Abstract
The article states that the entire creative path of Yu. Andrukhovych is connected with the process of creating the canon of the postmodern novel in Ukrainian literature. The work systematises updated by the writer in his novels of the 1990s — 2000s components of the genre canon, such as parodying the flaws and contradictions of modern civilization, the multiplicity of choices in every life situation, performativity as a means of communication, openness and no boundaries to depict any aspect life, programmatic violation of stereotypes and taboos, demonstration of linguistic and stylistic virtuosity, polygenre and genre pastisation, buffoonery of the genre, fragmentary and collage of structure, the widest cultural erudition and free play of tradition, scriptness (theatricality or cinematography) of life, multi-layeredness and diversity of narrative deployment. The article clarifies which aspects of postmodern poetics are actualized and developed by Yu. Andrukhovych in the novel „Radio Night”. Traditional and innovative genre-creating strategies are identified, which testify to the transformation and continuation of the modern canon of the postmodern novel, namely: interludes-recordings of radio broadcasts, reportage, musical fragments as a semantic element, cultural codes with hidden meaning, elements of utopia, anti-utopia, the use of intergeneric synthesis. The range of new themes and motives for Yu. Andrukhovych's novels is outlined, among which are the theme of political persecution and physical violence with irreversible consequences, the theme of big unexpected money, the esoteric understanding of existence as a sequence of earthly incarnations, the reception of the Gydnosty Revolution in the West, the theme of prison life, hybrid war as well. It was found that in the novel „Radio Night” by Yu. Andrukhovych, despite allegations of limited poetic features, secondary to himself, a number of new topics were developed, a range of new text-creating and genre-creating tools were used, that proves the consonance of the work with current events in modern life.
Highlights
Української мови, а основним здобутком – те, що „Московіада” стала естетичним прощанням з Москвою (Забужко, 2001, с. 324)
Отож український письменник перетворився на знакову
Андрухович, попри закиди у обмеженості поетикальних рис, вторинності стосовно самого себе
Summary
Української мови, а основним здобутком – те, що „Московіада” стала естетичним прощанням з Москвою (Забужко, 2001, с. 324). „Перверзія” (Андрухович, 2002) стала еталоном постмодерного роману в українській літературі. Андрухович у романі „Радіо Ніч”, визначимо нові знахідки, порівняно з попередніми романами.
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