Психоаналітичні виміри художньої прози Івана Франка 1880–1900-х років

Abstract

У науковому дослідженні здійснено комплексний аналіз художньої прози І. Франка 1880–1900-х років в аспекті психоаналізу. Зроблено спробу простежити і осмислити феномен любові і людської деструктивності в белетристиці І. Франка, а саме кореляцію едіпальних, криміногенних та екзистенційних проекцій. Здійснено типологічну характеристику творчості І. Франка і прозаїків нової китайської літератури 1919–1949-х років (Мао Дуня, Лу Сіня, Лао Ше, Сюй Ді-шаня та ін.) з погляду психоаналізу.

В научном исследовании осуществлен комплексный анализ художественной прозы И. Франко 1880–1900-х годов в аспекте психоанализа. Сделана попытка проследить и осмыслить феномен любви и человеческой деструктивности в беллетристике И. Франко, а именно корреляцию эдипальных, криминогенных и экзистенциальных проекций. Осуществлено типологическое характеристику творчества И. Франко и прозаиков новой китайской литературы 1919–1949-х годов (Мао Дуня, Лу Синя, Лао Шэ, Сюй Ди-Шаня и др.) с точки зрения психоанализа.

The thesis is devoted to the study of psychoanalytical dimensions of Ivan Franko’s artistic prose of the 1880–1900s. The very term «psychoanalytical dimensions» arose on the verge of deep psychology and literary criticism. Although it has not acquired consistent terminology, it appears in literary discourse with certain regularity. In our interpretation, «psychoanalytical dimensions» are, first of all, the mental state of a person, which is represented by the emotionally expressive and compositional-semantic structure of the text as a system of equations between the author «I» and «narrator», «the character» and its «prototype», «real» and «fictional» world, «biographical and artistic». Тhe theoretical basis of the scholarly research was determined by the works of experts in Franko studies, such as S. Efremov, M. Mochulsky, D. Dontsov, L. Biletsky, A. Franko-Kluchko, V. Yaniv, O. Kulchytsky, Y. Malanyuk, I. Denisyuk, T. Hundorova, Y. Melnyk, N. Zborovskaya, M. Tkachuk, A. Pecharsky, M. Hnatyuk, B. Tycholos, I. Papushi and others. The psychoanalytical discourse of Franko studies has, for the most part, an interdisciplinary character, and is read in terms of various fields of sciences and methods through the prism of: psychobiography (S. Efremov, M. Mochulsky, D. Dontsov, V. Yanov, Y. Melnyk), social psychology (O. Kulchytsky), geneology (I. Denisyuk), psycho-history of Ukrainian literature (N. Zborovsk), philosophy (E. Malaniuk, T. Hundorova, B. Tycholos), Christian ethics (A. Pecharsky), naratology (I. Papusha), literary studies (M. Tkachuk, R. Pikhmanets, M. Hnatyuk), etc. In literary methods for the study of the writer’s fiction which inherently follow from the universal psychology of his scholarly and artistic heritage are suggested. Functions of verbal creativity are similar to those in psychoanalysis, to be more precise the artistic prose by I. Franko was a kind of a «life metaphor» of the writer, and in many cases it performed corrections of the deviant behavior of the character as a personality, for example: the image of Bovdur («On the bottom»), Yuri Shikmanyuk «As Yura Shikmaniuk eats Cheremosh»), Mykola Kucheranyuk («Teren in the leg»), Mary («Sowichin Wing»), Anelly («For a Home Furnace»), Kalinovich («The Enemy Hero»), Golccamera («Voa Constrictоr») etc. In the above-mentioned works, the author acts as a thoughtful analyst, who depicts the psychological motivation of his characters as «an act in the past». This leads to the Freudian, Adlerian, Frommic, and Franklin views from the inside, characterized by the spread of the «Oedipal situation», «sociological adaptation», «the phenomenon of love» and «individual sense of life» of the man. In fact, the «synthesizing ability» (R. Golod) is the main feature of Ivan Franko's creative method. She has also written the scholarly treatise «From the secrets of poetic creativity» of Franko which being infused with the elements of Freudian theory of mental mechanisms and Jung’s conception of the collective unconscious serves, to a certain extent, as a methodological basis for the research of the author’s fiction. The theoretical and methodological foundation of our study was deep psychology: the classical psychoanalysis by S. Freud and S. Ferenczi, the individual psychology of A. Adler, the analytical psychology of K. G. Jung, humanistic psychology (neofroodizm) E. Fromm and K. Gorny, existential psychoanalysis of V. Frankl, epigenetic theory of personality development by E. Erickson, and others. From the point of view of psycho-biological method, we have considered the problem of love in I. Franko’s artistic prose of the 1880–1900s («Lel and Polel’», «On the bottom», «From the chronicles of the sick», «Manipulator», «Without asking fore», «For the home furnace», «Fundamentals of Society», «Cross Hedges», «Hero of the Oppressed», «Motherland», «The Jay’s Wing» etc.). The relationship between artistic imaginary world and reality becomes evident in the «face of the text» and the «inner drama» of the author. In psychoanalytical aspect, we questioned the uniqueness of the interpretation of Franko’s metaphor «Thrice I was in love» from the «Faded Foliage» (somewhat exaggerated in the literary vision) and deduce from the writer's life and work another research formula: «Two Olgas» – «two loves» of I. Franko. This is about the artist’s first love Olga Roshkevych and his wife Olga Horuzhynska. The main psychoanalytical code of Franko’s oedipal and sociologized anthropology of love in artistic prose of the 1880–1900s (Dryad, The Combat, Small Myron, Under the Haystack, My Crime, Meeting Oleksa, «A Brick Layer», «Yanduses», «Much Ado», etc.) embodies the notion that the person since the birth is formed in the triad «mother – child – father», and then in the society, which is vital in the formation and development of the Oedipus complex of the individual and his mental authority over the Ego. However, it is possible to overcome the Oedipus complex due to identification, which is accompanied by inevitable ontological contradictions. Through the prism of classical psychoanalysis by S. Freud, S. Ferenczi, K. Hunga’s analytical psychology and E. Erikson’s epigenetic theory of personality’s development, we have considered in Franko’s works transition of the character, prototype, narrator, author from one form of self-identification to another, which causes the crisis of identity in love relationships. However, on the other hand, the artistic material of the writer illustrates that love is the mature life orientation of the individual, his spiritual and moral system of values and steady outlook. We have compared the typology of I. Franko’s texts with the works of classics of the new Chinese literature of 1919–1949 (Mao Dunya, Lu Sinya, Lao She, Xu Di-shan, etc.) on the collected artistic material. In the story by Ivan Franko «Hero of the Devil» and the story by Lu Sinya «The True History of the Aung» («阿 Q 正传» 鲁迅) the image of the «little man» as an archetype of an active fighter for justice is considered. Both Ukrainian and Chinese writers describe the «heroic deed» of a common man ironically, and thus stereotypes of his perception are debunked. The study raises the problems of a person’s choice in the «boundary situation», as well as unconscious mental processes and their role in the character’s behavior. However, artistic typology of the individual and social nature of characters in artistic writings by I. Franko, Mao Dunya, Lu Sinya, Lao She, Xu Di Shan involves «psychoanalytical selection». Hence, we may conclude that the essence of mentality of the Ukrainian writer manifests itself in the tendency towards individual consciousness, whereas Chinese authors tend to the collective. However, the chapter focuses mostly on the psychoanalytical universalization of symbolic images of the writers under consideration, on general notions present in any culture.