Моделі райського простору в українському низовому бароко
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Date
2020
Authors
Пелешенко, Олена
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Abstract
Феномен низового бароко породжений злиттям шкільної : та народної культури і найбільш яскраво представлений творчістю мандрівних дяків. Для всіх видів ранньомодерної бурлескної творчостs XVII -XVIII ст. властивим е зображення чуттєво осяжного раю, максимально наближеного до побутових та історичних реалій тогочасних українців. Просторові моделі раю у віршах-ораціях і віршах-травестіях, сатирично- гумористичних оповіданнях та інтермедіях зазнають суттєвих трансформацій порівняно як з епохою Середньовіччя, так і з високим регістром барокової культури. У статті простежено, як у творах низового бароко запозичуються, дублюються й пародіюються мотиви середньовічних есхатологічних видінь та ходінь до земного раю.
The phenomenon of the Ukrainian grassroots Baroque, most frequently represented by the poetry of “wandered dyaks” is derived from the amalgamation of the learned (school) culture and the culture of popular laughter; the combination of the medieval, Baroque, and Enlightenment ideological matrices and aesthetic codes. In the article, it is proved that the models of paradisal space in versed story "Pater Nehrebetskyi", intermedia "About Maxym, Ryts’ko and Denys" ("The Best Dream"), written for mystery play ofjakub Gawatowicz, and various types of Christmas and Easter verses differ considerably from both medieval and “upper” Baroque literature. From this point of view, it is shown that topos of paradise and heaven in burlesque verses, versed stories, and school drama are not to be distinguished from the folk utopias of plenty, such as "The Land of Cockaigne". Moreover, paradisal imagery in oration and travesty poems, humorously-satirical stories, and intermedias do not coincide with the most widely known narrative patterns of literary visions / journeys to the Otherworld, so could not be investigated using neither Averintsevs nor Le Goffs classifications of paradisal space. In addition, Ukrainian grassroots Baroque texts typically include images of sensually available Paradise, maximally close to everyday life of Ukrainians and often refer to historical reality of 17th - 18th centuries. The era of Cossack liberty is commonly used as a transformed concept of the Garden of Eden, biblical “golden age.” It is traced how motifs, images, genre canons of medieval eschatological visions and journeys to the earthly paradise are borrowed, adapted, duplicated, and parodied in the literature of the early modern period. Special attention is given to imagological strategies of description heaven and earthly paradise in the Ukrainian grassroots Baroque.
The phenomenon of the Ukrainian grassroots Baroque, most frequently represented by the poetry of “wandered dyaks” is derived from the amalgamation of the learned (school) culture and the culture of popular laughter; the combination of the medieval, Baroque, and Enlightenment ideological matrices and aesthetic codes. In the article, it is proved that the models of paradisal space in versed story "Pater Nehrebetskyi", intermedia "About Maxym, Ryts’ko and Denys" ("The Best Dream"), written for mystery play ofjakub Gawatowicz, and various types of Christmas and Easter verses differ considerably from both medieval and “upper” Baroque literature. From this point of view, it is shown that topos of paradise and heaven in burlesque verses, versed stories, and school drama are not to be distinguished from the folk utopias of plenty, such as "The Land of Cockaigne". Moreover, paradisal imagery in oration and travesty poems, humorously-satirical stories, and intermedias do not coincide with the most widely known narrative patterns of literary visions / journeys to the Otherworld, so could not be investigated using neither Averintsevs nor Le Goffs classifications of paradisal space. In addition, Ukrainian grassroots Baroque texts typically include images of sensually available Paradise, maximally close to everyday life of Ukrainians and often refer to historical reality of 17th - 18th centuries. The era of Cossack liberty is commonly used as a transformed concept of the Garden of Eden, biblical “golden age.” It is traced how motifs, images, genre canons of medieval eschatological visions and journeys to the earthly paradise are borrowed, adapted, duplicated, and parodied in the literature of the early modern period. Special attention is given to imagological strategies of description heaven and earthly paradise in the Ukrainian grassroots Baroque.
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Keywords
модель райського простору, низове бароко, народна сміхова культура, утопія, видіння, мандрівки до земного раю, стаття, models of paradisal space, Ukrainian grassroots Baroque, the culture of popular laughter, utopia, vision, journeys to the earthly paradise
Citation
Пелешенко О. Ю. Моделі райського простору в українському низовому бароко / Олена Пелешенко // Сміхова культура старої України : збірник наукових статей / [упорядкував архиєпископ Ігор Ісіченко]. - Харків : Акта, 2020. - С. 92-107.