Lyrical Prose Research Articles

ХХ ғасыр басындағы проза тілінің дамуы

The goal of this research is to determine how the Qazaq prose language emerged early in the 20th century, and what characteristics of its evolution occurred. In the years of 1920 to 1930 the prose genres such as stories and novels developed quickly. These works incorporated a great deal of folklore in addition to covering a wide range of subjects. Prose language formation and evolution are closely related to other facets of narrative. Because analyzing the degree of development on fictional elements such as the language of characters, the author, portrait, landscape, and descriptive elements is intended to detect the formation of the prose language in general, we concentrate on the traits of their development and factors indicating the formation of the language. The outcomes of the investigation revealed that the Qazaq prose literature of the time provided new meanings to local words and acted as a main source for their growth. Grammar and fiction language were greatly influenced by the language of prose works found in textbooks, newspapers, journals, and various folk literary works. The argument is that prose has its roots in the shared heritage and that historical and genealogical narratives have a certain prose style. Prose works' language was the main factor that greatly enhanced the vocabulary and grammatical features of literary language which from short stories to novels developed simultaneously in all genres. This study took a comprehensive approach, taking into account the aspects of novels and short stories, their relationship to styles, poetry passages, elements of colloquial language, new phenomena, oral literature, fairy tales, and legendary occurrences.

ОБРАЗ ДЕТСТВА В РАССКАЗЕ Ю. П. КАЗАКОВА «ВО СНЕ ТЫ ГОРЬКО ПЛАКАЛ»: ЧЕХОВСКИЕ ТРАДИЦИИ

The article examines the image of childhood in Yu.P. Kazakov's story “In a dream you cried bitterly” in line with the Chekhov tradition, analyzes the deep connections of the artistic principles of the two writers. The research highlights Yu. P. Kazakov’s interest in Chekhov's work and similarity of the genre systems of two authors. There have been established the origins of this community, which is determined by the attraction of both A.P. Chekhov and Yu.P. Kazakov to lyrical prose. The author analyzes the features of the Chekhov’s type of narrative with its inherent frivolity and an open ending in the story of Yu.P. Kazakov “In a dream you cried bitterly”. It is proved that Chekhov's traditions played a significant role in the formation of the topos of childhood in the lyrical prose of Yu.P. Kazakov.

The Illusion of Truth in Michael Ondaatje’s Anil’s Ghost

Michael Ondaatje's Anil’s Ghost, a literary masterpiece, focuses on the distortion of truth. Set against the backdrop of civil unrest in Sri Lanka, the novel follows forensic anthropologist Anil Tissera as she exposes the complexities of revealing truth in a world rife with political and personal turmoil. This research abstract delves into the multifaceted layers of reality distortion portrayed in Ondaatje's work .At its core; the novel questions the notion of objective reality. Ondaatje masterfully employs fragmented narratives, shifting perspectives, and unreliable memories to diminish the lines between truth and fiction. Through Anil's investigation into the skeletal remains of victims of political violence, Ondaatje exposes the subjective nature of memory and the inherent biases that shape our understanding of past events. Moreover, the novel explores the psychological toll of living in a reality distorted by trauma and political oppression. Characters like Anil and Sarath, haunted by their pasts, grapple with the existential question of whether it is possible to reconcile personal truth with the external realities imposed upon them. Ondaatje's lyrical prose evokes a sense of disorientation, mirroring the characters' internal struggles as they confront the elusive nature of reality. Furthermore, the novel examines how power dynamics influence the construction of reality. Ondaatje exposes the ways in which those in positions of authority manipulate narratives to serve their own agendas, perpetuating falsehoods and suppressing marginalized voices in the process. Through Anil's quest for justice, the novel underscores the importance of bearing witness to the silenced truths obscured by those in power. The novel serves as a profound exploration of the distortion of reality in the face of political upheaval and personal trauma.

Poetics of Lyrical Prose: Genre and Style Issues

The article analyzes the correlation of the concepts of «lyric prose» and «lyricism in prose», analyzer the writer`s lyric prose, principles and methods of its creation and this theoretical approach correlates with Kazakh literature. Literary and the oretical opinions of domestic and foreign scholars on this issue are systematized, conclusions are drawn about the aesthetic role of lyricism in prose. The problems in the definition of lyrical prose and the reasons why the boundaries of the genre cannot be clearly drawn have been focused on. In addition, information was given about lyrical prose research in Kazakh literature, the birth and development of the lyricism trend in Kazakh prose were discussed, and works that outweigh the lyrical aspect were mentioned. Information was given about the reflection of lyricism in the works of prominent personalities. Based on the critics' reasoning, a general definition of the concept of “lyrical character” is given. The evaluations made by the researchers have been analyzed extensively. The analysis of successful works in the lyrical aspect is carried out, the features of lyrical prose and its place in other traditional genres have been studied. The formation and development of lyrical prose in Kazakh literature, its genre and stylistic features are comprehensively considered. All the elements that make up the structure and content of lyrical prose, the ways of creating and arranging them, the effect of artist subjectivity on the creation process and narrative forms were examined.

Lyrical prose in Kazakh literature

The article highlights the experiments of theoretical study of lyrical prose. Scientific views on lyrical prose in the theory of world and national literature are systematised. The searches of lyrical prose in Kazakh literature are comprehensively differentiated. The correlation of epic and lyric genres in prose, the relationship between lyricism and psychology, the relationship between the worldview of the author and the hero are analysed. The world outlook bases of modern Kazakh writers and the place of lyrical tendencies in the system of artistic thinking are defined. The methods of using lyrical prose in the poetic system are specified. Scientific conclusions about the correlation of lyricism and realism, romanticism are made. The role of internal logicand landscape in the works written in the style of lyrical prose is shown. Their ideological and aesthetic characteristics, typological aspects are revealed.

Ch. Aitmatov and the Russian traditionalist prose of the 1960s–1970s (on the 95th anniversary of the writer’s birth)

INTRODUCTION. Ch.T. Aitmatov (1928–2008) is a major writer whose work was originally associated with Kyrgyzstan, was widely known in the Soviet Union, and recognized by the world cultural community. His prose is associated with several directions and trends in Russian Soviet literature. The purpose of the study is to draw parallels between Aitmatov’s works of the 1960–1980s and Russian traditionalist literature of that time, to establish the degree of poetic “kinship” between phenomena belonging to different national cultures.MATERIALS AND METHODS. The research material is Ch. Aitmatov’s stories “My Poplar in a Red Scarf”, “Mother’s Field”, the novel “Stormy Stop”, F. Abramov’s novel “Home”, V. Astafiev’s stories, V. Shukshin’s stories. The main methods of studying the material are comparative typological, historical and genetic; a mythopoetic approach to the analysis of literary works is also used.RESULTS AND DISCUSSION. It has been established that Ch. Aitmatov’s prose is related to “industrial literature”, to “lyrical prose”, to “youth literature”. The connections between Aitmatov’s stories and novels and “village prose” turn out to be closer. The desire to preserve memory, traditions, and archetypes of behavior characteristic of the centuries-old culture of the Kyrgyz people is of great importance for the heroes of Ch. Aitmatov’s stories and novels. This trend also characterizes Russian traditionalist literature of the 1960–1980s, which declared the need for a careful attitude towards Russian national traditions. In many respects, the images of the main characters and the mythological motifs of the works of Ch. Aitmatov and the Russian “villages” turn out to be consonant and comparable in a number of parameters. Significant similarities were revealed in the perception of the native land and fields in the works of the “villagers” and Ch. Aitmatov, in the depiction of ambiguous socio-ethical processes in Soviet society of the 1960–1980s, in the understanding of the processes of corrosion of a national character.CONCLUSION. Prose by Ch.T. Aitmatov is close to various currents of Russian literature of the twentieth century in its characteristic humanistic orientation, in its attention to the hero involved in solving acute social and ethical problems of the time. Ch. Aitmatov’s prose is characterized by a poetic “kinship” with the traditionalist direction of Russian literature, manifested in genre, composition, figurative, ideological analogies and correspondences between phenomena belonging to different national cultures. They are brought together by the image of the mother earth, an attempt to rehabilitate and preserve the archetypes of national ethics, to integrate them into modernity full of contradictions. It seems promising to further study the parallels between Ch. Aitmatov’s prose and Russian traditionalist literature in order to determine the national identity of the writers’ artistic worlds and clarify the origins of the commonality of their concepts of the world and man.

Sûdî’nin Bostan Şerhi’nde Nesir Dili

Sûdî is one of the representatives of 16th century Turkish classical prose literature. In his annotated work of Bostan he preferred quite a simple language, free from internal rhyme and compound words. He made his explanations short, using defining annotation style. As he pursued overall goal of language teaching, there are oft-repeated sentences of information in the work. His mastery over Persian language enabled Sûdî to meticulously work on the derivational and inflectional affixes. As the main part of speech necessary to understand a statement is the verb, there is quite a lot of information embedded in the work regarding the modality features of Persian verbs, whether they are transitive or intransitive, or whether they are affirmative or negative. There is information given as to in what sense phrases are used, which words pronouns refer to in the text, and how a pair of lines that conveys figures of speech should be inferred and understood. He severely criticized the authors who previously worked on Bostan due to their mistakes in their annotated works, their inadequate knowledge of Bostan, their sheer lack of comprehension of the sentences. It is obvious that he made use of Turkish, Persian and Arabic conjunctions, gerunds, participles and adverbials. There does not seem to be any particular use of artistic language in his prose. He produced a kind of prose a lot easier to understand than those used in his age. Key words: Sûdî, Annotated Work of Bostan, language of prose, sentence construction

Pia Petersen, Translingualism and Disruption

This article analyses the work of translingual writer Pia Petersen. It situates Petersen’s work within current debates about translingual writing and asks whether a translingual writer should be expected to draw attention to their multilingual background within their work. It argues that Petersen’s work is disruptive in both its form and content. In terms of content, Petersen engages in pointed social critique, highlighting the social injustice of contemporary French and American society. She also defends an approach to literature as an art form that should be respected and valued, not debased by market forces, consumption or popular appeal. Her work is also disruptive on a formal level, since she incorporates a variety of registers and phrases in English into her French language prose. This is not a writer who could be described as a multilingual author who incorporates several languages into her writing. But nor should we except her to do so. Instead, Petersen’s unique style reveals an attention to language, communication and disruption that suggests a translingual imagination.

동계(東谿) 조귀명(趙龜命)의 자전적(自傳的) 운문 연구

This paper analyzes the autobiographical aspects revealed in the poetry of Dong-seok Jo Yeong-myeong(1692-1737). Although Jo Gwi- myeong focused on prose, the 27 poems and 6 chapters he left behind contain indispensable thoughts. Jo Gwi-myeong’s thoughts revealed in verse are more internal and implicit in that they are expressed in the language of poetry rather than the language of prose.
 Among his works, his most important works can be said to be 〈次際卿述懷韻〉 and 〈幽懷賦〉, which are based on the theme of his own life and thoughts. 〈次際卿述懷韻〉 presented five themes and recited his life and thoughts. 〈Yuhoebu〉 is a work that describes the process of internally resolving the conflict caused by the pain of illness. The prose writer Jo Gwi-myeong is familiar, but the poetic language written by Jo Gwi-myeong is also unfamiliar to Jo Gwi-myeong researchers. Although these two works are very important materials for understanding Jo Gwi-myeong, they have not been covered so far. This paper first examines the formal characteristics of Jo Gwi-myeong’s verse, and then analyzes 〈次際卿述懷韻〉 and 〈幽懷賦〉 to examine how Jo Gwi-myeong’s life and thoughts were expressed in his verse. The analysis of Jo Gwi-myeong’s verse seeks to provide clues to a coherent understanding of Jo Gwi-myeong’s inner conflicts and contradictions.

The narrative structure of Yu. P. Kazakov's short story "Arcturus the Hound Dog"

The article presents a narrative analysis of Yu.P. Kazakov's short story "Arcturus the Hound Dog", which refers to the animalistic prose of the writer. The main purpose of the analysis is to consider the organization of the narrative in prose, since the narrative features of the work allow us to characterize the writer's idiosyncrasy in detail. Research objectives: to identify the features of the narrative; to get acquainted with the works devoted to the research topic; to turn to the historical and cultural context; identify the types of narrators; correlate the perspective and narrative plan with them. The relevance of the work is due to the fact that more and more studies are interested in narrative structures, as they allow us to determine the nature of the work and the poetics of Kazakov's stories. Despite the fact that many works are devoted to the early story "Arcturus the Hound Dog", not all of them differ in precise terminology and logical conclusions. So, we will attempt to challenge one of the points of view on the analyzed work. The study of the issue was based on a structural and semantic analysis. Formal, biographical and psychological methods were also used in the study. In the course of the work, the features of the narrative of the story were discovered. We came to the following conclusions: 1. The narrative is based on the principle of opposition of perspectives: an "internal - external" point of view (Innenperspektive - Außenperspektive) 2. The writer introduces three types of narrator into the canvas of the text: exegetic (omniscient, taking an indirect part in the action of the story), diegetic (active, directly appearing in the plot as a character) and lyrical (reflective, feeling, which manifests itself more on a spiritual level). The discovery of the latter in the canvas of the text determines the novelty of the study of the literary heritage of Yu. P. Kazakov. 3. Thus, the lyrical type of the narrator determines the poetics of Kazakov's lyrical prose, discovers difficult-to-grasp subtexts in the narrative and introduces a special rhythm into the analyzed story.

REARRANGED: An opera singer’s facial cancer and life transposed Kathleen Watt

In lyrical prose, with musical allusions, clinical references, and a bit of comic relief, Rearranged follows Kathleen Watt's plunge from the operatic stage into the netherworld of hospital life—its indigenous creatures, its peculiar language, its signposts of the mysterious human condition—through the devastation of cancer, and out the other side. Kathleen was a New York opera singer at mid-career, with a steady, lucrative chorus job at the Metropolitan Opera and solo gigs elsewhere, anticipating her best year ever. Instead, a vicious bone cancer blew her plans to smithereens, along with her face. She had to let everything go. Bit by bit, through a brutal alchemy of lethal toxins, titanium screws, and infinite kindness, she discovered new arrangements for old pieces, in a life catastrophically transposed. Not only a heart-wrenching medical odyssey but also, ultimately, a joyous personal journey of transformation.

Parallelism in ancient Turkish sources and their poetic landscape in the prose language of Ramiz Rovshan

Parallelism in ancient Turkish sources and their poetic landscape in the prose language of Ramiz Rovshan

Görünmez Engeller ve Parçalanmış Hayatlar: Arundhati Roy'un The God Of Small Things İsimli Eserinde Yabancılaşma ve Uzaklaşma

Arundhati Roy's novel, The God of Small Things, is a complex portrayal of alienation and estrangement experienced by its characters within the socio-political milieu of postcolonial India. Roy skillfully exposes the impact of societal norms and caste divisions on personal relationships, resulting in profound emotional isolation and rupture within the family unit. This evocative narrative sheds light on the disempowerment and disenfranchisement experienced by the estranged and marginalized voices. From this point of view, considering the theories of alienation, this article analyzes the various forms of alienation and estrangement depicted in the novel and explores their underlying causes and consequences. The analysis delves into the theme of familial alienation, focusing on the forbidden love between fraternal twins Estha and Rahel, and the subsequent estrangement within their family. Furthermore, the article examines the characters' alienation from the political and cultural landscape of India. It explores how the colonial legacy, combined with the rigid social hierarchy, leads to the marginalization of certain groups and individuals, ultimately deepening their sense of estrangement. Additionally, through a close reading of the novel, this article reveals how Roy employs narrative techniques such as fragmented chronology and lyrical prose to mirror the characters' fragmented identities and fragmented society. It explores the ways in which alienation and estrangement manifest themselves in the novel, and how they are inextricably linked to broader social and historical forces.

The Structure and usages of future forms in Classical Sinhalese Literature

This research paper is presented to identify the morphological and practical approaches to the future verb appearing in the prose language of classical Sinhalese. According to records, five formations of the future verb can be identified. This shows that the future verbs of the Sinhalese language were not clearly identifiable in classical literature. Therefore, it is possible to observe how different formations were used to convey the same linguistic meaning. There are two future formations in the traditional standard grammar of Sinhalese. According to the facts found in religious texts which were written in the Classical Sinhalese Period, some other formations of future verbs are realized. This research is mainly based on the qualitative research method. The data is collected from primary and secondary resources. The future forms used in the Classical Sinhalese Period are taken into account in this research. The religious texts such as Dharma Pradīpikā, Amāvaturǝ, Butsarǝɳǝ, Pūɟāvəlijə, Saddharmə Ratnāvəlijə, and Pansijəpaɳas Ɉātəkə Potə are considered as main primary resources in the research. These literary works which were written in the Classical Sinhalese Period have been selected for the research because they represent the written and spoken varieties, the standard and non-standard varieties of the Sinhalese language. The data collected from the texts is categorized and analyzed according to the relevant formations of the future tense. According to the facts found in the above-mentioned religious texts, there are five formations of future forms. They are as follows: the future form with future meaning, the future form with present meaning, the adverb of (future) time with the future verb form, the adverb of (future) time with the present verb form and the representation of the future meaning by the present form. Therefore, two future formations of traditional grammar are developed up to five in the Classical Sinhalese literature.

MARKEME ANALYSIS OF JOHN DONNE’S PROSE LANGUAGE

Statement of the problem. The paper aims at formal semantic analysis of John Donne’s prose language. According to the purpose, the tasks of determining key words – markemes – and then the markeme peculiarity of Donne’s texts have been solved. Results. When the texts had been processed with the program ProTemAl-Engl we got the author’s markeme list. Then we conducted quantitative and qualitative analysis of the markemes followed by their semantic classification. Quantitative analysis considered the author’s weight of the markemes, their inverted ranks, frequency and distribution in semantic sets of markemes. Markemes stratification made it possible to distinguish core and peripheral markemes in Donne’s prose. Qualitative analysis was based on semantic analysis of dominant and vice-dominant markemes and included the procedure of semantic classification of the markemes. Quantitative and qualitative analysis allowed specifying markeme peculiarity of Donne’s prose language. Conclusion. In Donne’s prose, considerationis the dominant markeme and contemplation is the vice-dominant one. The markeme core includes 17 markemes and the markeme periphery includes 34 markemes. Besides the presence of 17 synonyms from 7 synonymic markeme groups the peculiarity of Donne’s markeme list is determined by 10 groups of markemes which possess the same inverted ranks. There are 29 such markemes. The same rank of the markemes in each group means that all of them are of the same importance to the author. There are three main semantic sets in Donne’s prose. They are fundamental notions, mental and perceptual markemes and emotionally charged markemes. According to the number of markemes, their frequency in the text and their author’s weights, the semantic set of fundamental notions is predominant. It includes both religious and semantically connected with them notions.

“I CONCEIVED THIS THING IN A HARD TIME”: ON THE QUESTION OF THE SIGNIFICANCE OF THE STORY ENOUGH IN THE WORKS OF I.S. TURGENEV

The article deals with I. Turgenev’s story Enough in terms of its role in the writer’s work, which has not yet been determined, despite of the increased interest in texts created after Fathers and Sons in recent decades. Enough traditionally attracts researchers as an example of Turgenev’s philosophical narrative, saturated with numerous allusions, and as an experience of a new literary form, which, however, is not always seen as successful and relevant to the tasks set by the writer himself. In general, scientific analytics is dominated by the history of the perception of this work by Turgenev’s contemporaries, who, with rare exceptions, reacted to Enough negatively. The article offers a brief overview of the responses to Turgenev’s story. The main attention of the author of the article was attracted by the judgments of L. Tolstoy. His assessments of Turgenev’s Enough varied throughout his life. At first, Tolstoy took the general position of denying this text, although the author of the article saw in some of the writer’s ‘Schopenhauer’ statements in War and Peace an indifferent polemic with Turgenev’s judgments from Enough. But already in the 1880s Tolstoy develops a view that Enough is Turgenev’s key text, which most capaciously and accurately expresses one of the most important “phases” (in total Tolstoy counted three of them) in the life and work of the writer. Tolstoy was attentive to Turgenev’s “phase” of “doubt in everything”, appreciated his sincerity and honesty in this matter and saw a close connection between Turgenev’s extreme doubt and faith and new religiosity. The author of the article also proposes an analysis of the poetics of Enough in the light of the key topoi and motifs of the writer’s prose of the 1850s, traces the correlation of the novel with the characteristic trends in the development of Turgenev’s lyrical prose miniature (a combination of lyrical subjectivity and generalization), which confirms the correctness of Tolstoy.

Cultivating Creative Writing Skills through Stylistics in the Classroom

The current study focuses on employing stylistics to improve creative writing skills in classrooms. The Great Gatsby by F. Scott Fitzgerald is the selected text for this experimental research. This study explores the development of techniques that include lyrical prose, vivid descriptions, and dialogue among students. Undergraduate students from two universities took part in the study. Researchers conducted interviews with teachers and classroom observations to analyze the involvement of the teachers in the writing process. This study concludes that stylistics enhance a deeper understanding of language which consequently improves students’ creative writing skills. This study is instrumental in opening new avenues in the field of creative writing pedagogy which will provide the instructors with practical strategies for improving students’ writing skills.

Culturological approach in studying the works of M. Prishvin in the lessons of Russian (native) literature

The article is devoted to the culturological approach in the study of M. Prishvin’s works in the lessons of Russian (native) literature in the middle classes of secondary schools. In school, the individual works on natural history by M. Prishvin are studied in elementary school and in grades 5-6 of secondary schools; however, in literature lessons, students do not receive a holistic view of the life and work of the outstanding writer-philosopher of the twentieth century; this is evidenced by the analytical review of text-books presented in the article. When studying M. Prishvin’s work, the main focus is on the genre features of individual works included in the school curriculum, the images of characters, national and cultural values, as well as the beauty of Central Russian nature. His major work, studied at school, is the true story “The Sun’s Storehouse”, although the writer’s oeuvre also includes the novels “Koshcheev’s Chain”, “The Sovereign’s Road”, the philosophical story “The Tale of Our Time” and the diaries of 1905-1954. The implementation of the culturological approach in the lessons of literature and Russian (native) literature helps students to consider the writer’s work in the context of Russian culture, to get acquainted with syncretic genres: a fairy tale, a fairy tale novel, a poem in prose, to feel the metaphorical nature M. Prishvin’s prose language. A holistic study of M. Prishvin’s works allows students to identify the relationship of his works with the works of A. Gorky, A. Blok, A. Platonov, as well as with Russian literature of the 19th century. Thus, the use of the culturological approach is necessary for the development of students’ skills of analyzing literary works and for the perception of M. Prishvin in a broad cultural context, it fosters their appreciation of the beauty of nature, love for their Motherland, which begins with the love for one’s native land.

Cultural Literary Landscapes

"Challenging Cultural Literary Landscapes: Poetry as Mediation, Experience, and Myth” was originally written for an Italian special topics course on the experiences of Italian-Canadians. This essay covers the Italian diaspora’s representation in Canadian literature with a concentration on the depiction of ethnicity, race, and culture. Specifically, it aims to examine poetry’s importance to Canadian literature as a means to mediate experiences not easily conceived by prose language. This paper examines poetry by Italian Canadian writers such as Mary de Michele and Antonino Mazza and Jewish-Canadian Leonard Cohen’s first collection of poetry, Let Us Compare Mythologies. It analyzes poetry’s importance to self-representation and cultural exchange and the complicated networks between identity and narrative through the exploration of themes such as migration, journey, and mythology.

Поетична метафізика прози Івана Ковача

The article under studies presents the first ever attempt to reveal the basic features of the prose of the prominent Ukrainian poet, prose writer, literary critic, and journalist Ivan Kovaci (born in 1946). It lays particular emphasis on the peculiarities of modeling the chronotope of the prose contained in three books by the writer: “A Sycamore Tree Alone in the Field” (1974), “Chuha” (1976), and “Orange Ballad” (2006). It also analyzes the narrative strategy of the writer’s artistic thinking at the level of lyrical confession of the narrative, investigates its genre specificity and the role of leitmotif detail, as well as traces the synthesis of arts in writer’s creative workshop at the level of coloring, etc. In terms of genre and style features, Ivan Kovaci’s prose is comprised of stories of various types: both lyricized, with a weakened plot, and works that are close to the genre of the classical short story. Their structure is based on an eloquent detail that creates an appropriate emotional coloring. The article claims that prose is an organic and natural part of Ivan Kovacs’s creative activity. Lyricized short stories, etudes, short stories with classical architectonics, a short story-ballad, confessional lyrical prose, together with poetry, create the unity of his artistic world. The peculiarity of the poetic metaphysics of the writer’s prose lies in his peculiar worldview pantheism and subtle sense of beauty. It is essential that the time-space of prose is also close to poetry: it is a “point” chronotope, located at the intersection of the coordinates of the “objective” (given in the narrator’s perception) and subjective-experiential space-time. This feature is especially evident in the story “Chuha”, a kind of mosaic of life. Fictional time and space are subject to mythologization and symbolization, as the lyrical hero is constantly trying to cross the line that separates him from the “golden age” of childhood. Another sign of the poetic nature of the writer’s prose is its deep psychology combined with lyricism. The most eloquent feature of Ivan Kovaci’s style is his special ability to use color. This peculiar synthesis of arts in the writer’s creative palette turned out to be a special, symbolic load of images with a bright coloristic dominant.