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

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dc.contributor.authorPeleshenko, Nataliya
dc.date.accessioned2019-09-12T19:25:59Z
dc.date.available2019-09-12T19:25:59Z
dc.date.issued2017
dc.description.abstractIn 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.abstractУ 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.identifier.citationPeleshenko 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.urihttps://ekmair.ukma.edu.ua/handle/123456789/16220
dc.language.isoukuk_UA
dc.relation.sourceSpheres of Cultureen_US
dc.statusfirst publisheden_US
dc.subjectUkrainian chimerical novelen_US
dc.subjectOleksandr Ilchenkoen_US
dc.subjectBaroque dramaen_US
dc.subjectintermediaen_US
dc.subjectarticleen_US
dc.subjectукраїнський химерний романuk_UA
dc.subjectОлександр Ільченкоuk_UA
dc.subjectбароковий театрuk_UA
dc.subjectінтермедіяuk_UA
dc.subjectстаттяuk_UA
dc.titleReception of Ukrainian Baroque Theater in Olexandr Ilchenko's novel Cossacks Never Die, or Mamai and Borrowed Womanen_US
dc.title.alternativeРецепція українського барокового театру в романі Олександра Ільченка "Козацькому роду нема переводу, або ж Мамай і чужа молодиця"uk_UA
dc.typeArticleuk_UA
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