|Title:||Сюжетні інваріанти дороги у прозі Дмитра Марковича як один з провідних принципів організації художнього простору|
|Publisher:||НПУ імені М. П. Драгоманова|
|Citation:||Александренко, В. Сюжетні інваріанти дороги у прозі Дмитра Марковича як один з провідних принципів організації художнього простору / В. Александренко // Науковий часопис Національного педагогічного університету імені М. П. Драгоманова. Серія 8 : Філологічні науки (мовознавство і літературознавство) : зб. наук. праць. - Київ : Вид-во НПУ імені М. П. Драгоманова, 2019. - Вип. 11. - С. 38-42.|
|Abstract:||У статті розглядаються інваріанти дороги презентовані різними об’єктами як шлях до сакрального центру так і шлях до чужої й страшної периферії, а також складний взаємозв’язок просторової моделі дороги з іншими компонентами індивідуально-авторської семіосфери Д. Марковича.|
Formulation of the problem. In the small prose of Markovych, the motive of the transforming road appears structurally as a realistic embodiment of the "horizontal path" (V. Toporov), as, for example, in the stories of the cycle "From a long time past"; correlates with the fairy-tale motive of initiation (the road to the forest in the autobiographical work My Sins); Represents the development of the sacral territory ("On the Wolf Farm") or the path leading to a terrible and hostile periphery ("In hire"); finally, turns into an internal path to self-knowledge and self-realization ("Spring"). Research analysis. The creative personality of Dmуtro Markovych is unique and interesting, because a number of interesting observations on the poetological features of his small prose are found in the intelligence I. Denisyuk, O. Zasenko. N. Osmak, S. Panchenko and others. However, a special study of plot road invariants in the writer ’s work was not disclosed. Purpose of the article: through structuralist-semiotic and hermeneutical analysis of the artistic heritage of D. Markovich, to reveal the plot invariants of spatial-temporal parameters and their participation in the organization of the author’s world. The first type of path, to the sacral center, is reproduced in the story "My Sins". The structure of the work has a lot to do with the fairy tale, primarily the motives of initiation and travel to find the truth. The work opens a detailed history of farming on a farm, which is bought by a hero-«included» narrator-narrator and his wife. The dwelling in the work - the antithesis of the city, not only inhabited, but self-created and well-organized territory. The hero tries to establish good-neighborly relations with the peasants, but encounters distrust, and after the fire that destroys his property - and even malicious. The reporter leaves the village in hopes of finding money for its reconstruction and goes to the worlds. The first stage of the spiritual initiation of the hero (arson, disappointment, disappointment in people) prompts him to go on the road. The second stage of the initiation of the hero are events unfolding in the city - a visit to the marshal, lunch at the club. The hero cannot identify himself with these people. An event of Kanva’s work does not end with his arrival in the forest, where there is a climaxing tension, breaking up and cleansing the feelings of the protagonist. Thus, the main emphasis in the work is not on the presentation of an unusual event, which is noteworthy for the short story, but on the fateful transformation of the consciousness of the hero, which takes place in the sacred place in the woods. The opposite content content of the archetypal image of the road is the path to the enemy’s periphery. It is no coincidence that the boundary of the native village of heroines is marked by the sacred images of the church and graves, whereas the stranger’s living space is profane, and even demonic. The road as a process of internal, moral and ideological quests of a person is more closely proportional to the image of Nadia ("Spring"): the outer path, which lies in the spring fields, turns into a heroine on the path of formation. The work has an open-ended finale. The fate of the main characters again diverges, but in a different way than at the beginning of the story, where the author simply fixed their movement in the physical space. Now their "lines of fate" correspond to different dimensions of the concept "road". Conclusions D.Markovуch’s spatial model of the road in the artistic world enters into complex interconnections with other components of the author’s individual semiosphere of the writer, which are characterized by a certain semantic sense (the concepts of "farm" and "steppe") and antitype (sacralized peasant world where dominant freedom and harmony, and the profane space of the city as the embodiment of bondage, injustice and lies). This contributed to the development of a refined psychological culture of epic writing, which reflected the progressive tendencies of the writings of the day.
|Appears in Collections:||Випуск 11|
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