appropriate emotional coloring. The article claims that prose is an organic and natural part of Ivan Kovacs’s creative activity. Lyricized short stories, etudes, short stories with classical architectonics, a short story-ballad, confessional lyrical prose, together with poetry, create the unity of his artistic world. The peculiarity of the poetic metaphysics of the writer’s prose lies in his peculiar worldview pantheism and subtle sense of beauty. It is essential that the time-space of prose is also close to poetry: it is a “point” chronotope, located at the intersection of the coordinates of the “objective” (given in the narrator’s perception) and subjective-experiential space-time. This feature is especially evident in the story “Chuha”, a kind of mosaic of life. Fictional time and space are subject to mythologization and symbolization, as the lyrical hero is constantly trying to cross the line that separates him from the “golden age” of childhood. Another sign of the poetic nature of the writer’s prose is its deep psychology combined with lyricism. The most eloquent feature of Ivan Kovaci’s style is his special ability to use color. This peculiar synthesis of arts in the writer’s creative palette turned out to be a special, symbolic load of images with a bright coloristic dominant.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.030
Oleksandr Volkovynskyi, Serhiy Hnatenko
“Erasure” technique has gained particular popularity in young American poetry of the early 21st century. Its use entails partial deletion or discoloration of the earlier text by a famous writer. Only fragments of the precedent text remain, used to subsequently shape a different architectonic and semantic structure. Shakespeare’s sonnets are an attractive object for “erasure”. They are the primary source for “innovations” by the poet and artist Jen Bervin in her book “Nets” (2003), the title of which is “erased” from the very word “sonnets” – “nets”. From partially discolored but readable Shakespeare’s text Bervin handpicks the words, extremely important to generate her new meaning. Architectonically, these words remain in the same places as in Shakespeare’s sonnets. Thus, the canonical sonnet form serves only as a background for laconic modernized expression. By means of “erasure” Bervin bares the Shakespeare’s sonnets’ deep semantic “grid”, actualizing various intertextual nuances. The poetic invariant opens up for new interpretations. Moreover, “erasure” technique has a purely technical component, hence the canonical form of the sonnet is subjected to certain filtering. The author of the new text produces numerous contemporary meanings. Therefore, “erasure” technique becomes an effective means of actualizing precedent texts. Modern reader oftentimes has already lost interest in them, but thanks to the postmodern experiment, expressive and sometimes brilliant new creations appear in the form of text fragments. Gamification, inherent to “erasure”, renews communicative processes, involving the classical author, their text, the experimental author, and their new work, as well as the recipient, also able to find new options for constructing utterances.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.238
Olga Tabachnikova
The aim of this paper is to reveal a typological kinship between two outstanding religious thinkers of different eras – Hryhorii Skovoroda and Lev Shestov, who are rarely addressed in conjunction with each other. Drawing on the scarce existing research on this rich, but heavily under-researched topic, we trace the inner connection between their respective philosophical worldviews, paying a special attention to the gnoseological (epistemological) aspect of their teachings. While staying within the framework of religious faith, fundamental for both thinkers, we scrutinize their relationship with reason, focusing on the attitude of both to the scientific method. At the same time, as a distinctive feature of our analysis, we apply a literary-centred approach rather than purely philosophical one, and draw on the optics of poets and writers, characterised by their own unique philosophical premonitions. As we argue, this is justified at various levels, including the closeness of both thinkers under study to the world of literature, especially poetry, which, arguably, had a profound impact on their philosophical discourse and helped to shape their ideas. Not aiming at providing a comprehensive comparative analysis of Skovoroda and Shestov, we nevertheless hope that this paper will pave the way for future studies, and demonstrate the productiveness of our method, shedding some new light not only on these two exceptional thinkers, but also on the intrinsic proximity between religious philosophy and the world of poetry more generally.
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Pub Date : 2023-06-30DOI: 10.31861/pytlit2023.107.043
Jūratė Landsbergytė-Becher
The destiny of Lithuanian writers and the state carry intertwined meanings opening their dimensions to a painfully relevant aspect of history. Several compelling fate-fracturing cases emerged when the writer became an anti-hero or even a martyr in history as if being “swallowed by darkness” or possessed by forces hostile to the state. The signs of the literary success sinking into darkness marked the destinies of some Lithuanian writers like Salomėja Nėris (1904–1945), Petras Cvirka (1909–1947), and Kostas Kubilinskas (1923–1962), showing the decisive factor in the dramaturgy of the intersection between the state and the writer. It can be vice versa when the process of writing breaks into the light of historical openness, illuminating and changing the paradigm of literary processes with its fateful rise out of the depths of loss and the darkness of the grave. The fate of doctor Dalia Grinkevičiūtė (1927–1987) in exile can be such a particular case. The literary unfolding and flourishing in the media of Kristina Sabaliauskaitė (*1974) represents the culmination of the contemporary Lithuanian writers’ success on the international level in creative works about statehood. Her books, “Silva rerum” and “Petro Imperatorė” [Peter’s Empress], with their unique expression of the modernisation of the past times, play the role of the renewal of the genesis of the state and the citizen in the present day leading to the dynamics of forgotten statehood. It has a crucial significance for the aesthetic dimension of the writer’s style, its passion for baroque, and the revival of statehood as a yearning for history.
立陶宛作家和国家的命运有着交织在一起的意义，它们的维度打开了历史上一个痛苦的相关方面。当作家成为历史上的反英雄甚至殉道者，仿佛被“黑暗吞噬”或被敌视国家的势力所占据时，出现了一些令人信服的命运破碎案例。文学成功陷入黑暗的迹象标志着一些立陶宛作家的命运，如Salomėja Nėris (1904-1945)， Petras Cvirka(1909-1947)和Kostas Kubilinskas(1923-1962)，显示了国家与作家之间交集的戏剧的决定性因素。反之亦然，当写作过程进入历史开放之光，以其命运般的从失落的深处和坟墓的黑暗中崛起，照亮和改变文学过程的范式。流亡中的达利亚博士Grinkevičiūtė(1927-1987)的命运就是这样一个特例。Kristina sabaliauskaitje(*1974)在媒体中的文学展开和繁荣代表了当代立陶宛作家在国际层面上关于国家地位的创作作品的成功顶峰。她的著作《Silva rerum》和《彼得的皇后》以其独特的方式表达了过去时代的现代化，在今天发挥了国家和公民起源的更新作用，导致了被遗忘的国家地位的动态。它对作家风格的审美维度、对巴洛克风格的热情以及作为对历史的向往的国家地位的复兴具有至关重要的意义。
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Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.104
S. Macenka
The article presents a detailed analysis of the elements of success in the creative activities of the renowned German writer, playwright, poet and director Bertold Brecht (1898–1956). The paper establishes that Brecht is undoubtedly one of the most successful authors of the 20th century. This is attested by his wide recognition in the sphere of theatre studies and art criticism; the prestigious awards he received; the lengthy activities of the theatre that he founded; his impact on cinema and music, jazz and chanson in particular. The aim of the study is to identify contradictions and dialecticisms explicitly aimed at the success of Bertold Brecht’s works. The research relies on the framework of culture studies literary criticism. With reference to the unique success of The Threepenny Opera premiere in 1928, proactive and purposeful activities of the author towards achieving success have been outlined: the use of music and other means of art; implementation of the idea of a work as collective creativity; involvement of mass media, advertisement and public discussion. In view of the scene of deliberation depicted in the short story “Success” about Mr. Keuner, the author’s way of thinking is characterized as paradoxical, as was his attitude towards his own achievement and failure. It is notable that in the new reception (Mr. Brecht and Success (2004) by the Portuguese writer Gonçalo M. Tavarez) attention is paid to the dialectical thinking of the German writer as a decisive factor for his successful creative career. The book by Gonçalo M. Tavarez contains stories inspired by Mr. Keuner, while on the visual level it depicts the success story of Bertold Brecht who finds himself trapped by his own accomplishment. It is, therefore, proven that despite the different elements of success and failure – commercial, artistic, popular, poetological, individual – the artist perceived them as indivisible and mutually beneficial. In his perception of success he was quite a capable manager of his own achievements and shortcomings.
本文详细分析了德国著名作家、剧作家、诗人和导演布莱希特(Bertold Brecht, 1898-1956)创作活动中成功的要素。本文确立了布莱希特无疑是20世纪最成功的作家之一。他在戏剧研究和艺术批评领域的广泛认可证明了这一点;他获得的声望很高的奖项;他所创立的剧院的长期活动;他对电影和音乐，尤其是爵士乐和香颂的影响。本研究的目的是识别矛盾和辩证法明确针对布莱希特的作品的成功。本研究依托于文化研究的文学批评框架。参考1928年《三便士歌剧》首演的独特成功，作者对取得成功的积极和有目的的活动进行了概述:使用音乐和其他艺术手段;实现作品作为集体创造力的理念;大众传媒、广告和公众讨论的参与。鉴于在关于Keuner先生的短篇小说《成功》中所描绘的深思熟虑的场景，作者的思维方式就像他对待自己的成就和失败的态度一样，具有自相矛盾的特点。值得注意的是，在葡萄牙作家gonalalo M. Tavarez的新作品《Mr. Brecht and Success》(2004)中，德国作家的辩证思维被认为是其创作生涯成功的决定性因素。gonalo M. Tavarez的这本书包含了受Keuner先生启发的故事，而在视觉层面上，它描绘了Bertold Brecht的成功故事，他发现自己被自己的成就所困。因此，事实证明，尽管成功和失败有不同的因素——商业的、艺术的、流行的、诗歌的、个人的——艺术家认为它们是不可分割和互利的。在他对成功的看法中，他对自己的成就和缺点是一个相当有能力的管理者。
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Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.130
S. Chernyshova
Beauty standards and beauty norms contribute to strict expectations of what physical attractiveness is and should be. Images of white standards function oppressively toward other races and their understandings of beauty. In the context of migratory fiction, the relationship between beauty and race becomes central. The appropriation of beauty norms of the dominant group signals about immigrants’ eagerness to follow the rules and accept the norm of the receiving country. On the other hand, an attempt to follow the beauty industry ideology very often leads to immigrants’ self-hatred and low esteem. They suffer from inferiority complex as they are comparing themselves to a standard that is biologically unattainable for them to achieve. The article deals with Chimamanda Ngozi Adichie’s novel “Americanah”. The main protagonist, Ifemelu, after arriving from Nigeria to the U.S.A. changes her hair style as she is influenced by the racial stereotypes about White attractiveness. She believes that her chances will be higher is she relaxes her hair. Instead, she suffers from the loss of hair because of bad treatment. Her despair is verbalized in the blog-writing, where Ifemelu criticizes beauty industry which promotes certain standards. After some years in the U.S.A Ifemelu rejects the norms of structural racism and return to her natural hair. This is the symbolic act of reclaiming her identity after long years of suffering from the regime of race. To analyze the oppressive nature of beauty industry in the novel we have used the methods of close reading, hermeneutics, and character’s typology.
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Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.084
O. Levytska
Literary awards have been analyzed within the system of book awards and ratings in Ukraine; their characteristics have been studied along with the criteria for the selection of texts and editions, assessment methodology as well as the impact the awards have on the recognition of authors and their books in Ukraine and beyond. Selected for the analysis were already published texts, thus focus is placed on book awards, ratings and rankings. In order to develop a methodology for the assessment of literary works as part of book awards, their systematization under various criteria has been put forward. Distinction has been drawn between the concepts of a literary and a book award; specifics of competitions, awards and ratings have been provided. Literary awards are based on the discussion of the content, namely relevance, freshness, artistic merit, aesthetic value and others; book awards consider a totality of literary criteria and the publishing characteristics of the publication and its culture. The study concentrates on the methodology of book selection, assessment criteria, marketing potential and fiction authors-winners of a dozen of book awards, namely Book Forum Best Book Award, Book of the Year rating, BBC Book of the Year, Best Ukrainian Book (rating by Korrespondent magazine), LitAkcent of the Year, Critic’s Rating, Golden Writers of Ukraine and others. The nominations of book competitions and awards for fiction have been discussed. The specifics of each of the awards with regards to the selection and assessment of literary works has been identified along with their coverage in media, promotion of sales, impact on further assessment of the book in the system of book procurement and the potential for translations being made into other languages. Book of the Year rating, BBC Book of the Year, LitAkcent of the Year and others have been used to analyze the nominations for literary works of various genres: poetry, prose, special genre literature, belles-lettres, memoirs, documentary, scripts, drama, teenage and children’s literature.
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Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.041
Tetiana Bovsunivska
This article examines the forms of spiritual consolidation and the real number of literary associations of Ukrainian romantics. The peculiarities of the manifestation plan of each school of romanticism in Ukraine are emphasized, the leading personalities of each school are named. Attention is focused on ordering the sequence of expression of slogans and ideas and their importance for the preservation of national values in difficult times for the ethnic group. It has been emphasized that Hryhoriy Skovoroda’s cordocentrism saved the nation from assimilation during the destruction of Zaporozhian Sich, as well as during the persecution of the Cyril-Methodius brotherhood. The “heart” in Ukrainian romanticism became a symbol of piety, a key to true art, a symbol of eternal love, political independence of a Ukrainian, and even a guarantee of family well-being. All literary schools of Ukrainian romanticism develop the symbolism of the “heart” and aesthetic cordocentrism, creating a specific typological sign of the unity of the entire artistic field of Ukrainian romanticism. The number of groups in the era of romanticism in Ukraine was greater than in various national apartments of Western romanticism, due to the acute need for self-preservation and resistance to genocide and ethnocide at that time.
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