CRЕATIVE INTERPRETATION OF THE FОLKLОRE PHYTONYM "PERECOTYPOLE" IN THE UKRАINIAN LІTERATURE OF THE XIX CЕNTURY

Thе relevance of this scientific statistic will begin before we start, as the Ukrainian literature of the 19th century will require more detailed reassessment. We are very important in the development of folklore warehouse, some of the folklore itself has become an unacceptable dzherel for the establishment of the actualization of artistic themes and images that were given to the dobies. Folklorе images were found in the folk culture and integrated in the creative palette of Ukrainian writing. After the hour of writing robots, a hermeneutic, descriptive, systemic and systematic method of reading has been obtained. This аrticle is devoted to the problem of creative interpretation of the folk phytonym "perekotypole" on the basis of works of Ukrainian literature of the XIX century, in particular the article considers the ballad "Pokotypole" by A. Metlinsky, the Russian-language story nun "and the poem" We are so similar in autumn "by T. Shevchenko, L. Glibov's fable" Perekotypole ". Allusions to European romantic literature have also been identified in the study of the creative interpretation of the folklore image of the perekotypol. In the cоurse of research it is proved that the folk tale about perekotypole is consonant with F. Schiller's ballad "Ivik's cranes". Both works show that both the steppe plant and the cranes in the sky can be silent witnesses to the ruthless violent death of a person, and in the end they help solve the murder and help punish the thief. Among all the works analyzed in the article, it is worth noting the Russian-language story "Perekatypole" by G. Kvitka-Osnovyanenko, which at one time was not republished at all and was removed from the list of the author's academic publication. Thе study highlights the levels of transformation of the folk image of the perekotypol in various literary genres of Ukrainian literature of the XIX century: direct, secondary, indirect. The emotional and semantic load of the folk phytonym "perekotypole" in the artistic texts of the mentioned period is also determined. This image in the structure of the lіterary text serves as a silent witness to the murder (folk tales about Perekotypole, the bаllad "Pokotypole" by A. Metlinsky, "Perekotypole" by G. Kvitka-Osnovyanenko), symbolizes the state of loneliness, orphan destiny (poetry of T. Shevchenko), еmbodies the image of barrenness and alienation (L. Glшbov's fable "Perekotipole"). The study is promising in terms of further study of Ukrainian literature of the nineteenth century, its links with folklore, as well as with the European literature of Romanticism.

ЯК НАМ ДОСЛІДЖУВАТИ ІДЕНТИЧНІСТЬ?

Review: Fukuyama Francis. Identity. The need for dignity and the politics of resentment: a monograph. Per. from English Т.Сахно. Kyiv: Our Format, 2020. 192 p.

THE INFLUENCE OF WESTERN CULTURE ON THE FORMATION OF CARPATHIAN UKRAINE IN THE NOVEL «SUN FROM THE WEST» BY ULAS SAMCHUK

The relevance of this article is due to the fact that in recent decades Ulas Samchuk is rapidly returning to the Ukrainian literary discourse. In view of the European integration policy of the Ukrainian State, more and more attention is paid to the methods of cultural imperialism, imagology, comparative studies, Occidental philosophy, etc., which we used in this text. In our study, considerable attention is also paid to the influence of Western culture and politics on the formation of the national idea of the Ukrainian nation – the formation of the Ukrainian Conciliar Independent State. We learned that a significant role in the development of the ethnopsychological charisma of the Hutsuls was played by Ukrainians from exile, who during the interwar period inhabited Czechoslovakia, Poland, France and the United States, and with the beginning of events began to return home. The novel-report «Sun from the West» (1949) provides invaluable material on the basis of which we can trace in a clear chronological sequence the change of worldview paradigm of Ukrainians from silent observers to active, fully conscious citizens who set the task of forming a political nation. its integration into the Western world. Nevertheless, Ulas Samchuk draws the reader's attention to the fact that the Ukrainian people have not yet been able to become a nation, given the events in Carpathian Ukraine. He lacked the will to fight, national dignity and self-awareness, education, spirituality and culture. That is why many European grandees did not seriously assess the ambitions of the young Ukrainian state to claim independence and did not allow the Ukrainian Government to defend its positions on an equal footing. The main reason for such a political crisis was, in fact, the lack of a well-supplied army that could protect its borders. Further research should be devoted to the memoirs and diaries of Ulas Samchuk, in which he continues to reflect on the place and role of Ukraine in building a new world order in the context of the conflict of Western and Eastern civilizations.

FLORAL COMPONENT AS THE ENTRY OF VIRA VOVK’S SPIRITUALITY: SELF-IDENTIFICATION WITHIN THE CONTEXT OF HER CREATIVE WORK

The article analyzes the life path of Vira Vovk and key images of her work with a special emphasis on the role of plant symbols, and the influence of sacred ideas on the artist and her faith in God. Attention in the article focuses on the self-identification of Vira Vovk as a purely Ukrainian poetess with her own life position. At the same time, the course of analysis of the author's biography and bibliography circles around her sincere love and devotion to Ukraine, in particular – the admiration of the beauty of her native land, the granting of special significance and symbolic meaning to floral dimension, which is clearly illustrated by examples of donna Vira's lyrical lines. The sacred level and divine beliefs are covered, on the one hand, on the examples of the artist's poetry, on the other – taken from the sphere of journalism about Vira Vovk, namely, from interviews with poetess within literary evenings, conferences, round tables. The article outlines significant instructions to the younger generation of writers: here we are talking about the use of Ukrainian images, plots, historical background of our Motherland, without the involvement of foreign motifs and style. We will try to reveal the secret of "lameness" of the Ukrainian text through the eyes of Vira Vovk and the role of the Ukrainian author's style in the context of the formation of a young writer. In addition to the purely literary level and the analysis of the emigration author's work, we also intent to show Vira Vovk as a sophisticated person, whose literary roots germinated deeply from the Ukrainian land, absorb the entire color of the Ukrainian mentality, world view and reveals in her work. The means of expressiveness outline the divine direction of her poetry: her faith, exclusive intuition, openness to people and purity of thought.

GENRE FEATURES OF HORROR LITERATURE

The article is dedicated to the study of the genre features of horror literature, its plot matrices and principles of artistic modeling of pictures of the world. The article describes the genre-creating elements that have become basis for systematization of the genre composition of horror literature. Special attention is paid to the typology of characters, the specifics of the arranging artistic time and space, as well as the features of the emotional impact on the reader as one of leading principles of genre classification of this type of fiction. After all, much of the text of the works of representatives of horror literature is devoted to the construction of artistic space and time, in order to introduce the recipient into a certain range of components of the emotional state during reading, to achieve the goal of horror literature. Namely, to scare the reader. Considerable attention is paid by the authors of this type of literature to the modeling of characters as a genre component. The article describes a set of standardized elements and attributes describing the appearance and character of the characters, which creates a "horizon of expectations" for the reader's perception. It also acts as an element of genre differentiation within the cluster of horror literature. The definition of genre varieties of this type of fiction reveals a clear conditionality of the specifics of the reception, the orientation of the author's intentions to create a certain psychological effect. Established artistic constants, which show a fairly high level of variability, serve as a figurative and plot matrix for the authors, which provides a "recognizability" of the genre addressed to a certain readership.

IMAGE OF V. PETROV-DOMONTOVYCH IN MEMOIRS AND CORRESPONDENCE OF HIS CONTEMPORARIES-EMIGRANTS

Actuality. The modern study of literature now does not give the answer for a question, if it is possible to create a character of a man from the life by facilities of nonfiction narration, however, it is convincing and full-blooded in the reader’s perception as an artistic image. Stating the Subject of the Study: forming of character-image of writer V. Petrov-Domontovych in the circle of the Ukrainian emigrants of the post-war wave due to their remembrances, letters, and essays. Research methodology: through the comparative hermeneutic interpretation of texts, and also later fiction texts that formed the character-image of V. Petrov. Stating the Aim of the Study. Other mechanisms of reader reception work in nonfiction genres, then in fiction, id est it becomes possible another result – the character of real V. Petrov. Results of the Study and originality. The image of Victor Petrov, formed in the memory of representatives of Ukrainian literary emigration and recorded in their memoirs and correspondence, is no less ambivalent, than images of characters in the fictional works of Victor Domontovych. Expatriate contemporaries saw their colleague differently and remembered in different situations, however, it is significant that people, in many respects disagree with moral assessments, hostile to others (as Ihor Kachurovsky, who always biased towards Yuri Sherekh-Shevelov and even repeated stereotyped allegations against him after his death) they were largely controversial in the estimation of V. Petrov. On the one hand, V. Domontovych deserved respect as a talented prose writer; on the other hand, V. Petrov was a mystery as a person. His collaboration with the Soviet special services did not cause unequivocal condemnation, since the circumstances of his "disappearance" from Munich in 1949 remained unclear. Most of those people who spoke about this event immediately after it was treated to the disappeared man with compassion because they suspected the "human beings"-brothers (Yuriy Lavrinenko) from the Soviet side. Image of V. Petrov mostly appears "split", as well as images of characters in the novels of V. Domontovich. The practical significance. In non-fictional texts, the researcher can trace the path of the formation of the image and stereotype, returning and approaching the prototype.

ІНТЕРМЕДІАЛЬНЕ ПРОЧИТАННЯ УКРАЇНСЬКОЇ ЛІТЕРАТУРИ

Рецензія на кнмгу: Горболіс Л. М. Міжмистецькі контакти українського тексту. Суми: Вид-во СумДПУ імені А. С. Макаренка, 2021. 312 с.

CONTEMPORARY NOVEL IN ASPECT OF FRAME POETICS

The article considers the possibility of synthesizing the system of poetics on the basis of cognitology, in this case - the theory of frames. The frame poetics is able to provide motivation where classical, non-classical or postnonclassical cannot offer convincing motivations. Poetics develops according to the laws of human thinking, in particular fixed in the frame theory. Therefore, we have reason to use frames in literary studies, because the frame is a natural segmentation of thinking in literature as well as in any field of science. The problem of genre definitions and genre transformations in modern novel forms has created a crisis of genre delineation. Frame theory allows to solve this problem of genre definition. Оr look at the genre in a new way, contributing to the conclusion of a new genre gestalt. The formation of different modern novel forms is considered in the aspect of the evolution of different types of poetics, which were concluded by mankind throughout its existence. Poetics is a mental mnemonic system of recoding reality or fiction into the figurative world of a work of art. Postnonclassical poetics, which is represented primarily in the works of postmodernists, has ceased to meet the needs of literary analysis, as it no longer has time to generate theoretical approaches due to the many modifications of the modern novel. Thus, there was a problem of inventing a different approach to the analysis of the current state of novel. Poetics is renewed in order to provide a comprehensive analysis of the structure of thinking of the artistic phenomenon and loses relevance when it does not provide such an opportunity. The nature of thinking is immutable and consistent in the principles of thought construction, and therefore, frame poetics is an evolutionary product of all previous types of poetics. It cannot contradict classical or postnonclassical poetics because it is a question of purely cognitive regularities. The sources of basic ideas for the creation of frame poetics of literature are the theory of frames from M. Minsky to I. Hoffman and W. Wachstein, frame semantics in linguistics from C. Fillmore to S. Shid, the theory of psychological patterns by E. de Bono and dynamic patterns by N. Babutz with a projection on French literature of the modernist era, interdisciplinary methodology of cognitive literary criticism and Gestalt theory from T. Kuhn and I. Prigogine to K. Aidukevich and T. Kotarbinsky, and finally, iconology as a principle of embodied frame unfolding by E. Panufsky, N. Goodman to E. Cassirer, J. Richardson and W. T. Mitchell.

RETICENCE AS A STRATEGY OF THE WOMEN’S AUTOBIOGRAPHICAL TEXT OF SOVIET TIMES

The subject of the study is the system of reticence techniques in the women’s autobiography of O.Ivanenko, the Ukrainian writer of the 20th century. Western theorists of women’s autobiography (M.Mason, E.Jelinek) considered relativity, fragmentation, nonlinearity as qualities that define it. However, the concept of L. Gilmore, who considers autobiography as a writing strategy that constructs its object, allows us to raise the question of the potential functions of constructive techniques in this text. These and many other studies analyze the autobiographies of women in the Western world, leaving aside the writings of Eastern Europeans, however, the works of those who had to live in Soviet conditions are of particular interest for various reasons. The aim of the proposed study is to show the peculiarities of the creation and functioning of the women’s autobiographics in ideological societies on the example of Oksana Ivanenko’s memoirs Always in Life. The research methodology is based on women’s studies and discursive analysis. As a result of the study, it was found that in Ivanenko’s memoirs the theme of creative self-realization and literature as a whole pushes aside the narrative that Western theorists consider to be the main one for women's biography: comprehending their own female experience (first of all, love, marriage, motherhood). The relativity, embodied in the genre of the essay, allowed the author to talk about oneself, when she wanted it, and at the right moment to return to the pseudo-object. The non-linearity of the narrative helps to emphasize advantageous moments and to avoid forced chronology. But fragmentation and heterogeneity allow the woman writer not to build a holistic narrative about oneself, but to offer «flickering» content to readers. Thus, feeling ideological pressure, the author escaped memories not only of the difficult period in Ukrainian history, but also of important events in her life, ignoring her true experience. This means that an autobiographical work may be called upon not to record a true experience but to create a socially acceptable version of the writer.

MET-LITERATURE AS A WAY OF MANIFESTING META-REALITY: JN THE ROAD TO A NEW WORLD VIEW

The article deals with the phenomenon of meta-literature as a manifestation of self-reflection inherent in creative writing and artistic creation. The articles makes an attempt to characterize the phenomenon of meta-literature, which reflects the basic laws of literary development in the twentieth century, gaining special significance in the context of the transition from modernism to postmodernism. It is noted that the problem of art and reality relations is re-thought in connection with the formation and development of modernist literature, all the most significant works of which in one way or another are involved in updating the vectors of artistic solution to this problem. The aesthetic, ideological and poetic features of modernist literature are analyzed, the shift that the content sphere of modernist works undergoes in connection with the interpretation of the problem of art and reality relations is demonstrated, and their poetic basis is determined. It is emphasized that by exploring the phenomenon of literature artistically, meta-literature, in its various manifestations, opens the prospects for a new vision of reality, allows to expand and deepen its understanding. By arguing the need for experiencing literature within the framework of existential experience and thus removing the boundary between artistic and real dimensions of existence ("real life is literature", according to M. Proust), modernists approached the views of philosophical hermeneutics. Remythologization, which characterizes the modernist literary and artistic discourse, can also be understood in connection with the need to correlate artistic meanings with existential ones, to find new ways of identifying and legitimizing them in the situation of religious consciousness crisis. A new configuration of the combination of ancient and biblical-Christian meta-images in the process of remythologization determines the construction of a new world view and concept of man, ensures the achievement of a multifaceted vision of reality. The introduction of the metabolic image of a book into the works of postmodern literature provides an artistic manifestation of the meta-reality discovered by modernism.