Papers by Nadiya Polishchuk
Pytannia literaturoznavstva, 2024
The subject of scientific research is a comparative analysis of the
British and Ukrainian women w... more The subject of scientific research is a comparative analysis of the
British and Ukrainian women writers short stories from the perspective of the
interaction of literature and music in the period of modernism. This approach
involves considering music as an expression of the specific modernist worldview of
writers, passed through the prism of the inner “Self” of the female personality. It is
based on the literary analysis of the works of V. Woolf “String Quartet”,
K. Mansfield “The Singing Lesson”, “Weak Heart” and “Spring Pictures”,
D. Vikonska “Polonaise D-moll Chopin (op. 71, No. 1)”, “Prelude of fis-dur No. 2,
Vasil Barvinsky”, “Music” and I. Vilde “Pianist”, “Oriental Melody” and “Bizarre
Питання літературознавства / Pitannâ lìteraturoznavstva / Problems of Literary Criticism /№ 109/ /2024/
169
Heart”. The study of the phenomenon of musicalization of prose, based on the
concept of the famous intermedialist W. Wolf, allows us to identify various forms
of its presentation. In the content aspect, we can talk about the presence of two
varieties of thematization of music in mentioned literary texts: intra- and
paratextual thematization. In the structural aspect, all three forms of imitation are
represented: verbal music; imaginary content analogy, expressed mainly in the
associative imagery of water (love); a formal and structural analogy, presented as
an imitation of musical macroforms (quartet and fuget) and microforms
(compositional technique of polyphony). A notable feature of this study is the
discovery of original creative parallels in the poetics of modernist women writers –
simultaneously at the intersection and within the national literatures. Imaginary
content analogies are related to the writing style of Ukrainian and British women
writers – D. Vikonska and V. Woolf, as well as I. Vilde and K. Mansfield; the
imitation form of musical microforms reveals the internal stylistic similarity of both
British and Ukrainian literatures: amplification constructions in V. Woolf and
K. Mansfield writings, on the one side and syntactic modifications of key reference
lexemes in D. Vikonska and I. Vilde, on the other side.
Keywords: musicalization of prose; modernism; female personality;
V. Woolf; K. Mansfield; D. Vikonska; I. Vilde.
Slovo i chas, 2024
Short fi ction by British women writers from the postwar era of the 20th century demonstrates an ... more Short fi ction by British women writers from the postwar era of the 20th century demonstrates an enduring focus on the essence of female identity. Th is paper examines short
stories by Doris Lessing, a prominent fi gure in British literature, who has yet to receive
proper attention in Ukrainian literary criticism. To address the issue of British female
identity in the postwar period, the researcher employed new criticism methods, specifically close reading and feminist criticism, namely gynocritics (E. Showalter), as well as
comparative analysis.
Th e examination of selected short stories by D. Lessing revealed certain patterns in
the author’s style. Her formal skill is marked by the principle of duplication, which includes: a) repetition of problems, such as marital crises and polygamy (e.g., “A Man and
Two Women”, “Each Other”, “To Room Nineteen”); b) duplication of character names
(“Each Other”); c) recurrence of plot situations, such as adultery (“A Man and Two
Women”, “To Room Nineteen”), and characters’ unhealthy states, including persona lity
disorders (“Dialogue”) and madness (“To Room Nineteen”); d) use of dual narrative
perspectives (“To Room Nineteen”, “Dialogue”). Th e issues related to female identity in
D. Lessing’s collection of short stories are presented within two broader contexts: marriage and extramarital relations. Accordingly, two main forms of female individuality
emerge: a) the betrayed wife (“A Man and Two Women”, “To Room Nineteen”) and
b) the mistress (“Between Men”, “Our Friend Judith”) and her modifi cation, the free woman (“Dialogue”). Despite being mature, intelligent, and experienced, all these characters
remain lonely and unhappy.
Keywords: female identity, marriage, betrayed wife, mistress, feminine self.
INOZEMNA PHILOLOGIA, 2024
The present study examines the prose texts written by Jean Rhys (1890–1979), a British woman writ... more The present study examines the prose texts written by Jean Rhys (1890–1979), a British woman writer
of modernist literature. It is based on the perusal of several short stories, among others: “In the Rue de
l’Arrivée”, “A Night”, “La Grosse Fifi ”; “Outside the Machine”, “The Lotus”, “Till September, Petronella”,
and “Let Them Call It Jazz” which were included in two collections of her fi ction – “The Left Bank and
Other Stories” (1927) and “Tigers are Better-Looking” (1968). The purpose of the paper is to analyze the
author’s concept of lonely, alienated, vulnerable and defenseless female individuals which forms the core
of her artistic imagination.
The scientifi c research uses gynocritics as its methodological background. According to the theory of
its critic E. Showalter, it was possible to identify four models of woman writing having been realized in Jean
Rhys’s short prose: a) psychoanalytic; b) biological; c) linguistic and d) cultural.
The psychoanalytic model of Rhys’s fi ction is viewed in the context of both the emotional and conscious
worlds of an alienated female identity. The woman protagonist being rejected by a hostile society, becomes
a stranger and outcast. The feelings of deep loneliness, pain, fear, and loss, intertwined with the death wish
and with resistance, determine the constants of female existence. An important aspect of woman personality
is the dimension of female friendship and solidarity.
The biological model of short prose by J. Rhys is explored through the concept of female corporeality.
The corporeal vulnerability of women protagonists is shown as a form of the fragility of their inner world.
An unattractive woman image created by the author manifests the psychological uncertainty and brittleness
of female characters. And a metaphor of the looking glass as a refl ection of their appearance reveals the
concept of the female Self as a loss which varies from the loss of a woman’s youth to the loss of feminine
identity or its splitting.
The linguistic model of Rhys’s short stories testifi es to the bipolar artistic world of the writer, which is
demonstrated at the confrontation between French and British cultures with the signs of laconism, subtext,
and silence as the main features of her writing manner. Meanwhile, the cultural model of J. Rhys’s prose is
read through the prism of the intertextual discourse of literature, music and painting.
Key words: loneliness, fear, suff ering, alienation, hostility, corporeality, vulnerability.
GS Publishing Services eBooks, Jan 25, 2024
Identity as a key notion of contemporary intellectual discourse has been the main issue of compar... more Identity as a key notion of contemporary intellectual discourse has been the main issue of comparative literary studies of the author for the last twenty years. The conception of identity as it is analyzed in the book opens up mainly in the plane of "the Self " / "the Other" relations and embraces an individual, national, gender, and culturological dimensions of its functioning in the works of the Ukrainian, Norwegian, Polish, American and British fiction. The structure of the book demonstrates different aspects of the scientific investigation of the diverse models of identity, realized in myth-poetical, modernist and postmodernist discourses of literary texts.
Traditional and innovative scientific research: domestic and foreign experience: Scientific monograph. Part 2. Riga, Latvia: Baltija Publishing, 2024
Based on the methodology of literary hermeneutics which includes both a divination and a comparis... more Based on the methodology of literary hermeneutics which includes both a divination and a comparison as two main principles of the perusal of literary work the purpose of the paper is to understand and thus to interpret single novels “Jane Eyre” by Charlotte Brontë, “Wuthering Heights” by Emily Brontë, and “The Tenant of Wildfell Hall” by Anna Brontë as accomplished fragments of unified literary text. Results of the research paper confirmed an existence of repeated female dramatic love stories filled with inner pain and torments as well as female search of happiness maintained on the very feminine self or female identity. The artistic universe created by the women writers is built around three crucial thematic nodes: love-evil-landscape, “stitched” through by the spirit of frantic passion. They arise and are formed at the crossroads of biographical, literary and cultural contextual layers, on the one hand, and individual author’s interpretation, on the other one. Revealing complete or partial identity, numerous variations or branching of thematic diversity, they acquire signs of coincidences or ruptures of the creative imagination of the Brontës sisters. Thus, the central universal theme of passionate love is realized through the prism of authentic superimposition, a modified echoing or splitting as well as transformation of the plot episodes of the integral text of Charlotte, Emily and Anna Brontës in the categories of: a) a girl-orphan (Jane Eyre, Catherine Earnshaw, Helen Graham); b) Byronic hero (Edward Rochester, Heathcliff, Arthur Huntingdon [Helen Graham]); c) marital relationships (Jane Eyre – Edward Rochester; Catherine Earnshaw – Edgar Linton [Cathy Linton – Heathcliff Linton]; Helen Graham – Arthur Huntingdon); d) disease: alcoholism (John Reed, Hindley Earnshaw, Arthur Huntingdon) / madness (Bertha Mason, Catherine Earnshaw); d) death (Bertha Mason, Catherine Earnshaw, Hindley Earnshaw, Heathcliff, Arthur Huntingdon); e) elements of nature (storm, snowstorm); f) time (night); e) space (Thornfield Hall, Wuthering Heights, Wildfell Hall). Value/originality. According to hermeneutic approach every literary work has its own timelessness that reveals its absolute modernity in a new period of the perusal of the work. In that context we believe the present paper reopens an opportunity for a variety of new interesting interpretations of the Brontës novels.
Traditions and new scientific strategies in the context of global transformation of society: Scientific monograph. Part 2. Riga, Latvia: Baltija Publishing, 2024
The purpose of the paper consists in a poetological perusal of the iconic novels of women’s write... more The purpose of the paper consists in a poetological perusal of the iconic novels of women’s writers, mainly “Jane Eyre” by Charlotte Brontë, “Wuthering Heightes” by Emily Brontë (both 1847) and “The Tenant of Wildfell Hall” by Anna Brontë (1848). The solution of the research issue determines the logic of its presentation: literary analysis of the Brontës texts relies on the key tracks of Victorian poetics: a) the emblematic image of an orphan girl; b) the marriage formulation of the “father-daughter” principle; c) the personage paradigm “Angel in the House” // “The Fallen Angel”. Results of the survey showed that the subject of the Victorian novels written by Brontës sisters as well as any other women writers of that period is a story of happiness of female protagonists who are according to the stereotyped belief of the Victorian society on theirs way to get married. The emblem of orphan girl as a main character of the fiction reveals new moves of the plot thread. In respect of the marriage relation formed as “father/daugher” relation one may conclude that: firstly, it has double meanings: both a failure and a triumph form; secondly, one of the spouse suffers on horrible illness, the other one rescues herself by escape; thirdly, exchange between lovers takes place with the preferences of female characters over male. While paradigm of Victorian femininity known as “Angel in the House” / “The Fallen Angel” is endowed with ambiguity characteristics: on the one side female protagonists of the Brontës express their similarity to image of “Angel in the House”, and on the other side they implement a strong, independent, rebellious, and self-sufficient feminine individuality which will arrive in a century.
Записки НТШ. – Праці Філологічної секції. Львів, 2003
A comparative analysis of ancient legends of Ahasver and the Ukrainian national tales about Marko... more A comparative analysis of ancient legends of Ahasver and the Ukrainian national tales about Marko the Cursed reveals the features of typological affiliation of the texts to have taken their roots in the deep-layers of archaic consciousness. The European and Ukrainian narratives arose from the dissociation of the universal monomyth of the Birth of a Hero the main components of which are elements of the initial rite and cosmogonic myth.
The examination of the mytheme in the context of Ukrainian literature (short novels “The Terrible Vengeance” by M. Hohol, “Marko the Cursed” by O. Storozhenko, and V. Shevchuk’s novel “Three Leaves behind the Window”) demonstrates the symmetrical dispersal of mythological heroes according to the universal myth of the Birth of a Hero. The “magic” birth and wanderings of the mythological hero unite Marko the Cursed (the short novel by O. Storozhenko) and Petro-Yustyn Znajda (the novel by V. Shevchuk) and correspond to the rite of initiation whereas the deeds and fight with chaos while symbolizing a renewal of the destroyed Universe correlate with the cosmogonic myth and join Pavlo Kobza (the short novel by O. Storozhenko) and Ivan the Wandering Knight (the short novel by M. Hohol).
Іноземна філологія, вип. 119 (2), 2007
The present paper deals with different aspects of the functioning of the child’s narrative discou... more The present paper deals with different aspects of the functioning of the child’s narrative discourse in the Victorian novel as represented in Emily Brontë’s “Wuthering Heights” and Charlotte Brontë’s “Jane Eyre.” The distinctive features of the discourse are the following: (1) an orphan as the protagonist; (2) the violence towards the orphan child on the part of its foster family; (3) the vision of a family as a micro-model of the society that imitates its social standards; (4) the child’s protest against adult behaviour perceived as alien and traumatic to its consciousness. The difference between the compared texts is conditioned by divergent author-adopted narrative patterns. The dynamic form
of third-person narrative is intrinsic to “Wuthering Heights” whereas “Jane Eyre” manifests the static form of first-person narrative. The child's consciousness dominates the whole text by E. Brontë while in the novel of Ch. Brontë, it is being pierced with an utterly adult consciousness.
Історія одної душі: Епістолярна спадщина Дарії Віконської, 2019
The paper concerns the model of feminine identity represented in American literature at the turn ... more The paper concerns the model of feminine identity represented in American literature at the turn of the 20th century. According to the perusal of the women writers’ selected stories, the main constants of the identity were distinguished, such as a family, a home, and a name. The peculiarities of the constants have been revealed by the analysis of the literary texts, pointing out both an assertion and a negation of the discourse of feminine identity.
Scientific Collection «InterConf» , 2023
Стаття присвячена розглядові концепції жіночої особистості в малій британській модерністичній літ... more Стаття присвячена розглядові концепції жіночої особистості в малій британській модерністичній літературі. На основі порівняльного аналізу функціонування образу сукні у вибраних оповіданнях англійських письменниць досліджено різні форми моделювання жіночого “я” протагоністок, виявлено співвідношення індивідуального і соціального аспектів ідентичності.
KELM (Knowledge, Education, Law, Management), 2023
The purpose of the research paper is to reveal the phenomenon of British women’s poetry of the ХV... more The purpose of the research paper is to reveal the phenomenon of British women’s poetry of the ХVІІ–ХІХ centuries. The analysis of poetical texts of the prominent women writers of both the Restoration period (M. Wroth, K. Philips, and A. Behn) and of the Victorian age (E. Brontë, E. Barret Browning, and Ch. Rossetti) lies on the comparative,
structural, close reading and feminism literary criticism. The study is focused on the dominant motifs of British women’s lyrics, such as motifs of love, life and death, nature, and the Lord, as well as on the peculiarity of their poetical genre, mainly the sonnet form. It was taken into consideration the preferences of themes of women’s authors; the features of originality and of individual creativity were examined too.
Keywords: Women’s poetry, sonnet, poetical motifs of love, of life, of death, of nature, and the Lord.
Inozenma Philologia, 2017
Досліджено функціонування флористичної образності у просторі художньої уяви провідних письменниць... more Досліджено функціонування флористичної образності у просторі художньої уяви провідних письменниць модерністичної літератури початку ХХ ст. як характерної форми жіночого самовираження. Розглянуто статті вибраної малої жіночої прози британських авторок Дороті Річардсон, Вірджинії Вулф й української мисткині Дарії Віконської. На підставі текстологічного аналізу творів письменниць, здійсненого за допомогою компаративістичного, структурно-семіотичного методів літературознавства та феміністичної критики виявлено основні семантичні коди флористичної символіки, виокремлено і схарактеризовано ключові квіткові образи мисткинь, розкрито смислові конотації рослинної символіки як засобу художнього вираження жіночої самоідентифікації. Це дало змогу показати оригінальність та водночас глибинність внутрішньої сутності жіночих персонажів в органічному зв'язку світу жінки зі світом природи, та водночас-з'ясувати відмінності авторської манери письма кожної з письменниць. Ключові слова: модернізм, мала жіноча проза, флоріарій, квіткова образність, флористична символіка, жіноча ідентичність. Вступ. Фемінізація європейської культури і вужче-літератури, започаткована наприкінці ХІХ ст. [7, с. 91-114], своєї довершеної форми набувала в добу модернізму [8, с. 3]період, коли з були написані тексти, у яких оспівано жіноче обличчя та унікальний жіночий голос. Творення автентичного світу жіночого "я" із властивим йому способом відчування і сприйняття навколишнього світу і відповідною формою словесного виразу характеризує становлення жіночої модерністичної прози початку ХХ ст. Аналіз останніх досліджень і публікацій. Численні дослідження модерністичної жіночої прози останнього часу сфокусовані довкола проблеми сутності жіночої ідентичності, різних способів її вираження в змістовому і у формальному аспектах письма [5; 7; 8; 15]. На думку низки критиків, одним із виявів жіночої саморепрезентації в модерністичній літературі є функціонування флористичної образності у просторі художньої уяви авторів, які за допомогою символічного коду семантики квіткових образів розкривають глибоко нюансовану природу жіночого "я" [9; 12-14; 16]. Найвиразніше окреслений ракурс проблематики простежується у творчості провідних письменниць британської літератури,
A summary of ten country studies conducted within the Book Platform project Introduction, Summary... more A summary of ten country studies conducted within the Book Platform project Introduction, Summary of studies' results and Recommendations by Nadhezda Radoulova and Yana Genova Comments on the research results by Annetta Antonenko Ukrainian to English language translation by Myroslava Berezovska English language editing by Angela Rodel This publication does not represent the official view of the Next Page Foundation.
Wspólnota wyobrażona. Pisarki Europy Środkowej wobec problemów literackich, społecznych i politycznych lat 1914-1945 / pod red. G. Borkowskiej, 2017
Іноземна філологія, 2017
Стаття присвячена дослідженню функціонування флористичної образності у просторі художньої уяви пр... more Стаття присвячена дослідженню функціонування флористичної образності у просторі художньої уяви провідних письменниць модерністичної літератури початку ХХ ст. як характерної форми жіночого самовираження. Предметом розгляду статті є вибрана мала жіноча проза британських авторок Дороті Річардсон, Вірджинії Вулф і української мисткині Дарії Віконської.
На підставі текстологічного аналізу творів письменниць, здійсненого за допомогою компаративістичного, структурно-семіотичного методів літературознавства та феміністичної критики було виявлено основні семантичні коди флористичної символіки, виокремлено і охарактеризовано ключові квіткові образи мисткинь, розкрито смислові конотації рослинної символіки як засобу художнього вираження жіночої самоідентифікації. Це дозволило показати оригінальність та водночас глибинність внутрішньої сутності жіночих персонажів, закоріненої в органічному зв’язку світу жінки зі світом природи, і разом з тим – з’ясувати відмінності авторської манери письма кожної з письменниць.
The article concerns the issue of floral imagery functioning as a distinctive manner of female self-expression in the space of prominent women writers’ fancy of modernist literature at the beginning of 20th century. The selected short stories written by British women authors Dorothy Richardson and Virginia Woolf as well as Ukrainian writer Dariya Vikonska are the subject matter of the article.
According to comparative, structural-semiotic and feminist critique approaches to the texts of mentioned women writers the main semantic codes of floral symbolism were revealed; the key images of flowers were singled out and characterized; the notional connotations of plant symbolism as a means of art expression of female self-identification, of deep essence of woman personality and of mystique of feminine “self”, have been rooted in organic connection between woman and nature, were exposed too.
At the same time the peculiarities of individual manner of the writings of D. Richardson, V. Woolf, and D. Vikonska were focused on in the article.
It was noted that Ukrainian woman writer uses concrete plant images, while the British ones use both concrete and abstract flower images which allows them go beyond the emotional world of their female protagonists and touch the horizon of philosophical notions of life, death, and time. The distinctive feature of D. Vikonska’s writing is coloration of her floral symbolism as well as ecclesiastical realization of feminine identity as the dominant aspect of her texts.
On the other side, the female-centered poetical prose of both D. Richardson and D. Vikonska as a proper trait of their artistic consciousness points out on homoerotical elements of their own writings, and the contrary, deep reflexiveness of literary expression and tending to impressionistic manner of writing combines D. Vikonska’s and V. Woolf’s short stories.
Музична фактура літературного тексту. Інтермедіальні студії / за ред. Світлани Маценки, 2017
Стаття має на меті вивчення різних форм музикалізації модерністичної жіночої прози початку ХХ ст.... more Стаття має на меті вивчення різних форм музикалізації модерністичної жіночої прози початку ХХ ст. Аналіз вибраної новелістики («Лекція» Ірини Вільде, «Подув вітру» Кетрін Менсфілд та «Хвилини буття: Шпильки Слейтера не мають значення» Вірджинії Вулф) проведений на основі спільного для усіх творів мотиву – опису уроку музики як особливого простору інтимізації почуттів, які характеризують взаємини між учителем / учителькою музики та їхніми учнями. Такий ракурс прочитання новел засвідчує реалізацію в них тематичної форми музикалізації із властивими відмінностями у характеристиці персонажів, наративних стратегій чи опису музики як такої. Прикметною особливістю згаданих творів є флористична символіка, що функціонує як троп модерністичної поетики, зокрема жіночої малої прози. Одиничним прикладом структурної музикалізації є новела В. Вулф, яка імітує форму музичної фуги. Ключові слова: музикалізація прози, тематична / структурна музикалізація, урок музики, учитель / учителька, учень / учениця, почуття кохання, квітковий символ.
передмова до книги:
Антологія української малої "жіночої" прози Галичини міжвоєнного періоду "Ра... more передмова до книги:
Антологія української малої "жіночої" прози Галичини міжвоєнного періоду "Райська Яблінка". Львів, 2014.
Іноземна філологія, 2007
In the present paper an attempt of comparative analysis of both plays “Kasandra” by ukrainian pla... more In the present paper an attempt of comparative analysis of both plays “Kasandra” by ukrainian playwright Lesia Ukrainka and “Meleager” by polish dramatist S. Wyspianski has been made. The peculiarities of the modernistic reception of the antique world consist in philosophical comprehension of the human existence that is penetrated by the tragic sense of the world. The investigation of the writings has found out three pairs of correlation: (1) a human being :: fate; (2) knowledge :: non-knowledge and (3) a language (a word) :: muteness (silence) and has allowed to trace some differences among them.
An axis “a human being :: fate” becomes a key notion for both authors. Two components of the axis are important to the polish writer: an active act of riot against destiny accomplished by a man is emphasized on the one hand, and an influence of the fate on the man’s fortune is stressed on the other hand. While an apprehension of the fate by a human being and, as a consequence, a sensation of absolute dependence upon it are dominative motives of Lesia Ukrainka’s poem. What concerns rebellion against the cruel fate, it is not so important to the ukrainian writer as to the polish one, since it has been lost among many other human destinies confirming the strong dependence on the fate.
Spheres of knowledge or non-knowledge of the fate beforehand differ one from the other in the same way. The knowledge of the fate which drives a human being to a desperate situation (deadlock) and tragic condemnation (doom) to defeat defines a plot’s development of “Kasandra”. While both knowledge and non-knowledge of destiny, concentrated in one person, further the deepening of the dramatic feeling of “Meleager” on the whole and enrich making more capacious the main protagonist (Althea) specifically at the same time. The distinctive feature of the researched texts is that a person who possesses the mystery of sacred knowledge becomes a central personage of two of them: either of “Kasandra” by Lesia Ukrainka or of “Meleager” by S. Wyspianski and exactly that person stays the most tragic one.
From the point of view of two writings a system of correlation between a word and silence seems to be more integral as they function through the prism of archaic world outlook, although the writer’s originality defines the peculiarities of their function showing a preference for conscious area of Lesia Ukrainka’s poem “Kasandra” and subconscious area of S. Wyspianski’s drama “Meleager”.
Pogranicza, cezury, zmierzchy Czesława Miłosza. – Przełomy / Pogranicza. Studia Literackie. I., 2012
Наша ідентичність є лише маскою на обличчі буття Леонідас Донскіс 1 Винайдена за доби модерну, пр... more Наша ідентичність є лише маскою на обличчі буття Леонідас Донскіс 1 Винайдена за доби модерну, проблема ідентичності як спосіб окреслення людиною її власного буття в період глобалізаційних змін постмодерну, що ґвалтовно охопили довколишній світ, авторитетно зайняла одну із ключових позицій сучасного гуманітарного дискурсу.
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Papers by Nadiya Polishchuk
British and Ukrainian women writers short stories from the perspective of the
interaction of literature and music in the period of modernism. This approach
involves considering music as an expression of the specific modernist worldview of
writers, passed through the prism of the inner “Self” of the female personality. It is
based on the literary analysis of the works of V. Woolf “String Quartet”,
K. Mansfield “The Singing Lesson”, “Weak Heart” and “Spring Pictures”,
D. Vikonska “Polonaise D-moll Chopin (op. 71, No. 1)”, “Prelude of fis-dur No. 2,
Vasil Barvinsky”, “Music” and I. Vilde “Pianist”, “Oriental Melody” and “Bizarre
Питання літературознавства / Pitannâ lìteraturoznavstva / Problems of Literary Criticism /№ 109/ /2024/
169
Heart”. The study of the phenomenon of musicalization of prose, based on the
concept of the famous intermedialist W. Wolf, allows us to identify various forms
of its presentation. In the content aspect, we can talk about the presence of two
varieties of thematization of music in mentioned literary texts: intra- and
paratextual thematization. In the structural aspect, all three forms of imitation are
represented: verbal music; imaginary content analogy, expressed mainly in the
associative imagery of water (love); a formal and structural analogy, presented as
an imitation of musical macroforms (quartet and fuget) and microforms
(compositional technique of polyphony). A notable feature of this study is the
discovery of original creative parallels in the poetics of modernist women writers –
simultaneously at the intersection and within the national literatures. Imaginary
content analogies are related to the writing style of Ukrainian and British women
writers – D. Vikonska and V. Woolf, as well as I. Vilde and K. Mansfield; the
imitation form of musical microforms reveals the internal stylistic similarity of both
British and Ukrainian literatures: amplification constructions in V. Woolf and
K. Mansfield writings, on the one side and syntactic modifications of key reference
lexemes in D. Vikonska and I. Vilde, on the other side.
Keywords: musicalization of prose; modernism; female personality;
V. Woolf; K. Mansfield; D. Vikonska; I. Vilde.
stories by Doris Lessing, a prominent fi gure in British literature, who has yet to receive
proper attention in Ukrainian literary criticism. To address the issue of British female
identity in the postwar period, the researcher employed new criticism methods, specifically close reading and feminist criticism, namely gynocritics (E. Showalter), as well as
comparative analysis.
Th e examination of selected short stories by D. Lessing revealed certain patterns in
the author’s style. Her formal skill is marked by the principle of duplication, which includes: a) repetition of problems, such as marital crises and polygamy (e.g., “A Man and
Two Women”, “Each Other”, “To Room Nineteen”); b) duplication of character names
(“Each Other”); c) recurrence of plot situations, such as adultery (“A Man and Two
Women”, “To Room Nineteen”), and characters’ unhealthy states, including persona lity
disorders (“Dialogue”) and madness (“To Room Nineteen”); d) use of dual narrative
perspectives (“To Room Nineteen”, “Dialogue”). Th e issues related to female identity in
D. Lessing’s collection of short stories are presented within two broader contexts: marriage and extramarital relations. Accordingly, two main forms of female individuality
emerge: a) the betrayed wife (“A Man and Two Women”, “To Room Nineteen”) and
b) the mistress (“Between Men”, “Our Friend Judith”) and her modifi cation, the free woman (“Dialogue”). Despite being mature, intelligent, and experienced, all these characters
remain lonely and unhappy.
Keywords: female identity, marriage, betrayed wife, mistress, feminine self.
of modernist literature. It is based on the perusal of several short stories, among others: “In the Rue de
l’Arrivée”, “A Night”, “La Grosse Fifi ”; “Outside the Machine”, “The Lotus”, “Till September, Petronella”,
and “Let Them Call It Jazz” which were included in two collections of her fi ction – “The Left Bank and
Other Stories” (1927) and “Tigers are Better-Looking” (1968). The purpose of the paper is to analyze the
author’s concept of lonely, alienated, vulnerable and defenseless female individuals which forms the core
of her artistic imagination.
The scientifi c research uses gynocritics as its methodological background. According to the theory of
its critic E. Showalter, it was possible to identify four models of woman writing having been realized in Jean
Rhys’s short prose: a) psychoanalytic; b) biological; c) linguistic and d) cultural.
The psychoanalytic model of Rhys’s fi ction is viewed in the context of both the emotional and conscious
worlds of an alienated female identity. The woman protagonist being rejected by a hostile society, becomes
a stranger and outcast. The feelings of deep loneliness, pain, fear, and loss, intertwined with the death wish
and with resistance, determine the constants of female existence. An important aspect of woman personality
is the dimension of female friendship and solidarity.
The biological model of short prose by J. Rhys is explored through the concept of female corporeality.
The corporeal vulnerability of women protagonists is shown as a form of the fragility of their inner world.
An unattractive woman image created by the author manifests the psychological uncertainty and brittleness
of female characters. And a metaphor of the looking glass as a refl ection of their appearance reveals the
concept of the female Self as a loss which varies from the loss of a woman’s youth to the loss of feminine
identity or its splitting.
The linguistic model of Rhys’s short stories testifi es to the bipolar artistic world of the writer, which is
demonstrated at the confrontation between French and British cultures with the signs of laconism, subtext,
and silence as the main features of her writing manner. Meanwhile, the cultural model of J. Rhys’s prose is
read through the prism of the intertextual discourse of literature, music and painting.
Key words: loneliness, fear, suff ering, alienation, hostility, corporeality, vulnerability.
The examination of the mytheme in the context of Ukrainian literature (short novels “The Terrible Vengeance” by M. Hohol, “Marko the Cursed” by O. Storozhenko, and V. Shevchuk’s novel “Three Leaves behind the Window”) demonstrates the symmetrical dispersal of mythological heroes according to the universal myth of the Birth of a Hero. The “magic” birth and wanderings of the mythological hero unite Marko the Cursed (the short novel by O. Storozhenko) and Petro-Yustyn Znajda (the novel by V. Shevchuk) and correspond to the rite of initiation whereas the deeds and fight with chaos while symbolizing a renewal of the destroyed Universe correlate with the cosmogonic myth and join Pavlo Kobza (the short novel by O. Storozhenko) and Ivan the Wandering Knight (the short novel by M. Hohol).
of third-person narrative is intrinsic to “Wuthering Heights” whereas “Jane Eyre” manifests the static form of first-person narrative. The child's consciousness dominates the whole text by E. Brontë while in the novel of Ch. Brontë, it is being pierced with an utterly adult consciousness.
structural, close reading and feminism literary criticism. The study is focused on the dominant motifs of British women’s lyrics, such as motifs of love, life and death, nature, and the Lord, as well as on the peculiarity of their poetical genre, mainly the sonnet form. It was taken into consideration the preferences of themes of women’s authors; the features of originality and of individual creativity were examined too.
Keywords: Women’s poetry, sonnet, poetical motifs of love, of life, of death, of nature, and the Lord.
На підставі текстологічного аналізу творів письменниць, здійсненого за допомогою компаративістичного, структурно-семіотичного методів літературознавства та феміністичної критики було виявлено основні семантичні коди флористичної символіки, виокремлено і охарактеризовано ключові квіткові образи мисткинь, розкрито смислові конотації рослинної символіки як засобу художнього вираження жіночої самоідентифікації. Це дозволило показати оригінальність та водночас глибинність внутрішньої сутності жіночих персонажів, закоріненої в органічному зв’язку світу жінки зі світом природи, і разом з тим – з’ясувати відмінності авторської манери письма кожної з письменниць.
The article concerns the issue of floral imagery functioning as a distinctive manner of female self-expression in the space of prominent women writers’ fancy of modernist literature at the beginning of 20th century. The selected short stories written by British women authors Dorothy Richardson and Virginia Woolf as well as Ukrainian writer Dariya Vikonska are the subject matter of the article.
According to comparative, structural-semiotic and feminist critique approaches to the texts of mentioned women writers the main semantic codes of floral symbolism were revealed; the key images of flowers were singled out and characterized; the notional connotations of plant symbolism as a means of art expression of female self-identification, of deep essence of woman personality and of mystique of feminine “self”, have been rooted in organic connection between woman and nature, were exposed too.
At the same time the peculiarities of individual manner of the writings of D. Richardson, V. Woolf, and D. Vikonska were focused on in the article.
It was noted that Ukrainian woman writer uses concrete plant images, while the British ones use both concrete and abstract flower images which allows them go beyond the emotional world of their female protagonists and touch the horizon of philosophical notions of life, death, and time. The distinctive feature of D. Vikonska’s writing is coloration of her floral symbolism as well as ecclesiastical realization of feminine identity as the dominant aspect of her texts.
On the other side, the female-centered poetical prose of both D. Richardson and D. Vikonska as a proper trait of their artistic consciousness points out on homoerotical elements of their own writings, and the contrary, deep reflexiveness of literary expression and tending to impressionistic manner of writing combines D. Vikonska’s and V. Woolf’s short stories.
Антологія української малої "жіночої" прози Галичини міжвоєнного періоду "Райська Яблінка". Львів, 2014.
An axis “a human being :: fate” becomes a key notion for both authors. Two components of the axis are important to the polish writer: an active act of riot against destiny accomplished by a man is emphasized on the one hand, and an influence of the fate on the man’s fortune is stressed on the other hand. While an apprehension of the fate by a human being and, as a consequence, a sensation of absolute dependence upon it are dominative motives of Lesia Ukrainka’s poem. What concerns rebellion against the cruel fate, it is not so important to the ukrainian writer as to the polish one, since it has been lost among many other human destinies confirming the strong dependence on the fate.
Spheres of knowledge or non-knowledge of the fate beforehand differ one from the other in the same way. The knowledge of the fate which drives a human being to a desperate situation (deadlock) and tragic condemnation (doom) to defeat defines a plot’s development of “Kasandra”. While both knowledge and non-knowledge of destiny, concentrated in one person, further the deepening of the dramatic feeling of “Meleager” on the whole and enrich making more capacious the main protagonist (Althea) specifically at the same time. The distinctive feature of the researched texts is that a person who possesses the mystery of sacred knowledge becomes a central personage of two of them: either of “Kasandra” by Lesia Ukrainka or of “Meleager” by S. Wyspianski and exactly that person stays the most tragic one.
From the point of view of two writings a system of correlation between a word and silence seems to be more integral as they function through the prism of archaic world outlook, although the writer’s originality defines the peculiarities of their function showing a preference for conscious area of Lesia Ukrainka’s poem “Kasandra” and subconscious area of S. Wyspianski’s drama “Meleager”.
British and Ukrainian women writers short stories from the perspective of the
interaction of literature and music in the period of modernism. This approach
involves considering music as an expression of the specific modernist worldview of
writers, passed through the prism of the inner “Self” of the female personality. It is
based on the literary analysis of the works of V. Woolf “String Quartet”,
K. Mansfield “The Singing Lesson”, “Weak Heart” and “Spring Pictures”,
D. Vikonska “Polonaise D-moll Chopin (op. 71, No. 1)”, “Prelude of fis-dur No. 2,
Vasil Barvinsky”, “Music” and I. Vilde “Pianist”, “Oriental Melody” and “Bizarre
Питання літературознавства / Pitannâ lìteraturoznavstva / Problems of Literary Criticism /№ 109/ /2024/
169
Heart”. The study of the phenomenon of musicalization of prose, based on the
concept of the famous intermedialist W. Wolf, allows us to identify various forms
of its presentation. In the content aspect, we can talk about the presence of two
varieties of thematization of music in mentioned literary texts: intra- and
paratextual thematization. In the structural aspect, all three forms of imitation are
represented: verbal music; imaginary content analogy, expressed mainly in the
associative imagery of water (love); a formal and structural analogy, presented as
an imitation of musical macroforms (quartet and fuget) and microforms
(compositional technique of polyphony). A notable feature of this study is the
discovery of original creative parallels in the poetics of modernist women writers –
simultaneously at the intersection and within the national literatures. Imaginary
content analogies are related to the writing style of Ukrainian and British women
writers – D. Vikonska and V. Woolf, as well as I. Vilde and K. Mansfield; the
imitation form of musical microforms reveals the internal stylistic similarity of both
British and Ukrainian literatures: amplification constructions in V. Woolf and
K. Mansfield writings, on the one side and syntactic modifications of key reference
lexemes in D. Vikonska and I. Vilde, on the other side.
Keywords: musicalization of prose; modernism; female personality;
V. Woolf; K. Mansfield; D. Vikonska; I. Vilde.
stories by Doris Lessing, a prominent fi gure in British literature, who has yet to receive
proper attention in Ukrainian literary criticism. To address the issue of British female
identity in the postwar period, the researcher employed new criticism methods, specifically close reading and feminist criticism, namely gynocritics (E. Showalter), as well as
comparative analysis.
Th e examination of selected short stories by D. Lessing revealed certain patterns in
the author’s style. Her formal skill is marked by the principle of duplication, which includes: a) repetition of problems, such as marital crises and polygamy (e.g., “A Man and
Two Women”, “Each Other”, “To Room Nineteen”); b) duplication of character names
(“Each Other”); c) recurrence of plot situations, such as adultery (“A Man and Two
Women”, “To Room Nineteen”), and characters’ unhealthy states, including persona lity
disorders (“Dialogue”) and madness (“To Room Nineteen”); d) use of dual narrative
perspectives (“To Room Nineteen”, “Dialogue”). Th e issues related to female identity in
D. Lessing’s collection of short stories are presented within two broader contexts: marriage and extramarital relations. Accordingly, two main forms of female individuality
emerge: a) the betrayed wife (“A Man and Two Women”, “To Room Nineteen”) and
b) the mistress (“Between Men”, “Our Friend Judith”) and her modifi cation, the free woman (“Dialogue”). Despite being mature, intelligent, and experienced, all these characters
remain lonely and unhappy.
Keywords: female identity, marriage, betrayed wife, mistress, feminine self.
of modernist literature. It is based on the perusal of several short stories, among others: “In the Rue de
l’Arrivée”, “A Night”, “La Grosse Fifi ”; “Outside the Machine”, “The Lotus”, “Till September, Petronella”,
and “Let Them Call It Jazz” which were included in two collections of her fi ction – “The Left Bank and
Other Stories” (1927) and “Tigers are Better-Looking” (1968). The purpose of the paper is to analyze the
author’s concept of lonely, alienated, vulnerable and defenseless female individuals which forms the core
of her artistic imagination.
The scientifi c research uses gynocritics as its methodological background. According to the theory of
its critic E. Showalter, it was possible to identify four models of woman writing having been realized in Jean
Rhys’s short prose: a) psychoanalytic; b) biological; c) linguistic and d) cultural.
The psychoanalytic model of Rhys’s fi ction is viewed in the context of both the emotional and conscious
worlds of an alienated female identity. The woman protagonist being rejected by a hostile society, becomes
a stranger and outcast. The feelings of deep loneliness, pain, fear, and loss, intertwined with the death wish
and with resistance, determine the constants of female existence. An important aspect of woman personality
is the dimension of female friendship and solidarity.
The biological model of short prose by J. Rhys is explored through the concept of female corporeality.
The corporeal vulnerability of women protagonists is shown as a form of the fragility of their inner world.
An unattractive woman image created by the author manifests the psychological uncertainty and brittleness
of female characters. And a metaphor of the looking glass as a refl ection of their appearance reveals the
concept of the female Self as a loss which varies from the loss of a woman’s youth to the loss of feminine
identity or its splitting.
The linguistic model of Rhys’s short stories testifi es to the bipolar artistic world of the writer, which is
demonstrated at the confrontation between French and British cultures with the signs of laconism, subtext,
and silence as the main features of her writing manner. Meanwhile, the cultural model of J. Rhys’s prose is
read through the prism of the intertextual discourse of literature, music and painting.
Key words: loneliness, fear, suff ering, alienation, hostility, corporeality, vulnerability.
The examination of the mytheme in the context of Ukrainian literature (short novels “The Terrible Vengeance” by M. Hohol, “Marko the Cursed” by O. Storozhenko, and V. Shevchuk’s novel “Three Leaves behind the Window”) demonstrates the symmetrical dispersal of mythological heroes according to the universal myth of the Birth of a Hero. The “magic” birth and wanderings of the mythological hero unite Marko the Cursed (the short novel by O. Storozhenko) and Petro-Yustyn Znajda (the novel by V. Shevchuk) and correspond to the rite of initiation whereas the deeds and fight with chaos while symbolizing a renewal of the destroyed Universe correlate with the cosmogonic myth and join Pavlo Kobza (the short novel by O. Storozhenko) and Ivan the Wandering Knight (the short novel by M. Hohol).
of third-person narrative is intrinsic to “Wuthering Heights” whereas “Jane Eyre” manifests the static form of first-person narrative. The child's consciousness dominates the whole text by E. Brontë while in the novel of Ch. Brontë, it is being pierced with an utterly adult consciousness.
structural, close reading and feminism literary criticism. The study is focused on the dominant motifs of British women’s lyrics, such as motifs of love, life and death, nature, and the Lord, as well as on the peculiarity of their poetical genre, mainly the sonnet form. It was taken into consideration the preferences of themes of women’s authors; the features of originality and of individual creativity were examined too.
Keywords: Women’s poetry, sonnet, poetical motifs of love, of life, of death, of nature, and the Lord.
На підставі текстологічного аналізу творів письменниць, здійсненого за допомогою компаративістичного, структурно-семіотичного методів літературознавства та феміністичної критики було виявлено основні семантичні коди флористичної символіки, виокремлено і охарактеризовано ключові квіткові образи мисткинь, розкрито смислові конотації рослинної символіки як засобу художнього вираження жіночої самоідентифікації. Це дозволило показати оригінальність та водночас глибинність внутрішньої сутності жіночих персонажів, закоріненої в органічному зв’язку світу жінки зі світом природи, і разом з тим – з’ясувати відмінності авторської манери письма кожної з письменниць.
The article concerns the issue of floral imagery functioning as a distinctive manner of female self-expression in the space of prominent women writers’ fancy of modernist literature at the beginning of 20th century. The selected short stories written by British women authors Dorothy Richardson and Virginia Woolf as well as Ukrainian writer Dariya Vikonska are the subject matter of the article.
According to comparative, structural-semiotic and feminist critique approaches to the texts of mentioned women writers the main semantic codes of floral symbolism were revealed; the key images of flowers were singled out and characterized; the notional connotations of plant symbolism as a means of art expression of female self-identification, of deep essence of woman personality and of mystique of feminine “self”, have been rooted in organic connection between woman and nature, were exposed too.
At the same time the peculiarities of individual manner of the writings of D. Richardson, V. Woolf, and D. Vikonska were focused on in the article.
It was noted that Ukrainian woman writer uses concrete plant images, while the British ones use both concrete and abstract flower images which allows them go beyond the emotional world of their female protagonists and touch the horizon of philosophical notions of life, death, and time. The distinctive feature of D. Vikonska’s writing is coloration of her floral symbolism as well as ecclesiastical realization of feminine identity as the dominant aspect of her texts.
On the other side, the female-centered poetical prose of both D. Richardson and D. Vikonska as a proper trait of their artistic consciousness points out on homoerotical elements of their own writings, and the contrary, deep reflexiveness of literary expression and tending to impressionistic manner of writing combines D. Vikonska’s and V. Woolf’s short stories.
Антологія української малої "жіночої" прози Галичини міжвоєнного періоду "Райська Яблінка". Львів, 2014.
An axis “a human being :: fate” becomes a key notion for both authors. Two components of the axis are important to the polish writer: an active act of riot against destiny accomplished by a man is emphasized on the one hand, and an influence of the fate on the man’s fortune is stressed on the other hand. While an apprehension of the fate by a human being and, as a consequence, a sensation of absolute dependence upon it are dominative motives of Lesia Ukrainka’s poem. What concerns rebellion against the cruel fate, it is not so important to the ukrainian writer as to the polish one, since it has been lost among many other human destinies confirming the strong dependence on the fate.
Spheres of knowledge or non-knowledge of the fate beforehand differ one from the other in the same way. The knowledge of the fate which drives a human being to a desperate situation (deadlock) and tragic condemnation (doom) to defeat defines a plot’s development of “Kasandra”. While both knowledge and non-knowledge of destiny, concentrated in one person, further the deepening of the dramatic feeling of “Meleager” on the whole and enrich making more capacious the main protagonist (Althea) specifically at the same time. The distinctive feature of the researched texts is that a person who possesses the mystery of sacred knowledge becomes a central personage of two of them: either of “Kasandra” by Lesia Ukrainka or of “Meleager” by S. Wyspianski and exactly that person stays the most tragic one.
From the point of view of two writings a system of correlation between a word and silence seems to be more integral as they function through the prism of archaic world outlook, although the writer’s originality defines the peculiarities of their function showing a preference for conscious area of Lesia Ukrainka’s poem “Kasandra” and subconscious area of S. Wyspianski’s drama “Meleager”.
main issue of comparative literary studies of the author for the last twenty years.
The conception of identity as it is analyzed in the book opens up mainly in the
plane of “the Self ” / “the Other” relations and embraces an individual, national,
gender, and culturological dimensions of its functioning in the works of the
Ukrainian, Norwegian, Polish, American and British fiction. The structure of the
book demonstrates different aspects of the scientific investigation of the diverse
models of identity, realized in myth-poetical, modernist and postmodernist
discourses of literary texts.