У статті досліджуються функції пейзажу і портрету як одного з найбільш важливих елементів художньої моделі дійсності, що належить Д. Марковичу, з’ясовано що пейзаж посилює суб’єктивний, емоційний струмінь у моделюванні художнього світу на противагу раціонально-оцінному, характерному для народницької, реалістичної літератури. Поруч із олюдненням природного середовища, Д. Маркович широко застосовує у своїй художній практиці розкриття внутрішнього світу протагоніста за допомогою суто пейзажних прийомів.
In the article «The Landscape and the Portrait as Structural Components of Dmytro Markovych’s Short Prose» the functions one of the most important elements of the artistic model reality belonging to D. Markovych are studied.
The landscape fully represents the author’s individual style. Conceptually being within realistic poetics, he discovers features impressionistic writing. The landscape appears not in a passive background, but in an animated environment endowed with a number of important artistic functions. The author’s intentions, proclaimed through the similarity of the paintings of nature with the mental state of the hero, have romantic roots, because romanticism, as a special type of world perception, has a universal role in Ukrainian writing. In a series of stories by D. Markovych a complex system of psychological parallelisms is constructed. They are subordinated to the leading artistic task of recreating the entire complexity of human nature, sometimes inclined to illogical, paradoxical deeds. Thus, the landscape enhances the subjective, emotional jet in the modeling of the artistic world, in contrast to the rationally-estimated, characteristic of populist, realistic literature. Along with the humanization of the natural environment, the author widely uses in his artistic practice the disclosure of the inner world of the protagonist with purely landscape techniques.
Special attention in the D. Markovych’s works is given to the dynamics of the landscape. The landscape always appears to be a volatile, motivated over-assignment of the narrator, and therefore actively organizes the reader’s perception. Such a dynamic landscape is designed to combine the views of the narrator and implicit reader, appealing to the visual imagination, as, for example, in the works «On the Wolf Farm». D. Markovych widely applies virtually all the functional varieties of the landscape, which gives the events of geographical specifics, «the landscape of time», which serves as a time marker; landscape as an element of the plot,which determines the evolution of the main hero’s feelings and determines his actions.
