Пісня пісень у літературі українського Бароко: автореферат дисертації на здобуття наукового ступеня кандидата філологічних наук
Loading...
Date
2015-06-12
Authors
Максимчук, Ольга
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
Автореферат дисертації на здобуття наукового ступеня кандидата філологічних наук (спеціальність 10.01.01 - українська література). У дисертаційному дослідженні проаналізовано тематичні комплекси (топоси, образи, мотиви), якими представлена біблійна книга Пісня пісень у літературі українського Бароко.Серед них: топос весняного оновлення природи (П. п. 2:11–13), розповідь про загубленого коханого, представлена як топос і мотив (П. п. 3:1–4, 5:6–8), образи замкненого саду (П. п. 4:12), долинної лілеї чи польового цвіту (П. п. 2:1–2), опис вроди нареченого та нареченої (біблійний "васф" – П. п. 4:1–7, 5:10–16, 6:4–10, 7:1–10). Джерельну базу дослідження складають тексти Лазаря Барановича, ЙоаникіяВолковича, ЙоасафаКроковського, Іоана Максимовича, СамоїлаМокрієвича, Антонія Радивиловського, Григорія Сковороди, Кирила ТранквіліонаСтавровецького, Димитрія Туптала, Стефана Яворського та ряду анонімних авторів.
Простежено зв’язок між інтерпретацією деяких тематичних запозичень із Пісні пісень та екзегетичними практиками християнських теологів. Тлумачення алюзій на старозавітну книгу в текстах українських авторів XVII–XVIII ст. прокоментовано з огляду на поширену з часів Середньовіччя герменевтичну схему чотирьох сенсів Святого Письма. До уваги взято впливи релігійних шукань доби на вітчизняну літературу зазначеного періоду. Сприйняття Пісні пісень українськими бароковими авторами висвітлено в контексті культурних та суспільних тенденцій епохи.
Thesis for a PhD (Candidate) degree in Philology. Specialization 10.01.01 –Ukrainian literature. – National University of Kyiv-Mohyla Academy. – Kyiv, 2015. This dissertation investigates the models of representation of the biblical book, the Song of Songs, in Ukrainian literature of the 17th and 18th centuries. The appeal to the Song of Songs occurs in the texts of numerous Ukrainian authors, such as Lazar Baranovich, YoasafKrokovskyi, IoanMaksymovych, SamoilMokriievych, AntoniiRadyvylovskyi, HryhoriiSkovoroda, KyryloTrankvilionStavrovetskyi, DymytriiTuptalo, YoanykiiVolkovych, Stefan Yavorskyi, and some other anonymous writers. There is a considerable number of thematic groups (e. g., topoi, images, and motifs) connected with the Song of Songs and elaborated in the texts of Early Modern Ukraine; so, for this reason, in the dissertation their number is narrowed to the following complexes: 1) arrival of spring (Cant. 2:11–13), 2) seeking of the missing beloved (Cant. 3:1–4 ; 5:6–8), 3) image of the enclosed garden (Cant. 4:12), 4) wasf, or praise of the beauty of the beloved (Cant. 4:1–7, 5:10–16, 6:4–10, 7:2–10) and 5) floristic symbolic representations of the field lily (Cant. 2:1–2). The Song of Songs, as other books of the Old Testament, is understood mostly in the context of the New Testament. For Ukrainian Baroque authors, the first part of the Bible contains anticipations of the events from its second part or from the sacred tradition. For instance, the Christological interpretation of the Song of Songs connects the book with the key episodes of Jesus’ earthly life: his miraculous birth, his crucifixion and the resurrection. Similarly, the authors who give an example of the Mariological reading of the book mostly concentrate on certain important facts of the Blessed Mary’s "biography" (e. g., her giving birth to a divine Child or her Assumption). Such a typological approach to the interpretation of the Holy Scripture can be found in writings of different Christian exegetes who could possibly have an impact on the literary process in Ukraine. The reception of the Song of Songs is usually based on the commentaries of the Church Fathers and other Christian theologians. In the original texts of Ukrainian Baroque literature, there are many references to the works of Ambrose of Milan, Honorius of Autun, and John of Damascus, in which the exegetes disclose their understanding of this biblical book. Sometimes, Ukrainian authors do not indicate the source of their explanations. Moreover, it is quite difficult to identify whether Ukrainian authors are acquainted with the patristic heritage directly or indirectly, that is, through the exposition of later commentators. The exegetic writings used by Ukrainian authors have both Eastern and Western origins. It is worth pointing out that the Ukrainian intellectuals of the 17th and 18th centuries are also familiar with the four-part medieval hermeneutic scheme according to which the biblical text has four senses: literal, allegorical, anagogical, and tropological, or moral. The attempts to apply this scheme while alluding to the Bible are noticeable in the works of the Early Modern Ukrainian authors. The interpretation of the Song of Songs in Ukrainian Baroque literature is connected with the historical background and the spiritual climate of the epoch. In this research, we take into consideration the religious factor that has probably influenced the works of Ukrainian Baroque authors. The study of doctrinal discussions and peculiarities of worship helps to comprehend goals which have to be reached through citing the Song of Songs in Ukrainian texts of the 17th and 18th centuries. For better understanding of the symbolical language of that period we pay special attention to the phenomenon of Christian sacral art. Artists often operate with the same symbols and try to solve the same metaphysical problems as writers do. Therefore, the presence of the Song of Songs on iconsand engravings not only demonstrates the perpetual interest in this biblical book in different realms of art but gives an opportunity to find parallels between the verbal and pictorial forms of its cognitive representation.
Thesis for a PhD (Candidate) degree in Philology. Specialization 10.01.01 –Ukrainian literature. – National University of Kyiv-Mohyla Academy. – Kyiv, 2015. This dissertation investigates the models of representation of the biblical book, the Song of Songs, in Ukrainian literature of the 17th and 18th centuries. The appeal to the Song of Songs occurs in the texts of numerous Ukrainian authors, such as Lazar Baranovich, YoasafKrokovskyi, IoanMaksymovych, SamoilMokriievych, AntoniiRadyvylovskyi, HryhoriiSkovoroda, KyryloTrankvilionStavrovetskyi, DymytriiTuptalo, YoanykiiVolkovych, Stefan Yavorskyi, and some other anonymous writers. There is a considerable number of thematic groups (e. g., topoi, images, and motifs) connected with the Song of Songs and elaborated in the texts of Early Modern Ukraine; so, for this reason, in the dissertation their number is narrowed to the following complexes: 1) arrival of spring (Cant. 2:11–13), 2) seeking of the missing beloved (Cant. 3:1–4 ; 5:6–8), 3) image of the enclosed garden (Cant. 4:12), 4) wasf, or praise of the beauty of the beloved (Cant. 4:1–7, 5:10–16, 6:4–10, 7:2–10) and 5) floristic symbolic representations of the field lily (Cant. 2:1–2). The Song of Songs, as other books of the Old Testament, is understood mostly in the context of the New Testament. For Ukrainian Baroque authors, the first part of the Bible contains anticipations of the events from its second part or from the sacred tradition. For instance, the Christological interpretation of the Song of Songs connects the book with the key episodes of Jesus’ earthly life: his miraculous birth, his crucifixion and the resurrection. Similarly, the authors who give an example of the Mariological reading of the book mostly concentrate on certain important facts of the Blessed Mary’s "biography" (e. g., her giving birth to a divine Child or her Assumption). Such a typological approach to the interpretation of the Holy Scripture can be found in writings of different Christian exegetes who could possibly have an impact on the literary process in Ukraine. The reception of the Song of Songs is usually based on the commentaries of the Church Fathers and other Christian theologians. In the original texts of Ukrainian Baroque literature, there are many references to the works of Ambrose of Milan, Honorius of Autun, and John of Damascus, in which the exegetes disclose their understanding of this biblical book. Sometimes, Ukrainian authors do not indicate the source of their explanations. Moreover, it is quite difficult to identify whether Ukrainian authors are acquainted with the patristic heritage directly or indirectly, that is, through the exposition of later commentators. The exegetic writings used by Ukrainian authors have both Eastern and Western origins. It is worth pointing out that the Ukrainian intellectuals of the 17th and 18th centuries are also familiar with the four-part medieval hermeneutic scheme according to which the biblical text has four senses: literal, allegorical, anagogical, and tropological, or moral. The attempts to apply this scheme while alluding to the Bible are noticeable in the works of the Early Modern Ukrainian authors. The interpretation of the Song of Songs in Ukrainian Baroque literature is connected with the historical background and the spiritual climate of the epoch. In this research, we take into consideration the religious factor that has probably influenced the works of Ukrainian Baroque authors. The study of doctrinal discussions and peculiarities of worship helps to comprehend goals which have to be reached through citing the Song of Songs in Ukrainian texts of the 17th and 18th centuries. For better understanding of the symbolical language of that period we pay special attention to the phenomenon of Christian sacral art. Artists often operate with the same symbols and try to solve the same metaphysical problems as writers do. Therefore, the presence of the Song of Songs on iconsand engravings not only demonstrates the perpetual interest in this biblical book in different realms of art but gives an opportunity to find parallels between the verbal and pictorial forms of its cognitive representation.
Description
Keywords
інтерпретація, рецепція, екзегетика, топос, образ, символ, метафора, алюзія, парафраз, Бароко, христологія, маріологія, interpretation, reception, exegetics, topos, image, metaphor, symbol, allusion, paraphrase, Baroque, Christology, Mariology, автореферат дисертації
Citation
Максимчук О. В. Пісня пісень у літературі українського бароко : автореферат дисертації на здобуття наукового ступеня кандидата філологічних наук / Ольга Василівна Максимчук ; [наук. кер. Павленко Ганна Іванівна] ; М-во освіти і науки України, Нац. ун-т "Києво-Могилян. акад.". - Київ : [б. в.], 2015. - 20 с.