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Volodymyr Luchuk did not perceive genre as a canonical concept, and this is why his original naming of the genre does not necessarily correspond to the established definition. His individual approach to genre expanded and sometimes destroyed the limits of canonical forms. The objective of the paper is to identify the generic features of frescoes in Luchuk’s poetry, its interpretatitive modifications and transformations in the context of following this genre by other poets in the 1960s. The interference of the genre of frescoes in Luchuk’s poetry can be defined by the following attributes: Transposition of the metalanguage of painting to that of poetry through the prism of the author’s consciousness; Symbiosis of the generic features of frescoes and those of other literary genres: new modification codes; Attempt to create a “pure” genre model of literary frescoes. Twelve poetic frescoes by Volodymyr Luchuk presented a diverse world of the unbiased generic perception of intermedial art. This article is the first study of the genre of frescoes by Volodymyr Luchuk and the first attempt to study this genre in the context of the 1960s. It will be continued in the studies of other intermedial genres in his poetry, like sketch, landscape, nocturne, lyrical intermezzo.
RU
В данной статье исследуется советская политика идеологизации, русификации культурно-образовательного пространства украинской нации конца 1950-х – 1960-х гг. и характеризуется становление и развертывание движения шестидесятников. Несмотря на всеобъемлющий контроль советского тоталитарного государства над мышлением человека, молодой творческий украинский актив продолжал оставаться той живой интеллектуальной силой, которая была способна адекватно анализировать общественно-политические процессы в Украине и стремилась к кардинальным изменениям в обществе того времени. Очерченный период ознаменовался появлением шестидесятников – нового поколения украинской национальной интеллигенции, выступившей в защиту национального языка, образования и культуры, свободы искусства. Вопреки сложным тогдашним общественно-политическим обстоятельствам в творческой жизни УССР произошло заметное культурное продвижение, насыщенное разнообразным спектром взглядов, идей и стремлений. В Украине проходил необратимый процесс национального самоопределения украинцев через культурно-образовательное пространство. Нонконформистские настроения в украинской среде положили начало постепенному переходу к новым демократическим нормам и стандартам жизни украинской нации.
EN
This article examines the Soviet policy of ideologization and, russification of the cultural and educational space of the Ukrainian nation in the late 1950s – 1960s and characterizes the formation and development of the movement of the Sixtiers. Despite the comprehensive control of the Soviet totalitarian state over human thinking, the young creative Ukrainian activist continued to be a living intellectual force that was able to adequately analyze socio-political processes in Ukraine and sought radical change in society at that time. This period was marked by the emergence of the Sixtiers – a new generation of Ukrainian national intelligentsia, who defended the national language, education and culture, freedom of artistic creativity. Despite the difficult socio-political circumstances of the time, a significant cultural progress took place in the creative life of the Ukrainian SSR, saturated with a diverse range of views, ideas and aspirations. In Ukraine, there was an irreversible process of national self-determination of Ukrainians through the cultural and educational space. Nonconformist sentiments in Ukrainian environment began a gradual transition to new democratic norms and standards in the life of the Ukrainian nation.
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