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В. Шекспір у вимірах українського необароко: перекладацькі стратегії Т. Осьмачки

100%
Дроздовський Д.
Studia Polsko-Ukraińskie
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2016
|
vol. 3
121-133
EN
The author of the present article analyses the Neo-Baroque strategies employed by Todos’ Os’machka in his translation of Shakespeare’s Henry IV and Macbeth. A translation process in the Ukrainian emigration literature of the 1940s–1960s was oriented toward the explication of the Neo-Baroque stylistic and rhetoric figures (paronymic attraction, lexical dissemination, etc.) in representing and transforming Shakespearean imagery in the Ukrainian language. The author attempts to analyse the reception of Shakespeare in the translations by Os’machka, to define the nature of the Neo-Baroque translation method. Translations of Shakespeare played an important role in the formation of the new stylistic features of the Ukrainian language. Moreover, the Ukrainian reception of Shakespeare in the discourse of the Ukrainian emigration literature of the 1940s–1960s has some Baroque and Neo-Baroque forms that influenced in a special way the Ukrainian Shakespearean discourse.
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Шекспірівський «метатекст» Тодося Осьмачки: Художні стратегії візіонеризму апокаліпсису й палінґенезії

80%
Дроздовський Д.
Studia Polsko-Ukraińskie
|
2015
|
vol. 2
127-136
EN
In 2015, Todos’ Os’machka celebrated his 120th anniversary. In the paper, the author outlines Shakespearean motifs in T. Os’machka’s poetry and novellas. The concepts of visionaries, apocalypse, and palingenesis (παλιγγενεσία) have been discussed taking into account Os’machka’s texts. His novella Starshyi boyaryn represents the mythological orientations explicated through the narrative peculiarities and the key idea of apocalypse and its spiritual afterglow. The text seems to be a Ukrainian version of Shakespeare’s Macbeth, which was translated by Os’machka and published in 1953 together with Henri IV. The author’s texts represent specific historical visionaries and demonstrate an outstanding model of Ukraine as a metaphysical place. The reception of Os’machka’s works as ‘alchemical’ (Yu. Sherekh) has been also spotlighted in the paper.
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