Вісник Житомирського державного університету імені Івана Франка. Філологічні науки
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Published By Zhytomyr Ivan Franko State University

2663-7642

Author(s):  
K. Oliinyk

The article examines the specificity of existence of the renewed mystery genre as a meta genre in the twentieth century. The main literary study views on the definition of ancient and medieval / Christian ritual mystery are analyzed. The beginning of the twentieth century was full of a general feeling of catastrophe and tragic hopelessness. In artistic terms, the consequence of this was the activation of Christian issues, motives, plots, religious genres (miracles, morality and mystery). The most universal from the point of view of the ideological message and content for the writers of the twentieth century. was the matrix of the medieval mystery, which retained the ritual basis in its primary structure. This made it possible for the multilevel organization of the action and the space for it. The genre of medieval mystery is being modified, it ceases to be a purely form of religious action and acquires the quality of a meta genre. There is a transition from the religious sphere to the secular one, and the aesthetic one is replacing the didactic load. Mystery begins to exist on the edge of genres as a synthetic formation, showing intentions to “help” other genres. A large number of dramatic works of the twentieth century. ("Forest Song" by Lesia Ukrainka, "Iconostasis of Ukraine" by Vіra Vovk) comes close to the mystery, using its archetypal components: the ideas of faith in the absolute beginning, governing the eternal rotation of life and death, world order and harmony, death and rebirth, transformations of the human soul, chosenness and initiation associated with trials, sacrifice, deepening into mysticism. Such works are a certain imitation with elements of mythological or religious subjects. So, the twentieth century, actualizes a certain involvement of the semantic content of dramas to the mysteries, bringing the mystery to the level of the meta genre.


Author(s):  
M. Moklytsia

The relevance of the study is due to the need to include the novel "Ulysses" by J. Joyce in university and, if possible, school curricula in foreign literature, as well as the need for its interpretation, despite the excessive complexity of the text and difficulty of perception. It is also important to return the legacy of D. Vikonska, a writer, critic, art critic and literary critic, to modern Ukrainian culture. Research methodology: a model of analysis of the modernist novel "Ulysses", created on the basis of the research work of D. Vikonska “James Joyce. The secret of his artistic face” (1934). Scientific novelty: for the first time the analysis of the novel "Ulysses" is carried out with the broad involvement of the half-forgotten studio of D. Vikonska, which has not lost its relevance, clearly articulates the modernist nature of the work, including surreal style. The purpose of the study: to draw attention to the outstanding figure of D. Vikonska as the founder of Ukrainian Joyce studies, to include her in the modern literary process, to show with her help the significant role of Joyce's novel "Ulysses". Conclusions. The answer to the question why Joyce's novel Ulysses is considered a landmark work of modernism should be concise but convincing, based on macro- and microanalysis of the text. First of all, it is a unique example of the author's self-expression, extreme subjectivism (the whimsy of Joyce's nature), transformed into universalism. No one is as subjective as Joyce is, no one is as universal as he is. Such can only be a conscious modernist who has passed the difficult path of search outside, in the world of culture, and inside, looking into the irrational depths of his own psyche. This is the most rational, intellectual and at the same time irrational, or visionary, according to K.G. Jung, type of creativity. Second: this is the boldest (revolutionary, in the words of Vikonska) challenge to tradition (or Cultural Canon, according to K.G. Jung), which manifested itself in the ironic parody of almost all known literary forms and narrative means, many moral and ethical norms. Third: it is a brilliant example of the author's style, a variant of surrealism, which grows out of naturalism and turns into neomythologism. Joyce's style is characterized by the following features: associative metaphorical writing, author's dictionary, which includes numerous innovations, narrative reception of the flow of consciousness; use of dreams, delusions, other boundary conditions; a bizarre intertwining of past and present, when dead and living characters are equal in meaning; consistent reflection of the external in the internal and vice versa; a labyrinth of human wanderings in search of pleasures, meaning, cognition and self-knowledge. Joyce modeled the next stage in the development of culture – the transition from modernism to postmodernism, from an ironic re-reading of tradition to playing with it.


Author(s):  
M. Zaoborna

Based on literary studies, the article highlights the text of Ivan Franko's novel "Lel’ and Polel’" from the perspective of motif as a linguistic text category. In this respect, the motive is defined as linked with the personality of the author (narrator) impulse to create the text, related to the psychological aspect of text-creation and actualized by means of certain lingual signals. Understanding the motive as a text-creating category is expressed against the background of the stages of text generation that structure the trajectory of research considerations: situation → actualization of meanings → motive → intention → text concept → semantic organization of text. At the same time, given the presumption of modern French studies on the implicit autobiography of the writer's novels, the conceptual core of the study turns out to be the thesis of the personal senses of the author (narrator) as the basis for the motive. Thus, the effective summarizing positions of the analysis are centered around the linguistic signals associated with the individual consciousness of the sense-creating activity of the writer. In this respect, the intertextual field of the novel is determined to be relevant for grasping the sense, the basis for deriving the motive for creating the text "Lel’ and Pole’l". Intertextual connections, on the one hand, emphasize and maintain the effect of polarity in the text of the novel, and on the other hand, actualize the state of mental dichotomy that the writer experienced throughout his life. On this basis, an implicit presuppositional assessment of life in general and of the man in particular as dual phenomena has been derived, which correlates with the sense-being problem of Franko's life. As a result, the proposed theoretical construct of the logic of understanding the motivation of the text in relation to the novel "Lel’ and Polel’" has been concretized with the conclusive position: the spiritual and mental world of the writer → ambivalent evaluative sense as a basis for the formation of motive → motive, realized in the image of twin brothers → the intensity of explanatory psychology → textual concept as a logos of human destiny. Therefore, the dichotomous structure of the textual world of the novel "Lel’ and Polel’" is realized as a consequence of emanating the nature of the author's motive for the meaningful organization of the text. At the same time, the specificity of the figurative embodiment of the motive, which is consistent with the figurative-conceptual paradigm of text units formed on the basis of changing narrative strategies of the author, connected by means of associative cohesion, determines the centripetal nature of the text of this literary work.


Author(s):  
N. Astrakhan

The article considers a literary work in the context of the problem of preservation and development of cultural traditions, in particular the traditions of an author's literary and artistic creativity and reader`s co-creation. These traditions are characterized as fundamental to culture as a whole in the context of Yu. Lotman's ideas about the semiosphere as a semiotic space, which is both a prerequisite and a result of the functioning of culture. The intersection of dialogical-communicative, aesthetic-receptive, and ontological-hermeneutic understanding of a literary work presupposes a productive going beyond the narrow literary perspective on this phenomenon, requires the expansion of the theoretical scope of its subject. It is about realizing the special role of literature and, in particular, literary works representing it in the process of dialogical self-disclosure of creative individuals who need artistic expression to reconstruct the position of the other, necessary in the course of artistic cognition and self-knowing. Understanding and self-understanding, achieved in the process of dialogical interaction with the other in the space of a literary work, become a prerequisite for the fullness of life meeting the spiritual needs of personal development. Moreover, a literary work, potentially open to any person, becomes a crossroads of different cultures and eras, a mechanism for the formation and manifestation of the integrity of culture, the unity of mankind, the continuity of culture genesis. The need to return to the position of the author, to restore the idea of ​​the semantic center of the work outlined by the author is stated. By analogy with the concept of "Text", developed by R. Bart, it is proposed to use the concept of "Author", meaning a set of personal dialogic relationships of the author of a literary work with other authors and readers, open into the infinity of time perspective. This understanding of the author's position is aimed to prevent the simularization of a literary work, contribute to the preservation of it as a cultural value, an important tool of culture genesis.


Author(s):  
O. Shulenok

The article deals with the study of ornithonyms "hen", "chicken", which are part of the phraseology of the modern Ukrainian language. The object of phraseology is considered in a broad sense of the word – this intermediate level includes both idioms and proverbs, sayings, idiomatic figurative comparisons, and so on. It is found that phraseological units with the names «hen», «chicken» are widely represented in the Ukrainian language and are actively used by speakers to enhance the figurative characteristics of man, the situation, quite fully and conceptually represent different areas of material and spiritual life. The semantic and linguistic-cultural peculiarities of idiomatic expressions with ornithonyms "hen", "chicken" are analyzed. It is determined that the semantic structures of the studied phrases contain a significant number of metaphorical meanings used to denote a person. It is established that the majority of idioms with studied components describe human traits: positive (caring, diligence, observation, humility, gentleness) and negative (cunning, foolishness, carelessness, talkativeness, greed, meanness, deceit, indecision, dirtiness, etc). In addition, constant expressions that characterize emotional states (joy, sadness, fussiness, anger, loneliness, etc.), social statuses (wealth, poverty, family relationships), physical characteristics (poor eyesight, hunger), appearance are given in the article. Phraseological units related to the main function of a hen (laying eggs), chicken feed (cereals) and predators (fox), which pose a danger to hens, are also widely represented in the Ukrainian language. Symbolism, existing signs, beliefs associated with these birds are studied. The examples of functioning the analyzed ornithophraseologisms in literary and publicist texts are given. The typical conception that exists in the collective consciousness of Ukrainians about the names "hen", "chicken" is also highlighted.


Author(s):  
A. Horban

The paper discusses the methodological potential of narratology that extends beyond the boundaries of traditional poetics taking the text of Volodymyr Vynnychenko’s short story "Hey you, little barrell..." as a case study. G. Genette’s definitions of the basic categories of narratology, such as story, discourse, anachronies, narrator’s types and functions, narrative distance and focalization are discussed. First and foremost, categories and paradigms introduced by G. Genette increase the possibilities of literary analysis. For example, there is no concept of a subject of vision (a focalizer) in traditional poetics. The paradigm of narrative perspective (focalization) developed by G. Genette is very important for studies of the narratives, besides, the narrative technique of modernism without this category is incomprehensible at all. Traditional poetics does not pay enough attention to anachrony, considering it together with other "off-plot elements", although analepsis and prolepsis are neither discursive nor descriptive. G. Genette presents detailed classification of analepsises and prolepsises, that determines the functionality of the analysis in context. Secondly, the paper clarifies, that the method of G. Genette’s narratology is not limited to tracing narrative categories as elements – it is also about their constant interrelation, i.e. the narrative model of the stories. Vynnychenko’s short story is analyzed in terms of correlations between telling, showing and talking, as well as displays of character’s discourse and attributive discourse. The artistic viability of anachronies (analepses and prolepses) is examined in the compositional and semantic aspects. The paper focuses on some specific features of Vynnychenko’s narrative style, such as dominance of mimesis over diegesis, as well as narrative distance and the author’s self-elimination by means of focalization (both the internal and external one) that are typical for modernist writing.


Author(s):  
H. Hrymashevych

The article analyzes the ways of representation of a dialect word in lexicographic editions of the end of the XX – beginning of the XXI century. First of all, the dynamics of the speech of the spoken word over the last decades is noted, because in the publications of the 70-90s of the last century dialectologists-lexicographers mostly presented the spoken word as a dialect unit with clear heuristic potential and can be a reliable source for various dialectological studies, especially in the field of phonetics, lexicology, morphology etc., because the dictionaries contained information about the variants of the dialect word (phonetic and grammatical), its grammatical parameters, semantics, localization, mostly even accurately to the settlement, sporadically presented an illustrative material that did not allow to fully represent the nominated subject, especially associated with its use in various traditions, beliefs, rituals, because there was a lack of descriptiveness. Instead, in modern dialect lexicographical publications, the way of representing the material has shifted with the emphasis on the functioning of the dialect word in a coherent text of different volume depending on the purpose of presenting the material. Modern dictionaries record not only the above parameters of the dialect word, but also its linguistic and cultural content, the valence of the represented word, its cultural understanding, which allows to trace the functioning of the colloquial name from different positions, to establish the cultural background of the nomination, to reveal emotional and aesthetic words. It is concluded that the future of Ukrainian dialect lexicography is based on dictionaries of a new type with maximum representation of the spoken word in the context of its functioning, according to dictionaries-concordances.


Author(s):  
M. Franchuk

The article considers the specificity of the use of genre attributions of alternative story in Oles Berdnyk's novel "Dazhbog's Camerton". Despite the great interest of domestic scholars in the genre of alternative story, the work of a leading representative of Ukrainian fiction, a prominent philosopher and futurologist remained out of the attention of literary critics concerning the presence of the genre features. Therefore, it is necessary to find out the peculiarities of the use of these features in the novel, their functions in the text, and the influence of the author's peculiar worldview. The material of the research was Oles Berdnyk's novel, as well as the phenomenon of alternative story as a genre of fiction. This helped to determine exactly how the author uses the genre attributions of alternative story, how the description of variable story fits into the novel, and what role it plays. The method of textual analysis was used as research method. Modern theories of alternative story and various branches of knowledge and study of its manifestations in Ukrainian prose, including postmodern, are used as a basis for the research. Observations of the text of Oles Berdnyk's novel "Dazhbog's Camerton" and his other works, in particular the novel "Star Corsair", allowed to collect a lot of factual material, which became the basis for defining the features and functions of the author's parallel reality. Thus, it turned out that Oles Berdnyk uses in the novel the method of an image of an alternative story and the method of an accidental journey in order to enliven the plot, enriching it with peripeties, to more fully outline the characters and express their own philosophical and worldview beliefs. The question of studying alternative story in Oles Berdnyk's work still needs further research, in particular, of other author's novels in this aspect.


Author(s):  
O. Pryshchepa ◽  
O. Chernysh ◽  
Z. Biloshytska

The topicality of the study lies in the fact that the level of language proficiency is considered a criterion in characterizing intellectual and cultural development of the society. Nowadays in Ukraine we have the problem of so called surzhik, which is the result of long-term coexistence of Ukrainian and Russian languages in Ukraine. Surzhik is a mixture of grammatical features of two languages − Ukrainian and Russian, thus it is a mixed language that grammatically is neither of the languages mentioned above. Surzhik negatively contributes to the foundations of the national language. Moreover, it is the result of illiterate language use. Therefore, it becomes a serious obstacle in communication between students and teachers during the classes. Furthermore, the results of a poll of 200 students of higher education institutions in Zhytomyr prove that students who speak surzhik speak neither Ukrainian nor Russian fluently. In addition, they have low speech self-esteem. Thus, at least 22% of respondents do not have a clear understanding of which language they speak. Consequently, it signifies about the immaturity of their linguistic personality. Therefore, the aim of the study is to determine, based on the survey data, for which language group and to what extent surzhik is a speech barrier in the process of studying the literary norm of Ukrainian and whether there is any relationship between the ability to master its literary norm and readiness to learn a foreign language. The authors use the methods of sociology − questionnaires and statistical processing of data. The results of the research prove that surzhik is a speech barrier not only in mastering the literary norm of native language, but also in learning a foreign language.


Author(s):  
D. Movchan

This paper highlights the current state of interpreting the concept of space in literary text as a trend in present-day philological studies. This concept reflects the internal structural and compositional features of literary text and its fragments, further determining its genre features and the author’s individual style characteristics. The paper systematizes the theoretical foundations for the study of literary space, while clarifying the phenomenon of urban space, viewed from semantic and structural perspectives. It focuses on the combination and integration of various semiotic codes and modes of perception against the background of the artistic imitation of other arts, including architecture. The effect of portraying the majesty and congestion of the urban life, its noisy and vibrant nature is achieved due to combining a variety of techniques, which provides a three-dimensional description of the cityscape. The research reveals the mechanisms of verbal holography in the system of urban space representational modes in Virginia Woolf ‘s "Mrs Dalloway",  reached through implicit and explicit multimodality along with manifestations of intermediality. Describing the life of London with Big Ben and the Palace of Westminster as its symbols,  Virginia Woolf skillfully combines their audible and visual facets not only as of artifacts, but also as part of nature, emphasizing its impact on the atmosphere of the city. The research proves that   verbal manifestations of multimodality, detected in the course of analysis, reinforce each other, clearly demonstrating the liveliness and fullness of urban London. The paper concludes with outlining vectors of  further research  addressing holographic effects in spatial descriptions of cities and towns, while systematizing verbal means used to represent urban space in English literary prose of modernism, as well as defining their functions in literary works  by British and American modernist writers.


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