Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.111
Kateryna Kalynych
The theoretical paradigm of the genre in the aspect of genesis is considered on the example of the genre variety of the novel, which today is identified as the university novel (campus novel, university fiction). The matrix genre-creating features of the university novel are singled out: problematics, specifics of the plot and personosphere, time-space, ironic narrative, author’s idiostyle. The internal species formations of the campus novel genre are determined by the specific issues and genre specifics of the plot organization – the youth environment, the professor-teaching component of the personosphere, as well as detective, fantastic, etc. the nature of the intrigue. Under the influence of the stylistic practice of a specific direction (for example, realism or postmodernism), the university novel demonstrates the so-called genre metamorphism. The genesis of the genre is traced in the context of its form-content national specificity. On the example of modern campus novels by Ph. Roth “The Human Mark”, Z. Smith “About Beauty”, J. Aldecoa “The Riddle”, A. Orehudo “A moment of rest”, V. Shostak “One Hundred Days Without a Sun”, V. Kalyta “Arkharotsi”, Halyna Babych “Tyuti” and “Professor Shumeiko”, D. Berezina “Faculty” it is concluded that it is the plot that generates and preserves the genre potential of the university novel. The prospects for the functioning of this genre are indicated the appearance of its new fantastic and detective story versions, derived from the total impact of the latest technologies on society (the emergence of new diseases and adaptation to them, the threat of environmental disasters, etc.). Attention is focused on the distinct cultural transgression of the thematic multivariate genre core of the campus novel into such modern art forms as manga, comics, and movies. Taking into account the concept of the genre spiral of N. Kopystyanska, a conclusion is made regarding the genetic evolution of the student novel. Terminologically concretized as an independent genre in the age of postmodernism, this genre is distinguished by the author’s idiostyle and raises social and political problems of a certain country, without losing the established features of the novel. The direct impact of metamodernism on the university novel is predicted, which will generate its deformation and a new cultural format based on the genre-creating potential of the topic.
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.094
A. Matiychak, N. Nikoriak
The article analyses the film reception issues of I. Murdoch’s biography in epistemological and historiographical perspectives. Due to the productive interaction of different types of biographical works, the mechanism of presentation / perception / cognition is mainly realized through references and reflection as an individual ability to supplement the “truth” of factual biographical material with other relations such as “interpretability”, “realizability” that form the so-called cognitive complex related to the perception peculiarities of biopic both as a separate genre and in the context of other biographical genres: memoirs, literary biography, etc. In the global context of biopics about writers, the film “Iris” (2001), directed by Richard Eyre, is perceived quite ambiguously. This receptive „ambiguity” is explained by the fact that R. Eyre deviates to some extent from the established canons of the biopic genre, building his plot on the contrast of two planes of relations between famous intellectuals – Bayley and Murdoch – as young, talented, charismatic, open-minded in her relationships Iris and as an elderly woman suffering from an incurable disease. Since it is almost impossible to cover her life in all its manifestations and activities in one perspective, the director resorts to intermedial dimensions and techniques of presenting biographical material. Relying on the documentary basis and memoirs of Murdoch’s husband John Bayley (“Elegy of Iris” and “Iris and Her Friends”), due to chronotopic shifts, television biography in the biopic, excerpts from Murdoch’s lectures, emphasizing her quotes scattered in the film, R. Eyre frames his model of Murdoch’s biography. This strategy allowed him, albeit fragmentarily, to show one of the world's smartest women in various guises: as a writer, as a philosopher and as an ordinary person, recreating the happiest and the most tragic fragments of her life, especially during the progression of Alzheimer’s disease.
本文从认识论和史学的角度分析了默多克传记的电影接受问题。由于不同类型的传记作品之间的生产性互动，呈现/感知/认知的机制主要是通过参考和反思这一个体能力来实现的，以“可解释性”、“可实现性”等其他关系来补充事实传记材料的“真实性”，这些关系形成了与传记作为单独类型和其他传记类型的感知特性相关的所谓认知情结。回忆录、文学传记等。在作家传记片的全球背景下，理查德·爱(Richard Eyre)导演的电影《虹膜》(Iris, 2001)给人的印象相当模糊。R. Eyre在某种程度上偏离了传记片类型的既定标准，将他的情节建立在著名知识分子——贝利和默多克——年轻、有才华、有魅力、思想开放的爱瑞斯和身患绝症的老年妇女之间的两个层面的关系对比上，从而解释了这种可接受的“模棱两可”。由于几乎不可能在一个视角中涵盖她的所有表现和活动，导演诉诸于呈现传记材料的中间维度和技术。R. Eyre以默多克的丈夫约翰·贝利(John Bayley)的回忆录(《艾瑞斯的挽歌》(Elegy of Iris)和《艾瑞斯和她的朋友们》(Iris and Her Friends)的纪录片为基础，由于时间的变化，传记片中的电视传记，摘录默多克的演讲，强调她在电影中散落的语录，从而构建了默多克传记的模型。这一策略让他以作家、哲学家和普通人的身份，零碎地展现了这位世界上最聪明的女性之一，重现了她生命中最快乐和最悲惨的片段，尤其是在阿尔茨海默病恶化期间。
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.137
S. Vyshynskyi
The article examines the methodology of integral traditionalism as a tool for the analysis of myth, art, literature and the identification of universal metaphysical foundations of culture. René Guénon’s teaching is considered as one of methods of literary criticism that goes beyond philology itself. The methodological approaches of traditionalism, whiche were ahead of the structuralist turn in the humanities, allow to enrich the field of literary studies as well. The article points out its advantages and disadvantages, and compares the traditionalists’ approach with the more measured method of Mircea Eliade and his view of “mystical” and “esoteric” creativity in literature. According to traditionalism, some literary texts should be read primarily as works of a metaphysical and occult nature. This means that a purely philological approach to their analysis may be counterproductive. Traditionalists propose to go beyond literary studies and connect it not only with philosophy and religious studies, but also with theology and metaphysics. In this study, we show how René Guenon and his students interpreted the texts of Dante Alighieri, Victor Hugo, Gustav Meyrink, Hermann Hesse and others from the perspective of esotericism. At the same time, we show the limitations of this approach in the analysis of poetry and works of mass literature, where authors are guided by fashion or pure sensual inspiration.
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.172
Svitlana Prytoliuk
The article examines the problem of “internal emigration” in German literature and its connection with “German magical realism”, highlights the history of the origin and study of the term and trends in its interpretation in different historical periods from the mid-forties to modern times. The paper notes that most works of “magical realism” were unfairly on the periphery of the literary process because they were written during Hitler’s dictatorship. The author of the article states a certain categorical disparity in the definition and classification of works of “magical realism”, when not formal and aesthetic features are considered, but political and historical criteria. The rhetoric of the “Great Discussion” not only actualized, but also strengthened the pejorative nature of the phrase “internal emigration”. The controversy over the definition of the concept and its conceptual content has led to the fact that “internal emigration” was perceived as a manifestation of adaptation, self-justification and unwillingness to admit guilt. The semantics of the term, however, is changing along with scholars’ efforts to shed light on this controversial discourse. The writers’s being in “internal emigration” not only removes the question of the legitimacy of their work, but also opens a new layer for scientific research, in particular, study of the use of techniques of covert writing and means of expression of alienation. The works of German magical realism with the characteristic expansion of reality in their genre through the creation of unreal dimensions can be considered as a certain expression of internal exile. The metaphorical nature of the texts can be seen as a manifestation of introspective self-immersion of the authors, an expression of their separation from the political system and solitude in the inner world. The author of the article suggests that there is a certain coherence between German magical realism and the phenomenon of “internal emigration”. Hermeneutic analysis of the works of the authors of “internal emigration”, representatives of German “magical realism” must include a study of the historical context and autobiography of the writer.
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.041
Alois Woldan
The article under studies reviews the most important stages of Ukrainian history (from the Middle Ages to the end of World War I) that had the most decisive impact on the formation of Ukrainian nation, as well as the ways they were reflected in literature. The article outlines that these stages are at the same time the moments of historical, political and cultural integration into Europe, on the basis of which Ukrainian history differs significantly from Russian history. In a situation where the russian aggressor denies Ukrainian self-sufficiency, a retrospective view of these moments is of particular importance.
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.007
Lidiia Kovalets
The article using reliable facts and argued assumptions reconstructs a paradigm of A. Krymsky’s contacts with Bukovyna and Bukovynians, in particular not yet traced pages and updates a unique source base, namely forgotten, scattered newspaper and book literary-critical, memoir materials. It turns out that the paradigm of these contacts is interesting and branched out. It began in A. Krymsky’s early youth by reading the works by Y. Fed’kovych and continued in fact throughout his life. Besides the characteristic of Fed’kovych’s interests, it is said about his publication of wide scholar and artistic issues in Bukovina periodicals. The link between A. Krymsky and A. Kobylianska is discussed more deeply than up to now. Thus, we disprove preliminary statements about authenticity of their meetings in Chernivtsi in 1898, in Kyiv, and at the farmstead Zelenyi Hay near Hadiach in 1899; we point to attempts by the Soviet organisers of science to falsify materials relating to the issue. In the history of the scholar’s contacts with eminent philologist and cultural figure V. Simovych’s, they were remarkable due to their epistolary relations and personal meetings in Kharkiv and Kyiv in 1927 and in Lviv in 1940 – meaningful, businesslike, not devoid of a warm human component. A whole range of other asks were outlined, on which it is still worth concentrating in the future, comprehending the subject. So the investigation of prominent, nowadays unjustly forgotten author is completed as well as enriched history of literary, social and cultural interconnections of scientific and creative intellectuals of isolated parts of Ukraine in the late 19th – the first decades of the 20th century.
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Pub Date : 2022-10-28DOI: 10.31861/pytlit2022.105.072
Olha Chervinska
The article under studies reveals the issue of key arguments that arise while reading the poetry by Vasyl Stus at the time of his ideological persecution and imprisonment, carrying out poetological and comparative interpretation of the verses “Ves obshyr miy chotyry na chotyry…” (“My whole expanse is four by four…”) and “Zazyrayu v zavtra – tma i tmuscha…” (“Looking into tomorrow – darkness and gloom”). The experience of murderous “today” (in the second verse, the paradigm of “today” has been condensed with the “days of remembering”) inevitably leads the poetic thought to the fragmentation of space and time. The latter may be regarded as the very point that gives an almost unmistakable answer to the question about Stus’ verse, which has the right to be called his last one (final). Despite the tragedy of experiencing loneliness and thought of inevitable death in both verses, the projection of time is made in opposite directions. In the first example, it leads directly from the prison cell to the mortal afterlife, while in the second – from the emptied dwelling of “looking into tomorrow” purposefully turns back, finding a life-affirming balance in analogies extrapolated from the episodes of historical antiquity. Therefore, Vasyl Stus does not reveal the theme of existential boundaries in these two verses as the psychology of the pre-death state (“No fear, no pain, no hesitation / before death...”). This theme assumes a philosophical dialogue, communication of a completely different kind, entering ontology, the inner and the boundless space of the author’s spirit, as well as leading both the author and the readers beyond the horizon of the obvious and becoming the most important receptive “node” of his poetics.
本文的研究揭示了Vasyl Stus在思想迫害和监禁时期阅读诗歌时产生的关键争论问题，对“我的整个空间是四乘四的”和“Zazyrayu v zavtra - tma i tmuscha…”(“展望明天-黑暗和忧郁”)的诗句进行诗学和比较解释。凶残的“今天”的体验(在第二节中，“今天”的范式被浓缩为“回忆的日子”)不可避免地将诗歌思想引向时空的碎片化。后者可以被认为是对斯都诗的问题给出了一个几乎无误的答案的关键，这首诗有权利被称为他的最后一篇(最后一篇)。尽管这两首诗中都有孤独的悲剧和不可避免的死亡，但时间的投射却是相反的。在第一个例子中，它直接从监狱牢房通向死亡的来世，而在第二个例子中，它从“展望明天”的空住所有目的地返回，在从古代历史事件中推断的类比中找到了肯定生命的平衡。因此，Vasyl Stus在这两句诗中并没有将存在边界的主题揭示为死前状态的心理(“No fear, No pain, No hesitate / before death…”)。这一主题进行了一种完全不同的哲学对话和交流，进入了本体论，进入了作者精神的内在和无限空间，引领着作者和读者超越表象的视界，成为他诗学最重要的接受“节点”。
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Pub Date : 2021-12-30DOI: 10.31861/pytlit2022.106.165
Kateryna Kalynych
The terminological load of the phrase “foreign / world literature” is outlined. The attention is focused on the semantic, cultural-historical, epistemological features of this concept. Literature as a verbal art, being formed since the time of oral folk creativity, reflects the corresponding established canon in the national expression, accordingly, the dynamics of the world literary process. It is emphasized that the development of national literatures had strengthened the nature of explicit-implicit literary relationships. It contributed to the formation of new genres, artistic tastes, as well as to the expansion of the recipient`s worldview, and, accordingly, literary concepts. Controversial interpretations of Goethe’s term “Weltliteratur” are considered: supporters who perceived literature as one general world synthesis (F. Moretti) and scientists who predicted the collapse of the views of the German classics (E. Auerbach). The scientific discourse of the 20th century is assumed. Diverse interpretations of the “world literature” paradigm is understood as a collection of all works from antiquity to modern times; an anthology of the best literary texts (a kind of canonization); as a high-quality cultural and intellectual mutual enrichment. The significant contribution to the formation of the “world / foreign literature” paradigm of comparative studies and sociocultural research is emphasized (the works of P. Sorokin, O. Biletsky, L. Gumilyov, G. Gachev, D. Dyuryshin, A. Volkov of the Chernivtsi TPI School). Outlining the term world / foreign literature in the general literary process, the modern concepts of Western literary critics (E. Auerbach, P. Casanova, K. Prado and T. Samuayo, F. Moretti, D. Damrosch, R. Thomsen, J. David, N. Esenlilioglu, S. Uhliga and C. Zhang) are assumed. It is concluded that the diversity of the interpretation of the term “world / universal / foreign” literature directly depends on the historical, cultural and epistemological approaches to considering this issue; however, for all researchers there are common criteria for the nominative definition of the given paradigm – comprehensiveness, canons of a certain method, anthropological value, and participation in globalization processes.
概述了“外国/世界文学”一词的术语负荷。我们的注意力集中在这个概念的语义、文化历史和认识论特征上。文学作为一种语言艺术，自民间口头创作时代形成以来，反映了民族表达中相应的既定规范，从而反映了世界文学进程的动态。强调民族文学的发展强化了显性-隐性文学关系的本质。它有助于形成新的体裁和艺术品味，也有助于扩大接受者的世界观，从而扩大文学观念。对歌德的“世界文学”一词有争议的解释被认为是:认为文学是一个普遍的世界综合的支持者(F.莫雷蒂)和预测德国经典观点崩溃的科学家(E.奥尔巴赫)。假定20世纪的科学论述。对“世界文学”范式的不同解释被理解为从古到今的所有作品的集合;最好的文学文本选集(一种册封);作为高质量的文化和智力相互丰富。强调了对比较研究和社会文化研究的“世界/外国文学”范式形成的重要贡献(P. Sorokin, O. Biletsky, L. Gumilyov, G. Gachev, D. Dyuryshin, A. Volkov的Chernivtsi TPI学派的作品)。概述一般文学过程中的“世界/外国文学”一词，假设西方文学评论家(E. Auerbach, P. Casanova, K. Prado和T. Samuayo, F. Moretti, D. Damrosch, R. Thomsen, J. David, N. Esenlilioglu, S. Uhliga和C. Zhang)的现代概念。对“世界/普遍/外来”文学解释的多样性直接取决于考虑这一问题的历史、文化和认识论方法;然而，对于所有研究者来说，对于给定范式的命名定义有共同的标准——综合性、某种方法的规范、人类学价值和对全球化进程的参与。
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Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.108
S. Macenka
Increased interest in everyday life and routine explains a new and relevant perception of the creative agenda of contemporary German writer Wilhelm Genazino (1943-2018), known as “poetizing everyday life”. The article, thus, aims to offer a comprehensive view into the poetics of the German novelist to identify ways in which everyday life is poetized, which is an example of linguistic mastery, narrative skill, and philosophical generalization. A close reading method is used to analyze specific scenes from the novels (An Umbrella for One Day, Happiness in Unhappy Times, The Foolishness of Love, If We Were Animals), in which the characters actively practice the “extended gaze”, theoretically validated in W. Genazino’s essay, to reveal a system of special ties important to their inner world behind the routine situations and worn clothes. The writer believes that in such a way, characters experience an epiphany, which provokes further musing about art and the mystery of everyday life. In this connection, it is established that Genazino’s characters manage to avoid the negative influences of society by distancing from it via self-invented aesthetic processes. They are constantly searching for individual vision. It is also noted that the writer focuses on prolonged disappearance scenes, works with time accumulated in objects, and projects distancing from one’s own self to clothes. The extended gaze which the protagonists use to watch their own portrayals helps them overcome identity crisis and generate art, which promises salvation, through simple observance. It is concluded that W. Genazino talks about the aesthetic link between the subject and object perceived as individual “cultural significance”. It enables the protagonists to discard the routine and enter a space outside the limits they have themselves created. Everyday objects and familiar situations have the capacity to stimulate memories and boost creative perception. Their fleeting nature provides for compensatory narration, which means dropping the inessential and petty and is, consequently, perceived as a productive narration. Everyday reality emerges as something that may be perceived as visible existence, which upon some consideration may reveal unique dimensions and gain particular significance based on intermediary space between what is perceived by the eye and the invisible, actualized by the inner vision. Such reflexive vision transcends the limits of things, transforming them and constituting new reality. Such is the underlying principle that the writer used to recreate everyday life in his works.
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