Lyrical Hero Research Articles

К разбору стихотворения Виктора Сосноры «Разлука звериного лая со страхом совиным…» (1966)

The article is devoted to the analysis of Viktor Sosnora “The separation of the animal bark from the fear of an owl...”, written in 1966 and published in the USSR in 1977. The role and meaning of the concept words ‘separation’, ‘memory’, ‘prison’, ‘death’ in the poem are shown. The author’s graphic design of the poem vaguely resembles the sonnet canon, and the size (multi-foot amphibrach with a single impregnation of dactyl) reminds of imitations of ancient versification (hexameter, elegiac distich). None of the signs of the sonnet and the hexameter are reproduced sequentially, but each of them is manifested in the poem at least once. A lyrical plot related to travels to the world of dreams and the world of death has been recreated. In the first part of the poem, the lyric hero visits the kingdom of ancient Hypnos. In the second part, he addresses himself in the present, and his voice sounds as if from the domain of Thanatos. The ending of the poem expresses gratitude to the Creator in a sophisticated and saturated form with literary reminiscences and allusions. Shown are the echoes of the memory of the works of Russian poetry of the 18th – 20th centuries, both related to the textbook classics (G. Derzhavin, A. Pushkin, M. Lermontov, A. Blok, B. Pasternak) and unknown (F. Kozelsky, V. Krasov).

Мотив свободи в інтертекстуальному вимірі української поезії: діалог поетів-«xатян» з Г. С. Сковородою

The article examines the motif of freedom in the poetry of the "Ukrainska Khata" journal in the intertextual space with "The Garden of Divine Songs" by H. S. Skovoroda. Having selected the poetic works published in the "Ukrainska Khata" journal, it was found that the motif of freedom appears in its polysemantic expression in the poetry of the following authors: Maksym Rylskyi, Pavlo Tychyna, Oleksandr Neprytskyi-Hranovskyi, M. Dontsiv, O. Nedolia, Yakiv Mamontov, Sydir Tverdokhlib, Mykola Voronnyi, Oleksandr Oles, Khrystyna Alchevska, Hryhorii Chuprynka, Mykola Filianskyi. The following thematic vectors of the intertextual motif of freedom in the "Khachyan" poetry were identified: individual freedom, freedom of creation, freedom of spirit, and the motif of a struggle for the freedom of the people. It was explained that the interweaving of motifs of freedom and nature in the works of "Khatyan" poets has a genetic relationship with the "Garden of Divine Songs". The intertextual parallels of artistic originality of the freedom motif in the poets of "Ukrainska Khata" and songs 2 and 14 of the collection of H.S. Skovoroda. In the artistic imagery of the «Khatyan" poets, as in Skovoroda's poetry, freedom is connected with highness and is included in the game of opposites. The combination of poetic works of different poets in the «Ukrainska Khata» journal allows you to read their works in an intertextual dialogue. For example, the elevated mood of Mykola Filianskyi's poetry is balanced by Maksym Rylskyi's poem. In such circumstances, a new dimension of freedom for a lyrical hero opens up: a poet who does not run away from people is aware of his responsibility for the people’l fate. The crowd may not understand the poet with his ideals of freedom, but there is no romantic conflict on the pages of the «Ukrainska Khata» journal. A poet’s image in the poems of the authors of the beginning of the 20th century is deeply socially involved. A poet believes that his word always serves the freedom ideal of Ukrainians: it returns the reader to the memory of the historical past, and calls for the fight for freedom in the present. Reading the poetic works of the journal in an intertextual dialogue (according to a conditional analogy to the unity of songs in Skovoroda's collection) made it possible to explain the unity of individual freedom and national freedom according to the principle of the unity of visible and invisible nature in Skovoroda's philosophy. The conducted research proves that the "Khatyan" poets followed the path of development marked out by Skovoroda, for them his work became a path to the truth. The motif of freedom as a signpost on this path guides the movement of Ukrainian poetry through the centuries. The experience of the poets of the "Ukrainska Khata" should not be forgotten, because just as the "Khatyans" drew from the tradition of Ukrainian poetry, modern art, thanks to the turn to the poetry of the beginning of the 20th century, has the opportunity to take a constructive path. It is possible to take a constructive path in the early twentieth century. The research presented in this article opens the horizon for further studies on the intertextual motif of freedom in modern poetry.

ТВОРЧІСТЬ МЕГРНУШ МАЗАРЕЇ В КОНТЕКСТІ СУЧАСНОЇ ПЕРСЬКОЇ ЕМІГРАЦІЙНОЇ ЛІТЕРАТУРИ

This overview paper presents the work of Mehrnoosh Mazarei (born 1951), a representative of modern Persian emigration literature of the late XX – early XXI centuries, living in the USA. The relevance of the chosen topic is due to the insufficient number of Ukrainian-language studies devoted to the prose of individual personalities among Iranian writers, in particular, the works of Mehrnoosh Mazarei. In the context of the development of modern prose in Iran in the late XX – early XXI centuries it was found that, against the backdrop of the changes brought about by the Islamic Revolution (1979) and the Iran-Iraq war (1980–1988), interest in the status and problems of women increased. Persian women's prose occupies a special place in Iranian literature both in Iran and abroad, since a large number of Iranian writers emigrate to the West and continue to work outside of Iran, including Mehrnoosh Mazarei. It was found that the characters in her works are mostly emigrants who live their lives trying to accept the culture of a new country, but also at the same time to keep memories of the past in order to console themselves with this. The lyrical hero of the stories of Mehrnoosh Mazarei is a woman who adapts to a new life and often recollects her past life. In her works, the writer, despite her feminist ideas, tries to convey to the readers as objectively as possible what the life of emigrant women was like and to tell their stories. Due to achievement of the goal of the study, which was to analyze the trends of Persian women's emigration prose on the basis of the works by Mehrnoosh Mazarei, it has become possible to determine the main features of the main characters of the author, being that they cannot forget that they have no place in their own society, and thus they are trying to adapt to the new rules of the countries where they are. The dominant theme of Mehrnoosh Mazarei's stories is the relationship between a man and a woman, the description of which undergoes serious metamorphosis from gender gap to gender equality, from condemning men to enabling their harmonious coexistence with women, from explaining patriarchy culture as a part human nature to recognizing that it is caused by social relations. The topic of a rebel woman is of no less importance for Mehrnoosh Mazarei. In particular, in the novel "Mina's Revolution", the heroine Mina becomes the embodiment of recalcitrant women, not only of Iran, but of all women with a similar fate: her experience and the difficulties she goes through make her a global rebel, a modern archetype of revolutionary women forced to leave their country in search of a better life and socio-political freedom.

Стихотворение Вл. Соловьева «Три подвига» как один из источников цикла А. Блока «Снежная маска»

This article considers the possibility of including Vladimir Solovyov’s poem Three Exploits within the sources of Aleksandr Blok’s cycle The Snow Mask. While exploring the differences between a number of traditional mythological texts and their interpretations in the poem, this article also highlights the fact that not only symbolists did consider Solovyov’s poem as the key to his works but also as his plan of action for the transfiguration of life. In this respect, the author compares Solovyov’s poem and Blok’s cycle so to reveal that many features of the protagonist of The Snow Mask are similar to Pigmalion and Perseus. Furthermore, a comparative analysis of the cycle The Snow Mask and Vyacheslav Ivanov’s poem Orpheus torn to Pieces is carried out. The latter reveals, in fact, numerous similarities between these two works. More analogies are also observed between The Snow Mask and Aleksandr Blok’s poem Here he is, Christ, in chains and roses ..., as well as between the plot of the poem “Away!” and the gospel story about Jesus’ temptation after baptism. All these readings allow to think that Orpheus may be considered as the lyrical hero of the cycle. In conclusion, Vladimir Solovyov’s poem Three Exploits can be reasonably listed as one of the sources for Aleksandr Blok’s cycle The Snow Mask.

ОБРАЗ КОТА КАК ДРУГОГО В РУССКОЙ ПОЭЗИИ: ОТ КЛАССИКИ XIX В. К «ОТТЕПЕЛИ» ХХ В.

The article is devoted to the culturological comprehension of the cat as a character and image of the XIX-XX century Russian poetry. It is noted that the most famous and firmly established in the Russian mentality cats enter the reading and, accordingly, the cultural experience of Russians in their childhood when they are introduced to classical Russian literature (A.S. Pushkin, the learned cat from the introduction to the poem Ruslan and Lyudmila» and the Russian liter-ary fairy tale (K. Chukovsky). The author specifies that even in the 19th century these animals were an inseparable part of the Russian literary landscape, but they did not play an important role there, being semi-animate characters of sorts for their masters (A. Fet). It is found out that some writers of the turn of XIX-XX centuries assigned supernatural abilities to them, recognizing the mysteriousness of these creatures and our inability to understand them (I. Bunin). In this historical period, Russian poets in general did not separate the cat from the animal world, which was opposed to the human world (Sasha Chyorny). The attitude towards cats changed fundamentally during the «thaw»: the poets of the Sixties saw in their behavior a degree of inner freedom and independence which they themselves were unable to achieve on the social and cultural level, but which they desired so much. (B. Akhmadulina, A. Voznesensky). The atti-tude toward animals, cats in particular, became for many a criterion of the human personal qualities and it was a sign of certain softening of mores in Soviet society (I. Brodsky). The article suggests and studies the development of the cat's image / character from a minor character being a part of the lyrical hero's environment, through positioning the cat as part of the animal world, to humanizing its image in XX century poetry and assigning to it the qualities of human beings, interlocutors and associates, on the one hand, and interpreting the cat as a creature involved in the mysteries of the Universe, on the other hand.

Принципи акмеїстичної поетики у творах І. Багряного

The author of the article, Olha Kryzhanovska, found that acmeism develops not only in the works of poets of the early twentieth century, but also throughout the twentieth century and in the modern literary process. The history of the development of acmeism proves its productivity. Acmeism does not depend on chronology. Acmeism has changed over a hundred years of existence, this is not a literary direction, it is a creative method. The author of the article to study poetry, Ivan Bahrianyi, uses the concept of the Ukrainian researcher Tatyana Pakhareva. The author of the article determined that the dominant markers of acmeistic works are the synthesis of historicism, cultural centrism and ethicocentrism. The author of the article proved that these principles of acmeistic poetics are present in the poetry of Ivan Bahrianyi. The poems „Sandro Botticelli”, „Shakhtar”, „Malyar” have such acmeistic markers: historicism, cultural centrism and ethicocentrism. In the article, the author proved that the image of Sandro Botticelli is not monumental. The poet depicts the artist from Italy as a lonely man. The author of the poem helps the reader to see the connection with the Italian artist. Olha Kryzhanovska proved that in the poem „Shakhtar” Ivan Bahrianyi presents a different interpretation. The lyrical hero of the work has a large historical scale. It is a big world culture. In the poem “Malyar”, Ivan Bahrianyi compares the work of a painter with the work of great artists. The author of poems makes ordinary people who have working professions great personalities in history. Olha Kryzhanovska proved that in poetry Ivan Bahrianyi wrote a lot about the history and fate of man.Ivan Bahrianyi believed that the history of Ukraine and the fate of a citizen of Ukraine are connected. Olha Kryzhanovska proved that the poems that Ivan Bahrianyi wrote in exile represent the tragic experience of the poet. Ivan Bahrianyi wrote that every Ukrainian participates in the fate of Ukraine and is responsible for his homeland. Olha Kryzhanovska studied historicism, cultural centrism and ethicocentrism in the poetry of Ivan Bahrianyi. The author of the article proved that these principles of acmeism help to deeply understand the works of the Ukrainian poet Ivan Bahrianyi.

ВЛИЯНИЕ СОВРЕМЕННЫХ ТЕНДЕНЦИЙ НА СПЕЦИФИКУ СУБЪЕКТНОЙ ОРГАНИЗАЦИИ РОК-ТЕКСТОВ XXI В.

The article studies the influence of modern trends on the specifics of the subjective organization of rock texts of the musicians generation in the “pro-Western” period, starting from that of the “era” of the emo subculture and ending in 2021. The main purpose of the article is to establish the peculiarity of the subjective organization of texts in rock poetry of the 2000s–2010s, as well as to determine the influence of social events on the change of the lyrical hero. In the course of the study, conclusions are drawn about the importance of the performer in the communicative chain “author-hero-performer-audience”, as well as possible reasons for changing the characteristics of lyrical heroes in the texts of four Russian rock bands of the modern generation (“Tracktor Bowling”, “Louna”, “Amatory”, “Pornofilms”). Using the example of the texts of each of these groups, the conclusion is made about a certain development of the group from the beginning of the creative path to its end or the last album as well as about the importance of the performer’s role for the texts composition of modern performers, as well as about the mutation of the lyrical hero under the influence of extra-textual factors. The article discusses the common features of the subject organization of four groups created at different times and having different communicative goals. Based on the subjective analysis, a conclusion is drawn about the mass character of modern rock music.

Features of the Japanese genre of hokku in the works by K. Utkin

The paper presents the study of the poetics of the Japanese genre of hokku in the works by the famous Yakut poet, philosopher and culture expert Ksenophont Dmitrievich Utkin. The features of compliance with the canons of Japanese poetry have been identified: adherence to the basic rules and traditions (stylistic, stanza and compositional criteria), aesthetic principles and categories, semantic structure. The national specifics of mastering the genre, which is manifested in the disclosure of the image, sound pattern, and the desire to express the national perception of the world. The study yielded the conclusion that mastering of hokku in Yakut poetry is primarily based on traditional features. The studied examples are close to the typology of the original in terms of formal and compositional principles: the two-part structure of the work, the stanza and syllabic canon. The poet adheres to the thematic features associated with the description of nature, the world and the state of mind of the lyric hero. A typological similarity between the studied hokku and Japanese poetics is observed in adherence to aesthetic principles (yugen, shiori, engo), the use of seasonal words, vagueness, allegory and symbolism. The need for knowledge of the traditional culture brings the works closer to Japanese poetry. Yakut works are characterized by a special rhyme, the role of alliteration and national interpretation of images, and the material and spiritual components of the Yakut worldview.

Персонаж-читатель в романе Ю. Фельзена «Письма о Лермонтове»

The article examines the plot of reading and interpreting Mikhail Lermontov’s works by the reader-character of the novel Letters about Lermontov (1935) by Yuri Felzen, a writer of the younger generation of Russian emigration. The love conflict of the central character (he is the narrator, the author of letters to his beloved who left him) is overcome by the act of writing and the departure into the world of culture, the value center of which for him is Lermontov. Strategies for reading Lermontov by a writing character are close to the biographical method - no separation of the writer’s life and work, identification of the author with his hero (Pechorin, Demon, poetic lyrical hero). The purpose of learning Lermontov’s personality through his works (diaries, poetry, poems, the novel Hero of Our Time, etc.) is to find an existential landmark (perseverance and courage before the blows of fate) and an aesthetic principle (patience and sincerity in creative work). In self-identification with Lermontov-Pechorin, an act of self-knowledge, recognition of inconsistency with the ideal, and behavioral self-correction take place. The second line of letters about Lermontov is the formulation of the essence of literary creativity, the author’s version of the history of Russian literature and its fate in the modern world. According to the character of the novel, classical literature in the twentieth century becomes incomprehensible and unable to agitate, but, dying, it conveys its artistic discoveries to modern literature, which means that art continues to develop. Lermontov is the connecting link: he is a writer of the 19th century, but his works remain modern, because they were ahead of their time. Lermontov, according to the narrator-character, stands above Pushkin, he is the forerunner of Tolstoy and Proust, i.e., the literature of modernism that is capable of showing an incomplete world and a contradictory person, to which the central character of the novel aspires. Art in the author’s concept, as exemplified by Lermontov, is an act of self-knowledge necessary for the artist himself, but allowing one to go from observing about oneself to generalizing about human nature. Reading is the cognition of the Other and their way of being, it is approaching to the understanding of reality; reading is also the threshold for creating a text, one’s own way of being, built in dialogue with world literature. Felzen’s article “Lermontov in Russian Literature” (1938) is not development, but a concentrate of novel ideas. In critical discourse, Felzen evaluates Lermontov less categorically: he is equal to Pushkin in the sense of proportion, freedom from politics and religion. Felzen concludes: after the death of Lermontov, Russian literature was not free from the power of political and religious ideas (Gogol, Tyutchev, Tolstoy, Dostoevsky). The author declares no conflicts of interests.

The concept of subject-object relations in draft versions of the song “Game” by V.R. Tsoy

The article is devoted to the identification of subject-object relations in the text of the song by V.R. Tsoy. The aim of this work is to analyze the drafts of V.R. Tsoy and characteristics of subject-object relations based on the text of the song “Game” included in the rock album “Night”. To achieve this goal, the following methods were used in the work: bibliographic analysis of the literary works and drafts of the writer, the comparative method, the method of analogy and the descriptive method. Based on three versions of the lyrics of the song “Game”, the author notes that in the artistic structure of the text, there is a lyrical character that conveys the emotional state, mood and cognitive side of being. The author comes to the conclusion that the key concept of the studied text is “game”. This is reflected in the use of the second person plural pronoun “we”, as well as in the identification of the author with the lyric hero of the work in question. The scientific novelty of the work lies in the fact that for the first time subject-object relations are analyzed on the material of the song “Game” by V.R. Tsoy.

ROLE-PLAYING LYRICS IN THE WORKS OF USMAN AZIM

Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.

THE ESSENCE OF SYMBOLIC IMAGES IN THE WORK OF THE UNIQUE POET, SKILLED TRANSLATOR RAUF PARFI

Introduction. The twentieth century is known to have been a period of great change and renewal in world literature. The social, political, and cultural reasons for this have been shown in many scientific works. It should be noted that in the last century, especially in poetry, there have been created rare works that speak of the fate of humanity, human suffering, deep content, deep philosophy. In particular, during this period, philosophical and intellectual lyricism about the eternal problems of the universe and man, life and death, war and peace, the fate of mankind, the essence of life was perfected. Research methods. In the process of drawing a number of poems of the poet into the analysis, the following were used: - to give an idea of the theoretical basis of the coloring of styles and shapes; - coverage of the issue of the lyrical hero in poetry; - attention to the national psyche of the lyrical hero; - interpretation of the poet's own characteristics in the application of poetic details, analytical images; - coverage of the expression of the theme of freedom and freedom in poetry; - to express opinions about the artistry of poet and to draw general conclusions and pay attention to the poet's poetry. Results and discussions. In world literary creation, it is becoming increasingly important and becoming increasingly urgent to develop. Consequently, the study of literal philosophical and intellectual direction is also important for humanitarian science, such as philosophy and psychology, not philology. Conclusion. Twentieth-century Uzbek poetry, even from the standpoint of world literature, is a very large, completely unique poetry; There are many masterpieces of lyrical masterpieces created all over the world. Chulpon's poetry with a social spirit, Osman Nasir's fiery writings, Ghafur Ghulam's deep philosophical poems, Oybek's thoughtful and quiet "pure" lyrics, Maqsud Shaykhzoda's beautiful poems, Mir-temir's folk poems, elegant lyrical melodies of Erkin Vahidov, poems of wisdom by Abdulla Aripov, modern poetry of Rauf Parfi, poetic world of Omon Matjon rich in historical symbols, courageous poems of Shavkat Rahmon are proof of our opinion. The above-mentioned poets made a great contribution to the formation, development and perfection of the new Uzbek poetry.

МЕТАФІЗИЧНІ ТА РЕЛІГІЙНІ МОТИВИ ТВОРЧОСТІ ПАВЛА ПЕТРА

The spiritual direction of Czech poetry reaches the period of the XIX-XX centuries, where we see the works of such authors as J. Deml, J. Zagradníček, J. Durych. Despite the difficult years of the Second World War, and later oppression by the official communist authorities, this tradition has not been lost, but rather strengthened and is represented today by a number of authors, including M. Schtor, R. Fajkus, partly M. Děžinský and others. In these authors’ poetry one can see noticeable search for a lyrical hero of the Higher Power, the search for his own place in this world, trying to unravel its mysteries. One of the famous representatives of this literary trend is Pavel Petr. Poet was born in Zlín, worked as a locksmith for some time, later was the editor of some Czech literary journals, and afterwards began to write his own works. As of today, there are eleven of his poetic books. His poetry is characterized by religious symbolism, complex metaphor, irrational imagery, the lyrical hero's search for God. Images of Peter are very rarely lined up in a clear logical whole picture. The reader may try to do it him or herself, but it is likely that such an attempt will encounter an obstacle where logic falls into a dead end and the author, as if watching it, just smiles. The lyrical hero, being in such a world, also does not know in what temporal and spatial dimension he is, where exactly to go. The only hope for a Supreme Power that can show the way through revelation. That is why in the poetry of P. Petr there is often an appeal to such a force. The author seems to be hinting to the reader so that it is impossible to understand the spiritual world by logic, and the only thing left for us to do is to apply the power of faith.

Między zamknięciem i otwarciem… Interpretacja wiersza Tadeusza Różewicza „Syn marnotrawny (z Hieronima Boscha)”

The aim of the article is to interpret a poem by Tadeusz Różewicz, Syn marnotrawny (z obrazu Hieronima Boscha) [The Prodigal Son (from the painting of Hieronymus Bosch)], from the volume Srebrny kłos [The Silver Ear of Corn] (1955). The poem is subjected to intertextual reading, which included strongly sketched autobiographical allusions, ecstatic descriptions of Bosch’s paintings and contextual references to the biblical parable of the prodigal son. Confronting the situation of the lyrical hero with the theological interpretation of the parable and reaching for the concept of reading the play proposed by Mieke Bal, ultimately reveals the kerygmatic meaning of the piece.

LONELINESS AND DESPAIR OF A PERSON IN VASYL STEFANYK’S NOVELS

Vasyl Stafanyk entered into Ukrainian literature XIX – XX century as a master of the short story, where he emotionally passionately violates the existential problems of an individual person, lost in a world indifferent to him, of which he is forced to make certain decisions and take responsibility for his choices. The artist’s special attention is drawn to the loneliness of man, which often causes him despair and confusion. In particular, this is reflected in Stefanyk’s short stories on the lives of rural workers. The writer knew well the Ukrainian village, the problems of the peasants. There was already a gradual departure of the rural community from the collective responsibility for the fate of each of its members, which deepened the alienation, created a sense of abandonment, in his time. For example, the village and the community are calmly watching the decline of Anton’s farm – the hero of Stefanyk’s short story «Blue Book». In this short story, the cry of the soul of a once wealthy owner, who was unlucky, who in despair drinks the whole farm. In his drunken bravado there is sadness, rage and hopelessness, deep despair – Anton feels that everyone is indifferent to his grief, there is no compassion in his home community. Such loneliness, alienation and despair of man, indifference of others permeate the pages and short stories «Paliy». Its protagonist, old Fedor, worked all his life for the rich Andriy Kurochka, lost his strength and health on his farm, and is now forced to beg from strangers. The thought of this hurts Fedor’s aching soul, he goes mad with loneliness, deeply offends his human indifference. In despair, deeply offended, lonely in his grief, Fedor sets fire to the hen’s barn, taking revenge on him for his mutilated life. The lyrical hero of V. Stefanyk’s short story «My Word» chooses a different way of reacting to unfavorable life circumstances from the previous character. It is the confession of a lonely, abandoned man in a world indifferent to the fate of everyone. Detached from his native land, the hero of the novel doesn’t find peace and joy in the new world. His longing comrades, who agreed with this new world, don’t understand him. So, abandoned by them, he builds himself a world of his own imagination, in which he is comfortable and where he truly lives, hoping to find happiness. Accordingly, the author of the short story convinces that everyone is lonely and doomed to fight for their happiness, and therefore responsible for their choices. Very often Vasyl Stefanyk addresses the topic of lonely old age, when adult children become busy with their worries and do not need their parents, as, for example, in the short story «Angel», where old Tymchykha, feeling unnecessary for children, prepares for death as a salvation from loneliness. The writer raises a similar theme of loneliness of old parents with living children in such short stories as, in particular, «Sama samisinka», which depicts a gruesome picture of the death of a helpless mother left to fend for her children who went to work. The other side of lonely old age depicts the image of old Maxim, who can’t forget his dead sons. A lone widower who sent two sons to fight for Ukraine, he complains about his fate, rages in the field at work, shouts at the horses. At the same time, in despair, Maxim doesn’t accept any sympathy from neighbors, proudly carries his loneliness and despair, lamenting the whole world. He is disgusted by everything around him, he lives only by memories of the past, when his sons and wife were alive, when life was raging in his house. Thus, as we can see, many of Vasyl Stefanyk’s short stories are imbued with existential problems of man concerning the negative nature of human existence. Among them the loneliness and despair of the person in difficult life situations are especially penetratingly considered by the writer.

Creativity and Myth Making in Moscow Texts by A.S. Dolmatov

The article deals with the problems of creativity and myth making in the Moscow texts by A. Dolmatov. The research is aimed at studying the authors ideas about his lyrical hero and the formation of the narrators self-portrait. A. Dolmatovs texts are dedicated to Moscow and the urban way of life, since it is the Moscow theme that is the sense-making component in the writers work. The article presents a brief history of rap poetry formation in Russia in the XXI century. The main features of problematics and poetics of A. Dolmatovs texts are analyzed. The task is to trace the evolution of the authors ideas on poetics and the meaning of rap as a genre of literature. The relationship of Dolmatovs lyrical hero with the city of roads, Moscow, defines the development of the authors work in alternative poetry of the 21 century.

Harmony and Disharmony: Acoustic Opposition in the Early Lyrics of Alexander Blok

The article studies the role of the observer - the subject of acoustic perception of poetic narrative, in particular, in the construction of a dual reality in the early work by Alexander Blok Poems about the Beautiful Lady. Acoustic perceptual data is the basis for the creation of complex mystical and philosophical symbols and poetic images. The divine, ideal world of the Beautiful Lady and the real world of the lyric hero are in opposition to each other in acoustic terms, which give rise to the opposition HARMONY - DISHARMONY. The opposition is realized in musical sounds, songs, and bell ringing typical of the upper world. The real world is characterized by other sounds, non-musical: groans, creaks, complaints, and crying. Accordingly, emotions also differ in value depending on belonging to one or another world: in the world of the Beautiful Lady they quietly laugh, rejoice; in the world of the lyrical hero they cry, moan, complain. SILENCE is a significant symbol of the divine world. The world of the Beautiful Lady is thus harmonious, musical and quiet. Its important element is the voices of birds: swans, cranes, eagles. Smell, touch and taste play a minor role in the creation of the Bloks dual reality. Temperature sensations participate in the formation of the COLD symbol as a phenomenon hostile to the divine world. Thus, the concept of dual reality in Bloks early lyrics is embodied in a number of acoustic oppositions and acoustic symbols of silence, song, and bell ringing.

Paradoxes of Historical Memory in A. Tvardovsky’s Post-War Poems

The article deals with the modern interpretation of four post-war poems by A.T. Tvardovsky: House by the Road, Beyond Distance, Tyorkin in the Other World, By Right of Memory , which were insufficiently studied in the previous research works. The main idea is focused on the artistic embodiment of historical thinking in these works. The main feature of these works is a contradictory combination of utopian consciousness and the dystopian mood of the lyric hero, who is pondering over personal and historical memory. The author concludes that Tvardovskys post-war poems capture the paradoxes of the historical thinking of a personality who, on the one hand, gets out of the influence of the dominant ideology, and on the other hand, demonstrates an apologetic attitude towards the key concepts and mythologems of totalitarian discourse. The hero of Tvardovskys later poems appears as a front-line soldier, an artist, a publicist, an analyst of modern times, a prescient; he wanders the roads of the past and present, at the crossroads of personal and historical memory, gets even to death, goes on believing in the mission of the political leaders, the a priori truth of the Country and the People inspired by dystopian impulses and sees mysteries of history through his destiny.

The specifics of the embodiment of a smile, laughter, mocker in creativity B. Kanapyanova

The article analyzes the specifics of the embodiment of laughter, smiles, mocker in the works of the modern Russian-speaking Kazakh poet and writer B. Kanapyanov. The study uses a complex approach to analysis of a work of art. Smile, laughter and mocker in describing the appearance, actions of the heroes of the works is due not only to the subjective opinion of the author, but also to the whole concept of images, which are based on aesthetic, spiritual and moral ideals that have developed for millennia in the steppe culture of Kazakhs. The results showed that the derivatives of the comic (laughter, smile, mockery), firstly, play a key role in the poetics of Kazakh author’s works, being a catalyst for the most important motives (friendship, sympathy, joy, love, anger, hatred). Secondly, they are means of transmitting emotions, markers of the behavior of the lyrical hero, allowing us to understand what his real experiences are, i.e. perform a characterological function.

The structure and semantics of the early lyrics of Diman Belekov

The article analyzes the semantic features of D. Belekov's early lyrics, identifies the figurative and spatial dominants represented in the author's artistic world. In the temporal designation, the semantic structure is actualized in a series of images associated with spring, and primroses, a blooming apple tree, murmuring streams of meltwater, fields with thawed patches, etc., creating a holistic picture of the awakening nature, metaphorically embody the image of the younger generation. Toponymically and geographically, the dominant image is the image of the native land, which includes the entire complex of symbols-markers characteristic of the designation of the territory of Gorniy Altai (Altai Mountains). If the homeland for the lyrical hero of the poet becomes a source of strength and inspiration, then for his development he needs a movement understood as the development of the "other" space, actualized in the generalized image of blue distances and a crowded city with bright lights. The central theme in the poet's lyrics is the theme of the road, embodied in the motives of departure and return.