LITERARY PROCESS: methodology, names, trends最新文献

{"title":"SOME FORMS OF RECEPTION OF CICERO IN THE TEXTBOOK ON ELOQUENCE “THE MOHYLA SPEAKER” (1636)","authors":"Olga Zyganok, Valentyna Halagan","doi":"10.28925/2412-2475.2019.146","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.146","url":null,"abstract":"У статті проаналізовано деякі форми рецепції Марка Туллія Цицерона у найбільш ранньому підручнику з риторики Києво-Могилянській академії — «Orator Mohileanus» (1636) Йосипа Кононовича-Горбацького. Автор вітчизняного курсу різними способами вказує, що будує свій курс на вченні батька красномовства, якого вважає «нашим». Цицерон для київського викладача — безумовний авторитет, не лише як оратор і вчитель красномовства, але і як політик та особистість. Однак до спадщини класика автор української риторики ставиться критично. Натрапляємо як на захист римського оратора від можливих опонентів, так і на елементи дискусії з римським корифеєм. Трактат «Про поділ риторики», який приписують Цицерону, Йосип Кононович-Горбацький вважає зразком, як можна коротко викласти риторичне вчення початківцям, у його випадку — студентам, яких він іменує «Цицероновими кандидатами». Римський корифей у вітчизняному підручнику нерідко йде в парі з іншими авторами, найчастіше — із Квінтиліаном. Підручник «Могилянський оратор» багатий на визначення, з боку форми демонструє велику різноманітність. В українському посібнику широко вживається термінологія Цицерона, хоч вона і не до кінця вироблена, а подекуди суперечлива. Йосип Кононович-Горбацький використовує різні способи коментування: пояснення терміна Цицерона, роз’яснення думки тощо. Інколи український автор не впевнений, що добре розуміє римського оратора. В українській риториці багато прикладів із Цицерона. Цитування здійснюється у кількох формах: цитується кілька фрагментів із творів Цицерона, які немовби доповнюють один одного, один фрагмент або лише початок.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"33 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":"126068170","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":"SPACES AND “NOT-SPACES” IN THE ZHADAN’S PROSE","authors":"H. Vypasniak","doi":"10.28925/2412-2475.2019.1315","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.1315","url":null,"abstract":"The paper analyses the symbolic features of spaces of Serhiy Zhadan’s prose. The main attention is paid to the novel “Voroshylovhrad” and the name of the city that doesn’t exist on the geographic maps anymore. Most spaces, such as a petrol station or abandoned airfield, could be defined as non-places (the term of M. Auge). For M. Auge it’s a type of space that shows the hybridity of our life. It’s basically the transit places. That is why there are no emotions connected with those non-places: no special stories, no narrative, that could create the place itself. The analysed novel by Serhiy Zhadan assures that even those places that weren’t noticed by most people and were treated by them as non-places, were really precious for others because of their personal memories and their past time, spent there. The paper also analyses the special features of the novel according M. Auge’s term the “anthropologic place”. It’s a place that represents an identity of native group that used to live there and shows the power of a connection between the place and its inhabitants. It’s also a place, where they can feel themselves and make their own rules. Those things make places like the petrol station, worth to be defended from intrusions.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"31 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":"116921667","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":"CONTEMPORARY NOVEL IN ASPECT OF FRAME POETICS","authors":"Tetyana Bovsunivska","doi":"10.28925/2412-2475.2021.17.2","DOIUrl":"https://doi.org/10.28925/2412-2475.2021.17.2","url":null,"abstract":"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.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"50 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":"127068513","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":"GAME METHODS OF TEXT ANALYSIS (“PASTELS” BY PAVLO TYCHYNA)","authors":"M. Moklytsia","doi":"10.28925/2412-2475.2022.20.6","DOIUrl":"https://doi.org/10.28925/2412-2475.2022.20.6","url":null,"abstract":"The subject of research is game components of the creative process, their manifestation in the genre-stylistic features of Pavlo Tychyna's cycle of poems \"Pastels\". Applying game methods in the study of literature is defined in the article as problematic, since the game does not take place inside the object of cognition, but around him. The research methodology is genre-style analysis based on the psychology of creativity, taking into account cultural contexts, using elements of deconstructivism and intermediate approach. The relevance of the research lies in the proposal to use game methods for in-depth analysis of literary text. It is a relevant appeal to Tychyna's poems intended for school study, since analysis examples common in methodological materials are often superficial. The scientific novelty of the study is determined by the actualisation of game methods for an in-depth analysis of literary texts, in justification of the playful nature of creativity and features of genre and style as a manifestation of this nature. The article offers a completely new analysis of the “Pastels” cycle which can be used as a method for studying other lyrical works.\u0000\u0000Playful nature of the lyrical cycle \"Pastels'' manifests itself in the title, and hence the beginning of the game offered by the author to the reader, unfolds at the genre level. Looking for an answer to the question about which the nature of writing poems is evidenced by a quick pencil drawing, the reader joins the intermediate game. Then the game manifests itself most obviously in the figurative speech of poetry: it is a game in words, or a guessing game that emerges from the nature of image creation, since symbols, allegories and metaphors differ in the mechanisms of formation of additional values. Symbolisation is a hint of something more important, but not directly named; allegory is a conscious coding; metaphor is a concealment subject through the description of its not too obvious qualities. Cognition of added figurative meanings (or polysemy) is in fact a guessing game. Knowledge of the text through the game method can be called an in-depth analysis that happens intellectually and at the same time emotionally, thanks to the game. This is the way emotional intelligence works.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"12 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":"122106789","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":"APOCALYPSE AS AN ALTERNATIVE TO ENDLESS SUFFERING: REVISING THE ORIGINS OF THE ARTISTIC CONCEPTUALISATION OF HISTORY AND ART","authors":"N. Astrakhan","doi":"10.28925/2412-2475.2022.20.1","DOIUrl":"https://doi.org/10.28925/2412-2475.2022.20.1","url":null,"abstract":"The article considers the final book of the Bible, The Book of Revelation, to be defining for the artistic vision of history, formed in the space of European culture. With reference to N. Frye’s paradigm, the article analyses individual motifs of the Revelation, the interpretation of which is of particular importance in the context of the development of European literature, in particular, in terms of the vectors of the artistic conceptualization of history. According to the picture created in the Revelation, symbolically consistent with the Old Testament and evangelical preaching, each individual person and humanity as a whole are faced with the choice between a catastrophic end of history and a qualitative transformation of time that may come as a result of people’s spiritual efforts, opting for repentance and purification. The ability of the symbols in the Book of Revelation to convey the meanings relevant for interpreters in each new historical era accentuates the problem of understanding historical events and reflection on the course of culture genesis, primarily in the space of artistic discourse. The article characterizes the mechanisms of understanding individual and general existence, involved in the process of literary and artistic creation, as derived from the religious worldview, art preserving the connection with the latter at the level of symbolization of the depicted. According to C. G. Jung’s depth psychology, the archetypes of the collective unconscious are perceptible in the symbolic constructions of art, emphasizing that the meaning-making processes are deeply rooted in religious experiences, their mythologizing/identification. In this context, the very phenomenon of literary and artistic creation, which seems to be superimposed on the religious and mythological vision and understanding of existence, acquires particular importance. The apocalyptic motif of the catastrophic end of existence of the fictional world that gained decisive importance in the literature of the postmodern era is interpreted as a derivative of simulacrization of postmodern art, its separation from the leading artistic traditions of the past, rooted in the syncretic elements of spiritual culture.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"65 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":"133335836","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":"AUTHOR’S TALE AS SOURCE OF GENDER IDENTITY\u0000(BASED ON THE CYCLE “ONE AND A HALF WISH.\u0000TALES FROM YALOSOVETA’S TREASURE CHEST” BY MARYNA PAVLENKO)","authors":"Vitalina Kizilova","doi":"10.28925/2412-2475.2019.135","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.135","url":null,"abstract":"The article is devoted to the analysis of feminine and masculine constants, which are represented\u0000in the cycle “One and a Half Wish. Tales from Yalosoveta’s Treasure Chest” by Maryna Pavlenko and\u0000directed at the gender identity formation. Gender identity is supposed to be conformable valuable\u0000behavioral instructions, that lead to learning the roles and development of personality traits. Along\u0000with mythology and folklore, it is considered as a sum-total of standardized static roles and cultural\u0000ideals according to the way of life. In the fairy tale it is made with an articulated assessment of acts\u0000and actions of the characters, which depends on feminine and masculine semantics and is conditional\u0000on mental peculiarities of Ukrainian society. Maryna Pavlenko makes an accent on usual women’s and\u0000men’s traits, which start to acquire marginalized status because of development of democratic society,\u0000however, she doesn’t strive for hyperborlized positivity, that is a significant feature of the author’s\u0000tale text. Having a powerful moral-didactic potential, in the reader’s consciousness the writer’s tales\u0000make negative behavioral stereotypes urgent too, they are connected with moral character’s traits.\u0000In the cycle “One and a Half Wish. Fairy Tales from Yalosoveta’s Treasure Chest” Maryna Pavlenko\u0000represents her own outlook, shows ideal life model of the person, who has archaic views about relations\u0000and standards according to the gender area.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"213 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":"133574647","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":"INTERTEXTUAL ECHOES OF THE STORY BY A. GIDE “ISABELLЕ” AND A. CHEKHOV’S PLAY “THE CHERRY ORCHARD”","authors":"Tetyana Dynnichenko","doi":"10.28925/2412-2475.2019.149","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.149","url":null,"abstract":"У статті здійснено компаративний аналіз повісті А. Жіда «Ізабель» і п’єси А. Чехова «Вишневий сад». На інтертекстуальний зв’язок цих творів вказують численні маркери: центральна позиція топосу «сад», образи головних героїнь, мотив гри, спільність звукових образів, ностальгічна тональність у поєднанні з модерністською іронією. Метою розвідки є дослідження подібності й розбіжностей в художній інтерпретації основних мотивів та образів у цих творах. Приналежність авторів до одного історико-культурного періоду і літературного напряму (модернізму) зумовлює актуалізацію подібних сегментів семантичного поля топосу «сад». Водночас у творах виявляється низка розбіжностей в інтерпретації цього центрального образу, пов’язаних з його змістовим наповненням національно-історичною специфікою. Принципова відмінність полягає у філософському витлумаченні образу саду в контексті авторського світогляду й культурних традицій французької та російської літератур.","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":"129659738","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":"DECONSTRUCTION OF THE SACRAL CHRONOTOPE IN POSTMODERN POETRY (BASED ON S. ZHADAN’S POETRY)","authors":"O. Rosinska","doi":"10.28925/10.28925/2412-2475.2018.11.889","DOIUrl":"https://doi.org/10.28925/10.28925/2412-2475.2018.11.889","url":null,"abstract":"The research considers the main aspects of the formation of a chronotop in the postmodern text. The article analyzes the ways of ironic desacralization of time and space in S. Zhadan’s poetry. The sacred time by cyclicality, which is its main organizing feature, a guarantee of harmonious existence in the world. Images of cyclic time allow postmodern author to reproduce the usual for mythological\u0000consciousness perception of time on another aesthetic-mental level, providing otherwise the filling of the traditional. The cyclicity of any time space, in particular, everyday, historical, cyclicity and, accordingly, sensuality and absurdity of any phenomenon, individual or collective residence, a sense of uniqueness, is\u0000stated. In fact, the cosmic meaning of the sacred time space is individualized, coming from the macrocosm into the microcosm, becoming the property of each individual in its everyday existence, often remote from holiness or even the opposite of it.\u0000The author emphasizes that the postmodern deconstruction of the chronotope does not necessarily imply his absolute unveiling and the removal of the opposition of the sacral and profane, since it is possible to superimpose chronotopes in the subject’s reflection. Need to clarify the thesis that postmodern space (wider time space) is a space in which the opposition «sacred-profane» disappears, because in the discourse of Ukrainian postmodern poetry the desacralization of time space has a more complex form and a non-one-dimensional realization.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"227 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":"122427279","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":"Literature of resistance from the position of diachrony, modernity and perspectives","authors":"Andriana Nikolic, Ilona Chaika-Lukovich","doi":"10.28925/2412-2475.2021.18.8","DOIUrl":"https://doi.org/10.28925/2412-2475.2021.18.8","url":null,"abstract":"Given the current situation in the countries of the former Yugoslavia, new types of social relations, a new, in an economic sense, post-industrial society, it is an indisputable fact that we are facing the same events that analysts say belong to the neoliberal order, and that we, as a collective, are members of this social system through our individual participation. Montenegrin culture, like all Western civilization, is in a state of postmodernism. In the context of Montenegro, this phenomenon is most fully represented in literature. In this paper, we will try to reveal the role of the individual in resisting everyday events with the help of the literary word, bearing in mind that postmodernism is aimed at breaking down the boundaries between high and mass culture, the penetration of commerce into culture. We based our research on the interdisciplinarity of this phenomenon, as postmodernism changes the attitude towards identity. Thanks to the artistic embodiment, we will understand the author's position, to what extent we have civil liberties and whether women are loudly opposed to the diseases of the transition period, while men still occupy key positions in Montenegrin society. A new literary phenomenon, a new collection of short stories by Tatiana Tanya Zekovych, will show us the vision of a woman intellectual who, in writing, fights against stereotypes, so the prose texts in her book have different themes and represent the author's views of the social reality. In her stories, in the form of essays, the author speaks openly about social anomalies, without shame or fear noting that she sees herself as part of the biased literature. The purpose of this work is to introduce the reader to the work of the Montenegrin writer, whose book has no Ukrainian translation, to present the main ideas of the author, her literary attempts to critically rethink reality through postmodern artistic expression at the level of themes, ideas and artistic means.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"332 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":"115458526","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":"THE ISSUE OF FANFICTION LITERATURE GENRE CLASSIFICATION","authors":"K. Ihoshev","doi":"10.28925/2412-2475.2019.143","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.143","url":null,"abstract":"У статті здійснено аналіз деяких наявних літературознавчих праць з питань літератури фанфікшн в аспекті проблеми її жанрової класифікації. Кожен літературний твір належить до того чи іншого жанру. Поняття «жанр» відображає стійкі властивості тексту, такі як обсяг, тема або приналежність до певного роду. Сформована в художній літературі система жанрових означень не завжди може бути застосована до нових специфічних літературних течій, однією з яких є фанфікшн. Фанфікшн — явище настільки багатогранне, що загальноприйнятої жанрової класифікації недостатньо для охоплення всіх таких творів. Тому виникає необхідність розробки нової класифікації жанрових означень. Фанфікшн є сучасним літературним напрямом, який поєднує аматорські твори, написані за мотивами популярних книг, фільмів, комп’ютерних ігор. Усі ті стійкі властивості, які в художній літературі позначені одним поняттям «жанр», у літературі фанфікшн позначаються одразу кількома термінами: розмір, жанр, категорія, рейтинг. Під жанром розуміється більш менш те саме, що й у традиційній літературній теорії. Поняття «категорія» використовується на позначення окремих рис твору: від відповідності реаліям світу оригінального твору до наявності в тексті любовної лінії. Під рейтингом розуміється система оцінки змісту фанфіку, окремої історії, і його придатності для різних вікових груп.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"62 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":"114566705","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}