Проаналізовано ідеологічні зрушення в поетичних текстах з погляду зміни
поколінь. В цьому сенсі лірика Мар’яни Савки є яскравим прикладом переосмислення
таких категорій, як Я/Інший, свій/чужий простір, тотожність/інакшість. Тож, вузькість
тематичного спектру в Савчиній поезії може бути осмислена як перспектива для
окреслення складності світу крізь інтимну камерність жіночої лірики. Відтак тіло,
ритм, час, дім та інші концепти не завжди виявляються метою висловлювання, а
часто – засобом, щоб говорити про ідентичність і мову. Важливо, що усвідомлення
цінності Іншого починається з пошуку відмінностей: інакшість Іншого не тільки дає
змогу відділити його від Я, а й осягнути світ як принципову множину.
The article analyzes the ideological shift in poetic texts through the prism of the
alternation of generations. The main challenge for the 1980s generation was the separation
of the Soviet and national through outlining the borders of national, in the sense of our/their
space separation, whereas for the 1990s generation the challenge lies in the confi guration
of national, cultural, and private, in the sense of our space extension. The 1990s, in contrast
to the 1980s, were centred not on the Soviet/national but on monolithic/multiple contradistinction. In those times, the Ukrainian culture faced a monolith bankruptcy. Since the
declaration of independence in 1991, numerous attempts of Ukrainian intellectuals to form
the monolithic national discourse, in contrast to the Soviet one, have failed, inasmuch as
the national and cultural identity have been manifested in the plurality of different versions.
Yet, the plurality is the only alternative to the authoritarian Soviet discourse that was based
on the only truth, point of view and ideology. In this context, the problem of authenticity in
liaison with the concept of a mask can be interpreted from a different perspective, that is to say, the Self in a mask is not inauthentic but another Self, the one of the many stories hidden
behind different masks and plots.
The poetry written by Mariana Savka is a vivid example of re-considering such categories
as Self vs. Other, Our vs. Their space, identity vs. alterity. Therefore, the narrowness of the
thematic spectrum in Savka’s poetry can be conceptualized as a perspective for outlining
of the world complexity through the intimate seclusion of female poetry. From this point of
view, the concepts of time, body, rhythm and home (to say the least) can be examined not
as an aim of the observation, but as a reason for speaking about identity and language. It is
important that understanding of the value of the Other begins with the search of difference,
and – in this way – the alterity of the Other enables not only the differentiation of Self and
Other, but also the conceptualization of the world as a diversity. Moreover, including the
Other in the horizon of the Self is a sign of consecutive openness manifested on the poetic
level as the interaction of Our and Their word. The borrowed word in this context exists as an
intertextual allusion to the folklore, musical, literary, cinematic, and/or photographical text.
