Рецепція українського барокового театру в романі Олександра Ільченка "Козацькому роду нема переводу, або ж Мамай і чужа молодиця"
Loading...
Date
2017
Authors
Пелешенко, Наталія
Journal Title
Journal ISSN
Volume Title
Publisher
Branch of Ukrainian Studies of Maria Curie-Sklodovska University in Lublin
Abstract
У статті зроблено спробу показати український бароковий театр, як культурне явище та естетико-філософська концепція, що представлений у творах наступних епох на різних рівнях тексту: формальному, сюжетному, тематичному, ідеологічному тощо. Доведено, що український химерний роман 1960-80-х років, особливо роман Олександра Ільченка "Козацькому роду нема переводу, або ж Мамай і чужа молодиця" (1958), може характеризувати глибоке проникнення коду бароко у мистецтво та літературу XX століття.
In the article there is made an attempt to show how Ukrainian Baroque theater – as a cultural phenomenon and an aesthetic-philosophical concept – was represented in works of subsequent epochs on different text levels: formal, plot, thematic, ideological, etc. It is proved that Ukrainian chimerical novel of 1960-80-s, especially Oleksandr Ilchenko’s novel Cossacks Never Die, or Mamai and Borrowed Woman (1958) could be characterized by deep penetration of Baroque code into art and literature of the 20th century. There is showed that the main features of Baroque poetics that are traced in chimerical novel (such as conditionality, art syncretism, antitype, intertextuality, grotesque,allegory, fantastic elements, theatricality). It is noted that school drama aesthetics influenced on artistic structure of O. Ilchenko novel, it determined its features of poetics,time-space coordinates A special attention is given to two Ukrainian intermedias written for mystery play of Yakub Gawatowych (1619). The first one – About Maxym, Ryts’ko and Denys – is the focus of understanding the episode of the journey of three dissemblers. The second one – About Klymko and Stets’ko – is transformed into an independent storyline about the performance of traveling actors on fair square. Therefore, it could be qualified as a miniature copy of the main text where there are reflected central ideas, key symbols, concepts and poetical principles of the novel Cossacks Never Die, or Mamai and Borrowed Woman. In the novel there are widely represented topoi of play, stage, public square, market and fair, that are similar to Baroque striving for play-acting in all spheres of life.
In the article there is made an attempt to show how Ukrainian Baroque theater – as a cultural phenomenon and an aesthetic-philosophical concept – was represented in works of subsequent epochs on different text levels: formal, plot, thematic, ideological, etc. It is proved that Ukrainian chimerical novel of 1960-80-s, especially Oleksandr Ilchenko’s novel Cossacks Never Die, or Mamai and Borrowed Woman (1958) could be characterized by deep penetration of Baroque code into art and literature of the 20th century. There is showed that the main features of Baroque poetics that are traced in chimerical novel (such as conditionality, art syncretism, antitype, intertextuality, grotesque,allegory, fantastic elements, theatricality). It is noted that school drama aesthetics influenced on artistic structure of O. Ilchenko novel, it determined its features of poetics,time-space coordinates A special attention is given to two Ukrainian intermedias written for mystery play of Yakub Gawatowych (1619). The first one – About Maxym, Ryts’ko and Denys – is the focus of understanding the episode of the journey of three dissemblers. The second one – About Klymko and Stets’ko – is transformed into an independent storyline about the performance of traveling actors on fair square. Therefore, it could be qualified as a miniature copy of the main text where there are reflected central ideas, key symbols, concepts and poetical principles of the novel Cossacks Never Die, or Mamai and Borrowed Woman. In the novel there are widely represented topoi of play, stage, public square, market and fair, that are similar to Baroque striving for play-acting in all spheres of life.
Description
Keywords
Ukrainian chimerical novel, Oleksandr Ilchenko, Baroque drama, intermedia, article, українська химерна проза, Олександр Ільченко, барокова драма, інтермедія, стаття
Citation
Пелешенко Н. І. Рецепція українського барокового театру в романі Олександра Ільченка "Козацькому роду нема переводу, або ж Мамай і чужа молодиця" / Наталія Пелешенко // Spheres of Culture : journal of philological, historical, social and media communication, political science and cultural studies/ ed. by Ihor Nabytovych. - 2017. - Vol. 16. - P. 288-298.