LITERARY PROCESS: methodology, names, trends最新文献

{"title":"GENRE CONVERSION IN CONTEMPORARY EUROPEAN DRAMA","authors":"Vasyliev Yevhenii","doi":"10.28925/2412-2475.2019.132","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.132","url":null,"abstract":"The article considers the original and common type of genre transformations in a contemporary\u0000drama — genre conversion. Its essence is in the fact that the drama genre is not just transformed from\u0000a non-dramatic or extra-literary genre. Concepts that are completely unrelated to the field of genology\u0000are becoming genre categories. They are borrowed from the sphere of literary movements and trends.\u0000In the genre system of contemporary drama, an absurd drama occupies a prominent place, which is\u0000converted from the trend of the same name. The functioning of the absurd drama genre in European\u0000dramaturgy (German, Polish, Serbian, Russian, Belarusian, and Ukrainian) of the late 20th and early\u000021st centuries is analyzed. The dramas of Andrzej Stasyuk, Bilyana Srblyanovich, Larysa Paris, Artem\u0000Vishnevskyi, Volodymyr Serdyuk and Vasyl Kozhelyanko are involved in the analysis. The intertextual\u0000connections between the drama of the absurd as a genre («Waiting for the Turk» by Stasyuk) with\u0000the works of the drama of the absurd as a trend («Waiting for Godot» by Beckett, «Bald Soprano Singer»\u0000by Ionesco, «House on the Border» by Mrożek). The genre features of the convertible genre of the absurd\u0000drama are defined (abstract, indefinite chronotope, de-individualized characters, the interpenetration\u0000of high, pathetic, tragic and low, comic, farcical, the coexistence of the real with the fantastic,\u0000the destruction of the traditional constructive elements of the dramatic text; absurd plot situations;\u0000verbal nonsense and word creativity).","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"46 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":"116707887","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 MODELS OF ADDICTIVE BEHAVIOR IN O. MYKOLAYCHUK AND NEDA NEZHDANA'S PLAY \"HONORE, AND WHERE IS BALZAC?\"","authors":"Tamara Fedyk","doi":"10.28925/2412-2475.2022.19.10","DOIUrl":"https://doi.org/10.28925/2412-2475.2022.19.10","url":null,"abstract":"The article is devoted to the analysis of poetics of artistic models of protagonists' addictive behavior in the play by O. Mykolaychuk and Neda Nezhdana \"Honore, and where is Balzac?\". The relevance of the study is due to the notable increase in the number of interdisciplinary investigations. It contributes to a significant expansion of the range of aspects of research in the literature, especially the researches devoted to the analysis of works of art through the prism of psychology. This study was conducted using modeling, psychological and poetological analysis. The content of the concepts of \"addiction\" and \"addictive behavior\" was clarified; the potential signs of addiction that can be realized in the play were singled out, taking into account the specifics of the characterization of the characters in the play, and as a result, the models of addictive behavior were determined. Knote, Honore de Balzac and Evelina Hanska are carriers of addictive behavior and form a system of images-addicts in the play by O. Mykolaychuk and Neda Nezhdana \"Honore, where is Balzac?\". The interpersonal addiction of the characters is distinguished by three striking features: compulsive behavior, the reaction of the individual to the mention of his addiction or object of addiction, and manipulation of other people to achieve their own goals related to the object of addiction. Playwrights use a number of tools to create images of actors – representatives of addictive behavior, including lexical (the presence of specific tokens and their repetitions), morphological (a significant number of adjectives and verbs with negative connotations) and syntactic (incomplete sentences and exclamatory sentences, rhetorical questions, remarks-phrases, which are aimed at describing the actions and disclosing the internal state of the actors). Given the results, we see the prospect in further analysis of the poetics of artistic models of addictive behavior on the basis of other plays of modern Ukrainian drama, thus expanding the object of study.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"8 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":"129262775","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 JANISSARIES OF THE 20TH CENTURY: MOHSIN HAMID’S NOVEL RELUCTANT FUNDAMENTALIST","authors":"M. Shymchyshyn","doi":"10.28925/2412-2475.2019.147","DOIUrl":"https://doi.org/10.28925/2412-2475.2019.147","url":null,"abstract":"У статті проаналізовано роман сучасного британсько-пакистанського письменника Мохсіна Хаміда «Названий фундаменталістом». Основна увага зосереджена на політичному та ідеологічному дискурсі твору. Теоретичну базу дослідження становить праця Майкла Гардта та Антоніо Негрі «Імперія», у якій розгорнуто думку про особливості сучасного типу імперії. У статті зіставлена теорія щодо імперії ХХІ ст. і розмисли автора роману. Твір є своєрідною відповіддю-рефлексією на події 9/11 в США, де задекларована думка про те, що порушення комунікативного акту між Сходом і Заходом спричинило бомбардування Світового торгового центру. Мовчання слухача-американця та монолог оповідача-пакистанця оприявнюють у перевернутій перспективі викривлені відносин між імперією та рештою світу. Інший проблемний пласт роману охоплює природу глобального капіталу та його панування у сучасному світі. Через функціонування американської фінансово-аналітичної фірми автор розкриває шляхи поширення принципів та ідеології фінансового капіталізму у світовому масштабі. Детермінантою внутрішньої кризи і подальшого прозріння головного персонажа стають події 9/11, що змушують його по-новому глянути на своє становище та на сквапливе захоплення американською мрією.","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":"134421382","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":"ORDERED LIBERTY IN BORYS HUMENIUK’S TEXTS","authors":"Mykhailo Pylynskyi","doi":"10.28925/2412-2475.2022.20.7","DOIUrl":"https://doi.org/10.28925/2412-2475.2022.20.7","url":null,"abstract":"This paper is concerned with the notion of ordered liberty and whether Borys Humeniuk promotes it in his texts. In order to determine it several issues are examined. First, the author establishes reasons for discussing this writer by describing Humeniuk’s personal and professional life; while also connecting the fact that Humeniuk acknowledges the importance of literature for shaping a society. Further, the author establishes the framework of the paper, as he discusses what freedom is in the philosophical tradition of the West and elaborates on the key idea of the paper — what the ordered liberty is and its origin. After an introduction of specific literary texts for the paper, the author moves to their discussion. This research includes a description of tiers of the society that is discerned in connection with personal responsibility and selflessness. Those tiers would be, firstly — members of the military who are ready to die for their country; secondly — everybody who in some way helps the military; thirdly — draft dodgers; and lastly — government officials, who are despised for being corrupt. This breakdown helps understand Humeniuk’s perception of ordered liberty, as it gives better understanding of his value system. Then using previous findings the author analyses three types of freedom found in Humeniuk’s texts. The first is freedom from life, as from war and suffering. Second, freedom that manifests in a public setting. It surfaces in a sentiment that everyone should work for the cause of defending the country. Third, deeply personal freedom, which can be seen in behavior when people tend only to their business; furthermore, they are rather cynical of all institutions and their ability to improve. Lastly, author makes a connection between Humeniuk’s sentiment about artists’ great impact on society and his emphasis on the latter type of freedom, showing the disconnection between the two ideas. The novelty of such research lies in bridging Ukrainian literature and the Western philosophic tradition, specifically on freedom and its facets. The further development of this research is analysis of Ukrainian literature through this lens as it helps to establish the attitude of Ukrainians towards freedom and if applied properly, helps to encompass policy makers in their work for the prosperity of Ukraine.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"2 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":"127602582","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":"After the Apocalypse: the representations of in/tolerance in McCarthy’s The Road","authors":"I. Kachur","doi":"10.28925/2412-2475.2021.18.5","DOIUrl":"https://doi.org/10.28925/2412-2475.2021.18.5","url":null,"abstract":"The representation of tolerance and intolerance in McCarthy’s novel “The Road” is studied in the article. The notion of tolerance has been of great interest for philosophers and writers, who aim to reveal true human nature and get to the depth of human soul. Even nowadays, this concept attracts attention of politics, authors and just ordinary people as the way to reach understanding and acceptance in the fast developing world. Philosophers consider tolerance as an inseparable part of a personality believing that people are naturally patient towards other human beings and try to treat them with respect, acknowledging their individuality. In fiction, this notion has been investigated as opposed to intolerance that can take various forms such as moral or physical oppression, unacceptance of people’s individuality, prohibition of free expression of opinions etc., which can come from the government or the society. On the contrary, tolerance is seen as acceptance of a divergence of opinions, lifestyles or else and can be mostly encountered in children’s literature. Cormac McCarthy, a well-known American writer, whose works make readers think about the essential questions of human existence, in the post-apocalyptic novel “The Road” examines the relationships of the main characters (the father and his son) with each other and the strangers they meet on their way. McCarthy explores whether in the almost completely destroyed world, where everyone is forced to fight for existence, there is still room for kindness and humanity. Meeting other characters, the protagonists do not always remain tolerant and understanding because the survival of their group (the family) depends on their choices. In McCarthy’s text, a character is tolerant until it does not hurt his or her own interests.","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":"130678235","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":"Artist and Art in the Age of Historical Cataclysms: Kateryna Lebedieva’s novel «22. A Mystic Case at Voznesenskyi Descent in Kyiv»","authors":"O. Levytska","doi":"10.28925/2412-2475.2023.21.8","DOIUrl":"https://doi.org/10.28925/2412-2475.2023.21.8","url":null,"abstract":"The paper is dedicated to studying the problems of artists and art during climactic events in Ukrainian history. Kateryna Lebedieva’s novel “22. A Mystic Case at Voznesenskyi Descent in Kyiv” has been used to analyse the artistic context of the revolutionary and war events of 1917–1922 in Ukraine, singling out the challenges for art during breaking moments in the history of the country. The research aims to analyse authorial strategies of depicting the response of different artistic environments to global changes happening in the artistic community during turbulent times. The novel’s material shows how crisis periods in history, such as war, occupation, hunger, seizure of power, revolution, influence artistic activities, personal traits and behavioural models of people of art. The novel underscores the problems of forming national identity and its representation in works of art, the evolution of national consciousness which happens to artists during the establishment of the young Ukrainian state. The methodological basis of the study is intermedial studies which help highlight the problem of an artist during moments that are critical for their state through artistic interactions, namely visual art, graphics, theatrical art and literature. The article follows ways by which Lebedieva depicts changes in the environment of the newly created Ukrainian Academy of Arts during the establishment of the Ukrainian National Republic, civil war, and the Soviet regime, while using examples of Heorhii Narbut, Mykhailo Boichuk and the academy students to show transformations in creativity caused by external factors. An essential aspect in the artistic responses to landmark historical events is the reform of theatre demonstrated in the novel through the example of stagings by Les Kurbas.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"83 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":"133832297","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":"ІНТЕРМЕДІАЛЬНЕ ПРОЧИТАННЯ УКРАЇНСЬКОЇ ЛІТЕРАТУРИ","authors":"O. Brovko","doi":"10.28925/2412-2475.2021.17.10","DOIUrl":"https://doi.org/10.28925/2412-2475.2021.17.10","url":null,"abstract":"Рецензія на кнмгу: Горболіс Л. М. Міжмистецькі контакти українського тексту. Суми: Вид-во СумДПУ імені А. С. Макаренка, 2021. 312 с.","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":"130305866","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":"Mental geography in Askold Melnychuk``'s \"Ambassador of the Dead\" and \"What is Told\"","authors":"H. Bokshan","doi":"10.28925/2412-2475.2021.18.2","DOIUrl":"https://doi.org/10.28925/2412-2475.2021.18.2","url":null,"abstract":"The issues of mental geography and its correlation with official territorial differentiation and organization of the global space become highly important under conditions of considerable geo-political transformations and accelerated migration processes. A. Melnychuk’s novels are suitable for examining in the context of mental mapping, ethnical identity, national memory and collective trauma. Since his works were published in Ukraine, there have been a number of studies in the above-mentioned aspects. However, analysis of the available papers shows a lack of the researchers’ attention to the specificity of mental geography in the writer’s novels that makes it necessary to study them further. The purpose of the research was to identify the peculiarities of “borders” in the characters’ mental geography in the novels “Ambassador of the Dead” and “What is told”. In order to achieve the purpose, we used the following methods: biographical, psychoanalytical, intertextual and the elements of receptive esthetics. Analysis of A. Melnychuk’s novels made it possible to draw a conclusion that mental geography is visualized distinctly through the characters of both works. The novels articulate the discrepancy between the symbolic markers of spatial objects on the maps and their reflection in the characters’ consciousness. In A. Melnychuk’s works there is a correlation between the available information about the past on mental maps and the maintenance of inherited identity: the characters who tried to erase the past, to transform virtual “sites of memory” into “non-sites”, either destroyed themselves as individuals or assimilated abroad, having lost connections with their family and nation. The collective trauma made them avoid clarity in naming their motherland that had a negative impact on its reflection on the mental maps of the younger generation of emigrants and, as a result, on their national identity. Specificity of articulating the consequences of traumatic experience in A. Melnychuk’s novels can be prospects for further research.","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":"127737233","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":"«Close the Sky» of Neda Nezdana: War, Memory, Women’s Traumatic Experience, Conscious Decoloniality","authors":"O. Bondareva","doi":"10.28925/2412-2475.2023.21.2","DOIUrl":"https://doi.org/10.28925/2412-2475.2023.21.2","url":null,"abstract":"In the article, Neda Nezhdana’s play “Closed Sky” is considered in the theoretical coordinates of postcolonial studies, memory studies, trauma studies, Western European theory of evidence processing in conflict/intervention zones, feminist criticism. It is studied how this play fits into the wider context of modern Ukrainian drama about the full-scale military aggression of Russia against Ukraine. The mechanisms of transformation of one’s own traumatic experience, testimonies and individual oral narratives of eyewitnesses are singled out: first — іnto the space of communicative and discursive practices, and later — іnto a full-fledged artistic material. It was emphasized that it is fundamentally important for Ukrainians to create their own artistic narratives of the current war, to record and interpret its crimes, to include them in the global history of the colonizers’ struggle with Ukrainian identity, and to organize work with transgenerational traumatic memory around this. We must not allow the perception of the war outside of Ukraine to be dominated by narratives of the aggressor. The theatrical and performative potential of the work allows the author of the play to present insightful public stories of strong and self-sufficient Ukrainian women of various ages who suffered from the occupiers and bear witness to their crimes against humanity. “Closed Sky” in Neda Nezhdana’s interpretation turns not into a space of safety and salvation, but into a complex physical and mental labyrinth, which can be opened by unexpected trials and threats, but passing through which cures the heroine of amnesia. The creation of the play, becoming a kind of autopsychotherapy for the author, provokes opportunities for collective psychotherapy in the theater, because our joint work with the traumas of war opens for Ukrainians conscious decolonial perspectives and paves the way to their own stable and unfettered decolonial identity.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"54 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":"127845907","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":"Catastrophic Motives in the Bruno Schulz’s Works","authors":"N. Matorina","doi":"10.28925/2412-2475.2023.21.9","DOIUrl":"https://doi.org/10.28925/2412-2475.2023.21.9","url":null,"abstract":"The work of the talented writer and artist, literary critic, philosopher, and epistolographer of the first half of the 20th century, Bruno Schulz, is consonant with today’s challenges. The article analyses the prose works of the artist from the perspective of catastrophic motives because until now scholars of Schulz have analysed the outlined problems either cursorily or in a comparative aspect — based on a comparison of the artistic works of different writers, so the relevance of the study is primarily connected with the expansion of Schulzological problems within the literary discourse. The content and development of the term “catastrophism” are analysed; the individual facts of the social life of the era to which Bruno Schulz belonged are characterized; the moments of the artist’s biography are outlined, which influenced the formation of his worldview, in particular, the elements of a catastrophic vision of the world; the peculiarities of Schulz’s catastrophism are clarified. To achieve the goal of the research, the following methods of literary analysis have been applied, such as biographical, sociological, as well as the elements of psychological and receptive analysis. The studies of Shultz’s prose show that the presence of catastrophic motives in Bruno Schulz’s creative work is completely natural and justified. The catastrophic tendencies of his works of fiction are revealed primarily through binary contrasting oppositions, through the prism of the “decency” of the old and the “spirit of modernity” of the new (industrial) city at different levels, such as periphery — center, man — mannequin, life — death, good — evil, beauty — mutilation, hope — despair, etc. It is emphasized: Schulz’s catastrophism is a special kind of catastrophism; an important feature of Bruno Schulz’s artistic catastrophic vision of the world is his optimism, at least Schulz’s tragedy has bright, joyful shades and hopes. The author concludes that the study of specific material, in particular Schulz’s catastrophism, will contribute to a thorough theoretical generalization of literary studies of the outlined issues. In the future, the literary and critical works and epistolaries of Bruno Schulz as interesting material for catastrophic, eschatological, apocalyptic, and even masochistic studies are seen.","PeriodicalId":120787,"journal":{"name":"LITERARY PROCESS: methodology, names, trends","volume":"26 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":"115311244","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}