Семантика, джерела та функції інтертексту у творчості неокласиків і поетів-шістдесятників (на матеріалі творів Максима Рильського і Ліни Костенко)

Abstract

У статті проаналізовано стильові та тематичні риси поетів-шістдесятників М. Рильського та Л. Костенко. Розвіяно міф про боротьбу старшого та молодшого покоління шістдесятників. Розглянуто інтенції, традиції та новаторство, експліковані в процесі інтеpтекстуального цитування у творчій парадигмі Максима Рильського та Ліни Костенко. Звернуто увагу на тяжіння до культурництва, інтелектуалізму. З’ясовано, що інтенсивне використання поетами інтертексту обумовлене не лише особистими вподобаннями та інтенціями, а й специфікою ХХ століття (переходу до постмодерністської гіперрецептивності (Ю. Ковбасенко), «стилем шістдесятників»).

Inroduction. The works of Maksym Rylskyi and Lina Kostenko have repeatedly become the object of scientific research (Dziuba I., Zhukovska H., Tarnashynska L., Ponomarenko I., Novychenko L., Sheveliov Y. and others), but semantics, sources and functions of intertext in their creative paradigms have never been the subject of individual examination . Purpose. In the article it has been analysed the semantics, sources and functions of intertext in the works of neoclassics and the poets of the sixties, it has been researched the stylish and thematic dominants in the works of Maksym Rylskyi and Lina Kostenko, in particular, has been shattered the myth about the struggle between the older and the younger generations of the sixties, and has been done the conclusion about both poets’ tendency to the level of culture, intellectualism, meditativity and philosophy, which are inherent to their works. It is found out that intensive usage of intertext by the poets is prearran ged not only by personal likes and «the style of the poets of the sixties», but also the specificity of cultural situation of the second part of the XX century, especially with the intention to post-modernism hyperreception (Y.Kovbasenko). Methods. In the research have been used both theoretical and empirical methods which allowed to trace the peculiarities of intertext selection from the texts -donors, which are the indicators of world-view dominants and even specific features of the author- recipient. Results. Among plenty of characters in ancient mythology, available in Lina Kostenko’s fiction paradigm, the image of Prometheus psychologically is distinguished by specially big potential. Ukrainian poetess associates the unsubdued Titan with a courageous and curious man. At the same time her interpretation differs a bit from the traditional one, it contains individual-author nuances (in her works we can trace something like «dialogue intimacy», «approaching» of the lyric heroine to the famous character of ancient mythology to realize wishes in order to ascertain herself in accuracy to choose her life and creative approach). According to Rylskyi we can see more a la Shevshenko reminiscence («Ploughman in the field hardly looms... »). Originality. One more determinant feature which joins poetic worlds of neoclassics and the poets of the sixties is intellectualism, tendency to the level of culture. Nation-poetical outlook, ingenuous intuition, specific range of moods and thoughts, wild life description, the need to speak about the problems of existence, to look for something new and not to forget about the traditional one (classical), and the most important is the high level of intellectualism - altogether it is the variant of creative paradigms of neoclassics (in particular Maksym Rylskyi) and the poets of the sixties (Lina Kostenko in the first place). They both are endowed with high European intellect, «European cultural code», inherent nobleness and great tolerance, enlightenment in different branches of knowledge, the ability to penetrate into the most secret pa rts of the soul, continually to look for the spirit harmony, which more draw together the creative paradigms of the poets. Conclusion. Both neoclassics and the poets of the sixties during their life and creative work fought against the Evil system, and in their poetry they created the alternative of socrealism. They had the choice, but always chose the hardest way because they lived in the country during not the best time for creative work. So, poetically and mentally Maksym Rylskyi and Lina Kostenko were close to both neoclassics and the poets of the sixties, they encouraged the writers of new generation being true to the idea and psychologically from the very beginning of their creative work as they always remembered about their high mission as the Artist.