Есеїстичне письмо і поетика межових форм в українській літературі 1920-их років
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Date
2009
Authors
Іванова, Н. С.
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Abstract
Автореферат дисертації на здобуття наукового ступеня кандидата філологічних наук за
спеціальністю 10.01.01 – українська література. – Національний університет "Києво-
Могилянська академія". – Київ, 2009.
Дисертація висвітлює жанрову специфіку есеїстичного письма в українській
літературі 1920-их років. Матеріалом дослідження стали теоретичні
статті, маніфести, рецензії, виступи, публічні листи й
відозви, памфлети, передмови, коментарі, прологи
М. Хвильового, М. Йогансена, Ю. Шпола, О. Слісаренка, В. Юринця, В. Коряка та інших
письменників і критиків.
Серед аналізованих зразків виділено тексти межової жанрової природи, в яких
інтелектуалізм і розмислове начало взаємодіють із художнім образом, естетичною
складовою. Названі ознаки вважаються ключовими для есею. Водночас показано, що
спосіб авторської репрезентації у критиці та маніфестології 1920-их років у багатьох
випадках був протилежним до наративної настанови есею. Відтак на перший план
виходили інші риси есеїстичного письма: естетизація авторського образу, вишуканість
думки, художня винахідливість, культурологічна асоціативність, застосування іронії та
парадоксу для емоційного й інтелектуального залучення читача до діалогу
Thesis abstract for acquiring a scientific degree of a candidate of philological sciences; specialization : 10.01.01 – Ukrainian literature. – National University "Kyiv-Mohyla Academy". – Kyiv, 2009. In the dissertation, essayistic writings in Ukrainian literature of 1920ies are analyzed. We examine and clarify the boundary generic nature of these texts. Properties of style, narration, composition, etc. become a reason for bringing analyzed works closer to or further from a genre of essay. Additionally, bases for the development of essay in the literature of that particular time are provided. In order to achieve objectives of the dissertation, we present main concepts of essay as a genre that are given in modern literature studies. In confirmation to various definitions of essay as a genre, we single out a number of features that are broadly common to essay but could also be found in texts of other literature genres. Such features include: a combination of art and intellect; originality and paradox of style and content; cultural associativeness; adding aesthetic properties to an author’s image; making a story intimate; and ability of free connection to other literary genres. Essay, which belongs to a boundary form of writing, is capable of passing that feature to genres that are under its influence. To be more specific, in the dissertation we trace how essayed literature in time of modernism accompanies diffusion of traditional genres and stimulates nascency of new ones. The materials studied include scientific and critical articles, manifestos, reviews, speeches, public letters and comments, pamphlets, etc., which were published in Ukrainian journals or magazines in 1920ies (and partially in the end of 1910th, if to speak about typologically and conceptually close texts). We scrutinized critical and theoretical products of such publications as "Art", "Avant-garde", "New Generation", "Life and revolution", "Vaplite", "Literary Fair" and "Universal journal". We examined the works of M. Khvylovy, M. Yogansen, Yu. Shpol (M. Yalovy), O. Slisarenko, V. Yurynets, V. Koryak, V. EllanBlakytny, V. Polischuk, G. Shkurupiy and other writers, who were critics, members of editorial boards, reviewers, writers of manifestos, etc. The research underlines those traits in culture of 1920ies that assisted boundary literature forms to come up at that time. Writing culture and art were intellectual and this is one of the properties. The process of intellectualization was manifested by penetrating of a philosophic analytical principle into literature texts and vice versa – when philosophy began to use means of artistic thinking as alternative to rational and discursive reasoning. At the same time, in the work we break down the reasons that held back development of essay as a genre in 1920ies. First of all they are connected to the way a writer is presented in a text. It is showed that the manner of author’s representation in critical articles and manifestos of that time was predominantly opposite to the narrational principles of essay. Individuality of an author is fundamental for essay writing and it influences style and composition of a text. In essay, a narrator mostly represents a real author and is maximally near to him. In the texts of 1920ies considered in the work, a collective principle usually dominates over individual. An author represents himself mostly as one of creative community and corporation. He is either depersonalized and dissolved in a general "we»-image, instead of "I", or is hidden under a mask. We give examples of both variants of a deformed author’s image: 1) under influence of corporate culture in 1920ies, and 2) under a burden of a totalitarian discourse, which was growing by the end of the decade. Manifestos and critical articles illustrate anti-essay direction in literature of that time. This trend is characterized by depersonalized author’s image, unified style and content and rhetoric of affirmation instead of reasoning. Meanwhile, it is showed that early forms of manifesto are able to reveal such features of essay writing as originality and innovation of form and thought. of personal communication with readers. Examples of introductions, letters, comments, "interludes" from 1920ies demonstrate that different strategies of making author’s image aesthetic can also make it individual even if a real author is not visible and a narrator is an artificially made personage. Attributes of such individualization include sophistication of a thought, artistic innovation, cultural associativity, usage of irony and paradox for emotional and intellectual involvement of a reader into a dialog. In the research we analyzed bright illustrations as "interludes" and "prologues" from "Literature Fair" journal (written by M. Khvylovy, M. Yogansen, V. Yurynets and others), notes of writers in "Universal magazine" (by Yu. Shpol, O. Slisarenko, Yu. Smolych, A. Lyubchenko, I. Dniprovsky, O. Kopylenko, P. Panch, etc.), authors’ reviews to literature novelties in "Vaplite" journal. A number of genre and style features give reasons to consider such texts to be examples of essay writing in Ukrainian literature in 1920ies.
Thesis abstract for acquiring a scientific degree of a candidate of philological sciences; specialization : 10.01.01 – Ukrainian literature. – National University "Kyiv-Mohyla Academy". – Kyiv, 2009. In the dissertation, essayistic writings in Ukrainian literature of 1920ies are analyzed. We examine and clarify the boundary generic nature of these texts. Properties of style, narration, composition, etc. become a reason for bringing analyzed works closer to or further from a genre of essay. Additionally, bases for the development of essay in the literature of that particular time are provided. In order to achieve objectives of the dissertation, we present main concepts of essay as a genre that are given in modern literature studies. In confirmation to various definitions of essay as a genre, we single out a number of features that are broadly common to essay but could also be found in texts of other literature genres. Such features include: a combination of art and intellect; originality and paradox of style and content; cultural associativeness; adding aesthetic properties to an author’s image; making a story intimate; and ability of free connection to other literary genres. Essay, which belongs to a boundary form of writing, is capable of passing that feature to genres that are under its influence. To be more specific, in the dissertation we trace how essayed literature in time of modernism accompanies diffusion of traditional genres and stimulates nascency of new ones. The materials studied include scientific and critical articles, manifestos, reviews, speeches, public letters and comments, pamphlets, etc., which were published in Ukrainian journals or magazines in 1920ies (and partially in the end of 1910th, if to speak about typologically and conceptually close texts). We scrutinized critical and theoretical products of such publications as "Art", "Avant-garde", "New Generation", "Life and revolution", "Vaplite", "Literary Fair" and "Universal journal". We examined the works of M. Khvylovy, M. Yogansen, Yu. Shpol (M. Yalovy), O. Slisarenko, V. Yurynets, V. Koryak, V. EllanBlakytny, V. Polischuk, G. Shkurupiy and other writers, who were critics, members of editorial boards, reviewers, writers of manifestos, etc. The research underlines those traits in culture of 1920ies that assisted boundary literature forms to come up at that time. Writing culture and art were intellectual and this is one of the properties. The process of intellectualization was manifested by penetrating of a philosophic analytical principle into literature texts and vice versa – when philosophy began to use means of artistic thinking as alternative to rational and discursive reasoning. At the same time, in the work we break down the reasons that held back development of essay as a genre in 1920ies. First of all they are connected to the way a writer is presented in a text. It is showed that the manner of author’s representation in critical articles and manifestos of that time was predominantly opposite to the narrational principles of essay. Individuality of an author is fundamental for essay writing and it influences style and composition of a text. In essay, a narrator mostly represents a real author and is maximally near to him. In the texts of 1920ies considered in the work, a collective principle usually dominates over individual. An author represents himself mostly as one of creative community and corporation. He is either depersonalized and dissolved in a general "we»-image, instead of "I", or is hidden under a mask. We give examples of both variants of a deformed author’s image: 1) under influence of corporate culture in 1920ies, and 2) under a burden of a totalitarian discourse, which was growing by the end of the decade. Manifestos and critical articles illustrate anti-essay direction in literature of that time. This trend is characterized by depersonalized author’s image, unified style and content and rhetoric of affirmation instead of reasoning. Meanwhile, it is showed that early forms of manifesto are able to reveal such features of essay writing as originality and innovation of form and thought. of personal communication with readers. Examples of introductions, letters, comments, "interludes" from 1920ies demonstrate that different strategies of making author’s image aesthetic can also make it individual even if a real author is not visible and a narrator is an artificially made personage. Attributes of such individualization include sophistication of a thought, artistic innovation, cultural associativity, usage of irony and paradox for emotional and intellectual involvement of a reader into a dialog. In the research we analyzed bright illustrations as "interludes" and "prologues" from "Literature Fair" journal (written by M. Khvylovy, M. Yogansen, V. Yurynets and others), notes of writers in "Universal magazine" (by Yu. Shpol, O. Slisarenko, Yu. Smolych, A. Lyubchenko, I. Dniprovsky, O. Kopylenko, P. Panch, etc.), authors’ reviews to literature novelties in "Vaplite" journal. A number of genre and style features give reasons to consider such texts to be examples of essay writing in Ukrainian literature in 1920ies.
Description
Keywords
есей, есеїстичне письмо, небелетристика, критика, межові жанри, нарація, образ автора, індивідуальність, естетизація, інтелектуалізм, essay, essay writing, non-fiction, criticism, boundary genres, narration, image of an author, individuality, making aesthetic, автореферат дисертації
Citation
Іванова Н. С. Есеїстичне письмо і поетика межових форм в українській літературі 1920-х років : автореферат дисертації на здобуття наукового ступеня кандидата філологічних наук / Іванова Наталія Сергіївна ; Національний університет "Києво-Могилянська академія". - Київ : [б.в.], 2009. - 19 с.