乌克兰哥萨克奇幻诗学的自我发展:斯托罗琴科小说《马尔科·普罗克利亚蒂》&科诺诺维奇小说《chyhyryynyi sotnyk》

O. Pydiura
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引用次数: 0

摘要

介绍。本文以斯托罗琴科的小说《马尔科·普罗克利亚蒂》和科诺诺维奇的小说《chyhyryynyi sotnyk》为例,对哥萨克乌克兰幻想诗学的自我发展进行了研究。本文旨在以斯托罗真的小说《马尔科·普罗克利亚蒂》和科诺诺维奇的小说《chyhyryynskyi sotnyk》为例,分析乌克兰哥萨克幻想诗学的自然发展。研究材料和方法。在写作这篇文章时,作者使用了以下几个主要领域的材料:哥萨克幻想的神话起源;乌克兰文学史;文学批评话语中的哥萨克幻想乌克兰的浪漫主义;历史人物作为幻想人物的原型;幻想作为一种艺术现象。本文采用比较研究的方法。研究结果。作者通过科学的研究,指出了作家们将哥萨克随从和民间传说资源作为构建文学世界的手段的主要原因——浪漫主义和民族认同。浪漫主义为哥萨克幻想的形成提供了巨大的潜力,同时也导致了文学评论家和作家自己对哥萨克幻想的误解,而不管写作的时间是什么。例如:《马尔科·普罗克利亚蒂》被认为是一部迟来的浪漫主义作品,评论家们不愿在这部作品中看到“另一个”乌克兰;《Chyhyrynskyi sotnyk》被认为是一部骑士小说,评论家们对哥萨克奇幻小说持怀疑甚至轻蔑的态度。哥萨克奇幻文学体裁正处于充分发展的阶段,处于与乌克兰浪漫主义分离的过程中。斯托罗琴科的小说《马尔科·普罗克利亚蒂》和科诺诺维奇的《Chyhyrynskyi sotnyk》是这一类型诗学自我运动的生动例子,即从历史真实性与非真实的平行作用到完全升华。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Self-development of the poetics of Ukrainian Cossack fantasy: Oleksa Storozhenko’s novel “Marko Prokliatyi” & Leonid Kononovych’s novel “Chyhyrynskyi sotnyk”
Introduction. The article is devoted to the results of the research of self-development of the poetics of the Cossack Ukrainian fantasy on the example of Oleksa Storozhenko's novel "Marko Prokliatyi" and Leonid Kononovych's novel "Chyhyrynskyi sotnyk". The purpose of the article is to analyze the natural development of the poetics of Ukrainian Cossack fantasy on the example of Oleksa Storozhen's novel "Marko Prokliatyi" and Leonid Kononovych's "Chyhyrynskyi sotnyk". Materials and methods of research. While working on the article, the author used materials devoted to the following main areas: mythopoetic genesis of Cossack fantasy; history of Ukrainian literature; Cossack fantasy in literary-critical discourse; Ukrainian romanticism; historical figures as prototypes of fantasy characters; fantasy as an artistic phenomenon. The article uses a comparative research method. Results of the research. The author of the scientific research pointed out the main reasons for the writers' appeal to the Cossack entourage and folklore sources as a means of building the literary world - romanticism and national identity. Romanticism laid great potential for the formation of Cossack fantasy and at the same time led to its misunderstanding, both by literary critics and writers themselves, regardless of the time of writing. For example: "Marko Prokliatyi" is perceived as a belated romantic work with critics' reluctance to see "another" Ukraine in the work, and "Chyhyrynskyi sotnyk" is perceived as a knightly novel with a skeptical and even contemptuous attitude of reviewers to the Cossack fantasy genre. Conclusions. The genre of Cossack fantasy is at the stage of full development and the process of separation from Ukrainian romanticism. Oleksa Storozhenko's novel "Marko Prokliatyi" and Leonid Kononovych's "Chyhyrynskyi sotnyk" are vivid examples of the self-movement of poetics of this genre, namely from the parallel functioning of historical authenticity with the unreal to complete sublimation.
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