ТРАДИЦІЇ ПОЗИТИВІЗМУ В КОНТЕКСТІ ПОЛЬСЬКО-УКРАЇНСЬКОГО ПОГРАНИЧЧЯ

Abstract

The article examines the traditions of Polish literary of positivism in the context of the Polish-Ukrainian bor- derland. The issues of collective identity in the context of literary models of images and concepts of both Own and Strange, as artistic markers of the polyethnic society of the Ukrainian and Polish peoples of this epoch are also considered. Draws attention to the processes of changing the image of a Ukrainian as another in the Polish literary text. Beginning with the first written references to the cultural and historical dialogue between the two ethnic groups, the Ukrainian- Polish ties have changed. These are the influences of the Ukrainian language in Polish literary texts as far back as the XVI century. The Cossacks’ interest in this period, especially in the context of wars with Cossacks and Turks, is intensifying during this period. The Ukrainian-Polish cultural discourse is considered in the context of the communicative relations of His-Other, while changing the cognitive completeness of both terms during the history of relations and coexistence of both peoples in the his- torical retrospection. Understanding the cultural Polish-Ukrainian frontier as a result of the joint efforts of the participants in the cul- tural process, which created a separate world picture of specific codes of intercultural communication, current research on these phenomena is being conducted by modern scholars, in particular, in the context of artistic markers of the polyethnic society of this epoch of Own– Strange – Another at the end of the nineteenth century. are obviously funda- mentally different from their interpretation in the era of romanticism and in the works of Polish romantic writers of the “Ukrainian school”. In comparative aspect of the research work compares the dynamics of the processes in Polish and Ukrainian lit- erature of the ХІХ century, their typology taking into account the absorption positivist ideas of systematic features of the phenomenological paradigm of ethnic and cultural artistic patterns in both literatures, defined the aesthetic specificity of interethnic positivism, given the special condition of the ХІХ century society, ethnicity and culture of both peoples.