У статті розкрито міфологічну специфіку мислення персонажів англійського постпостмодерністського роману «Хмарний атлас» Д. Мітчелла. Окреслено специфіку репрезентації міфологізму на філософському, жанровому, поетологічному рівнях роману. Досліджено філософську проблематику постпостмодерністського твору в аспекті репрезентації в ньому конфлікту між дійсністю природи (Всесвіту) й дійсністю людини, яка замикає життя не в парадигмі смислів, а в площині ідеологій, соціальних табу (соціальних міфів), що призводять до цивілізаційної катастрофи. Наголошено на пошуках смислових структур у літературі постпостмодернізму, зокрема доведено, що музика представлена в «Хмарному атласі» як вияв універсальної мови і є явищем, котре забезпечує зв’язок людини з міфом як метафізичним феноменом буття. Визначено загальну спрямованість англійської постпостмодерністської літератури до встановлення зв’язків із музичним претекстом.
Introduction. In the paper, the author has outlined the mythological specificity of the thinking of the characters of English post-postmodernistic novel «Cloud Atlas» written by D. Mitchell. Purpose of the research is determined by specifics of the representation of mythological patterns on the philosophical, genre, and poetical levels of the novel have been investigated. Methods of the research belong to the paradigm of mythocriticism and structural analysis. Results of the investigation are revealed in the fact that philosophical problems of the post-postmodernistic novel in the aspect of representing the conflict in it between the reality of nature (the universe) and the reality of the human beings who determine life not in the paradigm of meanings but in the sphere of ideologies, social taboos (social myths), restrictions, etc. leading to a civilizational catastrophe, has been spotlighted. Originality. It is emphasized on the search for semantic structures in post-postmodernistic literature, in particular, it has been proved that music is presented in the novel «Cloud Atlas» as a manifestation of universal language and is a phenomenon that provides a connection of a human being with myth as a metaphysical phenomenon of existence. Conclusions. The general orientation of English post-postmodernistic literature to the establishment of interrelations with the musical pretext has been explained in the paper. In D. Mitchell’s novel, mythological thinking is explicated in a special way. In the sixth story, the post-apocalyptic society is represented as a post-civilization community among which there are bearers of authentic mythological thinking, which is manifested in forms of shamanism and animism. This way of perception is close to the traditional notion of mythological thinking, inherent in primitive society. At the same time, the sixth story demonstrates a community that is inherently heterogeneous. Along with the tribes that practice cannibalism and shamanism, there is a community of developed descendants of the dead races. Everyone has a belief in evil and good: both anthropomorphic and chthonic. On the one hand, the community of creatures, which is an example of the Hegelian Aufhebung, is outlined. At the same time, in the novel, there is a critique of reason as a resource capable of providing the public good and building a harmonious society. Along with the representatives of the post-civilization overhang, tribes of cannibals who do not have knowledge of the depths are represented. The presence of this community creates a balance in the post-apocalyptic world where it is important to have bearers of secret knowledge of the invention of human civilization, as well as to have those who are their entirely opposite. The sixth story nullifies the whole civilization presented in all stories. This is the last point in which, however, there is no direct return to primitive society. In the post-postmodernistic way, mythological thinking is explicated in all stories of the novel: in the narrative about Cavendish, the media discourse contains elements of mythological thinking in which the idea of the gods is typologically similar to the notion of celebrities of the literary market. In the narrative about Neo-Seoul, the representatives of the neo-imperial punitive bodies resemble the ministers of worship characterized by mythological (sectarian) thinking, etc.
