LITERARY PROCESS: methodology, names, trends最新文献

{"title":"UATHE POETICS OF LOVE POETRY IN ANTHOLOGY OF VASYL MAKHNO “PAPER BRIDGE” (2017)","authors":"Oksana Pliushchyk","doi":"10.28925/2412-2475.2019.1412","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.1412","url":null,"abstract":"У статті досліджено систему художніх засобів збірки «Паперовий міст» (2017) Василя Махна в єдності з формою поетичних текстів. Зокрема, означено авторську індивідуальність у розкритті почуття любові. Мотив кохання у збірці, що являє своєрідний ліричний роман у новелах-віршах, проаналізовано за кількома аспектами: через урбаністичний простір, драматургію та стиль вислову (за означенням самого поета). Зокрема, про урбаністичні мотиви у житті й творчості митця йдеться у критичних рецензіях, згадках, оглядах, інтерв’ю тощо. Знайомі образи з попередніх збірок перекочували й до «Паперового мосту»: книжні й поетичні лисиці та пси, дрозди, музика, дощ, пори року тощо. У поезіях В. Махна завжди присутня Муза — її важливість для нього прочитується майже у кожному вірші. Мистецтво поета малювати словом зображає полотно, яке інколи яскраво деталізує еротично-поетичну уяву образу коханої. Образ коханої у авторській інтерпретації метафоризується й набуває поетичності. Збірка «Паперовий міст» насичена образами, створеними «по спіралі» (автор, повертаючись до попередніх образів, або лишає їх незмінними, або трансформує, видозмінюючи); розширює урбаністичний простір, поглиблює образ коханої або Музи через еротичні мотиви; насичує тексти осінньо-зимовими мотивами й метафоризує їх.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126674571","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}

{"title":"HANDWRITTEN EPIC WORK OF THE EARLY VYACHESLAV MEDVID’ (1970s)","authors":"M. Vas’kiv","doi":"10.28925/2412-2475.2022.19.2","DOIUrl":"https://doi.org/10.28925/2412-2475.2022.19.2","url":null,"abstract":"The article analyzes epic works (fragments, sketches, stories, the shot novel “Completely Military Maneuvers”), as well as the play “Bomb, or Responsible Person” of the early stage of creativity (1970s) Shevchenko Prize winner Vyacheslav Medvid’ (Born in 1951), which were not published for various reasons and remained in the manuscripts of the writer and therefore remained out of the attention of researchers. This works fit into the context of the writer’s biography, his work as a librarian in Uzhhorod, service in the army, moving to Boyzrka and Kyiv, in the context of intellectual and cultural communication. Some of the manuscripts are impressionistic reflections of the surrounding world and their own perception of this world, which are very close in genre to “sketches”, “drawings”, samples” of the late nineteenth – early twentieth centuries. Also through most works is the motive of determining their own path, choosing a writing profession. An analysis of V. Medvid’s unpublishes works of the 1970s gives grounds to assert that from text to text the author’s narrative skill grew, a range of problems, methods of imagery, stylistic features, and chronotope were developed, which would later form the basis of the writer’s idiosyncrasy. V. Medvid’s manuscripts, which preserve further author’s corrections and edits, make it possible to trace the formation of idiosyncrasies, a critical attitude to written texts, and persistent purposeful activity to improve them. Most often, the corrections were reduced to the removal of unnecessary, according to the writer, segments of the text, especially close to journalistic interpretive self-explanations. To a large extent, this correlates with the desire to write in accordance with the technique of “iceberg”, which testified to the great interest of V. Medvid’ in the work of E. Hemingway, V. Faulkner and others. The short play is written in the vein of absurdist drama, which was little known and not tolerated in the USSR. The writer did not make serious attempts to publish the manuscripts in the decades, believing that they had not yet reached the proper level of skill.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126523000","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}

{"title":"“RISE UP, UKRAINE! A LIGHT OF TRUTH WILL SHINE, AND SLAVE CHILDREN WILL PRAY IN FREEDOM”: THE EMBROIDERED FOLKLORIZED WORKS BY TARAS SHEVCHENKO","authors":"Tetiana Brovarets","doi":"10.28925/2412-2475.2022.19.1","DOIUrl":"https://doi.org/10.28925/2412-2475.2022.19.1","url":null,"abstract":"The article is devoted to the phenomenon of embroidering the folklorized poetic works by Taras Shevchenko on the towels (rushnyky), many of which belong to the patriotic inscriptions (for the most part, Western Ukraine, the 1930s). These folklorized lines could be in a variety of contaminations. Embroideresses often combined between two and four different works, therefore creating an absolutely new text. Particularly, I demonstrate rushnyky with the embroidered verbal formula “Rise up, Ukraine! A light of truth will shine, and slave children will pray in freedom” (the prototext is the mystery “Big Cellar”) which in different cases is combined with other verbal formulas (which are also folklorized works by Kobzar): for example, “Love each other, my brothers, love Ukraine, and pray to God for our unfortunate country” (the prototext is the poetry “Remember, My Brothers” from the cycle “In the Casemate” by Taras Shevchenko) or “Love your Ukraine. Love her… in the difficult time, in the last worst moment pray to God for her” (the prototext is the 12th poetry “Will We Get Together Again?” from the cycle “In the Casemate” by Taras Shevchenko). The concrete cases (on the example of the poetry “My Testament” by T. Shevchenko) where a political content is closely intertwined with a private sphere and glorification of the poet have been also analyzed. It is shown that at the beginning of the 21st century there was re-actualization of the epigraphic embroidery samples which had been embroidered at the first half of the 20th century. Such cases can be well traced on social networks, when, during revolutionary events, photographs of epigraphic towels are published, in particular with embroidered lines which are folklorized works by Taras Shevchenko. A case of double re-actualization of the same sample of epigraphic embroidery was also recorded (the rushnyk with the verbal formulas “Arise, Ukraine! pray to the Lord for her “Rise up, Ukraine! A light of truth will shine, and slave children will pray in freedom” and “Love your Ukraine. Love her… in the difficult time, in the last worst moment pray to God for her”) with a time interval of nine years (during the Orange Revolution and the Revolution of Dignity).","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127849241","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}

{"title":"FLORAL COMPONENT AS THE ENTRY OF VIRA VOVK’S SPIRITUALITY: SELF-IDENTIFICATION WITHIN THE CONTEXT OF HER CREATIVE WORK","authors":"O. Hul, A. Bracki","doi":"10.28925/2412-2475.2021.17.3","DOIUrl":"https://doi.org/10.28925/2412-2475.2021.17.3","url":null,"abstract":"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.\u0000\u0000The 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.\u0000\u0000In 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.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128094554","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}

{"title":"NIGHT DREAM MOTIF IN “ULYSSES” BY J. JOYCE, “MURPHY” BY S. BECKETT\u0000AND “THE THIRD POLICEMAN” BY F. O’BRIEN","authors":"Elizabeth Vasyliuk","doi":"10.28925/2412-2475.2019.1313","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.1313","url":null,"abstract":"The article analyses the plot creation function of the night dream motif and explores the combination\u0000of the motifs of the night dream with thanathological motif in the novels. In “Ulysses” and “The Third\u0000Policeman” the night dream serves as display of the guilt of the protagonists: Stephen`s guilt towards\u0000his dead mother, Noman`s guilt towards dead Mathers. In “Ulysses”, the nightdream of Bloom attracts\u0000Stephen into the world of dreams, in “Murphy”, Murphy attracts his beloved Celia in his own world\u0000of melancholy and apathy, and in “The Third Policeman” Noman is pushed by his friend and murderer\u0000John Divney into afterlife. The reception of the “Ulysses” diambulist / noctambulist pair in “Murphy”\u0000and “The Third Policeman” has been identified: in “Ulysses” it is represented by diambulist Bloom and\u0000noctambulist Stephen, in “Murphy” it is represented by diambulist Neary and noctambulist Murphy,\u0000and in “The Third Policeman” — by diambulist de Selby and noctambulist Noman. The certain leading\u0000role of night dream in the plots of novels is defined: in “Ulysses” Bloom and Stephen’s communication\u0000takes place at night, dream “leads” the protagonist to a psychiatric hospital in “Murphy”, in “The Third\u0000Policeman” the dream of Noman creates deep connection between him, John Divney (the murderer)\u0000and Mathers, Noman`s victim; it creates the fiction space of the novel. The protagonists in “Murphy”\u0000and “The Third Policeman” have doubles: Murphy has a neighbor who replaces Murphy for Celia,\u0000Noman has Martin Finnucane. The diambulist patrons which replace the fathers of the protagonists\u0000in S. Beckett’s and F. O’Brien’s novels are parody of diambulist Bloom: in “Murphy” Neary has a panic\u0000fear to die at night, while Bloom considers death in dream as the best one, and in “The Third Policeman”\u0000de Selby arranges comic scientific experiments, spending thousands gallons of water to clean the air\u0000from an “unsanitary night”, in which the “water” Bloom is also parodied. The dream in “Ulysses”\u0000tends to a carnival, the dream in “Murphy” — to surrealism, and in “The Third Policeman” absurdity\u0000is represented through the prism of serialism, while implying phantasmagority of dream in “Ulysses”.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130549974","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}

{"title":"“VERSES ON THE PASSION OF THE LORD” BY DYMYTRII TUPTALO","authors":"O. Savenko","doi":"10.28925/2412-2475.2019.1413","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.1413","url":null,"abstract":"У статті розглянуто «Стихи на страсти Господни» українського агіографа і поета кінця XVII — початку XVIII ст. Димитрія Туптала з погляду трансформацій у творі великоднього сюжету. У цьому вірші поет завдяки алюзіям та ремінісценціям на канонічний євангельський текст відтворив основні події великоднього циклу. У твір вставлені репліки одинадцяти «отроків», які ведуть мову про жорстокі засоби знущання над Ісусом Христом на Голгофі: мотузок, що ним зв’язують Ісуса, рука воїна, батіг, дерев’яний стовп, до якого прив’язують Христа, терновий вінець, трость, цвяхи, молот, що прибив Ісуса до хреста, жовч з оцтом, спис, який пробив Ісусу ребра, смертне ложе. Усі ці атрибути «страстей Христових» наявні у канонічних євангеліях, на них зосереджує свою увагу Туптало, коли «отроки», від першого до одинадцятого, проголошують свої монологи, кожен з яких словесно розкриває «свій» атрибут. У статті зіставляється текст вірша з відповідними місцями у канонічних євангеліях і визначаються особливості трансформації у творі Димитрія Туптала. Поет не переказує «страсті Христові», а творчо обробляє євангельський сюжет.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131397294","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}

{"title":"ARTISTIC PERCEPTION OF YAROSLAV THE WISE IN ART WORKS ABOUT HIS DAUGHTERS-QUEENS","authors":"Irina Rusnak","doi":"10.28925/2412-2475.2019.144","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.144","url":null,"abstract":"У статті проаналізовано різножанрові твори українських і зарубіжних письменників про доньок Ярослава Мудрого, які стали королевами європейських держав. Авторка осмислила художню інтерпретацію образу князя-реформатора і його доби в цих творах. Письменники різних національних літератур прагнули поєднати художню правду з історичною, неупереджено зобразити відомі факти життя і діяльності Ярослава Мудрого. Образ великого князя київського у творах про його знаменитих доньок епізодичний. Переважно його зображали глибокодумним державником, далекоглядним політиком, освітнім і культурним діячем. Доповнювали літописний образ прагнення авторів розкрити внутрішній світ князя Ярослава, показати його звичайною людиною, чоловіком і батьком. Проблеми неповноти і суперечностей історичних джерел письменники вирішували творчо. Письменники приймали або заперечували окремі версії подій, відсутні подробиці компенсували художніми домислами. Основними джерелами правдоподібності художньої оповіді в аналізованих творах були руські літописи, іноземні хроніки, скандинавський фольклор, праці істориків-медієвістів. У художній інтерпретації історичного минулого й історичних постатей митці різних літератур намагалися дотримуватися усталених в історіографії їхніх країн поглядів. Для українських письменників першорядним є прагнення здолати імперські міфи про Київську Русь, пробудити історичну пам’ять Нації, підвищити опірність національного організму до будь-яких імперських маніпуляцій.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131669122","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}

{"title":"UKRAINIAN WOMEN'S NOVEL ABOUT THE WAR OF THE 20TH CENTURY: THE PROBLEM OF THEME AND GENRE","authors":"S. Zhygun","doi":"10.28925/2412-2475.2022.20.3","DOIUrl":"https://doi.org/10.28925/2412-2475.2022.20.3","url":null,"abstract":"The object of the study is the genre of women's novels about war. Attention is focused on how women's experience modifies the genre, changing the status of the event and adjusting plot schemes. The purpose of the study is to trace the peculiarities of the development of a women's novel about the war on the material of 4 novels of different periods: \"Petrya Slymak\" by Oleksandra Svekla, \"Behind the Plow\" by Varvara Cherednychenko, \"Khreshchaty Yar\" by Dokiya Humenna and \"The Death of Cecil the Lion Made Sense\" by Olena Stiazhkina. The novelty of the study is in the fact that it is the first attempt to analyze the genre of women's novel about the war in Ukrainian literature. The study is carried out in line with feminist studies and is based on the works of Nira Yuval-Davis, Cynthia Enloe, Miriam Cooke, Margaret Higonnet, and others.\u0000\u0000As a result of the research, a number of features of Ukrainian women's novels about the war have been revealed. The genre develops as inscribing women into male plot schemes and creating herstories of war. In the plot scheme, the depiction of battles is episodic, but the depiction of events in the rear and the occupation becomes important. This significantly expands the understanding of war not only as a history of defeats and victories, life and death but also as suffering, patience, and hard work. Women's novels focus on the contribution of women to the provision of the army and social organization, but also on the suffering that women experience during the war. The wounding or mutilation of men in war also becomes a frequent motif, which undermines the standards of masculinity usual for male examples of the genre. \u0000\u0000Women's texts are also more attentive to female characters, giving them more subjectivity. In the texts of the first half of the 20th century, this subjectivity is a consequence of the lack of men in the public space, providing women with space for self-realization outside the private sphere. In later texts, the subjectivity of women is substantiated by their characters. The appearance of the sniper character marks the overcoming of the victimization of female images in war novels.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"171 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132295866","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}

{"title":"RETICENCE AS A STRATEGY OF THE WOMEN’S AUTOBIOGRAPHICAL TEXT OF SOVIET TIMES","authors":"S. Zhygun","doi":"10.28925/2412-2475.2021.17.4","DOIUrl":"https://doi.org/10.28925/2412-2475.2021.17.4","url":null,"abstract":"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.\u0000\u0000As 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.\u0000\u0000Thus, 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.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129249389","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}

{"title":"LITERARY PROJECTION OF PANDEMIC IN MARLEN HAUSHOFER’S NOVEL «THE WALL»","authors":"H. Bokshan","doi":"10.28925/2412-2475.2022.20.2","DOIUrl":"https://doi.org/10.28925/2412-2475.2022.20.2","url":null,"abstract":"The context of a historical period may provoke unexpected interpretation of this or that book because of its parallels with current social phenomena. The plot of M. Haushofer’s novel has such distinct similarities to the present reality, that it makes scientists reinterpret it. Though this literary work was published in German in 1963, it was translated into Ukrainian in 2020, that explains a small number of studies, devoted to its analysis. The number of the reviews on this novel has recently grown in English-language literary sources, emphasizing the need of reinterpretation of the novel in the context of the spread of coronavirus infection, that proves topicality of the theme of the article. The purpose of the study is to examine the specificity of a literary projection of pandemic in M. Haushofer’s novel «The Wall», identifying and analyzing literary versions of mythoscenarios in it.\u0000\u0000Yu. Vyshnytska’s concept described in her monograph «Mythological scenarios in the modern literary and publicist discourse» was chosen as a theoretical foundation of the research. The following methods of literary analysis – intertextual, semiological, psychoanalytical and poetological – were used in the course of the research. At the beginning of the novel «The Wall» there are elements of the mythoscenario of the end, based on eschatological plots. This mythoscenario in M. Haushofer’s work is a part of a dualistic model together with the mythoscenario of the beginning which is a universal worldview model. The dystopia «The Wall» can be considered an original literary projection of pandemic that is visible most distinctly in the plot of isolation, in articulation of the basic archaic opposition «life–death». The work of the Austrian author vividly visualizes it in the mythoscenarios of the beginning, the end and initiation which show diffusion of the structural contours and transgenic features – the ability of one mythoscenario to merge with another. Interpretation of these mythoscenarios allows identifying the analyzed novel as an example of neomythological literature. M. Haushofer’s dystopia opens space for literary studies of different aspects, in particular, prospects of further research can be seen in psychoanalytical investigation of the character-narrator’s state caused by isolation.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116475663","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}