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Reception of Ukrainian Baroque Theater in Olexandr Ilchenko's novel Cossacks Never Die, or Mamai and Borrowed Woman

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dc.contributor.author Peleshenko, Nataliya
dc.date.accessioned 2019-09-12T19:25:59Z
dc.date.available 2019-09-12T19:25:59Z
dc.date.issued 2017
dc.identifier.citation Peleshenko N. Reception of Ukrainian Baroque Theater in Olexandr Ilchenko's novel Cossacks Never Die, or Mamai and Borrowed Woman = Рецепція українського барокового театру в романі Олександра Ільченка "Козацькому роду нема переводу, або ж Мамай і чужа молодиця" / Nataliya Peleshenko // Spheres of Culture / ed. by I. Nabytovych. - 2017. - Vol. 16. - P. 288-298. uk_UA
dc.identifier.uri http://ekmair.ukma.edu.ua/handle/123456789/16220
dc.description.abstract 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 0. 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. en_US
dc.description.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 характеризуватися глибоким проникненням коду бароко у мистецтво та літературу XX століття. uk_UA
dc.language.iso uk uk_UA
dc.subject Ukrainian chimerical novel en_US
dc.subject Oleksandr Ilchenko en_US
dc.subject Baroque drama en_US
dc.subject intermedia en_US
dc.subject article en_US
dc.subject український химерний роман uk_UA
dc.subject Олександр Ільченко uk_UA
dc.subject бароковий театр uk_UA
dc.subject інтермедія uk_UA
dc.subject стаття uk_UA
dc.title Reception of Ukrainian Baroque Theater in Olexandr Ilchenko's novel Cossacks Never Die, or Mamai and Borrowed Woman en_US
dc.title.alternative Рецепція українського барокового театру в романі Олександра Ільченка "Козацькому роду нема переводу, або ж Мамай і чужа молодиця" uk_UA
dc.type Article uk_UA
dc.status first published en_US
dc.relation.source Spheres of Culture en_US


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