Феномен алієнації в українській прозі 1920–1940-х років: автореферат
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Date
2015-06-12
Authors
Полюхович, Ольга
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Abstract
Автореферат дисертації на здобуття наукового ступеня кандидата філологічних наук за
спеціальністю 10.01.01 – українська література. У дослідженні зроблено спробу комплексного осмислення феномену відчуження в українській літературі 1920–1940-х років. У прозі 1920–1930-х років простежується руйнівний (деструктивний) різновид явища алієнації, що підтверджено аналізом текстів Миколи Хвильового, Бориса Антоненка-Давидовича, Юрія Яновського, Михайла Івченка, Євгена Плужника, Валер’яна Підмогильного та Олекси Слісаренка. "Безґрунтовний романтик", головний герой текстів 1920-х років Миколи Хвильового, Юрія Яновського, Бориса Антоненка-Давидовича та Михайла Івченка, є відчуженим від звичного часопростору, але не пристосованим до пореволюційного світу. Феномен алієнації розглянуто також у контексті екзистенціалістської проблематики філософського самогубства на прикладі "Повісті без назви" Валер’яна Підмогильного та роману "Чорний Ангел" Олекси Слісаренка. В українській прозі 1940-х років, зокрема в творах В. Петрова-Домонтовича, Юрія Косача та Ігоря Костецького, відчуження пов’язане з поняттям гри та настановою на споглядання. У літературі періоду Мистецького Українського Руху цю проблематику осмислено як алієнацію митця на тлі епохи, інтелектуальний вагабондизм (твори В. Домонтовича); філософію чину, відчуження і споглядання (тексти Юрія Косача); плинну ідентичність в оповіданнях Ігоря Костецького. Конструктивний (плідний) тип алієнації – прикметна риса текстів письменників-мурівців: у їхніх творах відчуження може співвідноситися з частиною простору свободи.
In the thesis abstract, the phenomenon of alienation in Ukrainian literature of the 1920s–1940s is analyzed as an ambivalent phenomenon which includes cultural, historical, social, and ideological implications. In Ukrainian prose writings of the 1920s–1930s, a destructive type of alienation is maintained, which is shown by an analysis of the literary works of Mykola Khvylovy, Borys Antonenko-Davydovych, Yuriy Yanovsky, Mykhailo Ivchenko, Yevhen Pluzhnyk, Valerian Pidmohylny, and Oleksa Slisarenko. The protagonist of the texts of the 1920s of the above mentioned authors is a “groundless romantic,” alienated from traditional time and space, not belonging to postrevolutionary reality. The protagonists’ “rooting in rootlessness” is interpreted as a certain psychological and axiological problem in the context of their existential searches. In Ukrainian prose of the 1920s–1930s, the alienation concept is embodied in the following motifs: 1) estrangement from tradition and unbelonging to postrevolutionary reality (the writings of Khvylovy, Ivchenko, and Yanovsky); 2) balancing between faith and despair (Pidmohylny’s Nevelychka drama [A Little Touch of Drama], Khvylovy’s Sentymentalna istoriya [A Sentimental Tale]); 3) gaining new identity in the postrevolutionary world (Antonenko-Davydovych’s Smert [Death]); 4) ideological crossing (Khvylovy’s Valdshnepy [The Woodcocks]); 5) illness (the writings of Khvylovy, Pluzhnyk’s Neduha [The Ailment], and Vynnychenko’s Na toy bik [To the Other Side]); 6) estrangement from totalitarian society and the loss of the meaning of life (Pidmohylny’s Povist bez nazvy [A Novel without a Title]) and Slisarenko’s Chorny Anhel [Black Angel]). The phenomenon of alienation is also regarded in the context of existentialist philosophical suicide, in the examples of Valerian Pidmohylny’s Novel without a Title and Oleksa Slisarenko’s Black Angel. Critical remarks of the protagonists concern the whole world, but implicitly they are based on the criticism of totalitarian society. In their philosophy, they alienate themselves from a society which is the consequence of theorizing about life in a totalitarian state. Their scepticism is destructive, as despite an attempt at self-definition, it leads to personal death. Radical alienation is analyzed as an attempt of estrangement from a way of thinking based on ideology. As a result, identity is created as a reflected project of self, and is doomed in totalitarian society. In the writings of the members of the Mystetsky Ukrainsky Rukh [The Artistic Ukrainian Movement], the phenomenon of alienation is regarded as the artist’s alienation against the background of epoch, intellectual vagabondism (the texts of V. Domontovych); the philosophy of action and contemplation (Yuriy Kosach’s literary works); liquid identity in Ihor Kostetsky’s fiction. V. Domontovych constructs an image of the alienated character who thinks of life in the framework of certain styles of epoch (Doktor Serafikus [Doctor Seraficus], Svyaty Frantsisk z Assizi [Saint Francis of Assisi], Spraha muzyky [Thirst for Music], Samotniy mandrivnyk prostuye po samotniy dorozi [A Lonely Artist Along a Solitary Road], Fransua Viyon [Francois Villon], Oy poyikhav Revukha ta po moryu hulyaty [Revukha is Sailing the Sea], Pryborkany haidamaka [The Subdued Haidamak]). The image of the Vagabond is constructed in the novel Bez gruntu [Without Ground] in which the situation of groudlessness is reflected in an ironic mode. The world view of groundlessness empowers alienation from society and an attempt to find an alternative in opposition to ideology. Declared in the early writings of Yuriy Kosach is the theme of contemplation, partly connected with a break with the philosophy of nationalism, in Dmytro Dontsov’s terms. Eney i zhyttya inshykh [Aeneas and the Lives of Others] designates a new type of attitude towards postwar reality, contemplative and philosophical. Also, alienation from the national and cultural context provokes characters’ melancholy; on the other hand, it is a premise of their self-definition (Zaproshennya na Tsyteru [Invitation to Tsytera], Skorbna symfoniya [Sorrowful Symphony], Senior Nikolo [Seignior Nikolo]). The writings of Ihor Kostetsky are analyzed through the concept of liquid identity (Zygmunt Bauman). This type of identity is based on a character’s ability to rethink her/his image in a situation of crisis. The concept of liquid identity is embodied in such topics as name change (double identity) (Tsina lyudskoyi nazvy [The Price of a Human Name]), the self-conscious creation of protagonists’ images (play) (Bozhestvenna lzha [The Divine Lie]), “imaginary” identity (Poet ta yoho zhenshchyny [The Poet and His Women], Povist pro ostanniy sirnyk [The Novel about the Last Match]), the “action-reflection” dichotomy (Pered dnem hryadushchym [Before the Coming Day]), and renovation through the Word (Den svyatoho [Saint’s Day]). In Ukrainian postwar prose of the 1940s, the alienation concept is connected with the notions of play and contemplation. Thus the fruitful type of alienation is a peculiar feature of the MUR writers’ literary works, in which alienation can be correlated with a realm of freedom.
In the thesis abstract, the phenomenon of alienation in Ukrainian literature of the 1920s–1940s is analyzed as an ambivalent phenomenon which includes cultural, historical, social, and ideological implications. In Ukrainian prose writings of the 1920s–1930s, a destructive type of alienation is maintained, which is shown by an analysis of the literary works of Mykola Khvylovy, Borys Antonenko-Davydovych, Yuriy Yanovsky, Mykhailo Ivchenko, Yevhen Pluzhnyk, Valerian Pidmohylny, and Oleksa Slisarenko. The protagonist of the texts of the 1920s of the above mentioned authors is a “groundless romantic,” alienated from traditional time and space, not belonging to postrevolutionary reality. The protagonists’ “rooting in rootlessness” is interpreted as a certain psychological and axiological problem in the context of their existential searches. In Ukrainian prose of the 1920s–1930s, the alienation concept is embodied in the following motifs: 1) estrangement from tradition and unbelonging to postrevolutionary reality (the writings of Khvylovy, Ivchenko, and Yanovsky); 2) balancing between faith and despair (Pidmohylny’s Nevelychka drama [A Little Touch of Drama], Khvylovy’s Sentymentalna istoriya [A Sentimental Tale]); 3) gaining new identity in the postrevolutionary world (Antonenko-Davydovych’s Smert [Death]); 4) ideological crossing (Khvylovy’s Valdshnepy [The Woodcocks]); 5) illness (the writings of Khvylovy, Pluzhnyk’s Neduha [The Ailment], and Vynnychenko’s Na toy bik [To the Other Side]); 6) estrangement from totalitarian society and the loss of the meaning of life (Pidmohylny’s Povist bez nazvy [A Novel without a Title]) and Slisarenko’s Chorny Anhel [Black Angel]). The phenomenon of alienation is also regarded in the context of existentialist philosophical suicide, in the examples of Valerian Pidmohylny’s Novel without a Title and Oleksa Slisarenko’s Black Angel. Critical remarks of the protagonists concern the whole world, but implicitly they are based on the criticism of totalitarian society. In their philosophy, they alienate themselves from a society which is the consequence of theorizing about life in a totalitarian state. Their scepticism is destructive, as despite an attempt at self-definition, it leads to personal death. Radical alienation is analyzed as an attempt of estrangement from a way of thinking based on ideology. As a result, identity is created as a reflected project of self, and is doomed in totalitarian society. In the writings of the members of the Mystetsky Ukrainsky Rukh [The Artistic Ukrainian Movement], the phenomenon of alienation is regarded as the artist’s alienation against the background of epoch, intellectual vagabondism (the texts of V. Domontovych); the philosophy of action and contemplation (Yuriy Kosach’s literary works); liquid identity in Ihor Kostetsky’s fiction. V. Domontovych constructs an image of the alienated character who thinks of life in the framework of certain styles of epoch (Doktor Serafikus [Doctor Seraficus], Svyaty Frantsisk z Assizi [Saint Francis of Assisi], Spraha muzyky [Thirst for Music], Samotniy mandrivnyk prostuye po samotniy dorozi [A Lonely Artist Along a Solitary Road], Fransua Viyon [Francois Villon], Oy poyikhav Revukha ta po moryu hulyaty [Revukha is Sailing the Sea], Pryborkany haidamaka [The Subdued Haidamak]). The image of the Vagabond is constructed in the novel Bez gruntu [Without Ground] in which the situation of groudlessness is reflected in an ironic mode. The world view of groundlessness empowers alienation from society and an attempt to find an alternative in opposition to ideology. Declared in the early writings of Yuriy Kosach is the theme of contemplation, partly connected with a break with the philosophy of nationalism, in Dmytro Dontsov’s terms. Eney i zhyttya inshykh [Aeneas and the Lives of Others] designates a new type of attitude towards postwar reality, contemplative and philosophical. Also, alienation from the national and cultural context provokes characters’ melancholy; on the other hand, it is a premise of their self-definition (Zaproshennya na Tsyteru [Invitation to Tsytera], Skorbna symfoniya [Sorrowful Symphony], Senior Nikolo [Seignior Nikolo]). The writings of Ihor Kostetsky are analyzed through the concept of liquid identity (Zygmunt Bauman). This type of identity is based on a character’s ability to rethink her/his image in a situation of crisis. The concept of liquid identity is embodied in such topics as name change (double identity) (Tsina lyudskoyi nazvy [The Price of a Human Name]), the self-conscious creation of protagonists’ images (play) (Bozhestvenna lzha [The Divine Lie]), “imaginary” identity (Poet ta yoho zhenshchyny [The Poet and His Women], Povist pro ostanniy sirnyk [The Novel about the Last Match]), the “action-reflection” dichotomy (Pered dnem hryadushchym [Before the Coming Day]), and renovation through the Word (Den svyatoho [Saint’s Day]). In Ukrainian postwar prose of the 1940s, the alienation concept is connected with the notions of play and contemplation. Thus the fruitful type of alienation is a peculiar feature of the MUR writers’ literary works, in which alienation can be correlated with a realm of freedom.
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Keywords
відчуження, ідентичність, ідеологія, тоталітаризм, екзистенціалізм, еміграційна література, естетизм, гра, модернізм, alienation, identity, ideology, totalitarianism, existentialism, émigré literature, aestheticism, play, Modernism, автореферат дисертації
Citation
Полюхович О. П. Феномен алієнації в українській прозі 1920-1940-х років : автореферат дисертації на здобуття наукового ступеня кандидата філологічних наук / Полюхович Ольга Павлівна ; [наук. кер. Агеєва Віра Павлівна] ; М-во освіти і науки України, Нац. ун-т "Києво-Могилян. акад.". - Київ : [б. в.], 2015. - 21 с.