Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.064
Yulia Isapchuk
The article studies the image of a mentor for the development of a novice author on the example of the work of the successful Austrian writer Ingeborg Bachmann (1926–1973). The role of a tutor is analysed from her first texts to the status of a Viennese intellectual in the middle of the 20th century. The direct influence of older writers and artists from the same generation on the formation of her author’s style is gradually investigated. The figure of the first mentor, the Carinthian writer and teacher Joseph Friedrich Perkonig is emphasized in the example of her early story “The Cross of Hondich” („Das Honditschkreuz”, 1943/1944) and “Letters to Felician” („Briefe an Felician”, 1946). The figure of the second mentor, the Austrian repatriate writer Hans Weigel and his writing workshop (“Group 50”) is examined. Attention is focused on H. Weigel’s autobiographical novel “Unfinished Symphony” („Unvollendete Symphonie”, 1951) and I. Bachman’s first novel “Nameless City” („Stadt ohne Namen”) on his consulting during 1947–1952. Attention is turned to the I. Bachman’s acquaintance with Paul Celan in Vienna, started the artistic dialogue between two young authors: the collection of poems “Deferred Time” („Die gestundete Zeit”, 1953) and “Invocation to the Big Dipper” („Anrufung des großen Bären”, 1956) by I. Bachman and “Poppy and Memory” („Mohn und Gedächtnis”, 1952) by P. Celan. The parallel correspondence of the author with H. Weigel and P. Celan is also compared. We study the role of Hans Werner Richter, the leader of the prominent “Group 47”, whose prize (1953) finally convinced the young author to become a professional writer. Communication with the German composer Hans Werner Henze is stressed as a coexistence of “twins in spirit” and successful intermedial tandem.
本文以奥地利成功作家英格堡·巴赫曼（1926-1973）的作品为例，研究了一位新手作家成长的导师形象。从她的第一部著作到20世纪中叶维也纳知识分子的地位，分析了导师的角色。逐渐探讨了老一辈作家和艺术家对她创作风格形成的直接影响。第一位导师、卡林西亚作家兼教师约瑟夫·弗里德里希·佩科尼格的形象在她的早期故事《洪迪奇的十字架》（《洪迪施克鲁兹》，1943/1944）和《致费利西亚的信》（《费利西亚简报》，1946）中得到了强调。考察了第二位导师、奥地利遣返作家汉斯·魏格尔及其写作工作室（“第50组”）的形象。人们的注意力集中在H.Weigel的自传体小说《未完成的交响曲》（Unvollendete Symphonie，1951）和I.Bachman在1947年至1952年期间咨询的第一部小说《无名之城》（Stadt ohne Namen）上。人们的注意力转向了I.Bachman在维也纳与Paul Celan的相识，开启了两位年轻作家之间的艺术对话：I.Bachman的诗集《延迟的时间》（《Die gestendo Zeit》，1953年）和《北斗七星的召唤》（《Anrufung des großen Bären》，1956年），以及P.Celan的诗集《罂粟与记忆》（《Mohn und Gedächtnis》，1952年）。并对作者与魏格尔、策兰的平行通信进行了比较。我们研究了汉斯·维尔纳·里希特的角色，他是著名的“47小组”的领导人，他的奖项（1953年）最终说服了这位年轻作家成为一名职业作家。与德国作曲家汉斯·维尔纳·亨泽的交流被强调为“精神上的双胞胎”和成功的中间串联的共存。
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Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.118
T. Potnitseva
The focus of the proposed study is the analysis of the perception and interpretation of O. Wilde’s life and art in the historical dynamics with the accent on the modern period. The famous, cult writer of the end of the XIXth – the beginning of the XXth century has not lost his topicality and attractiveness nowadays due to certain turns in the social-cultural development of the new millennium. The impact of these turns and the society claims on the interpretation models are analyzed. Some representative examples of interpretation versions are given in comparison. Among them there are visualized variants of “The Picture of Dorian Gray” in famous movies, literary works of contemporary writers and literary biographies in which their authors create their own projections on the essence of O. Wilde’s life and creative art. A detailed analysis of Neil McKenna’s “The Secret Life of Oscar Wilde” (2004) is proposed. It is the latest sensational biography, in which the author opposes the conventional wisdom about the writer after Ellmann’s biography. MacKenna creates “a sexual odysseys”, focusing on O. Wilde’s sexual life which, according to biographer’s point of view, was the main reason and incentive of the writer’s creative art. One can’t but feel a certain risk of such an epatage, outrageous version which may be reclined in future because of its one vector property. But nevertheless MacKenna’s interpretation of O. Wilde’s life and art is updated by the society that feels the coincidence of its demands and claims with the biographer’s ones at the very this turn of its development.
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Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.144
N. Naumenko
The article analyses the specifications of narrative structures and types of narrators in the song lyrics from the album “Ten Summoner’s Tales” (1993), based on “Canterbury Tales” by Geoffrey Chaucer and traditionally claimed the Magnum Opus of Sting. Apparently, Chaucerian style in all the twelve verses composing the album emerges not merely as the interpretation of original “Canterbury Tales” plots or impartment of the new features to the initial characters, but predominantly as exploitation of the lyrical and ironic intonations within an image of a narrator for a certain poem. Since a song is the synthetic generic structure marked with profound internal experience, Sting’s album reveals the diverse types of a speaker in every verse. Primarily, it is the ‘I-narrator’ embodied in poetic masks of a historian, a warrior, a saint, a gambler or a philosopher; some texts like “Fields of Gold” or “Shape of My Heart” represent the alternation of speaker types, which method of storytelling creates the special generic and narrative polyphony for a song. Subsequently, the narrative structure would determine the genre of a separate work: a detective story, a pastoral, a historical reflection, a cumulative tale, a confession, and somehow a Dante-styled epic poem. Overall, the various types of narrators in Sting’s lyrics composing “Ten Summoner’s Tales” (determined as ‘reflexive,’ ‘actor,’ ‘pointillist’ and ‘medium’ with all possible combinations) bring the elements of the author’s own vital and creative experience into the song where they gain the generalized meanings as symbols of human life, being surrounded with verbal images and amplified with musical accompaniment.
本文分析了由乔叟的《坎特伯雷故事集》改编而成的专辑《十个召唤师的故事》(1993)的歌词中叙述结构的规范和叙述者的类型。显然，乔叟风格在这张专辑的12首诗中不仅体现在对《坎特伯雷故事集》原著情节的诠释或对最初人物的新特征的赋予上，而且主要体现在对一首诗的叙述者形象中抒情和讽刺语调的利用上。由于歌曲是带有深刻内在经验的合成一般结构，斯汀的专辑在每句诗中都揭示了说话者的不同类型。首先，它是“我的叙述者”，体现在历史学家、战士、圣人、赌徒或哲学家的诗意面具下;像“Fields of Gold”或“Shape of My Heart”这样的文本代表了说话者类型的交替，这种讲故事的方法为歌曲创造了特殊的通用和叙事复调。随后，叙事结构决定了一部独立作品的类型:侦探小说、田园小说、历史反思、故事集、忏悔录，以及某种程度上但丁风格的史诗。总的来说，在《十个召唤师的故事》的歌词中，各种类型的叙述者(被确定为“反身的”、“演员的”、“点画的”和“媒介的”，以及所有可能的组合)将作者自己的生命和创作经验的元素带入歌曲中，他们获得了作为人类生活符号的广义意义，被语言形象包围，并被音乐伴奏放大。
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Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.007
N. Nikoriak
The article concerns the relevance of the issue of genre heredity between literature and cinema. The cinematography actively turned to the genre of biography even in the first decades of its development, in the era of the silents. It did not disappear from the view of cinematographers throughout the 20th century. Recently, this genre has been activated both in cinema and on television, which increased the interest of researchers. Hence, the receptive problematics of the Ukrainian philosopher, theologian, poet and teacher Hryhorii Skovoroda’s biography (1722–1794) is analysed in the cinematographic discourse. It was noticed that the figure of the outstanding philosopher did not attract the proper attention of cinematographers either in Soviet period (only one feature film and one documentary film were shot) or in the time of Ukraine’s Independence. However, even those few films only partially represent the “Ukrainian Socrates” to the viewer. It is stated that documentary production, in contrast to the feature films, is represented by a number of films about Hryhorii Skovoroda, which, of course, differ in their quality and creative potential. However, having an aesthetic and cognitive value, they all present a certain way of processing biographical material (letters, memories, stories of contemporaries), his writings and creative works (philosophical, literary, musical works) and perform an important function of popularizing this outstanding personality and his creative heritage. It is concluded that the cinematographic actualization of the philosopher’s biography and works in recent decades is due to the new historical situation, to the desire to perceive his legacy in a new light, to debunk the existing biographical myths. Skovoroda’s philosophical ideas not only remain relevant in the 21st century, but also appear as markers of Ukrainian identity in the modern reality.
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Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.025
A. Tychinina
Hryhoriy Skovoroda’s idea of the immanent existence (1722–1794) about related work in Ukrainian modernists poetry, in particular representatives of the artistic group “Muzaget” (1919) is considered as the main methodological prism that conceptualize related work of Panna, outlined with the support of V. Gorsky, L. Ushkalov, and D. Chyzhevsky. The article describes the history of creation and specifics of Kyiv post-revolutionary group of symbolists “Muzaget” activities. The literary and artistic almanac with a similar name was analyzed, where each member of the collective presented his “related” art form: poetry, prose, criticism, painting and, at the same time, recorded the affinity of individual and social (national) principles. Based on the analysis of Mykhailo Zhuk, Dmytro Zahul, Volodymyr Kobylyansky, Klym Polishchuk, Oleksa Slisarenko, Mykola Tereshchenko, Pavlo Tychyna, Pavlo Fylypovych, and Volodymyr Yaroshenko poetry, conceptual dominants have been singled out, which in general realize the creative and collective affinity of “Muzaget poetry”. The symbolism of poetic images-archetypes is outlined: God, Christ, joy, star, flower, wind, path, poet’s soul, singing, music, and dream. The functioning of antitheses and parallelisms is emphasized: the flow of human life / the impermanence of nature, life / death, earth / hell / heaven, good / evil, day / night, asceticism / holiness / sinfulness, Christ / Satan, loneliness / crowd. The polyphonic musical imagery and musicality of the poem are analyzed by using tropes, phonetic and syntactic means. It is concluded that poetic innovation, truthful exhibition of creativity and individuality, accentuation of affinity between talent and character, productive interaction of friends in popular creative collectives in the conditions and under the influence of complex historical events and ideological dilemmas of the 20-30s of the 20th century, led some Musagetists to glorious recognition, and others to the tragic consequences of the Red Renaissance.
Hryhoriy Skovoroda关于乌克兰现代主义诗歌中相关作品的内在存在(1722-1794)的观点，特别是艺术团体“Muzaget”(1919)的代表，被认为是概念化Panna相关作品的主要方法论棱镜，在V. Gorsky, L. Ushkalov和D. Chyzhevsky的支持下概述。文章描述了基辅革命后象征主义团体“Muzaget”活动的历史和具体情况。分析了名称相似的文艺年鉴，其中每个集体成员都提出了他“相关”的艺术形式:诗歌，散文，批评，绘画，同时记录了个人和社会(国家)原则的亲和力。通过对朱克、扎胡尔、科比利扬斯基、波利什丘克、斯利萨连科、捷列先科、季希纳、费莱波维奇和雅罗申科诗歌的分析，找出了观念上的优势，这些优势总体上体现了“穆扎盖特诗歌”的创造性和集体亲和力。概述了诗歌意象原型的象征意义:上帝、基督、欢乐、星星、花朵、风、道路、诗人的灵魂、歌唱、音乐和梦想。强调了对立和平行的功能:人类生命的流动/自然的无常，生/死，地球/地狱/天堂，善/恶，白天/黑夜，禁欲主义/圣洁/罪恶，基督/撒旦，孤独/人群。从修辞、语音、句法等方面分析了这首诗的复调音乐意象和音乐性。文章认为，在20世纪20-30年代复杂的历史事件和意识形态困境的影响下，诗意的创新、创造力和个性的真实展示、天赋与性格之间的亲和力的强调、大众创作集体中朋友之间富有成效的互动，使一些Musagetists获得了光荣的认可，而另一些则导致了红色文艺复兴的悲剧后果。
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Pub Date : 2022-12-30DOI: 10.31861/pytlit2022.106.051
L. Hladkoskok, I. Muradkhanian, H. Semen
Edgar Lawrence Doctorow (1931–2015) is the American prose writer, in the literary heritage of whom one finds 12 novels, 4 of which had screen versions, 3 volumes of short stories and 1 stage drama, an editor and a scientist. The writer provided more than once a self-commentary to his creative works, his interviews became the indispensable source of his works’ understanding. Doctorow consistently wrestled the traditional approach to literature. Many a researcher turned to his literary heritage. The examination of the Doctorow’s creative method evolution was carried out in two stages. First the main characteristic features of the literary works were singled out, later on by means of the comparative method the two main novels “Ragtime” and “Loon’s Lake” correlation from the point of view of the writer’s depiction evolution was carried out. The characteristic features of the novels are violated chronology, combining of reality with the invented, depicting the protagonists at the moment of the greatest changes, different arts genres fusion manifested in style, excessive fascination with the naturalistic details. The novel “Ragtime” is an objective, author’s narration, “Loon Lake” is the monologue of the I-form narrator. In “Ragtime” the prose writer combined the style of “new journalism” with “retro”. “Loon Lake” is an attempt to create the main image, render the inexhaustibility of the plenitude of life. In the novel “Ragtime” literature is melted with music, whereas in “Loon Lake” prose is melted with poetry of vers libre.
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.147
O. Omelchuk
The vision of Ukraine as a national and cultural unity within ethnic Ukrainian lands not only did not disappear from the Polishchuk’s works in the Soviet period but was purposefully advanced in his multi-genre cultural practices. Establishing creative contacts with émigré writers as well as Polishchuk’s concept of a literary radio magazine became one of the most important directions of this activity. The article examines the connections of V. Polishchuk with émigré artists Volodymyr Vynnychenko, Mykyta Shapoval, Oleksandr Oles, and Pavlo Kovzhun. Analyzing their contacts, the author finds the permanent need for writers on different sides of the Soviet border to maintain a creative dialogue. The beginning for the dialogue was laid in the pre-Soviet period, that is, in the times of the UNR/Hetmanate/Directorate. In order to delegitimize the activities of Ukrainian political emigration, the idea of “two Ukraines”, Soviet and émigré, appeared in the Soviet discourse of the first half of the 1920s. Despite the use of rhetoric about the existence of “two Ukraines”, the main strategy of V. Polishchuk was not separation, but the combination of the proletarian image of Ukraine with national feelings and literary traditions. In a number of his publications, Polishchuk paid particular attention to the centers of Ukrainian cultural life outside the jurisdiction of the Soviet government (Lviv, Prague) investigating the life of foreign societies and artists. His texts about foreign countries were full of genuine interest. But with all frankness, part of Polishchuk’s biography remained outside the official pro-Soviet discourse, existing in understatements, hints, subtexts. However, we can consider the pre-Soviet period of Polishchuk’s biography as the main factor that influenced his views on the nationally determined Ukrainian cultural identity within the united Ukrainian territories.
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.194
N. Nikoriak
Review on the book: Skvira, N. (ed.) (2021). Zhyvotvorne svitlo slova: zbirnyk naukovykh studii pamiati doktorky filolohichnykh nauk Nataliï Rostyslavivny Mazepy [The Life-Giving Light of the Word: A Collection of Scientific Studies in Memory of Natalia Rostyslavivna Mazepa, Doctor of Philological Sciences]. Kyiv : Vydavnychyi dim Dmytra Buraho, 2021, 346 p. (in Ukrainian)
书评：Skvira，N.（编辑）（2021）。Zhyvotvorne svitlo slova：zbirnyk naukovyk studioi paliati doktorky filolohichnykh nauk NataliïRostyslavivny Mazepy[赋予生命的话语之光：纪念语言科学博士Natalia Rostyslaivna Mazepa的科学研究集]。基辅：Vydavnychyi dim Dmytra Buraho，2021，346页（乌克兰语）
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.057
Anzhela Heretsun
Specific markers of the humorous narrative of the literary text are articulated on the basis of the theory of humor, in particular, on such concepts as “incongruity” by A. Schopenhauer, the theory of superiority by T. Hobbes, and “liberation” by Z. Freud. The importance of a receptive reaction to the national criteria of a witticism, which produces humorous pathos, is emphasized. Besides, each literary century has its own specifics of creating the comic. The 20th century, against the background of epochal changes, primarily appeals to irony. The texts of J. Hašek (1883–1923), G. von Rezzori (1914–1998) and F. Iskander (1929–2016) are analyzed. Typologically, they are brought together by the “bokeh effect” (blurring of the background), here it is the historical events that are the background to the main problem that appear “blurred”. In J. Hašek’s unfinished novel “The Fateful Adventures of the Good Soldier Švejk” the illogic of the characters actions appears against the background of the absurdity of war. The fragmentary nature of all depicted events at first deforms the image of Švejk, emphasizing that he is an “absolute idiot”, the pretended idiocy of the hero ironically distorts reality. In a similar way, a humorous narrative is created in the work “Last Year’s Snow” by another quasi-Austrian − G. von Rezzori. The rhizomatic structure of the story together with the narrative, assimilated to a child’s consciousness, creates a comic effect of reception (as well as the quasi-childhood of Švejk). For a children’s narrative, one’s own experiences, rather than historical events, become central. A similar somewhat infantile leveling of reality creates situational comedy in F. Iskander’s stories about the Chik’s childhood. The narrator is also a child, but the author preserves the criteria of a children’s narrative (life-affirming humorous pathos, naive point of view, idealization, unchanged chronotope of childhood). Features of humor inherent in the works of quite different writers connotatively coincide in narrative points. They present the typological incongruence of comic means in creating a humorous narrative.
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.025
Petro Rychlo
The article under studies deals with the issue of inter-national and inter-cultural relations in the Danube Monarchy, which arose as a supra-national state project after the Revolution of 1848. This conglomerate of numerous ethnic groups and nationalities, which, due to the new liberal constitution and national harmony of 1867 (despite certain conflicts and social controversies between individual powerful subjects, languages and ethnic regions), lived in relative harmony and may be regarded today as a prototype of the European Union. Besides, the article investigates the phenomena of multi- and pluriculturalism, concepts of “endogenous” and “exogenous” plurality. Particular emphasis has been laid on the issue of multilingualism, its diverse mechanisms and practices.
{"title":"Multiculturalism and Multilingualism in the Danube Monarchy of 1848–1918","authors":"Petro Rychlo","doi":"10.31861/pytlit2022.105.025","DOIUrl":"https://doi.org/10.31861/pytlit2022.105.025","url":null,"abstract":"The article under studies deals with the issue of inter-national and inter-cultural relations in the Danube Monarchy, which arose as a supra-national state project after the Revolution of 1848. This conglomerate of numerous ethnic groups and nationalities, which, due to the new liberal constitution and national harmony of 1867 (despite certain conflicts and social controversies between individual powerful subjects, languages and ethnic regions), lived in relative harmony and may be regarded today as a prototype of the European Union. Besides, the article investigates the phenomena of multi- and pluriculturalism, concepts of “endogenous” and “exogenous” plurality. Particular emphasis has been laid on the issue of multilingualism, its diverse mechanisms and practices.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47710356","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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