Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.028
N. Nikoriak, A. Matiychak
The genre heredity concept is articulated on the analysis example of I. Drach’s screen version of the biographical film story “I’m coming to you” (1970), dedicated to the 100th anniversary of Lesya Ukrainka. The film is marked by innovative approach of I. Drach as a scriptwriter to the image of the poetess. Contrary to the tradition of documentary film to interpret her biography in a certain matrix key (as a fighter and revolutionary), Drach tried to identify Lesya Ukrainka primarily as a private individual, as the woman who knew how to sacrifice herself for the sake of love. Without aiming to show in detail the entire biography of the poetess, the author of the film story chose only a small fragment of her life – four years 1897–1901. In terms of biopic genre heredity, the article observes how this biographical film presents possible ways of processing and contamination of available documentary material (letters, memoirs, reminiscences of contemporaries) and integral creation by Lesya Ukrainka (her poetry, translations, renditions). Hence, the biopic on the basis of multi-genre text material appears as a kind of intertextual plexus. At the same time, the film pays much attention to the feelings, thoughts, creative impulses and state of mind of the heroine. By analogy with the poetics of literary writing, the form of the poetess’ inner monologue was chosen in accordance with the portrait film genre. It is clear that through the prism of Lesya’s life and creative experience the personal attitude of the poet I. Drach emerges towards understanding and reproducing the figure of creative personality in art: the author’ vision logically leads to those biographical episodes that in the existential sense appear the most significant.
类型遗传概念是通过I. Drach的传记电影故事“I 'm coming to you”(1970)的银幕版本的分析例子来阐述的，该电影是为了纪念Lesya Ukrainka诞辰100周年。这部电影的特点是作为编剧的I. Drach对女诗人形象的创新手法。与传统的纪录片以特定的矩阵键(作为一名战士和革命者)来解释她的传记相反，德拉奇试图将列西娅·乌克兰卡主要视为一个私人个体，作为一个知道如何为爱牺牲自己的女人。这部电影的作者并不打算详细展示这位女诗人的整个传记，而是只选择了她生活中的一小段——1897-1901年的四年。在传记片类型遗传方面，本文观察了这部传记片如何呈现出处理和污染现有文献材料(信件，回忆录，同时代人的回忆)和Lesya Ukrainka的整体创作(她的诗歌，翻译，翻译)的可能方式。因此，以多体裁文本材料为基础的传记片呈现出一种互文丛。同时，影片也非常关注女主角的情感、思想、创作冲动和心理状态。从文学创作的诗学角度出发，根据人物电影类型选择女诗人内心独白的形式。显然，通过Lesya的生活和创作经历的棱镜，诗人I. Drach对理解和再现艺术中创造性人格形象的个人态度显现出来:作者的视野逻辑地指向那些在存在意义上显得最重要的传记情节。
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Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.007
Borys Bunchuk
The article under studies deals with the form of Lesya Ukrainka’s poetic works that comprised the verse cycle “Rhythms”. The meaningful unity of the cycle proems has been emphasized by a specifically defined syllable-tonic meter – pentameter iamb, which, however, does not cause the feeling of monotony of the verse form. The purpose of the article is to determine the means, used by the poetess, in order to diversify the structure. The structure of each verse of the cycle is considered separately. The curriculum verse-dialogue “De podilysia vy, holosniyi slova…”, which opens the cycle and develops the theme in the following poems, is extensively analyzed and statistically examined in the aspect of conveying emotions through the verse rhythm. It has been ascertained that the final verses of the cycle (seventh and eighth) differ in the type of the rhythm (“alternated” – “transitive”), the nature of the caesura, the hierarchy of the forms used, the presence or absence of the lines with a different meter, the number of enjambments, and the strophic structure. Thus, despite the fact that the six poems and the second parts of the two polymetric constructions of the cycle “Rhythm” have been written in pentameter iamb, they are far from being similar. Most often, the distinction is in terms of rhythm and syntax. Among the rhythmic means, there prevail the type of the caesura and the forms of the rhythm; then – the percentage of the lines with a different meter, the verses with out-of-scheme stresses and the type of the rhythm; next – the percentage of the stressed feet and the verses with masculine endings. The syntactic means are represented, above all, through enjambments and “sentences-stanzas”, more rarely – through the division into “periods” and anaphors.
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Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.088
V.G. Korniychuk
The article under studies traces the formula of “general face-hitting” from the poem “The Dream” (“U vsiakoho svoya dolia...”) by Taras Shevchenko in the world’s socio-political and folklore-literary contexts. It analyzes Ivan Franko’s essay “Reasons for Evaluating Taras Shevchenko’s Poetry”, where this catchphrase has been used for the first time, as well as describes some dramatic facts from the life of the court Russian poet Vasily Trediakovsky. Special emphasis has been laid on the concept of supreme violence in the history of dictatorial regimes (on the examples of the works of various genres by foreign authors). In particular, fictional and documentary evidence of characteristic abuse of subordinates during the reign of the Empress Anna Ioannovna, as well as numerous cases of assault by the Russian Tsar Peter I and the Prussian King Frederick William I have been revealed. Some expository episodes that remind of a grotesque scene of a brawl are regarded in the History of the Ruthenians, in oriental parables, in the works by Voltaire, Alexander Pushkin, Alexander Herzen, Valentin Pikul, Peter Aleshkovsky, Dmitry Mamin-Sibiryak, and others. The relevance of this disgusting phenomenon, inherent in any totalitarian system, has been outlined.
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Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.182
A. Sazhyna
The article under studies deals with the creative possibilities of an advertising text within modern arts. It is generally recognized that the main purpose of advertising is to turn a recipient into a consumer. The advertisers achieve this goal through implementing the four consecutive stages of affecting the receptive consciousness: drawing attention, arousing interest, stimulating desire and encouraging action, which requires a perfect form of presentation. For successful achievement of the above results, the advertisers use rational, emotional, logical, psychological and aesthetic means of persuasion all together. Consequently, advertisement, as a peculiar synthetic type of “aestheticized pragmatics”, does not reject the aesthetic constituent. In the course of perceiving an advertising text, there might occur certain teleological deviations: when the aesthetic component of advertising comes out in the receptive consciousness in the first place, the advertising text can acquire new semantic parameters and be transformed into a qualitatively different text. In this way, most advertising slogans are usually considered. Being separated from the original text, they turn into independent messages (such as proverbs, sayings, phraseologisms) and enter the flow of the contemporary communicative space of speech. Other phenomena, generated by the aesthetics of an advertising text, are numerous anecdotes and comedic sketches, which parody plot structures, themes, images and specifics of the speech of advertising texts, as well as act as autonomous genres. The article under discussion regards the generation of a new text as a free game within aesthetic communication, whereby the author (the advertiser) and the recipient (the consumer) become equally successful partners. In addition, the article contains the analysis of certain samples, in which the aesthetics of an advertising text annihilates its immanent utilitarian form and creates an independent fiction text. Thus, the aesthetic component of an advertising text turns into a particular creative motive, a driving force in generating new literary texts.
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Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.239
Larysa Horbolis
Review on the monograph: Shteinbuk, F. (2020). Pid “Znakom Savaofa”, abo „Tam, de…” Ul′ianenko. Ch. 1. Pid “Znakom Savaofa” [Under the “Sign of the Savaof”, or “Where…” Ulianenko. Part 1. Under the “Sign of Savaof”]. Kyiv : Vydavnychyi dim Dmytra Buraho, 396 p.
专著综述：Shteinbuk，F.（2020）。Pid“Znakom Savaofa”，abo“Tam，de…”Ul’ianenko。第1章。Pid“Znakom Savaofa”[在“Savaof的标志”下，或“哪里…”Ulianenko。第1部分。在“野蛮人的标志”下]。基辅：Vydavnychyi dim Dmytra Buraho，第396页。
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Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.048
S. Varetska
The literary debut, the novel “Maybe Esther” by Katja Petrowskaja, was published in 2014 in the Berlin publishing house “Suhrkamp” in German and immediately fell into the bestseller category. The work caused a considerable resonance in the German-speaking cultural environment. Even before the appearance of a full-fledged novel, the author received one of the most prestigious literary awards – the Ingeborg Bachmann Prize for reading of a fragment from a future book, which would later appear in a work called “Babi Yar”. However, the laureate wasn’t an ethnic German woman, but an immigrant – Ukrainian by origin, born in Kyiv. The young author tells the story of his multicultural family (Ukrainian / Polish / Jewish / Russian) going deeper up to the 19th century. Through specific events of a small family such significant phenomena as revolution, war, ghetto, concentration camp, Holocaust, Babi Yar, occupation, various kinds of persecution etc. are seen. Therefore, a mosaic of small self-sufficient stories emerges, which create a large historical panel. The author is the bearer of a multifaceted and complex genetic memory.
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Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.197
Ihor Kozlyk
The article, which is historical and scientific by character, presents the current humanitarian issues of professional epistolary communication of an outstanding Russian literary critic, Doctor of Philology, Professor B. F. Egorov (1926–2020) with fellow literary critics. The main directions of scientist’s active and versatile practices are considered on the grounds of his published letters and some letters to him in 1998–2020. The article focuses on professional communication and interaction between Ukrainian and Russian literary critics in the complex modern socio-historical and political conditions of interstate relations. The letters are published for the first time and are accompanied by the necessary historical and cultural comments and bibliographic notes. The material contained in them is important not only for the history of Russian and East Slavic literary criticism of the 20th century, but also it is relevant in terms of the prospects of academic studies of literature and the development of productive communication between scholars studying fiction in order to perform the main cultural function of literary studies.
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Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.163
D. Paranyuk
Based on the methodological proposals of literary anthropology, in particular on the conceptual ideas of C. Levi-Strauss (structural anthropology), J. Ortega y Gasset (“dehumanization of arts”), J.-M. Schaeffer (“the end of human exceptionality”), M. Foucault (the fall of a human being from the humanistic pedestal of culture), the article under studies emphasizes the violation of the anthropological dominant in science fiction, which is very typical of the fantasy genre. Consequently, there arise new principles of constructing personosphere of a literary text. On the example of the novel “City” (1953) by an American science fiction writer Clifford Simak, the article traces the way a human being shifts from the center of personosphere to the “outskirts” of narration, whereas its image acquires fictional parameters. This all happens due to the phenomenon of “anthropocene” (the term by G. Canavan), which implies the harmful consequences of the human reigning over the nature. In addition, the author of the article introduces the notion of “phantasoid’ – a character of the fictional world of fantasy (outlined by the narrator) that functions exceptionally in the imagination of a certain fantastic character and is somehow related to his previous experience. The novel by C. Simak outlines a gradual shift of the anthropological vector: the heterogeneous image of a human turns into a counter-image, whereby particular significance is attached to the change in the attitude towards mankind. In the text, human culture is perceived as something alien, while Simak’s image of a human being ruins the so called imagological stereotype, along with the reader’s receptive expectations. The role of the attractor in the novel is assigned to “antromorphized” and “humanized” creatures (plants, animals, objects, robots, mutants), which indicates the drastic breach with the previous genre tradition, as well as higlights a peculiar polemic connection with classical literary science fiction. This all proves the metamorphic nature of science fiction and its transition into the hyperreal dimensions of fantasy, where different artificial forms of life and mentality can peacefully coexist with each other.
{"title":"“The End of Human Exceptionality”: The Shift of the Anthropological Dominant in Science Fiction","authors":"D. Paranyuk","doi":"10.31861/pytlit2021.104.163","DOIUrl":"https://doi.org/10.31861/pytlit2021.104.163","url":null,"abstract":"Based on the methodological proposals of literary anthropology, in particular on the conceptual ideas of C. Levi-Strauss (structural anthropology), J. Ortega y Gasset (“dehumanization of arts”), J.-M. Schaeffer (“the end of human exceptionality”), M. Foucault (the fall of a human being from the humanistic pedestal of culture), the article under studies emphasizes the violation of the anthropological dominant in science fiction, which is very typical of the fantasy genre. Consequently, there arise new principles of constructing personosphere of a literary text. On the example of the novel “City” (1953) by an American science fiction writer Clifford Simak, the article traces the way a human being shifts from the center of personosphere to the “outskirts” of narration, whereas its image acquires fictional parameters. This all happens due to the phenomenon of “anthropocene” (the term by G. Canavan), which implies the harmful consequences of the human reigning over the nature. In addition, the author of the article introduces the notion of “phantasoid’ – a character of the fictional world of fantasy (outlined by the narrator) that functions exceptionally in the imagination of a certain fantastic character and is somehow related to his previous experience. The novel by C. Simak outlines a gradual shift of the anthropological vector: the heterogeneous image of a human turns into a counter-image, whereby particular significance is attached to the change in the attitude towards mankind. In the text, human culture is perceived as something alien, while Simak’s image of a human being ruins the so called imagological stereotype, along with the reader’s receptive expectations. The role of the attractor in the novel is assigned to “antromorphized” and “humanized” creatures (plants, animals, objects, robots, mutants), which indicates the drastic breach with the previous genre tradition, as well as higlights a peculiar polemic connection with classical literary science fiction. This all proves the metamorphic nature of science fiction and its transition into the hyperreal dimensions of fantasy, where different artificial forms of life and mentality can peacefully coexist with each other.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69762601","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 : 2021-12-27DOI: 10.31861/pytlit2021.104.258
Roman Dzyk
To the 150th Anniversary of Lesya Ukrainka
为乌克兰莱西娅150周年纪念干杯
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Pub Date : 2021-12-27DOI: 10.31861/pytlit2021.104.248
Iryna Satygo
Review on the scientific journal: Études littéraires africaines (2020). N°50. Formes fixes et identités noires. Textes réunis par Pierre Leroux et Thomas Vuong. Metz : APELA, 286 p.
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