Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293536
Oleksandr Gon
The paper explores the design and structure of Pink Floyd’s single «Hey Hey Rise Up» in terms of a patterned plot in a work of fiction. The music and video of the single are contextualized in the field of comparative studies and problematized as a feasible intersemiotic approach to musical narrativity. The introduction by the folk choir in the video functions as the exposition to the main theme, and its break on D-sharp with the fermata functions as the tense suspense in a frustrated anticipation of the resolution into the tonic of C-sharp minor. Following a two-beat rest, the dignified drums propel the syntax of the story of Ukraine’s heroic resistance against the Russian aggression into the structured artistic plot. Based on the pentatonic scale, David Gilmour’s guitar solo emblematizes other components of both literal and literary dramatic conflict: the highest notes represent the semanticized rising action leading to a “blue note” of F double-sharp that signifies the tension and climax in the musical plot. Gilmore’s musico-teleological tale ends with a descending scale that seems to be the equivalent to the falling action in drama, and finally resolves into a half, rather than full, cadence in G-sharp as if to suggest an open, brighter and victorious finale of yet-to-come resolution of the Russia-Ukraine war. A close musicological reading of the functioning of the harmonic sequences of cadences and the specifics of voice leading in the single reveals the musical artistic means of generating deep meanings and emotional understanding of history. Interpreted through the prism of intersemiotic scheme as emplotmet, the musical narrative has the attributes of a literary work - the beginning, development and suspense of the action, climax of dramatic conflict and its denouement. The paradigmatic affinity of narrative techniques in fiction and music brings new urgency to such fundamental ideas as Borgesian four invariant stories, which are recycled in various historical and ideological guises, or Bakhtinian distinction between the epic and the novel as a territory of encounter with the unfinished present, which expands the optics of reading the dynamics of consonant and dissonant intervals in the blues scale, and turns the music score into a novel. And vice versa: the function of the blue note in the pentatonic, bright and perfectly consonant five-step system without chromaticism, compels us to revisit Nietzsche and his philosophico-musical revelation about the interdependence of Apollo and Dionysus.
本文从小说作品中的模式化情节角度，探讨了平克-弗洛伊德的单曲《嘿嘿，起来》的设计和结构。这首单曲的音乐和视频在比较研究领域中被语境化，并作为音乐叙事性的一种可行的跨语义方法被问题化。视频中民间合唱团的引子是主旋律的开场白，其在 D 升上的休止符与费尔马塔构成了紧张的悬念，令人沮丧地期待着进入 C 升小调的调性。在两拍的休止符之后，庄重的鼓声将乌克兰英勇抵抗俄罗斯侵略的故事的句法推进到有条理的艺术情节中。大卫-吉尔莫（David Gilmour）的吉他独奏以五声音阶为基础，象征了文字和文学戏剧冲突的其他组成部分：最高音代表了语义化的上升动作，通向 F 双升调的 "蓝音"，象征着音乐情节的紧张和高潮。吉尔莫的音乐-音乐学故事以一个下降音阶结束，似乎与戏剧中的下降动作相当，最后化为 G 升半音，而非全音，仿佛暗示着俄乌战争即将到来的开放、光明和胜利的结局。从音乐学的角度仔细解读快板和声序列的作用以及单乐章中声部引导的具体细节，就会发现音乐是产生深刻含义和对历史的情感理解的艺术手段。从 "情节"（emplotmet）这一跨语义计划的棱镜来解读，音乐叙事具有文学作品的属性--动作的开端、发展和悬念，戏剧冲突的高潮和结局。小说和音乐中叙事技巧的范式亲和力为博尔赫斯的四个不变故事等基本观点带来了新的紧迫性，这些故事以不同的历史和意识形态的面貌再现，或巴赫金的史诗和小说之间的区别作为与未完成的现在相遇的领域，这扩大了阅读蓝调音阶中协和与不协和音程动态的视角，并将乐谱变成了小说。反之亦然：蓝色音符在五声音阶中的功能，明亮而完美的协和五音系统，迫使我们重新审视尼采及其关于阿波罗与狄俄尼索斯相互依存的哲学音乐启示。
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Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293563
Lilia Miroshnychenko
This paper seeks to present Ian McEwan’s novel, Saturday (2005) in the prism of the new century, manifesting itself in the cluster of signs of the times. It discerns seven key attributes of the first decade which collectively outline the contour of the 2000s.The novel which spans a day is evocative of Ulysses and Mrs. Dalloway as it centres on the life of a middle-class 48 years old Henry Perowne - a successful neurosurgeon, and rationalist who moves through the streets of London in anticipation of a dinner with his dearest ones at the evening’s familial reunion. His dense observation of the time he lives in combines rationality and spontaneity.Perowne (and McEwan) catalogues signs of the 2000s. They include a fear of global wars in the aftermath of 9/11, which is recognised by both generations of the Perownes (of the 1950s and 1980s); growing awareness of the exhaustion of natural resources and its disastrous consequences; increasing secularisation in the post-Christian Great Britain; unprecedented scientific progress with technologies impacting the whole society; excessive mediasation in the digital era resulting in lack of scepticism.In the novel’s fictional world, the tension between private and collective is epitomised in the protagonist’s acknowledging the threat of unprovoked violence as well as accepting his own increased personal vulnerability and precarity as a mode of existence.Henry Perowne reaffirms domesticity as his response to the new global world; he also finds consolation in the profession of neurosurgeon as it provides a unique control of reality where he can give life to those who balance life and death.Typical of Ian McEwan is his reliance on the English literary tradition — first and foremost on the Modernist writing of Virginia Woolf and James Joyce, prioritising the individual perception of the world. The author also refers to the resources of the ‘Man-in-Society’ tradition, evoking the conventions of realistic writing which he combines with postmodernist techniques such as play with the reader, dramatic turns, hybridisation, emphasised intertextuality (from Shakespeare onwards) and indeterminacy.
{"title":"THE 2000S: SIGNS OF THE TIMES IN IAN MCEWAN’S NOVEL, SATURDAY","authors":"Lilia Miroshnychenko","doi":"10.32589/2411-3883.20.2023.293563","DOIUrl":"https://doi.org/10.32589/2411-3883.20.2023.293563","url":null,"abstract":"This paper seeks to present Ian McEwan’s novel, Saturday (2005) in the prism of the new century, manifesting itself in the cluster of signs of the times. It discerns seven key attributes of the first decade which collectively outline the contour of the 2000s.The novel which spans a day is evocative of Ulysses and Mrs. Dalloway as it centres on the life of a middle-class 48 years old Henry Perowne - a successful neurosurgeon, and rationalist who moves through the streets of London in anticipation of a dinner with his dearest ones at the evening’s familial reunion. His dense observation of the time he lives in combines rationality and spontaneity.Perowne (and McEwan) catalogues signs of the 2000s. They include a fear of global wars in the aftermath of 9/11, which is recognised by both generations of the Perownes (of the 1950s and 1980s); growing awareness of the exhaustion of natural resources and its disastrous consequences; increasing secularisation in the post-Christian Great Britain; unprecedented scientific progress with technologies impacting the whole society; excessive mediasation in the digital era resulting in lack of scepticism.In the novel’s fictional world, the tension between private and collective is epitomised in the protagonist’s acknowledging the threat of unprovoked violence as well as accepting his own increased personal vulnerability and precarity as a mode of existence.Henry Perowne reaffirms domesticity as his response to the new global world; he also finds consolation in the profession of neurosurgeon as it provides a unique control of reality where he can give life to those who balance life and death.Typical of Ian McEwan is his reliance on the English literary tradition — first and foremost on the Modernist writing of Virginia Woolf and James Joyce, prioritising the individual perception of the world. The author also refers to the resources of the ‘Man-in-Society’ tradition, evoking the conventions of realistic writing which he combines with postmodernist techniques such as play with the reader, dramatic turns, hybridisation, emphasised intertextuality (from Shakespeare onwards) and indeterminacy.","PeriodicalId":336212,"journal":{"name":"CONTEMPORARY LITERARY STUDIES","volume":"30 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138955036","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 : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293576
S. Chernyshova
This article analyzes developments in the field of literary studies that concentrate on the aesthetics of metamodernism. Researchers emphasize the following inherent characteristics of contemporary fictional writings: a return to modernist-style experimentation, the reconstruction of grand narratives rejected by postmodernism, oscillation between different aesthetic palettes, openness, a return to history, depth, affect, and new sincerity. The identification of these dominants in contemporary literature provides grounds for asserting the «waning» and exhaustion of postmodernism and the development ofa new way of narrativization and understanding of reality, which encompasses both the realities of high technological progress and economic instability.Scholars argue that innovative spirit of the early twentieth century serves as the foundation for the metamodernism of the twenty-first century. Metamodernism explores how the modernists expanded the horizons of literary potential by challenging well-established notions of narrative consistency. In contemporary fiction, we witness a response to modernism as an artistic endeavor that transcends borders, finding expression in various cultures. Metamodernist narratives, in this context, set themselves apart from an earlier form of modernism by embracing a self-aware and enduring commitment to rebellion and the presentation of the unfamiliar as literary innovations that emerged specifically during the early twentieth century.The metamodern turn’s oscillation between «irony and sincerity» can be seen as a thought-provoking response to the complex political landscape of an era marked by economic instability. In a world where economic uncertainties often shape political agendas and public discourse, this dynamic interplay between irony and sincerity reflects the multifaceted nature of contemporary political engagement.
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Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293580
Mariia Iliuchenko
Time, as a basic concept of physics and philosophy, being an obligatory coordinate of our world, is present in modern American literature, both as an artistic effect that adorns the narrative, a tool for creating artistic reality, and as a system that changes the way of thinking. The action of the laws of time extends both to a person and to a literary work, but modern literature adapts these laws to fiction needs and experiments with its flow within a work. This article examines the artistic aspects of various concepts of time in modern American literature (starting from the end of XX to its current state) and their influence on the reader through the lens of the transition from postmodern to metamodern philosophical worldview provoked by the actual level of science development, globalization, and digitalization as well as the interaction of human perception of these processes and reactions to them with contemporary literary trends.
时间，作为物理学和哲学的基本概念，作为我们这个世界的必经坐标，出现在美国现代文学中，既是装饰叙事的艺术效果，也是创造艺术现实的工具，还是改变思维方式的系统。时间法则的作用既延伸到人身上，也延伸到文学作品中，但现代文学根据虚构的需要对这些法则进行了调整，并在作品中对其流动进行了实验。本文从科学发展、全球化和数字化的实际水平所引发的后现代哲学世界观向元现代哲学世界观的转变，以及人类对这些进程的感知和反应与当代文学思潮的相互作用的角度，探讨了美国现代文学（从 XX 年代末开始到现在）中各种时间概念的艺术性及其对读者的影响。
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Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293582
Jūratė Landsbergytė Becher
Contemporary Lithuanian culture uses a unique source of creative spirit, which gives birth to visions of Lithuanian Statehood and sacred architecture. It is Vilnius, and authors related to Vilnius focused on its visual, poetic, and historical meanings. Such creators periodically appeared in the 19th and 20th centuries (M. K. Čiurlionis, A. Mickewicz, O. Miłosz, Cz. Miłosz, M. Kulbak), and when Poland occupied Vilnius, the spiritual connection between the city and Lithuania painfully and vividly intensified. Furthermore, Vilnius’ significance highly increased during the Soviet occupation (1940, 1945–1990). It symbolised the enslaved Statehood of Lithuania at that time and remained an invincible architectural vision of European continuity. Composers (E. Balsys, V. Barkauskas), film directors (A. Grikevičius), and painters (A. Stasiulevičius) created the paradigm of the eternal city, deeply rooted in the self-consciousness of Lithuanian Statehood. In the 21st century, this paradigm flourished incredibly powerfully in literature and music. Composer Onutė Narbutaitė (*1956) seemed to awaken Vilnius’ importance in global Western civilisation. In her oratorio “Centones meae urbi” (1997), she brought several eras of Vilnius history back to the present, raising the concept of the seasons as parts of the oratorio: “Spring” — Baroque, cultural flourishing, “Summer” — 20th century, Holocaust catastrophe, the fate of Vilnius Jews, “Autumn” — 19th century Romanticism, A. Mickiewicz’s poetry, the deep patriotism of Polish-Lithuanian people, “Winter” — the tragic 1991 January events in Vilnius, Lithuania’s walk toward the West and the restoration of independence. This musical-poetic-documentary concept of oratorio, recreating the turning points of Eastern European epochs, brought Narbutaitė’s work, the winner of the National Prize award, into the global spotlight.It is even more important to emphasise the role of literature, returning Vilnius to the civic historical self-awareness of the European present, which is especially relevant after the beginning of the Russian imperial aggression in 2022 against Ukraine. It is the four-volume work Silva rerum (2008–2016) by the writer and doctor of art studies Kristina Sabaliauskaitė (*1974). Because of its artistic and geopolitical incisiveness, it was translated into the languages of neighbouring European nations (Polish, Latvian, Estonian). Here, the depth of Vilnius’ historical memory grows into the restoration of the meaning of Statehood and acquires an exclusive expression of literary value, the sound of multicultural rumble with a unique penetration of antiquity into the present.The coverage of Sabaliauskaitė’s literary style is a powerful showcase of linguistic memory and existential and state life events, which, in her unique narrative, transforms into an endless melody of musical expression, enriched with the brutal reality of images and actions. Through Vilnius’ idea, not in a vague visionary sense but in a co
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Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293572
Hanna Rykova
The article delves into Don DeLillo’s novel “The Body Artist” (2001), presenting it as a pioneering work that introduces a novel perspective on the concept of the body in literature. Central to the analysis is the notion of the meta-body, characterized by its dynamic and flexible nature. The study posits that the portrayal of the body undergoes a transformation, evolving from a static entity in the reader’s consciousness to a dynamic force responsive to shifts in perception and newly acquired information. The meta-body is portrayed as a fresh phenomenon, its understanding facilitated through the rejection of biases and the evaluation of the likelihood of sensations in specific contexts.A pivotal aspect of the exploration is the meta-body’s emancipation from traditional stereotypes and assumptions. It is underscored that the meta-body increasingly relies on the reader’s capacity to assess the probability of sensations in diverse circumstances, challenging preconceived notions and enriching the literary portrayal of the body as an adaptive entity within contemporary discourse.The article further scrutinizes the concept of the meta-body from various analytical perspectives within the novel. Firstly, it examines the meta-body through the collapse of distance, elucidating how spatiotemporal experiences are altered. The second perspective investigates the meta-body through the lens of material artifacts, encompassing mechanical devices such as dictaphones, radios, and webcams. Additionally, the communication-dialogical nature of family relationships is explored, emphasizing the interplay between silence and sound, verbalized and unspoken dialogues among members of a marital couple.Noteworthy is the analysis of the meta-body through the perspective of bodily performance.In summary, the article positions “The Body Artist” as a literary milestone that introduces the concept of the meta-body, portraying the body as a dynamic and adaptive entity. It goes beyond conventional literary portrayals, encouraging readers to reassess their preconceptions and engage with the body in diverse contexts, offering a nuanced understanding of its multifaceted nature within contemporary literature.
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Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293543
Yuriy Marynenko
The article examines the motif of escape in the novel «Distant Space» by the modern Ukrainian writer Yaroslav Melnyk. Upon reviewing critical literature, the genre classification of the work was identified as a hybrid, encompassing elements of a dystopian novel intertwined with features of science fiction, allegory, adventure, psychological and mystical fantasy, as well as a thriller novel. Its intertextual space covers the works of Ray Bradbury, Ken Kesey, George Orwell, V. Vynnychenko, H. Skovoroda, as well as V. Domontovych, M. Khvylovy. It has been emphasized that the plot collision of the metamodernist novel by Ya. Melnyk has its roots in the biblical story of Adam’s and Eve’s expulsion from paradise. The polyphonic and didactic character of the novel is revealed: everyone has their own truth, the author convinces, and makes it possible to hear everyone. Аt the same time, the book teaches to be tolerant, and to make an informed choice in difficult life situations.The artistic vision of space is embodied in the novel in three locations: metropolis (the land of blind people), Transparent Spot (the camp of blinded rebels who seek to destroy the metropolis), Quiet Corner (elite village of the sighted). The three specified locations of the novel are three options of fate that the author offers to his protagonist. Whenever the protagonist declines to adhere to the suggested course, the outcome of such ventures leads to three escapes in pursuit of a balanced cosmos—distant space.Gabra’s three escapes are also three women. Lioz, Niya, Natalie, each in their own way, in the course of the story become close to the main character. This aspect of the relationship gives the story piquancy, intimacy, and simultaneously dramatizes it. Relations with Lioz have no prospects, because it remains an organic part of the ugly pragmatic world of the metropolis. Beautiful Natalie is completely indifferent to the distant space of the main character. Instead, the «cautious optimism» of the novel can be traced in the relationship with Nia. The ethical and visual aspect for the artistic persuasiveness of the story is also emphasized.In the image of the main character Gabr Silk, the author shows a person who has to compete with unfavorable circumstances for the right to be happy, to be himself, to live a private life, even a marginal one, not involved in social and political currents. At the same time, indecisiveness, doubts about the expediency of one’s active actions lead to the fact that other people usually solve his problems (Oks, Nia).
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Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293567
H.O. Pomyluiko-Nedashkivska
The article analyzes the presence of an intertext between literary prose and political essay writing by a representative of the French Catholic literary revival of the first half of the 20th century. - Georges Bernanos - within the limits of modern intergenre French literature. The example is the collection of essays by the French-speaking writer Juan Asensio. However, the broader context of the reactualization of modernist writing in the contemprorary literary process is shown. The metamodernist sensibility of the 2000s is considered to be a result of the end of the dominance of the postmodernist discourse, its main theorists are investigated and the reasons for its appearance are shown. The dialogic character of metamodernism with the clue ideas of both modernism and postmodernism is noted, which is a middle way between modernist enthusiasm and postmodernist irony and skepticism, between hope and melancholy, between empathy and apathy, between truth and relativism, between totality and fragmentation, between experience and omniscience. Linguistic etymology and semantic plurality of the concept of “metamodernism” at the epistemological, ontological and historical levels are shown. The basic characteristics of the metamodernist worldview are named, such as: the return of metanarratives, belief in the truth, sincerity, empathy, the return ofhistory, the seriousness of religious experience, the search for the real, the importance of subjective experience. On the basis of these categories, the intertextual connection of the texts of Bernanos and Asensio is revealed according to four categories based on G. Genette’s narratology. It is about architextuality, thus citation at the genre level, narrative and poetic-stylistic closeness, explicit citation and allusions, and Bernanos’ meta-literary criticism provided in a comparative way. It is proved that the writing of Georges Bernanos became not only an intertext, but also a productive pretext of modern French literature, although the radical prophetism of the former was turned into a voice that just found the right to the truth and sincerity.
文章分析了 20 世纪上半叶法国天主教文学复兴代表人物的文学散文与政治随笔之间的互文。- 乔治-贝尔纳诺斯（Georges Bernanos）--在法国现代跨文体文学的范围内。例如法语作家胡安-阿森西奥的散文集。然而，在更广泛的背景下，现代主义写作在当代文学进程中的再现实化得到了展现。2000 年代的元现代主义感性被认为是后现代主义话语主导地位终结的结果，其主要理论家得到了研究，其出现的原因也得到了说明。指出了元现代主义与现代主义和后现代主义的线索思想的对话特征，它是现代主义的热情与后现代主义的反讽和怀疑、希望与忧郁、同情与冷漠、真理与相对主义、整体与碎片、经验与全知全能之间的中间道路。元现代主义 "概念在认识论、本体论和历史学层面的语言词源和语义多元性得到了展示。命名了元现代主义世界观的基本特征，如：元叙事的回归、对真理的信仰、真诚、移情、历史的回归、宗教体验的严肃性、对真实的追寻、主观体验的重要性。在这些范畴的基础上，伯纳诺斯和阿森西奥文本之间的互文性联系按照 G. 热奈特叙事学的四个范畴得到了揭示。这涉及古文本性，即体裁层面的引用、叙事和诗歌风格上的接近、明确的引用和典故，以及伯纳诺斯以比较方式提供的元文学批评。事实证明，乔治-贝尔纳诺斯的写作不仅是法国现代文学的互文，也是法国现代文学的生产性借口，尽管前者的激进预言主义被转化为一种刚刚找到真理和真诚的声音。
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Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293532
Svitlana Vardevanian
Modern Ukrainian literature reacts to the collapse of the postmodern project and the emergence of a new cultural logic - metamodernism. This article is an attempt to prove it on the example of an analysis of the work of a modern Ukrainian writer. Maksym Dupeshko’s novels «The Story Worth an Entire Apple Orchard» [Istoriia varta tsiloho yablunevoho sadu] (2017) and «Near the Carriage under a Dead Fox» [Bilia karety pid mertvym lysom] (2021) served as the artistic material for the study. A scrupulous analysis of the novels testifies to the writer’s sensitivity to tectonic shifts in modern aesthetics. Both novels work with the phenomenon of the influence of historical memory on the present. And the strategies used by the author fully illustrate the theses of metamodernism theorists: oscillation between pre-modern, modern, and post-modern practices; fragmented «I» and attempts to integrate it into newmeaningful configurations; finding the multiplicity of human subjectivity; transition from parataxis to metaxy; a movement from melancholy to hope. Maksym Dupeshko’s texts testify listening to a new sensuality. The writer is not afraid to search for the truth, to be simple (both at the level of language and at the level of transmitted ideas), he consciously uses banality, he is deliberately pathetic, oscillates from irony to seriousness, from naivety to sincerity, always, however, without approaching cynicism. «The Story Worth an Entire Apple Orchard» is a novel-reflex on the modern Russian-Ukrainian war. The credit of the novel is that in its area there is a very important for our literature a change of modes in the artistic interpretation of reality — a transition from the obvious to the significant, after that we will no longer be ashamed to be heroes, to be from the provinces, to seek God and places of strength, we willstop confusing naivety and sincerity. «Near the Carriage under the Dead Fox» is a novel-anamorphosis - a construction that seems absurd to us if we look at it directly, but when we change the angle of view, it acquires clear and recognizable outlines. This novel engages the reader in the quest, it demonstrates a way to look into our modern existence - an endless chaos of things, events, ideas, aesthetics, fragments of sleeps, fragments of destinies, parts of dreams, hallucinations and fantasies.
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Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293539
T. Grebeniuk
This article examines specific manifestations of the metamodern structure of feeling and features of metamodern poetics represented in contemporary Ukrainian literature, as well as the influence of the state of war, in which Ukraine has been involved since 2014, on the perception of the universal aesthetic characteristics of metamodernism in the national artistic discourse.The global phenomenon of metamodernism is considered in the article in its connections with the previous modernist and postmodern traditions and in the context of the political and cultural processes of the end of the 20th — beginning of the 21th centuries. While scrutinizing Ukrainian fictional works, we referred to the main contemporary research on metamodernism, post-posmodernism, metamodern structure of feeling, and metamodernist aesthetics but the basis of the literary analysis of Ukrainian texts included mainly the studies by Timotheus Vermeulen and Robin van den Akker, Alison Gibbons, Seth Abramson, and Greg Dember. On the basis of their research the specific set of traits of the Ukrainian literary metamodernism was developed, including oscillation, hyper-self-reflexivity, open potentiality as a spatiotemporal characteristic of the artistic worlds, eccentricity of characters («quirky»), ironesty, return of metanarratives (notably, metanarrative of the Ukrainian national identity), attention to influence of media on the identity shaping, imitation of the formal features of postmodernism, the cultivation of immersion in someone else’s felt experience (a «need for a we»), adherence to the ideas of transhumanism and the Anthropocene, cautious optimism and normcore. Despite the unique historical background of the formation of Ukrainian metamodernism (in particular, the persistent attempts of re-colonization of Ukraine by russia during the period of the State Independence, three revolutions and the current war), the key features of this phenomenon in Ukrainian literature are considered to be a «need for a we», hyper-selfreflexivity, and awareness of the importance of a person’s connection with the community.
本文研究了乌克兰当代文学中元代情感结构的具体表现和元代诗学的特征，以及乌克兰自2014年以来卷入的战争状态对国家艺术话语中元代主义普遍美学特征的影响。文章从元代主义与之前的现代主义和后现代传统的联系，以及20世纪末21世纪初的政治和文化进程的背景出发，探讨了元代主义的全球现象。在仔细研究乌克兰小说作品时，我们参考了当代关于元现代主义、后世界现代主义、元现代情感结构和元现代主义美学的主要研究成果，但乌克兰文本的文学分析基础主要包括 Timotheus Vermeulen 和 Robin van den Akker、Alison Gibbons、Seth Abramson 和 Greg Dember 的研究成果。在他们的研究基础上，形成了乌克兰文学元现代主义的一系列具体特征，包括振荡、超自反性、作为艺术世界时空特征的开放潜能、人物的怪癖（"古怪"）、反讽性、元叙事的回归（特别是：乌克兰民族的元叙事）、后现代主义的形式特征，培养沉浸于他人的感受体验（"我们的需要"），坚持超人类主义和人类世的理念，谨慎的乐观主义和标准核心。尽管乌克兰元现代主义的形成有着独特的历史背景（特别是在国家独立时期俄罗斯不断企图对乌克兰进行再殖民化、三次革命和当前的战争），但乌克兰文学中这一现象的主要特征被认为是 "对我们的需求"、超自反性以及对个人与社会联系重要性的认识。
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